4 ideas
The stories refuse a stable realist anchor on purpose. With no reliable setting, causality or character psychology to lean on, the reader is pushed into the same groping, disoriented motion the characters undergo. The strain of reading is the story's meaning enacted, not a barrier set in front of that meaning.
Read the landscapes, houses, tunnels and strangers as externalized structures of a single psyche rather than as a social world. Seen this way, conflicts between characters become conflicts between drives inside one self. Absurd events stop looking like errors of plot and become precise images of inner states.
Creation here is a movement upward out of one's own dark material, a push with no external guidance and no guaranteed destination. The artist produces the self in the act of pushing. Art is not a representation of a finished self but the ongoing labor that makes one.
Scenes connect by emotional and associative necessity rather than by cause and effect, so time loops, spaces shift, and identities blur without explanation. The short fable form suits this because each piece sustains one intense state instead of building a plot arc. The unit of coherence becomes the pressure of a single psychic situation, not the sequence of events.