My writings are limited to depicting analytically, but also polemically, the horrors of reality. Redemption is the speciality of other authors, male and female.
A woman who becomes famous through her work reduces her erotic value. A woman is permitted to chat or babble, but speaking in public with authority is still the greatest transgression.
I associate the metaphor of sport with war. The unrest in the former Yugoslavia, after all, started with a football match that then became charged in nationalist ways and ended in violence.
I seek to cast an incorruptible gaze on women, especially where they are the accomplices of men.
My plays are made up of long monologues, which is similar to prose working with the language.
Literature that keeps employing new linguistic and formal modes of expression to draft a panorama of society as a whole while at the same time exposing it, tearing the masks from its face - for me that would be deserving of an award.
Eroding solidarity paradoxically makes a society more susceptible to the construction of substitute collectives and fascisms of all kinds.
My training in music and composition then led me to a kind of musical language process in which, for example, the sound of the words I play with has to expose their true meaning against their will so to speak.
I'm not one of those women writers who are obsessed by their ego, possibly because I don't have one.
