The characters are linguistic beings who only exist in language. Based on an anti-auratic, but joyful manner of narration, they are experimental constructs who conduct their life linguistically. Thus they reveal what the long discussions on cyborg figures have shown: life in the media is possible. And in literature it's been that way for a long time, which I consider most productive. I would think that this linguistic existence in language is the only one in which we find all aspects of existence describable, because we bounce off the outer representation but find our way into the figures themselves. That is only possible through language. And that is an enormous event, providing incredible pleasure and the greatest pain. My project is pain. How does pain enter life? Here's the whole plan: a figure caught in language, and the question, how pain enters this picture, leading to an examination, an attempt of an order — constituting the sequence of the novel — that follows its own logic to the last page, which of course is never the end. These are of course only excerpts like fabric samples, just a slice of time and not — some- thing that I blame the male canon for — creativity that views itself as a life-giving deity: inventing figures, allocating them their own time, which becomes the narrative time. And here I would challenge every Lukács and every theory of the novel and assert that these are religious texts, and each person who still writes like this today remains caught in these criteria, and they will always remain authoritarian and metaphysical texts if it's an author, a theater, or film director who invents a figure and gives it life. That would be an act that imitates divine creation and remains in these areas of meaning, something that I do not consider art. But to describe a period of time in the medium in which someone works, then leave everything and not concede that I could now put an end to this invented life, that for me is the beginning of a type of democracy and participation. But only the beginning, of course.
Marlene Streeruwitz -- Interview with Helga Kraft 27 March 2006