The tone of every book is slightly different; there's a music that each has that is distinct from all the others.

What if I had been born during a war and I lived in an occupied city, and people were being taken out and shot every day? Everything would be different - even after the war ended, my future would be very different. Look at what these poor people in Aleppo are going through. The children, the ones who survive, are going to be absolutely altered by what they live through, and you and I, luckily, have never had to deal with that.

Things have not changed as much as we would like to think they have. Or maybe we're just in another one of the divided moments in the country. The late '60s certainly was one of them, the Civil War being another, but I'm hard-pressed to think of too many.

In the old physics, three times two equals six and two times three equals 6 are reversible propositions. Not in quantum physics. Three times two and two times three are two different matters, distinct and separate propositions.

Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.

There are often references to childhood, but they're rarely the focus of the [my] novels.

Autobiographical writings, essays, interviews, various other things... All the non-fiction prose I wanted to keep, that was the idea behind this collected volume, which came out about few years ago. I didn't think of Winter Journal, for example, as an autobiography, or a memoir. What it is is a literary work, composed of autobiographical fragments, but trying to attain, I hope, the effect of music.