Quotes of All Topics . Occasions . Authors
The movies have never been a big deal to me. The movies are the movies. They just make them. If they're good, that's terrific. If they're not, they're not. But I see them as a lesser medium than fiction, than literature, and a more ephemeral medium.
I don't really like to work with literary allusions very much. I never want to be in a position where I'm saying, "You've got to read a lot of other stuff" or "You've got to have had a good education in literature to fully appreciate what I'm doing."
There is no other proposition in economics that has more solid empirical evidence supporting it than the Efficient Market Hypothesis... In the literature of finance, accounting, and the economics of uncertainty, the EMH is accepted as a fact of life.
When I was a graduate student at the Iowa Writers' Workshop for fiction writing, I felt both coveted and hated. My white classmates never failed to remind me that I was more fortunate than they were at this particular juncture in American literature.
There is something frightful in being required to enjoy and appreciate all masterpieces; to read with equal relish Milton, and Dante, and Calderon, and Goethe, and Homer, and Scott, and Voltaire, and Wordsworth, and Cervantes, and Molière, and Swift.
We shall suffer no attachment to literature, no taste for abstract discussion, no love of purely intellectual theories, to seduce us from our devotion to the cause of the oppressed, the down trodden, the insulted and injured masses of our fellow men.
I soon realized that a student of English literature who does not know the Bible does not understand a good deal of what is going on in what he reads: The most conscientous student will be continually misconstruing the implications, even the meaning.
The East was no longer a threat to the western world, and when there's nothing to fear we turn our backs, we look elsewhere. Eastern literature is still the poor relative that everyone wants to forget, the Cinderella who hasn't (yet) found her prince.
Chinatown is tremendously interesting... It's a part of the city that hasn't really been explored in crime literature or in any general literature. It's as though Chinatown didn't exist. People write about New York without mentioning Chinatown at all.
From our human experience and history, at least as far as I am informed, I know that everything essential and great has only emerged when human beings had a home and were rooted in a tradition. Today's literature is, for instance, largely destructive.
I wrote one terrible manuscript after another for a decade and I guess they gradually got a little less terrible. But there were many, many unpublished short stories, abandoned screenplays and novels... a Library of Congress worth of awful literature.
I think all writers of my age who are brought up on films probably by the age of 16 have seen many more films than they have read classics of literature. We can't help but be influenced by film. Film has got some great tricks that it's taught writers.
One would like to be grand and heroic, if one could; but if not, why try at all? One wants to be very something, very great, very heroic; or if not that, then at least very stylish and very fashionable. It is this everlasting mediocrity that bores me.
I don't teach literature from my perspective as 'Joyce Carol Oates.' I try to teach fiction from the perspective of each writer. If I'm teaching a story by Hemingway, my endeavor is to present the story that Hemingway wrote in its fullest realization.
The gamble of literature is that I make the best work I can; the most truthful, the most representative of how I see things. I try and do that and then I put it out there and say to you, "What do you think?" I hope that you think well of it, obviously.
Literature is the expression of a feeling of deprivation, a recourse against a sense of something missing. But the contrary is also true: language is what makes us human. It is a recourse against the meaningless noise and silence of nature and history.
There is a growing literature about the multitude of journalism's problems, but most of it is concerned with the editorial side of the business, possibly because most people competent to write about journalism are not comfortable writing about finance.
These groups within a society can he distinguished according as to whether, like an army or an orchestra, they function as a single body; or whether they are united merely to defend their common interests and otherwise function as separate individuals.
The very essence of literature is the war between emotion and intellect, between life and death. When literature becomes too intellectual - when it begins to ignore the passions, the emotions - it becomes sterile, silly, and actually without substance.
The literature is like that - they [unions] are constantly talking about the masses, the danger they pose, and how to control them. They understand what they're doing, and they're very class conscious. They press policies which work for their interests.
Literature must rest always on a principle, and temporal considerations are no principle at all. For, to the poet, all times and places are one; the stuff he deals with is eternal and eternally the same: no theme is inept, no past or present preferable.
I wanted to be a poet. I fell in love with poetry around eight years old, but not through literature. Instead, it came through hip-hop lyrics and my obsession with reading liner notes. Queen Latifah's 'Black Reign' is the album that stands out the most.
The gamble of literature is that I make the best work I can; the most truthful, the most representative of how I see things. I try and do that, and then I put it out there and say to you, 'What do you think?' I hope that you think well of it, obviously.
The problem with the screenplay is that it's not literature, and it's not a film. It's a very weird, technical kind of blueprint that will be absolutely transformed into something else that is not that, you know? Honestly, a screenplay is no literature.
There is no official censorship in literature, but I feel a certain fear when I see that a kind of self-censorship is developing in Poland. Authors are somehow afraid of expressing what they really think or feel because they fear political consequences.
As far as I have been able to understand, the Japanese seem to keep things close to the vest. Friendly but remote and polite to the point of being invisible. It is in the music, literature, film and art that the Japanese really seem to express themselves.
I think the more you understand myths, the more you understand the roots of our culture and the more things will resonate. Do you have to know them? No, but certainly it is nice to recognise how deeply these things are embedded in our literature, our art.
As I grew up, I was interested in other areas, too, especially literature. It became a major love of mine. Later, it became a difficult choice for me as to whether to major in music or literature. It wasn't until my 30s that I began a profession in music.
Literary revolution and revolutionary literature did not create a beautiful new world but instead divested literature of its basic nature, promoted violence, and, by resorting to linguistic violence, made a battlefield of this domain of spiritual freedom.
German has always felt the language that I come back to. It's given a very hard time by most people for being ugly and guttural. In fact, it's one of the most melodic, lyrical languages around. And German literature is amazing. It's just a treasury for me.
What I teach is literary criticism and comparative literature and so on and that's my function, but from time to time it's possible for me actually to help a writer. I read something and something strikes me then, I feel I can talk to that writer about it.
No one can create a noteworthy work without knowing the tenets of their own language and literature. Language is renewed but it never changes its essence, because the contracts that have come about over time for communication cannot be rescinded so easily.
Is it strange, then, that in a literature so concerned with realism and with personal liberation this refusal and impoverishment of the life of the spirit have always nourished the screamers, the eccentrics, the pseudo-Whitmans, the calculating terrorists?
I think there was a revolution in poetry, associated chiefly with Eliot and Pound; but maybe it is of the nature of revolutions or of the nature of history that their innovations should later come to look trivial or indistinguishable from technical tricks.
I read recently that the problem with stereotypes isn't that they are inaccurate, but that they're incomplete. And this captures perfectly what I think about contemporary African literature. The problem isn't that it's inaccurate, it's that it's incomplete.
I don't care if the audience is 600 Saul Bellows; I'm going to knock them dead with a comedy routine. I'm out there as a missionary for literature because, if people laugh and enjoy themselves, they might actually do something as bizarre as reading the book.
I went to a British Council event a while back and there were lots of German professors of literature. About half of them were convinced I had a German sense of humour and the other half were sure it was British. They are probably still arguing about it now.
Happiness in this world, when it comes, comes incidentally. Make it the object of pursuit, and it leads us a wild-goose chase, and is never attained. Follow some other object, and very possibly we may find that we have caught happiness without dreaming of it.
At the end of the day, despite all the other great things that literature does in society and in a person's life, I think that we read to escape. And I think that place, more than anything, provides that escape quickly, if an author is engaged with the place.
Now, if they're there to talk about something specifically, and I determine through my own editorial judgment, that another area isn't germane, or isn't an important part of it, that's something else. But we never agree to anything in advance, absolutely not.
A few times a year I'll remember that I love old literature, too. Charlotte Brontë's "Jane Eyre" is one of my 10 favorite books. I have to go out of my way to remember to pick up a book like that, but when I do I'm blown away by how very relevant it still is.
The unions claim the deck is stacked against them when it comes to labor laws, but the truth is many private and public sector workers are forced to pay union dues as a condition of their employment, yet they have little say in how the unions spend their money.
I'm dyslexic. If you can reconcile yourself to not being able to burn through books, which you shouldn't any way, you can slow the whole process down. Then, because of my disability, there is more for me in imaginative literature than there is for other people.
The misconception which has haunted philosophic literature throughout the centuries is the notion of 'independent existence.' There is no such mode of existence; every entity is to be understood in terms of the way it is interwoven with the rest of the universe.
The further our civilization advances upon its present lines so much the cheaper sort of thing does "fame" become, especially of the literary sort. This species of "fame" a waggish acquaintance says can be manufactured to order, and sometimes is so manufactured.
In journalism, if there's a hole in your story you figure out a way around it because you've got a 4 p.m. deadline. It's a neat skill to have but it's deadly for literature. In literature, you need to stare at that hole, not ignore it. You need to figure it out.
I would have thought it possible to choose delegates for these larger conferences who, even if they could not speak the principal languages, could at least understand them or could have friends seated beside them who could keep them informed on essential points.
In fact a lot of them I think are absolute baloney. Those Charles Olsens and people like that. At first I was interested in seeing what they were up to, what they were doing, why they were doing it. They never moved me in the way that one is moved by true poetry.
Cultivating literature as I do upon a little oatmeal, and driving, when in a position to be driven at all, in that humble vehicle, the 'bus, I have had, perhaps, exceptional opportunities for observing their mutual position and behaviour; and it is very peculiar.
I know that a translation of a work of literature is like playing a violin concerto on the piano. You can do this. You can do this very successfully on one strict condition: never try to force the piano to produce the sounds of the violin. This will be grotesque.