Kingsley Amis was a lenient father. His paternal style, in the early years, can best be described as amiably minimalist - in other words, my mother did it all.

Dickens is a much misunderstood and mis-approached writer, in that he tends to be read, particularly in the twentieth century, as a social commentator - like the great Victorians, a realist in his way. But he isn't at all like that. His genre is actually more like a fairy tale - weird transformations, long voyages from which people come back altered, parental mysteries, semi-magical twists.

It was the tiredness of time lived, with its days and days. It was the tiredness of gravity- gravity, which wants you down in the center of the earth.

when the sky is as grey as this - impeccably grey, a denial, really of the very concept of colour - and the stooped millions lift their heads, it's hard to tell the air from the impurities in our human eyes, as if the sinking climbing paisley curlicues of grit were part of the element itself, rain, spores, tears, film, dirt. Perhaps, at such moments, the sky is no more then the sum of the dirt that lives in our human eyes.

The universe is a million billion light-years wide, and every inch of it would kill you if you went there. This is the position of the universe with regards to human life.

Style is not neutral; it gives moral directions.

That certain snobbery of certainly the Parisian - combined with a complete denial of your historical legacy, is just awful. That's a funny thing about France. Saul Bellow wrote somewhere that he saw right through the French. He lived there. He wrote The Adventures of Augie March in Paris, and there's no one better than him to say what's unbearable about the French.