In a novel, my feelings and sense of outrage can find a broader means of expression which would be more symbolic and applicable to many European countries.
I don't want to promote my own image either. I don't like going on television or mixing in literary circles.
People with lots of doubts sometimes find life more oppressive and exhausting than others, but they're more energetic - they aren't robots.
Literature is my life of course, but from an ontological point of view. From an existential point of view, I like being a teacher.
We all want to be someone else but without ceasing to be ourselves. I think it's very important to defend this idea in real life too.
My books are about losers, about people who've lost their way and are engaged in a search.
It's very useful when politicians have doubts because there are so many choices to be made in the world.
My job is to look at what politics is doing, not be a politician myself.
No, I'm happy to go on living the life I've chosen. I'm a university teacher and I like my job.
Literature for me isn't a workaday job, but something which involves desires, dreams and fantasy.
The most important basis of any novel is wanting to be someone else, and this means creating a character.
There are some fundamental values it's impossible to be wrong about.
When you have a foreign invasion - in this case by the Indonesian army - writers, intellectuals, newspapers and magazines are the first targets of repression.
Xenophobia manifests itself especially against civilizations and cultures that are weak because they lack economic resources, means of subsistence or land. So nomadic people are the first targets of this kind of aggression.
The salt of any interesting civilization is mixture.