"The universe will express itself as long as somebody will be able to say, 'I read, therefore it writes."

"I am the man who comes and goes between the bar and the telephone booth. Or, rather:that man is called 'I' and you know nothing else about him, just as this station is called only 'station' and beyond it there exists nothing except the unanswered signal of a telephone ringing in a dark room of a distant city."

"You are about to begin reading Italo Calvino's new novel, If on a Winter's Night a Traveller. Relax. Concentrate. Dispel every other thought. Tell the others right away, 'No, I don't want to watch TV! I'm reading! I don't want to be disturbed!"

"He was staring hard, not at his wife and me but at his daughter watching us. In his cold pupil, in the firm twist of his lips, was reflected Madame Miyagi's orgasm reflected in her daughter's gaze."

"I'm accustomed to thinking of literature as a search for knowledge; in order to move onto existential terrain I need to consider it in relation to anthropology, ethnology, and mythology."

"The word connects the visible trace with the invisible thing, the absent thing, the thing that is desired or feared, like a frail emergency bridge flung over an abyss."

"Marco's answers and objections took their place in a discourse already proceeding on its own, in the Great Khan's head. That is to say, between the two of them it did not matter whether questions and solutions were uttered aloud or whether each of the two went on pondering in silence. In fact, they were silent, their eyes half-closed, reclining on cushions, swaying in hammocks, smoking long amber pipes.Marco Polo imagined answering (or Kublai Khan imagined his answer) that the more one was lost in unfamiliar quarters of distant cities, the more one understood the other cities he had crossed to arrive there."

"The world was trying to change its old face and show its underbelly of earth and roots."

"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."

"Today each of you is the object of the other's reading, one reads in the other the unwritten story."

"A human being becomes human not through the casual convergence of certain biological conditions, but through an act of will and love on the part of other people. If this is not the case, then humanity becomes - as it is already to a large extent - no more than a rabbit-warren. But this is no longer a 'free-range warren but a 'battery one, in the conditions of artificiality in which it lives, with artificial light and chemical feed."

"Don't you ever get tired of reading?' she asked. 'You could hardly be called good company! Don't you know that, with women, you're supposed to make conversation?' she added; her half smile was perhaps meant to be ironic, though to Amedeo, who at that moment would have paid anything rather than give up his novel, it seemed downright threatening."

"If one wanted to depict the whole thing graphically, every episode, with its climax, would require a three-dimensional, or, rather, no model: every experience is unrepeatable. What makes lovemaking and reading resemble each other most is that within both of them times and spaces open, different from measurable time and space."

"If I were to draw, I would apply myself only to studying the form of inanimate objects,' I said somewhat imperiously, because I wanted to change the subjects and also because a natural inclination does truly lead me to recognise my moods in the motionless suffering of things."

"Because in this way all I did was to accumulate past after past behind me, multiplying the pasts, and if one life was too dense and ramified and embroiled for me to bear it always with me, imagine so many lives, each with its own past and the pasts of the other lives that continue to become entangled one with the others."

"The satirist is prevented by repulsion from gaining a better knowledge of the world he is attracted to, yet he is forced by attraction to concern himself with the world that repels him."

"Writing always means hiding something in such a way that it then is discovered; because the truth that can come from my pen is like a shard that has been chipped from a great boulder by a violent impact, then flung far away; because there is no certitude outside falsification."

"And meanwhile the Galaxy ran through space and left behind those signs old and new and I still hadn't found mine."

"The real protagonist of the story, however, is the magic ring, because it is the movements of the ring that determine those of the characters and because it is the ring that establishes the relationships between them. Around the magic object there forms a kind of force field that is in fact the territory of the story itself. We might say that the magic object is an outward and visible sign that reveals the connection between people or between events. . . We might even say that in a narrative any object is always magic."

"Reading is solitude. One reads alone, even in another's presence."

"Memory's images, once they are fixed in words, are erased."

"It was the hour in which objects lose the consistency of shadow that accompanies them during the night and gradually reacquire colors, but seem to cross meanwhile an uncertain limbo, faintly touched, just breathed on by light; the hour in which one is least certain of the world's existence."

"How well I would write if I were not here! If between the white page and the writing of words and stories that take shape and disappear without anyone's ever writing them there were not interposed that uncomfortable partition which is my person! Style, taste, individual philosophy, subjectivity, cultural background, real experience, psychology, talent, tricks of the trade: all the elements that make what I write recognizable as mine seem to me a cage that restricts my possibilities. If I were only a hand, a severed hand that grasps a pen and writes...who would move this hand? The anonymous throng? The spirit of the times? The collective unconscious? I do not know."

"You only have to start saying of something : 'Ah, how beautiful ! We must photograph it !' and you are already close to the view of the person who thinks that everything that is not photographed is lost, as if it never existed, and therefore in order to really live you must photograph as much as you can, and to photograph as much as you can you must either live in the most photographable way possible, or else consider photographable every moment of your life."

"But Ludmilla is always at least one step ahead of you. 'I like to know that book exists that I will still be able to read she says, sure that existent objects, concrete albeit unknown, must correspond to the strength of her desire. How can you keep up with her, this woman who is always reading another book besides the one before her eyes, a book that does not yet exist, but which, since she wants it, cannot fail to exist?"

"The difference between the true and the false is only a prejudice of ours."

"Traveling, you realize that differences are lost: each city takes to resembling all cities, places exchange their form, order, distances, a shapeless dust cloud invades the continents."

"Falsehood is never in words, it is in things."

"Eyes that, like those of children, look at an eternal present without forgiveness."

"With the smell of beer I try to get the smell of death off me. And only the smell of death will get the smell of beer off you, like all the drinkers whose graves I have to dig."

"Who are we, who is each one of us, if not a combinatoria of experiences, information, books we have read, things imagined?"

"I've been in love for five hundred million years."

"When you're young, all evolution lies before you, every road is open to you, and at the same time you can enjoy the fact of being there on the rock, flat mollusk-pulp, damp and happy."

"It sometimes seems to me that a pestilence has struck the human race in its most distinctive faculty - that is, the use of words. It is a plague afflicting language, revealing itself as a loss of cognition and immediacy, an automatism that tends to level out all expression into the most generic, anonymous, and abstract formulas, to dilute meaning, to blunt the edge of expressiveness, extinguishing the sparks that shoots out from the collision of words and new circumstances."

"Again I am torn between the necessity and the impossibility of answering."

"Seek and learn to recognize who and what, in the midst of the inferno, are not inferno, then make them endure, give them space."

"If one starts to draw comparisons between what is and what is not, it is the poorer qualities of the former that strike you, the impurities, the flaws; in short, you can only really feel safe with nothingness."

"What he sought was always something lying ahead, and even if it was a matter of the past it was a past that changed gradually as he advanced on his journey, because the traveller's past changes according to the route he has followed: not the immediate past, that is, to which each day that goes by adds a day, but the more remote past. Arriving at each new city, the traveller finds again a past of his that he did not know he had: the foreignness of what you no longer are or no longer possess lies in wait for you in foreign, unpossessed places."

"This is the paradox of the power of literature: it seems that only when it is persecuted does it show its true powers, challenging authority, whereas in our permissive society it feels that it is being used merely to create the occasional pleasing contrast to the general ballooning of verbiage."

"Your house, being the place in which you read, can tell us the position books occupy in your life, if they are a defense you set up to keep the outside world at a distance, if they area dream into which you sink as if into a drug, or bridges you cast toward the outside, toward the world that interests you so much that you want to multiply and extend its dimensions through books."

"Cities also believe they are the work of the mind or of chance, but neither the one nor the other suffices to hold up their walls. You take delight not in a city's seven or seventy wonders, but in the answer it gives to a question of yours. or to the question it asks you, forcing you to answer, like Thebes through the mouth of the Sphinx."

"Nobody these days holds the written word in such high esteem as police states do."

"In love, as in gluttony, pleasure is a matter of the utmost precision."

"The catalogue of forms is endless: until every shape has found its city, new cities will continue to be born. When the forms exhaust their variety and come apart, the end of cities begins."

"I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language."

"Journeys to relive your past?' was the Khan's question at this point, a question which could also have been formulated: 'Journeys to recover your future?'And Marco's answer was: 'Elsewhere is a negative mirror. The traveller recognizes the little that is his, discovering the much he has not had and willnever have."

"Biographical data, even those recorded in the public registers, are the most private things one has, and to declare them openly is rather like facing a psychoanalyst."