Quotes About Literary

Women need to become literary "criminals," break the literary laws and reinvent their own, because the established laws prevent women from presenting the reality of their lives.

I don't have traceable literary models because I haven't had great literary influences in my life.

That literary-popular distinction is, in my view, vastly overstated. At the far poles there are clearly books that are purely commercial and purely literary, written for audiences that want to see the same thing enacted over and over and over again. But the middle is where most people read and most people write.

I'm now much more excited about genre distinctions. What I still see breaking down are more the hierarchical arrangements of genres. That is, "There is literary fiction, and then there are lesser genres." I'm much more clear on the idea that literary fiction is itself a genre. It is not above other genres. It is down there in the muck with all the other genres, and it's doing the wonderful things that it does, but to give it a Y-axis, to make it high and low, just seems absurd. I stand by that.

The short story is not as restrictive as the sonnet, but, of all the literary forms, it is possibly the most single-minded. ...at the end there has to be the literary equivalent of the magician's puff of smoke, an outcome that is both startling and anticipated.

So the fact that there's someone who's planning what happens to the characters, writing it down, means that the characters always have a fate. And when we think about fate, we tend think of it as the thing we would have if we were literary characters, that is, if there were somebody out there, writing us.

The greatest calling of all is to have a literary life.

Modern literary theory sees a similarity between walking and writing that I find persuasive: words inscribe a text in the same way that a walk inscribes space. In The practicse of Everyday Life, Michel de Certeau writes, 'The act of walking is a process of appropriation of the topographical system on the part of the pedestrian; it is a special acting-out of the place...and it implies relations among differentiated positions.' I think this is a fancy way of saying that writing is one way of making the world our own, and that walking is another.

There is an incompatibility between literary creation and political activity.

Consultation and compliance can conduce little to the perfection of any literary performance; for whoever is so doubtful of his own abilities as to encourage the remarks of others, will find himself every day embarrassed with new difficulties, and will harass his mind, in vain, with the hopeless labour of uniting heterogeneous ideas, digesting independent hints, and collecting into one point the several rays of borrowed light, emitted often with contrary directions.

No one can do without some semblance of immortality, and even less will they deny themselves the right to seek it out in the form of this or that reputation, starting with the literary... Since death has come to be accepted by all as the absolute end, everyone writes.

I suggest in my own discussion of this episode, Mann invites us to set the attempt to philosophize about his predicament in the context of Aschenbach's life. The literary presentation thus adds to the naked philosophical skeleton.

No humorist is under any obligation to provide answers and probably if you were to delve into the literary history of humour it's probably all about not providing answers because the humorist essentially says: this is the way things are.

One of the biggest changes that ever occurred in my life was going from the isolation of working part-time as a house painter in Henderson County, to Cornell, where everybody was a literary person.

The cultural wars of the sixties are over. I've reconciled with those who were my critics and opponents years ago. I was at odds with some those who were Black nationalists. Yet when feminists attempted to end my career and leave me as literary road kill, it was the Black nationalists who came to my rescue.

Science fiction, outside of poetry, is the only literary field which has no limits, no parameters whatsoever. You can go not only into the future, but into that wonderful place called other, which is simply another universe, another planet, another species.

There is far too much literary criticism of the wrong kind. That is why I never could have survived as an academic.

How can one talk in a classical language about a child who's torn apart in an explosion in the market near his school? People in Iraq don't talk about their joys, their problems, and the destruction of the country in literary diction.

There was the usual dreaminess, I suppose. Also a shyness that caused me - and others - to notice that I could express myself better by writing than by speaking. This is typical of many writers, I think. What is a drawback in childhood is an asset to a literary life. Not being fluent on one’s feet sends one to the page and a habit is born.

A poem is a small machine made of words. . .Its movement is intrinsic, undulant, a physical more than a literary character.

Consider the different narrative styles within the story, and the glee with which the "moralistic narrator" celebrates Aschenbach's fall - maybe, then, this is a hostile verdict and the international fame is warranted after all (given that Mann modeled his protagonist so closely on himself, it would be quite odd if he had intended Aschenbach's literary inferiority to be a fixed part of the interpretation).

War can so easily be gilt with romance and heroism and solemn national duty and patriotism and the like by persons whose superficial literary and oratorical talent covers an abyss of Godforsaken folly.

I always try to describe the situation just as it is. I try to find sentences that I believe tell the story best. Even my articles are more literary than ordinary news stories.

The crime genre's always been regarded very well by the literary end of the book world, whereas horror, although it had that spell in the late eighties, by and large, it's sort of ghetto-ized, and considered to be exploited literature.

I've never been very interested in literary narrative in movies, it always seems an obligatory trait and the least interesting of all the things film can do. It forces us to look through the thing instead of at it, it teaches us to ignore our senses and look for meaning outside the immediate world of our experience.

Shakespearean words, foreign words, slang and dialect and made-up phrases from kids on the street corner: English has room for them all. And writers - not just literary writers, but popular writers as well - breathe air into English and keep it lively by making it their own, not by adhering to some style manual that gets handed out to college Freshmen in a composition class.

Being a Negro writer these days is a racket and I'm going to make the most of it while it lasts. About twice a year I sell a story. It is acclaimed. I am a genius in the making. Thank God for this Negro literary renaissance. Long may it flourish

The material of literary talent is words; the material of story talent is life itself.

Others have questions about how it is that God and human beings can both be speaking through the one document such that you can see and read the personalities of the human authors with their individual vocabularies and literary genres, and yet this is nevertheless the word of God. How can that be? This is quite a contrast with Islam, for example, which holds that the Koran has been dictated in Arabic by God and as a result Mohammed is nothing more than the one who memorizes the word so as to pass it on. There is nothing of human contribution.

A writer is a performer as well. A writer isn't the literary department. That gets tried on but nothing's a script unless a good writer goes away and does his thing alone.

I often find myself privately stewing about much British art, thinking that except for their tremendous gardens, that the English are not primarily visual artists, and are, in nearly unsurpassable ways, literary.

I have learned two lessons in my life: first, there are no sufficient literary, psychological, or historical answers to human tragedy, only moral ones. Second, just as despair can come to one another only from other human beings, hope, too, can be given to one only by other human beings.

In my profession it isn’t a question of telling good literature from bad. Really good literature is seldom appreciated in its own day. The best authors die poor, the bad ones make money — it’s always been like that. What do I, an agent, get out of a literary genius who won’t be discovered for another hundred years? I’ll be dead myself then. Successful incompetents are what I need.

Of all literary exercitations, whether designed for the use or entertainment of the world, there are none of so much importance, or so immediately our concern, as those which let us into the knowledge of our own nature. Others may exercise the understanding or amuse the imagination; but these only can improve the heart and form the human mind to wisdom.

In a sense, photographs are highly literary, and the photographer, like the writer, has to be both a master of craft and a visionary. Patient accumulation of facts and then speculation about their meaning is the nature of authorship in both mediums.

Eric Walrond, handsome, cosmopolitan, and beguilingly enigmatic, may have been the most promising literary talent of the Harlem Renaissance.... James Davis's finely written, beautifully paced Eric Walrond is a major biography of a fascinating figure.

I like being able to provide consistent and frequent literary choices for my fans.

I dislike literary jargon and never use it. Criticism has only one function and that is to help readers read and understand literature. It is not a science, it is an aid to art.

I am at the moment writing a lengthy indictment against our century. When my brain begins to reel from my literary labors, I make an occasional cheese dip.

Fine writing is a distinct disadvantage. So is unique literary style. They take attention from the subject

Publishers, theatrical managers, and critics ask not for the quality inherent in creative art, but will it meet with a good sale, will it suit the palate of the people? Alas, this palate is like a dumping ground; it relishes anything that needs no mental mastication. As a result, the mediocre, the ordinary, the commonplace represents the chief literary output.

Many writers hate the shilling process, and I understand that. However, it's really the only thing about the publication process you can somewhat control. You can't affect reviews. But you can try to find your book an audience. One of the problems with the book publishing industry is that their publicity efforts tend to be spent on people who already read, and know how to discover, literary fiction.

Sex in a woman's world has the same currency a penny has in a man's. Every penny saved is a penny earned in one world and in the next every sexual adventure is a literary experience.

No publisher should ever express an opinion on the value of what he publishes. That is a matter entirely for the literary critic to decide. I can quite understand how any ordinary critic would be strongly prejudiced against a work that was accompanied by a premature and unnecessary panegyric from the publisher. A publisher is simply a useful middle-man. It is not for him to anticipate the verdict of criticism.

Nothing like this has been attempted before. (...) It might be called a literary Porto Alegre. That implies a beginning, with much fierce argument and discussion to come. But whatever the outcome of ensuing criticisms or objections, The World Republic of Letters -- empire more than republic, as Casanova shows -- is likely to have the same sort of liberating impact at large as Said's Orientalism, with which it stands comparison.

[Sacrifice of Isaac] is a major theme of the so-called Elohist [one authorial strand in the Pentateuch]. It is marked by all of his linguistic characteristics, and so on. We cannot determine what is historical and what isn't. As literary critics, we would understand the importance of this for understanding life, destiny. But the historical question must be left with a question mark.

I see a great lack of stories around. I bought six literary magazines and looked through them to see what people were doing. There wasn't a story in them. They were all about how poetic the feelings of the author were.

Copywriters, journalists, mainstream authors, ghostwriters, bloggers and advertising creatives have as much right to think of themselves as good writers as academics, poets, or literary novelists.