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
A classic is the term given to any book which comes to represent the whole universe, a book on a par with ancient talismans.
Interpretation
A classic book is one that embodies universal themes and resonates deeply with the human experience.
Italo Calvino suggests that a classic is not just a book that is widely respected or read, but rather one that captures the essence of the human experience and transcends time and culture. Such books act as talismans, holding significant meaning and power, representing broader truths and insights about the universe.
In practice
In a book club discussion about timeless literature, you might say, 'As Italo Calvino puts it, a classic book represents the whole universe.'
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.
When writing, I'm not thinking about war, even if I'm writing about it. I'm thinking about sentences, rhythm and story. So the focus, when I'm working, even if it's on a story that takes place at war, is not on bombs or bullets. It's on the story.
When I work I relax; doing nothing or entertaining visitors makes me tired.
It is a function of poetry to locate those zones inside us that would be free, and declare them so.
Theoretically, the actor ought to be more sound in mind and body than other people, since he learns to understand the psychological problems of human beings when putting his own passions, his loves, fears, and rages to work in the service of the characters he plays. He will learn to face himself, to hide nothing from himself- and to do so takes AN INSATIABLE CURIOSITY ABOUT THE HUMAN CONDITION
If you talk to any filmmaker, and if you said to them, 'I guarantee you x amount of money per month for the rest of your life, and it's not a big amount of money, but I can also guarantee that you will work continually, you will get to make what you want to make,' any filmmaker on the planet will make that kind of deal. I would have made it.
When I sit down to write, I don't think about writing about an idea or a given message. I just try to write a story which is hard enough.
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