Umberto Eco

[W]hen I put Jorge in the library I did not yet know he was the murderer. He acted on his own, so to speak. And it must not be thought that this is an 'idealistic' position, as if I were saying that the characters have an autonomous life and the author, in a kind of trance, makes them behave as they themselves direct him. That kind of nonsense belongs in term papers. The fact is that the characters are obliged to act according to the laws of the world in which they live. In other words, the narrator is the prisoner of his own premises.

"But why do some people support [the heretics]?"
"Because it serves their purposes, which concern the faith rarely, and more often the conquest of power."
"Is that why the church of Rome accuses all its adversaries of heresy?"
"That is why, and that is also why it recognizes as orthodoxy any heresy it can bring back under its own control or must accept because the heresy has become too strong."

The Void is not being, but not being cannot be, ergo the Void cannot be. The reasoning was sound, because it denied the Void while granting that it could be conceived. In fact, we can quite easily conceive things that do not exist. Can a chimera, buzzing in the Void, devour second intentions? No, because chimeras do not exist, in the Void no buzzing can be heard, and intentions are mental things — an intended pear does not nourish us. And yet I can think of a chimera even if it is chimerical, namely, if it is not. And the same with the Void.

Le regole per scrivere bene (adattate da Umberto Eco)

1. Evita le allitterazioni, anche se allettano gli allocchi.

2. Non è che il congiuntivo va evitato, anzi, che lo si usa quando necessario.

3. Evita le frasi fatte: è minestra riscaldata.

4. Esprimiti siccome ti nutri.

5. Non usare sigle commerciali & abbreviazioni etc.

6. Ricorda (sempre) che la parentesi (anche quando pare indispensabile) interrompe il filo del discorso.

7. Stai attento a non fare... indigestione di puntini di sospensione.

8. Usa meno virgolette possibili: non è “fine”.

9. Non generalizzare mai.

10. Le parole straniere non fanno affatto bon ton.

11. Sii avaro di citazioni. Diceva giustamente Emerson: “Odio le citazioni. Dimmi solo quello che sai tu.”

12. I paragoni sono come le frasi fatte.

13. Non essere ridondante; non ripetere due volte la stessa cosa; ripetere è superfluo (per ridondanza s’intende la spiegazione inutile di qualcosa che il lettore ha già capito).

14. Solo gli stronzi usano parole volgari.

15. Sii sempre più o meno specifico.

16. L'iperbole è la più straordinaria delle tecniche espressive.

17. Non fare frasi di una sola parola. Eliminale.

18. Guardati dalle metafore troppo ardite: sono piume sulle scaglie di un serpente.

19. Metti, le virgole, al posto giusto.

20. Distingui tra la funzione del punto e virgola e quella dei due punti: anche se non è facile.

21. Se non trovi l’espressione italiana adatta non ricorrere mai all’espressione dialettale: peso e! tacòn del buso.

22. Non usare metafore incongruenti anche se ti paiono “cantare”: sono come un cigno che deraglia.

23. C’è davvero bisogno di domande retoriche?

24. Sii conciso, cerca di condensare i tuoi pensieri nel minor numero di parole possibile, evitando frasi lunghe — o spezzate da incisi che inevitabilmente confondono il lettore poco attento — affinché il tuo discorso non contribuisca a quell’inquinamento dell’informazione che è certamente (specie quando inutilmente farcito di precisazioni inut

Love flourishes in expectation. Expectation strolls through the spacious fields of Time towards Opportunity.

Absence is to love as wind is to fire: it extinguishes the little flame, it fans the big.

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.

"It is necessary to create constraints, in order to invent freely. In poetry the constraint can be imposed by meter, foot, rhyme, by what has been called the "verse according to the ear."... In fiction, the surrounding world provides the constraint. This has nothing to do with realism... A completely unreal world can be constructed, in which asses fly and princesses are restored to life by a kiss; but that world, purely possible and unrealistic, must exist according to structures defined at the outset (we have to know whether it is a world where a princess can be restored to life only by the kiss of a prince, or also by that of a witch, and whether the princess's kiss transforms only frogs into princes or also, for example, armadillos)."

It seems that the Parisian Oulipo group has recently constructed a matrix of all possible murder-story situations and has found that there is still to be written a book in which the murderer is the reader.

Moral: there exist obsessive ideas, they are never personal; books talk among themselves, and any true detection should prove that we are the guilty party.

But now 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.

Social media gives legions of idiots the right to speak when they once only spoke at a bar after a glass of wine, without harming the community ... but now they have the same right to speak as a Nobel Prize winner. It's the invasion of the idiots

Whoever reflects on four things I would be better if he were never born: that which is above, that which is below, that which is before, that which is after.

"For two years I have refused to answer idle questions on the order of "Is your novel an open work or not?" How should I know? That is your business, not mine. Or "With which of your characters do you identify?" For God's sake, with whom does an author identify? With the adverbs, obviously."

I believe all sin, love, glory are this: when you slide down the knotted sheets, escaping from Gestapo headquarters, and she hugs you, there, suspended, and she whispers that she's always dreamed of you. The rest is just sex, copulation, the perpetuation of the vile species.

You don't fall in love because you fall in love; you fall in love because of the need, desperate, to fall in love. when you feel that need, you have to watch your step: like having drunk a philter, the kind that makes you fall in love with the first thing you meet. It could be a duck-billed platypus.