I have no sense of a model or predecessor when I write a memoir: For me, the form exists as a method of processing material that retains too many connections to life to be approached strictly and aesthetically. A memoir is a risk, a one-off, a bastard child.

I absolutely don't dislike children - I would choose their company over adult company any time.

Hope is one of those no-win-no-fee things, and although it needs some encouragement to survive, its existence doesn't necessarily prove anything.

It's a pretty brutal process, having a baby.

The British have always made terrible parents.

I think a lot of artists no longer want to participate in or be associated with narrative because of its corruptedness in contemporary culture.

In domestic life the woman's value is inherent, unquantifiable; at home she exchanges proven values for mythological ones. She "wants" to be at home, and because she is a woman she's allowed to want it. This desire is her mystique, it is both what enables her to domesticate herself and what disempowers her.