On the other hand, Surrealism has been a part of Romanian literature since forever. Even before Tzara, who was originally Romanian, we had Urmuz, who was a surrealist before the term even existed. During Breton's era too, there was a very active Romanian Surrealist group (Ghérasim Luca, Gellu Naum, etc.) closely related to the French. They had to quit their activities as soon as the Soviet communists took over.

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.

The East was no longer a threat to the western world, and when there's nothing to fear we turn our backs, we look elsewhere. Eastern literature is still the poor relative that everyone wants to forget, the Cinderella who hasn't (yet) found her prince.

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?

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.

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.