Equally, we require a collective past - hence the endless reinterpretations of history, frequently to suit the perceptions of the present.
Every novel generates its own climate, when you get going.
It was a combination of an intense interest in children's literature, which I've always had, and the feeling that I'd just have a go and see if I could do it.
Getting to know someone else involves curiosity about where they have come from, who they are.
You learn a lot, writing fiction.
I have had to empty two family homes during the last few years - first, the house that had been my grandmother's since 1923, and then my own country home, which we had lived in for over twenty years.
We all need a past - that's where our sense of identity comes from.
We make choices but are constantly foiled by happenstance.
Since then, I have just read and read - but, that said, I suppose there is a raft of writers to whom I return again and again, not so much because I want to write like them, even if I were capable of it, but simply for a sort of stylistic shot in the arm.
We read Greek and Norse mythology until it came out of our ears. And the Bible.
There's a preoccupation with memory and the operation of memory and a rather rapacious interest in history.
The present hardly exists, after all-it becomes the past even as it happens. A tricky medium, time - and central to the concerns of fiction.
The pleasure of writing fiction is that you are always spotting some new approach, an alternative way of telling a story and manipulating characters; the novel is such a wonderfully flexible form.
The Photograph is concerned with the power that the past has to interfere with the present: the time bomb in the cupboard.
The consideration of change over the century is about loss, though I think that social change is gain rather than loss.