My mother, for example, told the German officer not to kill her. She'd make it worth his while. And then, when they were doing it, she pulled a knife out of her belt and sliced open his chest, just like she used to open chicken breasts to stuff with rice for the Sabbath meal.

Making up characters and places and plots, unlike fixing your plumbing or doing dishes, is anything but practical or rational. I write what needs to be written the way that seems genuinely right.

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.

He felt full of a dense and sour substance that was blocking his chest, and it wasn't grief. After all those years, life now seemed like no more than a trap, a maze, not even a maze, just a room that was all walls, no door.

I don't need art to tell me people are assholes. I can just go into the streets.

When I say a spoken Hebrew sentence, half of it is like the King James Bible and half of it is a hip-hop lyric. It has a roller-coaster effect.

The fact is that everything I have in my pockets is carefully chosen so I’ll always be prepared. Everything is there so I can be at an advantage at the moment of truth. Actually, that’s not accurate. Everything’s there so I won’t be at a disadvantage at the moment of truth.