Reader, it is time for your tempest-tossed vessel to come to port. What harbor can receive you more securely than a great library? Certainly there is one in the city from which you set out and to which you have returned after circling the world from book to book.
She’s there every day,′ the writer says. ‘Every time I’m about to sit down at my desk I feel the need to look at her. Who knows what she’s reading? I know it isn’t a book of mine, and instinctively I suffer at the thought, I feel the jealousy of my books, which would like to be read the way she reads. I never tire of watching her: she seems to live in a sphere suspended in another time and another space.
Overambitious projects may be objectionable in many fields, but not in literature. Literature remains alive only if we set ourselves immeasurable goals, far beyond all hope of achievement.
Yes, you are in your room, calm; you open the book to page one, no, to the last page, first you want to see how long it is. It’s not too long, fortunately. Long novels written today are perhaps a contradiction: the dimension of time has been shattered, we cannot love or think except in fragments of time each of which goes off along its own trajectory and immediately disappears.
There is someone looking through the befogged glass, he opens the glass door of the bar, everything is misty, inside, too, as if seen by nearsighted eyes, or eyes irritated by coal dust.
It’s all very well for me to tell myself there are no provincial cities any more and perhaps there never were any: all places communicate instantly with all other places, a sense of isolation is felt only during the trip between one place and the other, that is, when you are in no place.
An outsider was taking my place, was becoming me, my cage with the starlings would become his, the stereoscope, the real Uhlan helmet hanging from a nail, all my things that I couldn’t take with me remained to him; or, rather, it was my relationship with things, places, people, that was becoming his, just as I was about to become him, to take his place among the things and people of his life.
Reading,” he says, “is always this: there is a thing that is there, a thing made of writing, a solid, material object, which cannot be changed, and through this thing we measure ourselves against something else that is not present, something else that belongs to the immaterial, invisible world, because it can only be thought, imagined, or because it was once and is no longer, past, lost, unattainable, in the land of the dead...
A stone, a figure, a sign, a word reaching us isolated from its context is only that stone, figure, sign, or word: we can try to define them, to describe them as they are, and no more than that; whether, beside the face they show us, they also have a hidden face, is not for us to know. The refusal to comprehend more than what the stones show us is perhaps the only way to evince respect for their secret; trying to guess is a presumption, a betrayal of that true, lost meaning.
Listening to someone read aloud is very different from reading in silence. When you read, you can stop or skip sentences: you are the one who sets the pace. When someone else is reading, it is difficult to make your attention coincide with the tempo of his reading: the voice goes either too fast or too slow.
I look through the spaces between the iron steps at the colorless flow of the river down below, transporting chunks of ice like white clouds. In a distress that lasts an instant, I seem to be feeling what she feels: that every void continues in the void, every gap, even a short one opens another gap, every chasm empties into the infinite abyss.
Then Marco Polo spoke: “Your chessboard, sire, is inlaid with two woods: ebony and maple. The square on which your enlightened gaze is fixed was cut from the ring of a trunk that grew in a year of drought: you see how its fibers are arranged? Here a barely hinted knot can be made out: a bud tried to burgeon on a premature spring day, but the night’s frost forced it to desist.
If there is nothing that needs correcting in the world memory, the only thing left to do is to correct reality where it doesn’t agree with that memory.
Here in Turin you can write because past and future have greater prominence than the present, the force of past history and the anticipation of the future give a concreteness and sense to the discrete, ordered images of today. Turin is a city which entices the reader towards vigour, linearity, style. It encourages logic, and through logic it opens the way toward madness.
There is still, in fact, in Calvino’s archive a drawer full of newspaper cuttings concerning scientific discoveries. As.
That was a time when I didn’t give a damn about anything, the period when I came to settle in this city. “Settle” is the wrong term. I had no desire to be settled in any sense;.
I expect readers to read in my books something I didn’t know, but I can expect it only from those who expect to read something they didn’t know.
What if it were as they say? If, while I believe I am writing in fun, what I write were really dictated by the extraterrestrials?
Praise to be the stars that implode. A new freedom opens up within them: annulled from space, exonerated from time, existing at last, for themselves alone and no longer in relation to all the rest, perhaps only they can be sure they really exist.
Undertakings based on an inner tenacity have to be mute and obscure; one has only to declare or glory in them and it all appears silly, without meaning, even petty.