Sebastian Faulks
Sebastian Faulks
Sebastian Charles Faulks CBEis a British novelist, journalist and broadcaster. He is best known for his historical novels set in France – The Girl at the Lion d'Or, Birdsong and Charlotte Gray. He has also published novels with a contemporary setting, most recently A Week in December, and a James Bond continuation novel, Devil May Care, as well as a continuation of P.G. Wodehouse's Jeeves series, Jeeves and the Wedding Bells. He is a team captain on BBC Radio 4...
NationalityBritish
ProfessionNovelist
Date of Birth20 April 1953
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Bond doesn't have an inner life. There would be moments when I'd think, 'We need to gather our thoughts here and have a breather,' where in another novel you'd slow the pace, have some description and see what Bond feels about this. But Bond doesn't reflect. All you can do is move on to the next bomb or shark or car.
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I believe that love between people is the greatest life-giving force in the world. It's intensely frustrating and inevitably makes a fool of you, but you can't stop going back to it, and it's pretty much the defining experience of a human being.
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I am a romantic, in a literary way, by which I mean the Romantic poets, who thought just because a sensation is fleeting doesn't mean it isn't valuable. If the only criterion of value is whether something lasts, then the whole of human life is a waste of time.
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If I hadn't read all of Jane Austen and DH Lawrence, Tolstoy and Proust, as well as the more fun stuff, I wouldn't know how to break bad news, how to sympathise, how to be a friend or a lover, because I wouldn't have any idea what was going on in anybody else's mind.
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What I like in novels that I read and enjoy is interplay of theme: the mystery of how we seem to be so separate as human beings.
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A romantic is someone who believes that something is valuable even if it doesn't last. And a non-romantic is someone who says that if something doesn't endure, or can't be logically proved and pinned down, it's worthless.
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My ideal relationship with the reader is that at certain points they will have said, 'I'm finding this quite tough, but I'm going to hang in there,' then at the end they will say, 'Oh God, I'm glad I hung on, it was so worth it.'
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There aren't many great passages written about food, but I love one by George Millar, who worked for the SOE in the second world war and wrote a book called 'Horned Pigeon.' He had been on the run and hadn't eaten for a week, and his description of the cheese fondue he smells in the peasant kitchen of a house in eastern France is unbelievable.
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If you have only one life, you can't altogether ignore the question: are you enjoying it?
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To have been able to write the books I wanted to write, on demanding subjects like war and the history of psychiatry, and for them to have sold in the numbers they have - and then go around saying: 'Actually, I'd also like to have won the Costa Book of the Year?' That would be ridiculous.
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All my books are about one major idea and two or three subsidiary ones. I have thought a lot about music when constructing books, and I like the way in music that themes come back.
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As far as 'Birdsong' is concerned, I think the television program made a very honorable attempt at it, but the truth of the matter is that adaptations of long, ambitious books very seldom transfer well to the screen, and why would they?
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My parents' generation didn't have any understanding of psychology or emotion or individual temperament. In fact, they were slightly embarrassed by all those words.
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I have written millions of words about contemporary England - in journalism. Why don't I take it as the background for a novel? I may do one day. But the simple answer is that it does not excite the novelistic part of my brain; it does not fire it up.