When the poet is in love, he is incapable of writing poetry on love. He has to write when he remembers that he was in love.

Rem tene, verba sequentur: grasp the subject, and the words will follow. This, I believe, is the opposite of what happens with poetry, which is more a case of verba tene, res sequenter: grasp the words, and the subject will follow.

Thus we have on stage two men, each of whom knows nothing of what he believes the other knows, and to deceive each other reciprocally both speak in allusions, each of the two hoping (in vain) that the other holds the key to his puzzle.

Perhaps I am not as wise as I like to think I am.

I think of myself as a serious professor who, during the weekend, writes novels.

The west has decided to channel money and effort into studying other customs and practices, but no one has really given other people the chance to study western customs and practices, except at schools maintained by white expatriates, or by allowing the rich from other cultures to study in Oxford or Paris. What happens then is that they return home to organise fundamentalist movements, because they feel solidarity with those of their compatriots who lack the opportunity for such education.

I discovered ... that a novel has nothing to do with words in the first instance. Writing a novel is a cosmological matter, like the story told by Genesis (we all have to choose our role models, as Woody Allen puts it).