Quotes About Literary

My literary criticism has become less specifically academic. I was really writing literary history in The New Poetic, but my general practice of writing literary criticism is pretty much what it always has been. And there has always been a strong connection between being a writer - I feel as though I know what it feels like inside and I can say I've experienced similar problems and solutions from the inside. And I think that's a great advantage as a critic, because you know what the writer is feeling.

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 was writing very early, like I was involved in our high school literary magazine, which was called 'Pariah.' The football team was the Bears, and the literary magazine was 'Pariah.' It was great. It was definitely a real sub-culture. But I wrote stories for them.

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.

My favorite method of encryption is chunking revolutionary documents inside a mess of JPEG or MP3 code and emailing it off as an "image" or a "song." But besides functionality, code also possesses literary value. If we frame that code and read it through the lens of literary criticism, we will find that the past hundred years of modernist and postmodernist writing have demonstrated the artistic value of similar seemingly arbitrary arrangements of letters.

Poetry is often very critical of the culture from which it emerges. Quite often literary critics of a nationalist bent talk up the national culture, in a way that the literary texts don't. Poetry can bring out areas of denial and repression.

The two main ideas that run through all of my writing, whether it be literary criticism or political polemic are these: I am strong in favor of liberty and I hate fraud.

Historical fiction is not only a respectable literary form; it is a standing reminder of the fact that history is about human beings.

Have not Manet and Monet, Cézanne and Matisse, rendered to painting something of the same service which Keats and Shelley gave to poetry after the solemn and ceremonious literary perfections of the eighteenth century? They have brought back to the pictorial art a new draught of joie de vivre; and the beauty of their work is instinct with gaiety, and floats in sparkling air. I do not expect these masters would particularly appreciate my defence, but I must avow an increasing attraction to their work.

I don't even know what a serious literary critic is.

It was a pity that movies and live TV left New York for Hollywood. London theater, movies, television - until (Britain's) money ran out - were always better than ours since the city was the political capital of the country, as well as the artistic and literary one. In L.A. we've always been slightly sealed off from real life. It's no accident that two of our most interesting directors, Woody Allen and Bob Altman, are more or less settled in the real world.

The literary gift is a very dangerous gift to possess if you are not telling the truth, and I would a great deal rather, for my part, have a man stumble in his speech than to feel he was so exceedingly smooth that he had better be watched both day and night.

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.

Executive Severance, a laugh out loud comic mystery novel, epitomizes our current cultural moment in that it is born from the juxtaposition of authorial invention and technological communication innovation. Merging creative text with new electronic context, Robert K. Blechman's novel, which originally appeared as Twitter entries, can be read on a cell phone. His tweets which merge to form an entertaining novel can't be beat. Hold the phone; exalt in the mystery-engage with Blechman's story which signals the inception of a new literary art form.

Novels are sweets. All people with healthy literary appetites love them-almost all women; a vast number of clever, hardheaded men.

Great books are readable anyway. Dickens is readable. Jane Austen is readable. John Updike's readable. Hawthorne's readable. It's a meaningless term. You have to go the very extremes of literature, like Joyce's "Finnegan's Wake," before you get a literary work that literally unreadable.

I have always moved by intuition alone. I have no system, literary or political. I have no guiding political idea.

When we are very young, we tend to regard the ability to use a colon much as a budding pianist regards the ability to play with crossed hands: many of us, when we are older, regard it as a proof of literary skill, maturity, even of sophistication; and many; whether young, not so young, or old, employ it gauchely, haphazardly, or at best inconsistently.

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).

Criticism occupies the lowest place in the literary hierarchy: as regards form, almost always; and as regards moral value, incontestably. It comes after rhyming games and acrostics, which at least require a certain inventiveness.

I’m a huge fan of the books myself, so to know that I got to play Clary – who’s a literary heroine to me – was a huge honour.

Instead of giving it [war] a rest I continued pursuing more research, talking to more people on the subject as if I was to please this aftermath of the book by knowledge that was more historical and psychological than literary and aesthetical.

The critical method which denies literary modernity would appear -- and even, in certain respects, would be -- the most modern of critical movements.

I used to do miserably in English literature, which I thought was a sign of moral turpitude. As I look back on it, I think it was rather to my credit. The notion of actually putting writers' words into other words is quite ridiculous because why bother if writers mean what they mean, and if they don't, why read them? There is, I suppose, a case for studying literary works in depth, but I don't quite know what 'in depth' means unless you read a paragraph over and over again.

I love writing literary stuff. My favorite writer is definitely Edgar Allan Poe - so imaginative and prolific. My second favorite writer would have to be Shakespeare - I love the emotion and human truths he touches on so beautifully.

I teach Korean translation at the British Centre for Literary Translation summer school, so I see an emerging generation too, who are around my age. I'm hoping to find time to mentor, and to help emerging translators to a first contract through Tilted Axis.

Modernism has a reputation for being a forbidding phenomenon: its visual arts disconcertingly non-representational, its literary efforts devoid of the consolations of plot and character - even its films, it's argued, fall well short of that true desideratum: entertainment.

Of course, I don't mean to imply that all writers are working in the deep waters that border on the divine. Most writers are just trying to pay the bills, like anyone else - Stephanie Meyers is the literary equivalent of a television evangelist. Fork over twenty bucks and she'll help you forget your troubles for a while. I certainly don't fault her for her success, but I hope she has no illusions about the quality of her craft or the longevity of her efforts.

The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism. Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images.

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.

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.

I entered literary life as a meteor, and I shall leave it like a thunderbolt.

I grew up on a mixed diet of mass and class, and I still read that way. I hate it when people apologize for what they read. Some bestsellers aren't exactly literary. So what? They're fun and rip-roaring, Who instituted the book police and why do we have to answer them? Grrrrr!

Madly, futilely, I wrote novel after novel, eight in all, that failed to find a publisher. I persisted because for me the novel was the supreme literary form: not just one among many, not a relic of the past, but the way we communicate to one another the subtlest truths about this business of living.

As I said earlier, there are no writers who could create a literary vision of the new reality.

It must inquire not merely about the circumstances of the time in general, but in particular about the writer's position with regard to these things, the interests and motives, the leading ideas of his literary activity.

One thing about humans is that we all have them - lifestories. We live by and through them. But writers of memoir are particularly good at bringing literary strategies and form to experience (at least the good ones are).

[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.

Dictionary: a malevolent literary device for cramping the growth of a language and making it hard and inelastic

I myself wouldn't want to read a magazine that focuses solely on a small part of the literary field or of the popular culture - better to smash the borders and look for interesting and important stuff from many different forms of storytelling.

Humorists can never start to take themselves seriously. It's literary suicide.

I read everything I could find in English - Twain, Henry James, Hemingway, really everything. And then after a while I started writing shorter pieces in English, and one of them got published in a literary magazine and that's how it got started. After that, graduate school didn't seem very important.

Creating one single story often requires experimenting and planning and falling on your literary rear more than once before you find the way that works for your particular tale. The most important issue is to keep on trying until you get it right.

I haven't the stature to critique one of our literature's great novels, Tobias; and I'm not one of those who believe The Adventures of Huckleberry Finn needs critiquing for literary or social reasons.

Hash, x. There is no definition for this word - nobody knows what hash is. Famous, adj. Conspicuously miserable. Dictionary, n. A malevolent literary device for cramping the growth of a language and making it hard and inelastic. This dictionary, however, is a most useful work.

In the first night of the Arvon Foundation course, Elspeth Barker said something about the newspaper along the lines of - and I'm paraphrasing - "I do these pieces for them and it's amazing, because I don't type it out, I just fax it as it is, and the literary editor has a machine that can transform my handwriting into typed text." At which point I put my hand up and said, "Actually, I'm that machine."

Strict rules of evidence would destroy psychoanalysis and literary criticism.

Mere literary talent is common; what is rare is endurance, the continuing desire to work hard at writing.