More and more I understand that it's very fine not to know where you come from.

God isn't chocolate, he's the encounter between chocolate and the palate capable of appreciating it.

It's while writing that suddenly a point of view appears: 'So, that's what I really thought about this thing'. Then it feels part of me.

I've noticed it a lot. I'm not someone who revises. It's always the first movement, it's that. It's an instinct. Either it works straight away, or it won't ever work.

Of course you have memories, and these memories are convincing. But it's really at the moment when I write them down - when I write about my relationship with that Japanese boy in Ni d'Eve, Ni d'Adam - that they reach a degree of reality which is incandescent, that I've really conquered a story, understood it and feel that it is really part of me.

Japanese women live in fear of making the least sound in a bathroom stall. Japanese men pay no attention to the subject whatsoever.

Une histoire d'amour dont les épisodes ont été mélangés par un fou