When I write, I never know the endings. What I think works in [my] stories is the fact that when I write, I really want to find out what is going on-I'm writing for myself as a reader. It's like when you dream a dream. I want to know what's behind the door. If I navigate, it's from a place that's totally intuitive.

I'm not saying that I don't experience people in life as evil, but writing is not a place of alienation; writing is the place where we can try to be human. I think there are some artists whose works are misanthropic. When I see this kind of stuff, I think, they're smart, but I don't need art to tell me people are assholes. I can just go into the streets.

The amazing thing about an artistic collaboration is that it is as intense and intimate as a romantic one. Sometimes even more so.

What connects me so strongly to Israel is the fact that I'm second generation. My parents said, "We have a place where we can just be ourselves and nobody says, 'Don't tell me your opinion, you damn Jew, go somewhere else.'" Then you go to this country and other Jews tell you to shut up. It's frustrating. I think that we have a bad government and that some people are fearful. They're going with the class bully. But I really truly believe - you read it in my stories - that deep inside, people have goodness.

There are two kinds of people, those who like to sleep next to the wall, and those who like to sleep next to the people who push them off the bed.

Being ambivalent doesn't mean that you're a relevatist, that anything goes; it just means that you show the complexity of life. Life is always complex.

When I started writing my stories, I thought that not only nobody outside my language, but nobody outside my neighbourhood would get them.