Looking at them now, thought Jim, you'd never believe they weren't in love with each other, and not with a hopeless, doomed obsession like poor Isabel Meredith. This was what love ought to be like: playful and passionate and teasing, and dangerous, too, with sharp intelligence in it.

Literary modernism kind of grew out of a sense that, “Oh my god! I’m telling a story! Oh, that can’t be the case, because I’m a clever person. I’m a literary person! What am I going to do to distinguish myself? I know! I’ll write Ulysses.”

Long before writing, people were telling each other stories and the audiobook goes all the way back to that tradition.

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.

And I came to believe that good and evil are names for what people do, not for what they are. All we can say is that this is a good deed, because it helps someone or that's an evil one because it hurts them. People are too complicated to have simple labels.

I got a book token for Christmas and exchanged it for a book called A History of Art, and that book (which I still have-battered and falling to pieces) became more precious to me than any Bible.

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.