You don't have to be brought up in a grand house to have a sense of the past, and I truly believe that there are certain people to whom or through whom the territory - the place, the past - speaks.

The 16th-century theatre witnessed the particularly English manifestation of 'the history play.' There can be no doubt that Shakespeare's presentations of 'Henry V' and 'Richard III' have been incalculably more influential than any more sober historical study.

It's only recently that we've discovered that the artist's inner self is somehow more important than the public world. I'm happier to create exterior pieces for the world rather than to express something I deeply feel or wish to say.

The embrace of present and past time, in which English antiquarianism becomes a form of alchemy, engenders a strange timelessness. It is as if the little bird which flew through the Anglo-Saxon banqueting hall, in Bede's Historia Ecclesiastica Gentis Anglorum, gained the outer air and became the lark ascending in Vaughan Williams's orchestral setting. The unbroken chain is that of English music itself.

Under the force of the imagination, nature itself is changed.

My great fear has always been complete and utter failure. Hence, you see, all the dispossessed people in my fiction, and why I try to earn as much money as I can. It's a defense. I don't enjoy it or do anything with it.

I wanted to be a poet when I was 20; I had no interest in fiction or biography and precious little interest in history, but those three elements in my life have become the most important.