I work in Hebrew. Hebrew is deeply inspired by other languages. Not now, for the last three thousand years, Hebrew has been penetrated and fertilized by ancient Semitic languages - by Aramaic, by Greek, by Latin, by Arabic, by Yiddish, by Latino, by German, by Russian, by English, I could go on and on. It's very much like English. The English language took in many many fertilizations, many many genes, from other languages, from foreign languages - Latin, French, Nordic languages, German, Scandinavian languages. Every language has influences and is an influence.

I wrote The Same Sea not as a political allegory about Israelis and Palestinians. I wrote it about something much more gutsy and immediate. I wrote it as a piece of chamber music.

I don't believe in binational states. There are wonderful examples of this, prosperous multinational states: Switzerland, Switzerland and Switzerland. Everywhere else - be it Cyprus, Yugoslavia or the Soviet Union, it ended in a terrible bloodbath.

The far right is saying to us: Forget about the two-state solution, it is going to be a Jewish state from the coast to Jordan. The left wing says you have to forget about Jewish self-determination, you will have to live as a minority in an Arab state - just like the whites in South Africa. The key word that both have in mind is that the situation in the West Bank is "irrevocable." It is one of the words I dislike the most.

I know that a translation of a work of literature is like playing a violin concerto on the piano. You can do this. You can do this very successfully on one strict condition: never try to force the piano to produce the sounds of the violin. This will be grotesque.

All you can see, if you look through the window - everything you see is a fulfillment of dreams, different dreams.

A conflict begins and ends in the hearts and minds of people, not in the hilltops.