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“Desire,” he replied firmly. “Their abundance, that ‘everything right now’ which they got without any effort, had killed their sense of longing. All that luxury had made them numb. They had no idea what it meant to dream of something unattainable, to feel that hunger for achieving something that seemed so far away. They never had to fight for anything, and that made them weak—unable to adapt or respond.”

“One of the most powerful experiences in which these questions would surface was listening to the guitar solo in Stairway to Heaven by Led Zeppelin. Some said the band had made a pact with the devil, that the song contained hidden satanic messages if played backwards. But for me, especially during the final solo, it felt like a portal opening onto something mysterious and absolute. As if those notes – in their apparent simplicity – held the power to evoke a longing for the infinite. Every chord seemed like a threshold to cross, an invitation to go beyond the visible and to question the deeper meaning of existence.”

“. Running a restaurant isn’t just about serving food—it’s about serving memories. People don’t come back for what you put on the plate, but for what you leave in their hearts.....It’s like a good wine, isn’t it? It’s never just about the grapes or the bottle. It’s about the sun that ripened the fruit, the soil that fed it, the hands that picked it. Every sip tells a story, and if that story is genuine, people will remember it.”

“It was then that I understood something essential: once a book is published, it no longer belongs to you. It takes on a life of its own. It begins to walk on its own legs, like a child who has chosen a direction. And most of all, no reader simply reads it — they see themselves reflected in it. And what they see — or what they refuse to see — depends far more on them than on you.”

“Being dissatisfied isn’t enough—you need the courage to take the leap, to accept the risk of failing. I kept picturing the man at the station, fixated on the loudspeaker’s repeated warning to “Stand back from the yellow line.” Those words, so simple and practical, struck me as symbolic of the endless fears that keep us stuck, all the times we stay on the platform while the trains of life pass us by. I imagined him there, motionless, eyes glued to the tracks. Maybe at first, he’d ventured near the line, tempted by the idea of boarding a train. Then the metallic voice—“Stand back from the yellow line”—had held him back. To avoid danger, he’d decided to stay put, obeying an order that felt bigger than he was. And so, even as trains went by—slow or fast, heading for exotic places or unfulfilled dreams—he never budged. He watched them pass with equal parts curiosity and regret, continuing to obey that warning meant for moving trains, not for him.”

“....a tirade against Paolo Sorrentino’s film The Great Beauty........It struck me. But what struck me even more was what happened a few months later, when I finally saw the film and, at the same time, got to know him better. And I realized he was exactly one of the characters Sorrentino had portrayed: obsessed with appearances, caught up in social rituals, incapable of deep desire. A man tired on the inside, moving through the world like an actor on a stage with no more script. That’s when I understood: it wasn’t the film that had disturbed him. It was the reflection it had given him. He had recognized himself — and that had frightened him. That kind of fear that makes you say: “How dare you judge me?” when in reality, no one has judged you. You’ve simply seen yourself. And sometimes, seeing ourselves is far more unsettling than being seen.”