Now, instead of loading up your jalopy and heading for California, you take a second, badly paid job; 'The Grapes of Wrath' has turned into 'Nickel and Dimed.'
I'm as strong and supple as a pane of thin glass. I've got too many ailments - left shoulder, left elbow and left wrist - in fact, the whole of the left arm.
There's one profound difference between secular and religious pilgrimages. It's inconceivable that a Muslim would feel a sense of anticlimax when reaching Mecca. But for a secular pilgrim, the potential for disappointment is always there.
Borrowing something from one art form and relocating it in another always has a whiff of pretension about it, like in books if, instead of 'Chapter One,' you have 'First Movement.'
I think that if you are a resolute, unswerving atheist, you have that sense that you are conscious of the God-shaped hole that has been left in the wake of any religious belief, and in a way, one is much more drawn to articulate why it is that certain places, or certain experiences, have a kind of power.
I didn't get on a plane until I was 23, after I left Oxford and was teaching at Lucy Clayton Secretarial College in London.
First, unreliability is not the sole preserve of fictional narrators. Second, the pleasure of patting oneself on the back for seizing on instances of unreliability and ignorance is, as the late Frank Kermode may or may not have pointed out, considerable.
Have you ever stayed at the Four Seasons Hotel in Mumbai? I'd warmly recommend it. It's super luxurious, and right next door, there's a classic slum. So you can do a quick slum tour and get back to your sanctuary without any inconvenience but with some excellent snaps.
I didn't read much of anything till I was 15, except Alistair MacLean and Michael Moorcock - the sword and sorcery novels - when I was about 13 or 14.
I would probably, in my 60s, be ready to start having kids, as long as I was spared all the stuff about it that doesn't appeal to me. By then, I'd have lost interest in practically everything, so there'd be no opportunity cost involved.
There are the tears of rage when books get praised when they're so obviously garbage. But then there are so many more that continue to move me: the end of 'Paradise Lost,' 'The Ruined Cottage' by Wordsworth, Prospero's 'Our revels now are ended' speech near the end of 'The Tempest.'
If you're not religious, like me, how do you explain the transformational power that certain places have? They bring an incredible degree of attention to where you are and the passage of time. You're looking at every flower twitching, wondering if it's just the breeze or some magical pulse.
When I started writing, the deal was that publishers gave you a grand or two as an advance to buy some sweets, with the promise that they would make a big putsch with your fourth book when you'd built up a bit of a following. But by the time my fourth book came out, previously unpublished authors were the new big thing.
Cheever constantly voiced doubts about his writing. Reading 'The Naked and the Dead' made him despair of his own 'confined talents.'
Despite what Wordsworth says about thoughts that 'lie too deep for tears', I think tears are a pretty reliable indication of being in the grips of a profound experience.