I don't in any sense think of myself as a celebrity, which of course I'm not.
I never read in bed, only in my study.
I saw a ghost once, about 20 years ago. It took the form of someone coming out of a sleeping body and sitting at the foot of the bed.
If I did only one thing at a time I'd think I was wasting my time. If, for example, I only wrote novels I would feel like a charlatan and a fraud.
So do we discover, in the world, that our worst fears are unfulfilled; yet we must fear, in order that we may feel delight.
I have liv'd long enough for others, like the Dog in the Wheel, and it is now the Season to begin for myself: I cannot change that Thing call'd Time, but I can alter its Posture and, as Boys do turn a looking-glass against the Sunne, so I will dazzle you all.
He stood beneath the white tower, and looked up at it with that mournful expression which his face always carried in repose: for one moment he thought of climbing up its cracked and broken stone, and then from its summit screaming down at the silent city as a child might scream at a chained animal.
The endless chatter of this journey had wearied me.
I don't find myself interesting as a person and the details I find boring, quite frankly. You could sum it up in a few words or sentences really: came from nothing. Self-educated. Luck. Energy. Curiosity. Ambition. That's it. Nothing at all can illuminate the work as far as I can tell.
Health, money. That's what people worried about in the 14th century as much as today. I find it so much more interesting than the supposed activities of kings, queens, generals.
All cities are impressive in their way, because they represent the aspiration of men to lead a common life; those people who wish to live agreeable lives, and in constant intercourse with one another, will build a city as beautiful as Paris.
There are certain people who seem doomed to buy certain houses. The house expects them. It waits for them.
Murderers will try to recall the sequence of events, they will remember exactly what they did just before and just after. But they can never remember the actual moment of killing. This is why they will always leave a clue.
One can forgive Shakespeare anything, except one's own bad lines.
A triptych in which the presiding deities are Mother, England and Me.
I detest self-regard. If my work has taught me anything, it is that self-aggrandisement is completely unhistorical.
Familial love can find an echo in our own hearts just as it did in that of Charles Dickens.
When I was a child I wanted to be Pope. My greatest disappointment is missing out on that. I also wanted to be a tap dancer but I never fulfilled that ambition either.
I have always believed that the material world is governed by nonmaterial sources, so that in that sense 'English Music' is an exercise in the spiritual as well as the material. I have always been attracted to the Gothic and spiritual imagination, and I've always been interested in visionaries.
I wanted to be a poet when I was 20; I had no interest in fiction or biography and precious little interest in history, but those three elements in my life have become the most important.
In 'The Plato Papers' I wanted to get another perspective on the present moment by extrapolating into the distant future. So in that sense, there's a definite similarity of purpose between a book set in the future and a book set in the past.
It's only recently that we've discovered that the artist's inner self is somehow more important than the public world. I'm happier to create exterior pieces for the world rather than to express something I deeply feel or wish to say.
None of my books has been ever in my head; after they're finished, they go. It's like being a sort of medium; you just grab it when it's there then just release it when it's time to go. There's a lot of instinct, not planning.
As a Londoner I was able to see how the world of power and money cast its shadow on those who failed.
Yet, like the sea and the gallows, London refuses nobody.
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