I once saw John Updike get in front of a crowd and read a story that he'd written in 1958, and I just thought, I can't even look at stuff I wrote a year ago, I can't believe he's doing this.

I worry that's what people are going to think about me if they kind of go backwards. But if that didn't happen to you, I'll feel better.

That's a long way of saying no, I'm always too bound up in thinking about the characters in whatever I'm working on and trying to make good to dwell on characters from previous books.

More than periods where I don't write anything, I have periods where I just write junk and I know I'm writing junk but I can't stop.

You should not really entertaining anyone else, but trying to be yourself, because there are already more good books than you or I could ever read in our lifetime.

A Thousand Pardons began at the beginning. I wanted it to be one continuous, almost breathless kind of story. In order to do that, it's really hard not to begin at the beginning. There's such a chain of consequence to everything that happens to main characters - it's very hard to break it apart and still be able to hold the plot in your head.

Those who know New York City primarily through tourism or mass culture may think of us natives as possessing certain shared characteristics, not all of them flattering. But the true, volatile charisma of New York lies in how balkanised it is.

I don't want to make it sound too much like I'm telling people how to read the book A Thousand Pardons, but what Ben Armstead is doing, he's doing more or less on purpose as a very elaborate way of making a sacrifice in his personal life. He needs to start over. This is how he chooses to do it - by blowing up where he is.

New York is ultimately not the synthesis but merely the sum of its unfathomable subjectivities, its personal histories, its uncategorisable figures.