I really believe hatred is not a primal emotion, in that you can't find it in nature. It's basically some kind of distortion of fear.

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.

I used to feel that if I say something's wrong, I have to say how it could be made right. But what I learned from Kurt Vonnegut was that I could write stories that say I may not have a solution, but this is wrong - that's good enough.

You take a book, and what can you do with a book? Can you cook an egg on a book? No. Can you dig a hole? No. Is it a good weapon? No. The fact that it's good for nothing kind of makes it almost all-important.

Collaborating with your wife is amazing because you are doing something together with a person you truly love and know and discover things about her in that process which you have never had discovered on other circumstances.

I think there are some artists whose works are misanthropic.

I rarely return to characters. My characters, at least most of them, are much more a part of that superorganism that is the story than separate and independent creatures.