Playing tennis, competing, winning, but also being at home in Spain, in Majorca, with my friends and family.

Wow, these are big questions! Happiness, as I’ve experienced it and observed it in others, seems to be random—some of us are happy fairly regularly (I am, mostly), and some of us not as much—but there seems to be no clear explanation as to why. It comes and goes at unexpected moments, too. The graph of happiness doesn’t even seem to match what is going on in our lives. Or maybe it does and we don’t know it. Money—is there a connection between money and happiness? It takes away a world of worries and anxieties, but are rich folks all happy? Are you kidding? Donald Trump is ALWAYS scowling. That said, it’s hard to be happy if you don’t know where you’ll sleep or where your next meal is coming from. The pursuit of happiness? Where are we supposed to look? Are there clues hidden somewhere? The very act of searching and striving for it can lead to frustration and unhappiness. I suspect that happiness finds you—I’m not sure you can find a road that leads to it. Happiness is everywhere, though some cultures are, I’ve read, happier overall than others—G.N.P. be damned. Is sunshine one of those things? Are tropical folks generally happier?

A beautiful meal and a glass of wine with my favorite people and lots of laughter ringing around the table.

Floating on my back in the ocean.

The urge to be unpleasant to waitstaff in restaurants.

The reason why so many vivid, undeniably convincing characters in novels, films and plays so often failed to touch me was because these characters didn’t connect to any of the other characters in an interesting human relationship. And immediately, this next thought came regarding my own work: What if I stopped worrying about my characters and worried instead about my relationships?

I always dreamt of having a second stomach I could carry around in a bag, which I could attach to my real stomach when I sat down in restaurants. That way, I could eat a huge amount, never gaining weight.

I always suspected that she was the biggest influence on me. It seems unlikely, but I always suspected that. I used to say that in interviews, and people would think I was just being smart and evasive. But I reread Jane Eyre recently, and also Villette , her other great novel. I just came across episode after episode where I thought “Oh my goodness, I just ripped that off from this book!” Perhaps you wouldn’t recognize it, but I did. Certain kinds of techniques, certain moments when you understand that the narrator is crying, not because she tells you, but because somebody watching her makes a remark. All these little things that I thought, “Oh, I used that in that book,” or “Oh, that trick.” I think Charlotte Brontë had an enormous influence on me, and I think it’s something to do with that use of first-person and the evasiveness, the indirectness, of her first-person narrative. I mean this phrase, “the unreliable narrator,” has become very popular in creative writing. So it’s not quite that, but a very subtle use of the relationship between the writer and the book and the reader — something I tuned in on, I homed in on instantly, when I started to read Charlotte Brontë. But I’ll tell you, my favorite author — novelist — is somebody who you probably wouldn’t think had any relationship to me, which is Dostoyevsky. I’ve always loved Dostoyevsky, ever since I first read him. I think he’s one of the reasons I started to read, you know, when I read Crime and Punishment when I was about 17 or 18. Dostoyevsky and Chekhov for me remain like two poles in terms of a way to approach things. I love the messiness of Dostoyevsky, the improvised — I mean a lot of it is a mess, but I like the way that strange, unexpected things have obviously come tumbling out of him that he didn’t want to necessarily have come tumbling out. On the other hand, you know, Chekhov, another great Russian writer, exemplifies the calm, controlled, very carefully structured, understated kind of work. I aspire to them both. They’re two of my great heroes.

I’ve been emphasising here the small and the private, because essentially that’s what my work is about. One person writing in a quiet room, trying to connect with another person, reading in another quiet – or maybe not so quiet – room. Stories can entertain, sometimes teach or argue a point. But for me the essential thing is that they communicate feelings. That they appeal to what we share as human beings across our borders and divides. There are large glamorous industries around stories; the book industry, the movie industry, the television industry, the theatre industry. But in the end, stories are about one person saying to another: This is the way it feels to me. Can you understand what I’m saying? Does it also feel this way to you?

Actually, I had done what I thought was more or less a finished version of The Remains of the Day , but the very buttoned-up narrator, the butler — in that earlier version, he doesn’t quite come through confessing his true emotions. He maintains his front a little bit more effectively than he does in the final version. What made me change my mind was that, between that penultimate version and the final version I handed in, I listened to a song by Tom Waits — another great singer-songwriter, remarkable artist. And this is the power of that art form: it’s performance as well as the actual writing.