Many of my works fall into the category of "Zeitgeist novels." Yet I hope that they aren't only reportage, but also attempts to convey the sense of the present to the future.

I'm very happy for whatever plaudits might come the way of my work, but I never ever sit down to write x with y in view - whether it's a reader, a prize or a sale.

As far as I can see, the history of experimental art in the twentieth century is intimately bound up with the experience of intoxification.

I think the fundamental apprehension is that the city's an organism of some form, rather than being governed from above.

One of the most heartening phenomena in today's Britain is the great diversity of the modern nerd - the nerd is out and proud, and while she may love 'Buffy the Vampire Slayer' merchandise more than is strictly warranted, she is in every way to be cherished as an exemplar of cosmopolitanism and tolerance.

I prefer to write first drafts as soon as possible after waking, so that the oneiric inscape is still present to me.

Live life and write about life. Of the making of many books there is indeed no end, but there are more than enough books about books.