Etgar Keret Quotes
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For my mother, having a family was the most important thing in her life. In the Second World War, it was a challenge - surviving physically and mentally and finding somebody who you loved and who was willing to be with you.
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When I was a kid, I wanted to make my parents happy. I'd always say to them, "What do you want me to do? Do sports? Be rich? Be funny?" My mother would say, "Whatever we want from you, you already gave us - we wanted you to be alive, and you made it."
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I used to feel that if I say something's wrong, I have to say how it could be made right. But what I learned from Kurt Vonnegut was that I could write stories that say I may not have a solution, but this is wrong - that's good enough.
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I think when you write, you should call it a "writing spree." I don't write every day, and I don't write regularly.
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Being ambivalent doesn't mean that you're a relevatist, that anything goes; it just means that you show the complexity of life. Life is always complex.
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It took a lot to understand that the interest in both writing a story and reading it is not in the objective dangers someone takes. You don't have to fight snakes or wake up in a strange apartment to have a story; it's about what goes on inside your mind and soul.
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I always have a story in my head that needs to be written, or at least I think I do. But I usually can't find the time to write it.
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You take a book, and what can you do with a book? Can you cook an egg on a book? No. Can you dig a hole? No. Is it a good weapon? No. The fact that it's good for nothing kind of makes it almost all-important.
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I think that becoming a parent kind of made me try to be more responsible. And it made me much more stressful.
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The best stories you usually hear are stories that people feel some type of urgency about.
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Sometimes the stories are smarter than me, and suddenly these things start to make sense.
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I've always had a very developed superego. I also had a very powerful id, but there was no ego in the middle. So writing was always like letters sent from the id to the superego, saying, "What's going on here?" What I loved about writing was that I was totally weightless. I was amazed at the fact that I could be myself without being afraid that anyone would get hurt.
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I have always thought that Heaven is a place for people who had had a good life, but that is not true. God is merciful and way too good to make it so. The Heaven is just a place for people who could not be really happy while living on Earth. I was once told that people who commit suicide are taken back on Earth to repeat life from the very beginning because if they did not like it once, it did not mean they would not like it the next time. But those who did not fit in on Earth at all, ended up here. Everyone comes to Heaven in their own way.
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If you want to learn how to be happy, you have to know what is sadness first.
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I think that, in Israel, the greatest fear that people have, and I have it, too, is fear of genocide.
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In Israel, the role of the writer is dictated by the language in which you write. Writers see themselves as cultural prophets.
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All my writing-life people kept telling me that I should stop writing short stories and start writing novels: my agent, my Israeli publisher, my foreign ones, my bank manager - they all felt and keep feeling that I'm doing something wrong here.
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Writing is very castrating in the moment. Fiction in general, it has no function, nobody asks for it.
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Writing a story is kind of like surfing, as opposed to the novel, where you use a GPS to get somewhere. With surfing, you kind of jump.
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When you work on a graphic novel or a film with people you've been together through a lot and you've exposed your secrets and weaker sides to each other.