We live in the best of worlds. But still, it's like we've lost something on the way to here: a sense of life. I can't know for sure, I might be the only one who's lost it. Maybe everybody else is living the now, thinking they're having it well. Anyhow, that motivated me to write the books.

In modern novels I try to not let myself get away and to be here, and that's why I write about my life and myself. But even when I do that there's an element of disappearing to a place that's not me. It's "the selflessness of writing". It seldom happens, but when it does it's worth quite a lot.

I have a longing for fiction - to try to believe in it and to disappear into it.

National identity is a motion. It's something you're inside, you don't get what's happening, you can't see it from above. And that's where you have to write. You can't see what's happening now or what's going to happen, so you just dive into it and write.

A problem with my novels is that they, from the start, have been infantile and incredibly childish. There are childishness, stupidity, lack of wisdom, fantasies. At the same time, that's where my creativity can be found. If I tried to control it and make it more mature, it wouldn't be good at all. It'd be uninteresting, without any vivacity.

The way we deny death says something about how we live our lives, doesn't it? At least in Sweden or Scandinavia, you don't have to search further back in time than maybe three generations to find another way to relate to death. People then had a different, closer relationship with death; at least it was like that in the countryside.

We live in the best of worlds. But still, it's like we've lost something on the way to here: a sense of life. I can't know for sure, I might be the only one who's lost it. Maybe everybody else is living the now, thinking they're having it well. Anyhow, that motivated me to write the books.