Always in all my books I'm trying to reveal or help to reveal the hidden greatness of the small, of the little, of the unknown - and the pettiness of the big.

My language is a feel-thinking language, feeling and thinking at once, that is why it is a celebration of life, and at once it is a denunciation of everything that is not allowed in life to be real life, it's plenitude.

Unlike solidarity, which is horizontal and takes place between equals, charity is top-down, humiliating those who receive it and never challenging the implicit power relations.

When a book is alive, really alive, you feel it. You put it to your ear here, and you feel it breathe, sometimes laugh, sometimes cry, just like a person, a little person.

Writing is a marvelous adventure and very labor-intensive: those words run away and try to escape. They are very difficult to capture.

The poet, distracted by politics, asks of poetry that it make itself useful like metal or flour, that it get ready to stain its face with coal dust and fight body to body.

Reality is very, very contradictory, and so I try to write just perfecting what I see, what I read, what I feel, in a feel-thinking way. Not only giving ideas, or receiving ideas, or trying to explain something, but mainly feel-thinking, a feel-thinking language able to tie the heart and the mind, which have been divorced.