John Lanchester

You can't explain collateralized debt obligation in a novel - it's too draggy.

Money isn't automatically freedom. You need to look carefully at what you're doing to earn the money before you can conclude that you are, in practice, free. This is a cost-benefit analysis we should all perform on our own lives.

Security is a complicated idea and one with an immense potential to trap us - that was one lesson I learnt from my father.

It would be too glib, not a hundred per cent true, to say that my father's career as a banker was what made me a writer. But it would be slightly true, and it was certainly the case that his work as a banker made me see that the trade-offs people make between their work and their lives are often badly skewed.

A preoccupation with money and, especially, with what money meant was, in our family, an inherited thing. My father's father, Jack, who died before I was born, was very much possessed by the idea that money was freedom.

One of the things I have noticed about my novels is that they all concern people who can't quite bring themselves to tell the truth about their own lives... I've come to realise that this interest in damaged, untellable stories comes from my parents.

We should all know our family's story, all the more so if nobody tells it to us directly and we have to find it out for ourselves.

By the time I was three years old, I'd lived at 10 different addresses in six different countries.

I grew up mainly in the Far East, where my father worked for the Hong Kong and Shanghai Bank, which was then a small, well-run colonial institution and not the global colossus it is today.

I've always been interested in rootedness - mainly, I suppose, because I had very little experience of it.

The slogans of globalisation are 'Get on your bike' and 'The world is flat.' People who want to get on have to be willing to move, often and unhesitatingly, at the behest of their employer or to seek work.

Dad was a very, very principled man, and he hated any kind of story where the baddies get away with it.

Fact doesn't have to be plausible; it just has to be fact.

Our societies have achieved a general level of prosperity of which most of all the human beings who have ever lived could only dream. Now we need to show that we can stop continually wanting more - more money, more stuff. We must show that it is possible for people to realise that they have enough.

Obviously you can stash money under your mattress, cut down on hazelnut lattes, but in terms of the larger economic frame of our lives, we have very little agency. About one of the only things you can do is understand it.

I'm fortunate in having journalism as a sideline to pay the bills, and I essentially do it in order to take as long as I want with books.

It seems to me obviously axiomatic that markets are not magical, that they're organised in a range of regulated entities created by men. We decide in what we will have markets, and we decide how the rules work and how they'll conduct themselves.

'Whoops!' was a spin-off from 'Capital.' I had the research and wanted to place it somewhere.

At the risk of being old-fartish, I like old-school wines that taste the way the winemaker intended, as opposed to organic and untreated ones with more bottle variation. If I want to take a risk, I'll go bungee-jumping.

I'm a huge fan of Peter Jackson's 'Lord of the Rings' movies - I went to all three of them on the day they opened and have seen all of them several times since.

I love London in the rare parts of the year when it's quiet, and no time is more reliably quiet than the week between Christmas and New Year.

The 'stuff' in novels touches on every aspect of the world and people's lives. That's what makes it so remarkable just how little there is in the novel about the world of money.

Money is like poetry because both involve learning to communicate in a compressed language that packs a lot of meaning and consequence into the minimum semantic space.

There's an awful lot of us who don't quite speak finance, speak money.

Why should the idea of Western liberal democracy automatically imply unregulated free-market capitalism?

If European monetary policy is run according to German interests, huge structural imbalances will accumulate. The Germans will then either have to pay to correct those imbalances or agree that the euro should not be run primarily according to German interests. If they are unwilling to do either of those things, the euro can't survive.

Celebrity farmer. Now there's a phrase that should be an oxymoron. There are farmers on both sides of my family, and I can attest that the overlap between the way farmers live, work and think, and celebrity culture, is exactly 0%.

Most British tapas bars aren't bars at all. They're restaurants that specialise in tapas. Nothing wrong with that, but it's a bit different from the Spanish way of doing things, in which tapas is an adjunct to the drinks and the general vibe.

As an outsider to and observer of the restaurant business, one of the things I most admire about it is the risks people are willing to take.

The economics of setting up a new restaurant are scary in good times and terrifying in bad ones.

Because the Spanish eat so crazily late - anybody who's been to Spain has had the experience of sitting down at 9:30 P.M. to find themselves the first customer in the restaurant - they tend to favour an early-evening drink and a nibble to keep them going.

My standard Nando's order is a chicken breast burger served 'medium,' which is still fairly spicy.

Nando's is a casual restaurant rather than a fast-food one - another aspirational touch. The food is energetically spiced, where so many of its competitors are bland and grilled to order, where the competition fries food and then lets it sit around.

Chefs get sucked into the trap of 'fine dining' because some guides make it central to their ratings system and because some customers have been trained to focus their expectations on the trappings and not on the food. It's all a gigantic waste of energy.

'Fine dining.' I'd love to know who coined the term and whether they meant it to be as offputting as it is. The words evoke an idea of phoney refinement, of needless flummery, snooty waiters, and an atmosphere designed to intimidate the customer.

Is it OK to admit to being slightly obsessed with the TV programme 'Great British Menu?'

The early-'80s recession was good for good restaurants, not least because it put bad ones out of business.

One of the things that happens to you if you write about restaurants - one of the reasons restaurant critics are the real heroes - is that whenever anyone has a grievance about any aspect of the business, they tell you about it.

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.

Germany has to put the broader European interest on the same level as its own national interest, or the euro is toast.

During the 20th century, the greatest danger to European stability was Germany's sense of its special destiny. During the 21st century, the greatest danger to European stability is Germany's reluctance to accept its special destiny.

Most people find they have to worry about money; if you don't ever, then in some fundamental way, you are cut off from most people.

'Community,' that loaded word so beloved of politicians, is simply not a reality in most people's lives. It's normal for us to be cut off from each other.

In the U.S., it is a crime to lie to a federal agent, and it's often this that sends people to jail over financial matters.

'The Big Short' is, among other things, a blistering, detailed indictment of the way Wall Street does business, and its particular villains are the investment banks.

In a democracy, people tend to get the kind of government they deserve.

In my view, a review should be like talking to a friend who's just asked you, 'What was it like?' You're giving a verdict on an experience, not trying for a definitive last judgment.

The Internet makes writing about restaurants easier and more interesting in quite a few ways, one of the main ones being to do with the mundane business of checking what's on the menu.

Often, in horror films, the single most effective device for building a sense of scariness is the soundtrack: the clanking of chains, the groaning of off-stage ghouls, the unmistakable sound of a cannibal rustic firing up a chainsaw.

Nobody in the developing world is going to take, as an answer to their aspirations, the developed world's reply: 'Sorry, you can't; we've already used it all up.' To earn the right to look the developing world in the eye and start this conversation, we need a reassessment of how we live and what we want.