Quotes from Susan Barker

You know, you hear about these writers reading 'Lolita' at 12. I wanted to be a chemistry teacher.

My process for determining which eras I'd write about was to just read history books that gave a really broad overview of Chinese history. And when I came across a historical figure or a historical incident that was especially interesting to me, ideas for characters and stories would surface.

During the six years I spent writing my novel 'The Incarnations,' I lived in seven cities in four countries. I moved in and out of 17 different houses and flats in Beijing, Seoul, Colorado, Boston, Leeds, Washington D.C., London and Shenzhen.

My grandfather was originally from the south of China before he emigrated to Malaysia pre-World War II. And I wanted to learn more about the history of the country of my ancestors. I knew I wanted a narrative set in contemporary Beijing. I was really interested in the effect of the rapid social and economic change on ordinary citizens in China.

There are many reasons I love novels with multiple narratives. In novels where the events are filtered through the consciousness of a single 'reliable' narrator, I often wonder, is this the whole story? What could be missing here?

Most of 'Let the Great World Spin' is centered on the day in 1974 when Philippe Petit walked on a tightrope between the two towers of the World Trade Center, creating an astonishing spectacle that intersects with the lives of many of the novel's multiple protagonists.

No matter how dilapidated, scarred and mutilated your body, I have always found you beautiful, for it is the soul beneath I seek.

I would have fallen down long ago and let the ground drink the blood of my slit throat, were it not for you. So long as you are by my side, I can endure. You ease the stoned-to-death feeling in my soul.

I clench my fist around your stiffness, and your breathing quickens as I draw it back and forth. After your warm, sticky release, I lick my hand clean. Then I bury my face in your wild, stinking hair and hold you. To hold you is to be at one with you. To be at one with the starry cosmos of ancient gods above. As I hold you I will the night never to end. For our oneness fades with the disappearing stars. And by daylight you are other again.

A news bulletin on the radio speaks of a public ban on spitting, swearing, smoking and queue-jumping during the Olympics. The Four Pests, the campaign has been called, after the Mao-era policy to eradicate sparrows, mosquitoes, flies and rats. Wang remembers Shuxiang telling him how, during her childhood, gangs of children chased sparrows from tree to tree, banging tin trays until the birds fell out of the sky, too exhausted to beat their wings and fly.

The pollution seems like a curse to him, the curse of the million-year-old fossils, excavated out of seams deep in the ground and burnt as fuel. The spirits of the ancient trees and animals, protesting at being dug out of their resting places with lung-blackening particulates that poison the air.

What's the good of one person clinging to his morals when everyone else is so corrupt? What's the good of that?

I wrote in coffee shops in Japan when I was 22, 23, before I had the stamina to sit down and write. I liked the buzzy environment; I couldn't speak Japanese when I arrived, so it was kind of a white noise. It felt more sociable than being alone, but now, as I've developed a writing practice, I couldn't do it.

It would be unthinkable to have a top-ten list of multiple narrative novels that doesn't include David Mitchell. 'Cloud Atlas' is the most obvious choice, but I have opted for Mitchell's slightly lesser known debut, 'Ghostwritten.'

Truth is often a multiplicity of perspectives, and sometimes the more viewpoints and versions of events there are, the closer the reader gets to an overarching truth.