“Every novel is brand-new. It’s never been written before in the history of the world. At the same time, it’s merely the latest in a long line of narratives—not just novels, but narratives generally—since humans began telling stories to themselves and each other.”

“The novel is the privileged vehicle of two ways of being: narrative and freedom: to be new (novel) in a speech open to all, and to be free in a speech that never concludes.”

“The novel since its origins has been the privatization of history... the history of private life ... and in that sense every novel is an historical novel....”

“I’m writing a book, one letter at a time. After thirteen days, I just finished writing “Once upon a time.” Since it’s a fairy tale, it’s obviously a romance novel, along the lines of “All Quiet on the Western Front.”

“A narrator should not supply interpretations of his work; otherwise he would have not written a novel, which is a machine for generating interpretations.”

“[…] detective novels are not novels of detection, still less of revelation, still less of solution. Those are all necessary, but not only are they insufficient, but they are in certain ways regrettable. These are novels of potentiality. Quantum narratives. Their power isn’t in their final acts, but in the profusion of superpositions before them, the could-bes, what-ifs and never-knows. Until that final chapter, each of those is as real and true as all the others, jostling realities all dreamed up by the crime, none trapped in vulgar facticity. That’s why the most important sentence in a murder mystery isn’t the one starting ‘The murderer is…’ – which no matter how necessary and fabulously executed is an act of unspeakable narrative winnowing – but is the snarled expostulation halfway through: ‘Everyone’s a suspect.’ Quite. When all those suspects become one certainty, it’s a collapse, and a let-down. How can it not be? We’ve been banished from an Eden of oscillation.”