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Then why do you want to know?" "Because learning does not consist only of knowing what we must or we can do, but also of knowing what we could do and perhaps should not do.
Thus I rediscovered what writers have always known (and have told us again and again): books always speak of other books, and every story tells a story that has already been told.
Fear prophets, Adso, and those prepared to die for the truth, for as a rule they make many others die with them, often before them, at times instead of them.
Entering a novel is like going on a climb in the mountains: you have to learn the rhythm of respiration, acquire the pace; otherwise you stop right away.
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.
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.
A narrator should not supply interpretations of his work; otherwise he would have not written a novel, which is a machine for generating interpretations.
Someone said that patriotism is the last refuge of cowards; those without moral principles usually wrap a flag around themselves, and those bastards always talk about the purity of race.
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.
Since I became a novelist I have discovered that I am biased. Either I think a new novel is worse than mine and I don’t like it, or I suspect it is better than my novels and I don’t like it.
You’ll come back To me . . . It’s written in the stars, you see, you’ll come back. You’ll come back, it’s a fact that I am strong because I do believe in you.
Listening doesn't mean trying to understand. Anything, however trifling, may be of use one day. What matters is to know something that others don't know you know.
I think that at a certain age, say fifteen or sixteen, poetry is like masturbation. But later in life good poets burn their early poetry, and bad poets publish it. Thankfully I gave up rather quickly.
I don't know, maybe we're always looking for the right place, maybe it's within reach, but we don't recognize it. Maybe to recognize it, we have to believe in it.
Perhaps the mission of those who love mankind is to make people laugh at the truth, to make truth laugh, because the only truth lies in learning to free ourselves from insane passion for the truth.
This, in fact, is the power of the imagination, which, combining the memory of gold with that of the mountain, can compose the idea of a golden mountain.