I was always influenced by language.

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.

Still, language is resilient, and poetry when it is pressured simply goes underground.

I have my own language and it's high time I put a little of it out there.

Well, with the French language, which I understood and spoke, however imperfectly, and read in great quantities, at certain times, the matter I suppose was slightly different from either Latin or Greek.

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

Poetry is a matter of life, not just a matter of language.

Our purpose is simply to ask how theological principles can be shown to have usable secular analogues that throw light upon the nature of language.

Countries under foreign command quickly forget their history, their past, their tradition, their national symbols, their way of living, often their own literary language.

French is a language that makes those who speak it both calm and dynamic.

I have eighteen titles in the German language. I had a number one song in 1965.

That's so different in Hong Kong when I'm using my own mother language, I can treat the line in one thousand different ways, with many different reactions.

The Internet is not just one thing, it's a collection of things - of numerous communications networks that all speak the same digital language.

Of all of our inventions for mass communication, pictures still speak the most universally understood language.

If I were assigned poems I suppose I'd write more of them but it is entirely voluntary and for the most part ignored in the market sense of the word so the language to me is most intimate, most important, most sublime and most satisfying when it gets done.

Music is the soul of language.

I think the cinema you like has more to do with silence, and the theater you like has more to do with language.

For me concrete poetry was a particular way of using language which came out of a particular feeling, and I don't have control over whether this feeling is in me or not.

I think I am too interested in my own ideas to copy anyone else's, but I find that other people's imagery, the flow of language in the outside world, games with words, and ideas about relationships are all most important to me.

I don't see it in terms of changing things, but rather using language and music as weapons for fighting a mainstream media which is predominately right wing, and loyal to the political framework and its corporate interests.

There are infinite shadings of light and shadows and colors... it's an extraordinarily subtle language. Figuring out how to speak that language is a lifetime job.

Although spoken English doesn't obey the rules of written language, a person who doesn't know the rules thoroughly is at a great disadvantage.