What matters in the end in literature, what is always there, is the truly good. And — though played out forms can throw up miraculous sports like The… - V. S. Naipaul

Going home at night! It wasn't often that I was on the river at night. I never liked it. I never felt in control. In the darkness of river and forest you could be sure only of what you could see — and even on a moonlight night you couldn't see much. When you made a noise — dipped a paddle in the water — you heard yourself as though you were another person. The river and the forest were like presences, and much more powerful than you. You felt unprotected, an intruder ... You felt the land taking you back to something that was familiar, something you had known at some time but had forgotten or ignored, but which was always there. You felt the land taking you back to what was there a hundred years ago, to what had been there always.

One of Joseph Conrad's earliest stories of the East Indies, from the 1890's, was about a local raja or chieftain, a murderous man, a Muslim (though it is never explicitly said), who, in a crisis, having lost his magical counselor, swims out one night to one of the English merchant ships in the harbor to ask the sailors, representatives of the immense power that had come from the other end of the world, for an amulet, a magical charm. The sailors are at a loss; but then someone among them gives the raja a British coin, a sixpence commemorating Queen Victoria's Jubilee; and the raja is well pleased. Conrad didn't treat the story as a joke; he loaded it with philosophical implications for both sides, and I feel now that he saw truly. In the 100 years since that story, the wealth of the world has grown, power has grown, education has spread; the disturbance, the "philosophical shriek" of men at the margin (to use Conrad's words), has been amplified.

I have told people who ask for lectures that I have no lecture to give. And that is true. It might seem strange that a man who has dealt in words and emotions and ideas for nearly fifty years shouldn't have a few to spare, so to speak. But everything of value about me is in my books. Whatever extra there is in me at any given moment isn't fully formed. I am hardly aware of it; it awaits the next book. It will — with luck — come to me during the actual writing, and it will take me by surprise. That element of surprise is what I look for when I am writing.