
cited in Marco Travaglio, Montanelli e il Cavaliere: storia di un grande e di un piccolo uomo.
2000s - 2010s
Preface to Il Pollaio delle Libertà by Marco Travaglio, Vallecchi, 1995.
1950s - 1990s
cited in Marco Travaglio, Montanelli e il Cavaliere: storia di un grande e di un piccolo uomo.
2000s - 2010s
“This is not a letter but my arms about you for a brief moment.”
Source: Isle of the Dead (1969), Chapter 4 (p. 72)
From Her Books, I Have Chosen To Stay And Fight, ACTIVISM
The Age for Love
Context: Since that not far-distant time when, tired of being poor, I had made up my mind to cast my lot with the multitude in Paris, I had tried to lay aside my old self, as lizards do their skins, and I had almost succeeded. In a former time, a former time that was but yesterday, I knew — for in a drawer full of poems, dramas and half-finished tales I had proof of it — that there had once existed a certain Jules Labarthe who had come to Paris with the hope of becoming a great man. That person believed in Literature with a capital "L;" in the Ideal, another capital; in Glory, a third capital. He was now dead and buried. Would he some day, his position assured, begin to write once more from pure love of his art? Possibly, but for the moment I knew only the energetic, practical Labarthe, who had joined the procession with the idea of getting into the front rank, and of obtaining as soon as possible an income of thirty thousand francs a year. What would it matter to this second individual if that vile Pascal should boast of having stolen a march on the most delicate, the most powerful of the heirs of Balzac, since I, the new Labarthe, was capable of looking forward to an operation which required about as much delicacy as some of the performances of my editor-in-chief? I had, as a matter of fact, a sure means of obtaining the interview. It was this: When I was young and simple I had sent some verses and stories to Pierre Fauchery, the same verses and stories the refusal of which by four editors had finally made me decide to enter the field of journalism. The great writer was traveling at this time, but he had replied to me. I had responded by a letter to which he again replied, this time with an invitation to call upon him. I went I did not find him. I went again. I did not find him that time. Then a sort of timidity prevented my returning to the charge. So I had never met him. He knew me only as the young Elia of my two epistles. This is what I counted upon to extort from him the favor of an interview which he certainly would refuse to a mere newspaper man. My plan was simple; to present myself at his house, to be received, to conceal my real occupation, to sketch vaguely a subject for a novel in which there should occur a discussion upon the Age for Love, to make him talk and then when he should discover his conversation in print — here I began to feel some remorse. But I stifled it with the terrible phrase, "the struggle for life," and also by the recollection of numerous examples culled from the firm with which I now had the honor of being connected.
"May Day"
Quoted, Tales of the Jazz Age (1922)
Context: Mr. In and Mr. Out are not listed by the census-taker. You will search for them in vain through the social register or the births, marriages, and deaths, or the grocer's credit list. Oblivion has swallowed them and the testimony that they ever existed at all is vague and shadowy, and inadmissible in a court of law. Yet I have it upon the best authority that for a brief space Mr. In and Mr. Out lived, breathed, answered to their names and radiated vivid personalities of their own.
During the brief span of their lives they walked in their native garments down the great highway of a great nation; were laughed at, sworn at, chased, and fled from. Then they passed and were heard of no more.
“He put his arms about himself as if he were cold. "I do not know who to be without him.”
Source: Clockwork Princess