From fire, water, the passage of time, neglectful readers, and the hand of the censor, each of my books has escaped to tell me its story.
Interpretation
Books survive many challenges to share their stories with readers.
In this quote, Alberto Manguel reflects on the resilience of books in the face of adversity, highlighting how they endure through elements like fire and water, as well as the negligence of readers and the censorship they may face. This resilience allows them to convey their narratives and connect with those who are willing to listen.
In practice
Sharing this quote during a book club meeting to emphasize the importance of literature.
The stories that unfold in the space of a writer's study, the objects chosen to watch over a desk, the books selected to sit on the shelves, all weave a web of echoes and reflections of meanings and affections, that lend a visitor the illusion that something of the owner of this space lives on between these walls, even if the owner is no more.
One book calls to another unexpectedly, creating alliances across different cultures and centuries.
It has always been my experience that, whatever groupings I choose for my books, the space in which I plan to lodge them necessarily reshapes my choice and, more important, in no time proves too small for them and forces me to change my arrangement. In a library, no empty shelf remains empty for long. Like Nature, libraries abhor a vacuum, and the problem of space is inherent in the very nature of any collection of books.
My books hold between their covers every story I've ever known and still remember, or have now forgotten, or may one day read; they fill the space around me with ancient and new voices.
A society can exist - many do exist - without writing, but no society can exist without reading.
I have no feelings of guilt regarding the books I have not read and perhaps will never read; I know that my books have unlimited patience. They will wait for me till the end of my days.
There is something called the rapture of the deep, and it refers to what happens when a deep-sea diver spends too much time at the bottom of the ocean and can't tell which way is up. When he surfaces, he's liable to have a condition called the bends, where the body can't adapt to the oxygen levels in the atmosphere. All of this happens to me when I surface from a great book.
What I felt was, if you spend your life just writing fiction, you are going to falsify your material. And the fictional form was going to force you to do things with the material, to dramatize it in a certain way. I thought nonfiction gave one a chance to explore the world, the other world, the world that one didn't know fully.
For most of human history, 'literature,' both fiction and poetry, has been narrated, not written β heard, not read. So fairy tales, folk tales, stories from the oral tradition, are all of them the most vital connection we have with the imaginations of the ordinary men and women whose labor created our world.
You have started the book with this bubble over your head that contains a cathedral full of fire - that contains a novel so vast and great and penetrating and bright and dark that it will put all other novels ever written to shame. And then, as you get towards the end, you begin to realise, no, it's just this book.
I do reread, kind of obsessively, partly for the surprise of how the same book reads at a different point in life, and partly to have the sense of returning to an old friend.
People often ask me why my style is so simple. It is, in fact, deceptively simple, for no two sentences are alike. It is clarity that I am striving to attain, not simplicity. Of course, some people want literature to be difficult and there are writers who like to make their readers toil and sweat. They hope to be taken more seriously that way. I have always tried to achieve a prose that is easy and conversational. And those who think this is simple should try it for themselves.
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