“However hard he tried, he could never manage to make himself visible to human eyes and not because he can't, since for him nothing is impossible, it's simply that he wouldn't know what face to wear when introducing himself to the beings he supposedly created and who probably wouldn't recognize him anyway. There are those who say we're very fortunate that god chooses not to appear before us, because compared with the shock we would get were such a thing to happen, our fear of death would be mere child's play. Besides, all the many things that have been said about god and about death are nothing but stories, and this is just another one.” LifeGodDeathCreation Book:Death with Interruptions Source: Death with Interruptions
“She didn't much care if it was or wasn't the musical portrait of the cellist, it's likely that he'd fabricated in his mind any alleged similarities, real or imagined, but what impressed death was that she seemed to hear in those fifty-eight seconds of music a rhythmical and melodic transposition of every and any human life, be it run-of-the-mill or extraordinary, because of its tragic brevity, its desperate intensity, and also because of that final chord, like an ellipsis left hanging in the air, something yet to be said. The cellist had fallen into one of the least forgivable of human sins, that of presumption, when he thought he could see his face, and his alone, in a portrait in which everyone could be found, a presumption which, however, if we think about it, if we choose not to remain on the surface of things, could equally be interpreted as a manifestation of its polar opposite, that is, of humility, since if it is a portrait of everyone, then I must be included in it too.” LifeDeathHumanityMusicHumility Book:Death with Interruptions Source: Death with Interruptions
“The only difference between life and death is that the living still have time, but the time to say that one word, to make that one gesture, is running out for them. What gesture, what word, I don't know, a man dies from not having said it, from not having made it, this is what he dies of, not from sickness, and that is why, when dead, he finds it so difficult to accept death. (Jose Saramago, The Year of the Death of Ricardo Reis, p 122)” LifeDeathFailureSalvationWordsRedemptionAbsurdity Book:The Year of the Death of Ricardo Reis Source: The Year of the Death of Ricardo Reis
“That we're going to die is something we know from the moment we are born, That's why, in some ways, it's as if we were born dead.” LifeDeathBlindness Book:Blindness Source: Blindness
“Amo gli occhi di una donna, la sua pelle, la sua passione, tutto. Parlo tanto, fin troppo, ma ci sono momenti che rimango in silenzio ad ascoltarmi. E’ in quei momenti che fabbrico i miei pensieri più veri, mentre cammino per le strade, osservando la gente che passa, ascoltando i discorsi, a volte assurdi, di alcune persone o assaporando il sole che mi scalda dentro. Amo ridere, giocare. Amo le cose belle, le belle storie che dicono qualcosa, mi piace tutto ciò che fa palpitare il cuore. E’ bello aver la pelle d’oca, significa che stai vivendo.” LoveLifeHeartAmoreVitaCuore Author:José Saramago
“There are things we do automatically, our body, acting on its own, avoids inconvenience whenever possible, that is why we sleep on the eve of battle or execution, and why ultimately we die when we can no longer bear the harsh light of existence.” LifeDeathSleepExistence Book:The Year of the Death of Ricardo Reis Source: The Year of the Death of Ricardo Reis