It’s such a confidence trick, writing a novel. The main person you have to trick into confidence is yourself. This is hard to do alone.

All my books are made up of other books. They're all deeply structured on other fiction, because I was a student in fiction and I didn't have much actual living to draw on. I suspect a lot of other people's novels are like that, too, though they might be slower to talk about it.

English, as a subject, never really got over its upstart nature. It tries to bulk itself up with hopeless jargon and specious complexity, tries to imitate subjects it can never be.

I was brought up with the sense that I was absolutely no different from my brothers. I went to college thinking I was absolutely no different from the men in college. But that's not true. I'm fundamentally different. The problem was not being able to understand difference and equality at the same time. It's something that we can't seem to comprehend. You can't state difference and also state equality. We have to state sameness to understand equality. It's a mistake.

People profess to have certain political positions, but their conservatism or liberalism is really the least interesting thing about them.

English writing tends to fall into two categories - the big, baggy epic novel or the fairly controlled, tidy novel. For a long time, I was a fan of the big, baggy novel, but there's definitely an advantage to having a little bit more control.

Because immigrants have always been particularly prone to repetition - it's something to do with that experience of moving from West to East or East to West or from island to island. Even when you arrive, you're still going back and forth; your children are going round and round. There's no proper term for it - original sin seems too harsh; maybe original trauma would be better.