What he wanted was not just to hear about Hailsham, but to remember Hailsham, just like it had been his own childhood. He knew he was close to completing and so that's what he was doing: getting me to describe things to him, so they'd really sink in, so that maybe during those sleepless nights, with the drugs and the paint and the exhaustion, the line would blur between what were my memories and what were his.

I want my words to survive translation. I know when I write a book now I will have to go and spend three days being intensely interrogated by journalists in Denmark or wherever. That fact, I believe, informs the way I write - with those Danish journalists leaning over my shoulder.

I think I had actually served my apprenticeship as a writer of fiction by writing all those songs. I had already been through phases of autobiographical or experimental stuff.

I cannot start a story or chapter without knowing how it ends. ... Of course, it rarely ends that way.

Our family arrived in England in 1960. At that time I thought the war was ancient history. But if I think of 15 years ago from now, thats 1990, and that seems like yesterday to me.

The problem, as I see it, is that you've been told and not told. You've been told, but none of you really understand, and I dare say, some people are quite happy to leave it that way.

Throughout my career I've struggled to encourage people to read my books on a more metaphorical level. I'm less attached to my settings than, for example, Saul Bellow. The setting of a novel for me is just a part of the technique. I choose it at the end.