I wanted to write a book that would leave open many riddles and mysteries, even to me. Of course in some cases I do know the answers, but in many others I don't know and don't want to know.

When I write a book I'm always questioning the project as a whole. I always feel I might have to just throw it away and forget about it, and I've done that with novels I've started and worked on for a long time. It's an option I need in order to write freely.

When I look at life I try to be as agnostic and unmetaphysical as possible. So I have to admit that, most probably, we do not have a fate. But I think that's something that draws us to novels - that the characters always have a fate. Even if it's a terrible fate, at least they have one.

Usually the German translators do something terrible, especially with Tom Wolfe, which is that they make it local. So if the characters are from Harlem, the translators put all this Berlin slang into their mouths, and that's just terrible. You cringe when you read that. But there really is no good solution to the problem, except learning English.

I wanted to write a book that would leave open many riddles and mysteries, even to me. Of course in some cases I do know the answers, but in many others I don't know and don't want to know.

I think I can work anywhere, but you don't get the same kind of inspiration everywhere. New York theater has become a big inspiration for me. I only started writing for the stage myself because I like to see the good, mostly off-Broadway plays in New York.

I think that's just what happens when you write a big bestseller. After that you need to find out: What's the best way to go on? And the worst thing you could do would be to try to repeat the formula. That would be suffocating.