I never enquire into the origin of things, all Origin is a fallacy (in this I follow Nietzsche: origin is a very contested Cartesian illusion of reliability). Everything reaches us filtered through culture.

In fact, many of the quotes in my books are quotes which were translated from English and that I read already translated into Spanish. I'm not really concerned with what the original version in English was, because the important thing for me is that I received them already translated, and they've influenced my original worldview as translations, not as original quotations.

The structure of my novels has nothing to do with the narrative mode of cinema. My novels would be very difficult to film without ruining them completely. I think this is the area where writers need to place ourselves: from a position of absolute modernity and contemporaneity, creating a culture of objects which cinema cannot.

I believe every translation is a process in which something is lost in the original precisely so that something is gained in the new text.

I never enquire into the origin of things, all Origin is a fallacy (in this I follow Nietzsche: origin is a very contested Cartesian illusion of reliability). Everything reaches us filtered through culture.

If there's one thing that can save the novel, it is to make it independent of cinema, to narrate in a way that cinema can never narrate, using to its benefit those particular characteristics which belong to writing.

Our senses are always part of the process.