You can always spot a 'television personality', even when they aren't actually on television, because they carry their 'made-up' persona in front of them, like some sort of baffler, or Ready Brek force field. Their reach for notoriety predicated on that fulsome mediocrity of talent detailed above has become frozen in their faces.

As for critical writing about modernism, its moments of lucidity are but fulgurations illuminating the dark and incomprehensible landscape of its subject's unabashed difficulty.

As a writer, I'm not convinced that we are the best equipped to understand how we go about the business of literary production.

Don't look back until you've written an entire draft, just begin each day from the last sentence you wrote the preceeding day. This prevents those cringing feelings, and means that you have a substantial body of work before you get down to the real work which is all in . . . The edit.

For myself, I haven't been content to carry on producing books that merely strain against the conventions - as I've grown older, and realised that there aren't that many books left for me to write, so I've become determined that they should be the fictive equivalent of ripping the damn corset off altogether and chucking it on the fire.

What fiction offers us is an intimacy shorn of the messy contingencies of human existence - gender, race, class or age. Those moments of transcendence when we exclaim "You know exactly what I mean!" depend for much of their force on the anonymous character of the intimacy between writer and reader.

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.