Umberto Eco Quotes
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Temi, Adso, i profeti e coloro disposti a morire per la verità, ché di solito fan morire moltissimo con loro, spesso prima di loro, talvolta al posto loro.
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A democratic civilization will save itself only if it makes the language of the image into a stimulus for critical reflection - not an invitation for hypnosis.
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Nothing gives a fearful man more courage than another's fear.
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Our life is full of empty space.
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Human beings are religious animals.
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The good of a book lies in its being read. A book is made up of signs that speak of other signs, which in their turn speak of things. Without an eye to read them, a book contains signs that produce no concepts; therefore it is dumb.
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I have come to believe that the whole world is an enigma, a harmless enigma that is made terrible by our own mad attempt to interpret it as though it had an underlying truth.
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But Italy is not an intellectual country. On the subway in Tokyo everybody reads. In Italy, they don't. Don't evaluate Italy from the fact that it produced Raphael and Michelangelo.
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When the poet is in love, he is incapable of writing poetry on love. He has to write when he remembers that he was in love.
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My maternal grandmother - she was a compulsive reader. She had only been through five grades of elementary school, but she was a member of the municipal library, and she brought home two or three books a week for me. They could be dime novels or Balzac.
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Political satire is a serious thing. In democratic newspapers throughout the world there are daily cartoons that often are not even funny, as is the case especially in many English-language newspapers. Instead, they contain a political message, and the artist takes full responsibility.
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I started to write The Name of the Rose in March of 1978, moved by a seminal idea. I wanted to poison a monk.
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After years of practice, I can walk into a bookstore and understand its layout in a few seconds. I can glance at the spine of a book and make a good guess at its content from a number of signs.
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Perhaps I am not as wise as I like to think I am.
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The question of manuscript changes is very important for literary criticism, the psychology of creation and other aspects of the study of literature.
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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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'There, Master Niketas,' Baudolino said, 'when I was not prey to the temptations of this world, I devoted my nights to imagining other worlds. ... There is nothing better than imagining other worlds,' he said, 'to forget the painful one we live in. At least so I thought then. I hadn't yet realized that, imagining other worlds, you end up changing this one.'
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If people buy my books for vanity, I consider it a tax on idiocy.
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The hand of God creates; it does not conceal.
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Poetry is not a matter of feelings, it is a matter of language. It is language which creates feelings.
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Every time that I write a novel I am convinced for at least two years that it is the last one, because a novel is like a child. It takes two years after its birth. You have to take care of it. It starts walking, and then speaking.
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As an adolescent I wrote comic books, because I read lots of them, and fantasy novels set in Malaysia and Central Africa.
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Narrativity presumes a special taste for plot. And this taste for plot was always very present in the Anglo-Saxon countries and that explains their high quality of detective novels.
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I could work in the shower if I had plastic paper.