I have been saying again and again that the case of Israel and Palestine, the case of Israel and the Arab world, and indeed the case of Israel and Europe, is not black and white. It's not a western movie.

Many intellectuals in America and in Europe, they are in the habit of taking sides: who are the bad guys? who are the good guys? They launch a demonstration against the bad guys, sign a petition in favor of the good guys, and going to sleep feeling well about themselves. This is not the case here. The Israeli-Palestinian conflict is a tragedy; it is a clash between right and right.

Writing a poem is like having an affair, a one-night stand; a short story is a romance, a relationship; a novel is a marriage-one has to be cunning, devise compromises, and make sacrifices.

I never regard my characters, my protagonists, as personifications. It's not that I sit by my desk and I pick up a character who will be the spokesperson of the Israeli Left, another one will be the spokesperson of the Right, another one will be the spokesperson of Middle Eastern Jews, European Jews, religions Jews and so on.

What is likely to happen? Either an escalation of violence or an entire change in the whole Middle East theater. It may well happen, and I say this to my Palestinian friends, that the Palestinians have in a certain way missed their hour. They had their moment when the world's public opinion was behind them, and a considerable part of the Israeli public was willing to compromise with them.

All my novels are rooted in their time and in their place. The place of my novels is Israel, almost without exception. Almost without exception, my novels are rooted in Israel because that's the place I know well. And, that's my gutsy advice to any young writer: write only about what you know well. Don't write about that which you don't know.

The opposite of compromise is not integrity. The opposite of compromise is not idealism. The opposite of compromise is fanaticism and death.