Inventing the Enemy

Overview

Inventing the Enemy covers a wide range of topics on which Umberto Eco has written and lectured for the past ten years, from a disquisition on the theme that runs through his most recent novel, The Prague Cemetery—every country needs an enemy, and if it doesn’t have one, must invent it—to a discussion of ideas that have inspired his earlier novels. Along the way, he takes us on an exploration of lost islands, mythical realms, and the medieval world. Eco also sheds light on the indignant reviews of James Joyce’s ...

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Inventing the Enemy

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Overview

Inventing the Enemy covers a wide range of topics on which Umberto Eco has written and lectured for the past ten years, from a disquisition on the theme that runs through his most recent novel, The Prague Cemetery—every country needs an enemy, and if it doesn’t have one, must invent it—to a discussion of ideas that have inspired his earlier novels. Along the way, he takes us on an exploration of lost islands, mythical realms, and the medieval world. Eco also sheds light on the indignant reviews of James Joyce’s Ulysses by fascist journalists of the 1920s and 1930s, and provides a lively examination of Saint Thomas Aquinas’s notions about the soul of an unborn child, censorship, violence, and WikiLeaks. These are essays full of passion, curiosity, and obsessions by one of the world’s most esteemed scholars and critically acclaimed, best-selling novelists.

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Editorial Reviews

Publishers Weekly
Thought provoking and sometimes intimidating, this collection by Eco (The Name of the Rose) offers 14 “occasional” pieces—writings produced for specific events—from the past decade. While rooted in the disposition and lens of a humanities academic, Eco leaps enjoyably through topics, such as the human need for enemies; the beauty, importance, and history of fire; whether the fallout from WikiLeaks will require espionage technology to regress to “a lonely street corner, at midnight.” While mostly sticking to conventional essay formats, two humorous collage-style works (one on the danger of proverbs, another composed of Fascist critiques of Ulysses) also make for entertaining reads. Eschewing hyperbole, Eco’s arguments are nuanced, reserved, and refreshingly lower-case conservative. Though he couches his ideas in accessible prose, the general subject matter may prove a stumbling block for some readers. Eco seems reluctant to clue in readers to helpful background information, as hinted at by many a snippet quotation in another language included without translation or elaboration. As such, some of the essays may only half-illuminate for a general readership. Still, the collection amply shows off Eco’s sophisticated, agile mind and will undoubtedly bring pleasure to readers familiar with his worlds while enriching those willing to learn about them. (Sept.)
From the Publisher
"This selection underscores the writer’s profound erudition, lively wit, and passion for ideas of all shapes and sizes ...these occasional writings touch upon potentially provocative topics of contemporary interest...Eco’s pleasure in such explorations is obvious and contagious."
Booklist

"Thought provoking...nuanced...the collection amply shows off Eco's sophisticated, agile mind ."
Publishers Weekly

"Inventing the Enemy is definitely sublime "—San Francisco Chronicle Book Review

Library Journal
Novelist and scholar Eco (The Name of the Rose; Foucault's Pendulum) possesses an inquisitive mind and a glistening style, and he loves to upset apple carts, all of which makes him an ideal writer of essays like these, which cover such topics as nations' need for enemies, Victor Hugo's style of excess, fascist critiques of Ulysses, the imagery of fire, Thomas Aquinas's position on fetuses, and imaginary geography and astronomy. Only one piece fails (on what happens if one takes proverbs literally; it's meant to be funny but isn't). Illuminating with examples, Eco enlightens readers on otherwise alien thought processes and concepts, such as the erstwhile popular practice of collecting curiosities and relics, or, in "I Am Edmond Dantes!," the now unpopular literary device agnorisis, the "change from ignorance to knowledge" (Aristotle), whereby a character discovers something that decisively changes the course of the narrative (e.g., Oedipus learning that his wife is his mother). A virtue of the collection is that Eco's vast knowledge allows him to enter into other ages' mindsets, which he shows not to be inferior, just different. VERDICT It's difficult to predict an audience for a collection of "occasional essays," but Eco has followers and these essays are by and large superior specimens of the art. [See Prepub Alert, 3/18/12].—David Keymer, Modesto, CA
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Product Details

  • ISBN-13: 9780547640976
  • Publisher: Houghton Mifflin Harcourt
  • Publication date: 9/4/2012
  • Pages: 222
  • Product dimensions: 5.90 (w) x 9.10 (h) x 1.20 (d)

Meet the Author

Umberto Eco

UMBERTO ECO is a professor of semiotics at the University of Bologna and the best-selling author of numerous novels and essays. He lives in Italy.

Biography

Back in the 1970s, long before the cyberpunk era or the Internet boom, an Italian academic was dissecting the elements of codes, information exchange and mass communication. Umberto Eco, chair of semiotics at the University of Bologna, developed a widely influential theory that continues to inform studies in linguistics, philosophy, anthropology, cultural studies and critical theory.

Most readers, however, had never heard of him before the 1980 publication of The Name of the Rose, a mystery novel set in medieval Italy. Dense with historical and literary allusions, the book was a surprise international hit, selling millions of copies in dozens of languages. Its popularity got an additional boost when it was made into a Hollywood movie starring Sean Connery. Eco followed his first bestseller with another, Foucault's Pendulum, an intellectual thriller that interweaves semiotic theory with a twisty tale of occult texts and world conspiracy.

Since then, Eco has shifted topics and genres with protean agility, producing fiction, academic texts, criticism, humor columns and children's books. As a culture critic, his interests encompass everything from comic books to computer operating systems, and he punctures avant-garde elitism and mass-media vacuity with equal glee.

More recently, Eco has ventured into a new field: ethics. Belief or Nonbelief? is a thoughtful exchange of letters on religion and ethics between Eco and Carlo Maria Martini, the Roman Catholic cardinal of Milan; Five Moral Pieces is a timely exploration of the concept of justice in an increasingly borderless world.

Eco also continues to write books on language, literature and semiotics for both popular and academic audiences. His efforts have netted him a pile of honorary degrees, the French Legion of Honor, and a place among the most widely read and discussed thinkers of our time.

Good To Know

Eco is a professor of semiotics at the University of Bologna, though in 2002 he was at Oxford University as a visiting lecturer. He has also taught at several top universities in the U.S., including Columbia, Harvard, Yale, and Northwestern.

Pressured by his father to become a lawyer, Eco studied law at the University of Turn before abandoning that course (against his father's wishes) and pursuing medieval philosophy and literature.

His studies led naturally to the setting of The Name of the Rose in the medieval period. The original tentative title was Murder in the Abbey.

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    1. Hometown:
      Bologna, Italy
    1. Date of Birth:
      January 5, 1932
    2. Place of Birth:
      Alessandria, Italy
    1. Education:
      Ph.D., University of Turin, 1954

Read an Excerpt

Introduction

The title of this collection should really have been the subtitle, Occasional Writings. It was only my publisher’s proper concern—that such a pompously modest title might not attract the reader’s attention, whereas the title of the first essay may arouse curiosity—that determined the final choice.
   What are occasional writings and what are their virtues? They are generally on topics about which the author had no specific interest. He was, instead, encouraged to write each one after being invited to contribute to a series of discussions or essays on a particular theme. It captured the author’s interest and encouraged him to reflect on something he might otherwise have ignored—and often a subject imposed from outside turns out to be more fruitful than one arising from some inner whim.
   Another virtue of occasional writing is that it does not demand originality at all costs, but aims to entertain the speaker as well as the listener. In short, occasional writing is an exercise in baroque rhetoric, as when Roxane sets challenges for Christian (and through him, for Cyrano), such as “speak to me of love.”
   At the end of each essay (all written over the past decade) I note the date and occasion. To emphasize their occasional nature I should mention that “Absolute and Relative” and “The Beauty of the Flame” were presented during the Milanesiana festival of literature, an event centered on a specific theme. It provided an interesting opportunity to talk about the Absolute at a time when the controversy over relativism was blowing up, though the second essay was quite a challenge, as I had never before felt, shall we say, fired by such a topic.
   “No Embryos in Paradise” is based on a lecture I gave in 2008 in Bologna at a conference on the ethics of research, which was then included in a book titled Etica della ricerca medica e identità culturale europea, edited by Francesco Galofaro (Bologna: CLUEB, 2009).
   Thoughts on the poetics of excess in Victor Hugo bring together three different essays and lectures. I brazenly presented my entertainment called “Imaginary Astronomies” in two different versions at two different conferences, one on astronomy and the other on geography.
   “Treasure Hunting” gathers various contributions on cathedral treasuries; “Fermented Delights” was presented during a conference on Piero Camporesi. “Censorship and Silence” was delivered almost off the cuff at the conference of the Italian Semiotics Association in 2009.
   Three essays appeared in three different issues of the Almanacco del bibliofilo, in three different years, and are pieces of real entertainment, inspired by three set themes: “In search of new utopian islands” was the theme for “Living by Proverbs,” “Sentimental digressions on readings from earlier times” for “I Am Edmond Dantès!,” and “Late reviews” for “Ulysses: That’s All We Needed . . .”
   The penultimate essay, “Why the Island Is Never Found,” appeared in the 2011 issue of the Almanacco del bibliofilo and is the text of a lecture given on islands at a conference in Sardinia in 2010.
   “Thoughts on WikiLeaks” is the reworking of two articles, one that appeared in Libération (December 2, 2010) and the other in L’Espresso (December 31, 2010). Finally, returning to the first essay, “Inventing the Enemy” was delivered as one of a series of lectures on the classics organized at the University of Bologna by Ivano Dionigi. These few pages seem rather scant, now that Gian Antonio Stella has so splendidly developed the whole question over more than three hundred pages in his book Negri, froci, giudei & co.: L’eterna guerra contro l’altro (Milan: Rizzoli, 2009), but never mind—it would have been a shame to let it sink into oblivion, seeing that making enemies is a continual and relentless occupation.

1

Inventing the Enemy

SOME YEARS AGO in New York I found myself in conversation with a taxi driver whose name I had difficulty in placing. He was, he explained, Pakistani and asked where I came from. Italy, I replied. He asked how many of us there were and was surprised we were so few and that our language wasn’t English.
   Then he asked me who our enemies were. In response to my “Sorry?” he explained patiently that he wanted to know who were the people against whom we have fought through the centuries over land claims, ethnic rivalry, border incursions, and so forth. I told him we are not at war with anyone. He explained that he wanted to know who were our historical enemies, those who kill us and whom we kill. I repeated that we don’t have any, that we fought our last war more than half a century ago—starting, moreover, with one enemy and ending with another.
   He wasn’t satisfied. How can a country have no enemies? Getting out of the taxi, I left a two-dollar tip to compensate him for our indolent Italian pacifism. And only then did it occur to me how I should have answered. It is not true that we Italians have no enemies. We have no outside enemies, or rather we are unable to agree on who they are because we are continually at war with each other—Pisa against Lucca, Guelphs against Ghibellines, north against south, Fascists against Partisans, mafia against state, Berlusconi’s government against the judiciary. It was a pity that during that time the two governments headed by Romano Prodi had not yet fallen; otherwise I could have explained to the taxi driver what it means to lose a war through friendly fire.
   Thinking further about the conversation, I have come to the conclusion that one of Italy’s misfortunes over the past sixty years has been the absence of real enemies. The unification of Italy took place thanks to the presence of Austria, or, in the words of Giovanni Berchet, of the irto, increscioso alemanno—the bristling, irksome Teuton. And Mussolini was able to enjoy popular support by calling on Italy to avenge herself for a victory in tatters, for humiliating defeats in Abyssinia at Dogali and Adua, and for the Jewish plutodemocracy, which, he claimed, was penalizing us iniquitously. See what happened in the United States when the Evil Empire vanished and the great Soviet enemy faded away. The United States was in danger of losing its identity until bin Laden, in gratitude for the benefits received when he was fighting against the Soviet Union, proffered his merciful hand and gave Bush the opportunity to create new enemies, strengthening feelings of national identity as well as his own power.
   Having an enemy is important not only to define our identity but also to provide us with an obstacle against which to measure our system of values and, in seeking to overcome it, to demonstrate our own worth. So when there is no enemy, we have to invent one. Look at the generous flexibility with which the skinheads of Verona would, just to identify themselves as a group, choose anyone not belonging to their group as their enemy. And so we are concerned here not so much with the almost natural phenomenon of identifying an enemy who is threatening us, but with the process of creating and demonizing the enemy.
   In the Orations Against Catiline, Cicero had no need to convince the Roman senators that they had an enemy since he had proof of Lucius Catiline’s plot. But nonetheless he builds up a picture of the enemy in the second oration, where he describes Catiline’s friends, reflecting on the main accusation: that they were tainted with moral perversity...

 

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Table of Contents

Introduction ix
Inventing the Enemy 1
Absolute and Relative 22
The Beauty of the Flame 44
Treasure Hunting 67
Fermented Delights 78
No Embryos in Paradise 88
Hugo, Hélas!: The Poetics of Excess 97
Censorship and Silence 126
Imaginary Astronomies 134
Living by Proverbs 162
I Am Edmond Dantès! 170
Ulysses: That’s All We Needed . . . 185
Why the Island Is Never Found 192
Thoughts on WikiLeaks 217

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