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I love the secrecy of writing fiction. When I write a novel, I don't tell anybody what I'm doing. I'm living in my private world. And it's a great sensation.

Umberto Eco

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Umberto Eco
Age: 84 †
Born: 1932
Born: January 5
Died: 2016
Died: February 19
Essayist
Historian
Literary Critic
Literary Scholar
Medievalist
Novelist
Pedagogue
Philosopher
Screenwriter
Semiotician
Translator
Lissändria
Umberto Ecco
Umberto Eccounstino
Humberto Eco
Dedalus
Umberto Eko
Oumperto Eko
Eco Umberto
U. Eco
World
Novel
Fiction
Living
Write
Secrecy
Tell
Sensation
Great
Sensations
Writing
Private
Love
Anybody

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Even today, I frequently meet scientists who, outside their own narrow discipline, are superstitious.
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I was the type who looked at discussions of What Is Truth only with a view toward correcting the manuscript. If you were to quote I am that I am, for example, I thought that the fundamental problem was where to put the comma, inside the quotation marks or outside.
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But laughter is weakness, corruption, the foolishness of our flesh.
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I enjoyed your article, but I preferred my own.
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Deciding what is being talked about is a kind of interpretive bet.
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Contemporary societies have lost the sense of the feast but have kept the obscure drive for it.
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When we traded the results of our fantasies, it seemed to us-and rightly-that we had proceeded by unwarranted associations, by shortcuts so extraordinary that, if anyone had accused us of really believing them, we would have been ashamed.
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As an adolescent I wrote comic books, because I read lots of them, and fantasy novels set in Malaysia and Central Africa.
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For many years I have devoted articles and essays to newspapers, from the inside. So criticism of the newspapers was a topic that I practiced for a long time.
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Nothing is more fleeting than external form, which withers and alters like the flowers of the field at the appearance of autumn.
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The truth is an anagram of an anagram.
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How beautiful was the spectacle of nature not yet touched by the often perverse wisdom of man!
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I have always been fascinated by paranoid people imagining conspiracies. I am fascinated by this in a critical way.
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Yesterday's rose endures in its name, we hold empty names.
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They [the Templars] had read Avicenna, and they were not ignorant, like the Europeans. How could you live alongside a tolerant, mystical, libertine culture for two centuries without succumbing to its allure, particularly when you compared it to Western culture, which was crude, vulgar, barbaric, and Germanic?
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To establish what is true is very difficult. Frequently it is easier to establish what is false. And, passing through the false, it's possible to understand something about truth.
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Narrativity presumes a special taste for plot. And this taste for plot was always very present in the Anglo-Saxon countries and that explains their high quality of detective novels.
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Does the novel have to deepen the psychology of its heroes? Certainly the modern novel does, but the ancient legends did not do the same. Oedipus' psychology was deduced by Aeschylus or Freud, but the character is simply there, fixed in a pure and terribly disquieting state.
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My poetry had the same functional origin and the same formal configuration as teenage acne.
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