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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.

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
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Plot
Always
Countries
Presumes
Taste
Saxon
Novel
Anglo
Present
Detective
Special
Explains
Quality
Detectives
High
Novels

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Once upon a time there were mass media, and they were wicked, of course, and there was a guilty party. Then there were the virtuous voices that accused the criminals. And Art (ah, what luck!) offered alternatives, for those who were not prisoners to the mass media.
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I don't see the point of having 80 million people online if all they are doing in the end is talking to ghosts in the suburbs.
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How clear everything becomes when you look from the darkness of a dungeon.
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There is a constant in the average American imagination and taste, for which the past must be preserved and celebrated in full-scale authentic copy a philosophy of immortality as duplication. It dominates the relation with the self, with the past, not infrequently with the present, always with History and, even, with the European tradition.
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Semiotics is in principle the discipline studying everything which can be used in order to lie. If something cannot be used to tell a lie, conversely it cannot be used to tell the truth: it cannot in fact be used to tell at all.
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Books are not made to be believed, but to be subjected to inquiry.
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You don't fall in love because you fall in love you fall in love because of the need, desperate, to fall in love. when you feel that need, you have to watch your step: like having drunk a philter, the kind that makes you fall in love with the first thing you meet. It could be a duck-billed platypus.
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On sober reflection, I find few reasons for publishing my Italian version of an obscure, neo-Gothic French version of a seventeenth century Latin edition of a work written in Latin by a German Monk toward the end of the fourteenth century...First of all, what style should I employ?
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The lunatic is all idée fixe, and whatever he comes across confirms his lunacy. You can tell him by the liberties he takes with common sense, by his flashes of inspiration, and by the fact that sooner or later he brings up the Templars.
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But it has often happened that I have found the most seductive depictions of sin in the pages of those very men of incorruptible virtue who condemned their spell and their effects.
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