The more melancholy side of my literary personality is much in tune with BS Johnson's.
I had no sense of any reputation that What a Carve Up! might acquire - at the time I didnt even have a publisher, so my main worry was whether it was even going to see the light of day or not.
Revisionist historians are about to get their hands on the Thatcher years, shes probably going to be looked at again because she feels far enough away now, and we dont see her much on the political landscape in this country, shes kind of disappeared and she doesnt speak out much anymore.
As the books grew bigger and more ambitious, the situations in question sometimes became political ones, and so it became necessary to start painting in the social background on a scale which eventually became panoramic.
I was mainly in a state of nervousness while I wrote it - nervousness that it was far bigger and more complicated than anything Id attempted before, and that maybe my talent just wasnt up to it and the book would have to be abandoned, or would turn out not to work at all when it was finished.
But at the same time, I have trouble keeping things out of books, which is why I don't write short stories because they turn into novels.
But I have always - ever since The Accidental Woman - written novels about individuals attempting to make choices in the context of situations over which they have no control.
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