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.

For me, literature is the daughter of music: a bit heavy and more level headed than its mother. Literature submits to the same principles of successive perception, which allows it to build progressively.

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.

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.

The narrative image has more dimensions than the painted image - literature is more complex than painting. Initially, this complexity represents a disadvantage, because the reader has to concentrate much more than when they're looking at a canvas. It gives the author, on the other hand, the opportunity to feel like a creator: they can offer their readers a world in which there's room for everyone, as every reader has their own reading and vision.

At one point I had a very complicated plan to use the game of chess as a generating structure for writing. I prepared for a long time. I finally wrote two chapters and stopped. It was too complicated and too difficult to write. And who would've read it?

It's true that in Romanian I feel more relaxed, as if I'm wearing slippers...but I came to this decision primarily for other reasons: I had only published three collections of texts in Romania. Even before my exile I was prohibited from publishing, I was ignored and forgotten. In going back to Romanian I had the opportunity to take my revenge.