Quotes About Literary

The moment in the account of Adam and Eve in the book of Genesis is when they realize they're naked and try and cover themselves with fig leaves. That seemed to me a perfect allegory of what happened in the 20th century with regard to literary modernism. Literary modernism grew out of a sense that, “Oh my god! I'm telling a story! Oh, that can't be the case, because I'm a clever person. I'm a literary person! What am I going to do to distinguish myself?...a lot of modernism does seem to come out of a fear of being thought an ordinary storyteller.

Lulled into somnolence by five hundred years of print, literary studies have been slow to wake up to the importance of MSA (media-specific analysis). Literary criticism and theory are shot through with unrecognized assumptions specific to print. Only now, as the new medium of electronic textuality vibrantly asserts its presence, are these assumptions clearly coming into view.

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.

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.

Literary works cannot be taken over like factories, or literary forms of expression like industrial methods. Realist writing, of which history offers many widely varying examples, is likewise conditioned by the question of how, when and for what class it is made use of.

Every genuinely literary style, from the high authorial voice to Foster Wallace and his footnotes-within-footnotes, requires the reader to see the world from somewhere in particular, or from many places. So every novelist's literary style is nothing less than an ethical strategy - it's always an attempt to get the reader to care about people who are not the same as he or she is.

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.

There is an incompatibility between literary creation and political activity.

I think there are readers out there and I don't think the book is dead. And more importantly I don't think readers have to choose between literary and commercial fiction.

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.

All progress in literary style lies in the heroic resolve to cast aside accretions and exuberances, all the conventions of a past age that were once beautiful because alive and are now false because dead.

The masterpiece should appear as the flower to the painter - perfect in its bud as in its bloom - with no reason to explain its presence - no mission to fulfill - a joy to the artist, a delusion to the philanthropist - a puzzle to the botanist - an accident of sentiment and alliteration to the literary man.

Literary men are . . . a perpetual priesthood.

I do have one regret though. I wish Kathy Acker was still alive. I wish I could go swim with her again. My literary indebtedness to her is enormous. She's a more important mother to me than anyone can possibly imagine. In language I became a daughter worth a crap because of her. In language I redefined daughter, woman, I became a writer. Dora is an homage of sorts.

Reviewers do not read books with much care . . . their profession is more given to stupidity and malice and literary ignorance even than the profession of novelist.

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

Synesthesia has interested me for a long time, both as a literary device and as a puncturing of the membranes that organize how the world comes into someone's head.

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.

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.

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.

To be shockingly original with your first novel, you don’t have to discover a new technique: Simply write about people as they are and not as the predominantly liberal and humanist literary establishment believes that they ought to be.

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.

I do think there's a lot of bad writing, and I worry about that in philosophy. I worry about it even more in literary studies, but I wouldn't blame it on any one methodology.

Common hypocrites pass themselves off as doves; political and literary hypocrites pose as eagles. But don't be fooled by their eagle-like appearance. These are not eagles, but rats or dogs.

The thing to remember when you're writing," he said, " is, it's not whether or not what you put on paper is true. It's whether it wakes a truth in your reader. I don't care what literary device you might use, or belief systems you tap into--if you can make a story true for the reader, if you can give them a glimpse into another way of seeing the world, or another way that they can cope with their problems, then that story is a succes.

One effect that the Nobel Prize seems to have had is that more Arabic literary works have been translated into other languages.

Norwich is a fine city. None finer. If there is another city in the United Kingdom with a school of painters named after it, a matchless modern art gallery, a university with a reputation for literary excellence which can boast Booker Prize-winning alumni, one of the grandest Romanesque cathedrals in the world, and an extraordinary new state-of-the-art library then I have yet to hear of it.

England has the most sordid literary scene I've ever seen. They all meet in the same pub. This guy's writing a foreword for this person. They all have to give radio programs, they have to do all this just in order to scrape by. They're all scratching each other's backs.

I'm more interested in moving toward writing stories - thinking about the graphic novel form, and just something more long-form. I did a lot of literary translation in college. Translation is an art. But for sure writing has always been a part of how I think through my ideas.

Suggestion is a literary strategy.

I think that there are empty ecological niches in the literary landscape crying to be filled and when a book more or less fills a niche it's seized on, even when it's a far from perfect fit...

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.

Know your literary tradition, savor it, steal from it, but when you sit down to write, forget about worshiping greatness and fetishizing masterpieces.

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.

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

Literary education is of no value, if it is not able to build up a sound character.

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.

There is much else in the literary idiom of nature-philosophy: nothing-buttery, for example, always part of the minor symptomatology of the bogus.

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.

Two polar groups: at one pole we have the literary intellectuals, at the other scientists, and as the most representative, the physical scientists. Between the two a gulf of mutual incomprehension.

It ought to be the first endeavour of a writer to distinguish nature from custom; or that which is established because it is right, from that which is right only because it is established; that he may neither violate essential principles by a desire of novelty, nor debar himself from the attainment of beauties within his view, by a needless fear of breaking rules which no literary dictator had authority to enact.

Mr Howard Saxby, literary agent, was knitting a sock. He knitted a good deal, he would tell you if you asked him, to keep himself from smoking, adding that he also smoked a good deal to keep himself from knitting.

When my brain begins to reel from my literary labors, I make an occasional cheese dip.

I take the literary or textual aspect really seriously and I really enjoy writing weird album titles. I did a PhD; I enjoy writing.

Strict rules of evidence would destroy psychoanalysis and literary criticism.

Every country should have a strong literary tradition of its own at the center, but it should also have an interest in other countries.

In American fiction, belief is like that. Belief as upbringing, belief as social fact, belief as a species of American weirdness: our literary fiction has all of these things. All that is missing is the believer.