What Romantic terminology called genius or talent or inspiration is nothing other than finding the right road empirically, following one's nose, taking shortcuts.
The Classics are those books which constitute a treasured experience for those who have read and loved them; but they remain just as rich an experience for those who reserve the chance to read them for when they are in the best condition to enjoy them.
Now you mustn't think that I don't have any ideas for novels in my head. I've got ideas for ten novels in my head. But with every idea I have, I already foresee the wrong novels I would write, because I also have critical ideas in my head; I've got a full theory of the perfect novel, and that's what stumps me.
I write... sonnets... and writing sonnets is boring. You have to find rhymes; you have to write hendecasyllables; so after a while, I get bored and my drawer is overflowing with unfinished short poems.
I think today that politics registers very late things which society manifests through other channels, and I feel that often politics distorts and mystifies reality.
I am more and more convinced that literature is made up of works, genres, schools, discussions, problems, collective work in order to solve certain problems.
Classics are books which, the more we think we know them through hearsay, the more original, unexpected, and innovative we find them when we actually read them.
Biographical data, even those recorded in the public registers, are the most private things one has, and to declare them openly is rather like facing a psychoanalyst.
When I'm writing a book, I prefer not to speak about it, because only when the book is finished can I try to understand what I've really done and to compare my intentions with the result.
The satirist is prevented by repulsion from gaining a better knowledge of the world he is attracted to, yet he is forced by attraction to concern himself with the world that repels him.
Sometimes I try to concentrate on the story I would like to write, and I realize that what interests me is something else entirely, or, rather, not anything precise but everything that does not fit in what I ought to write.
In 'Cosmicomics,' I came close to science fiction - I was inspired by cosmological subjects and the workings of the universe and invented a character who was a sort of witness to everything that was happening inside the solar system.
I write by hand, making many, many corrections. I would say I cross out more than I write. I have to hunt for words when I speak, and I have the same difficulty when writing.
I do not have any political commitments anymore. I'm politically a total agnostic; I'm one of the few writers in Italy who refuses to be identified with a specific political party.
Every time I've had to do journalistic investigations, I've cursed, but later I discovered that it had helped me enormously with writing fiction. It's the one thing that can save me from becoming an academic writer.
A quarter of America is a dramatic, tense, violent country, exploding with contradictions, full of brutal, physiological vitality, and that is the America that I have really loved and love. But a good half of it is a country of boredom, emptiness, monotony, brainless production, and brainless consumption, and this is the American inferno.
What is modern art but the attempt to pinpoint vague, incorporeal, inexpressible sensations? What is modern art, I would add, but the most solemn pile of nonsense that ever appeared on Earth?
The public figure of the writer, the writer-character, the 'personality-cult' of the author, are all becoming for me more and more intolerable in others, and consequently in myself.
Rarely does an interviewer ask questions you did not expect. I have given a lot of interviews, and I have concluded that the questions always look alike. I could always give the same answers.
I'm only a novelist on occasion. Many of my books are made up of brief texts collected together, short stories, or else they are books that have an overall structure but are composed of various texts.
