The more readings a novel has, even contradictory, the better. In journalism, you talk about what you know; you have provided yourself with records, you have gathered information, you have performed interviews. In a novel, you talk about what you don't know, because the novel comes from the unconscious. They are very different relationships with words and with the world. In journalism, you talk about trees; in the novel, you try to talk about the forest.

The art path leads you to be increasingly free. And what does "because of being increasingly free" mean? Julio Ramón Ribeyro used to say a mature novel demands the author's death, not literal death but metaphoric death, which is the author has to truly erase himself. Therefore, to be truly free, you have to break free from internal and external pressures, to erase the self completely and become a sort of medium, let the story pass through yourself and let the story dance with you.

It's true that a human being cannot control what happens to him. However, what we can control is how we respond to what happens to us, what we do with what happens to us. Even if the range of choice is minimal, there is always a choice. From that point of view, destiny is our battlefield. It's not a tragedy; it is what we do with it.

The more readings a novel has, even contradictory, the better. In journalism, you talk about what you know; you have provided yourself with records, you have gathered information, you have performed interviews. In a novel, you talk about what you don't know, because the novel comes from the unconscious. They are very different relationships with words and with the world. In journalism, you talk about trees; in the novel, you try to talk about the forest.

At any given time, if you live long enough, old age catches you . . . the only choices we have in life are either the impairment of old age or early death.

The flesh is what traps us, because no one has ever chosen his or her body to live in, has he? It's the flesh that makes us sick, that makes us old and that eventually ends up killing us. But at the same time, it's that glorious flesh that enables us to scratch heaven through sensuality, through passion. Paradoxically, the flesh that kills us will also make us feel eternal for a brief moment because that's what we are in passion, eternal - we abandon ourselves, we give ourselves to the other, so much that when we are loving passionately, death doesn't exist.

For me, fiction belongs to my inner being, is something essential which defines me - I am a fiction writer in the same way I am a woman, the same way I am dark-haired - it is something essential and structural. It's like an exogenous skeleton that keeps me going. And I don't know how I would manage to live without writing, working with words.