Cesare Pavese: Likeness

Cesare Pavese was Italian poet, novelist, literary critic, and translator. Explore interesting quotes on likeness.

Cesare Pavese: 274 quotes20 likes

“Maybe it's better like this, better that everything should go up in a blaze of dry grass and that people should begin again.”

Source: The moon and the bonfire (1950), Chapter XXVI, p. 148

“We like to have work to do, so as to have the right to rest.”

This Business of Living (1935-1950)

“Even today I wonder why those Germans didn't wait for me at the villa and send someone to look for me in Turin. It is because of their failure that I am still free and up here. Why I should have been saved and not Gallo, or Tono, or Cate, I don't know. Perhaps because I'm supposed to suffer for others? Because I'm the most useless and don't deserve anything, not even punishment? Because I went into a church that time? The experience of danger creates more cowards every day. It makes one stupid. I have reached the point of being alive only by chance, when many better men than I are dead, I don't like it, it's not enough. At time, after having listened to the useless radio and looked through the windows at the empty vineyards, I think that living by accident is not living, and I wonder if have really escaped.”

Source: The house on the hill (1949), Chapter 16, p. 144

“But I have seen the unknown dead, those little men of the Republic. It was they who woke me up. If a stranger, an enemy, becomes a thing like that when he dies, if one stops short and is afraid to walk over him, it means that even beaten our enemy is someone, that after having shed his blood, one must placate it, give this blood a voice, justify the man who shed it. Looking at certain dead is humiliating. One has the impression that the same fate that threw these bodies to the ground holds us nailed to the spot to see them, to fill our eyes with the sight. It's not fear, not our usual cowardice. One feels humiliated because one understands–touching it with one's eyes–that we might be in their place ourselves: there would be no difference, and if we live we owe it to this dirtied corpse. That is why every war is a civil war; every fallen man resembles one who remains and calls him to account.”

Source: The house on the hill (1949), Chapter 23, p. 176

“The whole plain was like a battlefield—or a farmyard. There was a reddish light and I jumped down, cramped and stiff with cold; a sliver of moon was piercing the low clouds and it looked like a gash from a knife and bathed the plain in a blood-red light. I stayed looking at it for a while. It terrified me.”

Source: The moon and the bonfire (1950), Chapter XI, p. 67

“Why so much innuendo, draped like ivy to hide a cesspool, when everyone knew the cesspool was there?”

Source: The devil in the hills (1949), Chapter 18, p. 354

“Certainly, to have a woman who waits at home for you, who will sleep with you, gives a warm feeling like having something you must say; it makes you glow, keeps you company, helps you to live.”

This Business of Living (1935-1950)

“We were at the age when a friend's conversation seems like oneself talking, when one shares a life in common the way I still think, bachelor though I am, some married couples are able to live.”

Source: The Beach (1941), Chapter 2, p. 8

“No matter how much a young man likes to think for himself, he is always trying to model himself on some abstract pattern largely derived from the example of the world around him. And a man, no matter how conservative, shows his own worth by his personal deviation from that pattern.”

This Business of Living (1935-1950)

“Life without smoking is like the smoke without the roast.”

This Business of Living (1935-1950)

“What use is this valley to a family that comes from across the sea and knows nothing about the moon and the bonfires? You must have grown up there and have in in your bones, like wine and polenta, and then you know it without needing to speak about it and everything you have carried about inside you for so many years without knowing awakens now at the rattle of the chain on a cart, at the swish of an ox' tail, at the taste of a bowl of minestra, at the sound of a voice heard in the square at night.”

Source: The moon and the bonfire (1950), Chapter X, p. 56

“For some time my friend Doro and I had agreed that I would be his guest. I was very fond of Doro, and when he married and went to Genoa to live, I was half sick over it. When I wrote to refuse his invitation to the wedding, I got a dry and rather haughty note replying that if his money wasn't good for establishing himself in a city that pleased his wife, he didn't know what it was good for. Then, one fine day as I was passing through Genoa I stopped at his house and we made peace. I liked his wife very much, a tomboy type who graciously asked me to call her Clelia and left us alone as much as she should, and when she showed up again in the evening to go out with us, she had become a charming woman whose hand I would have kissed had I been anyone else but myself.”

Incipit
The Beach (1941)

“See, you're like all the others. But don't you understand that we can't quarrel? We love each other. If I could hate him the way I hate myself, then of course I would abuse him. But neither of us deserves it. See?”

Source: The Beach (1941), Chapter 3, p. 20

“If it is true that one gets used to suffering, how is it that as the years go one always suffers more?
No, they are not mad, those people who amuse themselves, enjoy life, travel, make love, fight—they are not mad. We should like to do the same ourselves.”

This Business of Living (1935-1950)

“Remember, writing poetry is like making love: one will never know whether one's own pleasure is shared.”

This Business of Living (1935-1950)