In 1985, italian writer Italo Calvino
was invited to give the annual [chagachaga speech] at Harvard the next year. He began working on a series of 6 lectures, which he called memos (in italian "proposte"), that together would outline what writing needed to do in order to stay relevant in the next millennium.Each memo was dedicated to a different theme - and as one might expect from the author of Invisible Cities, each one was a map that contained both itself and its inverse, as well as a hint of the other memos. They are somewhat like what one might see if magnetic fields had shadows: tense, illusive, expansive. Reading the lectures, one begins to "discern [...] t he tracery of a pattern so subtle it could escape the termites' gnawing."
The first memo was dedicated to Lightness. "My working method," he writes, "has more often than not involved the subtraction of weight [...] from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language."
The second: Quickness -- praise for swift storytelling.
The third: Exactitude, without which lightness and quickness dissolve into mist. "For the ancient Egyptians," he begins, "exactitude was symbolized by a feather that served as a weight on scales used for the weighing of souls."
The fourth, Visibility, is about being faithful to the images that rain into our imagination - and it is about the source of this rain. The author often sets off not with words but with a picture.
The fifth, Multiplicity, is a call for literature as all-encompassing encyclopedia, a shaded relief of the web that holds every object and every event to each other throughout time. Within the particular opens a window onto the infinite.