The novels that attract me most are those that create an illusion of transparency around a knot of human relationships as obscure, cruel, and perverse as possible.
Italo CalvinoRead
I don't believe chance can play a role in my literature.
Interpretation
It implies that the author believes in deliberate creation over randomness in writing.
Italo Calvino suggests that the process of writing literature is governed by intent and skill rather than sheer luck or coincidence. The statement emphasizes the importance of conscious choices made by the author in crafting stories, indicating that literature is a crafted art form requiring thoughtful engagement rather than relying on the whims of chance.
In practice
During a writing workshop, I shared Calvino's quote to emphasize the importance of deliberate storytelling.
The novels that attract me most are those that create an illusion of transparency around a knot of human relationships as obscure, cruel, and perverse as possible.
Your first book is the only one that matters. Perhaps a writer should write only that one. That is the one moment when you make the big leap; the opportunity to express yourself is offered that once, and you untie the knot within you then or never again.
...and every Wednesday the perfumed young lady slips me a hundred-crown note to leave her alone with the convict. And by Thursday the hundred crowns are already gone in so much beer. And when the visiting hour is over, the young lady comes out with the stink of jail in her elegant clothes; and the prisoner goes back to his cell with the lady's perfume in his jailbird's suit. And I'm left with the smell of beer. Life is nothing but trading smells.
Nobody these days holds the written word in such high esteem as police states do.
The struggle of literature is in fact a struggle to escape from the confines of language; it stretches out from the utmost limits of what can be said; what stirs literature is the call and attraction of what is not in the dictionary.
Fantasy is like jam. . . . You have to spread it on a solid piece of bread. If not, it remains a shapeless thing . . . out of which you canβt make anything.
After I won the Newbery Medal for 'From the Mixed-up Files of Mrs. Basil E. Frankweiler,' children all over the world let me know that they liked books that take them to unusual places where they meet unusual people.
Fiction is history, human history, or it is nothing.
There were epochs in the history of humanity in which the writer was a sacred person. He wrote the sacred books, universal books, the codes, the epic, the oracles. Sentences inscribed on the walls of the crypts; examples in the portals of the temples. But in those times the writer was not an individual alone; he was the people.
With the single exception of Homer, there is no eminent writer, not even Sir Walter Scott, whom I can despise so entirely as I despise Shakespeare when I measure my mind against his. . . . It would positively be a relief to me to dig him up and throw stones at him.
Great literature cannot grow from a neglected or impoverished soil. Only if we actually tend or care will it transpire that every hundred years or so we might get a Middlemarch.
When we talk about books, we rarely talk about the economic side of writing, especially of writing literary works, and that, at base, it's a pretty costly enterprise.
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