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Someone said that patriotism is the last refuge of cowards; those without moral principles usually wrap a flag around themselves, and those bastards always talk about the purity of race.
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The book is like the spoon, scissors, the hammer, the wheel. Once invented, it cannot be improved. You cannot make a spoon that is better than a spoon... The book has been thoroughly tested, and it's very hard to see how it could be improved on for its current purposes.
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After so many years even the fire of passion dies, and with it what was believed the light of the truth. Who of us is able to say now whether Hector or Achilles was right, Agamemnon or Priam, when they fought over the beauty of a woman who is now dust and ashes?
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Well, Diotallevi and I are planning a reform in higher education. A School of Comparative Irrelevance, where useless or impossibe courses are given. The school's aim is to turn out scholars capable of endlessly increasing the number of unnecessary subjects.
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A writer writes for writers, a non-writer writes for his next-door neighbor or for the manager of the local bank branch, and he fears (often mistakenly) that they would not understand or, in any case, would not forgive his boldness.
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Books are not made to be believed, but to be subjected to inquiry. When we consider a book, we mustn't ask ourselves what it says but what it means...
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For the Kabalist, the fact that God expresses Himself, even though His utterances are beyond any human insight, is more important than any specific and coded meaning His words can convey.
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In the construction of Immortal Fame you need first of all a cosmic shamelessness.
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There must be a connection between the lust for power and impotentia coeundi. I liked Marx, I was sure that he and his Jenny had made love merrily. You can feel it in the easy pace of his prose and in his humor. On the other hand, I remember remarking one day in the corridors of the university that if you screwed Krupskaya all the time, you'd end up writing a lousy book like Materialism and Empiriocriticism.
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There is a constant in the average American imagination and taste, for which the past must be preserved and celebrated in full-scale authentic copy; a philosophy of immortality as duplication. It dominates the relation with the self, with the past, not infrequently with the present, always with History and, even, with the European tradition.
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When we traded the results of our fantasies, it seemed to us-and rightly-that we had proceeded by unwarranted associations, by shortcuts so extraordinary that, if anyone had accused us of really believing them, we would have been ashamed.
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There are more books in the world than hours in which to read them. We are thus deeply influenced by books we haven't read, that we haven't had the time to read.
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Rem tene, verba sequentur: grasp the subject, and the words will follow. This, I believe, is the opposite of what happens with poetry, which is more a case of verba tene, res sequenter: grasp the words, and the subject will follow.
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When your true enemies are too strong, you have to choose weaker enemies.
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The faith a movement proclaims doesn't count: what counts is the hope it offers. All heresies are the banner of a reality, an exclusion. Scratch the heresy and you will find the leper. Every battle against heresy wants only this: to keep the leper as he is.
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When men stop believing in God, it isn't that they then believe in nothing: they believe in everything.
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Entering a novel is like going on a climb in the mountains: You have to learn the rhythms of respiration - acquire the pace. Otherwise you stop right away.
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Stopgaps do belong to the internal economy of the form, since the Whole requires them, even if only in a subordinate position... The stopgap Luigi Paryson's 'zeppa' accepts its own banality, because without the speed that the banal allows up, it would slow up a passage that is crucial for the outcome of the work and its interpretation.
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There is only one thing that arouses animals more than pleasure, and that is pain. Under torture you are as if under the dominion of those grasses that produce visions. Everything you have heard told, everything you have read returns to your mind, as if you were being transported, not toward heaven, but towards hell. Under torture you say not only what the inquisitor wants, but also what you imagine might please him, because a bond (this, truly, diabolical) is established between you and him.
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I would define the poetic effect as the capacity that a text displays for continuing to generate different readings, without ever being completely consumed.
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It is necessary to meditate early, and often, on the art of dying to succeed later in doing it properly just once.
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And we, inhabitants of the great coral of the Cosmos, believe the atom (which still we cannot see) to be full matter, whereas, it too, like everything else, is but an embroidery of voids in the Void, and we give the name of being, dense and even eternal, to that dance of inconsistencies, that infinite extension that is identified with absolute Nothingness and that spins from its own non-being the illusion of everything.
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You are always born under the wrong sign, and to live in this world properly you have to rewrite your own horoscope day by day.
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There are four kinds of people in this world: cretins, fools, morons, and lunatics.
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I don't even have an E-mail address. I have reached an age where my main purpose is not to receive messages,
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Quote of the day
I think no innocent species of wit or pleasantry should be suppressed; and that a good pun may be admitted among the smaller excellencies of lively conversation.
James Boswell
Umberto Eco
Creative Commons
Born:
January 5, 1932
Died:
February 19, 2016
(aged 84)
Bio:
Umberto Eco is an Italian semiotician, essayist, philosopher, literary critic, and novelist.
Known for:
The Name of the Rose (1980)
Foucault's Pendulum (1988)
Numero Zero (2015)
The Prague Cemetery (2010)
Baudolino (2000)
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