My present study - a word that always makes me uneasy, I am not sure why - is a small apartment in a huge, anonymous, quadrilateral block in Dublin city centre. My window, the one I do not look out of, gives on to a courtyard where no one ever goes, and where the silence is day-long and almost pastoral. When I first began to come here to work, a dozen years ago, I used to shut my door on entering each morning and put the chain on. The place is clean, or cleanish, and, yes, well lighted. Here I am unassailable. Or so I like to imagine.

My books must be an absolute nightmare to translate. I wouldn't do it. I had a couple of them in Japanese some years ago and my wife met a Japanese woman who said that she had read the books. And she asked her what the translations were like. This woman said they were the worst translation she had ever read in her life. She said she didn't recognise the books when she finally read them in English.

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When I started writing I was a great rationalist and believed I was absolutely in control. But the older one gets, the more confused, and for an artist I think that is quite a good thing: you allow in more of your instinctual self; your dreams, fantasies and memories. It's richer, in a way.

Once in the 1930s, the Inland Revenue did an investigation into Yeats's tax returns because they could not believe someone so famous could have such small sales. One should never allow oneself to be discouraged by small sales. As Pinter says, I stuck to my guns.