Science and technology multiply around us. To an increasing extent they dictate the languages in which we speak and think. Either we use those languages, or we remain mute.

Any fool can write a novel but it takes real genius to sell it.

A widespread taste for pornography means that nature is alerting us to some threat of extinction.

Everything is becoming science fiction. From the margins of an almost invisible literature has sprung the intact reality of the 20th century.

Science and technology multiply around us. To an increasing extent they dictate the languages in which we speak and think. Either we use those languages, or we remain mute.

What our children have to fear is not the cars on the highways of tomorrow but our own pleasure in calculating the most elegant parameters of their deaths.

Electronic aids, particularly domestic computers, will help the inner migration, the opting out of reality. Reality is no longer going to be the stuff out there, but the stuff inside your head. It's going to be commercial and nasty at the same time.

The American Dream has run out of gas. The car has stopped. It no longer supplies the world with its images, its dreams, its fantasies. No more. It's over. It supplies the world with its nightmares now: the Kennedy assassination, Watergate, Vietnam.

In a completely sane world, madness is the only freedom!

Given that external reality is a fiction, the writer's role is almost superfluous. He does not need to invent the fiction because it is already there.

I would sum up my fear about the future in one word: boring. And that's my one fear: that everything has happened; nothing exciting or new or interesting is ever going to happen again... the future is just going to be a vast, conforming suburb of the soul.

'Crash' is a metaphor for what I see as the dehumanizing elements that are present in the world in which we live. We're distanced by the nature of the society we inhabit from a normal human reaction.

A reality that is electronic... Once everybody's got a computer terminal in their home, to satisfy all their needs, all the domestic needs, there'll be a dismantling of the present broadcasting structure, which is far too limited and limiting.

An arts degree is like a diploma in origami. And about as much use.

At the school I attended, the clergyman who ran the cathedral school in Shanghai would give lines to the boys as a punishment. They expected you to copy out, say, 20 or 30 pages from one of the school texts. But I found that rather than laboriously copying out something from a novel by Charles Dickens, it was easier if I made it up myself.

Burroughs called his greatest novel 'Naked Lunch,' by which he meant it's what you see on the end of a fork. Telling the truth. It's very difficult to do that in fiction because the whole process of writing fiction is a process of sidestepping the truth. I think he got very close to it, in his way, and I hope I've done the same in mine.

Consumerism is so weird. It's a sort of conspiracy we collude in. You'd think shoppers spending their hard-earned cash would be highly critical. You know that the manufacturers are trying to have you on.

E. Klimov's 'Come and See,' about partisans fighting the Germans in Byelorussia, is the greatest anti-war film ever made.

Even one's own home is a kind of anthology of advertisers, manufacturers, motifs and presentation techniques. There's nothing 'natural' about one's home these days. The furnishings, the fabrics, the furniture, the appliances, the TV, and all the electronic equipment - we're living inside commercials.

I believe that if it were possible to scrap the whole of existing literature, all writers would find themselves inevitably producing something very close to SF ... No other form of fiction has the vocabulary of ideas and images to deal with the present, let alone the future.

I came to live in Shepperton in 1960. I thought: the future isn't in the metropolitan areas of London. I want to go out to the new suburbs, near the film studios. This was the England I wanted to write about, because this was the new world that was emerging.

I could sum up the future in one word, and that word is 'boring.' The future is going to be boring.

I don't think it's possible to touch people's imagination today by aesthetic means.

I felt the pressure of imagination against the doors of my mind was so great that they were going to burst.

I made a very slatternly mother, notably unkeen on housework, unaware that homes need to be cleaned now and then, and too often to be found with a cigarette in one hand and a drink in the other.

I suspect that many of the great cultural shifts that prepare the way for political change are largely aesthetic. A Buick radiator grille is as much a political statement as a Rolls Royce radiator grille, one enshrining a machine aesthetic driven by a populist optimism, the other enshrining a hierarchical and exclusive social order.

I take for granted that for the imaginative writer, the exercise of the imagination is part of the basic process of coping with reality, just as actors need to act all the time to make up for some deficiency in their sense of themselves.

I think it's terribly important to watch TV. I think there's a sort of minimum number of hours of TV a day you ought to watch, and unless you watch three or four hours of TV a day, you're just closing your eyes to some of the most important sort of stream of consciousness that's going on!

I was born in the city's general hospital on November 15, 1930, and we lived at 31 Amherst Avenue in the western suburbs. It was a magical place. There were receptions at the French Club, race meetings at the Shanghai Racecourse, and various patriotic gatherings at the British Embassy on the Bund, the city's glamorous waterfront area.

I was in Shanghai when the Japanese invaded China. I was there in Shanghai when, the morning after Pearl Harbor, they seized Shanghai.

I was terribly wounded by my wife's death.

I've decided to recast myself as Utopian. I like this landscape of the M25 and Heathrow. I like airfreight offices and rent-a-car bureaus. I like dual carriageways. When I see a CCTV camera, I know I'm safe.

I've seen descriptions of advanced TV systems in which a simulation of reality is computer-controlled; the TV viewer of the future will wear a special helmet. You'll no longer be an external spectator to fiction created by others, but an active participant in your own fantasies/dramas.

If you're against globalisation, it doesn't achieve much by sort of bombing the head offices of Shell or Nestle. You unsettle people much more by blowing up an Oxfam shop because people can't understand the motive.

In March 1943, my parents, four-year-old sister and I were interned with other foreign civilians at Lunghua camp, a former teacher training college outside Shanghai, where we remained until the end of August 1945.

In a completely sane world, madness is the only freedom.

It's true that I have very little idea what I shall be writing next, but at the same time I have a powerful premonition of everything that lies ahead of me, even ten years ahead.

Medicine was certainly intended to be a career. I wanted to become a psychiatrist, an adolescent ambition which, of course, is fulfilled by many psychiatrists.

Medicine was certainly intended to be a career. I wanted to become a psychiatrist, an adolescent ambition which, of course, is fulfilled by many psychiatrists. The doctor/psychiatrist figures in my writing are alter egos of a kind, what I would have been had I not become a writer - a personal fantasy that I've fed into my fiction.

Memories have huge staying power, but like dreams, they thrive in the dark, surviving for decades in the deep waters of our minds like shipwrecks on the sea bed.

Most English writers are not interested in change but in the social novel. That demands a static backdrop. I'm intensely interested in change - probably as a matter of self-preservation. What the hell is going to happen next?

Most writers flinch at the thought of being completely honest about themselves. So absolute honesty is what marks the true modern.

My father worked, and my mother played bridge. Every time I went out of the house, I was chauffeur-driven with my nanny next to me to stop me being kidnapped.

My room is dominated by the huge painting, which is a copy of 'The Violation' by the Belgian surrealist Paul Delvaux. The original was destroyed during the Blitz in 1940, and I commissioned an artist I know, Brigid Marlin, to make a copy from a photograph. I never stop looking at this painting and its mysterious and beautiful women.

My upbringing was so middle-class and repressed. It wasn't until I was placed in Lunghua that I met anyone from any other social strata. When I did, I found them colossally vital.

Orwell's '1984' convinced me, rightly or wrongly, that Marxism was only a quantum leap away from tyranny. By contrast, Huxley's 'Brave New World' suggested that the totalitarian systems of the future might be subservient and ingratiating.

People think that by living on some mountainside in a tent and being frozen to death by freezing rain, they're somehow discovering reality, but of course that's just another fiction dreamed up by a TV producer.

Presumably all obsessions are extreme metaphors waiting to be born. That whole private mythology, in which I believe totally, is a collaboration between one's conscious mind and those obsessions that, one by one, present themselves as stepping-stones.

The Enlightenment view of mankind is a complete myth. It leads us into thinking we're sane and rational creatures most of the time, and we're not.