Quotes About Change

Irene is a name for a city in the distance, and if you approach, it changes. For those who pass it without entering, the city is one thing; it is another for those who are trapped by it and never leave. There is the city where you arrive for the first time; and there is another city which you leave never to return. Each deserves a different name; perhaps I have already spoken of Irene under other names; perhaps I have spoken only of Irene. — Invisible Cities, Italo Calvino

From my words you will have reached the conclusion that the real Berenice is a temporal succession of different cities, alternately just and unjust. But what I wanted to warn you about is something else: all the future Berenices are already present in this instant, wrapped one within the other, confined, crammed, inextricable.

The past is like a tapeworm, constantly growing, which I carry curled up inside me, and it never loses its rings no matter how hard I try to empty my guts in every WC, English-style or Turkish, or in the slop jars of prison or the bedpans of hospitals or the latrines of camps, or simply in the bushes, taking a good look first to make sure no snake will pop out, like that time in Venezuela.

Aç?k konu?al?m: Her rejim, hatta en otoriter olan bile de?i?ken bir denge durumunda ayakta kalabilir, bu nedenle kendi bask? donan?m?n?n varl???n? sürekli olarak hakl? göstermesi gerekir ve bask? uygulayacak bir ?eylere gereksinme duyar.

In short, what you are doing is very beautiful but grammatically it doesn't change a thing. At the moment when you most appear to be a united voi, a second person plural, you are two tu's, more separate and circumscribed than before.

Si arriva a un momento della vita in cui tra la gente che si è conosciuta i morti sono più dei vivi. E la mente si rifiuta di accettare altre fisionomie, altre espressioni: su tutte le facce nuove che incontra, imprime i vecchi calchi, per ognuna trova la maschera che s'adatta di più.

A model is by definition that in which nothing has to be changed, that which works perfectly; whereas reality, as we see clearly, does not work and constantly falls to pieces; so we must force it, more or less roughly, to assume the form of the model.

Pensé: —Uno llega a un momento de la vida en que de la gente que ha conocido son mas los muertos que los vivos. Y la mente se niega a aceptar otras fisonomías, otras expresiones: en todas las caras nuevas que encuentra, imprime los viejos calcos, para cada una encuentra la máscara que más se adapta.

En la plaza está la pequeña pared de los viejos que miran pasar la juventud; el hombre está sentado en fila con ellos. Los deseos son ya recuerdos. (Ciudad Isadora)

uno llega a un momento de la vida en que de la gente que ha conocido son mas los muertos que los vivos. Y la mente se niega aceptar otras fisonomías, otras expresiones: en todas las caras nuevas que encuentra, imprime los viejos calcos, para cada una encuentra la máscara que mas se adapta. ( Ciudad:Adelma)

The process going on today is the triumph of discontinuity, divisibility, and combination over all that is flux, or a series of minute nuances following one upon the other.

The one contains what is accepted as necessary when it is not yet so; the others, what is imagined as possible and, a moment later, is possible no longer.

We were peering into this darkness, crisscrossed with voices, when the change took place: the only real, great change I've ever happened to witness, and compared to it the rest is nothing

Though I leave the house as little as possible, I have the impression that someone is disturbing my papers. More than once I have discovered that some pages were missing from my manuscripts. A few days afterward I would find the pages in their place again. But often I no longer recognize my manuscripts, as if I had forgotten what I had written, or as if overnight I were so changed that no longer recognized myself in the self of yesterday.

I knew that signs also allow others to judge the one who makes them, and that in the course of a galactic year tastes and ideas have time to change, and the way of regarding the earlier ones depends on what comes afterwards; in short, I was afraid a sign that now might seem perfect to me, in two hundred or six hundred million years would make me look absurd.

When I got here my first thought was: Maybe I achieved such an effort with my thoughts that time has made a complete revolution; here I am at the station from which I left on my first journey, it has remained as it was then, without any change. All the lives that I could have led begin here; there is the girl who could have been my girl and wasn't, with the same eyes, the same hair...

In the infinite universe of literature there are always other avenues to explore, some brand-new and some exceedingly ancient, styles and forms that can change our image of the world. And when literature fails to assure me that I'm not merely chasing dreams, I look to science to sustain my visions in which all heaviness dissolves . . .

So you begin to wonder if Leonia's true passion is really, as they say, the enjoyment of new and different things, and not, instead, the joy of expelling, discarding, cleansing itself of a recurrent impurity.

Traveling, you realize that differences are lost: each city takes to resembling all cities, places exchange their form, order, distances, a shapeless dust cloud invades the continent.

Hep ba??n arkaya dönük mü ilerlersin sen- ya da: -Gördü?ün ?ey hep geride kalan m?d?r?- ya da daha do?rusu: -Yaln?z geçmi?e mi senin yolculu?un?

I thought: "You reach a moment in life when, among the people you have known, the dead outnumber the living. And the mind refuses to accept more faces, more expressions: on every new face you encounter, it prints the old forms, for each one it finds the most suitable mask.

It is pointless to ask whether the new ones are better or worse than the old, since there is no connection between them, just as the old post cards do not depict Maurilia as it was, but a different city which, by chance, was called Maurilia, like this one.

but the gods who live beneath names and above places have gone off without a word and outsiders have settled in their place. It is pointless to ask whether the new ones are better or worse than the old, since there is no connection between them,

Arrivando a ogni nuova città il viaggiatore ritrova un suo passato che non sapeva più d'avere. [...[ Oramai, da quel suo passato vero o ipotetico, lui è escluso; non può fermarsi; deve proseguire fino a un'altra città dove lo aspetta un altro suo passato, o qualcosa che forse era stato un suo possibile futuro e ora è il presente di qualcun altro. I futuri non realizzati sono solo rami del passato: rami secchi.