Quotes of All Topics . Occasions . Authors
Some writers like to boil down headlines of liberal newspapers into fiction, so they say there shouldn't be communal riots, everybody should love each other, there shouldn't be boundaries or fundamentalism. But I think literature is more than that; these are political views which most of us hold anyway.
Well, there's just some universal truths in a way that I've just observed to be true. You read Voltaire. You read modern literature. Anywhere you go, there's these observations about romantic love and what it does people, and these rotten feelings that rarely are people meaning to do that to each other.
Great literature has always been written in a like spirit, and is, indeed, the Forgiveness of Sin, and when we find it becoming the Accusation of Sin, as in George Eliot, who plucks her Tito in pieces with as much assurance as if he had been clockwork, literature has begun to change into something else.
Literature can no longer be either Mimesis or Mathesis but merely Semiosis, the adventure of what is impossible to language, in a word: Text (it is wrong to say that the notion of 'text' repeats the notion of 'literature': literature represents a finite world, the text figures the infinite of language).
If the detective should suffer overmuch from the artistic temperament, and his fellow lodger should dwell overlong upon the fairness of a wrist or the timber of a feminine voice, so much the better for us. Literature never produced a relationship more symbiotic nor a warmer and more timeless friendship.
I really wouldn't call a lot of what's online "literature" since that word, to me, refers to a sub-genre of writing that belongs to the heavy-hitters, the canonical writers, Shakespeare, Dante, Milton, Dostoevsky, Kafka, and even Toni Morrison, George Saunders, Thomas Bernhard, Sebald, Borges, DFW, e.g.
Historical fiction was not - and is not - meant to supplant literature from the period it describes. As a veteran of the Crimea, Tolstoy wrote 'War and Peace' to match his own internal sense of the truth of the Napoleonic wars, to dramatize what he felt literature from that period had failed to describe.
The newspapers, I perceive, devote some of their columns specially to politics or government without charge; and this, one would say, is all that saves it; but as I love literature and to some extent the truth also, I never read those columns at any rate. I do not wish to blunt my sense of right so much.
The strong bond of sisterhood was a famous trait in classical art and literature about Amazons. But it was modern people who interpreted that as a sexual preference for women. That started in the 20th century. The Russian poet Marina Tsvetaeva declared that Amazons were symbolic of lesbianism in antiquity.
In the early 1970s in Atlanta, I attended what had formerly been an all-white school but had become a black school after integration and white flight. Perhaps because of this, the teachers created a curriculum that included a focus on African American literature and history year-round, not just in February.
The utmost the American novelist can hope for, if he hopes at all to see his work included in the literature of his time, is that it may eventually be found to be along in the direction of the growing tip of collective consciousness. Preeminently the novelist's gift is that of access to the collective mind.
Art - I had never thought of that as a career because it was like something I did so naturally, and it was fluid, and it is. And even though I still admire literature as the superior art form, I have to admit that art, for me, that's it; that's what I'm good at, and that's what I should be concentrating on.
I don't care very much for literary shrines and hauntsI knew a woman in London who boasted that she had lodgings from the windows of which she could throw a stone into Carlyle's yard. And when I said, "Why throw a stone into Carlyle's yard?" she looked at me as if I were an imbecile and changed the subject.
Paradoxically, the simpler poetry is, the more difficult it becomes for a critic to discuss intelligently. Trained to explicate, the critic often loses the ability to evaluate literature outside the critical act. A work is good only in proportion to the richness and complexity of interpretations it provokes.
I went to university in the north of England at University of Birmingham to do an English literature degree, and I knew I could do extracurricular stuff with theater and drama. I started a theater company, called Article 19, and I did it with a bunch of friends. I wrote and directed plays. I had a radio show.
When I started, I was aware of using the black as a rhetorical device. It's understanding that black people come in a wide range of colors, but you find instances in a lot of black literature in which the blackness is used as a metaphor. In some places, you can find an extreme blackness used as a descriptive.
Literature is conscious mythology: as society develops, its mythical stories become structural principles of story-telling, its mythical concepts, sun-gods and the like, become habits of metaphoric thought. In a fully mature literary tradition the writerenters intoa structure of traditional stories and images.
I'm tired of getting made fun of. The reason I took on The New York Times as ferociously as I did is that I'm tired of being the little icon that people stick pins in, the whipping boy for everything that's gone wrong in this business. Whatever my excess, I think that I've been trumped in many areas by others.
Horace, in a particularly boastful mood, once said his verse would last as long as the vestal virgins kept going up the Capitoline Hill to worship at the temple of Jupiter. But Horace's poetry has lasted longer than Jupiter's religion, and Jupiter himself has only survived because he disappeared into literature.
It is curious for one who studies the action and reaction of national literature on each other, to see the humor of Swift and Sterne and Fielding, after filtering through Richter, reappear in Carlyle with a tinge of Germanism that makes it novel, alien, or even displeasing, as the case may be, to the English mind.
There is no one 'best set-up', there are many - you can get to mate in endless ways. And - don't forget! - in chess, like in literature, "the other" (the reader, the adversary, the partner, etc.) has to be a collaborator, has to work with you to get to the final goal. We depend on them! But they also depend on us.
The most watched programme on the BBC, after the news, is probably 'Doctor Who.' What has happened is that science fiction has been subsumed into modern literature. There are grandparents out there who speak Klingon, who are quite capable of holding down a job. No one would think twice now about a parallel universe.
Language and, presumably, literature are more ancient and inevitable, more durable than any form of social organization. The revulsion, irony, or indifference often expressed by literature toward the state is essentially the reaction of the permanent-better yet, the infinite-against the temporary, against the finite.
The 20th century is a period defined by cultural and artistic movements. However, the 21st century creative-scape that we occupy now doesn't really have movements in the same way. Instead it's made up of diverse individuals working across various platforms simultaneously; art, architecture, film, music and literature.
Literature and art are one of a number of relationships I have with the world. Like you have relationships with your friends and a relationship with your lover and your relationship with your family and your relationship with your work - sometimes it's really great; sometimes it's non-existent, sometimes it's fruitful.
When I went to college - when I read Shakespeare or Dickens or Scott - I just felt that, as a citizen of England, a British citizen, this was as much my heritage as any schoolboy's. That is one of the things the Empire taught, that apart from citizenship, the synonymous inheritance of the citizenship was the literature.
When I use the term "complex realism", what I'm suggesting is that the writer must be realist, always realist, but not realist in the sense we have usually used the term in literature. If reality today is different from the reality of 30 years ago, we can't keep describing reality in the same way as we did 30 years ago.
No one spoke in terms of children's literature, as opposed to adult literature, until around the 1940s. It wasn't categorised much before then. Even Grimm's tales were written for adults. But it is true that ever since 'Harry Potter' there has been a renaissance in fantasy literature. J. K. Rowling opened the door again.
So many of the conscious and unconscious ways men and women treat each other have to do with romantic and sexual fantasies that are deeply ingrained, not just in society but in literature. The women's movement may manage to clean up the mess in society, but I don't know whether it can ever clean up the mess in our minds.
Almost everything I've learned about journalism has been from other friends who are journalists, taking advantage of the money I hope they don't think they threw away at j-school. I studied comparative literature, but the professional vagaries of journalism I've learned through other people's trial and error, and my own.
I love food. I mean, I really love food. I take pictures of my finest, funniest and most fascinating dishes, post them on Twitter, and send them to friends. I treat menus like classic literature, refusing to skip even one word. I read the description of every item, regardless of whether or not I'm interested in eating it.
The primary thing writing and basketball share is the sense that each time you go out, each time you play or begin a piece, it's a new day. You can score 40 points one game, but the next game, those points don't count. You can win the Nobel Literature Prize, but that doesn't make the next sentence of the next book appear.
Productivity-the amount of output delivered per hour of work in the economy-is often viewed as the engine of progress in modern capitalist economies. Output is everything. Time is money. The quest for increased productivity occupies reams of academic literature and haunts the waking hours of C.E.O.s and finance ministers.
So-called 'higher education' is a veritable magnet for second-raters and actively destructive parasites bent on promoting unsound ideas to the inexperienced and gullible. The concentrate in areas like social studies, literature, and art - where opinion reigns supreme. And I find their opinions almost universally appalling.
My enthusiasm for L.A. stems from my father, who was a lecturer in American literature at the University of Birmingham. Through his work, our family did several house swaps with L.A. families. It was a dreadfully daring thing to do in the early 1980s; there was no Internet, so you had no idea of what you were getting into.
I'd studied English literature and American history, but the English literature, which I thought was going to be helpful to me in an immediate way, was the opposite. So I had to un-think a lot of things and move out of my own head, and I learned a lot. It was like graduate school, but an un-graduate school or an un-school.
It is difficult to disturb the common usage of Korean that is bent to the perspective of a male-oriented society. Korean society is based on both a politics and history that have been disguised as a solid society of solid male poems, a solid written language, fixed rules of how to write literature, and a narrative language.
The reaction to 'Aftermath' has been far worse than to 'A Life's Work,' yet I find I'm perhaps a little less touched by it. In both cases, I've coped artistically by believing the criticisms weren't right. They upset me, but they didn't challenge my understanding of how to write, nor of how morality functions in literature.
Once you allow yourself to identify with the people in a story, then you might begin to see yourself in that story even if on the surface it's far removed from your situation. This is what I try to tell my students: this is one great thing that literature can do - it can make us identify with situations and people far away.
Religion is part of the human make-up. It's also part of our cultural and intellectual history. Religion was our first attempt at literature, the texts, our first attempt at cosmology, making sense of where we are in the universe, our first attempt at health care, believing in faith healing, our first attempt at philosophy.
If you read a lot of Chinese literature, there has always been very strong women figures - warriors, swordswomen - who defended honor and loyalty with the men. So, it's not new to our culture - it's always been very much a part of it. It's good that now the Western audience would have a different image of the Chinese women.
Business students are very oriented to playing a role in the real world and accomplishing something, not training themselves to be scholars and contribute to the literature. Teaching in that kind of environment has focused me much more on the real world, how pieces of the theory I know can be applied to real-world situations.
I do believe any hero is a person that can be knocked down. A failure isn't a person who gets knocked down; a failure is a person who stays down, and to me, the great heroes take the beating, get knocked down and stand back up again. Perseus is defined as one of the great heroes in literature, so you gotta take that on board.
I think we've lost the idea that politicians are part of the humanities. And we think of them as part of a natural science tradition, and we don't expect them to have the contact with literature, with history, with the richness of descriptive language that the humanities have always stood for. And I think that's a great loss.
Europe is a rapidly changing place, on every level. Immigration, post-communist transitions, the unification, steady presence of war and conflict, the inescapable challenges to the notion of national literature/culture-it all exerts pressure upon writers who must be aware of the transformational possibilities of the situation.
I was born in 1952, so obviously the sixties were important. That's when I came of age. It was also a revolutionary period, a complete break with the generation before us in terms of culture, literature, music, and in politics, of course. 1968 was an important year; I was 16, and the world became clear to me, visible, so to say.
Where there is no human connection, there is no compassion. Without compassion, then community, commitment, loving-kindness, human understanding, and peace all shrivel. Individuals become isolated, the isolated turn cruel, and the tragic hovers in the forms of domestic and civil violence. Art and literature are antidotes to that.
My theory is that literature is essential to society in the way that dreams are essential to our lives. We can't live without dreaming - as we can't live without sleep. We are 'conscious' beings for only a limited period of time, then we sink back into sleep - the 'unconscious.' It is nourishing, in ways we can't fully understand.
I have no control, of course, over how I'm marketed. It's a sad thing, though, that so many people perceive literature to be gendered. The idea that some subjects are male and some are female is just preposterous to me. It's reductive and nonsensical, to separate writers and subjects and plots along gender lines. It's meaningless.
I studied English Literature. I wasn’t a very good student, but one thing I did get from it, while I was making films at the same time with the college film society, was that I started thinking about the narrative freedoms that authors had enjoyed for centuries and it seemed to me that filmmakers should enjoy those freedoms as well.