If on a Winter's Night a Traveler

Renouncing things is less difficult than people believe: it’s all a matter of getting started. Once you’ve succeeded in dispensing with something you thought essential, you realize you can also do without something else, then without many other things.

“The novel I would most like to read at this moment,” Ludmilla explains, “should have as its driving force only the desire to narrate, to pile stories upon stories, without trying to impose a philosophy of life on you, simply allowing you to observe its own growth, like a tree, an entangling, as if of branches and leaves....”

“The novels that attract me most,” Ludmilla said, “are those that create an illusion of transparency around a knot of human relationships as obscure, cruel, and perverse as possible.”

I am sure this Lotaria (that is her name) has read them conscientiously, but I believe she has read them only to find in them what she was already convinced of before reading them.

Your reading is no longer solitary: you think of the Other Reader, who, at this same moment, is also opening the book; and there, the novel to be read is superimposed by a possible novel to be lived, the continuation of your story with her, or better still, the beginning of a possible story.

I say to myself that the result of the unnatural effort to which I subject myself, writing, must be the respiration of this reader, the operation of reading turned into a natural process, the current that brings the sentences to graze the filter of her attention, to stop for a moment before being absorbed by the circuits of her mind and disappearin

I tried to make the comparison with the reading of a novel in which a very calm narrative pace, all on the same subdued note, serves to enforce some subtle and precise sensations to which the writer wishes to call the reader’s attention; but in the case of the novel you must consider that in the succession of sentences only one sensation can pass a

you are gripped by the fear of having also passed over to “the other side” and of having lost that privileged relationship with books which is peculiar to the reader: the ability to consider what is written as something finished and definitive, to which there is nothing to be added, from which there is nothing to be removed.

I’m producing too many stories at once because what I want is for you to feel, around the story, a saturation of other stories that I could tell and maybe will tell or who knows may already have told on some other occasion, a space full of stories that perhaps is simply my lifetime, where you can move in all directions, as in space, always finding