I find that, for me, it is this concept of borrowed or built life, life on loan, that gets me writing. It's similar to speaking about literature. I like it, and then I don't like it. It has such an inherent vein of pretention, because you're not speaking about real things. There's a literary pretentiousness made of speaking and spending so much time on unreal persons. And it seems, now, impossible to create an unpretentious, totally organic character.

I like to compare the first experiences of the Internet - the fortuitousness, the chance - with reality, with the experience, for example, of being in a city that you don't know. Many times - and I don't know if I can totally defend this argument - I've found that the way one experiences the world, and daily life, we are constantly dealing with these perceptions. And it seems like it works, this superficial perception of determinacy, but it's completely ridiculous.

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.

For me parks are good when first of all, they're not impeccable, and when solitude has appropriated them in such a way that solitude itself becomes an emblem, a defining trait for walkers, sporadic at best, who in my opinion should be irrevocably lost or absorbed in thought, and a bit confused, too, as when one walks through a space that's at once alien and familiar.

Like when you pick up a book and you don't realize what type of text it is - it could be an essay, a novel, a biography - and at one point you realize you don't know where, as a reader, you want to be. Where are you going with this text? What is the goal? How are you supposed to interpret what you're reading? And people's responses vary - some dislike it, and are put off by the confusion, the lack of comprehension.

Not to say that the process assumes anything of "greater" or "lesser" importance, though: it's just more graphic information. Take the surrealists, for example, or a work by Cage. For me, there's a great value in doing this with literature. There's a certain form of dependence; process and product inform each other, depend on each other. I consider myself a writer who doesn't write with a style, almost. I begin with tension, with a vibe, a character.

At one point I felt a tension between objects, their real, physical lives, and the idea of meaning: the physical, material reality of a book, and the totally intangible experience of reading it.