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.

If people want to talk about Bob Dylan, I can talk about that. But my dad belongs to me and four other people exclusively. I'm very protective of that. And telling people whether he was affectionate is telling people a lot. It has so little to do with me. I come up against a wall.

Only an artist as preternaturally acute and copacetic, as oddly visionary and just odd as Richard Artschwager, would be able to lay out the whole course of human evolution and have it make some kind of sense while also seeming like a dazzling insight.

Love is tested in so many ways. How do I articulate this? Two people are together. There are stakes, strife, struggles, all these things that make us fall for someone, love someone even more, leave someone.