I think living in Israel and wanting to change reality is the best prescription for never-ending writer's block.

People in Israel would write in a high register, they wouldn't write colloquial speech. I do a special take on colloquial speech. When I started writing, I thought [the language] was telling the story of this country: old people in a young nation, very religious, very conservative, very tight-assed, but also very anarchistic, very open-minded. It's all in the language, and that's one thing that doesn't translate.

In the army you feel violated - there's no private space. Writing was a life-saver, a way of recovering private territory.

I think that before my son was born, I didn't have a strong sensation for future. I was living in this kind of never-ending present.

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

When my works are being translated, I always get this question from my translators: Up or down? Which means, should it sound biblical and highbrow, or should we take it all down to sound colloquial? In Hebrew, it's both all the time. People in Israel would write in a high register, they wouldn't write colloquial speech. I do a special take on colloquial speech.

It took a lot to understand that the interest in both writing a story and reading it is not in the objective dangers someone takes. You don't have to fight snakes or wake up in a strange apartment to have a story; it's about what goes on inside your mind and soul.