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

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.

Poets are like baseball pitchers. Both have their moments. The intervals are the tough things.

Poets are all who love, who feel great truths, And tell them; and the truth of truths is love.

Poets lose half the praise they should have got, Could it be known what they discreetly blot.

In every age poets and social reformers have tried to stimulate the people of their own time to a nobler life by enchanting stories of the virtues of the heroes of old.

I wonder what all those Chinese poets sound like in Chinese. I like their distilled quality.

There are some fine books and essays about that. Lewis Hyde has written about alcoholism and poets and the role that society gives its writers - encouraging them to die.

A Shakespeare could have arisen only on English soil. In the same way, your great dramatists and poets express the nature and essence of the Norwegian people, but they also express that which is universally valid for all mankind.

Example moves the world more than doctrine. The great exemplars are the poets of action, and it makes little difference whether they be forces for good or forces for evil.

In working on a poem, I love to revise. Lots of younger poets don't enjoy this, but in the process of revision I discover things.

Poets are the unacknowledged legislators of the world.

The poets are only the interpreters of the Gods.

Children can write poetry and then, unless they're poets, they stop when reach puberty.

The bicycle, the bicycle surely, should always be the vehicle of novelists and poets.

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.

Nations are born in the hearts of poets, they prosper and die in the hands of politicians.

People wish to be poets more than they wish to write poetry, and that's a mistake. One should wish to celebrate more than one wishes to be celebrated.

Poets are born, not paid.

Inspiration is a farce that poets have invented to give themselves importance.

I'm not, by nature, a collaborator. My biggest influences were people like painters and poets. These are solitary workers.

We have to raise the consciousness; the only way poets can change the world is to raise the consciousness of the general populace.