Memory narrativises itself.
From Aleksandar Hemon
I really don't feel that any of the pieces I wrote were confessions; there are no revelations about secrets in my life, and actually I have nothing to confess and I certainly do not ask for redemption and there is no reward for confessing that I expect.
In Bosnian, there's no distinction in literature between fiction and nonfiction; there's no word describing that.
I long for, not a writer's retreat - I can write in any situation - but a reader's retreat.
I resist when someone calls me a novelist: it implies some kind of inherent superiority of the novel. I'm not a novelist, I'm a writer.
To me there's no difference between a book of stories and a novel - they're just slightly different shapes.
When we're upset, our vocal cords tighten and we can't speak. And when I lie - well, I can't lie, because the same thing happens - everyone who knows me knows that when I start squeaking, I've started lying.
When I found myself in the U.S., and the war was at full swing in Bosnia, I read for survival - it was a means of thought resuscitation.
New York is the Hollywood of the publishing industry, complete with stars, starlets, suicidal publishers/producers, intrigues, and a lot of money.
I wish I could avoid the people who have threatened me. My favorite threat is that I will be thrown in the River Miljacka, which is at most knee-deep, with my feet bound in cement.
2 perspectives
1 perspectives