Ian Mcewan

It's good to get your hands dirty a bit and to test how you see things at a given point. And it's very pleasing after writing something like 'Atonement' or 'On Chesil Beach,' which are historical, to get involved in some plausible re-enactment of the here and now.

One important theme is the extent to which one can ever correct an error, especially outside any frame of religious forgiveness. All of us have done something we regret - how we manage to remove that from our conscience, or whether that's even possible, interested me.

You enter a state of controlled passivity, you relax your grip and accept that even if your declared intention is to justify the ways of God to man, you might end up interesting your readers rather more in Satan.

We shall suffer no attachment to literature, no taste for abstract discussion, no love of purely intellectual theories, to seduce us from our devotion to the cause of the oppressed, the down trodden, the insulted and injured masses of our fellow men.

What I look for when I see a piece of art for the first time is some kind of emotional, intellectual experience, that's a combination of both of those things and is informed by my knowledge and something new that I see the artist doing.

One of my obsession is animals. I'm into dog rescues. It drives me crazy when people go to pet stores and buy dogs. There are so many dogs that need a good home. And this sounds crazy, but I really believe they know what is happening and are appreciative, and I just think they make for the best pets.