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The step between ecstatic vision and sinful frenzy is all too brief.

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
Vision
Frenzy
Sinful
Ecstatic
Brief
Step
Steps

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One can be a great poet and be politically stupid.
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The real hero is always a hero by mistake he dreams of being an honest coward like everybody else.
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It is a myth of publishers that people want to read easy things.
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There are four kinds of people in this world: cretins, fools, morons, and lunatics.
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We live for books.
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I was a fervent Catholic, and I belonged to the national organizations, even becoming one of the national leaders, until the age of 21, 22.
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We are formed by little scraps of wisdom.
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In other words, although I don't like them, we do need noble-spirited souls.
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If western culture is shown to be rich it is because, even before the Enlightenment, it has tried to dissolve harmful simplifications through inquiry and the critical mind.
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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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I wrote a novel because I had a yen to do it. I believe this is sufficient reason to set out to tell a story.
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If you want to use television to teach somebody, you must first teach them how to use television.
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Libraries can take the place of God.
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Every man is obsessed by the memories of his own youth.
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After so many years even the fire of passion dies, and with it what was believed the light of the truth. Who of us is able to say now whether Hector or Achilles was right, Agamemnon or Priam, when they fought over the beauty of a woman who is now dust and ashes?
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The French, the Italians, the Germans, the Spanish and the English have spent centuries killing each other.
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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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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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