What I do say is that I can write verse, and that the writing of verse in strict form is the best possible training for writing good prose

After modernism, things changed. Indeed, modernism sometimes seems to me like an equivalent of the Fall. Remember, the first thing Adam and Eve did when they ate the fruit was to discover that they had no clothes on. They were embarrassed. Embarrassment was the first consequence of the Fall. And embarrassment was the first literary consequence of this modernist discovery of the surface. "Am I telling a story? Oh my God, this is terrible. I must stop telling a story and focus on the minute gradations of consciousness as they filter through somebody's.

I wanted the chance to look again at very famous stories and see what made them work well, whether there were any ways in which they could be improved. Because the great thing about fairy tales and folk tales is that there is no authentic text.

A story, to me, has a particular sprite, like the angel of the spirit of that story - and it's my job to attend to what it wants to do.

I write almost always in the third person, and I don't think the narrator is male or female anyway. They're both, and young and old, and wise and silly, and sceptical and credulous, and innocent and experienced, all at once. Narrators are not even human - they're sprites.

Gradually, at various points in our childhoods, we discover different forms of conviction. There's the rock-hard certainty of personal experience ("I put my finger in the fire and it hurt,"), which is probably the earliest kind we learn. Then there's the logically convincing, which we probably come to first through maths, in the context of Pythagoras's theorem or something similar, and which, if we first encounter it at exactly the right moment, bursts on our minds like sunrise with the whole universe playing a great chord of C Major.

What I do say is that I can write verse, and that the writing of verse in strict form is the best possible training for writing good prose