Quotes of All Topics . Occasions . Authors
In America, where writers are preoccupied with the craft of writing, I always try to introduce this concept of the badly written good story. Turning the hierarchy around and putting passion on top and not craft, because when you just focus on craft, you can write something that is very sterile.
What happens when you speak colloquial Hebrew is you switch between registers all the time. So in a typical sentence, three words are biblical, one word is Russian, and one word is Yiddish. This kind of connection between very high language and very low language is very natural, people use it all the time.
The moment that you have a child - that you know that when he'll turn 18, he'll join the Army and go there for three years of compulsory service - then you can't help yourself of thinking about the future - speculating about it, dreading it or even being - trying to be more active to change it and improve it.
When I write, I never know the endings. What I think works in [my] stories is the fact that when I write, I really want to find out what is going on-I'm writing for myself as a reader. It's like when you dream a dream. I want to know what's behind the door. If I navigate, it's from a place that's totally intuitive.
I tried once in my life to write a novel. I had written something like 80 pages of it when my laptop got stolen. When I told people this, they acted as if something tragic had happened, but I kind of felt relieved, grateful to the thief who saved me from another year of something that felt more like homework than fun.
I think that any authentic feeling one has of life should be a feeling of defeat. It's a losing game. You're going to die. Civilization is going to end. Our society is in decline, and we should feel OK about it because Roman society was in decline and before it the Assyrian one was, and they disappeared off this earth and we will disappear too.
I'm not saying that I don't experience people in life as evil, but writing is not a place of alienation; writing is the place where we can try to be human. I think there are some artists whose works are misanthropic. When I see this kind of stuff, I think, they're smart, but I don't need art to tell me people are assholes. I can just go into the streets.
Most of them were murderers. But when I went there to talk, they were the nicest people. I did a reading. I said, "Thank you," and then they said to me, "Could you talk some more?" And I said, "Why?" and they answered, "Most of us are in solitary confinement, so the moment you finish talking, they take us back to our cells. We like hanging out here together."
When my works are being translated, I always get this question from my translators: Up or down? Which means, should it sound biblical and highbrow, or should we take it all down to sound colloquial? In Hebrew, it's both all the time. People in Israel would write in a high register, they wouldn't write colloquial speech. I do a special take on colloquial speech.
I've always had a very developed superego. I also had a very powerful id, but there was no ego in the middle. So writing was always like letters sent from the id to the superego, saying, "What's going on here?" What I loved about writing was that I was totally weightless. I was amazed at the fact that I could be myself without being afraid that anyone would get hurt.
He misses the feeling of creating something out of something. That’s right — something out of something. Because something out of nothing is when you make something up out of thin air, in which case it has no value. Anybody can do that. But something out of something means it was really there the whole time, inside you, and you discover it as part of something new, that’s never happened before.
People in Israel would write in a high register, they wouldn't write colloquial speech. I do a special take on colloquial speech. When I started writing, I thought [the language] was telling the story of this country: old people in a young nation, very religious, very conservative, very tight-assed, but also very anarchistic, very open-minded. It's all in the language, and that's one thing that doesn't translate.
To what extent does anybody control his destiny? Life is very much like falling of the edge of a cliff. You have complete freedom to make all the choices you want to take on your way down. My characters choose to yearn and not lose hope even when the odds are completely against them. It doesn't make the landing at the end of that fall any less painful but, somehow, it helps them keep a little dignity their bone broken body.
What connects me so strongly to Israel is the fact that I'm second generation. My parents said, "We have a place where we can just be ourselves and nobody says, 'Don't tell me your opinion, you damn Jew, go somewhere else.'" Then you go to this country and other Jews tell you to shut up. It's frustrating. I think that we have a bad government and that some people are fearful. They're going with the class bully. But I really truly believe - you read it in my stories - that deep inside, people have goodness.
I have always thought that Heaven is a place for people who had had a good life, but that is not true. God is merciful and way too good to make it so. The Heaven is just a place for people who could not be really happy while living on Earth. I was once told that people who commit suicide are taken back on Earth to repeat life from the very beginning because if they did not like it once, it did not mean they would not like it the next time. But those who did not fit in on Earth at all, ended up here. Everyone comes to Heaven in their own way.
If you were to do the world championship of victimhood in modern times, then the finals would probably be between Jews and Palestinians. I think the Jews win: we, Isralians, go from the Spanish Inquisition to pogroms to the fake Protocols of the Elders of Zion to World War II and the Holocaust - it's a horrible history. And if you look at the Palestinian world, victimized by every entity in the Middle East, they were massacred in every country. I think that, in Israel, the greatest fear that people have, and I have it, too, is this fear of genocide.
And she loved a man who was made out of nothing. A few hours without him and right away she’d be missing him with her whole body, sitting in her office surrounded by polyethylene and concrete and thinking of him. And every time she’d boil water for coffee in her ground-floor office, she’d let the steam cover her face, imagining it was him stroking her cheeks, her eyelids and she’d wait for the day to be over, so she could go to her apartment building, climb the flight of stairs, turn the key in the door, and find him waiting for her, naked and still between the sheets of her empty bed.