Also, whenever you have direct speech, and I don't quite know why, but it always gets better in English. Dialogue, the flow of dialogue, English just has a better way with it.

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.

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.

One of the points where the art world is at its most metaphysical is in this weird aspect of the power of the expert. There are experts who claim they cannot be fooled because they have an inner connection to an artist and can feel whether something is genuine or fake. I've heard experts say, on panels: When it comes to my period, or my painters, I cannot be fooled. And of course that's completely ridiculous.

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 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.

People who have experienced nothing love to tell stories while people who have experienced a great deal suddenly have no stories to tell at all.