I do not think that my spiritual apprehensions are as dogmatically cultural as those of many people who have been brought up strictly in a particular tradition.

I don't know if Britain ever really achieved that much glamour. We had post-war austerity rather than post-war prosperity, and our cultural products of the time include some pretty dour kitchen-sink dramas of the A Kind of Loving variety. (This kind of film seems disillusioned with the sixties before they've even really begun.)

I suppose I could say that to be interested in innocence already suggests a remove from innocence, perhaps a longing for something that is lost.

I'm not sure if there is a cultural loss of innocence specifically associated with the seventies. The oil crisis? The Watergate scandal? I really don't know. There's nothing there on the scale of Hiroshima.

I think there's a good case for antinatalism. Stephen Hawking has told us recently that we must colonise space to survive, not long after telling us to beware of aliens because they'll probably just do to us as the conquistadors did to the native peoples of the Americas. So . . . exactly why do we want to go on and on, to go forth and multiply in a hostile final frontier? Why?

[My muse] likes to inhabit tea leaves, sunlight filtered through bamboo, melancholy clouds over the Devon coastline, a weedy railroad crossing in the Southern States, bubblegum pop from the sixties, torch songs from the forties, undersea caves where B-movie octopi grapple with men in loincloths, sacred groves of pink anime dryads, Victorian fairy paintings executed by gentlemen in lunatic asylums and so on.

The quality of that 'who I am', is what I hope comes out in the writing.