Etgar Keret Quotes 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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I tried once in my life to write a novel. I had written something like 80 pages of it when my laptop got stolen. When I told people this, they acted as if something tragic had happened, but I kind of felt relieved, grateful to the thief who saved me from another year of something that felt more like homework than fun.
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When I write, I never know the endings. What I think works in [my] stories is the fact that when I write, I really want to find out what is going on-I'm writing for myself as a reader. It's like when you dream a dream. I want to know what's behind the door. If I navigate, it's from a place that's totally intuitive.
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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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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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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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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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Writing is a way of living other lives. It is a way of expanding your life. It's not actually living a different life, it just means that you're hungry for life. There are so many things you want to do.
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I usually start writing stories from tone and not from content - kind of like people who create music and invent the lyrics later on.
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I was first introduced to Kafka's writing during my compulsory army-service basic training. During that period, Kafka's fiction felt hyperrealistic.
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I never know the endings when I write. It's a turnoff when you know the ending. You lose much of your incentive to write when you already know. It's like seeing a movie a second time.
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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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My first and biggest love was always fiction writing. But it is a very lonely pastime.
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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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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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I'm not saying that I don't experience people in life as evil, but writing is not a place of alienation; writing is the place where we can try to be human. I think there are some artists whose works are misanthropic. When I see this kind of stuff, I think, they're smart, but I don't need art to tell me people are assholes. I can just go into the streets.
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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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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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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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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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Generally, all my life, I have had strong friction with life - I was a problematic soldier, I was kicked out of the army, I was in fights. There was something about writing that was a way of experimenting with this emotion.
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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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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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The reason I write is that I'm not in dialogue with my emotions; writing puts me in touch with myself.
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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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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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Making up characters and places and plots, unlike fixing your plumbing or doing dishes, is anything but practical or rational. I write what needs to be written the way that seems genuinely right.
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People in Israel would write in a high register, they wouldn't write colloquial speech. I do a special take on colloquial speech. When I started writing, I thought [the language] was telling the story of this country: old people in a young nation, very religious, very conservative, very tight-assed, but also very anarchistic, very open-minded. It's all in the language, and that's one thing that doesn't translate.
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I remember a point in [writing] the story where I said, "This isn't working, I should go and buy something at the supermarket or my wife will kill me." Then I said, "No, I'll go on."
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Often in writing programs, articulation and clarity are more important than what you actually say.
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