If I advocate cautious optimism it is not because I do not have faith in the future but because I do not want to encourage blind faith.

It is simplistic in the following sense that you cannot institute democracy from above. It’s a very difficult process. And democracy is not the only dimension of institutions that matters. Although my work does emphasise that democracy by itself matters as well. But the problem is really alive today in the industrialised world, where you would think, and many political scientists have claimed that democracy is safe and secure and would never be under threat. It is under threat. Support for democracy is at an all time low, not just in the US, although really jarringly in the US but not just in the US, throughout the western world. So democracy is not easy to make work because democracy is about democratic citizenship. It’s about consensus, it’s about communication. It’s about accepting defeat, making compromises, talking and understanding the other side. All of those things are always difficult. They become more difficult during times of turbulence, which, you know, we are living through and they become harder when the infrastructure, for example, the communication infrastructure, makes this sort of democratic citizenship harder, which I think is not the only factor. But social media has certainly played that role.

Don’t write in public places. In the early 1990s I went to live in Paris. The usual writerly reasons: back then, if you were caught writing in a pub in England, you could get your head kicked in, whereas in Paris, dans les cafés . . . Since then I’ve developed an aversion to writing in public. I now think it should be done only in private, like any other lavatorial activity.

Anyway, what’s the point of a plot, you know? Has life got a plot? Not that I know of. So why should a novel have a plot? But it has to have some kind of story. It has to have some kind of structure.

Very much so. I went to synagogue regularly. My first education was interpreting the Bible. But I also grew up with German folk songs and stories, which became as much a part of my imagination as the Bible stories. My sense of history came from these stories—I was fascinated with what you might call fairy-tale-shaped history. But from the beginning I felt I belonged to a different people, which wasn’t any problem for me. I made the German landscape, which was very beautiful to me—flowing rivers, mountains, forests, lakes—into a biblical landscape. The valley of sunshine into which we went on school excursions in my imagination became the valley in which David and Goliath fought.