Anyone interested in language ends up writing about the sociological issues around it.
A revolution is not a dinner party, or writing an essay, or painting a picture, or doing embroidery.
The default mode of modern writing about art is to despise any notion of singularity as so much overheated genius-fetishism.
One of the problems of writing and working and looking at the Internet is that it’s very hard to separate fashion from deep change.
If getting a contract was relatively straightforward, writing fiction was far harder than I could have imagined, and there were moments during the long and torturous edit process when it seemed that ‘Zulu Hart,’ the first of the trilogy, would never be fit for public consumption.
There’s a certain point, when you’re writing autobiographical stuff, where you don’t want to misrepresent yourself. It would be dishonest.
However, the difficulties and pleasures of the writing itself are similar for a novel with a historical setting and a novel with a contemporary setting, as far as I’m concerned.
Try as I might, Agatha Christie is unique. The actual writing style can’t be exactly the same, so instead of trying to replicate it exactly, the way I got around it was by inventing a new narrator.
No honest writer today can possibly avoid being influenced by Freud through his pioneering work into the Unconscious and by the influence of those discoveries on the scientific, philosophic, and artistic work of his contemporaries: but not, by any means, necessarily through Freud’s own writing.
Writing is learning to say nothing, more cleverly each day.