The hardest part is not to repeat yourself. I don't really believe my core obsessions are going to change, but you need to look for ways to express them that are different. The main reason for doing that is not to bore yourself, and obviously, I don't want to bore readers.

Every snapshot collector has obsessions. Some only collect photos of cars. Others like World War II, or babies, or old-timey girls in old-timey swimsuits. I happen to collect the weird stuff: photos that make the hair on the back of your neck stand up a little. The uncanny.

Global security can be formed or threatened by heads of state whose wisdom, folly and obsessions shape global events. But often it is the security practitioners, those rarely in the headlines but whose craft and energy quietly break new ground, who keep us safe or put us in peril.

'Hill St.' was very good, but it was very impersonal work for me. I wrote about that place as if I was a visitor. It wasn't what my life was like. It was a great place to learn the craft of how to shape a scene, but I wanted a chance to write about more personal themes and obsessions.

Coming out of university, one of my obsessions was that in the novels I was reading, they seemed to be portraying a world that had a social fabric. People knew each other in 'War and Peace.' They went to all the same balls. These were societies with tightly wound, woven, social textures.

It's known as the Livingstone Formulation. It's a cunning rhetorical device routinely deployed to shield avowedly left-wing establishment figures from any scrutiny that might expose their 'anti-Zionist' obsessions as redolent of a bigotry of that older and more unambiguously unsanitary type: antisemitism.

My obsessions stay the same - historical memory and historical erasure. I am particularly interested in the Americas and how a history that is rooted in colonialism, the language and iconography of empire, disenfranchisement, the enslavement of peoples, and the way that people were sectioned off because of blood.

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