Quotes About Literary

[Michael] Chabon, who is himself a brash and playful and ebullient genre-bender, writes about how our idea of what constitutes literary fiction is a very narrow idea that, world-historically, evolved over the last sixty or seventy years or so - that until the rise of that kind of third-person-limited, middle-aged-white-guy-experiencing-enlightenment story as in some way the epitome of literary fiction - before that all kinds of crazy things that we would now define as belonging to genre were part of the literary canon.

The nation as the horizon of an identity that you want to come into being as a fundamental absence of something that is compromised, something that needs to be rescued or made - these matters preoccupy the third world writer. It is seductive for a Marxist understanding of literary practice and production in the sense that it says that material culture determines literary output.

That the question of likability even exists in literary conversations is odd. It implies that we are engaging in a courtship. When characters are unlikable, they don’t meet our mutable, varying standards. Certainly we can find kinship in fiction, but literary merit shouldn’t be dictated by whether we want to be friends or lovers with those about whom we read.

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.

I have always loved reading, so was interested in the literary world, and took many literary portraits.

I may remind you that history is not a branch of literature. The facts of history, like the facts of geology or astronomy, can supply material for literary art; for manifest reasons they lend themselves to artistic representation far more readily than those of the natural sciences; but to clothe the story of human society in a literary dress is no more the part of a historian as a historian, than it is the part of an astronomer as an astronomer to present in an artistic shape the story of the stars.

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.

The amplification of our diverse literary voices is a political act of resistance. Our lives are important, too. Our lives should be represented in our literature. And that literature is vital, compelling, and accessible. That literature deserves to be disseminated and noticed and available. And with respect to the dissemination and promotion of diverse voices - librarians, educators, and editors of literary journals play such an important role. They deserve not only a hearty shout out, but also our thanks and support.

I never appreciated 'positive heroes' in literature. They are almost always cliches, copies of copies, until the model is exhausted. I prefer perplexity, doubt, uncertainty, not just because it provides a more 'productive' literary raw material, but because that is the way we humans really are.

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.

Once more I can climb about and remind you that a woman in this epoch does the important literary thinking.

Always was Morocco. And recently the country's leadership seems to have embraced it in all its ill-reputed glory. The days of predatory poets in search of literary inspiration and young flesh are probably over for good. Hippies can just as easily get their bong riffs in Portland or Peoria. But the good stuff, the real good stuff, the sounds and smells and the look of Tangier -- what you see and hear when you lean out the window and take it all in -- that's here to stay.

Poetry is the most subtle of the literary arts, and students grow more ingenious by the year at avoiding it. If they can nip around Milton, duck under Blake and collapse gratefully into the arms of Jane Austen, a lot of them will.

I don't know if memoirs can produce literary work of the first order. But I do know that novels are doing it only rarely.

Many intellectual heroes in the European tradition seem to find the great outdoors a chilling prospect - and its literary analogue, the mythworld, equally chilling. As if a world in which humans have no leverage, and might not be present at all, couldn't be interesting to humans.

The Yeas are relatively uniform. They view [Bob] Dylan as one of the greatest artists of his or any era, who deserves to be taken as seriously as any litterateur. Where they vary is in some cases not even accepting the distinction: Dylan in their eyes is a literary titan, and the award of the Nobel Prize for Literature is simply official affirmation of what they already knew.

In the true Literary Man there is thus ever, acknowledged or not by the world, a sacredness: he is the light of the world; the world's Priest; -- guiding it, like a sacred Pillar of Fire, in its dark pilgrimage through the waste of Time.

I want to write about people I love, and put them into a fictional world spun out of my own mind, not the world we actually have, because the world we actually have does not meet my standards. Okay, so I should revise my standards; I'm out of step. I should yield to reality. I have never yielded to reality. That's what SF is all about. If you wish to yield to reality, go read Philip Roth; read the New York literary establishment mainstream bestselling writers

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.

Most of my formal choices are a combination of everything I learned about form - semiotics, linguistics, and the history of style experimentations tethered to literary movements (formalism, deconstruction, modernism, and postmodernism), and the basic principal of breaking every rule I ever learned from a patriarchal writing tradition that never included my body or experience, and thus has nothing to offer me in terms of representation.

And in down times it shakes a lot of the bad SF out, a lot the stuff that was bought for literary reasons, which is neither entertaining nor great literature.

Relate comic things in pompous fashion. Irregularity, in other words the unexpected, the surprising, the astonishing, are essential to and characteristic of beauty. Two fundamental literary qualities: supernaturalism and irony. The blend of the grotesque and the tragic are attractive to the mind, as is discord to blasé ears. Imagine a canvas for a lyrical, magical farce, for a pantomime, and translate it into a serious novel. Drown the whole thing in an abnormal, dreamy atmosphere, in the atmosphere of great days … the region of pure poetry.

We have a thriving subculture of 'independent' American movies that makes an impact on America as a whole roughly equivalent to that of a the modern literary novel. These are the films sincere viewers marry, whereas, once upon a time, movies were a lifetime of one night stands.

... to be "literary" appeared to my deluded innocence as an unending romance.

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

I don't believe in myths of decline or myths of progress, even as regards the literary scene.

Following graduation from Amherst, a Woodrow Wilson Fellowship enabled me to test the depth of my interest in literary scholarship by beginning graduate studies at Harvard University.

Once one has realized, following the great English literary visionaries William Shakespeare and Thomas Nashe, that sexual puritanism, political disciplinarianism, and abuse of the poor are the result of the refusal of true Christianity ... one is led to articulate a more incarnate, more participatory, more aesthetic, more erotic, more socialized, even a more 'Platonic' Christianity.

A fashionable milieu is one in which everybody's opinion is made up of the opinion of all the others. Has everybody a different opinion? Then it is a literary milieu.

I've never really felt that being part of a literary community is all that important. It can be extremely detrimental to a writer. It can damage successful writers by giving them an exalted sense of what they've done, and it can crush less successful writers by infecting them with envy and malice at an early stage in their careers.

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.

If you look at history you'll find that no state has been so plagued by its rulers as when power has fallen into the hands of some dabbler in philosophy or literary addict.

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.

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.

whenever the literary german dives into a sentence, this is the last you are going to see of him till he emerges on the other side of his atlantic with his verb in his mouth.

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 did not have a very literary background. I came to poetry from the sciences and mathematics, and also through an interest in Japanese and Chinese poetry in translation.

Autobiographical writings, essays, interviews, various other things... All the non-fiction prose I wanted to keep, that was the idea behind this collected volume, which came out about few years ago. I didn't think of Winter Journal, for example, as an autobiography, or a memoir. What it is is a literary work, composed of autobiographical fragments, but trying to attain, I hope, the effect of music.

There are writers you admire, for the skill or the art, for the inventiveness or for the professionalism of a career well spent. And there are writers-sometimes the same ones, sometimes not-to whom you are powerfully attracted, for reasons that may or may not have to do with literary values. They speak to you, or speak for you, sometimes with a voice that could almost be your own. Often there is one writer in particular who awakens you, who is the teacher they say you will meet when you are ready for the lesson.

I think that there is a bias in the current literary climate, which is not only very Western but very male.

A guide book is addressed to those who plan to follow the traveler, doing what he has done, but more selectively. A travel book, in its purest, is addressed to those who do not plan to follow the traveler at all, but who require the exotic or comic anomalies, wonders and scandals of the literary form romance which their own place or time cannot entirely supply.

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!

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.

Even the worst job has its benefits and so does being a professional literary agent, and - I know I said this at the time but I still believe it - the worst job is the one that you know is wrong for you, but you still do it. You're afraid to quit.

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.

After reading Edgar Allan Poe. Something the critics have not noticed: a new literary world pointing to the literature of the 20th Century. Scientific miracles, fables on the pattern A+ B, a clear-sighted, sickly literature. No more poetry but analytic fantasy. Something monomaniacal. Things playing a more important part than people; love giving away to deductions and other forms of ideas, style, subject and interest. The basis of the novel transferred from the heart to the head, from the passion to the idea, from the drama to the denouement.