I have at times tried to imagine the despair which leads to suicide, attempted to conjure up the slew and slop of darkness in which only death appears as a pinprick of light: in other words, the exact opposite of the normal condition of life.

Life is like invading Russia. A blitz start, massed shakos, plumes dancing like a flustered henhouse; a period of svelte progress recorded in ebullient despatches as the enemy falls back; then the beginning of a long, morale-sapping trudge with rations getting shorter and the first snowflakes upon your face. The enemy burns Moscow and you yield to General January, whose fingernails are very icicles. Bitter retreat. Harrying Cossacks. Eventually you fall beneath a boy-gunner's grapeshot while crossing some Polish river not even marked on your general's map.

we must be precise with love, its language and its gestures. If it is to save us, we must look at it as clearly as we should learn to look at death

Life seemed even more of a guessing game than usual.

Paris is certainly one of the most boastful of cities, and you could argue that it has had a lot to boast about: at various times the European centre of power, of civilisation, of the arts, and (self-advertisingly, at least) of love.

Everything in art depends on execution: the story of a louse can be as beautiful as the story of Alexander. You must write according to your feelings, be sure those feelings are true, and let everything else go hang. When a line is good it ceases to belong to any school. A line of prose must be as immutable as a line of poetry.

I'm interested in such things as the difference between how we perceive the world and what the world turns out to be. The difference is between the stories we tell others and the stories we tell ourselves. There is a wonderful Russian saying, which I use as the epigraph of one of my novels, which goes, He lies like an eyewitness. Which is very sly, clever and true.