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I don't know where this thing about me being a travel writer comes from. It's nothing to do with me; I hate travel writing. I don't do it - I do it a little bit, but not much. I don't believe in it. I think it's over. The world is so saturated now that you don't need it.

Asa Briggs was a historian of class history, so he felt obligated to bring in his driver. That's the English class thing that is much weaker now.

My grandfather was an amazing cap-in-hand guy.

Exams are not very hard. People find them hard because they don't work - it's just a matter of labour. Once you actually start doing it, it's like cracking eggs. You don't need to be smart. As everything is in life, it's about concentration.

I left New York after my mother died and, rather aimlessly, had settled in Istanbul for a change of scene. It was a rather dramatic gesture on my part, since I'd lived in New York for 20 years, but I felt I needed something different - the escalating expense and pressure of New York had begun to weary me.

To me, the contemporary novel suffers from a lack of sense of place - or spirit of place, if you will. It's not important to most writers, I must assume, or they try to research a given background on sabbatical. Not for me. I write about places I've lived long before I ever set pen to paper.

One of the reasons I like living in Bangkok is that, although it's a megacity, it's very saturated with nature - the vast and brooding skies, the sudden storms and rains, the vegetation and even the animals that abound.

There's a distinct unease about Americans when they are outside the United States. I can't say quite what it is, but they are easily spooked or driven to cynicism - the country is diverse but, paradoxically, extremely insular.

I'll wager there isn't a human being on earth who doesn't believe in luck, however rational they pretend to be in public life. In reality, most of human life is luck - and, of course, its darker, more prevalent opposite. One only has to live long enough to experience both.

I've spent most of my adult life in the United States, and there the celebrity culture has been entrenched for a long time. It has made people almost literally insane, even those who make a great show of repudiating it. Those people, like novelists, who can no longer enjoy this status are condemned to despise it.

One winter, I went to Erfoud to research trilobites and got to know the quarries, the dealers, and the remote mining villages. They are not easy places to visit, and this was a completely unknown corner of the world economy: children slaving away on desert cliffs to furnish wealthy collectors in San Francisco.

I read Gide's 'The Immoralist' over and over as a teenager. I was obsessed with it. It's written with such simplicity and dread, and the desert, the shabby colonial world, is brought right into your consciousness without being over-explained.

Thailand was never a European colony, so even though the city is very Western on the surface, deep down it's very Asian. It's quite enigmatic, and I like that. I can't get to the bottom of Bangkok, and I never will.

My mother sent me and my sisters to Italy every year for language school, so I spent a lot of my teenage years in Florence and Rome. After university I went to Harvard for a year, dropped out, and then went to Paris, where I ended up staying 10 years. It's different from being American: If you're British, you're expected to live at the far corners.

I grew up in the small town of Haywards Heath, south of London.

My parents were bookish, very musical, but otherwise uninvolved in the arts or the academic world.

The drinker is a Dionysiac, a dancer who sits still, a mocker. He doesn't need your seriousness or your regard. He just needs a little quiet music and a gentle freedom from priests.

The English are very indulgent to episodes of alcoholic insanity.

My favorite whisky bar in the world is in my adopted Bangkok. A refined and secretive Japanese speakeasy among the girly bars of Soi 33, it's called Hailiang.

I still miss qualities of Khmer life that are hard to quantify: the slow, sensual pace, the hovering presence of the past, the vast skies filled with terrifying and beautiful butts. And, of course, the food.

Studies in the emerging field of cellular bioenergetics, a branch of biochemistry concerned with how energy flows through living systems, suggest that molecules from orchids might be able to repair decaying mitochondria, the powerhouses of cells, in humans.

More than 700 years ago, the Song Dynasty artist Zheng Sixiao created perhaps the most beautiful image of orchids ever painted, 'Ink Orchid.' And still famous today is a thousand-year-old poem from the Tang Dynasty called 'Orchid and Orange.'

The orchid's association in Chinese culture with such virtues as elegance, good taste, friendship, and fertility goes all the way back to Confucius himself, who was said to have a particular attachment to the flowers.

The Gobi is in many ways like the old American West, filled with abandoned hamlets and buildings, traces of disappeared peoples. Across its oceanic blond grass, horses and the black silhouettes of camels move languidly, as if they are the only inhabitants. Ancient Turkic nomads left enigmatic petroglyphs carved into boulders 2,000 years ago.

Mongolians are epic drinkers and carousers, and in this respect, they are extremely congenial to my own way of thinking.

The best times to visit the Gobi and Three Camel Lodge are June, and September through October. By the beginning of November, it is ferociously cold, while October can swing surreally between warm days and clear, chilly nights and frosty mornings dusted with snow - perfect.

At the end of the 18th century, a young British explorer named George Bogle became one of the first Westerners to penetrate the mysterious and reclusive realm of Druk Yul, or 'Dragon Land.'

There's something attractive about making people temporarily forget their actual age by taking them out of their normal lives so completely. Doesn't travel, by its very nature, strive to do this?

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