The way I wrote it is a nice and enjoyable way to write stories, to pretend to say something when you're really saying something else. "Hey guys, come, I'll take you a football match. " They all come - and you suddenly take them to watch theater play on the stage instead. In Istanbul Istanbul, I pretend to talk about torture and politics, but I don't actually. Instead I talk about hope and hopelessness, darkness and light, good and evil, love and separation.
The wisest man I ever knew in my whole life could not read or write. At four o'clock in the morning, when the promise of a new day still lingered over French lands, he got up from his pallet and left for the fields, taking to pasture the half-dozen pigs whose fertility nourished him and his wife.
Except I'm aware that as a writer you can't get away with as much writing for children as you can with adults. Children have much more finely tuned senses of justice, morals, and ethics. They are much more Platonic: children are symmetrical, before we begin to fragment them with our own nonsensical ideas and squelch their natural joy in knowledge.