This is the paradox of the power of literature: it seems that only when it is persecuted does it show its true powers, challenging authority, whereas in our permissive society it feels that it is being used merely to create the occasional pleasing contrast to the general ballooning of verbiage.

حرفةُ الكتابة تجعل المرءَ يعيش ضمنَ نسقٍ ، فرجلٌ جالسٌ في مكتبه يشبه أيَّ رجلٍ آخر جالس في مكتَبِه

Signs form a language, but not the one you think you know.

To write, for example, a crime that is horrible but which somehow 'resembles' the butterfly, which would be light and fine like the butterfly. I could also describe the butterfly, but bearing in mind the horrible scene of a crime, so that the butterfly would become something frightful.

I, on the contrary, have been convinced for some time that perfection is not produced except marginally and by chance; therefore it deserves no interest at all, the true nature of things being revealed only in disintegration.

I am the man who comes and goes between the bar and the telephone booth. Or, rather:that man is called 'I' and you know nothing else about him, just as this station is called only 'station' and beyond it there exists nothing except the unanswered signal of a telephone ringing in a dark room of a distant city.

I have finally come around to asking myself what is expressed in that sand of written words which I have strung together throughout my life, that sand that seems to me to be so far away from the beaches and desert of living. Perhaps by staring at the sand as sand, words as words, we can come close to understanding how and to what extent the world that has been ground down and eroded can still find in sand a foundation and model.

My working method has more often than not involved the subtraction of weight. I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language. . . . Maybe I was only then becoming aware of the weight, the inertia, the opacity of the world--qualities that stick to the writing from the start, unless one finds some way of evading them.

To write well about the elegant world you have to know it and experience it to the depths of your being... what matters is not whether you love it or hate it, but only to be quite clear about your position regarding it.