Money has to be an explosion of excitement and opportunity, yet we already secretly know that it doesn't do what it promises. Nothing has ever given us as much pleasure as our pocket money when we were 12, or our first wage at the end of that first exhausting week, paid in folded cash.
It is the woman - nearly always - in spite of all the advances of modern feminism, who still takes responsibility for the bulk of the chores, as well as doing her paid job. This is true even in households where men try to be unselfish and to do their share.
It seems astonishing to be paid for indulging in pure pleasure. For me to go to Coburg is rather as if a trainspotter was sent for a few weeks to Swindon or a chocoholic asked on holiday by Green and Black.
This high official, all allow, is grossly overpaid; there wasn't any Board, and now there isn't any Trade.
Some things are very low profile, but if they excite me creatively, I accept them. Sometimes there are high-profile projects, and you have to do it. We all have human limitations. It is a painful decision to turn things down. Even accepting 'Slumdog Millionaire' was a decision that I had to sacrifice another project.
I'd like to write the way Matisse paints.
We talk about feelings. And about sex. And about bodies, and their gratification, violation, repair, decoration, deferred, maybe permanently deferred, mortality. Feelings are a bodily thing, and respecting them is called, is, kindness.
The point of painting is not really deception or imitation.
You learn different things through fiction. Historians are always making a plot about how certain things came to happen. Whereas a novelist looks at tiny little things and builds up a sort of map, like a painting, so that you see the shapes of things.
I like to write about painting because I think visually. I see my writing as blocks of color before it forms itself. I think I also care about painting because I'm not musical. Painting to me is not a metaphor for writing, but something people do that can never be reduced to words.
