I remember a point in [writing] the story where I said, "This isn't working, I should go and buy something at the supermarket or my wife will kill me." Then I said, "No, I'll go on."

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

There were lots of lies along the way in life. Lies without arms, lies that were ill, lies that did harm, lies that could kill. Lies on foot, or behind the wheel, black-tie lies, and lies that could steal.

I think there are some artists whose works are misanthropic.

I think that, in Hebrew, it's like the language creates a more unique and specific universe even before the story.

In the last war, people became vocal from the right-wing point of view: if you're liberal, then you're a traitor.