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I definitely don't aspire to writing that's 'timeless,' whatever that means.

Being shortlisted for the Swansea University International Dylan Thomas Prize is, of course, a real honour for me and my work. When I wrote 'Conversations with Friends,' it was hard for me to imagine the book even finding readers - so it's a huge privilege to find it judged alongside such exciting and innovative new writing. I'm very grateful.

I gave myself the small task of writing honestly about the kind of life I knew. I believe there is some value in carrying out that task, however limited.

One thing debating did was bring me in contact with a whole social world that I had never experienced before. It's sort of a very international, very niche hobby.

If you look at the history of the letter in the novel, small changes in the British postal service became really significant because of how quickly people are suddenly able to communicate, and letters actually arrive at the intended time, and they arrive to the correct recipient. All of this is really important to a plot.

I don't have any answers as to whether the Internet is a good or a bad thing, but it's certainly an important thing for the novel because novels are so much about communication, and when communication changes, the novel has to change.

I find myself consistently drawn to writing about intimacy and the way we construct one another.

I don't really believe in the idea of the individual.

I can't help feeling that I am not a very important person, and being treated like one gives me strange feelings.

You cannot write about what people are really like without making a political adjudication. All our ideas of what human nature consists of or how people really feel and experience life are, at their base, political ideas.

I'm not totally comfortable with the ways in which our culture monetises art and literature.

I'm not sure that the culture of literary prizes is always a good thing, but while there are literary prizes, it's nice to be nominated.

I couldn't quite get the hang of how to socialise as a teenager. I didn't really understand it.

What does it mean to have a healthy relationship? It's such a strangely clinical way of talking about interpersonal dynamics, like you can do a white blood cell count and say, 'No, it's not looking good for that one.' It's impossible to have a loving relationship in which you never cause pain and no pain ever is caused to you.

Dialogue is the most fun to write. It's kind of like a tennis match.

I'm very introverted. Easily a few days could go by where I would not really leave the house or talk to anybody other than my partner.

I would rather do two things really, really, really well than do 16 things and have 14 of them fail.

I don't think of myself as busy because I don't even have to get dressed most days.

The window in which it's acceptable to listen to Ella Fitzgerald's 1960 record 'Ella Wishes You a Swinging Christmas' is short, so I keep it in heavy rotation throughout the festive season.

As a reader with next to no knowledge of classical mythology, I approached 'The Aeneid' just as I would a contemporary poem or novel - and, despite my ignorance, I was rewarded with a rich and affecting portrait of, among other things, the memorably doomed love affair between Aeneas and Dido.

Though I have no real understanding of the mechanics of football, and can only nod along helplessly at complex post-match analyses, I do enjoy watching people who are enormously good at something doing that thing very well.

For me, watching Mohamed Salah play football is not unlike staring up at the stars and contemplating the vastness of the universe: it makes my own life seem nice and small.

When I was in Trinity, at least for the first couple of years, I didn't really interact with anyone who wasn't in Trinity. A lot of the years, I lived on campus.

When I'm writing something, everything falls into place. When I'm not writing, stuff keeps happening to me, and there's nowhere to put it all.

A lot of the time, I read something I've written, and I think, 'Well, that's competent. It's not exactly breaking any boundaries. It's not exactly transgressive. It's just a bunch of fake people in a room talking to each other. But maybe there's a value to that.'

I'm not writing to encourage people to read my book or even books in general. That's not my job. My job is to write them. And if people want to read them, that's great.

The idea for 'Conversations with Friends' - two college students who befriend a married couple - struck me at first as a concept for a short story. I started to write it under the title 'Melissa,' and eventually, it got too long.

The philosophy of individualism owes a great deal to the tradition of novel-writing and novel-reading. In its development and in its aesthetics, the novel is not politically neutral; it has been a participant in history all along.

It's so difficult to be conscious of a development of a style. You find yourself writing in a certain style, and the analysis of how you came to it can only ever be applied retroactively. You're never conscious of why you're producing it.

There are a lot of experimental novels that test the boundaries of what the novel is, and 'Conversations' is not one of those. It's conventional in its structure, even though its prose style and the themes it explores and the politics that underpin it, maybe, are on the experimental side. Its basic structure is pretty conventional.

Everyone has a life. I haven't had a particularly interesting one.

I like Christianity. I'm a fan of Jesus and his whole philosophy but not the social teaching aspects of it, of course.

I'm only interested in writing about relationships.

We're not always the most insightful about ourselves.

In my fiction, I pursue this idea of intimacy, but also - philosophically, politically - I just feel like that's the interesting question for me. How much can we share with other people? I'm not interested in human individuality; I don't even know what that means.

Class is something that I think seriously about and try to organise my politics around. I think there are lots of novels that don't really engage with questions of class at all, and they get less conversation about issues of social privilege than I do. But it's better to try and talk about it and maybe fail.

You can spend hours editing an email but send it as if you wrote it in a minute.

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