The walk is like a matrix, like a diffuse, vague happening. It's like - imagine a play, a work of theatre, that is totally vague, almost devoid of details that consists in one person going on a walk. And as a consequence, there is a necessary tension between the determinacy and indeterminacy, the definite and the indefinite, of possibility.

For a long time, we assume we know who we are, until the moment we fully realize who that is; in that moment, identity is no longer predictable, but rather takes the form of a truth that, like any other, can become a sentence with no more than a change of perspective.

I don't read novels that are looking to convince me of anything. I believe that literature needs to be a machine of illusions.

The walk is like a matrix, like a diffuse, vague happening. It's like - imagine a play, a work of theatre, that is totally vague, almost devoid of details that consists in one person going on a walk. And as a consequence, there is a necessary tension between the determinacy and indeterminacy, the definite and the indefinite, of possibility.

Novels with a "thesis" don't interest me. They just don't - novels that want to "show" something, that want to "argue" something specific. I don't read novels that are looking to convince me of anything.

What I find is that many times when I work with chance, with indeterminacy, I am more open to experience, less prone to a fixed process, and I think it creates a very important challenge. It creates a way of writing that is, in a way, flatter or smooth, a surface conducive to release, to movement. And in this way, the form of writing gets delightfully melded with the process of the writing.

I don't even know - for me, it's difficult to decide which is more important - the things or the thoughts. It seems to me that certain things came up more or less naturally.