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Poetry is not a matter of feelings, it is a matter of language. It is language which creates feelings.

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
Creates
Poetry
Language
Feelings
Matter

More quotes by Umberto Eco

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An idea you have might not be original. But by creating a novel out of that idea you can make it original.
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I'm always fascinated by losers. Also, in my Foucault's Pendulum, the main characters, who are in a way losers, they are more interesting than the winners.
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In the construction of Immortal Fame you need first of all a cosmic shamelessness.
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A transposable aphorism is a malaise of the urge to be witty, or in other words, a maxim that is untroubled by the fact that the opposite of what it says is equally true so long as it appears to be funny.
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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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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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I have a good memory. But I would be interested in memory even if I had a bad memory, because I believe that memory is our soul. If we lose our memory completely, we are without a soul.
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It is obvious that the newspaper produces the opinion of the readers.
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There are more people than you think who want to have a challenging experience, in which they are obliged to reflect about the past.
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For such is the fate of parody: it must never fear exaggerating. If it strikes home, it will only prefigure something that others will then do without a smile--and without a blush--in steadfast virile seriousness.
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Creativity can only be anarchic, capitalist, Darwinian.
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I started to write [The Name of the Rose] in March of 1978, moved by a seminal idea. I wanted to poison a monk.
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All poets write bad poetry. Bad poets publish them, good poets burn them.
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A monk should surely love his books with humility, wishing their good and not the glory of his own curiosity but what the temptation of adultery is for laymen and the yearning for riches is for secular ecclesiastics, the seduction of knowledge is for monks.
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When one starts writing a book, especially a novel, even the humblest person in the world hopes to become Homer.
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[In my writing] I know that I have made a caricature out of [others' academic] theories [but] I think that caricatures are frequently good portraits.
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A great problem of the internet is how to filter information, how to discard what is not relevant or what is silly and to keep only the important information.
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The order that our mind imagines is like a net, or like a ladder, built to attain something. But afterward you must throw the ladder away, because you discover that, even if it was useful, it was meaningless.
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To imagine secret societies and conspiracy is a way not to react to the social and political life. Because you say, We don't know who they are. We cannot react without reasoning. So it is a way to keep people far from the political environment.
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Monsters exist because they are part of the divine plan, and in the horrible features of those same monsters the power of the creator is revealed.
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