As is said about most writers, on the one hand, all I ever did from when I was a child was read, and I was a loner, which was furthered by my parents and my upbringing. On the other hand, the more I read, the more I felt this well-known fissure between me and the world.

I'm not one of those women writers who are obsessed by their ego, possibly because I don't have one.

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.

My inspiration came especially in the 1950s through the Vienna Group founded by writer H.C. Artmann. It showed me that if you want to say something, you have to let the language itself say it, because language is usually more meaningful than the mere content that one wishes to convey.

Eroding solidarity paradoxically makes a society more susceptible to the construction of substitute collectives and fascisms of all kinds.

My plays are made up of long monologues, which is similar to prose working with the language.