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To say that a family is happy I think is to diminish it, taking out what is interesting. Growing up, I don't think my family was any happier or unhappier than anyone else's. My mother and father should have been divorced or never even married. On the other hand, I remember many moments of happiness.

I don't know if nature is a direct literary influence on my writing, but it is certainly important to me. I take great joy in writing about it. It is something I have taken with me from my childhood; the body exposed to the threat of the physical world and at the same time being at home in it.

I come from a working-class family. They're the people I know and the people I love, I guess. I do not write about them for political reasons, but because, as I see it, most interesting things - social, political, emotional - take place there. It's a bottomless well for an author like me.

Philosophically I am, or at least have been, a follower of Sartre. I am very interested in the choices we make, or don't make, in life-defining matters. That moment of 'angst' and its consequences can be such a cruel thing.

I decided if I couldn't be a writer, my life would be miserable. I had this imaginary room of references to all the books I had read, a kind of bubble, in which I lived.

Some critics said, 'Hey, why are you writing historical novels?' I say they're not historical, they're contemporary, because people walking around who lived through this, even a little bit, they carry it inside. The contemporary isn't just what you can see now.

I'm a family-based person, even though we didn't exactly have a very happy family. I was never in any doubt that this was a centre of writing.

If you're a Norwegian writer, you are not visible in the world. The door of the English language is very hard to open for a Norwegian writer.

When my mother talked about her brother, there was this light in her eyes. I thought, 'This is the basis of a novel.'

I hate plots.

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