In Necessary Marriage, I tried to repeat entire phrases without the reader noticing. My work doesn't have the rigor of music, but I hope it alludes to it.

It's not the subject of narration that interests me, but the structure. That's why I stay in touch with my old works, which I reread regularly. I don't hesitate to take up previously used images or even whole scenes.

I had severed relations with the Romanian exiles who had become politically conservative and even extremely right wing; I was giving chess lessons to earn a living. Luckily we spoke quite a bit of French at home so it wasn't too difficult for me to write in my adopted language.

The reader's impression is one of a dream - the only thing that's left upon waking is the memory of a melody at the end of a concert.

We don't recount our dreams; we construct them with the materials of reality. We aren't looking for God, psychic truth or authenticity, but for esthetic effect. That's why I baptized our movement Structural, or Esthetic, Onirism. Dreams and music were our models.

In Necessary Marriage, I tried to repeat entire phrases without the reader noticing. My work doesn't have the rigor of music, but I hope it alludes to it.

Many images of animals, mammals or birds, resurface regularly in my narratives. They are not symbols, but chromatic benchmarks. For me, music has always been the perfect construction - an inaccessible ideal.