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.

I felt that I could swim for miles, out into the ocean: a desire for freedom, an impulse to move, tugged at me as though it were a thread fastened to my chest. It was an impulse I knew well, and I had learned that it was not the summons from a larger world I used to believe it to be. It was simply a desire to escape from what I had.

I don't really believe in stories, only in the people who tell them.

How can there be so many mothers in the world but so little sense of what it might be to become one?

I suppose, I said, it is one definition of love, the belief in something that only the two of you can see.

Like the child, the creative writing student is posited as a centre of vulnerable creativity, needful of attention and authority.

I don't go to church any more, but I think that Catholicism is rather like the brand they use on cattle: I feel so formed in that Catholic mould that I don't think I could adopt any other form of spirituality. I still get feelings of consolation about churches.