Italo Calvino Quotes

Cái làm cho sự làm tình và sự đọc giống nhau nhất là, ở cả hai sự ấy, thời gian và không gian đều mở, khác với thời gian và không gian đo lường được.

Do you believe that every story must have a beginning and an end? In ancient times a story could end only in tow ways: having passed all the tests, the hero and the heroine married, or else they died. The ultimate meaning to which all stories refer has two faces: the continuity of life, the inevitability of death.

Perinthia's astronomers are faced with a difficult choice. Either they must admit that all their calculations are wrong and their figures are unable to describe the heavens, or else they must reveal that the order of the gods is reflected exactly in the city of monsters.

But how to establish the exact moment in which a story begins? Everything has already begun before, the first line of the first page of every novel refers to something that has already happened outside the book. Or else the real story is the one that begins ten or a hundred pages further on, and everything that precedes it is only a prologue. The lives of individuals of the human race form a constant plot, in which every attempt to isolate one piece of living that has a meaning separate from the rest — for example, the meeting of two people, which will become decisive for both — must bear in mind that each of the two brings with himself a texture of events, environments, other people, and that from the meeting, in turn, other stories will be derived which will break off from their common story.

We live in a country where causes are always seen but never effects.

Chegando a qualquer nova cidade o viajante reencontra o seu passado que já não sabia que tinha: a estranheza do que já não somos ou já não possuímos espera-nos ao caminho nos lugares estranhos e não possuídos.

although science interests me just because of its efforts to escape from anthropomorphic knowledge, I am nonetheless convinced that our imagination cannot be anything but anthropomorphic.

Ma la città non dice il suo passato, lo contiene come le linee d'una mano, scritto negli spigoli delle vie, nelle griglie delle finestre, negli scorrimano delle scale,nelle antenne dei parafulmini,nelle aste delle bandiere, ogni segmento rigato a sua volta di graffi,seghettature,intagli,svirgole.

It is not the voice that commands the story: it is the ear.

My mother delayed my enrollment in the Fascist scouts, the Balilla, as long as possible, firstly because she did not want me to learn how to handle weapons, but also because the meetings that were then held on Sunday mornings (before the Fascist Saturday was instituted) consisted mostly of a Mass in the scouts' chapel. When I had to be enrolled as part of my school duties, she asked that I be excused from the Mass; this was impossible for disciplinary reasons, but my mother saw to it that the chaplain and the commander were aware that I was not a Catholic and that I should not be asked to perform any external acts of devotion in church.

In short, I often found myself in situations different from others, looked on as if I were some strange animal. I do not think this harmed me: one gets used to persisting in one's habits, to finding oneself isolated for good reasons, to putting up with the discomfort that this causes, to finding the right way to hold on to positions which are not shared by the majority.

But above all I grew up tolerant of others' opinions, particularly in the field of religion, remembering how irksome it was to hear myself mocked because I did not follow the majority's beliefs. And at the same time I have remained totally devoid of that taste for anticlericalism which is so common in those who are educated surrounded by religion.

I have insisted on setting down these memories because I see that many non-believing friends let their children have a religious education 'so as not to give them complexes', 'so that they don't feel different from the others.' I believe that this behavior displays a lack of courage which is totally damaging pedagogically. Why should a young child not begin to understand that you can face a small amount of discomfort in order to stay faithful to an idea?

And in any case, who said that young people should not have complexes? Complexes arise through a natural attrition with the reality that surrounds us, and when

That mesh of leaves and twigs of fork and froth, minute and endless, with the sky glimpsed only in sudden specks and splinters, perhaps it was only there so that my brother could pass through it with his tomtit’s thread, was embroidered on nothing, like this thread of ink which I have let run on for page after page, swarming with cancellations, corrections, doodles, blots and gaps, bursting at times into clear big berries, coagulating at others into piles of tiny starry seeds, then twisting away, forking off, surrounding buds of phrases with frameworks of leaves and clouds, then interweaving again, and so running on and on and on until it splutters and bursts into a last senseless cluster of words, ideas, dreams, and so ends.

A conversation with Miss Zwida would lead me inevitably to talk about seashells, and I cannot decide what attitude to take, whether to pretend absolute ignorance or to call on a remote experience now vague; it is my relationship with my life, consisting of things never concluded and half erased, that the subject of seashells forces me to contemplate; hence the uneasiness that finally puts me to flight.

Perhaps it is this story that is a bridge over the void, and as it advances it flings forward news and sensations and emotions to create a ground of upsets both collective and individual in the midst of which a path can be opened while we remain in the dark about many circumstances both historical and geographical. I clear my path through the wealth of details that cover the void I do not want to notice and I advance impetuously...

There was a town where everything was forbidden.

Now, since the only thing that wasn’t forbidden was the game tip-cat, the town’s subjects used to assemble on meadows behind the town and spend the day there playing tip-cat.

And as the laws forbidding things had been introduced one at a time and always with good reason, no one found any cause for complaint or had any trouble getting used to them.

Years passed. One day the constables saw that there was no longer any reason why everything should be forbidden and they sent messengers to inform their subjects that they could do whatever they wanted.

The messengers went to those places where the subjects were wont to assemble.

‘Hear ye, hear ye,’ they announced, ‘nothing is forbidden any more.’

The people went on playing tip-cat.

‘Understand?’ the messengers insisted. ‘You are free to do what you want.’

‘Good,’ replied the subjects. ‘We’re playing tip-cat.’

The messengers busily reminded them of the many wonderful and useful occupations they had once engaged in and could now engage in once again. But the subjects wouldn’t listen and just went on playing, stroke after stroke, without even stopping for a breather.

Seeing that their efforts were in vain, the messengers went to tell the constables.

‘Easy,’ the constables said. ‘Let’s forbid the game of tip-cat.’

That was when the people rebelled and killed the lot of them.

Then without wasting time, they got back to playing tip-cat.

In Maurilia, the traveler is invited to visit the city and, at the same time, to examine some old postcards that show it as it used to be: the same identical square with a hen in the place of the bus station, a bandstand in the place of the overpass, two young ladies with white parasols in the place of the munitions factory. If the traveler does not wish to disappoint the inhabitants, he must praise the postcard city and prefer it to the present one, though he must be careful to contain his regret at the changes within definite limits: admitting that the magnificence and prosperity of the metropolis Maurilia, when compared to the old, provincial Maurilia, cannot compensate for a certain lost grace, which, however, can be appreciated only now in the old postcards, whereas before, when that provincial Maurilia was before one’s eyes, one saw absolutely nothing graceful and would see it even less today, if Maurilia had remained unchanged; and in any case the metropolis has the added attraction that, through what it has become, one can look back with nostalgia at what it was.