I love the working class, and everyone from it that I've met, and think they're incredible witty, inventive - there's a lot of poetry there. A lot of rough stuff as well. What there is, too, is an awful lot of expressiveness and intelligence and originality down there. And a lot of thwarted intelligence.

People? People are chaotic quiddities living in one cave each. They pass the hours in amorous grudge and playback and thought experiment. At the campfire they put the usual fraction on exhibit, and listen to their own silent gibber about how they're feeling and how they're going down. We've been there. Death helps. Death gives us something to do. Because it's a fulltime job looking the other way.

We live in the age of mass loquacity.We are all writing it or at any rate talking it: the memoir, the apologia, the c.v., the cri de coeur.

We have a huge institution that celebrates the undistinguished, an institution which is nearly as old as the Papists. It's been going on for millennia. What else is a monarchy but a series of ridiculously exalted figures who are not necessarily distinguished at all? In fact, they have a rather philistine tradition. So perhaps we are more vulnerable to it than other countries.

It sounds schmaltzy to say, but fiction is much more to do with love than people admit or acknowledge. The novelist has to not only love his characters - which you do, without even thinking about it, just as you love your children. But also to love the reader, and that's what I mean by the pleasure principle.

The literary interview won't tell you what a writer is like. Far more compellingly to some, it will tell you what a writer is like to interview.

Screw-top wine has improved the quality of life by about ten percent, wouldn't you say?