Quotes About Literary

Certainly professionally, yes [I was interested more in history]. And literary criticism, the structure of poetry. But it is primarily as a historian that I work, although text criticism and literary criticism are very much a part of my interests.

I use biography, I use literary connections (as with Platen - this seems to me extremely helpful for appreciating the nuances of Mann's and Aschenbach's sexuality), I use philosophical sources (but not in the way many Mann critics do, where the philosophical theses and concepts seem to be counters to be pushed around rather than ideas to be probed), and I use juxtapositions with other literary works (including Mann's other fiction) and with works of music.

I learned a little of beauty - enough to know that it had nothing to do with truth - and I found, moreover, that there was no great literary tradition; there was only the tradition of the eventful death of every literary tradition.

There's literary creation and literary business. When I first got something accepted, it gave my life a validation it didn't otherwise have.

Literary critics, however, frequently suffer from a curious belief that every author longs to extend the boundaries of literary art, wants to explore new dimensions of the human spirit, and if he doesn't, he should be ashamed of himself.

In order to read one must sit down, usually indoors. I am restless and would rather sail a boat than crack a book. I've never had a very lively literary curiosity, and it has sometimes seemed to me that I am not really a literary fellow at all. Except that I write for a living.

I want my books to exist in the literary world, not only in the art world. I am interested in having a dialogue with other writers, and the readers of those writers. Someone who is reading a book of mine might not have visited my exhibitions related to it, but can still have a full, literary experience with that book. This would be a completely different experience from stepping into the show, not having read the book. One form is not illustrative of the other.

I can't change overnight into a serious literary author. You can't compare apples to oranges. William Faulkner was a great literary genius. I am not.

Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. ... The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years.

Does people not asking me about Asian American literature mean they don't see it as its own literary tradition? I certainly believe in it as its own literary tradition, because your race plays a great factor in how you are seen by the world, and how you see the world; the fact that I'm an Asian American isn't incidental to who I am as a writer. Where it becomes difficult is defining what, if anything identifiable at all, makes an Asian American book an Asian American book, other than the fact of its creator being Asian. And I'd argue that there is nothing identifiable beyond that.

I cannot stand Tolstoy, and reading him was the most boring literary duty I ever had to perform, his philosophy and his sense of life are not merely mistaken, but evil, and yet, from a purely literary viewpoint, on his own terms, I have to evaluate him as a good writer.

Only idiots or snobs ever really thought less of 'genre books' of course. There are stupid books and there are smart books. There are well-written books and badly written books. There are fun books and boring books. All of these distinctions are vastly more important than the distinction between the literary and the non-literary.

Science fiction is the characteristic literary genre of the century. It is the genre that stands in opposition to literary modernism.

I feel engaged with young people in Pakistan. But that said, it's still a small minority that reads novels, literary fiction. But it isn't necessarily a small minority of the wealthy elite in the city of Lahore. It can often be and I often do meet at literary festivals students who've ridden a bus 12 hours from a very small town just to hear some of their favorite writers come and speak.

My childhood was spent embracing one literary heroine after another. I identified passionately with each one and would slavishly imitate them.

I was an English major at the University of Minnesota, and I was very shy, which many people misinterpreted as intelligence. On the basis of that wrong impression, I became the editor of the campus literary magazine.

The literary artist will ... portray what he knows, and little else. Imagination is built upon knowledge, and his dreams will rest upon his facts. He is worth to the world just about what he has learned from it, and no more.

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.

People used to expect literary novels to deepen the experience of living; now they are happy with any sustained display of writerly cleverness.

People love gossip because it's slightly removed from actuality. It's a very literary thing... You can hear a great story, and it turns out that it's largely not true. Fiction writing is like gossip. It's not malicious gossip, but it's gossip.

Philip Glass, like [Virginia] Woolf, is more interested in that which continues than he is in that which begins, climaxes, and ends... Glass and Woolf have both broken out of the traditional realm of the story, whether literary or musical, in favor of something more meditative, less neatly delineated, and more true to life. For me, Glass [finds] in three repeated notes something of [a] rapture of sameness.

Few things are better in the world than a room full of librarians. I consider them literary heroes. The keepers and defenders of the written word.

I've been an inveterate reader of literary magazines since I was a teenager. There are always discoveries. You're sitting in your easy chair, reading; you realize you've read a story or a group of poems four times, and you know, Yes, I want to go farther with this writer.

You got a job?" "Ignatius hasta help me at home," Mrs. Reilly said. Her initial courage was failing a little, and she began to twist the lute string with the cord on the cake boxes. "I got terrible arthuritis." "I dust a bit," Ignatius told the policeman. "In addition, 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.

The more melancholy side of my literary personality is much in tune with BS Johnson's.

In literary composition a well-chosen quotation lights up the page like a fine engraving.

He thinks about his teacher in his literary class, he's staring at her legs.

I was writing fiction steadily, but I found that the stark determinisms of code were a welcome relief from the ambiguities of literary narrative.

Though now we think of fairy tales as stories intended for very young children, this is a relatively modern idea. In the oral tradition, magical stories were enjoyed by listeners young and old alike, while literary fairy tales (including most of the tales that are best known today) were published primarily for adult readers until the 19th century.

Evan Handler is not only a fine actor, he’s a damn good writer. It’s Only Temporary is wise and funny and as righteously indignant as it is endearingly self-effacing. In what may be a literary first, the book actually left me wanting more.

A contemporary artist can use the findings of all epochs and all styles, from the most primitive literary expressions up to the most refined products of the baroque.

Somehow this literary genre, which most people condemned, acted as a sort of counterbalance to Charles's soul; it was the ballast that prevented him from lurching into the serious or melancholy, unlike Andrew, who had been unable to adopt his cousin's casual attitude to life, and to whom everything seemed so achingly profound, imbed with that absurd solemnity that the transience of of existence conferred upon even the smallest act.

Gunn would be an important figure-rewarding, delightful, accomplished, enduring-in the history of English-language poetry even were his life not as fascinating as it now seems; he would be an important figure in the history of gay writing and in the history of transatlantic literary relations even were his poetry not so good as it is. With his life as it was and his works as they are, he's an obvious candidate for a volume of retrospective and critical essays, and this one is first-rate.

Every artist, every scientist, must decide now where he stands. He has no alternative. There is no standing above the conflict on Olympian heights. There are no impartial observers. Through the destruction, in certain countries, of the greatest of man's literary heritage, through the propagation of false ideas of racial and national superiority, the artist, the scientist, the writer is challenged. The struggle invades the formerly cloistered halls of our universities and other seats of learning. The battlefront is everywhere. There is no sheltered rear.

Nothing like an arcane literary debate with your tyrannical master while you pass the time leading to your execution.

I wanted to pay homage to someone who was such an important literary figure in my life. I think Langston Hughes would be proud of the picture Black Nativity, yet it's a contemporary story about a family living in Harlem. I named the lead character Langston, put a little bit of poetry in there, and some Langston Hughes quotes, and, of course, his stage play, Black Nativity.

Man, wow, there's so many things to do, so many things to write! How to even begin to get it all down and without modified restraints and all hung-up on like literary inhibitions and grammatical fears.

One movement that I find interesting - this is not a movement in poetry necessarily, but there's a movement on a lot of campuses now called eco - criticism. It's a body of theory based on how nature is treated in literary works. That sort of interests me.

For more than twenty years he [Blanchard] toiled on through the most fatiguing paths of literary composition, mostly in periodicals, often anonymously; pleasing and lightly instructing thousands, but gaining none of the prizes, whether of weighty reputation or popular renown, which more fortunate chances, or more pretending modes of investing talent, have given in our day to men of half his merits.

The beat literary movement is strong because of those very challenging and individual relationships and styles and contention and so on. So I just feel blessed by this kind of opportunity that came from it. It was a kind of seed.

In Japan, the writers have made up a literary community, a circle, a society. I think 90 percent of Japan's writers live in Tokyo. Naturally, they make a community. There are groups and customs, and so they are tied up in a way.

Downtown New York, I'm within certain styles of music and I'm also within certain cultural, you know, and literary context. So DJ Spooky was meant to be a kind of ironic take on that. It was always meant to be kind of a criticism and critique of how downtown culture would separate genres and styles because it was ambiguous. You couldn't fit it into anything and that was the point.

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.

A literary agent is nothing but a cheap salesman (or woman); while a writer is a cheap salesman (or woman) who also has to actually write the books.

I felt I was moving among two groups [literary intellectuals and scientists] comparable in intelligence, identical in race, not grossly different in social origin, earning about the same incomes, who had almost ceased to communicate at all, who in intellectual, moral and psychological climate had so little in common that instead of going from Burlington Hom or South Kensington to Chelsea, one might have crossed an ocean.

Me? I'm just a literary girl gone wrong. Slow with the tongue. Quick with the pen. Undeniably cute. But, on the whole, ill-equipped for the privilege of living.

From a literary standpoint, I've been loving Raymond Carver's short stories, William Carlos Williams' poems, Richard Siken's 'Crush', John Fante, and Jim Harrison's book of ghazals. I love film and photography too, so many of my songs are very image rich from those influences.

In America, and no doubt elsewhere, we have such a tendency toward the segregation of cultural products. This is a black book, this is a gay book, this is an Asian book. It can be counterproductive both to the literary enterprise and to people's reading, because it can set up barriers. Readers may think, "Oh, I'm a straight man from Atlanta and I'm white, so I won't enjoy that book because it's by a gay black woman in Brooklyn." They're encouraged to think that, in a way, because of the categorization in the media.