Sergio Chejfec Citas

• For a long time, we assume we know who we are, until the moment we fully realize who that is; in that moment, identity is no longer predictable, but rather takes the form of a truth that, like any other, can become a sentence with no more than a change of perspective.

  Sergio Chejfec

  Perspective, Long, Identity

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• La identidad es gradual, acumulativa; porque no hay necesidad de que se manifieste, se muestra intermitentemente, como una estrella insinúa el pulso de su ser por medio de su luz parpadeante. Pero, ¿en qué momento de esta oscilación se manifiesta nuestro verdadero ser? ¿En la oscuridad o en el parpadeo?

  Sergio Chejfec

  Stars, Mean, Light

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• 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 that's at once alien and familiar.

  Sergio Chejfec

  Confused, Space, Solitude

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• 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

  Believe, Literature, Illusion

  Source: www.guernicamag.com

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• The walk is like a matrix, like a diffuse, vague happening. It's like - imagine a play, a work of theatre, that is totally vague, almost devoid of details that consists in one person going on a walk. And as a consequence, there is a necessary tension between the determinacy and indeterminacy, the definite and the indefinite, of possibility.

  Sergio Chejfec

  Play, Theatre, Details

  Source: www.guernicamag.com

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• I don't even know - for me, it's difficult to decide which is more important - the things or the thoughts. It seems to me that certain things came up more or less naturally.

  Sergio Chejfec

  Important, Certain, Difficult

  Source: www.guernicamag.com

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• I find that, for me, it is this concept of borrowed or built life, life on loan, that gets me writing. It's similar to speaking about literature. I like it, and then I don't like it. It has such an inherent vein of pretention, because you're not speaking about real things. There's a literary pretentiousness made of speaking and spending so much time on unreal persons. And it seems, now, impossible to create an unpretentious, totally organic character.

  Sergio Chejfec

  Real, Carácter, Escritura

  Source: www.guernicamag.com

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• 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 to define oneself. The trace is fallible, impermanent. It's one of the motives I had in mind throughout the text.

  Sergio Chejfec

  Real, Pensar, Uno M ismo

  Source: www.guernicamag.com

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• I like to compare the first experiences of the Internet - the fortuitousness, the chance - with reality, with the experience, for example, of being in a city that you don't know. Many times - and I don't know if I can totally defend this argument - I've found that the way one experiences the world, and daily life, we are constantly dealing with these perceptions. And it seems like it works, this superficial perception of determinacy, but it's completely ridiculous.

  Sergio Chejfec

  Reality, Cities, Perception

  Source: www.guernicamag.com

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• 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 you really would have no idea where you would end up. You would end up on pages that had nothing to do with what you wanted, experiences that were totally unanticipated. You had to connect the dots, connect the parcels of your experience. It was totally open to randomness.

  Sergio Chejfec

  Ideas, Pages, Dots

  Source: www.guernicamag.com

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• 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 rich, but it is put-on, it passes the time. It borrows from the world, but it does not invent it.

  Sergio Chejfec

  Lying, Important, Doe

  Source: www.guernicamag.com

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• 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 moral parts of us. I say immortal because we now have to find new formats, new eloquences, and resolve within ourselves this "constructed" life, a life that is incomplete, imperfect.

  Sergio Chejfec

  Writing, Reality, Thinking

  Source: www.guernicamag.com

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• One must distance oneself from the idea of strict realism. It seems to me that real nature doesn't exist anymore, this idea of "the wild." This is why I love parks, and why I chose to use them in my work - they are beyond nature. I see nature as a resource.

  Sergio Chejfec

  Real, Distance, Ideas

  Source: www.guernicamag.com

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• Cuando utilizo un nombre o un lugar, quiero dejar al lector abierto a la cascada de determinaciones que pueda provocar. Y no sé, pero debo mencionar el nombre de Borges. Trato de mencionarlo en cada una de mis obras. Es una marca, un sello, una especie de homenaje a la Argentinidad. Pero es un homenaje que funciona a través de frases hechas, de esas imágenes comunes que pueblan su obra: la noche, los laberintos, las bibliotecas. Es decir, no quiero simplemente homenajear a Borges, sino todo lo contrario: recordar sus lugares comunes.

  Sergio Chejfec

  Night, Names, Labyrinth

  Source: www.guernicamag.com

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• 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 writer who doesn't write with a style, almost. I begin with tension, with a vibe, a character.

  Sergio Chejfec

  Character, Writing, Style

  Source: www.guernicamag.com

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• 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, the form of writing gets delightfully melded with the process of the writing.

  Sergio Chejfec

  Writing, Thinking, Challenges

  Source: www.guernicamag.com

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• Como cuando coges un libro y no te das cuenta de qué tipo de texto es -puede ser un ensayo, una novela, una biografía- y en un momento dado te das cuenta de que no sabes dónde, como lector, quieres estar. ¿A dónde quieres llegar con este texto? ¿Cuál es el objetivo? ¿Cómo se supone que debes interpretar lo que estás leyendo? Y las respuestas de la gente varían: a algunos no les gusta y se desaniman por la confusión, la falta de comprensión.

  Sergio Chejfec

  Book, Reading, Goal

  Source: www.guernicamag.com

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• Una palabra, y todas las infinitas fluctuaciones que puede poseer. Como ese momento en el que sabes que tienes algo que decir, y sabes incluso que estás hablando, pero aún no tienes ni idea de cómo lo dirás. O el momento en que, como lector, estás leyendo, y estás entendiendo lo que estás leyendo, pero sigues sin tener ni idea de lo que vendrá después para ti, de lo que quiere decir exactamente el autor. Para mí, ése es el máximo nivel de profundidad literaria, de densidad literaria.

  Sergio Chejfec

  Reading, Ideas, Understanding

  Source: www.guernicamag.com

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• At one point I felt a tension between objects, their real, physical lives, and the idea of meaning: the physical, material reality of a book, and the totally intangible experience of reading it.

  Sergio Chejfec

  Real, Libro, Lectura

  Source: www.guernicamag.com

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• 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 don't read novels that are looking to convince me of anything.

  Sergio Chejfec

  Want, Arguing, Interest

  Source: www.guernicamag.com

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