Pat Barker quotes:

When I'm writing the first draft, I'm writing in a very slovenly way: anything to get the outline of the story on paper.

That balance between involvement and detachment is what novelists do. It's the ideal relationship between a novelist and a character, I think, total involvement and identity and empathy, stopping short of being autobiographical - in my case, anyway - but also quite detached.

I wasn't thinking of a sequel when I finished 'Life Class.' What changed my mind was the perception that the characters had a lot of life left in them, a lot of unresolved conflicts, and also I became interested in the Tonks pastel portraits of facially disfigured soldiers and in the whole area of facial reconstruction.

Culturally, the First World War is the war that stands in for other wars.

Undertones of War' by Edmund Blunden seems to get less attention than the memoirs of Siegfried Sassoon and Robert Graves, but it is a great book.

I wanted to be a novelist from a very early age - 11 or 12 - but I don't think I ever thought I would write historical fiction. I never thought I might write academic history because I simply wasn't good enough!

Culturally, the First World War is the war that stands in for other wars,

It's the hardest thing in the world to go on being aware of someone else's pain.

Cut a chrysalis open, and you will find a rotting caterpillar. What you will never find is that mythical creature, half caterpillar, half butterfly, a fit emblem for the human soul, for those whose cast of mind leads them to seek such emblems. No, the process of transformation consists almost entirely of decay.

I didn't belong to the sort of family where the children's classics were laid on. I went to the public library and read everything I could get my hands on.

We are Craiglockhart's success stories. Look at us. We don't remember, we don't feel, we don't think - at least beyond the confines of what's needed to do the job. By any proper civilized standard (but what does that mean now?) we are objects of horror. But our nerves are completely steady. And we are still alive.

Half the world's work is done by hopeless neurotics.

Murder is only killing in the wrong place.

Fiction should be about moral dilemmas that are so bloody difficult that the author doesn't know the answer. What I hate in fiction is when the author knows better than the characters what they should do.

The past is a palimpsest. Early memories are always obscured by accumulations of later knowledge.

My grandmother's first husband was a spiritualist medium. What fascinates me about that is the balance between conviction and sincerity and trickery, which is also something that novelists are very familiar with.

Fiction should be about moral dilemmas that are so bloody difficult that the author doesn't know the answer.

When writing about historical characters I try to be as accurate as possible, and in particular not to misrepresent the view they held. With a real historical figure you have to be fair, and this is not an obligation you have in dealing with your own creations, so it is quite different.

The way I see it, when you put the uniform on, in effect you sign a contract. And you don't back out of a contract merely because you've changed your mind. You can still speak up for your principles, you can still argue against the ones you're being made to fight for, but in the end you do the job.

The sky darkened, the air grew colder, but he didn't mind. It didn't occur to him to move. This was the right place. This was where he had wanted to be.

I believe that this war, upon which I entered as a war of defence and liberation, has now become a war of aggression and conquest.

And the Great Adventure - the real life equivalent of all the adventure stories they'd devoured as boys - consisted of crouching in a dugout, waiting to be killed. The war that had promised so much in the way of 'manly' activity had actually delivered 'feminine' passivity, and on a scale that their mothers and sisters had hardly known. No wonder they broke down.

First-person narrators can't die, so as long as we keep telling the story of our own lives we're safe. Ha bloody fucking Ha.

A society that devours its own young deserves no automatic or unquestioning allegiance.

When writing about historical characters I try to be as accurate as possible, and in particular not to misrepresent the view they held. With a real historical figure you have to be fair, and this is not an obligation you have in dealing with your own creations, so it is quite different."

I don't think it's possible to c-call yourself a C-Christian and... and j-just leave out the awkward bits.' -Wilfred Owen

Looking straight at the world is part of your duty as a writer.

Sometimes, in the trenches, you get the sense of something, ancient. One trench we held, it had skulls in the side, embedded, like mushrooms. It was actually easier to believe they were men from Marlborough's army, than to think they'd been alive a year ago. It was as if all the other wars had distilled themselves into this war, and that made it something you almost can't challenge. It's like a very deep voice, saying; 'Run along, little man, be glad you've survived

The result was I went nowhere.

You know you're walking around with a mask on, and you desperately want to take it off and you can't because everybody else thinks it's your face.

Another person's life, observed from the outside, always has a shape and definition that one's own life lacks.