Top 117 Quotes & Sayings by Etgar Keret

I have to admit that talking authoritatively about my students' stories can make me feel, at times, like an astronaut who has just landed on a new planet and insists on giving guided tours to its inhabitants.

Sometimes, when you are in a really constrained situation, it makes you more focused about what you want to say and where you're heading. The most beautiful love poems that were ever written are sonnets, composed in a very constraining form.

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.

Before I started to make films, I didn't give much thought to the way the characters were physically positioned in the story world.

In the army you feel violated - there's no private space. Writing was a life-saver, a way of recovering private territory.

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.

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.

When I write a story, I have no idea what I'm doing. All I know is that I want to share something with my readers. The whole idea of writing is this place where you lose control, where you're irresponsible - it's a very liberating place.

I see creative-writing classes as some sort of AA meeting. It is more of a support group for people who write than an actual course in which you learn writing skills. This support group is extremely important because there is something very lonely about writing.

Most of the Jewish writer friends I have are American, and I feel closer to them because they're always obsessed with one issue - identity: what does it mean to be an American Jew?

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.

What you experience in the army, aged 18 to 21, is what you take through all your life. You cross invisible lines: you shoot someone, get shot, break into people's houses. It's naive to think you won't carry anything into your life.

Being published in Arabic is a strong and consistent wish I have. I live in the Middle East and want to be in some sort of an unpragmatic dialogue with my neighbors.

My stories are very compact. I want them to say the most complex things in the simplest way.

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.

In Israel, there is this reduction of the political discourse to something that is very limited. It's as if you have that pitch that only dogs can hear. Sometimes I feel I speak at such a pitch that very few people around me communicate with what I'm saying.

I rarely return to characters. My characters, at least most of them, are much more a part of that superorganism that is the story than separate and independent creatures.

In Israel, the role of the writer is dictated by the language in which you write. Writers see themselves as cultural prophets.

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.

I don't have Facebook or Twitter accounts yet. Being a compulsive storyteller, I always make up for myself discouraging stories about how such accounts will get me into embarrassing and time-consuming situations.

When I say a spoken Hebrew sentence, half of it is like the King James Bible and half of it is a hip-hop lyric. It has a roller-coaster effect.

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.

I was first introduced to Kafka's writing during my compulsory army-service basic training. During that period, Kafka's fiction felt hyperrealistic.

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.

When I started writing my stories, I thought that not only nobody outside my language, but nobody outside my neighbourhood would get them.

The reason I write is that I'm not in dialogue with my emotions; writing puts me in touch with myself.

I think that becoming a parent kind of made me try to be more responsible. And it made me much more stressful.

For me taking a pragmatic decision when it comes to art is almost an oxymoron. The reason I first picked up a pen and wrote a story had nothing pragmatic in it.

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.

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.

I think there are some artists whose works are misanthropic.

If you scare somebody enough, they stop being rational.

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.

You'll never know what's happening inside the heads of other people.

To what extent does anybody control his destiny? Life is very much like falling of the edge of a cliff. You have complete freedom to make all the choices you want to take on your way down. My characters choose to yearn and not lose hope even when the odds are completely against them. It doesn't make the landing at the end of that fall any less painful but, somehow, it helps them keep a little dignity their bone broken body.

Rabbits are played. Nowadays it's all about the turtles. Tell them it's a ninja, they'll freak.

He misses the feeling of creating something out of something. That’s right — something out of something. Because something out of nothing is when you make something up out of thin air, in which case it has no value. Anybody can do that. But something out of something means it was really there the whole time, inside you, and you discover it as part of something new, that’s never happened before.

Sometimes the stories are smarter than me, and suddenly these things start to make sense.

I don't need art to tell me people are assholes. I can just go into the streets.

The one who swallows cactuses with spines should not complain about hemorrhoids.

And she loved a man who was made out of nothing. A few hours without him and right away she’d be missing him with her whole body, sitting in her office surrounded by polyethylene and concrete and thinking of him. And every time she’d boil water for coffee in her ground-floor office, she’d let the steam cover her face, imagining it was him stroking her cheeks, her eyelids and she’d wait for the day to be over, so she could go to her apartment building, climb the flight of stairs, turn the key in the door, and find him waiting for her, naked and still between the sheets of her empty bed.

If you want to learn how to be happy, you have to know what is sadness first.

The amazing thing about an artistic collaboration is that it is as intense and intimate as a romantic one. Sometimes even more so.

My first and biggest love was always fiction writing. But it is a very lonely pastime.

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.

Maybe in the general scheme of things he couldn't find any meaning in life, but on a smaller scale it was okay. Not always, but a lot of the time.

The best stories you usually hear are stories that people feel some type of urgency about.

Hebrew is this unique thing that you cannot translate to any other language. It has to do with its history.

Hebrew was frozen, like frozen peas, fresh out of the Bible.

I really believe hatred is not a primal emotion, in that you can't find it in nature. It's basically some kind of distortion of fear.

My father - I once asked him what was his greatest achievement. He said his greatest achievement was that he fought in five wars in the infantry, always on the front line, and never hurt anybody.

According to Gur's theory of boredom, everything that happens in the world today is because of boredom: love, war, inventions, fake fireplaces - ninety-five percent of all that is pure boredom.

It's kind of a reflex for me to ignore my own wishes and think about other people first.

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 the typical way is that usually Holocaust survivors are known to be very quiet and full of anxiety, many of them don't like life, don't trust people. But my parents were children during the Holocaust. And my father was very optimistic.

There are two kinds of people, those who like to sleep next to the wall, and those who like to sleep next to the people who push them off the bed.

For three months, a person sits and looks at you, imagining a kiss.

Translators are like ninjas. If you notice them, they’re no good.

If someone gives you a piece of advice that sounds right and feels right, use it. If someone gives you a piece of advice that sounds right and feels wrong, don’t waste so much as a single second on it. It may be fine for someone else, but not for you.

I think that before my son was born, I didn't have a strong sensation for future. I was living in this kind of never-ending present.