Péter Nádas interview


DK It seems from your work that there is a notion of the sanctity of art. The theater world that forms the backdrop to the love story in A Book of Memories functions as a sort of sanctuary from reality.

PN I don’t think of art so much in terms of sanctity—but there is a very strong moral command that I think about executing when I write, and perhaps this is what comes across in the work. This moral command is related to the theme that I choose as well as the methodology. My friend reproached me—he said, “To you, writing is more important than anything else,” which I had never thought of, because it was self-evident. If it were my little family that counted most, I would have chosen another profession. I would have gone into the butcher profession instead. To be a writer is really not the most radical thing I could do because I do have some people around me. If were a dancer, everything would be excluded, because a dancer has nothing to do with anybody except his or her own little muscles. But in my next life that is what I am planning to do. To be a dancer.

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