When communism failed, it wasn't a good idea that had gone wrong, it was a bad idea that had been sustained with incredible determination in the face of all the commonsense arguments, and at the cost of 20 million lives at least, in Russia, to build the socialist Utopia.

He was an artist when he saw society: it never crossed his mind that society had to be like this; had any right, had any business being like this. A car in the street. Why? Why cars? This is what an artist has to be: harassed to the point of insanity or stupefaction by first principles.

I think it's likely that the civilizing effect of literature has done most of the work, and still continues to do. Look at Steven Pinker's book, The Better Angels of Our Nature: Why Violence Has Declined. It proves beyond any shadow of doubt that violence has declined dramatically throughout the centuries. There are various reasons for it: the rise of the state, Leviathan, the monopoly of violence, children's rights, animal rights. They're all positive signs.

My literary career kicked off in 1956 when, as a resident of Swansea, South Wales, I published my first novel, 'Lucky Jim.

The process of writing a novel begins with a pang, a moment of recognition, and a situation, a character, or something you read in a paper, that seems to go off, like a solar flare inside your head.

I want incremental improvements. There's the record of all the revolutionary and violent change and extremism in general - it's dreadful.

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.