A sentence is born into this world neither good nor bad, and that to establish its character is a question of the subtlest possible adjustments, a process of intuition to which exaggeration and force are fatal.

Feminism remains something that needs to be explained to people.

The reaction to 'Aftermath' has been far worse than to 'A Life's Work,' yet I find I'm perhaps a little less touched by it. In both cases, I've coped artistically by believing the criticisms weren't right. They upset me, but they didn't challenge my understanding of how to write, nor of how morality functions in literature.

Divorce also entails the beginning of a supposition that that familial reality might have obstructed one's ability to perceive others.

A creative writing workshop will contain students whose ambitions and abilities, whose conceptions of literature itself, are so diverse that what they have in common - the desire to write - could almost be considered meaningless.

Society in the English countryside is still strangely, quaintly divided. If black comedy and a certain type of social commentary are what you want, I think English rural communities offer quite a lot of material.

The woman who thinks she can choose femininity, can toy with it like the social drinker toys with wine - well, she's asking for it, asking to be undone, devoured, asking to spend her life perpetrating a new fraud, manufacturing a new fake identity, only this time it's her equality that's fake.