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The story goes that Italo Calvino had three, while Raymond Carver made do with the kitchen table.
A child might draw a table in two dimensions showing only the two front legs, whereas a designer might make an elegant steel frame, such as Citterio for Kartell.
Whether it's full of documents or laid with great care for entertaining friends or discussing the latest project: a table can – literally – support a conversation, lunch, a game or a deal.
On Umberto Eco’s table there would have been a Pritt Stick and a magnifying glass, precious medals and a mousepad with the picture of a smiling baby seal.
Besides two computers, two telephones and two pairs of glasses.
The table used by the writer and the artist is just as important as his work. Not only because said work rests on it, but more importantly because it’s where a thinker gathers his thoughts together, both physically and metaphorically.
A film with a theatrical flavour: 12 Angry Men (1957) is set for the most part in a single room with the same actors sitting at the same tables, of course.
A jury formed by twelve people has to decide whether a young man, accused of killing his father, is guilty or not, but doubt is thrown by the juror n.8 on the apparently unanimous verdict of guilty, and a lively discussion follows.
To express their disagreement, one by one the jurors leave the table without uttering a word, turning their backs on each other as they cannot leave the room. Ashtrays gradually fill up and notes become less precise.
In Jim Jarmush's Coffee and Cigarettes (2003) however, the dialogue is complicated and repeatedly interrupted.
Those who take part don’t just share, as the title might suggest, a passion for coffee and cigarettes, but the title underlines the importance of the table. Sitting around the table (eleven of them), the characters shown for the most part as couples, talk and misunderstand each other, sketch after sketch.
It’s not a coincidence that a side table is the focal point of the discussion: a game with two distinct rules is being played. Here we are called to witness the exasperated dualism of perfection, in in which words are blunt weapons, appearing almost ridiculous in their lack of purchase.
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