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

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.

The main thing is to make history, not to write it.

The sanctity of our battlefields, monuments, and veterans institutions is of utmost importance to preserve military history and pay respect to those who fought.

I don't have space to enter into the examples or the history of this, so I'm left with having to make the bold statement that culture is extinct.

I don't have a strong interest in history.

Few men in our history have ever obtained the Presidency by planning to obtain it.

The big battle at the end of DW isn't drawn from history, but it's influenced by history, certainly.

I wanted to be a part of the Disney history.

Research is of considerable importance in certain fields, such as science and history.

What a year to live in! Worth all other times ever known in our history or any other.

There is little evidence that our individual intelligence has improved through recorded history.

The history of Christianity, therefore, must be of concern to all who are interested in the record of man and particularly to all who seek to understand the contemporary human scene.

I know the history of the record business so well because I followed Billie Holiday into the record studios. It was so primitive compared to the sophisticated business today.

The only hope is that our civilization will collapse at a certain point, as always happens in history. Then, out of barbarity, a renaissance.

In economic panics throughout history, the wiping out of the savings accounts of lower earners and the middle class has often led to social revolution, sometimes violent upheavals.

The greatest untapped reservoir of raw material in the history of our game is the black race.

Yet through history gays have always dominated religious life and churches.

Out of Coltrane's whole history, there are things which I think are great from all the periods.

I got a call to come in and meet Fox, and the rest is history.

Like most of those who study history, he (Napoleon III) learned from the mistakes of the past how to make new ones.

The problem with allowing God a role in the history of life is not that science would cease, but rather that scientists would have to acknowledge the existence of something important which is outside the boundaries of natural science.