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.

When you translate the American writers who are best with dialogue into German - someone like Elmore Leonard, or Tom Wolfe, who's also quite good with dialogue. It's very hard to translate them well.

A neglect of one's sentimental education early in life could bear the most unfortunate fruit.

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'm trying to exploit the bestseller, in a way, but not in the sense of repeating the formula. It's just that the bestseller did so well economically that now I'm freer to do what I want to do, or to try out what I want to try out.

Exactly as we might ask God, and do ask God, to change our fate. The difference is that in the story the writer actually replies and in the end even changes his mind.

It's also one of these strange points where metaphysics converges with economy. Because really what the experts are doing is creating value by banishing doubt. All great dead painters basically have this one person, this expert who has the metaphysical power to grant a seal of authenticity.