I seem to know all the cliches, but not how to put them together in a believable way. Or else these stories are terrible and grandiose precisely because all the cliches intertwine in an unrealistic way and you can't disentangle them. But when you actually live a cliche, it feels brand new, and you are unashamed.

I don't want to write a novel per year. I know that I need a break of one or two years. So maybe I invent some new, urgent activity so I don't fall into the trap of starting a new novel.

I developed a passion for the Middle Ages the same way some people develop a passion for coconuts.

I would define the poetic effect as the capacity that a text displays for continuing to generate different readings, without ever being completely consumed.

Since I became a novelist I have discovered that I am biased. Either I think a new novel is worse than mine and I don’t like it, or I suspect it is better than my novels and I don’t like it.

The real hero is always a hero by mistake.

Stopgaps do belong to the internal economy of the form, since the Whole requires them, even if only in a subordinate position ... The stopgap Luigi Paryson's 'zeppa' accepts its own banality, because without the speed that the banal allows up, it would slow up a passage that is crucial for the outcome of the work and its interpretation.