But surely to tell these tall tales and others like them would be to spread the myth, the wicked lie, that the past is always tense and the future, perfect.

I'm always interested in the way people speak and move in their environment, in a very particular environment. I'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the any novel is a local thing always.

It was in the air, or so it seemed to Kiki, this hatred of women and their bodies- it seeped in with every draught in the house; people brought it home on their shoes, they breathed it in off their newspapers. There was no way to control it.

These days, it feels to me like you make a devil's pact when you walk into this country. You hand over your passport at the check-in, you get stamped, you want to make a little money, get yourself started... but you mean to go back! Who would want to stay? Cold, wet, miserable; terrible food, dreadful newspapers - who would want to stay? In a place where you are never welcomed, only tolerated. Just tolerated. Like you are an animal finally house-trained.

The young people have a phrase for this now, which is "slay in your lane." That's a very important principle of writing. You have to work out what it is you can't do, obscure it, and focus on what works.

A lot of women, when they're young, feel they have very good friends, and find later on that friendship is complicated. It's easy to be friends when everyone's 18. It gets harder the older you get, as you make different life choices, as people say in America. A lot of women's friendships begin to founder.

I wrote 'White Teeth' in the late nineties. I didn't really feel trepidatious about it. It was a different time.