Short stories consume you faster. They're connected to brevity. With the short story, you are up against mortality. I know how tough they are as a form, but they're also a total joy.
What I know most is that the difference between us is what makes us interesting and attractive and problematic and exciting and vital to each other. Give me difference over indifference any day.
All we need to do, reader or writer, from first line to final page, is be as open as a book, and be alive to the life in language - on all its levels.
Even things which seem separate and finished are infinitely connected and will infinitely connect. This connection happens as soon as you let it, as soon as you engage - as soon as you even attempt to engage.
How could 30 years be the blink-of-the-eye it felt? It was the difference between black-and-white footage of the Second World War and David Bowie on 'Top of the Pops' singing 'Life on Mars.'
A good argument, like a good dialogue, is always a proof of life, but I'd much rather go and read a book.
I wouldn't call my work Modernist. I would rust if I try to think about labels. I'd feel like the Tin Man in 'The Wizard of Oz.'
We'd never expect to understand a piece of music on one listen, but we tend to believe we've read a book after reading it just once.
A game one of my sisters will play with me in my first year of being alive is called Good Baby, Bad Baby. This consists of being told I am a good baby until I smile and laugh, then being told I am a bad baby until I burst into tears. This training will stand me in good stead all through my life.
As for Aliki - if you were to stand in the middle of Rome and say the name Sophia Loren, or Paris and say the name Catherine Deneuve or Brigitte Bardot, or L.A. and the name Marilyn Monroe, it's like standing in Athens, or anywhere in wide-flung Greece, and saying Aliki Vougiouklaki. A huge star - and so little known elsewhere in the world.