I used to find myself goofed out in the street on drugs. And I had such a bad problem with addiction at the time that I didn't mind. I was dealing cocaine and shooting up a lot of cocaine. And that's not a good space to be in.

What the British seem to like are television historians and naturalists, not public intellectuals. You can't help feeling that's because one supplies narrative and the other supplies facts, and the British are traditionally empiricists so they/we have a resistance to theory and to theoreticians playing too prominent a role in public life.

Death, the real simile for disease - for when we are ill, do we not always feel like we are dying, even if it's only a little? - remains, despite our secularism, the most metaphoricised phenomenon of all.

Don't look back until you've written an entire draft.

Sometimes it occurs to me that the job of a serious cultural critic mostly consists in telling the generality of people that their opinions - on films, on books, on all manner of widgets, gadgets and even the latest electronic fidgets - simply aren't up to scratch.

Continuous present is all we have, and stream of consciousness - which in a novel is arguably just as artificial as the stilted dialogue that you get in most conventional novels. They're all stratagems to try to get closer to the texture of lived life.

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