English is much drier. You can get away with a lot less. Pathos, lyricism, these are things you have to tone down if you want the English version of the book to work.

We think in terms of fate even if we don't believe in it. Even something as trivial as missing the bus - we think: Well, it might be good for something. We always have that thought, no matter how critical we try to be. The idea that everything is always total chance - we're not made for that.

People who have experienced nothing love to tell stories while people who have experienced a great deal suddenly have no stories to tell at all.

Exactly as we might ask God, and do ask God, to change our fate. The difference is that in the story the writer actually replies and in the end even changes his mind.

You say fate is almost indispensable to literature - I think it's completely indispensable, at least in a novel, because a novel always has a plot. Even if nothing happens, even if someone just spends a day walking around Dublin, or whatever, there's still something going on.

German can take a lot more pathos than English can. When you say pathetic in English it's a disparaging term, but when you say pathetisch in German it's just a description, not necessarily negative. That says a lot already.

Also, whenever you have direct speech, and I don't quite know why, but it always gets better in English. Dialogue, the flow of dialogue, English just has a better way with it.

It was both odd and unjust, a real example of pitiful arbitrariness of existance, that you were born into a particular time & held prisoner there whether you wanted it or not. It gave you an indecent advantage over the past and made you a clown vis-a-vis the future.

I'm trying to exploit the bestseller, in a way, but not in the sense of repeating the formula. It's just that the bestseller did so well economically that now I'm freer to do what I want to do, or to try out what I want to try out.

It's also one of these strange points where metaphysics converges with economy. Because really what the experts are doing is creating value by banishing doubt. All great dead painters basically have this one person, this expert who has the metaphysical power to grant a seal of authenticity.

I think I can work anywhere, but you don't get the same kind of inspiration everywhere. New York theater has become a big inspiration for me. I only started writing for the stage myself because I like to see the good, mostly off-Broadway plays in New York.

When I look at life I try to be as agnostic and unmetaphysical as possible. So I have to admit that, most probably, we do not have a fate. But I think that's something that draws us to novels - that the characters always have a fate. Even if it's a terrible fate, at least they have one.

I really just wanted to write about three brothers. When you do that, though, it gives you this wonderful opportunity to tie together different social milieus, because siblings usually move into different worlds as they grow up.

A neglect of one's sentimental education early in life could bear the most unfortunate fruit.

For a while I never show anybody what I'm writing, and during that time I need the feeling that publishing is only an option. I might publish this, I might not. I think if I had to publish it, I might panic.

So the fact that there's someone who's planning what happens to the characters, writing it down, means that the characters always have a fate. And when we think about fate, we tend think of it as the thing we would have if we were literary characters, that is, if there were somebody out there, writing us.