When I use the term "complex realism", what I'm suggesting is that the writer must be realist, always realist, but not realist in the sense we have usually used the term in literature. If reality today is different from the reality of 30 years ago, we can't keep describing reality in the same way as we did 30 years ago.

Not even I, in my original Spanish, am necessarily obliged to make exact quotations. I can do that or not, I can play with that opportunity or not. This is my right, or poetic license, as someone who is building an artefact of fantasy - this implicit pact with the reader is my starting point.

Our senses are always part of the process.

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.

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.

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.

When I use the term "complex realism", what I'm suggesting is that the writer must be realist, always realist, but not realist in the sense we have usually used the term in literature. If reality today is different from the reality of 30 years ago, we can't keep describing reality in the same way as we did 30 years ago.