As individuals, we are shaped by story from the time of birth; we are formed by what we are told by our parents, our teachers, our intimates.

Fiction came quite a while later. I began with short stories and fiction for children.

I didn't choose Russia but Russia chose me. I had been fascinated from an early age by the culture, the language, the literature and the history to the place.

The poets whom I knew then were all men and all seemed dauntingly sure of themselves - although I am sure that really they were as uncertain as I was.

I was always influenced by language.

Children will not pretend to be enjoying books, and they will not read books because they have been told that these books are good. They are looking for delight.

It is a violation which has obsessed the tyrants of the twentieth century. They do not want simply to kill their opponents, but to liquidate them, to deny that they have ever existed.

Those who try to obliterate the past are injuring the present.

A novel, in the end, is a container, a shape which you are trying to pour your story into.

Writing poetry makes you intensely conscious of how words sound, both aloud and inside the head of the reader. You learn the weight of words and how they sound to the ear.

I hope that readers will tear through my books because they can't stop themselves - and then, maybe, read them again and find new things there.

I would like people to come into my Dreamworld and then choose to stay.

Poets go through a very tough apprenticeship in the use of words.

When you are young you don't always realise how full of doubts everybody is.

Writing children's books gives a writer a very strong sense of narrative drive.

I can remember being in my pram: children stayed in their prams much longer then than they do now. A big bouncy pram with black covers and a hood with metal clips that could trap your fingers. I was looking up at my sister who was sitting on the pram seat, with her back to me.

However, I began to submit poems to British magazines, and some were accepted. It was a great moment to see my first poems published. It felt like entering a tradition.

However, the difficulties and pleasures of the writing itself are similar for a novel with a historical setting and a novel with a contemporary setting, as far as I'm concerned.

I have learned so much from working with other poets, travelling and reading with them, spending days discussing poems in progress. There is the sense that we are all, as writers, part of something which is more powerful than any of us.

I concentrate on the lives of individuals whom the reader comes to know and feel with intimately.

If we understand the past, we are more likely to recognise what is happening around us.

To try to expunge an individual's history is a terrible violation.

The language has got to be fully alive - I can't bear dull, flaccid writing myself and I don't see why any reader should put up with it.

I enjoy research; in fact research is so engaging that it would be easy to go on for years, and never write the novel at all.

I could start with Mandelstam, who was a huge influence on my early writing.

Mourning Ruby is not a flat landscape: it is more like a box with pictures painted on every face. And each face is also a door which opens, I hope, to take the reader deep into the book.

As individuals, we are shaped by story from the time of birth; we are formed by what we are told by our parents, our teachers, our intimates.

My first collection of poems was published by Bloodaxe Books, which was then a very new imprint.

For you where never my blood sister so no more shall I call you little sister.

Yes, I am Algerian of Moroccan origin through my parents, but all my life is Algeria. I was born there.

My parents were amazing people who had no business being together - and they knew it.

We're parents first, and once you have kids, everybody knows that you have priority lists. Number one is your family and everything else just kind of finds its place.

The education of my brother and myself was of paramount importance to my parents, and in addition to their strong encouragement, they were prepared to make any sacrifice to further our intellectual development.

I belong to a specific category of writers, those who speak and write in a language different from that of their parents.

My sister and I were born in San Francisco. When our parents died, we came down here to live with relatives.

The young always have the same problem - how to rebel and conform at the same time. They have now solved this by defying their parents and copying one another.

It's up to each person's parents whether they think it's too frightening or too violent, how much their kids can handle, what they want to teach them, what they want to show them.

I'd hope to reach any kid who feels apart from the group - those who seem to be outsiders, who feel different. Kids who want to reach their parents often don't know how to do so.

That other saying, I'm a part of all that I have met, I think that would have to begin with my wonderful parents back in Atlanta when I was a youngster five years old I was tongue tied.

I have parents come up to me and say, 'I don't know who you are, but my kid wants his picture taken with you.'

Parents are like shuttles on a loom. They join the threads of the past with threads of the future and leave their own bright patterns as they go.

Parents should watch what their children watch and not use TV as a babysitter. If a show is objectionable they should turn it OFF. They should write the president of the network and tell him they are never going to watch that program again and why.

I received my parents' permission and went into the Navy on June 3, 1941.

I'm doing naughty things, I'm drinking too much, I'm going to clubs. It really didn't matter to me, other than the fact that some parents wouldn't let their kids hang out with me.

Parents were invented to make children happy by giving them something to ignore.

My dad was born in Chicago in 1908... his parents came from Russia. They settled in Chicago, where they lived in a little tiny grocery store with eight or nine children - in the backroom all together - and my grandmother got the idea to go into the movie business.

Parents know how to push your buttons because, hey, they sewed them on.

I always wanted to make sure my parents didn't have to work again for the rest of their lives.

I saw my parents as gods whose every wish must be obeyed or I would suffer the penalty of anguish and guilt.