One has to choose a word in English. If you want to be eligible for a literary prize you have to designate it as something.

You turn your life into a work of art in order to redeem the ordinariness - a condition you are stuck with.

In the theatre, you are in love with what is on the stage, with the moment. You just don't get that with movies or videos, or TV, where you know that what you are seeing is repeatable.

It is much easier for me to define what makes a novel French or Russian, but defining the characteristics of an Australian novel are difficult for me as it is all too close - I can't see the woods for the trees.

I want to write the sort the book that my people want to read, even if the market is small.

The Odyssey and Iliad say things about the human condition in ways we should re-acquaint ourselves with, and use as a prism to interpret though.

Despite the war, and bombings, and all the big things that happen to us, the stuff of our lives is small and always will be. During a war it is different, but even then, it is perfectly possible to write novels during a major war, which are about those thing which endure. It is what makes us human and the thing which is going to keep going.

I don't write quickly or a lot. Well actually I write quickly, but I don't have a store of things. I will wait for that erotic moment - like the one which struck me when someone said have you ever heard of Kester Berwick?

[Anton] Chekhov is the most produced playwright in the world after Shakespeare, and most of the people in my sort of audience would have seen at least one of his plays.

A form of art that I like is portraiture. I've been thinking about portraiture, and its relationship to writing and literature, biography and autobiography, and so that will be my next thing.

Wonder - the sensation of being whisked out of time and space...to be bathed in ... epiphanous delight.

Every time you watch a performance in the theatre, you know that this is just for you, and will never be the same again. It is quite exciting for me.

It is terribly important to maintain a national identity in a way that it probably wasn't before.

I've always had a fascination for the stage which has to do with transfiguration. One moment you are John Smith from East Brighton riding in your cart, and the next moment you are in a completely different world.

I am coming from an older school, and I feel that you must learn to wait. There is that essay which was about the great notion of sitting on the mountain and waiting for the muses to cross the stream, and give you the symbols that would allow you to create. The word wait seems to me to be terribly important.

Writers feel that they can't afford to wait. They must do it now, and they are so clever, and there is so much competition. I'm quite happy to wait, and quite confident that the muses will cross the stream.