When I use a name or place, I want to leave the reader open to the waterfall of determinacy that it may provoke. And I don't know, but I must mention the name Borges. I try to mention it in… — Sergio Chejfec Copy Share Image
For me parks are good when first of all, they're not impeccable, and when solitude has appropriated them in such a way that solitude itself becomes an emblem, a defining trait for walkers, sporadic at best, who in my opinion should be irrevocably lost or absorbed in thought, and a bit confused, too, as when one walks through a space… — Sergio Chejfec Copy Share
I don't read novels that are looking to convince me of anything. I believe that literature needs to be a machine of illusions. — Sergio Chejfec Copy Share Image
We can speak of politics, ethics, and in this way, speak about the world. But at the same time, it's always in a way that is totally nebulous and abstracted, this way of thinking about reality. And that's why I write the way I do - it's an almost immortal way to show dependence on the biological, the political, the… — Sergio Chejfec Copy Share
What I find is that many times when I work with chance, with indeterminacy, I am more open to experience, less prone to a fixed process, and I think it creates a very important challenge. It creates a way of writing that is, in a way, flatter or smooth, a surface conducive to release, to movement. And in this way,… — Sergio Chejfec Copy Share
“Because sometimes the memory of what one has read tempers the actual experience, and the experience itself becomes, more than something physical, the realization… — Sergio Chejfec Copy Share Image
Novels with a "thesis" don't interest me. They just don't - novels that want to "show" something, that want to "argue" something specific. I… — Sergio Chejfec Copy Share Image
For me, it's a way to find a fiction within a fiction. To find a way to uncover that blunder within the "lie," because when you look closer, every "lie" - and I say that with quotation marks - can be much more complicated. Because that is what fiction is: it's probably the least important thing in the world. It's… — Sergio Chejfec Copy Share
At one point I felt a tension between objects, their real, physical lives, and the idea of meaning: the physical, material reality of a… — Sergio Chejfec Copy Share Image
Not to say that the process assumes anything of "greater" or "lesser" importance, though: it's just more graphic information. Take the surrealists, for example, or a work by Cage. For me, there's a great value in doing this with literature. There's a certain form of dependence; process and product inform each other, depend on each other. I consider myself a… — Sergio Chejfec Copy Share
Nostalgia for people, cultures, everything. There's an ability to use these marks to note things that are erased, deleted. Traces are a species of history, of evidence. It's a way for the way the narrator to construct a semblance of self, even though all of this creates a deception, a way to think of one's traces as a real way… — Sergio Chejfec Copy Share
In the early days of the Internet, the word "navigation" had this ingrained in it. There really was a sensation of the cyber-flâneur, as… — Sergio Chejfec Copy Share Image
A word, and all the infinite fluctuations it may possess. Like that moment when you know you have something to say, and you know… — Sergio Chejfec Copy Share Image
