Quotes About Literature

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.

All great popular literature today one day will be seen as great literature and will no longer be seen as popular literature.

As for literature – to introduce children to literature is to install them in a very rich and glorious kingdom, to bring a continual holiday to their doors, to lay before them a feast exquisitely served. But they must learn to know literature by being familiar with it from the very first. A child's intercourse must always be with good books, the best that we can find.

The body of literature, with its limits and edges, exists outside some people and inside others. Only after the writer lets literature shape her can she perhaps shape literature.

We are lucky in the United States to have our liberal arts system. In most countries, if you go to university, you have to decide for all English literature or no literature, all philosophy or no philosophy. But we have a system that is one part general education and one part specialization. If your parents say you've got to major in computer science, you can do that. But you can also take general education courses in the humanities, and usually you have to.

The other thing about the Nights is that it is quite racist. One parentheses is that I think this is one of the negative things that appeal to people, that The Arabian Nights could be used as a disguise for racism. It suited the West. You could smuggle racism into children's literature, you see. The African magician in the story of Aladdin, he's labeled explicitly as the "African Magician." He's not a character but a stereotype, and a lot of this got into nursery literature in this Oriental disguise.

Very often I hear talk about female literature, or femininity in literature. It's a categorization I am not sure about. Maybe there are a few elements that distinguish women's observations from men's, like the ability to notice some fine details.

That love is a conflict seems to me obvious and natural. There isn't a single worthwhile work in world literature based on love that is only about the conquest of happiness, the effort to arrive at what we call love. It's the struggle that has always interested those who produce works of art - literature, cinema or poetry.

There is a clear acknowledgement all over the world that we should not teach people to read and then to leave them without literature. For they would then relapse into a dreary and ultimately dangerous state of half-education, in which they would be easily satisfied by crude semi-pictorial approximations of the strip cartoon and by the abundant supply of degenerate literature which destroys, rather than promotes, a capacity to face the problems of the world with skill and courage

Whenever summer rolls around I begin to realize that I'm a complete and utter book snob. In relation to reading, I have absolutely no guilty pleasures at all. No graphic novels. No murder mysteries. My summer read is really no different from my winter read. I know many bookshops and magazines would have me believe that our summer forays are different, but literature is literature, and unfortunately snobbery is snobbery.

Literature has done great work for feminism - writing and reading are a practice of empathy - and great literature will continue to do so.

In my first class at the University of Kentucky, my American Literature professor came in, and the first sentence out of his mouth was "The central theme of American Literature is an attempt to reconcile what we've done to the New World." wrote that down in my notebook, and thought, "What is he talking about?" But that's what I think about now. The New World and what we've done to it.

In fantasy stories we learn to understand the differences of others, we learn compassion for those things we cannot fathom, we learn the importance of keeping our sense of wonder. The strange worlds that exist in the pages of fantastic literature teach us a tolerance of other people and places and engender an openness toward new experience. Fantasy puts the world into perspective in a way that 'realistic' literature rarely does. It is not so much an escape from the here-and-now as an expansion of each reader's horizons.

The director [Elfar Adalsteins] came to me through my agent and I had a read of the script [of the "Sailcloth]. I thought immediately this is someone who is writing for the cinema. Not having to go through the tedious business of taking something from literature and making that awful leap that is so difficult to make anyway, from literature to cinema. It's refreshing to be able to deal with a subject like that, to be written where the driving force is the image on screen and you don't need any words. The more that we can do that [in film], the better.

In America there is really very little knowledge of the literature of the rest of the world. Of the literature of Latin America, yes, But that's not all that different in inspiration from that of America, or of Europe. One must go further. You don't even have to go too far in terms of geography - you can start with the Native Americans and listen to their poetry.

You once said to me that I talk like a man in a book. I not only talk, but think and feel like one. I have spent my life in books; literature has deeply dyed my brain its own colour. This literary colouring is a protective one--like the brown of the rabbit or the checks of the quail--making it impossible for me to tell where literature ends and I begin.

The book it reminded me of most is Henry Miller’s The Books in My Life. Like Miller, Shields manages to convey his affection for and admiration of literature, and that, the enthusiasm and admiration, can revitalize the reader’s love for the art form. I’m grateful for How Literature Saved My Life because the book has made me think again – and for the first time in a while – 'Well, what is it we do when we read?' It’s a damned annoying question, but it needs to be asked now and then, and Shields has asked it in a way I find resonant and moving.

When we seem to have won or lost in terms of certainties, we must, as literature teachers in the classroom, remember such warnings -- let literature teach us that there are no certainties, that the process is open, and that it may be altogether salutary that it is so.

Literature presents you with alternate mappings of the human experience. You see that the experiences of other people and other cultures are as rich, coherent, and troubled as your own experiences. They are as beset with suffering as yours. Literature is a kind of legitimate voyeurism through the keyhole of language where you really come to know other people's lives--their anguish, their loves, their passions. Often you discover that once you dive into those lives and get below the surface, the veneer, there is a real closeness.

In science, address the few, in literature the many. In science, the few must dictate opinion to the many; in literature, the many, sooner or later, force their judgement on the few.

I changed my major to English literature, which was on the advice of my father. I finally said, "You know, Dad, to heck with it: I'm just going to be an actor. But I'm going to go to school." And he said, "Well, if you're going to go to school, then major in English literature. Those are the tools you are going to be working with as a man who's going to be acting in English, one would assume."

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.

Literature and fiction are two entirely different things. Literature is a luxury; fiction is a necessity.

I have a passion for children's literature. Young adult literature. I love it. I've always loved it.

In my case, literature is a kind of revenge. It's something that gives me what real life can't give me - all the adventures, all the suffering. All the experiences I can only live in the imagination, literature completes.

That's really what SF is all about, you know: the big reality that pervades the real world we live in: the reality of change. Science fiction is the very literature of change. In fact, it is the only such literature we have.

Nervous states of the worst sort control me without pause. Everything that is not literature bores me and I hate it. I lack all aptitude for family life except, at best, as an observer. I have no family feeling and visitors make me almost feel as though I were maliciously being attacked.

Remarks aren't literature.

I’m just a storyteller, and the cinema happens to be my medium. I like it because it recreates life in movement, enlarges it, enhances it, distills it. For me, it’s far closer to the miraculous creation of life than, say, a painting or music or even literature. It’s not just an art form; it’s actually a new form of life, with its own rhythms, cadences, perspectives and transparencies. It’s my way of telling a story.

A losing trade, I assure you, sir: literature is a drug.

I had passed through the entire British education system studying literature, culminating in three years of reading English at Oxford, and they'd never told me about something as basic as the importance of point of view in fiction!

[N]othing about a book is so unmistakable and so irreplaceable as the stamp of the cultured mind. I don't care what the story is about or what may be the momentary craze for books that appear to have been hammered out by the village blacksmith in a state of intoxication; the minute you get the easy touch of the real craftsman with centuries of civilisation behind him, you get literature.

It seems to me as I reviewed the literature that, with few exceptions, the more confident were the prescriptions about how to behave with ethics and integrity, the further removed was the author from the life and work of the everyday manager.

A people's literature is the great textbook for real knowledge of them. The writings of the day show the quality of the people as no historical reconstruction can.

Great literature rattles the mind and makes the body sing. It's an unmistakable, electric feeling, and too rare. That is what I want.

My main reason for adopting literature as a profession was that, as the author is never seen by his clients, he need not dress respectably.

What we call education and culture is for the most part nothing but the substitution of reading for experience, of literature for life, of the obsolete fictitious for the contemporary real.

Science fiction is an amazing literature: plot elements that you would think would be completely worn out by now keep changing into surprising new forms.

My own duty as a teacher...is not so much to interpret Beethoven, Wagner, or other masters of the past, but to give what encouragement I can to the young musicians of America. I...hope that just as this nation has already surpassed so many others in marvelous inventions and feats of engineering and commerce, and has made an honorable place for itself in literature in one short century, so it must assert itself on the...art of music...To bring about this result, we must trust the very youthful enthusiasm and patriotism of this country.

I have felt the pain that arises from a recognition of beauty, pain we hold when we remember what we are connected to and the delicacy of our relations. It is this tenderness born out of a connection to place that fuels my writing. Writing becomes an act of compassion toward life, the life we so often refuse to see because if we look too closely or feel too deeply, there may be no end to our suffering. But words empower us, move us beyond our suffering, and set us free. This is the sorcery of literature. We are healed by our stories.

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

Literature has neglected the old and their emotions. The novelists never told us that in love, as in other matters, the young are just beginners and that the art of loving matures with age and experience.

The traditional Sanskrit learning has given to Brahaman community of Kashmir, small as it has been always, a distinguished place in the history of Sanskrit literature since early times.

I think my books give people a language to have a conversation about God that's not religious. There isn't enough new literature that brings the conversation of God into a modern context. I love the Bible, but in the West we've analyzed it until it fits into a structure of control. We need more new stories. We need different ways of looking at things, and I think it's coming.

In literature and art memory is a synonym for invention. It is the life-blood of imagination, which faints and dies when the veins are empty.

The close-up has no equivalent in a narrative fashioned of words. Literature is totally lacking in any working method to enable it to isolate a single vastly enlarged detail in which one face comes forward to underline a state of mind or stress the importance of a single detail in comparison with the rest. As a narrative device, the ability to vary the distance between the camera and the object may be a small thing indeed, but it makes for a notable difference between cinema and oral or written narrative, in which the distance between language and image is always the same.

I learned more about history and literature in the used bookstores in DC than in college libraries.

Women's books are kind of discriminated against. If a man writes a book about his family stories, people think of it as literature. If it's a woman, she's 'spilling her guts,' and it's not art.