With Marquez recently passing away, I relished this even more.
Some great snippets:
"INTERVIEWER
Have you read The Da Vinci Code?
ECO
Yes, I am guilty of that too.
INTERVIEWER
That novel seems like a bizarre little offshoot of Foucault’s Pendulum.
ECO
The author, Dan Brown, is a character from Foucault’s Pendulum! I invented him. He shares my characters’ fascinations—the world conspiracy of Rosicrucians, Masons, and Jesuits. The role of the Knights Templar. The hermetic secret. The principle that everything is connected. I suspect Dan Brown might not even exist."
"INTERVIEWER
Many of your novels seem to rely upon clever concepts. Is that a natural way for you to bridge the chasm between theoretical work and novel writing? You once said that “those things about which we cannot theorize, we must narrate.”
ECO
It is a tongue-in-cheek allusion to a sentence by Wittgenstein. The truth is, I have written countless essays on semiotics, but I think I expressed my ideas better in Foucault’s Pendulum than in my essays. An idea you have might not be original—Aristotle will always have thought of it before you. But by creating a novel out of that idea you can make it original. Men love women. It’s not an original idea. But if you somehow write a terrific novel about it, then by a literary sleight of hand it becomes absolutely original. I simply believe that at the end of the day a story is always richer—it is an idea reshaped into an event, informed by a character, and sparked by crafted language. So naturally, when an idea is transformed into a living organism, it turns into something completely different and, likely, far more expressive.
On the other hand, contradiction can be the core of a novel. Killing old ladies is interesting. With that idea you get an F on an ethics paper. In a novel it becomes Crime and Punishment, a masterpiece of prose in which the character can’t tell whether killing old ladies is good or bad, and in which his ambivalence—the very contradiction in our statement—becomes a poetic and challenging matter."
"ECO
I own a total of about fifty thousand books. But as a rare books collector I am fascinated by the human propensity for deviating thought. So I collect books about subjects in which I don’t believe, like kabbalah, alchemy, magic, invented languages. Books that lie, albeit unwittingly. I have Ptolemy, not Galileo, because Galileo told the truth. I prefer lunatic science."
"ECO
If by intellectual you mean somebody who works only with his head and not with his hands, then the bank clerk is an intellectual and Michelangelo is not. And today, with a computer, everybody is an intellectual. So I don’t think it has anything to do with someone’s profession or with someone’s social class. According to me, an intellectual is anyone who is creatively producing new knowledge. A peasant who understands that a new kind of graft can produce a new species of apples has at that moment produced an intellectual activity. Whereas the professor of philosophy who all his life repeats the same lecture on Heidegger doesn’t amount to an intellectual. Critical creativity—criticizing what we are doing or inventing better ways of doing it—is the only mark of the intellectual function."
"If culture did not filter, it would be inane—as inane as the formless, boundless Internet is on its own. And if we all possessed the boundless knowledge of the Web, we would be idiots! Culture is an instrument for making a hierarchical system of intellectual labor. For you and for me it is enough to know that Einstein proposed the theory of relativity. But an absolute understanding of the theory we leave to the specialists. The real problem is that too many are granted the right to become a specialist."
"ECO
I don’t believe one writes for oneself. I think that writing is an act of love—you write in order to give something to someone else. To communicate something. To have other people share your feelings. This problem of how long your work can survive is fundamental for every writer, not just for a novelist or a poet. The truth is, the philosopher writes his book in order to convince a lot of people of his theories, and he hopes that in the next three thousand years people will still read that book. It is just as you hope that your kids survive you, and that if you have a grandchild he survives your children. One hopes for a sense of continuity. When a writer says, I am not interested in the destiny of my book, he is simply a liar. He says so to please the interviewer."
"INTERVIEWER
Is comedy a specifically human invention, as you said lying is?
ECO
Yes, since it seems that animals are bereft of humor. We know that they have a sense of play, they feel sorry, they weep, they suffer. We have proof that they are happy, when they are playing with us, but not that they have comic feelings. It is a typical human experience, which consists of—no, I can’t exactly say.
INTERVIEWER
Why not?
ECO
OK, fine. I have a suspicion that it is linked with the fact that we are the only animals who know we must die. The other animals don’t know it. They understand it only on the spot, in the moment that they die. They are unable to articulate anything like the statement: All men are mortal. We are able to do it, and that is probably why there are religions, rituals, and what have you. I think that comedy is the quintessential human reaction to the fear of death."
Some great snippets:
"INTERVIEWER
Have you read The Da Vinci Code?
ECO
Yes, I am guilty of that too.
INTERVIEWER
That novel seems like a bizarre little offshoot of Foucault’s Pendulum.
ECO
The author, Dan Brown, is a character from Foucault’s Pendulum! I invented him. He shares my characters’ fascinations—the world conspiracy of Rosicrucians, Masons, and Jesuits. The role of the Knights Templar. The hermetic secret. The principle that everything is connected. I suspect Dan Brown might not even exist."
"INTERVIEWER
Many of your novels seem to rely upon clever concepts. Is that a natural way for you to bridge the chasm between theoretical work and novel writing? You once said that “those things about which we cannot theorize, we must narrate.”
ECO
It is a tongue-in-cheek allusion to a sentence by Wittgenstein. The truth is, I have written countless essays on semiotics, but I think I expressed my ideas better in Foucault’s Pendulum than in my essays. An idea you have might not be original—Aristotle will always have thought of it before you. But by creating a novel out of that idea you can make it original. Men love women. It’s not an original idea. But if you somehow write a terrific novel about it, then by a literary sleight of hand it becomes absolutely original. I simply believe that at the end of the day a story is always richer—it is an idea reshaped into an event, informed by a character, and sparked by crafted language. So naturally, when an idea is transformed into a living organism, it turns into something completely different and, likely, far more expressive.
On the other hand, contradiction can be the core of a novel. Killing old ladies is interesting. With that idea you get an F on an ethics paper. In a novel it becomes Crime and Punishment, a masterpiece of prose in which the character can’t tell whether killing old ladies is good or bad, and in which his ambivalence—the very contradiction in our statement—becomes a poetic and challenging matter."
"ECO
I own a total of about fifty thousand books. But as a rare books collector I am fascinated by the human propensity for deviating thought. So I collect books about subjects in which I don’t believe, like kabbalah, alchemy, magic, invented languages. Books that lie, albeit unwittingly. I have Ptolemy, not Galileo, because Galileo told the truth. I prefer lunatic science."
"ECO
If by intellectual you mean somebody who works only with his head and not with his hands, then the bank clerk is an intellectual and Michelangelo is not. And today, with a computer, everybody is an intellectual. So I don’t think it has anything to do with someone’s profession or with someone’s social class. According to me, an intellectual is anyone who is creatively producing new knowledge. A peasant who understands that a new kind of graft can produce a new species of apples has at that moment produced an intellectual activity. Whereas the professor of philosophy who all his life repeats the same lecture on Heidegger doesn’t amount to an intellectual. Critical creativity—criticizing what we are doing or inventing better ways of doing it—is the only mark of the intellectual function."
"If culture did not filter, it would be inane—as inane as the formless, boundless Internet is on its own. And if we all possessed the boundless knowledge of the Web, we would be idiots! Culture is an instrument for making a hierarchical system of intellectual labor. For you and for me it is enough to know that Einstein proposed the theory of relativity. But an absolute understanding of the theory we leave to the specialists. The real problem is that too many are granted the right to become a specialist."
"ECO
I don’t believe one writes for oneself. I think that writing is an act of love—you write in order to give something to someone else. To communicate something. To have other people share your feelings. This problem of how long your work can survive is fundamental for every writer, not just for a novelist or a poet. The truth is, the philosopher writes his book in order to convince a lot of people of his theories, and he hopes that in the next three thousand years people will still read that book. It is just as you hope that your kids survive you, and that if you have a grandchild he survives your children. One hopes for a sense of continuity. When a writer says, I am not interested in the destiny of my book, he is simply a liar. He says so to please the interviewer."
Is comedy a specifically human invention, as you said lying is?
ECO
Yes, since it seems that animals are bereft of humor. We know that they have a sense of play, they feel sorry, they weep, they suffer. We have proof that they are happy, when they are playing with us, but not that they have comic feelings. It is a typical human experience, which consists of—no, I can’t exactly say.
INTERVIEWER
Why not?
ECO
OK, fine. I have a suspicion that it is linked with the fact that we are the only animals who know we must die. The other animals don’t know it. They understand it only on the spot, in the moment that they die. They are unable to articulate anything like the statement: All men are mortal. We are able to do it, and that is probably why there are religions, rituals, and what have you. I think that comedy is the quintessential human reaction to the fear of death."
