If I know somebody is coming 'round, it is incredibly difficult for me to work because I'm waiting for this interruption - even the children's comings and goings are interruptions. Cake-making is a good way of coming out of that space.
Writing, more than any other art, is indexed to the worthiness of the self because it is identified in people's minds with emotion.
Hope is like one of those orchids that grows around toxic waste: lovely in itself - and an assertion, if you like, of indefatigable good - but a sure sign that something nasty lies underneath.
I'm waiting for the day when my children cease to find my domestic propriety reassuring and actually find it annoying.
It is expected that a children's story will raise a difficulty and then resolve it: increasingly, this resolution is so prompt and so resounding that one forgets what exactly the difficulty was.
I have no sense of a model or predecessor when I write a memoir: For me, the form exists as a method of processing material that retains too many connections to life to be approached strictly and aesthetically. A memoir is a risk, a one-off, a bastard child.
