Etgar Keret Quotes
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I see creative-writing classes as some sort of AA meeting. It is more of a support group for people who write than an actual course in which you learn writing skills. This support group is extremely important because there is something very lonely about writing.
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I write what needs to be written the way that seems genuinely right. If what comes out of it are stories, then it is my vocation to believe in them and in the fact that they'll interest people and maybe affect their lives.
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In the army you feel violated - there's no private space. Writing was a life-saver, a way of recovering private territory.
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Maybe in the general scheme of things he couldn't find any meaning in life, but on a smaller scale it was okay. Not always, but a lot of the time.
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My mother, for example, told the German officer not to kill her. She'd make it worth his while. And then, when they were doing it, she pulled a knife out of her belt and sliced open his chest, just like she used to open chicken breasts to stuff with rice for the Sabbath meal.
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Rabbits are played. Nowadays it's all about the turtles. Tell them it's a ninja, they'll freak.
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Hebrew was frozen, like frozen peas, fresh out of the Bible.
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I have to admit that talking authoritatively about my students' stories can make me feel, at times, like an astronaut who has just landed on a new planet and insists on giving guided tours to its inhabitants.
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What happens when you speak colloquial Hebrew is you switch between registers all the time. So in a typical sentence, three words are biblical, one word is Russian, and one word is Yiddish. This kind of connection between very high language and very low language is very natural, people use it all the time.
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Sometimes, when you are in a really constrained situation, it makes you more focused about what you want to say and where you're heading. The most beautiful love poems that were ever written are sonnets, composed in a very constraining form.
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The fact is that everything I have in my pockets is carefully chosen so I’ll always be prepared. Everything is there so I can be at an advantage at the moment of truth. Actually, that’s not accurate. Everything’s there so I won’t be at a disadvantage at the moment of truth.
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My stories are very compact. I want them to say the most complex things in the simplest way.
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Translators are like ninjas. If you notice them, they’re no good.
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The one who swallows cactuses with spines should not complain about hemorrhoids.
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When I started writing my stories, I thought that not only nobody outside my language, but nobody outside my neighbourhood would get them.
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When my works are being translated, I always get this question from my translators: Up or down? Which means, should it sound biblical and highbrow, or should we take it all down to sound colloquial? In Hebrew, it's both all the time. People in Israel would write in a high register, they wouldn't write colloquial speech. I do a special take on colloquial speech.
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In America, where writers are preoccupied with the craft of writing, I always try to introduce this concept of the badly written good story. Turning the hierarchy around and putting passion on top and not craft, because when you just focus on craft, you can write something that is very sterile.
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He felt full of a dense and sour substance that was blocking his chest, and it wasn't grief. After all those years, life now seemed like no more than a trap, a maze, not even a maze, just a room that was all walls, no door.
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My first and biggest love was always fiction writing. But it is a very lonely pastime.
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I write in a slangy colloquial speech that has not been common in the Israeli tradition of writing, and that is one of the things that gets lost a little in translation.
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Nobody else in the world would look at writing as craftsmanship - it's totally this Protestant hardworking ethic. You go into this kind of infinite space of imagination and you fence yourself in with all kinds of laws.
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The moment that you have a child - that you know that when he'll turn 18, he'll join the Army and go there for three years of compulsory service - then you can't help yourself of thinking about the future - speculating about it, dreading it or even being - trying to be more active to change it and improve it.
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I often give this metaphor where I say that writing short fiction is like surfing, while writing a novel is like navigating with your car. So when you navigate with your car, you want to get somewhere. When you surf, you don't want to get somewhere, you just don't want to fall off your board.
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I don't have Facebook or Twitter accounts yet. Being a compulsive storyteller, I always make up for myself discouraging stories about how such accounts will get me into embarrassing and time-consuming situations.