It wasn't like the spare rooms of immigrants - packed to the rafters with all that they have ever possessed, no matter how defective or damaged, mountains of odds and ends - the stand testament to the fact that they have things now, where before they had nothing.

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.

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.

- You look fine. - Right. I look fine. Except I don't, said Zora, tugging sadly at her man's nightshirt. This was why Kiki had dreaded having girls: she knew she wouldn't be able to protect them from self-disgust.

Fate is a quantity very much like TV: an unstoppable narrative, written, produced and directed by somebody else.

A trauma is something one repeats and repeats, after all, and this is the tragedy of the Iqbals--that they can't help but reenact the dash they once made from one land to another, from one faith to another, from one brown mother country into the pale, freckled arms of an imperial sovereign.

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.