Every novel is a biography. Well, then, this is a novel [The Paper Men] which is a biography that is pretending to be an autobiography. That's what you could say about it.

I wouldn't have thought that the techniques of story-telling, which is what the novel is after all, can vary much because there are two things involved.There's a story and there's a listener, whose attention you have to keep. Now the only way in which you can keep a reader's attention to a story is in his wanting to know what is going to happen next. This puts a fairly close restriction on the method you must use.

Among the virtues and vices that make up the British character, we have one vice, at least, that Americans ought to view with sympathy. For they appear to be the only people who share it with us. I mean our worship of the antique. I do not refer to beauty or even historical association. I refer to age, to a quantity of years.

Kill the pig. Cut her throat. Spill her blood.

Latin, as we all know, ultimately broke down into Spanish, Italian, French, and so on. One wonders whether there will be an imperial parallel with English breaking down into, shall we say, North American, European, Australian, and so on. On the other hand, there is this immense, inward-driving influence of radio and television that is bringing us all back together. One could say it's a fight between the two: a fight between regionalism and the standardization through communication.

Experimental novels are sometimes terribly clever and very seldom read. But the story that appeals to the child sitting on your knee is the one that satisfies the curiosity we all have about what happened then, and then, and then. This is the final restriction put on the technique of telling a story. A basic thing called story is built into the human condition. It's what we are; it's something to which we react.

He who rides the sea of the Nile must have sails woven of patience.