There's an awful lot of us who don't quite speak finance, speak money.
— John Lanchester
Fires and floods, we're hardwired to accept them or at least file them under Bad Things Happening. But there's something so abstract and so modern about a bank making a technical mistake about how it funded its obligations to depositors, and suddenly you're out of work.
In sport, the money goes to the talent; it goes directly to the worker - unlike a bank, which sits in the middle of transactions and whose income bears no relation to any of the services it provides.
I'd like to pretend to be all Olympian and above it, as if this is a phenomenon I'm observing from a great height, nothing to do with my own behavior at all - but the fact is I'm absolutely one of those people in the cafe staring at my phone.
A lot of the time in modern Britain, certainly in urban life, we barely have any contact at all with the people around us.
I have a horror of going down dead ends, which you can easily do with a novel, spending months on it and then realising that it's all wrong. It's demoralising, because you don't get the time back.
I do believe in that thing about the reading audience being very important to the formation of the novel at its birth.
My mum had this amazing ability to deflect things, and from an early age, I knew what I was not supposed to talk about.
I think the Internet was invented specifically to stop people finishing their books. And it does quite a good job. I don't have blocking software, though I could easily imagine needing it. I just don't do that stuff until I've got the words done for the day.
I write non-fiction quicker, and I write it on a computer. Fiction I write longhand, and that helps make it clear that it comes from a slightly different part of the brain, I think.
'Dead peasants insurance' is a term that sounds as if it comes straight out of Monty Python. If only that were true.
France and Britain have large culinary differences, but one thing they do share is a relatively low tolerance for modernist cooking.
I grew up abroad, and when I first passed through London in the 1970s, it seemed a drab and provincial place.
If we are going to remake society in the image of the fight against terrorism and put that secret fight at the heart of our democratic order - which is the way we're heading - we need to discuss it, and in public.
Inequality in the developed world fell for most of the 20th century; we can make it fall for most of the 21st century, too. But it won't happen without sustained pressure on politicians from electorates.
'Austerity' is a real weasel word because it's an attempt to make something value-based and abstract out of something which, in reality, consists simply of spending cuts.
A novel usually begins, in my experience, with a thought or image that won't leave me alone.
The first ATM in Hong Kong was actually at the foot of the bank. I remember my father using it. And I find it absolutely terrifying that - something about the way the machine just kind of coughed up money with no difficulty.
Why should the idea of Western liberal democracy automatically imply unregulated free-market capitalism?
I'm an omniviorous reader, but I don't read what could overlap with my own work. It's like tuning a radio frequency - it's much harder to pick up if there's something else there.
I think smartphones are one of humanity's most remarkable creations: computers are amazing enough, but a supercomputer you can carry in your pocket and communicate instantly with anyone, anywhere... it's no wonder they're troublingly addictive.
I think 'community,' in the sense in which politicians use, it is largely a cant term.
There is a moral underpinning to economics. And the kinds of questions that it asks and the kinds of solutions it proposes do seem to me to belong in a more humanistic framework.
I rather envy writers who do variations on a theme. I like reading those books, but in practice, I can't do it.
We don't want to think about money in an ideal life; in a well-lived life, money wouldn't be one of our primary concerns, and we prefer to adopt the ostrich position.
Once I've properly finished a book, my ideal state of being would be to never think about it again. But with 'Capital,' I felt I'd spent so much time with the characters that they were very, very real, and I definitely had a sense of loss about leaving them behind in a way I've not quite had before.
Some things get clearer as you look back on them.
The deconstructed, postmodern pizza has been with us for ages, and the fact is that pretty much every ingredient in the world has been used as a pizza topping and liked by somebody, somewhere.
I have sane friends, solvent friends, foodie friends, and friends who can take time off in the week, but I don't know one single person who ticks all those boxes.
Photography brought a lot to painting because it forced artists to think about what painting could do that photography couldn't.
People misunderstand what a police state is. It isn't a country where the police strut around in jackboots; it's a country where the police can do anything they like. Similarly, a security state is one in which the security establishment can do anything it likes.
Rising inequality is not a law of nature - it's not even a law of economics. It is a consequence of political and economic arrangements, and those arrangements can be changed.
The Chinese are much too sensible to like turkey - come to think of it, I don't think I've ever encountered turkey anywhere in East Asia, either in a market or on a menu.
The truth is, it is hard to know where ideas come from.
Cheap money feels like the most natural thing in the world - if you don't think about why it's so cheap.
I grew up in Hong Kong, and London used to seem very gray: the sky was gray, the buildings were gray, the food was incredibly gray - the food had, like, new kinds of grayness specially invented for it.
For a while, I had a rule of no smartphone in bed, but now I've upgraded to no smartphone in the bedroom. The fact that we need rules shows how much these things have invaded our lives.
I love short stories, but I've never had the impulse to write one. Same for ghost stories.
Once you learn to 'speak' money - which is what I felt I did through the research that led me to write 'Whoops!' - you start to see it at work all around you. It's like a language, a code written on the surface of things; it's in flow all around us, all the time.
One of the main reasons that the landscape of financial stuff in America is different is that gambling is illegal there. So there's a kind of sport-like aspect to the American coverage of finance.
My mother was very proud of being Irish and being a Gunnigan in a straightforward way.
I remember, the first few years here, I didn't like London much: too big, too crowded, the physical difficulty of getting around.
I don't answer the phone or do my email; I don't do anything until I've got the day's writing done. I have a word count for every day: 500 for fiction, 1,000 for non-fiction, and journalism is 1,500. That's a level I can sustain.
We can all instinctively understand the idea of life insurance; most of us will feel an instinctive repugnance at the thought of the viatical industry, or 'dead peasants insurance.' As market thinking penetrated the life insurance industry, a moral line was crossed, and the application of market ideas was taken too far.
In the world where people with money overlap with restaurants and try to work out how to make more money, one of the things they talk about is the desire to find 'the new pizza.' This means a new mass-market product that can be made quickly and eaten both on the premises and as a takeaway.
When I first travelled to New York in 1982 on a summer holiday as a student, I remember thinking how exciting it was, how energising it felt, and also how it felt dangerous - it was a place where you could make a wrong turn, either geographically or just in a human interaction, and suddenly find yourself in trouble.
Video games are the first new artistic medium since television, but they are more different from television than television was from cinema; they are the newest new thing since the arrival of the movies just over a century ago.
It doesn't thrill me to bits that the state has to use the tools of electronic surveillance to keep us safe, but it seems clear to me that it does, and that our right to privacy needs to be qualified, just as our other rights are qualified, in the interest of general security and the common good.
I don't think quantitative easing is deliberately misleading, but I do think it's suspiciously bland and reassuring. It doesn't sound like anything big, experimental, scary and strange - which is what many economists think it is.
Now that I'm an adult and have a big say in what we eat on Christmas Day, turkey doesn't even make it on to the starting grid for consideration. It isn't just my least favourite meat; it's my least favourite protein.
