Umberto Eco
Umberto Eco
Umberto Eco OMRIwas an Italian novelist, literary critic, philosopher, semiotician and university professor. He is best known internationally for his 1980 historical mystery novel Il nome della rosa, an intellectual mystery combining semiotics in fiction, with biblical analysis, medieval studies and literary theory. He later wrote other novels, including Il pendolo di Foucaultand L'isola del giorno prima. His novel Il cimitero di Praga, released in 2010, was a best-seller...
NationalityItalian
ProfessionNovelist
Date of Birth5 January 1932
CountryItaly
Perhaps I am not as wise as I like to think I am.
What did I really think fifteen years ago? A nonbeliever, I felt guilty in the midst of all those believers. And since it seemed to me that they were in the right, I decided to believe, as you might decide to take an aspirin: It can't hurt and you might get better.
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.
I think of myself as a serious professor who, during the weekend, writes novels.
I think a book should be judged 10 years later, after reading and re-reading it.
I believe that you can reach the point where there is no longer any difference between developing the habit of pretending to believe and developing the habit of believing.
If two things don't fit, but you believe both of them, thinking that somewhere, hidden, there must be a third thing that connects them, that's credulity.
There are more people than you think who want to have a challenging experience, in which they are obliged to reflect about the past.
I think every professor and writer is in some way an exhibitionist because his or her normal activity is a theatrical one. When you give a lesson the situation is the same as writing a book. You have to capture the attention, the complicity of your audience.
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.
All of us were slowly losing that intellectual light that allows you always to tell the similar from the identical, the metaphorical from the real.
The photograph [of Che Guevara], for a civilization now accustomed to thinking in images, was not the description of a single event... it was an argument.
For what I saw at the abbey then (and will now recount) caused me to think that often inquisitors create heretics. And not only in the sense that they imagine heretics where these do not exist, but also that inquisitors repress the heretical putrefaction so vehemently that many are driven to share in it, in their hatred for the judges. Truly, a circle conceived by the Devil. God preserve us.
[In my writing] I know that I have made a caricature out of [others' academic] theories [but] I think that caricatures are frequently good portraits.