I've always had a great fondness for English detective fiction such as Agatha Christie and Dorothy Sayers.
I think I had actually served my apprenticeship as a writer of fiction by writing all those songs. I had already been through phases of autobiographical or experimental stuff.
This is the big question that we all have about our children: How much, how soon, do we tell our children the less comfortable facts about the world they're going to inherit?
There's something very misleading about the literary culture that looks at writers in their 30s and calls them 'budding' or 'promising', when in fact they're peaking.
There are things I am more interested in than the clone thing. How are they trying to find their place in the world and make sense of their lives? To what extent can they transcend their fate? As time starts to run out, what are the things that really matter?
I'm very fortunate in that I don't have money problems. I have lunch with my wife at home. I don't have to commute, so I have much more time with my family.
I work very regular hours, roughly 9 to 5:30. I think I have it much easier than a lot of parents. I just sit at home, I have a very flexible timetable, and I'm very fortunate in that I don't have money problems. I have lunch with my wife at home. I don't have to commute, so I have much more time with my family.
I want my words to survive translation. I know when I write a book now I will have to go and spend three days being intensely interrogated by journalists in Denmark or wherever. That fact, I believe, informs the way I write - with those Danish journalists leaning over my shoulder.
We all live inside bodies that will deteriorate. But when you look at human beings, they're capable of very decent things: love, loyalty. When time is running out, they don't care about possessions or status. They want to put things right if they've done wrong.
I couldn't speak Japanese very well, passport regulations were changing, I felt British, and my future was in Britain. And it would also make me eligible for literary awards. But I still think I'm regarded as one of their own in Japan.
I wouldn't want to try to adapt something of my own. It would be like going back to school and doing all my exams again.
I'm interested in memory because it's a filter through which we see our lives, and because it's foggy and obscure, the opportunities for self-deception are there. In the end, as a writer, I'm more interested in what people tell themselves happened rather than what actually happened.
I like the fact that by mimicking the way memory works, a writer can actually write in a fluid way - one solid scene doesn't have to fall on another solid scene, you can just have a fragment that then dovetails into another one that took place 30 years apart from it.
I'm not at all interested in the brave who fight against the odds and win. I am interested in those who accept their lot, as that is what many people in the world are doing. They do their best in ghastly conditions.
Memory is quite central for me. Part of it is that I like the actual texture of writing through memory. I like the atmospheres that result if episodes are narrated through the haze of memory.
I loved cowboy films and TV series, and I learned bits of English from them. My favorite was 'Laramie', with Robert Fuller and John Smith. I used to watch 'The Lone Ranger', which had been famous in Japan as well. I idolized these cowboys.
I was a little concerned that a lot of people thought I wrote Merchant Ivory movies. I also thought if I was ever going to write something strange and difficult, that was the time.
My friends and I took songwriting very, very seriously. My hero was and still is Bob Dylan, but also people like Leonard Cohen and Joni Mitchell and that whole generation.
I don't have a deep link with England like, say, Jonathan Coe or Hanif Kureishi might demonstrate. For me, it is like a mythical place.
Now when I look back to the Guildford of that time, it seems far more exotic to me than Nagasaki.