The Academy may not want to give the prize to another young author
When I write, I have always tried to be on the side of the weak. The side of the powerful is not literature's side.
depicting it as a realm of death in her phantasmagorical novel, 'Die Kinder der Toten.'
After this I cannot even formally remain in the Swedish Academy
was made into an award-winning film, ''for her musical flow of voices and countervoices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society's cliches and their subjugating power.
It (the selection of Jelinek) has done irreparable damage to the Nobel literature prize, both those who came before Elfriede Jelinek and those who came after her.
I would gladly do it but I am suffering from social phobia. I cannot manage being in a crowd of people.
The government has once again made the right socially acceptable.
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.
I cannot stand public attention, I just can't. Of course, if I may I might write something instead.
I do not fight against men, but against the system that is sexist.
My plays are made up of long monologues, which is similar to prose working with the language.
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.