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Morala sam, jednostavno, ući u tekst, progovoriti iz njega svim svojim životnim i znanstvenim iskustvom, pokazati da stručno osposobljenoj osobi do književnosti može biti naivno stalo, trudila sam se, iako je riječ o suvremenoj književnosti, ne pretvarati romaneskne likove u ličnosti i ne razgovarati o tuđim akterima kao osobama iz mog ili nečijeg susjedstva. Željela sam se, ukratko, predstaviti kao jedan od čitatelja koji se tekstom kreće uz pomoć znakova koje je pisac postavio, potpuno svjesna da on nije stvarao svijet u kojem bi se ja kao čitatelj morala osjećati dobro. I zbog toga sam izabirala prvo lice jednine. Još uvijek vjerujem da se njime može najbolje otkloniti nepovjerenje i dočarati proživljeno iskustvo. I zbog toga sam se ohrabrila, ne ponavljajući nikakvu praksu svojih prethodnika,unositi paragrafe koji se nekome mogu činiti nepotrebnima jer se udaljavaju od same teme (interpretacije djela) i ulaze u posve novu priču koja sa središnjom zadaćom dijeli tek neka dodirna mjesta. Ukratko, pripovijedanje o tuđim pričama nagovorilo me i na osamostaljenje autorskog pisma, pa su mi stoga i danas najdraže kritičke ocjene vlastitih proza one koje naglašavaju da se sklonost priči i pripovijedanju osjetila i u mojim književnim interpretacijama proznih tekstova naše prošlosti i suvremenosti.“\u003C/p>","\u003Cp>"Kljub temu, da sem se zavedal nevarnosti hoje po ostri meji med avtorskim in nevtralnim branjem, med govorjenjem o literaturi, namenjeni številnim bralcem, in interpretacijo dela, namenjenega strokovnjakom, se v zadnjih desetih letih nisem mogel upreti govoriti o drugih in pisati spremne besede za druge, od vključevanja lastne avtorske fotografije v svoja besedila sem preprosto moral vnesti besedilo, spregovoriti iz njega z vsemi svojimi življenjskimi in znanstvenimi izkušnjami, pokazati to strokovno plat. Izurjen človek se lahko naivno zanima za literaturo, in sem se trudil, čeprav je bila to sodobna literatura, da romanesknih likov ne spreminjam v osebnosti in da o akterjih drugih ljudi ne govorim kot o ljudeh iz svoje ali tuje soseščine, skratka predstavljam se kot eden od bralcev, ki krmari po besedilu s pomočjo znakov, ki jih postavlja avtor, zavedajoč se, da ni ustvaril sveta, v katerem bi se moral jaz kot bralec dobro počutiti. In zato sem izbral prvo osebo ednine."\u003C/p>\r\n\r\n\u003Cp>"Še vedno verjamem, da je to najboljši način za odpravo nezaupanja in obujanje preživete izkušnje. In zato sem se opogumil, da sem, ne da bi ponavljal prakso svojih predhodnikov, vključil odstavke, ki se komu morda zdijo nepotrebni, ker se odmikajo od same teme (interpretacije dela) in vstopajo v povsem novo zgodbo. ki ima le nekaj stičnih točk z osrednjo nalogo. Skratka, pripovedovanje tujih zgodb me je prepričalo tudi v osamosvojitev lastnega pisanja, zato so mi še danes najljubše kritične ocene lastne proze tiste, ki poudarjajo, da je bilo nagnjenje k zgodbi in pripovedovanju čutiti tudi v mojih literarnih interpretacijah proznih besedil iz naše preteklosti in sedanjosti."\u003C/p>","„Unatoč tomu što sam bila svjesna opasnosti hodanja po oštroj granici između autorskog i neutralnog štiva, između pričanja o književnosti upućenog brojnim čitateljima i tumačenja djela usmjerenog specijaliziranim proučavateljima, nisam mogla odoljeti da u posljednjih desetak godina,govoreći o drugima i pišući pogovore za druge, u tekstove ne unesem i svoju autorsku fotografiju. Morala sam, jednostavno, ući u tekst, progovoriti iz njega svim svojim životnim i znanstvenim iskustvom, pokazati da stručno osposobljenoj osobi do književnosti može biti naivno stalo, trudila sam se, iako je riječ o suvremenoj književnosti, ne pretvarati romaneskne likove u ličnosti i ne razgovarati o tuđim akterima kao osobama iz mog ili nečijeg susjedstva. Željela sam se, ukratko, predstaviti kao jedan od čitatelja koji se tekstom kreće uz pomoć znakova koje je pisac postavio, potpuno svjesna da on nije stvarao svijet u kojem bi se ja kao čitatelj morala osjećati dobro. I zbog toga sam izabirala prvo lice jednine. Još uvijek vjerujem da se njime može najbolje otkloniti nepovjerenje i dočarati proživljeno iskustvo. I zbog toga sam se ohrabrila, ne ponavljajući nikakvu praksu svojih prethodnika,unositi paragrafe koji se nekome mogu činiti nepotrebnima jer se udaljavaju od same teme (interpretacije djela) i ulaze u posve novu priču koja sa središnjom zadaćom dijeli tek neka dodirna mjesta. 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