Quotes About Literature

One of the things I always underscore when I teach criticism is that young critics, or would be critics, frequently have this illusion that if they write about music they're somehow part of music, or if they write about movies they're part of movies, or of they write about theater they're part of theater, or write about literature. Writing is a part of literature, we belong the species of literature. If you add all the music reviews together that have ever been written, they don't create two notes of music.

Obviously, everything has always been defined by the dominant ideology. But the dominant ideology has been able to accept women's literature as well as men's literature. I would say that women have been hindered from creating for a variety of reasons, as Virginia Woolf so admirably explained in A Room of One's Own. When they have created, on the whole they have been recognized. In literature it hasn't been nearly as oppressive as in, say, painting, where even the existence of so many women painters has always been denied.

I have nothing but great respect for great scholars. But I was in grad school in the '80s and '90s, at the height of the theory craziness. It had a big part in why I ended up becoming a writer rather than a scholar, because I thought, "I just can't play these games." I was interested in literature because I loved literature, and so much of the theoretical positioning, at that moment 25 years ago, was antagonistic to literature. You know, trying to show that Jane Austen is a terrible person because she wasn't thinking about colonialism.

A woman writer, quitting love before literature when love lets her down, will put literature before love.

...I have come to make distinctions between what I call the academy and literature, the moral equivalents of church and God. The academy may lie, but literature tries to tell the truth.

This act of empathy, that women go through from the time we're little girls - we read all of literature, all of history, it's really about boys, most of it. But I can feel more like Peter Pan than Tinker Bell, or like Wendy. I wanted to be Tom Sawyer, not Becky. And we're so used to that act of empathizing with the protagonist of a male-driven plot. I mean, that's what we've done all our lives. You read history, you read great literature, Shakespeare, it's all fellas, you know?

I think the number of books published by Mr. Disney has nothing to do with whether or not he is bringing literature to children. That judgment has got to be based on quality rather than quantity. It's the same old problem that continually plagues American culture. I would rather have children playing their own games out of doors in the sunlight than getting the misrepresentation of literature as given by Walt Disney.

A Christian philosophy of literature begins with the same agenda of issues that any philosophy of literature addresses. Its distinctive feature is that it relates these issues to the Christian faith.

If you focus on literature through only one small element of it, like the more scientific element of linguistics, then where is the joy that brought us literature in the first place, which is to have a story?

The function of literature, through all its mutations, has been to make us aware of the particularity of selves, and the high authority of the self in its quarrel with its society and its culture. Literature is in that sense subversive.

In general, in America, every discourse in literature in 15 minutes degenerates into a conversation about ethics, morality and this and that. The Holocaust and the consequences of it. Well, I find it terribly boring, predictable and unimportant, because what matters about literature is esthetic achievement.

I think any good literature, whether it's for children or for adults, will appeal to everybody. As far as children's literature goes, adults should be able to read it and enjoy it as much as a child would.

If you read the literature of Soviet Communism, you see a dogma that's chilling. On the other hand, if you read the literature of anti-communism, it's every bit as dogmatic.

Literature professes to be important while at the same time considering itself an object of doubt. It confirms itself as it disparages itself. It seeks itself: this is more than it has a right to do, because literature may be one of those things which deserve to be found but not to be sought.

Literature has low enough standards. But we can avoid writing the worst literature if we make ourselves ask ourselves, every two or three sentences we write, 'Is that what I really think?'

Literature was not born the day when a boy crying "wolf, wolf" came running out of the Neanderthal valley with a big gray wolf at his heels; literature was born on the day when a boy came crying "wolf, wolf" and there was no wolf behind him.

What literature brings to our times is always the fact that literature refuses to bring any simple or easy answers.

The struggle of literature is in fact a struggle to escape from the confines of language; it stretches out from the utmost limits of what can be said; what stirs literature is the call and attraction of what is not in the dictionary.

Some literature is knowledge, some is just data. But if I can get a "happy" ending - which is when for the characters I'm writing about, something happens that they move from wherever they are in the beginning to knowledge or wisdom, they know something they never would have acknowledged or realized if it hadn't been for my book - that for me is what literature does.

The love of writing comes at a very early age. For me, for instance, comic books so affected me. And a lot of people who come up to me and start talking about writing, when I start talking to them about the "Fantastic Four," they look at me aghast. They say, "'The Fantastic Four?' That's not literature." I say, "Yeah, but it was when I was 11 years old." This was literature.

There is first the literature of KNOWLEDGE, and secondly, the literature of POWER. The function of the first is -- to teach; the function of the second is -- to move.

The vast majority of us imagine ourselves as like literature people or math people. But the truth is that the massive processor known as the human brain is neither a literature organ or a math organ. It is both and more.

The writer asks himself, 'Can I think of a plot that will parallel this? Can I take this work of literature as an example of something I might produce?' Let us, then, consider literature as a productive science.

The great subversive works of children's literature suggest that there are other views of human life besides those of the shopping mall and the corporation. They mock current assumptions and express the imaginative, unconventional, noncommercial view of the world in its simplest and purest form. They appeal to the imaginative, questioning, rebellious child within all of us, renew our instinctive energy, and act as a force for change. This is why such literature is worthy of our attention and will endure long after more conventional tales have been forgotten.

What is literature, really? Boiled down to a single sentence, I'd say it's this: an endless conversation about what it means to be human. And to read literature is to engage in that conversation.

Most of the great works of juvenile literature are subversive in one way or another: they express ideas and emotions not generally approved of or even recognized at the time; they make fun of honored figures and piously held beliefs; and they view social pretenses with clear-eyed directness, remarking - as in Andersen's famous tale - that the emperor has no clothes.

Animation wasn't my love, but drawing was. I loved drawing, and when it came time to graduate from high school, I looked around and it was like, "Wow, I don't really want to study math. I don't really want to study science. I don't really want to study literature. Is there a place where I can go and draw cartoons?"

Remarks aren't literature.

In any period it is upon a very small minority that the discerning appreciation of art and literature depends ... They are still a minority, though a larger one, who are capable of endorsing such first-hand judgement by genuine personal response.

America is the only nation in the world that is founded on creed. That creed is set forth with dogmatic and even theological lucidity in the Declaration of Independence; perhaps the only piece of practical politics that is also theoretical politics and also great literature.

These self-appointed deacons in the Church of Latter-Day American Literature seem to regard generosity (of words) with suspicion, texture with dislike, and any broad literary stroke with outright hate. The result is a strange and arid literary climate where a meaningless little fingernail paring like Nicholson Baker's Vox becomes an object of fascinated debate and dissection, and a truly ambitious American novel like Matthew's Heart of the Country is all but ignored.

According to Muslim teachings, God first revealed His word in the Holy Qur'an to the prophet, Muhammad, during the month of Ramadan. That word has guided billions of believers across the centuries, and those believers built a culture of learning and literature and science. All the world continues to benefit from this faith and its achievements.

An enormous amount of art and literature is erotic in the sense that it stimulates vague sexual emotions, but it has no pornographic intention or effect because "it leaves everything to the imagination." The consumer has to invent his own images, and it is felt, I do not know with what justification, that there is no harm in this.

He would write it for the reason he felt that all great literature, fiction and nonfiction, was written: truth comes out, in the end it always comes out. He would write it because he felt he had to.

Literature deeply stands opposed to the dominant value system-the one that rewards money and power. Writers are on the other side-they make us sympathetic to ideas and feelings that are of deep importance but can’t afford airtime in a commercialized, status-consciou s, and cynical world.

Probably all of us, writers and readers alike, set out into exile, or at least into a certain kind of exile, when we leave childhood behind...The immigrant, the nomad, the traveler, the sleepwalker all exist, but not the exile, since every writer becomes an exile simply by venturing into literature, and every reader becomes an exile simply by opening a book.

A theatre, a literature, an artistic expression that does not speak for its own time has no relevance.

I believe that a life of integrity I the most fundamental source of personal worth. I do not agree with the popular success literature that says that self-esteem is primarily a matter of mind set, of attitude-that you can psych yourself into peace of mind. Peace of mind comes when your life is in harmony with true principles and values and in no other way.

Love so sprang at her, she honestly thought no one had ever looked into it. Where was it in literature? Someone would have written something. She must not have recognized it. Time to read everything again.

In great literature, I become a thousand different men but still remain myself.

Some people have argued that listening to a work of literature does not really promote literacy in the same way that reading does. Having tried this for several months, however, I can report from the trenches that, for me, immersive listening is as intellectually challenging, stimulating, and rewarding as immersive reading.

Many writers who choose to be active in the world lose not virtue but time, and that stillness without which literature cannot be made.

All bad Literature rests upon imperfect insight, or upon imitation, which may be defined as seeing at second-hand.

Literature illuminates life only for those to whom books are a necessity.

Any work of art that can be understood is the product of journalism. The rest, called literature, is a dossier of human imbecility for the guidance of future professors.

As for the author, he is profoundly unaware of what the classical or romantic genre might consist of.... In literature, as in allthings, there is only the good and the bad, the beautiful and the ugly, the true and the false.

The reason that fiction is more interesting than any other form of literature, to those who really like to study people, is that in fiction the author can really tell the truth without humiliating himself.

The psalms, like no other literature, lift us to a position where we can commune with God, capturing a sense of the greatness of his kingdom and a sense of what living with him for eternity will be like.