Umberto Eco Quotes
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I seem to know all the cliches, but not how to put them together in a believable way. Or else these stories are terrible and grandiose precisely because all the cliches intertwine in an unrealistic way and you can't disentangle them. But when you actually live a cliche, it feels brand new, and you are unashamed.
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Only an unhinged movie survives as a disconnected series of images, of peaks, of visual icebergs. It should display not one central idea but many. It should not reveal a coherent philosophy of composition. It must live on, and because of, its glorious ricketiness.
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I believe that what we become depends on what our fathers teach us at odd moments, when they aren't trying to teach us. We are formed by little scraps of wisdom.
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The order that our mind imagines is like a net, or like a ladder, built to attain something. But afterward you must throw the ladder away, because you discover that, even if it was useful, it was meaningless.
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Living the same sorrows three times was a suffering, but it was a suffering to relive even the same joys. The joy of life is born from feeling, whether it be joy or grief, always of short duration, and woe to those who know they will enjoy eternal bliss.
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The print does not always have the same shape as the body that impressed it, and it doesn't always derive from the pressure of a body. At times it reproduces the impression a body has left in our mind: it is the print of an idea.
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I discovered ... that a novel has nothing to do with words in the first instance. Writing a novel is a cosmological matter, like the story told by Genesis (we all have to choose our role models, as Woody Allen puts it).
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The pleasures of love are pains that become desirable, where sweetness and torment blend, and so love is voluntary insanity, infernal paradise, and celestial hell - in short, harmony of opposite yearnings, sorrowful laughter, soft diamond.
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Socrates ... did not write. It seems academically obvious that he perished because he did not publish!
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I'm always fascinated by losers. Also, in my "Foucault's Pendulum," the main characters, who are in a way losers, they are more interesting than the winners.
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The Art of the Romance, though warning us that it is providing fictions, opens a door into the Palace of Absurdity, and when we have lightly stepped inside, slams it shut behind us.
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For, I must tell you, in this world where today all lose their minds over many & wondrous Machines - some of which, alas, you can see also in this Siege - I construct Aristotelian Machines, that allow anyone to see with Words.
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When the writer (or the artist in general) says he has worked without giving any thought to the rules of the process, he simply means he was working without realizing he knew the rules.
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My generation knew pretty well what happened 50 years before our birth. Now I follow all the quiz programs because they are a paramount example of the span of memory of the young generation - they are able to remember everything that happened in their life but not before.
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All the stories I would like to write persecute me. When I am in my chamber, it seems as if they are all around me, like little devils, and while one tugs at my ear, another tweaks my nose, and each says to me, 'Sir, write me, I am beautiful.
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Your masters at Oxford have taught you to idolize reason, drying up the prophetic capacities of your heart!
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On sober reflection, I find few reasons for publishing my Italian version of an obscure, neo-Gothic French version of a seventeenth century Latin edition of a work written in Latin by a German Monk toward the end of the fourteenth century...First of all, what style should I employ?
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The older I grow and the more I abandon myself to God's will, the less I value intelligence that wants to know and will that wants to do; and as the only element of salvation I recognize faith, which can wait patiently, without asking too many questions.
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And so I fell devoutly asleep and slept a long time, because young people seem to need sleep more than the old, who have already slept so much and are preparing to sleep for all eternity.
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A library's ideal function is to be a little bit like a bouquiniste's stall, a place for trouvailles.
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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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True learning must not be content with ideas, which are, in fact, signs, but must discover things in their individual truth.
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I write stories about conspiracies and paranoid characters while I am, in fact, a very skeptical person.
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I have always been fascinated by paranoid people imagining conspiracies. I am fascinated by this in a critical way.