We read Greek and Norse mythology until it came out of our ears. And the Bible.

I do like to embed a fictional character firmly in an occupation.

I didn't want it to be a book that made pronouncements.

I'm intrigued by the way in which physical appearance can often direct a person's life; things happen differently for a beautiful woman than for a plain one.

Deep down I have this atavistic feeling that really I should be in the country.

Every novel generates its own climate, when you get going.

The Photograph is concerned with the power that the past has to interfere with the present: the time bomb in the cupboard.

I have long been interested in landscape history, and when younger and more robust I used to do much tramping of the English landscape in search of ancient field systems, drove roads, indications of prehistoric settlement.

Since then, I have just read and read - but, that said, I suppose there is a raft of writers to whom I return again and again, not so much because I want to write like them, even if I were capable of it, but simply for a sort of stylistic shot in the arm.

We read Greek and Norse mythology until it came out of our ears. And the Bible.

I didn't write anything until I was well over 30.

I'm now an agnostic but I grew up on the King James version, which I'm eternally grateful for.

I'm writing another novel and I know what I'm going to do after, which may be something more like this again, maybe some strange mixture of fiction and non-fiction.

It seems to me that everything that happens to us is a disconcerting mix of choice and contingency.

You learn a lot, writing fiction.

I've always been fascinated by the operation of memory - the way in which it is not linear but fragmented, and its ambivalence.

We make choices but are constantly foiled by happenstance.

Getting to know someone else involves curiosity about where they have come from, who they are.

I didn't think I had anything particular to say, but I thought I might have something to say to children.

It was a combination of an intense interest in children's literature, which I've always had, and the feeling that I'd just have a go and see if I could do it.

We all need a past - that's where our sense of identity comes from.

Conventional forms of narrative allow for different points of view, but for this book I wanted a structure whereby each of the main characters contributed a distinctive version of the story.

The pleasure of writing fiction is that you are always spotting some new approach, an alternative way of telling a story and manipulating characters; the novel is such a wonderfully flexible form.

There's a preoccupation with memory and the operation of memory and a rather rapacious interest in history.

I'm not an historian and I'm not wanting to write about how I perceive the social change over the century as a historian, but as somebody who's walked through it and whose life has been dictated by it too, as all our lives are.

I can walk about London and see a society that seems an absolutely revolutionary change from the 1950s, that seems completely and utterly different, and then I can pick up on something where you suddenly see that it's not.

The present hardly exists, after all-it becomes the past even as it happens. A tricky medium, time - and central to the concerns of fiction.

I have had to empty two family homes during the last few years - first, the house that had been my grandmother's since 1923, and then my own country home, which we had lived in for over twenty years.

I rather like getting away from fiction.

I'm not an historian but I can get interested - obsessively interested - with any aspect of the past, whether it's palaeontology or archaeology or the very recent past.

Equally, we require a collective past - hence the endless reinterpretations of history, frequently to suit the perceptions of the present.

All I know for certain is that reading is of the most intense importance to me; if I were not able to read, to revisit old favorites and experiment with names new to me, I would be starved - probably too starved to go on writing myself.

The consideration of change over the century is about loss, though I think that social change is gain rather than loss.

Every novel generates its own climate, when you get going.

The accepted versions of the Bible are all substantially correct.

As I have studied the Bible and the Book of Mormon, I have come to know through the power of the Spirit of God, that these books contain the fullness of the gospel of Jesus Christ.

I have continued systematically to study the Book of Mormon and Bible to understand even more deeply what God expects of me and my family while on this earth.

There are any number of people who profess to be good Christian people who are willing to believe all kinds of things on suspicion. Now that is not the way the Bible directs for Christian people to do.

Many of us view the bible and other religious teachings as mythology.

It is to be deeply regretted that the clergymen would oppose an effort to teach the people the Bible truths; nevertheless, we find much opposition everywhere, and many clergymen will attempt to prevent the people from reading what is here written.

If the president is going to use so much language of theology and the Bible, then let's use that language for a serious discussion about the war in Iraq. And that was never done.

So after the Lewinsky scandal, everything changed, and we moved from using the Bible to address the moral issues of our time, which were social, to moral issues of our time that were very personal. I have continued that relationship up until the present.

There are matters in the Bible, said to be done by the express commandment of God, that are shocking to humanity and to every idea we have of moral justice.

When I commit, I commit with my whole heart, my whole being. I know the Bible like the back of my hand.

The English Bible - a book which, if everything else in our language should perish, would alone suffice to show the whole extent of its beauty and power.

I've read the last page of the Bible. It's all going to turn out all right.

Intense study of the Bible will keep any writer from being vulgar, in point of style.

Accordingly the Northern races of Europe found their inspiration in the Bible; and the enthusiasm for it has not yet quite faded away.

No man ever believes that the Bible means what it says: He is always convinced that it says what he means.