Do you realize that all great literature — "Moby Dick," "Huckleberry Finn," "A Farewell to Arms," "The Scarlet Letter," "The Red Badge of Courage," "The Iliad and The Odyssey," "Crime and Punishment," the Bible, and "The Charge of the Light Brigade" — are all about what a bummer it is to be a ...human being?
Life was not easy, nor was it happy, but she did not expect life to be easy, and, if it was not happy, that was woman's lot. It was a man's world, and she accepted it as such. The man owned the property, and the woman managed it. The man took credit for the management, and the woman praised his cleverness. The man roared like a bull when a splinter was in his finger, and the woman muffled the moans of childbirth, lest she disturb him. Men were rough of speech and often drunk. Women ignored the lapses of speech and put the drunkards to bed without bitter words. Men were rude and outspoken, women were always kind, gracious and forgiving.
Do you know why books such as this are so important? Because they have quality. And what does the word quality mean? To me it means texture. This book has pores. It has features. This book can go under the microscope. You’d find life under the glass, streaming past in infinite profusion. The more pores, the more truthfully recorded details of life per square inch you can get on a sheet of paper, the more ‘literary’ you are. That’s my definition anyway. Telling detail. Fresh detail. The good writers touch life often. The mediocre ones run a quick hand over her. The bad ones rape her and leave her for the flies. So now you see why books are hated and feared? They show the pores in the face of life.
So much for endings. Beginnings are always more fun. True connoisseurs, however, are known to favor the stretch in between, since it's the hardest to do anything with. That's about all that can be said for plots, which anyway are just one thing after another, a what and a what and a what.
Fantasy is escapist, and that is its glory. If a soldier is imprisioned by the enemy, don't we consider it his duty to escape?. . .If we value the freedom of mind and soul, if we're partisans of liberty, then it's our plain duty to escape, and to take as many people with us as we can!
It's not all bad. Heightened self-consciousness, apartness, an inability to join in, physical shame and self-loathing—they are not all bad. Those devils have been my angels. Without them I would never have disappeared into language, literature, the mind, laughter and all the mad intensities that made and unmade me.
O how incomprehensible everything was, and actually sad, although it was also beautiful. One knew nothing. One lived and ran about the earth and rode through forests, and certain things looked so challenging and promising and nostalgic: a star in the evening, a blue harebell, a reed-green pond, the eye of a person or a cow. And sometimes it seemed that something never seen yet long desired was about to happen, that a veil would drop from it all, but then it passed, nothing happened, the riddle remained unsolved, the secret spell unbroken, and in the end one grew old and looked cunning . . . or wise . . . and still one knew nothing perhaps, was still waiting and listening.
I made art a philosophy, and philosophy an art: I altered the minds of men, and the colour of things: I awoke the imagination of my century so that it created myth and legend around me: I summed up all things in a phrase, all existence in an epigram: whatever I touched I made beautiful
The world has become sad because a puppet was once melancholy. The nihilist, that strange martyr who has no faith, who goes to the stake without enthusiasm, and dies for what he does not believe in, is a purely literary product. He was invented by Turgenev, and completed by Dostoevsky. Robespierre came out of the pages of Rousseau as surely as the People's Palace rose out debris of a novel. Literature always anticipates life. It does not copy it, but moulds it to its purpose.
a spider and a flyi heard a spiderand a fly arguingwait said the flydo not eat mei serve a great purposein the worldyou will have toshow me said the spideri scurry aroundgutters and sewersand garbage canssaid the fly and gatherup the germs oftyphoid influenzaand pneumonia on my feetand wingsthen i carry these germsinto households of menand give them diseasesall the people whohave lived the rightsort of life recoverfrom the diseasesand the old soaks whohave weakened their systemswith liquor and iniquitysuccumb it is my missionto help rid the worldof these wicked personsi am a vessel of righteousnessscattering seeds of justiceand serving the noblest usesit is true said the spiderthat you are moreuseful in a ploddingmaterial sort of waythan i am but i do notserve the utilitarian deitiesi serve the gods of beautylook at the gossamer websi weave they float in the sunlike filaments of songif you get what i meani do not work at anythingi play all the timei am busy with the stuffof enchantment and the materialsof fairyland my workstranscend utilityi am the artista creator and demi godit is ridiculous to supposethat i should be deniedthe food i need in orderto continue to createbeauty i tell youplainly mister fly it is alldamned nonsense for that foodto rear up on its hind legsand say it should not be eatenyou have convinced mesaid the fly say no moreand shutting all his eyeshe prepared himself for dinnerand yet he said i couldhave made out a casefor myself too if i hadhad a better line of talkof course you could said the spiderclutching a sirloin from himbut the end would have beenjust the same if neither ofus had spoken at allboss i am afraid that whatthe spider said is trueand it gives me to thinkfuriously upon the futilityof literaturearchy
For a long time now a hint of aversion had lain on everything he did and experienced, a shadow of impotence and loneliness, an all-encompassing distaste for which he could not find the complementary inclination. He felt at times as though he had been born with a talent for which there was at present no objective.
I started studying law, but this I could stand just for one semester. I couldn't stand more. Then I studied languages and literature for two years. After two years I passed an examination with the result I have a teaching certificate for Latin and Hungarian for the lower classes of the gymnasium, for kids from 10 to 14. I never made use of this teaching certificate. And then I came to philosophy, physics, and mathematics. In fact, I came to mathematics indirectly. I was really more interested in physics and philosophy and thought about those. It is a little shortened but not quite wrong to say: I thought I am not good enough for physics and I am too good for philosophy. Mathematics is in between.
Rainer Maria Rilke greeted and wrestled with the angels of his Duino Elegies in the solitude of a castle surrounded by white cliffs tall trees and the sea. I greeted most of mine in the solitude of a house that still vibrated with the throbs of a singular life that had helped shape many lives and with the ache of attempts to render useful service to that life. The River of Winged Dreams was therefore constructed as a link between dimensions of past and future emotions and intellect and matter and spirit.
The truth is, everyone likes to look down on someone. If your favorites are all avant-garde writers who throw in Sanskrit and German, you can look down on everyone. If your favorites are all Oprah Book Club books, you can at least look down on mystery readers. Mystery readers have sci-fi readers. Sci-fi can look down on fantasy. And yes, fantasy readers have their own snobbishness. I’ll bet this, though: in a hundred years, people will be writing a lot more dissertations on Harry Potter than on John Updike. Look, Charles Dickens wrote popular fiction. Shakespeare wrote popular fiction—until he wrote his sonnets, desperate to show the literati of his day that he was real artist. Edgar Allan Poe tied himself in knots because no one realized he was a genius. The core of the problem is how we want to define “literature”. The Latin root simply means “letters”. Those letters are either delivered—they connect with an audience—or they don’t. For some, that audience is a few thousand college professors and some critics. For others, its twenty million women desperate for romance in their lives. Those connections happen because the books successfully communicate something real about the human experience. Sure, there are trashy books that do really well, but that’s because there are trashy facets of humanity. What people value in their books—and thus what they count as literature—really tells you more about them than it does about the book.
You should never read just for "enjoyment." Read to make yourself smarter! Less judgmental. More apt to understand your friends' insane behavior, or better yet, your own. Pick "hard books." Ones you have to concentrate on while reading. And for god's sake, don't let me ever hear you say, "I can't read fiction. I only have time for the truth." Fiction is the truth, fool! Ever hear of "literature"? That means fiction, too, stupid.
Kropp on the other hand is a thinker. He proposes that a declaration of war should be a kind of popular festival with entrance-tickets and bands, like a bull fight. Then in the arena the ministers and generals of the two countries, dressed in bathing-drawers and armed with clubs, can have it out on themselves. Whoever survives the country wins. That would be much simpler and more than just this arrangement, where the wrong people do the fighting
[novan]: bassists are very good with their fingers[novan]: and some of us sing backup vocals, so that means we're good with our mouths too...(~ IM chat with Novan Chang, 18, bassist)
Death has been said to be the leveller in that it does not recognize one’s class, race,ethnicity or nationality. Death does not look at the face before it strikes; it pays noattention to one’s beliefs or outlook to issues in life. Death has often been said to beinevitable. So it is glaring that for as long as people are born, people are bound to diesomeday but how man dies is a huge mystery.
Until modern times, we focused a great deal of the best of our thought upon rituals of return to the human condition. Seeking enlightenment or the Promised Land or the way home, a man would go or be forced to go into the wilderness, measure himself against the Creation, recognize finally his true place within it, and thus be saved both from pride and from despair. Seeing himself as a tiny member of a world he cannot comprehend or master or in any final sense possess, he cannot possibly think of himself as a god. And by the same token, since he shares in, depends upon, and is graced by all of which he is a part, neither can he become a fiend; he cannot descend into the final despair of destructiveness. Returning from the wilderness, he becomes a restorer of order, a preserver. He sees the truth, recognizes his true heir, honors his forebears and his heritage, and gives his blessing to his successors. He embodies the passing of human time, living and dying within the human limits of grief and joy.(pg.95, "The Body and the Earth")
It's the best way of telling the truth; it's a process of producing grand, beautiful, well-ordered lies that tell more truth than any assemblage of facts. Beyond that … [it's] delight in, and play with, language; also, a curiously intimate way of communicating with people whom you will never meet.
The books we love offer a sketch of a whole universe that we secretly inhabit, and in which we desire the other person to assume a role.One of the conditions of happy romantic compatibility is, if not to have read the same books, to have read at least some books in common with the other person—which means, moreover, to have non-read the same books. From the beginning of the relationship, then, it is crucial to show that we can match the expectations of our beloved by making him or her sense the proximity of our inner libraries.
All stories have a curious and even dangerous power. They are manifestations of truth -- yours and mine. And truth is all at once the most wonderful yet terrifying thing in the world, which makes it nearly impossible to handle. It is such a great responsibility that it's best not to tell a story at all unless you know you can do it right. You must be very careful, or without knowing it you can change the world.
Language can't describe reality. Literature has no stable reference, no real meaning. Each reader's interpretation is equally valid, more important than the author's intention. In fact, nothing in life has meaning. Reality is subjective. Values and truths are subjective. Life itself is a kind of illusion. Blah, blah, blah, let's have another scotch.
I tell the story to you now, but in each telling the story itself changes a little, changes direction, and that in turn changes you and me. So be very careful not only in how you repeat it but in how you remember it, goslings. More often than you realize it, the world is shaped by two things -- stories told and the memories they leave behind.
I would not have majored in English and gone on to teach literature had I not been able to construct a counterargument about the truthfulness of fiction; still, as writers turn away from the industrious villages of George Eliot and Thomas Hardy, I learn less and less from them that helps me to ponder my life. In time, I found myself agreeing with the course evaluations written by my testier freshman students:'All the literature we read this term was depressing.' How naive. How sane.
This was another of our fears: that Life wouldn't turn out to be like Literature. Look at our parents--were they the stuff of Literature? At best, they might aspire to the condition of onlookers and bystanders, part of a social backdrop against which real, true, important things could happen. Like what? The things Literature was about: Love, sex, morality, friendship, happiness, suffering, betrayal, adultery, good and evil, heroes and villains, guilt and innocence, ambition, power, justice, revolution, war, fathers and sons, mothers and daughters, the individual against society, success and failure, murder, suicide, death, God.
The Incas were right to worship the sun, Father. God is fire. Combustion is the one inarguable blessing. A tree, oil, coal, a man, a civilization, a soul. They've all got to burn sometime. The warmth made by their passing may be the salvation of others. The ultimate value of the Bible, the Constitution, or any work of literature, really, is that they all burn very well, and for a while they keep back the cold.
One may enter the literary parlor via just about any door, be it the prison door, the madhouse door, or the brothel door. There is but one door one may not enter it through, which is the child room door. The critics will never forgive you such. The great Rudyard Kipling is one of a number of people to have suffered from this. I keep wondering to myself what this peculiar contempt towards anything related to childhood is all about.
Basically, being alive means keeping yourself ready for the sky to fall in on you at any time. If you start from the assumption that existence is only an ordeal, a test we have to pass, then you’re equipped to deal with its sorrows and its surprises. If you persist in expecting it to give you something it can’t give, that just proves that you haven’t understood anything. Take things as they come; don’t turn them into a drama. You’re not piloting the ship, you’re following the course of your destiny.
Do we take less pride in the possession of our home because its walls were built by some unknown carpenter, its tapestries woven by some unknown weaver on a far Oriental shore, in some antique time? No. We show our home to our friends with the pride as if it were our home, which it is. Why then should we take less pride when reading a book written by some long-dead author? Is it not our book just as much, or even more so, than theirs? So the landowner says, ‘Look at my beautiful home! Isn’t it fine?’ And not, ‘Look at the home so-and-so has built.’ Thus we shouldn’t cry, ‘Look what so-and-so has written. What a genius so-and-so is!’ But rather, ‘Look at what I have read! Am I not a genius? Have I not invented these pages? The walls of this universe, did I not build? The souls of these characters, did I not weave?
When I met a truly beautiful girl, I would tell her that if she spent the night with me, I would write a novel or a story about her. This usually worked; and if her name was to be in the title of the story, it almost always worked. Then, later, when we'd passed a night of delicious love-making together, after she’d gone and I’d felt that feeling of happiness mixed with sorrow, I sometimes would write a book or story about her. Sometimes her character, her way about herself, her love-making, it sometimes marked me so heavily that I couldn't go on in life and be happy unless I wrote a book or a story about that woman, the happy and sad memory of that woman. That was the only way to keep her, and to say goodbye to her without her ever leaving.
They had no conversation together, no intercourse but what the commonest civility required. Once so much to each other! Now nothing! There had been a time, when of all the large party now filling the drawing-room at Uppercross, they would have found it most difficult to cease to speak to one another. With the exception, perhaps, of Admiral and Mrs. Croft, who seemed particularly attached and happy, (Anne could allow no other exception even among the married couples) there could have been no two hearts so open, no tastes so simliar, no feelings so in unison, no countenances so beloved. Now they were as strangers; nay, worse than strangers, for they could never become aquainted. It was a perpetual estrangement.
Happiness, said De Quincey, on his discovery of the paradise that he thought he had found in opium, could be sent down by the mail-coach; more truly I could announce my discovery that delight could be contained in small octavos and small type, in a bookshelf three feet long.
What on earth did you say to Isola? She stopped in on her way to pick up Pride and Prejudice and to berate me for never telling her about Elizabeth Bennet and Mr. Darcy. Why hadn't she known there were better love stories around? Stories not riddled with ill-adjusted men, anguish, death and graveyards!
This is surely the most significant of the elements that Tolkien brought to fantasy.... his arranged marriage between the Elder Edda and "The Wind in the Willows"--big Icelandic romance and small-scale, cozy English children's book. The story told by "The Lord of the Rings" is essentially what would happen if Mole and Ratty got drafted into the Nibelungenlied.
Later, you told me what your mother had said. How your father, the farmer, rose up slowly. You told me how your mother wailed on the other end of the phone, grieving her loss and complaining about the basketball of a goitre perched on her shoulder. She told you, your father walked onto the veranda and saw a chook floating ten feet above the ground. The chook didn’t flap a feather and just sat there brooding, swaying in the breeze.
I have grown weary of literature: silence alone comforts me. If I continue to write, it’s because I have nothing more to accomplish in this world except to wait for death. Searching for the word in darkness. Any little success invades me and puts me in full view of everyone. I long to wallow in the mud. I can scarcely control my need for self-abasement, my craving for licentiousness and debauchery. Sin tempts me, forbidden pleasures lure me. I want to be both pig and hen, then kill them and drink their blood.
Some writers write to forget. Some forget to write.
One often hears of writers that rise and swell with their subject, though it may seem but an ordinary one. How, then, with me, writing of this Leviathan? Unconsciously my chirography expands into placard capitals. Give me a condor's quill! Give me Vesuvius' crater for an inkstand! Friends, hold my arms! For in the mere act of penning my thoughts of this Leviathan, they weary me, and make me faint with their out-reaching comprehensiveness of sweep, as if to include the whole circle of the sciences, and all the generations of whales, and men, and mastodons, past, present, and to come, with all the revolving panoramas of empire on earth, and throughout the whole universe, not excluding its suburbs. Such, and so magnifying, is the virtue of a large and liberal theme! We expand to its bulk. To produce a mighty book, you must choose a mighty theme. No great and enduring volume can ever be written on the flea, though many there be who have tried it.
I became an artist because I wanted to be an active participant in the conversation about art.
She might not have read many books. But when she reads a book, she swallows the very words. If you open the books on her shelves, you will find that the front and back covers encase white pages.
O' melancholy,hectic chill for human soul,herewith dismal presence,any spirit does descent.
Books, books, books!I had found the secret of a garret roomPiled high with cases in my father’s name;Piled high, packed large,--where, creeping in and outAmong the giant fossils of my past,Like some small nimble mouse between the ribsOf a mastodon, I nibbled here and thereAt this or that box, pulling through the gap,In heats of terror, haste, victorious joy,The first book first. And how I felt it beatUnder my pillow, in the morning’s dark,An hour before the sun would let me read!My books!
The poet must always, in every instance, have the vibrant word... that by it's trenchancy can so wound my soul that it whimpers.... One must know and recognize not merely the direct but the secret power of the word; one must be able to give one's writing unexpected effects. It must have a hectic, anguished vehemence, so that it rushes past like a gust of air, and it must have a latent, roistering tenderness so that it creeps and steals one's mind; it must be able to ring out like a sea-shanty in a tremendous hour, in the time of the tempest, and it must be able to sigh like one who, in tearful mood, sobs in his inmost heart.
I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words.
Note, to-day, an instructive, curious spectacle and conflict. Science, (twin, in its fields, of Democracy in its)—Science, testing absolutely all thoughts, all works, has already burst well upon the world—a sun, mounting, most illuminating, most glorious—surely never again to set. But against it, deeply entrench'd, holding possession, yet remains, (not only through the churches and schools, but by imaginative literature, and unregenerate poetry,) the fossil theology of the mythic-materialistic, superstitious, untaught and credulous, fable-loving, primitive ages of humanity.
Blackadder was fifty-four and had come to editing Ash out of pique. He was the son and grandson of Scottish schoolmasters. His grandfather recited poetry on firelight evenings: Marmion, Childe Harold, Ragnarok. His father sent him to Downing College in Cambridge to study under F. R. Leavis. Leavis did to Blackadder what he did to serious students; he showed him the terrible, the magnificent importance and urgency of English literature and simultaneously deprived him of any confidence in his own capacity to contribute to, or change it. The young Blackadder wrote poems, imagined Dr Leavis’s comments on them, and burned them.
I do strongly feel that among the greatest pieces of luck for high achievement is ordeal. Certain great artists can make out without it, Titian and others, but mostly you need ordeal. My idea is this: the artist is extremely lucky who is presented with the worst possible ordeal which will not actually kill him. At that point, he's in business: Beethoven's deafness, Goya's deafness, Milton's blindness, that kind of thing.
The birth of a true poet is neither an insignificant event nor an easy delivery. Complications generally begin long before the fated soul carries its dubious light into whatever womb has been kind enough to volunteer the intricate machinery of its blood and prayers and muscles for a gestation period much longer than nine months or even nine years.
In an age when nations and individuals routinely exchange murder for murder, when the healing grace of authentic spirituality is usurped by the divisive politics of religious organizations, and when broken hearts bleed pain in darkness without the relief of compassion, the voice of an exceptional poet producing exceptional work is not something the world can afford to dismiss.
Read for yourselves, read for the sake of your inspiration, for the sweet turmoil in your lovely head. But also read against yourselves, read for questioning and impotence, for despair and erudition, read the dry sardonic remarks of cynical philosophers like Cioran or even Carl Schmitt, read newspapers, read those who despise, dismiss or simply ignore poetry and try to understand why they do it. Read your enemies, read those who reinforce your sense of what's evolving in poetry, and also read those whose darkness or malice or madness or greatness you can't understand because only in this way will you grow, outlive yourself, and become what you are.
The image of a wood has appeared often enough in English verse. It has indeed appeared so often that it has gathered a good deal of verse into itself; so that it has become a great forest where, with long leagues of changing green between them, strange episodes of poetry have taken place. Thus in one part there are lovers of a midsummer night, or by day a duke and his followers, and in another men behind branches so that the wood seems moving, and in another a girl separated from her two lordly young brothers, and in another a poet listening to a nightingale but rather dreaming richly of the grand art than there exploring it, and there are other inhabitants, belonging even more closely to the wood, dryads, fairies, an enchanter's rout. The forest itself has different names in different tongues- Westermain, Arden, Birnam, Broceliande; and in places there are separate trees named, such as that on the outskirts against which a young Northern poet saw a spectral wanderer leaning, or, in the unexplored centre of which only rumours reach even poetry, Igdrasil of one myth, or the Trees of Knowledge and Life of another. So that indeed the whole earth seems to become this one enormous forest, and our longest and most stable civilizations are only clearings in the midst of it.
Someone once said to me, 'There are so many religions in the world. They can't all be right.' And my reply was, 'Well, they can't all be wrong either.' All religions in the world today share more commonalities than differences, yet language blinds many from seeing these truths. Some people will tell me that what I write about is straight from their holy book, but the truth is that the main principles found in all holy books were already engraved in all our hearts. If you think common sense, the golden rule and knowing right from wrong are exclusive only to your faith, then you need to open yourself up to the rest of the world's religions.
What an astonishing thing a book is. It's a flat object made from a tree with flexible parts on which are imprinted lots of funny dark squiggles. But one glance at it and you're inside the mind of another person, maybe somebody dead for thousands of years. Across the millennia, an author is speaking clearly and silently inside your head, directly to you. Writing is perhaps the greatest of human inventions, binding together people who never knew each other, citizens of distant epochs. Books break the shackles of time. A book is proof that humans are capable of working magic." (1980)]
Writing and reading decrease our sense of isolation. They deepen and widen and expand our sense of life: they feed the soul. When writers make us shake our heads with the exactness of their prose and their truths, and even make us laugh about ourselves or life, our buoyancy is restored. We are given a shot at dancing with, or at least clapping along with, the absurdity of life, instead of being squashed by it over and over again. It's like singing on a boat during a terrible storm at sea. You can't stop the raging storm, but singing can change the hearts and spirits of the people who are together on that ship.
Surely it is an odd way to spend your life - sitting alone in a room with a pen in your hand, hour after hour, day after day, year after year, struggling to put words on pieces of paper in order to give birth to what does not exist, except in your head. Why on earth would anyone want to do such a thing? The only answer I have ever been able to come up with is: because you have to, because you have no choice.
Literature was not promulgated by a pale and emasculated critical priesthood singing their litanies in empty churches - nor is it a game for the cloistered elect, the tinhorn mendicants of low calorie despair.Literature is as old as speech. It grew out of human need for it, and it has not changed except to become more needed.The skalds, the bards, the writers are not separate and exclusive. From the beginning, their functions, their duties, their responsibilities have been decreed by our species.--speech at the Nobel Banquet at the City Hall in Stockholm, December 10, 1962
He chose The Metamorphosis over The Trial, he chose Bartleby over Moby-Dick, he chose A Simple Heart over Bouvard and Pecuchet, and A Christmas Carol over A Tale of Two Cities or The Pickwick Papers. What a sad paradox, thought Amalfitano. Now even bookish pharmacists are afraid to take on the great, imperfect, torrential works, books that blaze paths into the unknown. They choose the perfect exercises of the great masters. Or what amounts to the same thing: they want to watch the great masters spar, but they have no interest in real combat, when the great masters struggle against that something, that something that terrifies us all, that something that cows us and spurs us on, amid blood and mortal wounds and stench.
The novelist’s happy discovery was to think of substituting for those opaque sections, impenetrable by the human spirit, their equivalent in immaterial sections, things, that is, which the spirit can assimilate to itself. After which it matters not that the actions, the feelings of this new order of creatures appear to us in the guise of truth, since we have made them our own, since it is in ourselves that they are happening, that they are holding in thrall, while we turn over, feverishly, the pages of the book, our quickened breath and staring eyes. And once the novelist has brought us to that state, in which, as in all purely mental states, every emotion is multiplied ten-fold, into which his book comes to disturb us as might a dream, but a dream more lucid, and of a more lasting impression than those which come to us in sleep; why, then, for the space of an hour he sets free within us all the joys and sorrows in the world, a few of which, only, we should have to spend years of our actual life in getting to know, and the keenest, the most intense of which would never have been revealed to us because the slow course of their development stops our perception of them.
All European writers are ‘slaves of their baptism,’ if I may paraphrase Rimbaud; like it or not, their writing carries baggage from an immense and almost frightening tradition; they accept that tradition or they fight against it, it inhabits them, it is their familiar and their succubus. Why write, if everything has, in a way, already been said? Gide observed sardonically that since nobody listened, everything has to be said again, yet a suspicion of guilt and superfluity leads the European intellectual to the most extreme refinements of his trade and tools, the only way to avoid paths too much traveled. Thus the enthusiasm that greets novelties, the uproar when a writer has succeeded in giving substance to a new slice of the invisible; merely recall symbolism, surrealism, the ‘nouveau roman’: finally something truly new that neither Ronsard, nor Stendahl , nor Proust imagined. For a moment we can put aside our guilt; even the epigones begin too believe they are doing something new. Afterwards, slowly, they begin to feel European again and each writer still has his albatross around his neck.
It had been startling and disappointing to me to find out that story books had been written by people, that books were not natural wonders, coming up of themselves like grass. Yet regardless of where they come from, I cannot remember a time when I was not in love with them -- with the books themselves, cover and binding and the paper they were printed on, with their smell and their weight and with their possession in my arms, captured and carried off to myself. Still illiterate, I was ready for them, committed to all the reading I could give them ...
In my profession it isn’t a question of telling good literature from bad. Really good literature is seldom appreciated in its own day. The best authors die poor, the bad ones make money — it’s always been like that. What do I, an agent, get out of a literary genius who won’t be discovered for another hundred years? I’ll be dead myself then. Successful incompetents are what I need.
All writers are vain, selfish, and lazy, and at the very bottom of their motives there lies a mystery. Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand. For all one knows that demon is simply the same instinct that makes a baby squall for attention. And yet it is also true that one can write nothing readable unless one constantly struggles to efface one's own personality. Good prose is like a windowpane.
I don't mind nothing happening in a book, but nothing happening in a phony way--characters saying things people never say, doing jobs that don't fit, the whole works--is simply asking too much of a reader. Something happening in a phony way must beat nothing happening in a phony way every time, right? I mean, you could prove that, mathematically, in an equation, and you can't often apply science to literature.
That's why I've just gone on … collecting this particular kind of stuff – what you might call riff-raff. There's not a book here, Lawford, that hasn't at least a glimmer of the real thing in it – just Life, seen through a living eye, and felt. As for literature, and style, and all that gallimaufry, don't fear for them if your author has the ghost of a hint of genius in his making.
The best thing to do is to loosen my grip on my pen and let it go wandering about until it finds an entrance. There must be one – everything depends on the circumstances, a rule applicable as much to literary style as to life. Each word tugs another one along, one idea another, and that is how books, governments and revolutions are made – some even say that is how Nature created her species.
The best literature is always a take [in the musical sense]; there is an implicit risk in its execution, a margin of danger that is the pleasure of the flight, of the love, carrying with it a tangible loss but also a total engagement that, on another level, lends the theater its unparalleled imperfection faced with the perfection of film.I don’t want to write anything but takes.
Ivanov had been a party member since 1902. Back then he had tried to write stories in the manner of Tolstoy, Chekhov, Gorky, or rather he had tried to plagiarize them without much success, which led him, after long reflection (a whole summer night), to the astute decision that he should write in the manner of Odoevsky and Lazhechnikov. Fifty percent Odoevsky and fifty percent Lazhecknikov. This went over well, in part because readers, their memories mostly faulty, had forgotten poor Odoevsky (1803-1869) and poor Lazhechnikov (1792-1869), who died the same year, and in part because literary criticism, as keen as ever, neither extrapolated nor made the connection nor noticed a thing.
In our modern world, this elemental quality of storytelling is denied. We live today in a world in which everything has its place and function and nothing is left out of place. Storytelling is thus at a discount and like everything else in a world ruled by the laws of exchange value, literature is required to submit itself to the requirements of the market and must learn, like any other commodity, to adapt and serve needs that lie outside of itself and its concrete value. It is forced to stand not for itself but for an ideological cause of one sort or another, whether it be political, social or literary. It cannot exist for itself: like everything else it has to be justified. And for this very reason the power of storytelling is automatically devalued. Literature is reduced to the status of complimentary utilitarian functions: as a pastime to provide distraction and entertainment, or as a heightened activity that would claim to explore 'great truths' about the human condition.
As often I have been a science fiction writer writing science fiction for the community of science fiction readers, I am also, for good or ill, an American writing American literature to an American audience. Most fundamentally, though, I am a human being writing human literature to a human audience.
The pale organisms of literary heroes feeding under the author's supervision swell gradually with the reader's lifeblood; so that the genius of a writer consists in giving them the faculty to adapt themselves to that - not very appetizing - food and thrive on it, sometimes for centuries.
Of course, they were other things too. Sometimes they were even everything all together, but not fame, which was rooted in delusion and lies, if not ambition. Also, fame was reductive. Everything that ended in fame and everything that issued from fame was inevitably diminished. Fame's message was unadorned. Fame and literature were irreconcilable enemies.
he best thing to do is to loosen my grip on my pen and let it go wandering about until it finds an entrance. There must be one – everything depends on the circumstances, a rule applicable as much to literary style as to life. Each word tugs another one along, one idea another, and that is how books, governments and revolutions are made – some even say that is how Nature created her species.
Because of the earth’s roundness, Genghis Khan, in the fever of possession and destruction, hastened his own overthrow by invading lands that he had already razed and conquered. Not only is it impossible to know from where we come, but also from whom we come: nothing in common, in any case, with those who pass for being the “authors of our days” – which days? Better to invent a genealogy based on pure whim and the leanings of our hearts, but what if they don’t agree?
And speaking of this wonderful machine:[840] I’m puzzled by the difference between, the kind Which goes on solely in the poet’s mind,A testing of performing words, while he,The other kind, much more decorous, whenHe’s in his study writing with a pen. In method B the hand supports the thought,The abstract battle is concretely fought.The pen stops in mid-air, then swoops to bar[850] A canceled sunset or restore a star,And thus it physically guides the phraseToward faint daylight through the inky maze. is agony! The brainIs soon enclosed in a steel cap of pain.A muse in overalls directs the drill Which grinds and which no effort of the willCan interrupt, while the automatonIs taking off what he has just put on Or walking briskly to the corner store [860] To buy the paper he has read before.
I do feel that literature should be demystified. What I object to is what is happening in our era: literature is only something you get at school as an assignment. No one reads for fun, or to be subversive or to get turned on to something. It's just like doing math at school. I mean, how often do we sit down and do trigonometry for fun, to relax. I've thought about this, the domination of the literary arts by theory over the past 25 years -- which I detest -- and it's as if you have to be a critic to mediate between the author and the reader and that's utter crap. Literature can be great in all ways, but it's just entertainment like rock'n'roll or a film. It is entertainment. If it doesn't capture you on that level, as entertainment, movement of plot, then it doesn't work. Nothing else will come out of it. The beauty of the language, the characterisation, the structure, all that's irrelevant if you're not getting the reader on that level -- moving a story. If that's friendly to readers, I cop to it.
As a fantasist, I well understand the power of escapism, particularly as relates to romance. But when so many stories aimed at the same audience all trumpet the same message – And Lo! There shall be Two Hot Boys, one of them your Heart’s Intended, the other a vain Pretender who is also hot and with whom you shall have guilty makeouts before settling down with your One True Love – I am inclined to stop viewing the situation as benign and start wondering why, for instance, the heroines in these stories are only ever given a powerful, magical destiny of great importance to the entire world so long as fulfilling it requires male protection, guidance and companionship, and which comes to an end just as soon as they settle their inevitable differences with said swain and start kissing.I mean to invoke is something of the danger of mob rule, only applied to narrative and culture. Viz: that the comparative harmlessness of individuals does not prevent them from causing harm en masse. Take any one story with the structure mentioned above, and by itself, there’s no problem. But past a certain point, the numbers begin to tell – and that poses a tricky question. In the case of actual mobs, you’ll frequently find a ringleader, or at least a core set of agitators: belligerent louts who stir up feeling well beyond their ability to contain it. In the case of novels, however, things aren’t so clear cut. Authors tell the stories they want to tell, and even if a number of them choose to write a certain kind of narrative either in isolation or inspired by their fellows, holding any one of them accountable for the total outcome would be like trying to blame an avalanche on a single snowflake. Certainly, we may point at those with the greatest (arguable) influence or expostulate about creative domino effects, but as with the drop that breaks the levee, it is impossible to try and isolate the point at which a cluster of stories became a culture of stories – or, for that matter, to hold one particular narrative accountable for the whole.
Starting over can be the scariest thing in the entire world, whether it’s leaving a lover, a school, a team, a friend or anything else that feels like a core part of our identity but when your gut is telling you that something here isn’t right or feels unsafe, I really want you to listen and trust in that voice.
Being a Dream Girl is never going to be about what you look like or how much you weigh. After all, our physical appearances are just reflections of our inner worlds. What makes you a Dream Girl is your emotional sensitivity, your self-awareness, and your ability to communicate who you are effectively and compassionately in the world.
Can you identify the source preventing you from feeling good every single day, from loving yourself unconditionally and making your dreams come true? Is it a voice in your head or a gut wrenching ache that compromises your inner peace and doesn’t allow you to accept the love around you? Is there one thing, or maybe many things, keeping you from forgiving your past and moving forward, tormenting you with lies like “You don’t deserve real love so just settle for whatever you can get,” “You’re not smart enough to achieve your dream so don’t even try,” or “Look at your past… you should hate yourself way more than you actually do!”?Welcome to your Little Monster.
Even if we try to conform to ideals and strive for perfection, we will always be pulled back to our core identity because it’s the path of least resistance for our souls – an energy force that wants nothing more than for us to honor and accept who we are and discover what we’re meant to do in the world.
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.
I want to be able to do anything with words: handle slashing, flaming descriptions like Wells, and use the paradox with the clarity of Samuel Butler, the breadth of Bernard Shaw and the wit of Oscar Wilde, I want to do the wide sultry heavens of Conrad, the rolled-gold sundowns and crazy-quilt skies of Hitchens and Kipling as well as the pastel dawns and twilights of Chesterton. All that is by way of example. As a matter of fact I am a professed literary thief, hot after the best methods of every writer in my generation.
No, I am not imagining a book-burning, warmongering, anti-intellectual fascist regime – in my plan, there is no place for re ghters who light up the Homers and Lady Murasakis and Cao Xueqins stashed under your bed – because, for starters, I’m not banning literature per se. I’m banning the reading of literature. Purchasing and collecting books and other forms of literature remains perfectly legitimate as long as you don’t peruse the literature at hand.
[P]eople need to use their intelligence to evaluate what they find to be true and untrue in the Bible. This is how we need to live life generally. Everything we hear and see we need to evaluate—whether the inspiring writings of the Bible or the inspiring writings of Shakespeare, Dostoevsky, or George Eliot, of Ghandi, Desmond Tutu, or the Dalai Lama.
...We now know the basic rules governing the universe, together with the gravitational interrelationships of its gross components, as shown in the theory of relativity worked out between 1905 and 1916. We also know the basic rules governing the subatomic particles and their interrelationships, since these are very neatly described by the quantum theory worked out between 1900 and 1930. What's more, we have found that the galaxies and clusters of galaxies are the basic units of the physical universe, as discovered between 1920 and 1930....The young specialist in English Lit, having quoted me, went on to lecture me severely on the fact that in every century people have thought they understood the universe at last, and in every century they were proved to be wrong. It follows that the one thing we can say about our modern 'knowledge' is that it is wrong...My answer to him was, when people thought the Earth was flat, they were wrong. When people thought the Earth was spherical they were wrong. But if you think that thinking the Earth is spherical is just as wrong as thinking the Earth is flat, then your view is wronger than both of them put together.The basic trouble, you see, is that people think that 'right' and 'wrong' are absolute; that everything that isn't perfectly and completely right is totally and equally wrong.However, I don't think that's so. It seems to me that right and wrong are fuzzy concepts, and I will devote this essay to an explanation of why I think so.When my friend the English literature expert tells me that in every century scientists think they have worked out the universe and are always wrong, what I want to know is how wrong are they? Are they always wrong to the same degree?
A truly good book is something as natural, and as unexpectedly and unaccountably fair and perfect, as a wild-flower discovered on the prairies of the West or in the jungles of the East. Genius is a light which makes the darkness visible, like the lightning’s flash, which perchance shatters the temple of knowledge itself--and not a taper lighted at the hearthstone of the race, which pales before the light of common day.
The books—the generous friends who met me without suspicion—the merciful masters who never used me ill! The only years of my life that I can look back on with something like pride... Early and late, through the long winter nights and the quiet summer days, I drank at the fountain of knowledge, and never wearied of the draught.
As long as reading is for us the instigator whose magic keys have opened the door to those dwelling-places deep within us that we would not have known how to enter, its role in our lives is salutary. It becomes dangerous, on the other hand, when, instead of awakening us to the personal life of the mind, reading tends to take its place, when the truth no longer appears to us as an ideal which we can realize only by the intimate progress of our own thought and the efforts of our heart, but as something material, deposited between the leaves of books like a honey fully prepared by others and which we need only take the trouble to reach down from the shelves of libraries and then sample passively in a perfect repose of mind and body.
Better to keep it in the old heads, where no one can see it or suspect it. We are all bits and pieces of history and literature and international law. Byron, Tom Paine, Machiavelli, or Christ, it's here. And the hour's late. And the war's begun. And we are out here, and the city is there, all wrapped up in its own coat of a thousand colors... All we want to do is keep the knowledge we think we will need intact and safe. We're not out to incite or anger anyone yet. For if we are destroyed, the knowledge is dead, perhaps for good... Right now we have a horrible job; we're waiting for the war to begin and, as quickly, end. It's not pleasant, but then we're not in control, we're the odd minority crying in the wilderness. When the war's over, perhaps we can be of some use in the world.
If religion is true, one must believe. And if one chooses not to believe, one’s choice is marked under the category of a refusal, and is thus never really free: it has the duress of a recoil.” With literary belief, however, “one is always free to choose not to believe.” This, Wood argues, is the freedom of literature; it is what constitutes its “reality.
Did I know myself less, I might perhaps venture to handle something or other to the bottom, and to be deceived in my own inability; but sprinkling here one word and there another, patterns cut from severalpieces and scattered without design and without engaging myself too far, I am not responsible for them, or obliged to keep close to my subject, without varying at my own liberty and pleasure, and giving up myself to doubt and uncertainty, and to myown governing method, ignorance.
It is usually unbearably painful to read a book by an author who knows way less than you do, unless the book is a novel.
You are more likely to find three TVs inside a randomly selected house than you are to find a single book that is or was not read to pass an exam, to please God, or to be a better cook.
Where should one turn for guidance in an appraisal of of the essence of justice, morality, ethics, religion, science, literaturem, and the like? Not to the past, for history is willfully misinterpreted; and not to the church, which is ineffective because of the cowardice of its leaders. Even science cannot be helpful beccause its exponents have succeeded only in destroying the harmony of life. It is therefore the duty of literature to rediscover the truth and beauty of life that other means have failed to find.
Many scholars forget, it seems to me, that our enjoyment of the great works of literature depends more upon the depth of our sympathy than upon our understanding. The trouble is that very few of their laborious explanations stick in the memory. The mind drops them as a branch drops its overripe fruit. ... Again and again I ask impatiently, "Why concern myself with these explanations and hypotheses?" They fly hither and thither in my thought like blind birds beating the air with ineffectual wings. I do not mean to object to a thorough knowledge of the famous works we read. I object only to the interminable comments and bewildering criticisms that teach but one thing: there are as many opinions as there are men.
I am conscious of a soul-sense that lifts me above the narrow, cramping circumstances of my life. My physical limitations are forgotten- my world lies upward, the length and the breadth and the sweep of the heavens are mine!
It is the modern literature of the educated, not of the uneducated, which is avowedly and aggressively criminal..The vast mass of humanity, with their vast mass of idle books and idle words, have never doubted and never will doubt that courage is splendid, that fidelity is noble, that distressed ladies should be rescued, and vanquished enemies spared. There are a large number of cultivated persons who doubt these maxims of daily life.
Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars.But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all.To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want toget ahead.The truth is, you do
Max sent Scottie some literary advice, the same dictum he gave every college student who called on him. He stressed the importance of a liberal arts education but urged her to avoid all courses in writing. "Everyone has to find her own way of writing," he wrote Scottie, "and the source of finding it is largely out of literature.
The same Sermon on the Mount that influenced Tolstoy to write “The Kingdom of God is Within You”, inspired me to a great extent in my work “Principia Humanitas”.
Is there anything more plausible than a second hand? And yet it takes only the smallest pleasure or pain to teach us time's malleability. Some emotions speed it up, others slow it down; occasionally, it seems to go missing--until the eventual point when it really does go missing, never to return.
This is nice,' Melody said, picking up a red leather box with a vintage watch inside.'Yes, it is nice. It's the watch I gave Walker as a wedding gift.''He gave it back?''Actually, he sold it back to the person I bought it from who alerted me and I reacquired it.''I'm sorry. That sounds upsetting.''It was. Very. Especially since he sold the watch to buy combs for my long hair and without knowing what he had done I sold my hair to buy a leather case for this watch.
One must always be careful of books,' said Tessa, 'and what is inside them, for words have the power to change us.' 'I'm not sure a book has ever changed me,' Will finished. 'Well, there is one volume that promises to teach one how to turn into an entire flock of sheep-' 'Only the very weak-minded refuse to be influenced by literature and poetry,' said Tessa, determined not to let him run wildly off with the course. 'Of course, why one would want to be and fire flock of sheep is another matter entirely,' Will finished.
I think imagination is at the heart of everything we do. Scientific discoveries couldn't have happened without imagination. Art, music, and literature couldn't exist without imagination. And so anything that strengthens imagination, and reading certainly does that, can help us for the rest of our lives.
One night I begged Robin, a scientist by training, to watch Arthur Miller's 'Death of a Salesman' with me on PBS. He lasted about one act, then turned to me in horror: 'This is how you spend your days? Thinking about things like this?' I was ashamed. I could have been learning about string theory or how flowers pollinate themselves. I think his remark was the beginning of my crisis of faith. Like so many of my generation in graduate school, I had turned to literature as a kind of substitute for formal religion, which no longer fed my soul, or for therapy, which I could not afford.... I became interested in exploring the theory of nonfiction and in writing memoir, a genre that gives us access to that lost Middlemarch of reflection and social commentary.
What an astonishing thing a book is. It's a flat object made from a tree with flexible parts on which are imprinted lots of funny dark squiggles. But one glance at it and you're inside the mind of another person, maybe somebody dead for thousands of years. Across the millennia, an author is speaking clearly and silently inside your head, directly to you. Writing is perhaps the greatest of human inventions, binding together people who never knew each other, citizens of distant epochs. Books break the shackles of time. A book is proof that humans are capable of working m
The books transported her into new worlds and introduced her to amazing people who lived exciting lives. She went on olden-day sailing ships with Joseph Conrad. She went to Africa with Ernest Hemingway and to India with Rudyard Kipling. She travelled all over the world while sitting in her little room in an English village.
A book is more than a verbal structure or series of verbal structures; it is the dialogue it establishes with its reader and the intonation it imposes upon his voice and the changing and durable images it leaves in his memory. A book is not an isolated being: it is a relationship, an axis of innumerable relationships.
Books may not change our suffering, books may not protect us from evil, books may not tell us what is good or what is beautiful, and they will certainly not shield us from the common fate of the grave. But books grant us myriad possibilities: the possibility of change, the possibility of illumination.
Books are the carriers of civilization. Without books, history is silent, literature dumb, science crippled, thought and speculation at a standstill. Without books, the development of civilization would have been impossible. They are engines of change (as the poet said), windows on the world and lighthouses erected in the sea of time. They are companions, teachers, magicians, bankers of the treasures of the mind. Books are humanity in
You forget everything. The hours slip by. You travel in your chair through centuries you seem seem to see before you, your thoughts are caught up in the story, dallying with the details or following the course of the plot, you enter into characters, so that it seems as if it were your own heart beating beneath their costumes.
Insensibly he formed the most delightful habit in the world, the habit of reading: he did not know that thus he was providing himself with a refuge from all the distress of life; he did not know either that he was creating for himself an unreal world which would make the real world of every day a source of bitter disappointment.
There are metaphors more real than the people who walk in the street. There are images tucked away in books that live more vividly than many men and women. There are phrases from literary works that have a positively human personality. There are passages from my own writing that chill me with fright, so distinctly do I feel them as people, so sharply outlined do they appear against the walls of my room, at night, in shadows... I've written sentences whose sound, read out loud or silently (impossible to hide their sound), can only be of something that acquired absolute exteriority and a full-fledged soul.
Until then I had thought each book spoke of the things, human or divine, that lie outside books. Now I realized that not infrequently books speak of books: it is as if they spoke among themselves. In the light of this reflection, the library seemed all the more disturbing to me. It was then the place of a long, centuries-old murmuring, an imperceptible dialogue between one parchment and another, a living thing, a receptacle of powers not to be ruled by a human mind, a treasure of secrets emanated by many minds, surviving the death of those who had produced them or had been their conveyors.
Because when I read, I don't really read; I pop a beautiful sentence into my mouth and suck it like a fruit drop, or I sip it like a liqueur until the thought dissolves in me like alcohol, infusing brain and heart and coursing on through the veins to the root of each blood vessel.
I ate them like salad, books were my sandwich for lunch, my tiffin and dinner and midnight munch. I tore out the pages, ate them with salt, doused them with relish, gnawed on the bindings, turned the chapters with my tongue! Books by the dozen, the score and the billion. I carried so many home I was hunchbacked for years. Philosophy, art history, politics, social science, the poem, the essay, the grandiose play, you name 'em, I ate 'em.
Sometimes I sensed that the books I read in rapid succession had set up some sort of murmur among themselves, transforming my head into an orchestra pit where different musical instruments sounded out, and I would realize that I could endure this life because of these musicales going on in my head.
We can imagine the books we'd like to read, even if they have not yet been written, and we can imagine libraries full of books we would like to possess, even if they are well beyond our reach, because we enjoy dreaming up a library that reflects every one of our interests and every one of our foibles--a library that, in its variety and complexity, fully reflects the reader we are.
There are books so alive that you're always afraid that while you weren't reading, the book has gone and changed, has shifted like a river; while you went on living, it went on living too, and like a river moved on and moved away. No one has stepped twice into the same river. But did anyone ever step twice into the same book?
Few pleasures, for the true reader, rival the pleasure of browsing unhurriedly among books: old books, new books, library books, other people's books, one's own books - it does not matter whose or where. Simply to be among books, glancing at one here, reading a page from one over there, enjoying them all as objects to be touched, looked at, even smelt, is a deep satisfaction. And often, very often, while browsing haphazardly, looking for nothing in particular, you pick up a volume that suddenly excites you, and you know that this one of all the others you must read. Those are great moments - and the books we come across like that are often the most memorable.
Here's what I mean by the miracle of language. When you're falling into a good book, exactly as you might fall into a dream, a little conduit opens, a passageway between a reader's heart and a writer's, a connection that transcends the barriers of continents and generations and even death ... And here's the magic. You're different. You can never go back to being exactly the same person you were before you disappeared into that book.
The only advice, indeed, that one person can give another about reading is to take no advice, to follow your own instincts, to use your own reason, to come to your own conclusions. If this is agreed between us, then I feel at liberty to put forward a few ideas and suggestions because you will not allow them to fetter that independence which is the most important quality that a reader can possess. After all, what laws can be laid down about books? The battle of Waterloo was certainly fought on a certain day; but is Hamlet a better play than Lear? Nobody can say. Each must decide that question for himself. To admit authorities, however heavily furred and gowned, into our libraries and let them tell us how to read, what to read, what value to place upon what we read, is to destroy the spirit of freedom which is the breath of those sanctuaries. Everywhere else we may be bound by laws and conventions-there we have none.
We are absurdly accustomed to the miracle of a few written signs being able to contain immortal imagery, involutions of thought, new worlds with live people, speaking, weeping, laughing. We take it for granted so simply that in a sense, by the very act of brutish routine acceptance, we undo the work of the ages, the history of the gradual elaboration of poetical description and construction, from the treeman to Browning, from the caveman to Keats. What if we awake one day, all of us, and find ourselves utterly unable to read? I wish you to gasp not only at what you read but at the miracle of its being readable.
In Tereza’s eyes, books were the emblems of a secret brotherhood. For she had but a single weapon against the world of crudity surrounding her: the novels. She had read any number of them, from Fielding to Thomas Mann. They not only offered the possibility of an imaginary escape from a life she found unsatisfying; they also had a meaning for her as physical objects: she loved to walk down the street with a book under her arm. It had the same significance for her as an elegant cane from the dandy a century ago. It differentiated her from others.
The act of true reading is in its very essence democratic. Consider the nature of what happens when we read a book - and I mean, of course, a work of literature, not an instruction manual or a textbook - in private, unsupervised, un-spied-on, alone. It isn't like a lecture: it's like a conversation. There's a back-and-forthness about it. The book proposes, the reader questions, the book responds, the reader considers. We bring our own preconceptions and expectations, our own intellectual qualities, and our limitations, too, our own previous experiences of reading, our own temperament, our own hopes and fears, our own personality to the encounter.
I had lines inside me, a string of guiding lights. I had language. Fiction and poetry are doses, medicines. What they heal is the rupture reality makes on the imagination. I had been damaged, and a very important part of me had been destroyed - that was my reality, the facts of my life. But on the other side of the facts was who I could be, how I could feel. And as long as I had words for that, images for that, stories for that, then I wasn't lost.
Tis the good reader that makes the good book; in every book he finds passages which seem confidences or asides hidden from all else and unmistakenly meant for his ear; the profit of books is according to the sensibility of the reader; the profoundest thought or passion sleeps as in a mine, until it is discovered by an equal mind and heart.
Books, for me, are a home. Books don't make a home - they are one, in the sense that just as you do with a door, you open a book, and you go inside. Inside there is a different kind of time and space. There is warmth there too - a hearth. I sit down with a book and I am warm.
Like flies in amber, like corpses frozen in ice, that which according to the laws of nature should pass away is, by the miracle of ink on paper, preserved. It is a kind of magic. As one tends the graves of the dead, so I tend the books. And every day I open a volume or two, read a few lines or pages, allow the voices of the forgotten dead to resonate inside my head.
Now and then there are readings that make the hairs on the neck, the non-existent pelt, stand on end and tremble, when every word burns and shines hard and clear and infinite and exact, like stones of fire, like points of stars in the dark—readings when the knowledge that we shall know the writing differently or better or satisfactorily, runs ahead of any capacity to say what we know, or how. In these readings, a sense that the text has appeared to be wholly new, never before seen, is followed, almost immediately, by the sense that it was always there, that we the readers, knew it was always there, and have always known it was as it was, though we have now for the first time recognised, become fully cognisant of, our knowledge.
We human beings build houses because we're alive but we write books because we're mortal. We live in groups because we're sociable but we read because we know we're alone. Reading offers a kind of companionship that takes no one's place but that no one can replace either. It offers no definitive explanation of our destiny but links us inextricably to life. Its tiny secret links remind us of how paradoxically happy we are to be alive while illuminating how tragically absurd life is.
In your hands winteris a book with cloud pagesthat snow pearls of love.
I think we ought to read only books that bite and sting us. If the book we are reading doesn't shake us awake like a blow on the skull, why bother reading it in the first place? So that it can make us happy, as you put it? Good God, we'd be just as happy if we had no books at all; books that make us happy we could, in a pinch, also write ourselves. What we need are books that hit us like a most painful misfortune, like the death of someone we loved more than we love ourselves, that make us feel as though we had been banished to the woods, far from any human presence, like a suicide. A book must be the axe for the frozen sea within us. That is what I believe.
We keep quiet about what we read. Our enjoyment of a book remains a jealously guarded secret. Perhaps because there`s no need to talk, or because it takes time to distill what we've read before we can say anything. Silence is our guarantee of intimacy. We might have finished reading but we`re still livingthe book.
To admit authorities, however heavily furred and gowned, into our libraries and let them tell us how to read, what to read, what value to place upon what we read, is to destroy the spirit of freedom which is the breath of those sanctuaries. Everywhere else we may be bound by laws and conventions—there we have none.
He was a very private person, and sometimes it seemed to me that he was no longer interested in the world or in other people... I got the feeling that Julián was living in the past, locked in his memories. Julián lived within himself, for his books and inside them - a comfortable prison of his own design.""You say this as if you envied him.""There are worse prisons than words.
He began to read at haphazard. He entered upon each system with a little thrill of excitement, expecting to find in each some guide by which he could rule his conduct; he felt himself like a traveller in unknown countries and as he pushed forward the enterprise fascinated him; he read emotionally, as other men read pure literature, and his heart leaped as he discovered in noble words what himself had obscurely felt.
In a word, literature is my Utopia. Here I am not disfranchised. No barrier of the senses shuts me out from the sweet, gracious discourse of my book-friends. They talk to me without embarrassment or awkwardness. The things I have learned and the things I have been taught seem of ridiculously little importance compared with their "large loves and heavenly charities.
I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence. I much prefer history – true or feigned– with its varied applicability to the thought and experience of readers. I think that many confuse applicability with allegory, but the one resides in the freedom of the reader, and the other in the purposed domination of the author.
No encounter occured that day, and I was glad of it; I took out of my pocket a little Homer I had not opened since leaving Marseilles, reread three lines of the Odyssey, learned them by heart; then, finding sufficient sustenance in their rhythm and reveling in them at leisure, I closed the book and remained, trembling, more alive than I had thought possible, my mind numb with happiness.
Of all man’s instruments, the most wondrous, no doubt, is the book. The other instruments are extensions of his body. The microscope, the telescope, are extensions of his sight; the telephone is the extension of his voice; then we have the plow and the sword, extensions of the arm. But the book is something else altogether: the book is an extension of memory and imagination.
What is literature but the expression of moods by the vehicle of symbol and incident? And are there not moods which need heaven, hell, purgatory, and faeryland for their expression, no less than this dilapidated earth? Nay, are there not moods which shall find no expression unless there be men who dare to mix heaven, hell, purgatory, and faeryland together, or even to set the heads of beasts to the bodies of men, or to thrust the souls of men into the heart of rocks? Let us go forth, the tellers of tales, and seize whatever prey the heart long for, and have no fear. Everything exists, everything is true, and the earth is only a little dust under our feet." (A Teller of Tales)
Do you know the feeling when you start reading a new book before the membrane of the last one has had time to close behind you? You leave the previous book with ideas and themes–characters even–caught in the fibers of your clothes, and when you open the new book, they are still with you
It is not all books that are as dull as their readers. There are probably words addressed to our condition exactly, which, if we could really hear and understand, would be more salutary than the morning or the spring to our lives, and possibly put a new aspect on the face of things for us. How many a man has dated a new era in his life from the reading of a book. The book exists for us perchance which will explain our miracles and reveal new ones. The at present unutterable things we may find somewhere uttered. These same questions that disturb and puzzle and confound us have in their turn occurred to all the wise men; not one has been omitted; and each has answered them, according to his ability, by his words and his life.
You only benefit from books if you can give something back to them. What I mean is, if you approach them in the spirit of a duel, so you can both wound and be wounded, so you are willing to argue, to overcome and be overcome, and grow richer by what you have learned, not only in the book, but in life, or by being able to make something of your work.
We rely upon the poets, the philosophers, and the playwrights to articulate what most of us can only feel, in joy or sorrow. They illuminate the thoughts for which we only grope; they give us the strength and balm we cannot find in ourselves. Whenever I feel my courage wavering, I rush to them. They give me the wisdom of acceptance, the will and resiliance to push on.
I long ago abandoned myself to a blind lust for the written word. Literature is my sandbox. In it I play, build my forts and castles, spend glorious time. It is the world outside that box that gives me trouble. I have adapted tamely, though not conventionally, to this visible world so I can retreat without much inconvenience into my inner world of books.
It is not all books that are as dull as their readers. There are probably words addressed to our condition exactly, which, if we could really hear and understand, would be more salutary than the morning or the spring to our lives, and possibly put a new aspect on the face of things for us. How many a man has dated a new era in his life from the reading of a book.
The book exists for us perchance which will explain our miracles and reveal new ones. The at present unutterable things we may find somewhere uttered. These same questions that disturb and puzzle and confound us have in their turn occurred to all the wise men; not one has been omitted; and each has answered them, according to his ability, by his words and his life.
She would go off in the morning with the punt full of books, and spend long glorious days away in the forest lying on the green springy carpet of whortleberries, reading. She would most diligently work at furnishing her empty mind. She would sternly endeavour to train it not to jump.
Have you ever looked at, say, a picture or a great building or read a paragraph in a book and felt the world suddenly expand and, in the same instant, contract and harden into a kernel of perfect purity? Do you know what I mean? Everything suddenly fits, everything's in its place.
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.
If he let one day pass without glancing at a single page, habit led him to feel a vague sense of decay. Therefore, in the face of most intrusions, he tried to arrange it so that he could stay in touch with the printed word. There were moments when he felt that books constituted his only legitimate province.
I walked around the library looking for books. I pulled them off the shelves, one by one. But they were all tricks. They were very dull. There were pages and pages of words that didn't say anything. Or if they did say something they took too long to say it and by the time they said it you already were too tired to have it matter at all. I tried book after book. Surely, out of all those books, there was one.
From that time on, the world was hers for the reading. She would never be lonely again, never miss the lack of intimate friends. Books became her friends and there was one for every mood. There was poetry for quiet companionship. There was adventure when she tired of quiet hours. There would be love stories when she came into adolescence and when she wanted to feel a closeness to someone she could read a biography. On that day when she first knew she could read, she made a vow to read one book a day as long as she lived.
Of course anyone who truly loves books buys more of them than he or she can hope to read in one fleeting lifetime. A good book, resting unopened in its slot on a shelf, full of majestic potentiality, is the most comforting sort of intellectual wallpaper.
A lot of the people who read a bestselling novel, for example, do not read much other fiction. By contrast, the audience for an obscure novel is largely composed of people who read a lot. That means the least popular books are judged by people who have the highest standards, while the most popular are judged by people who literally do not know any better. An American who read just one book this year was disproportionately likely to have read ‘The Lost Symbol’, by Dan Brown. He almost certainly liked it.
It is really hard to be lonely very long in a world of words. Even if you don't have friends somewhere, you still have language, and it will find you and wrap its little syllables around you and suddenly there will be a story to live in.
There are books, that one has for twenty years without reading them, that one always keeps at hand, that one takes along from city to city, from country to country, carefully packed, even when there is very little room, and perhaps one leafs through them while removing them from a trunk; yet one carefully refrains from reading even a complete sentence. Then after twenty years, there comes a moment when suddenly, as though under a high compulsion, one cannot help taking in such a book from beginning to end, at one sitting: it is like a revelation. Now one knows why one made such a fuss about it. It had to be with one for a long time; it had to travel; it had to occupy space; it had to be a burden; and now it has reached the goal of its voyage, now it reveals itself, now it illuminates the twenty bygone years it mutely lived with one. It could not say so much if it had not been there mutely the whole time, and what idiot would dare to assert that the same things had always been in it.
Second-hand books are wild books, homeless books; they have come together in vast flocks of variegated feather, and have a charm which the domesticated volumes of the library lack. Besides, in this random miscellaneous company we may rub against some complete stranger who will, with luck, turn into the best friend we have in the world.
Among the many worlds which man did not receive as a gift of nature, but which he created with his own mind, the world of books is the greatest. Every child, scrawling his first letters on his slate and attempting to read for the first time, in so doing, enters an artificial and complicated world; to know the laws and rules of this world completely and to practice them perfectly, no single human life is long enough. Without words, without writing, and without books there would be no history, there could be no concept of humanity. And if anyone wants to try to enclose in a small space in a single house or single room, the history of the human spirit and to make it his own, he can only do this in the form of a collection of books.
Literature, real literature, must not be gulped down like some potion which may be good for the heart or good for the brain — the brain, that stomach of the soul. Literature must be taken and broken to bits, pulled apart, squashed — then its lovely reek will be smelt in the hollow of the palm, it will be munched and rolled upon the tongue with relish; then, and only then, its rare flavor will be appreciated at its true worth and the broken and crushed parts will again come together in your mind and disclose the beauty of a unity to which you have contributed something of your own blood.
These are not books, lumps of lifeless paper, but minds alive on the shelves. From each of them goes out its own voice... and just as the touch of a button on our set will fill the room with music, so by taking down one of these volumes and opening it, one can call into range the voice of a man far distant in time and space, and hear him speaking to us, mind to mind, heart to heart.
I care not how humble your bookshelf may be, or how lonely the room which it adorns. Close the door of that room behind you, shut off with it all the cares of the outer world, plunge back into the soothing company of the great dead, and then you are through the magic portal into that fair land whither worry and vexation can follow you no more. You have left all that is vulgar and all that is sordid behind you. There stand your noble, silent comrades, waiting in their ranks. Pass your eye down their files. Choose your man. And then you have but to hold up your hand to him and away you go together into dreamland
For this quiet, unprepossessing, passive man who has no garden in front of his subsidised flat, books are like flowers. He loves to line them up on the shelf in multicoloured rows: he watches over each of them with an old-fashioned gardener's delight, holds them like fragile objects in his thin, bloodless hands.
Reading is sometimes thought of as a form of escapism, and it’s a common turn of phrase to speak of getting lost in a book. But a book can also be where one finds oneself; and when a reader is grasped and held by a book, reading does not feel like an escape from life so much as it feels like an urgent, crucial dimension of life itself.
The man who is contented to be only himself, and therefore less a self, is in prison. My own eyes are not enough for me, I will see through those of others. Reality, even seen through the eyes of many, is not enough. I will see what others have invented. Even the eyes of all humanity are not enough. I regret that the brutes connot write books. Very gladly would I learn what face things present to a mouse or a bee; more gladly still would I perceive the olfactory world charged with all the information and emotion it carries for a dog. Literary experience heals the wound, without undermining the privilege, of individuality... in reading great literature I become a thousand men and yet remain myself. Like the night sky in the Greek poem, I see with a myriad of eyes, but it is still I who see. Here, as in worship, in love, in moral action, and in knowing, I transcend myself; and am never more myself than when I do.
So I kept reading, just to stay alive. In fact, I'd read two or three books at the same time, so I wouldn't finish one without being in the middle of another -- anything to stop me from falling into the big, gaping void. You see, books fill the empty spaces. If I'm waiting for a bus, or am eating alone, I can always rely on a book to keep me company. Sometimes I think I like them even more than people. People will let you down in life. They'll disappoint you and hurt you and betray you. But not books. They're better than life.
Sir,’ said Stephen, ‘I read novels with the utmost pertinacity. I look upon them--I look upon good novels--as a very valuable part of literature, conveying more exact and finely-distinguished knowledge of the human heart and mind than almost any other, with greater breadth and depth and fewer constraints.
The thought of these vast stacks of books would drive him mad: the more he read, the less he seemed to know — the greater the number of the books he read, the greater the immense uncountable number of those which he could never read would seem to be…. The thought that other books were waiting for him tore at his heart forever.
Sometimes he spent hours together in the great libraries of Paris, those catacombs of departed authors, rummaging among their hoards of dusty and obsolete works in quest of food for his unhealthy appetite. He was, in a manner, a literary ghoul, feeding in the charnel-house of decayed literature.
The true reader reads every work seriously in the sense that he reads it whole-heartedly, makes himself as receptive as he can. But for that very reason he cannot possibly read every work solemly or gravely. For he will read 'in the same spirit that the author writ.'... He will never commit the error of trying to munch whipped cream as if it were venison.
We read in slow, long motions, as if drifting in space, weightless. We read full of prejudice, malignantly. We read generously, making excuses for the text, filling gaps, mending faults. And sometimes, when the stars are kind, we read with an intake of breath, with a shudder... as if a memory had suddenly been rescued from a place deep within us--the recognition of something we never knew was there...
We have no time to waste on insignificant books, hollow books, books that are there to please...We want books that cost their authors a great deal, books where you can feel the years of work, the backache, the writer's block, the author's panic at the thought that he might be lost: his discouragement, his courage, his anguish, his stubbornness, the risk of failure that he has taken.
He believes that if talent is demanded of a literary publisher or a writer, it must also be demanded of a reader. Because we mustn’t deceive ourselves: on the journey of reading we often travel through difficult terrains that demand a capacity for intelligent emotion, a desire to understand the other, and to approach a language distinct from the one of our daily tyrannies… Writers fail readers, but it also happens the other way around and readers fail writers when all they ask of them is confirmation that the world is how they see it.
And sometimes, when the stars are kind, we read with an intake of breath, with a shudder, as if someone or something had 'walked over our grave,' as if a memory had suddenly been rescued from a place deep within us - the recognition of something we never knew was there, or of something we vaguely felt as a flicker or a shadow, whose ghostly form rises and passes back into us before we can see what it is, leaving us older and wiser.
It may be whispered to those uninitiated people who are anxious to know the habits and make the acquaintance of men of letters, that there are no race of people who talk about books, or, perhaps, who read books, so little as literary men.
Now that his children had grown into their lives, their own children too, there was no one who needed more than the idea of him, and he thought maybe that was why he had this nagging feeling, this sense that there were things he had to know for himself, only for himself. He knew, of course he knew, that a life wasn't anything like one of those novels Jenny read, that it stumbled along, bouncing off one thing, then another, until it just stopped, nothing wrapped up neatly. He remembered his children's distress at different times, failing an exam or losing a race, a girlfriend. Knowing that they couldn't believe him but still trying to tell them that it would pass, that they would be amazed, looking back, to think it had mattered at all. He thought of himself, thought of things that had seemed so important, so full of meaning when he was twenty, or forty, and he thought maybe it was like Jenny's books after all. Red herrings and misdirection, all the characters and observations that seemed so central, so significant while the story was unfolding. But then at the end you realized that the crucial thing was really something else. Something buried in a conversation, a description - you realized that all along it had been a different answer, another person glimpsed but passed over, who was the key to everything. Whatever everything was. And if you went back, as Jenny sometimes did, they were there, the clues you'd missed while you were reading, caught up in the need to move forward. All quietly there.
Every time you open a book for the first time, there is something akin to safe-breaking about it. Yes, that's exactly it: the frantic reader is like a burglar who has spent hours digging a tunnel to enter the strongroom of a bank. He emerges face to face with hundreds of strongboxes, all identical, and opens them one by one. And each time a box is opened, it loses its anonymity and becomes unique: one is filled with paintings, another with a bundle of banknotes, a third with jewels or letters tied in ribbon, engravings, objects of no value at all, silverware, photos, gold sovereigns, dried flowers, files of paper, crystal glasses, or children’s toys--and so on. There is something intoxicating about opening a new one, finding its contents and feeling overjoyed that in a trice one is no longer in front of a set of boxes, but in the presence of the riches and wretched banalities that make up human existence.
The book that simply demands to be read, for no good reason, is asking us to change our lives by putting aside what we usually think of as good reasons. It's asking us to stop calculating. It's asking us to do something for the plain old delight and interest of it, not because we can justify its place on the mental spreadsheet or accounting ledger (like the one Benjamin Franklin kept) by which we tote up the value of our actions.
It is untrue that fiction is nonutilitarian. The uses of fiction are synonymous with the uses of literature. They include refreshment, clarification of life, self-awareness, expansion of our range of experiences, and enlargement of our sense of understanding and discovery, perception, intensification, expression, beauty , and understanding. Like literature generally, fiction is a form of discovery, perception, intensification, expression, beauty, and understanding. If it is all these things, the question of whether it is a legitimate use of time should not even arise.
Literature supplements the lives of people and enables us to feel connected with the world. Shared stories blunt a sense of tragic aloneness, and endow us with the tools to understand our humanness. Reading about the lives of other people acquaints us with the hardships of other people. The authorial voices of narrative prose express our shared feelings of deprivation
Fictions exist because of this fact. Because we have only one life, and our desires and fantasies demand a thousand lives. Because the abyss between what we are and what we would like to be has to be bridged somehow. That was why fictions were born: so that, through living this vicarious, transient, precarious, but also passionate and fascinating life that fiction transports us to, we can incorporate the impossible into the possible and our existence can be both reality and unreality, history and fable, concrete life and marvellous adventure.
Nothing is more hallowing than the union of kindred spirits in art. At the moment of meeting, the art lover transcends himself. At once he is and is not. He catches a glimpse of Infinity... Freed from the fetters of matter, his spirit moves in the rhythm of things. It is thus that art becomes akin to religion and ennobles mankind. It is this which makes a masterpiece something sacred.
Something in me - probably a small, nationalist dwarf part of my brain - something in me would like to feel proud of Dutch literature. But its hard to when the annual 'book week gift' year in year out is granted to a male. I dont like being part of an unjust system. But let me say this: it is the election method that is the real problem here. The 'vergadering' (meeting) that employs a simple flagging system - the basic way almost everything is decided here, from literary prizes to how much money is divided - it is a system based on the destruction of subtle values. You cannot ever ever say: I didnt understand this book. You can only say 'yes' or 'no'. And that system, that annihilates all forms of subtlety, that system is patriarchal in all its essence. So its useless to simply maintain the method, and try alter the outcome.
I only wrote prose before I met you. My musings were superfluous and serious as well. But now the words dance with me. I sing with them and we create poetry.
When this book is mould,And a book of manyWaiting to be soldFor a casual penny,In a little open case,In a street unclean and cluttered,Where a heavy mud is spatteredFrom the passing drays,Stranger, pause and look;From the dust of agesLift this little book,Turn the tattered pages,Read me, do not let me die!Search the fading letters, findingSteadfast in the broken bindingAll that once was I!
He was, however, unable to give much prolonged or continuous thought to anything that evening , or to concentrate on any one idea; and anyway, even if he had been able to, he would not have found his way to a solution of these questions in a conscious manner; now he could only feel. In place of dialectics life had arrived, and in his consciousness something of a wholly different nature must now work towards fruition.
Books have been vastly important in my life - as both a reader and a writer. I've learned that the great gift of literature is that someone else's tale becomes a chapter of your story. And I still feel books are the best art form for making contact with another consciousness, which is why reading a good book by yourself never feels lonely.
Part of dedicating your life to studying literature is realizing that storytelling is more than just make-believe and that make-believe is far more important that we all pretend -- make believe -- it is. One way or another books tell the stories of their readers. But telling our lives is not the same as shaping them, whittling them away. Suddenly Jill had lost control. Her books had taken over and were in charge.
Books and bookcases cropping up in stuff that I've written means that they have to be reproduced on stage or on film. This isn't as straightforward as it might seem. A designer will either present you with shelves lined with gilt-tooled library sets, the sort of clubland books one can rent by the yard as decor, or he or she will send out for some junk books from the nearest second-hand bookshop and think that those will do. Another short cut is to order in a cargo of remaindered books so that you end up with a shelf so garish and lacking of character it bears about as much of a relationship to literature as a caravan site does to architecture. A bookshelf is as particular to its owner as are his or her clothes; a personality is stamped on a library just as a shoe is shaped to the foot.
It’s such a relief to know these are universal truths for so many of us in the adoption triad. Gosh, how much easier things could have been for you, for me, and your folks, if literature like this had been around, say, five, ten years ago, when we could’ve all really used it.
He was not a scholar – his brain seemed too sluggish or too dreamy to grasp the things demanded of it – but he was never happier than when left alone among books, and would spend hours turning the pages of atlases, novels or tales from history, alive to the alternative versions of himself they seemed to proffer.
This is a woman who didn’t want her viewpoints challenged, nor to see the views of the half of the world that comprises men. Her assumption is that all male authors are sexist and that their books distort the views of women....that’s bigoted and despicable: the form of feminism that sees men as the enemy from the outset, and seeks to reinforce that prejudice by reading only books that keep her in her safe space.....The future, in both life and books, is men and women together, with a mutual understanding that can come only from learning about each other’s thoughts. [About Caitlin Moran's sexist statement that girls shouldn't read any books written by men.]
Are we to deny our daughters the works of Oscar Wilde, Charles Dickens, John Steinbeck or Shakespeare?....Where is the equality in banning girls from enjoying wonderful works of literature?....What kind of society defines suitable reading material by sex? This is indefensible censorship encouraging ignorance and bias. [About Caitlin Moran's statement.]
For a multitude of causes, unknown to former times, are now acting with a combined force to blunt the discriminating powers of the mind, and unfitting it for all voluntary exertion to reduce it to a state of almost savage torpor... To this tendency of life and manners the literature and theatrical exhibitions of the country have conformed themselves.
Memories of lost love they do enpain,Fleeting images of what once was never again to gain.Hold tight those memories that slip through the mind, To walk in those fields again with her—a dream divined.Oh to be with that lost Valkyrie forevermore again,To hold her hand delicate until the last world’s end.To be at peace once amore in deep loving soul,Husband to wife in embracing hold. How he loved her so, but she was now gone,Leaf to the wind, heart tossed and tumbled torn.Memories like arrows stick deep—ohhh so deep,Shafts of pain and joy assail the soul’s lonely keep. --Angel-Heart, Ch. 22 Valley of the Damned
As she left the cold arena Angel had to laugh,Beaten by that of a wisp girl and her subliming cunning craft.—Jove lay silent in his orbit; brooding, deep, dreamless forweep,And faithful dog Sirius rising tracked behind on dusk’s purpling adeep. Scratched he his chin; counted the cold and early evening stars,He had miles to go that night, they being so very far.Only the music of the wint’ring span,Vanished he away in the shimmering land. . . . . . .
I had as yet no notion that life every now and then becomes literature—not for long, of course, but long enough to be what we best remember, and often enough so that what we eventually come to mean by life are those moments when life, instead of going sideways, backwards, forward, or nowhere at all, lines out straight, tense and inevitable, with a complication, climax, and, given some luck, a purgation, as if life had been made and not happened.
[M]ay not literature (and, in particular, fiction) be considered a desperate and permanently thwarted effort to produce a unique form of expression? Something like a cry, perhaps, a cry that, somehow, inexplicably contains all the millions of words that have ever existed, anywhere, in any age. In contrast with the spoken word and its classifying function, the purpose of writing seems, rather, to be a quest for the egg, the seed, nothing more.
Ô, the wine of a womanfrom heaven is sent, more perfect than allthat a man can invent.When she came to my bed and begged me with sighsnot to tempt her towards passion nor actions unwise, I told her I’d spare her and kissed her closed eyes, then unbraided her body of its clothing disguise.While our bodies were nude bathed in candlelight fineI devoured her mouth, tender lips divine;and I drank through her thighs her feminine wine.Ô, the wine of a woman from heaven is sent,more perfect than all that a man can invent.
Wisdom is knowing the right thing to do and doing it at the right time to get the desired result. It is also the correct application of knowledge.
There is no gift of principles, you must apply them if you want to move forward.
You cannot occupy a proper place on earth without wisdom. It is the principal thing you must have.
Every crisis is a wisdom crisis. If you have no peace around you then you lack wisdom.
A lot of people pray for power, house, financial breakthrough, wealth etc. But only few ask God for wisdom. There are so many great power pack man and women of God who lack wisdom.
That you are a born again Christian does not mean you will automatically succeed except you follow God's principles. Never forget faith without good work is dead.
You cannot have a dream and expect someone else's faith to make it a reality for you. Habakuk 2:4
Have you ever reached to a point where you asked God if the assignment is really from Him. In your account you have just 100 dollars and He is asking you to execute a 400 million dollar project. Have you reached to the point that you consider going further will make no sense? Have you reached the point where you asked God are you sure you are still with me?I just found myself in that Junction now. Turning back ....to realise I have gone too far for Him to forsake me. Moving forward I heard the voice saying ...be still and know that I am your God. Giving up.....Couldn't find it in my dictionary.Moral of the lesson. God cannot give you an assignment that is equal to your pocket. If it suits your pocket it is definitely not from God. Remember God will not take glory where nothing happen.
God's word will produce with your level of understanding. The much you can understand it, the more wisdom you are privileged to have.
The money you are looking for is not in any country, phd or your designer outlook, it is in wisdom. Solomon never prayed for wealth but he asked for wisdom.
Wisdom cannot be bought from the walmart, it can only come from the Holy Spirit of God.
A man with wisdom will always have a solution no matter how big his challenges may be. Wisdom makes you a problem solver.
There are too many stars in the sky and none of them is overshadowing the other. Don't let anybody be a threat to your growth.
School does not make people, it is learning that makes people great, that is why you see first class students fail and poor. The world is not ruled by those who went to school, it is ruled by those who learn everyday.
Understand something people, we will be hated by many in the name of Christ, ridiculed, mocked, stoned, slaughtered. We will be fined, jailed and killed for our love for Christ. You are supposed to see better with your eyes today, how close this is happening, just prepare your heart and soul to be braver than Peter and not deny Christ in the moment your life might be in jeopardy for Him and what you believe. Apostle Pauls says to live is Christ to die is gain.
If you want to see the beauty of any fish, throw it into the water, you will see how best it can swim because that is its source. Do you want to see the beauty in you? Don't look in the mirror, don't put on makeups, no jewelleries or expensive designer clothes, just go back and reconnect to your source and I bet, the best of you will show up. Until you return back to God, your best won't come out because He is your source.
Wisdom is the mother of solutions. You cannot upgrade in wisdom and lack solutions and you cannot have a wisdom and be stranded in any challenge you face.
If want to become a person with vision, get back and reconnect to your source.
Negative prophecies are reversible. The Lord reveals to conquer. You are created to reverse any negative with your prayers and the word of God.
Even with fasting and prayers you still need wisdom. At the root of every great accomplishment is wisdom. In all your getting get wisdom first.
You cannot use another man's leg to run your race. Wives stop waiting for your husbands to do everything. For God's sake make an impact. Nobody is a threat to your development.
I am the most important person to me. I am the most important person in the entire universe to me. I am the centre of my own universe.
Faith is never connected to safe. There is no faith without tension. For a rubber band to function to it's elasticity, it has to experience a tension. Saints of God who has no tension has no function.
People would want to get safe and come to Christ because they see the evidence in your life not because you quote the scriptures to them.
There's supposed to be more value in your life than spending more than sixty hours in a week in a place you don't care about and in an environment they don't care about you.
If satan succeds in blinding your mind, he has succeeded in arresting you because anything that can stop you from believing can stop your future.
No satan can unsettle what God has settled.
Without you discovering your true picture, it will be hard to have a glorious future. It is the discovery of what you have inside and the pursuit of it that can guarantee a glorious future
If knowledge is lacking, your destruction is inevitable. Hosea 4:6
It is impossible to enjoy divine protection without the word of God. You must be a word addict.
The church preach so much about power in the kingdom of God but we don't talk about wisdom. Everybody goes for power forgeting that power without wisdom can be disastrous.
Blind minds are worst than blind eyes. That you have eyes does not mean that you have vision. Visionaries do not look they see whlie people look.
Do you want to acquire God's own wisdom? Relate with the Holy Spirit. Be a seeker of divine guidance by the Holy Spirit. You can't be a man or woman of solution without God.
The world is full of problems and I bet you the problems will continue to exist but what will make you relevant to the world is when you have answers to the questions the world asks. You can only be useful when you have the answers to the questions of the world. The best way you provide solutions and answers to those challenges is through wisdom.
People with vision sees opportunity where there is problem. They see money not problem.
I think it will be better if we can live our life as if Christ is going to return today and plan our live as if it is hundred years off. Keep living, serving and most of all be prepared.
Wherever problem persist, wisdom is lacking. There is no problem anywhere except wisdom problem. Wisdom provides solutions where there is complications.
The devil comes to steal, kill and destroy and his followers do the same. Be watchful and keep that in mind.
When wisdom comes, transformation comes. Wisdom makes the difference between the succeeding man and the failing man.
Even though it may look like the wicked is gaining ground, God is still in control. We need to pray for our nations, pray for others, pray for forgiveness and mercy over people. We need to love no matter who we are talking to, whether they are Atheist, Moslems, Lesbians, Homosexuals or Pagans. We need to love them and share the love of God with them and not judge and see if we can rebuild our broken nations.
Poor means when we lack things in our lives. There are two types of poverty. ...those that need food and shelter and those that need God in their lives. We are called to service to help both group of people as much as we can.
Sure we all need money but what do you really focus on? It is a matter of the heart. If your thoughts are on material and worldly things, no good fruits can come out of it.Seek the kingdom of God first and the other things shall be added unto you not vice versa.
If all you are looking for is a miracle you are wide open to follow the antichrist and the false prophets because they are going to have a big league of signs and wonders ministry.If signs and wonders do not bring glory and honour to Jesus Christ, then you must be watching a false prophet whose anointing does not come from the Holy Spirit of God.
Hope, strive and try to be more like Christ until the day we will see Him. Let Him find you faithfully and in obedient serving Him. He is coming quicker than people think.
The closer we try to get to God, the more we will hate to sin in our own lives, the more we are saddened by the thoughts that runs through our minds. I also think that the more we draw closer to God, the more God will honour us and will open doors for the right things to happen in our life.
I have the mind of Christ. The best life you could ever live is the one that your creator destined you for. The one He made you for. He has given us everything we need ......... to become like Him. To reach to your potentials. Worship Him in spirit and in truth.
When we are preoccupied with wealth and material acquisitions, it chokes God's word in us and makes it unfruitful. But if we follow His plan of being prosperous you will enjoy the blessings of this life.
Our life is not in stuff, focus your attention on Christ where it should be. Prosperity and wealth has damaged the body of Christ. God takes pleasure in the prosperity of his children but don't replace him with material.
We are so much distracted nowadays. There is so much distractions in the world today call it internet, media, football matches etc. but don't let it consume you.
Rebuilding is something that is practically difficult than starting over from nothing.
No man's advice can change you unless you speak to yourself. Bible school or seminars can't change you, going to church can't change you except you decide to change.Psalm 139:23 - 24
There is only one motive for writing a novel: to be published and read. To me there is no distinction between the mystery novel and the novel, only between good books and bad books. A good book takes the reader into a new world of experience; it is an experiment. A bad book, unless the writing is inept, reinforces the intransigent attitude of the reader not to experiment with a new world. Since there are criminals and psychopaths and sociopaths in all my novels they are in a way psychological thrillers.
Ô, the wine of a woman from heaven is sent,more perfect than all that a man can invent.
In the first place, Cranford is in possession of the Amazons; all the holders of houses above a certain rent are women. If a married couple come to settle in the town, somehow the gentleman disappears; he is either fairly frightened to death by being the only man in the Cranford parties, or he is accounted for by being with his regiment, his hip, or closely engaged in business all the week in the great neighbouring commercial town of Drumble, distant only twenty miles on a railroad. In short, whatever does become of the gentlemen, they are not at Cranford.
And since a novel has this correspondence to real life, its values are to some extent those of real life. But it is obvious that the values of women differ very often from the values which have been made by the other sex; naturally this is so. Yet is it the masculine values that prevail. Speaking crudely, football and sport are "important"; the worship of fashion, the buying of clothes "trivial." And these values are inevitably transferred from life to fiction. This is an important book, the critic assumes, because it deals with war. This is an insignificant book because it deals with the feelings of women in a drawing-room.
My theory on literature is an author who does not indulge in trashiness-writes about people you could introduce into your own home...he did not care to read a book or go to a play about people he would not care to meet at his own dinner table. I believe we should live by certain standards and ideals...
Without travels, our existence, our memories, our literature, our dreams, our everything would be very poor, very boring, very limited!
In learning a language, when from mere words we reach the laws of words, we have gained a great deal. But if we stop at that point and concern ourselves only with the marvels of the formation of a language, seeking the hidden reason of all its apparent caprices, we do not reach that end, for grammar is not literature… When we come to literature, we find that, though it conforms to the rules of grammar, it is yet a thing of joy; it is freedom itself. The beauty of a poem is bound by strict laws, yet it transcends them. The laws are its wings. They do not keep it weighed down. They carry it to freedom. Its form is in law, but its spirit is in beauty. Law is the first step toward freedom, and beauty is the complete liberation which stands on the pedestal of law. Beauty harmonizes in itself the limit and the beyond – the law and the liberty.
When I was a student, there wasn't a single thing we did that was unrelated to others. It was all for the Emperor, or parents, or the country, or society—everything was other-centered, which means that all educated men were hypocrites. When society changed, this hypocrisy ceased to work, and as a result, self-centeredness was gradually imported into thought and action, and egoism became enormously over-developed. Instead of the old hypocrites, now all we've got are out-and-out rogues. Do you see what I mean by that?
The call for political freedom took place long ago. The call for freedom of speech is also a thing of the past. Freedom is not a word to be used exclusively for phenomena such as this which are so easily given outward manifestation. I believe that we young men of the new age have encountered the moment in time when we must call for that great freedom, the freedom of the mind.
Books are an absolute necessity. I always have at least two with me wherever I go, to say nothing of my digital collection, and whenever I can get my hands on a delicious new reading piece, I will finish it at a slackened pace, to savour it with all the esteem it deserves, gratulating in its pleasance, deliciating in every word with ardent affection. I have an extensive library that I could never do without, and there are at least four books decorating every surface in my house. A table is not properly set without a book to furnish it. Half of my great collection is non-fiction, mostly science and history books, ranging from the archaeological to the agricultural, and my fiction section is dedicated to the classics, mostly books published before the world forgot about exquisite prose. I have all the greats in hardcover, but I do not read those: hardcover is for smelling and touching only. For all my favourite authors, I have reading copies, which I might take with me anywhere, to read in cafes or to be used as a swatting tool for unwanted visitors, but books are always fashionable even as ornaments; everyone likes a reader, for a good collection of books betrays a intellectualism that is becoming at anytime. Never succumb to the friable wills of those who reject the majesty of books: there is nothing so repelling as willful illiteracy.
I have tried to write about politics in an allusive manner that draws upon other interests and to approach literature and criticism without ignoring the political dimension. Even if I have failed in this synthesis, I have found the attempt worth making.
Let me tell you something. You won't mind, will you? Don't have scenes with your young ladies. Try not to. Because you can't have scenes without crying, and then you pity yourself so much you can't remember what the other person's said. You'll never be able to remember conversations that way. Just try and be calm. I know it's awfully hard. But remember, it's for literature. We all ought to make sacrifices for literature. Look at me. I'm going to England without a protest. All for literature.
There is a love for structure in them that I recognize, and a desire to worship correctness that I know and I share. When I look at them, I think: to prize traditionalism above all else in a church that began in revolution is to do a great violence to it. But I feel that same ache for the past in myself: to uphold the columns of literature, grammar, the Western tradition. The English language began as an upheaval; I am not protecting it when I try to guard it against change. The Jesus Christ of it, Chaucer, walked across the water telling dirty jokes, made twenty stories stretch to feed a million people, spelled the word "cunt" five ways, performed miracles. Any innovation I put down on paper is an attempt to remind myself of this. I am not modern. I was not born to blaze new paths or bring down walls. I break form against my nature to tell myself that revolution, too, is a tradition that must be upheld.
Think not of the fragility of life, but of the power of books, when mere words can change our lives simply by being next to each other.
To write is to forget. Literature is the most agreeable way of ignoring life. Music soothes, the visual arts exhilarates, the performing arts (such as acting and dance) entertain. Literature, however, retreats from life by turning in into slumber. The other arts make no such retreat— some because they use visible and hence vital formulas, others because they live from human life itself. This isn't the case with literature. Literature simulates life. A novel is a story of what never was, a play is a novel without narration. A poem is the expression of ideas or feelings a language no one uses, because no one talks in verse.
He thought of trying to explain something he had recently noticed about himself: that if anyone insulted him, or one of his friends, he didn't really mind--or not much, anyway. Whereas if anyone insulted a novel, a story, a poem that he loved, something visceral and volcanic occurred within him. He wasn't sure what this might mean--except perhaps that he had got life and art mixed up, back to front, upside down.
Life itself has lost its plane reality: it is projected, not along the old fixed points, but along the dynamic coordinates of Einstein, of revolution. In this new projection, the best-known formulas and objects become displaced, fantastic, familiar-unfamiliar. This is why it is so logical for literature today to be drawn to the fantastic plot, or to the amalgam of reality and fantasy. ("The New Russian Prose")
Gormenghast. Withdrawn and ruinous it broods in umbra: the immemorial masonry: the towers, the tracts. Is all corroding? No. Through an avenue of spires a zephyr floats; a bird whistles; a freshet beats away from a choked river. Deep in a fist of stone a doll's hand wriggles, warm rebellious on the frozen palm. A shadow shifts its length. A spider stirs... And darkness winds between the characters.- Gormenghast
Art doesn’t give rise to anything in us that isn’t already there. It simply stirs our curious consciousness and sparks a fire that illuminates who we have always wanted to be.
It was held that the six great arts – visual art (including architecture and photography), drama, dance, music, film and literature – form a family of related, if largely autonomous, practices: they all work through the aesthetic, all address the imagination, and all are concerned with the symbolic embodiment of human meaning.
Be a good reader first, if you wish to become a good writer.
Poetry isn’t an island, it is the bridge. Poetry isn’t a ship, it is the lifeboat. Poetry isn’t swimming. Poetry is water.
There is so much in the world for us if we only have the eyes to see it, and the heart to love it, and the hand to gather it ourselves- so much in men and women, so much in art and literature, so much everywhere in which to delight, and for which to be thankful for.
We are all born as storytellers. Our inner voice tells the first story we ever hear.
There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass.The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium
Horror is the law of the world of living creatures, and civilization is concerned with masking that truth. Literature and art refine and beautify, and if they were to depict reality naked, just as everyone suspects it is (although we defend ourselves against that knowledge), no one would be able to stand it.
The world of literature has everything in it, and it refuses to leave anything out. I have read like a man on fire my whole life because the genius of English teachers touched me with the dazzling beauty of language. Because of them I rode with Don Quixote and danced with Anna Karenina at a ball in St. Petersburg and lassoed a steer in "Lonesome Dove" and had nightmares about slavery in "Beloved" and walked the streets of Dublin in "Ulysses" and made up a hundred stories in the Arabian nights and saw my mother killed by a baseball in "A Prayer for Owen Meany." I've been in ten thousand cities and have introduced myself to a hundred thousand strangers in my exuberant reading career, all because I listened to my fabulous English teachers and soaked up every single thing those magnificent men and women had to give. I cherish and praise them and thank them for finding me when I was a boy and presenting me with the precious gift of the English language.
I love the writers of my thousand books. It pleases me to think how astonished old Homer, whoever he was, would be to find his epics on the shelf of such an unimaginable being as myself, in the middle of an unrumored continent. I love the large minority of the writers on my shelves who have struggled with words and thoughts and, by my lights, have lost the struggle. All together they are my community, the creators of the very idea of books, poetry, and extended narratives, and of the amazing human conversation that has taken place across the millennia, through weal and woe, over the heads of interest and utility.
I feel closer ties and more intimate bonds with certain characters in books, with certain images I’ve seen in engravings, than with many supposedly real people with the metaphysical absurdity known as ‘flesh and blood’. In fact, ‘flesh and blood’ describes them very well: they resemble cuts of meat laid out on the butcher’s marble slab, dead creatures bleeding as though still alive.
In some literature, I’ve read, weather is used as a metaphor. The darker and stormier the weather outside the more diabolical the deeds done. When the clouds roll away, however, the rain has washed away all the blood in the streets and the world is clean and new again, as if all the violence and destruction of the storm served a divine purpose.
Reading good literature is an experience of pleasure...but it is also an experience of learning what and how we are, in our human integrity and our human imperfection, with our actions, our dreams, and our ghosts, alone and in relationships that link us to others, in our public image and in the secret recesses of our consciousness.
The artist tries to show reason in experience and appearance – and lyric is the daily appearance, the commonplace dress, of reason. It shows us the rational. It makes the epic pattern human. It's the footprint on the pathway. In the epic-lyric the individual and particular are no longer isolated but are placed in a historical, social, human pattern. That's why there's a political way of cutting bread or wearing shoes.
As the philosopher Gilles Deleuze put it, no painter ever stands before a completely blank canvas, no author ever sits before a blank page. In fact, the surface confronting the modern artist is full of inherited images that must first be cleared from the imagination before one can begin to create one's own.
And it suggests this truth about the place where aesthetic form meets the human mind. For even if we were to find ourselves homeless, in a strange land, with nothing of ourselves left-say we lost everything-we'd still have another kind of home, in aesthetic form itself, in the familiarity, the unchanging assurance that a known rhythm, a recognised line, the familiar shape of a story, a tune, a line or phrase or sentence gives us every time, even long after we've forgotten we even know it.
To enjoy and learn from what you read you must understand the meanings of the words a writer uses. You do yourself a grave disservice if you read around words you don’t know, or worse, merely guess at what they mean without bothering to look them up.For me, reading has always been not only a quest for pleasure and enlightenment but also a word-hunting expedition, a lexical safari.
I realize that people still read books now and some people actually love them, but in 1946 in the Village our feelings about books--I’m talking about my friends and myself--went beyond love. It was as if we didn’t know where we ended and books began. Books were our weather, our environment, our clothing. We didn’t simply read books; we became them. We took them into ourselves and made them into our histories. While it would be easy to say that we escaped into books, it might be truer to say that books escaped into us. Books were to us what drugs were to young men in the sixties.They showed us what was possible. We had been living with whatever was close at hand, whatever was given, and books took us great distances. We had known only domestic emotions and they showed us what happens to emotions when they are homeless. Books gave us balance--the young are so unbalanced that anything can make them fall. Books steadied us; it was as if we carried a heavy bag of them in each hand and they kept us level. They gave us gravity.
If you will read and listen, you will admit a multiplicity of voices and points of view, consider them with some humility, allow them gracious entrance however strident or discordant some of them may sound, then you will grow and change, and each of these voices will become a constituent part of who you become, an atom of growing being. It is literature and only literature than can do this.
...begged them as we read our literary texts, only to listen. To wrench open - it takes an effort of will - the portcullis to their teenage hearts for just a couple of hours once a week, to humbly admit another, and better - a Yeats or Shakespeare, a Crazy Jane or Hamlet - and to welcome them, to allow for those tiny spots of time some vibration in the jelly of being, that makes, once it has settled, a subtle new mould... Otherwise, I would observe tartly...you are merely going to become a product of your family, the few friends you might make and the few lovers you may garner...nothing more than a function of your upbringing - a type. Whereas, if you will only read, and listen, you will admit a multiplicity of voices and points of view, consider them with some humility, allow them gracious entrance however strident or discordant some of them may sound, then you will grow and change, and each of these voices will become a constituent part of who you become, an atom of growing being. It is literature and only literature than can do this.
I explained that most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed too immutable. I told my students I wanted them in their readings to consider in what ways these works unsettled them, made them a little uneasy, made them look around and consider the world, like Alice in Wonderland, through different eyes.
Do you believe that every story must have a beginning and an end? In ancient times a story could end only in tow ways: having passed all the tests, the hero and the heroine married, or else they died. The ultimate meaning to which all stories refer has two faces: the continuity of life, the inevitability of death.
In books, that which is most generally interesting is what comes home to the most cherished private experience of the greatest number. It is not the book of him who has travelled the farthest over the surface of the globe, but of him who has lived the deepest and been the most at home.
A writer gets to live yet another life every time she creates a new story.
Writing a story is like going on a date—you will spoil it if you aren't living in the moment.
Tell a story in lesser and simpler words.
Don’t break the rules when you haven’t fully figured them out yet.
Dreams are good at playing with your memory. They love leaving no trace behind and hate to show up once again in the morning.
The good writing ideas don’t have to be about political turmoil, mass killings, capitalism, racism, injustice, etc. Find that one idea that has deep roots in your heart.
Create a world in front of your readers where they can taste, smell, touch, hear, see, and move. Else they are likely going to move on to another book.
A writer can do without food for a few hours, but not without the sight of books.
Turn those deep feelings and obsessions of your heart into captivating pieces of literature.
Ideas either age like fine wine or rot like potatoes over time.
If you are a singer, you must sing. If you are a dancer, you must dance. If you are a writer, you must write. Don’t suffocate your heart.
As you become a better writer, the writing becomes more difficult. You toil harder to tell a story in a lesser number of words.
Don’t interrupt when your characters take a flight of their own.
Cliches are the viruses that infect your writing with diseases.
If you think there is no time to write now, there would never be.
If certain aspect needs to be inconsistent, it must better be consistently inconsistent throughout the story.
If rewriting equals rereading, we must logically conclude that writing is reading. If this is indeed the case, how could we possibly write under a ban on reading? The only way left is mouth-to-mouth – poets and storytellers recite their pieces and before we can commit them to memory, everything vanishes into thin air.
I am the girl who spends hours huddled in a corner of a library, trying to find what you love the most about Marlowe, just so I can write you a poem worthy of Shakespeare. I've made books my lovers, hours my enemies and you the only story.
Reading books makes us more attentive to our personage and the aesthetic world that we live in. Writers that we idolize use language, logic, and nuance to paint physical and emotional scenes with refined precision. A writer’s use of vivid language creates lingering aftereffects that work their wonder on the reader’s malleable mind. A stirred mind resurrects our semiconscious memories; it causes us to summon up enduring images of our family, friends, and acquaintances. Just as importantly, inspirational writing makes us recognize our own telling character traits and identify our formerly unexpressed thoughts and feelings.
So when people say that poetry is a luxury, or an option, or for the educated middle classes, or that it shouldn't be read in school because it is irrelevant, or any of the strange and stupid things that are said about poetry and its place in our lives, I suspect that the people doing the saying have had things pretty easy. A tough life needs a tough language - and that is what poetry is. That is what literature offers - a language powerful enough to to say how it is. It isn't a hiding place. It is a finding place.
School children, who have enjoyed reading a romance or a detective thriller or a novel about terror and conquest, make the invariable mistake of studying literature in the college. They make the mistake of learning theory in place of art; they acquire impediments in their own enjoyment of the books by allowing a set of theories to govern their own reading.
The reading of great books has been a life-altering activity to me and, for better or worse, brought me singing and language-obsessed to that country where I make my living. Except for teaching, I’ve had no other ambition in life than to write books that mattered.
We all act as independent learners in charge of designing our autodidactic curricula. Reading the books written by the prophetic genius of history including the literary masterpieces and philosophical treatises awakens the mind. Reading can act as a gateway drug leading to writing and expansion of a personal state of conscious awareness.
Literature provides a person with a conceptual framework for recognizing human beings recurrent challenges in life. Reading good literature deepens a person’s understanding of the variable ways that somebody might respond to circumstances in their world, thereby adding to their own potential intellectual and spiritual depth and expands their understanding of the nuances of their own personal behavior.
Because we are human we have a long childhood, and one of the jobs of that childhood is to sculpt our brains. We have years--about twelve of them--to draw outlines of the shape we want our sculpted brain to take. Some of the parts must be sculpted at critical times. One cannot, after all, carve out toes unless he knows where the foot will go. We need tools to do some of the fine work. The tools are our childhood experiences. And I'm convinced that one of those experiences must be children's books. And they must be experienced within the early years of our long childhood.
For several years, while I searched for, found, and studied black women writers, I deliberately shut O'Connor out, feeling almost ashamed that she had reached me first. And yet, even when I no longer read her, I missed her, and realized that though the rest of America might not mind, having endured it so long, I would never be satisfied with a segregated literature. I would have to read Zora Hurston and Flannery O'Connor, Nella Larsen and Carson McCullers, Jean Toomer and William Faulkner, before I could begin to feel well read at all.
Tempestuous plains tell the tale,Windswept wastes do bewail,Haunting Spirit of the land,Seeks the living, seeks the damned.Horizoned edge sheared with grass, Dark Storm Rising in the pass,Ageless Spirit seeks the path,To torment souls to the last.Brooding Spirit upon the plain,Thunderhead gathers for the rain. Light grows dim then bolts with pain,On dry Earth her sin is stained.(Frightened creatures do stampede,Into night, they do recede).Ungodded hand on seasoned blade,Reaps the harvest of the Age.Released from her eternal din,Spirit of the Age rises again.Seeking to plunder and consume, Those who were proud, those who presumed.Spirits rage while storm draws nigh,Upon burning plain and emblazoned sky.It is said giants grapple in the Earth so deep,To contend for souls that they might keep. The Storm spirit now searches the high and the low,To seek her manchild victim in the fields below.Leaves bad wasteland to claim but a fallen man,Denying it Heaven, crowning it, ‘Son of the Damned.’Treacherous Spirit of the far lost night, Tramples souls down denying them light.Storm seethes with furious hiss,Leads men on to bottomless pit.This most ancient of foes has come from her den,To seek the living, to make ready those dead. A living sacrifice is her soul desire,To snatch the soul for black funeral pyre.A double-damned devil, that is she,This one who lies, who claims to make free.A lying spirit, that is her domain, A storm-wracked Fury of self-proclaim.Onward she seeks, this bleak Northern wind,Searching for naught but for a soul akin.Amidst the howling and the rage,To murder again, that is her trade. As this spirit of graves left the plain,She left a wake of dead in shrouded train. Now down from the plain Storm did come,Unto those cities wherein was no sun.There with whirlwind she did rip and scour, For those souls of whom she could tear and devour.She comes to seek the living and the dead,Those who were frightened, those with no dread.Thus upon those she did acclaim,“I am the Mistress of the living and the slain.” O’ haunting Spirit of this land,Taker of life, maker of the damned. --On Villainess Storm, Ch. One Valley of the Damned
Reading is a full contact sport; we crash up against the wave of words with all of our intellectual, imaginative, and emotional resources. What results can sometimes be as much our creation as the novelist's or playwright's.
If the ability to read carries the average man no higher than the gossip of his neighbours, if he asks nothing more nourishing out of books and the theatre than he gets hanging about the store, the bar and the street-corner, then culture is bound to be dragged down to him instead of his being lifted up by culture.
Nearly all our associations are determined by chance or necessity; and restricted within a narrow circle. We cannot know whom we would; and those whom we know, we cannot have at our side when we most need them. All the higher circles of human intelligence are, to those beneath, only momentarily and partially open... there is a society continually open to us, of people who will talk to us as long as we like, whatever our rank or occupation; — talk to us in the best words they can choose, and of the things nearest their hearts. And this society, because it is so numerous and so gentle, and can be kept waiting around us all day long, — kings and statesmen lingering patiently, not to grant audience, but to gain it! — in those plainly furnished and narrow ante-rooms, our bookcase shelves, — we make no account of that company, — perhaps never listen to a word they would say, all day long!
She was born under the sign of Gemini. And that stands for the good and evil twin. Dr. Jekyll and Mr. Hyde both hiding and residing inside her heart. Her good twin was not bad at all. But her evil twin was even better, and showed up to be way too fatal!
When he, whoever of the gods it was, had thus arranged in order and resolved that chaotic mass, and reduced it, thus resolved, to cosmic parts, he first moulded the Earth into the form of a mighty ball so that it might be of like form on every side … And, that no region might be without its own forms of animate life, the stars and divine forms occupied the floor of heaven, the sea fell to the shining fishes for their home, Earth received the beasts, and the mobile air the birds … Then Man was born:… though all other animals are prone, and fix their gaze upon the earth, he gave to Man an uplifted face and bade him stand erect and turn his eyes to heaven.
Plutarch taught me high thoughts; he elevated me above the wretched sphere of my own reflections, to admire and love the heroes of past ages. Many things I read surpassed my understanding and experience. I had a very confused knowledge of kingdoms, wide extents of country, mighty rivers, and boundless seas. This book developed new and mightier scenes of action. I read of men concerned in public affairs, governing or massacring their species. I felt the greatest ardour for virtue rise within me, and abhorrence for vice.
Upon reading, great stories by Great Spirits, the glorious inspiration penetrated our soul; we can’t help but to shed tears. It was a soul soothing and a deep spiritual awaken.
We are wanderers, place shifters, the cosmic homeless. This is not a modern truth, and Achilles is not some new kind of existentialist hero. It is the oldest truth of all, surviving uncomfortably into the modern world of cities and overkings, diplomacy and accommodation, the power structures and the proliferation of stuff which the Mediterranean world provides.
History gives us the facts, sort of, but from literary works we can learn what the past smelled like, sounded like, and felt like, the forgotten gritty details of a lost era. Literature brings us as close as we can come to reinhabiting the past. By reclaiming this use of literature in the classroom, perhaps we can move away from the political agitation that has been our bread and butter—or porridge and hardtack—for the last 30 years.
The past is not another country; it is another life. The texture of daily living is different now than in the past, more different the further back we look, until we find people whose experiences created a psychology we might find baffling or rude. Many details that once made up the daily round are lost to us because people considered them too trivial to write down. Knowing the past means knowing what people carried in their pockets, what they did with their sewage, where their dogs slept. Those details may seem unimportant, but what they convey is not.
For Japanese people before 1868, Europeans were little more than curious beasts, strange and incomprehensible. Then, after the Meiji Restoration, everything changed. Along with European science and technology, European art flooded into Japan, all forms of it representing themselves as the universal—and most advanced—model. The same was true of novels. The Japanese, with characteristic diligence, began to read masterpieces of European literature, first in the original and then in translation. And such is the power of literature that through the act of reading, little by little the Japanese came to live the lives of Europeans as if they were their own. They began to live the ambitions of Julien Sorel, the happiness of Jane Eyre, the sufferings of young Werther, and the despair of Anna Karenina as if they were their own. They thus began living a new temporality—that which flows in the West, dictated by the Gregorian calendar, marked by major historical events in the West. And by so doing, they eventually joined what the Europeans called "humanity.
Literature deals with morality but does not necessarily, does not, qua literature, help you to be more moral, either by precept or example. It makes you more aware. Which is to say that it makes you more human by making life more, not less, difficult. When you become more aware, the area of moral choice is widened. You can be a better man; you can also be a worse. Literature will not determine which. It is the equivalent of neither grace nor good works.
A sprawling North London parkland, composed of oaks, willows and chestnuts, yews and sycamores, the beech and the birch; that encompasses the city’s highest point and spreads far beyond it; that is so well planted it feels unplanned; that is not the country but is no more a garden than Yellowstone; that has a shade of green for every possible felicitation of light; that paints itself in russets and ambers in autumn, canary-yellow in the splashy spring; with tickling bush grass to hide teenage lovers and joint smokers, broad oaks for brave men to kiss against, mown meadows for summer ball games, hills for kites, ponds for hippies, an icy lido for old men with strong constitutions, mean llamas for mean children and, for the tourists, a country house, its façade painted white enough for any Hollywood close-up, complete with a tea room, although anything you buy there should be eaten outside with the grass beneath your toes, sitting under the magnolia tree, letting the white blossoms, blush-pink at their tips, fall all around you. Hampstead Heath! Glory of London! Where Keats walked and Jarman fucked, where Orwell exercised his weakened lungs and Constable never failed to find something holy.
The day arrived,when myriad teary rivers flow and the muted wind faintly died in his tears—an altar for the beloved one's departure,for sister-hood is no more,for her to adore!while pangs the beating world in a lamenting voice;their remembering loss of the 'one' they embrace most and when the crepuscule came like a phantom,the mournful,gathered birds swiftly flew in gloom.
Of four infernal rivers that disgorge/ Into the burning Lake their baleful streams;/Abhorred Styx the flood of deadly hate,/Sad Acheron of sorrow, black and deep;/Cocytus, nam'd of lamentation loud/ Heard on the rueful stream; fierce Phlegethon/ Whose waves of torrent fire inflame with rage./ Far off from these a slow and silent stream,/ Lethe the River of Oblivion rolls/ Her wat'ry Labyrinth whereof who drinks,/ Forthwith his former state and being forgets,/ Forgets both joy and grief, pleasure and pain.
He faced Doug. His eyes were wet. "I am not one of your tricks, Douglas.""Of course, you're not.""That's what I feel like tonight, seeing you in there with all those bodies. One of a thousand nights. One of a thousand fucks. And fuck you for making me feel this way. And fuck you again for making me say fuck in this beautiful place.
Shrouded as he was for a decade in an apparent cloak of anonymity and obscurity, Osama bin Laden was by no means an invisible man. He was ubiquitous and palpable, both in a physical and a cyber-spectral form, to the extent that his death took on something of the feel of an exorcism. It is satisfying to know that, before the end came, he had begun at least to guess at the magnitude of his 9/11 mistake. It is essential to remember that his most fanatical and militant deputy, Abu Musab al-Zarqawi, did not just leave his corpse in Iraq but was isolated and repudiated even by the minority Sunnis on whose presumed behalf he spilled so much blood and wrought such hectic destruction. It is even more gratifying that bin Laden himself was exposed as an excrescence on the putrid body of a bankrupt and brutish state machine, and that he found himself quite unable to make any coherent comment on the tide—one hopes that it is a tide, rather than a mere wave—of demand for an accountable and secular form of civil society. There could not have been a finer affirmation of the force of life, so warmly and authentically counterposed to the hysterical celebration of death, and of that death-in-life that is experienced in the stultifications of theocracy, where womanhood and music and literature are stifled and young men mutated into robotic slaughterers.
Sappho isn't really meant to be read. It's meant to be sung and there were dances for the songs, also. Sappho was a performance artist, and now she exists as a textual project. She was saved by her critics, and by people who wrote of her in letters to each other. As the morning sun lathers the pool through the long windows and stripes the opposite walls in gold, I look at the fragment translations. She's paper, too. A paper poet for a paper boy. People claim to be translating her but they don't, really, they use her to write poems from as they fill in the gaps in the fragments. A duet. She may have meant for these to be solos but they're duets now, though the second singer blends in with the first. The first singer in this case is offstage, like in the old days of stars who couldn't sing, a real singer hidden behind a curtain, which is the velvet drape of history.
We may now briefly enumerate the elements of style. We have, peculiar to the prose writer, the task of keeping his phrases large, rhythmical, and pleasing to the ear, without ever allowing them to fall into the strictly metrical: peculiar to the versifier, the task of combining and contrasting his double, treble, and quadruple pattern, feet and groups, logic and metre—harmonious in diversity: common to both, the task of artfully combining the prime elements of language into phrases that shall be musical in the mouth; the task of weaving their argument into a texture of committed phrases and of rounded periods—but this particularly binding in the case of prose: and, again common to both, the task of choosing apt, explicit, and communicative words. We begin to see now what an intricate affair is any perfect passage; how many faculties, whether of taste or pure reason, must be held upon the stretch to make it; and why, when it is made, it should afford us so complete a pleasure. From the arrangement of according letters, which is altogether arabesque and sensual, up to the architecture of the elegant and pregnant sentence, which is a vigorous act of the pure intellect, there is scarce a faculty in man but has been exercised. We need not wonder, then, if perfect sentences are rare, and perfect pages rarer.-ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE
Music and literature, the two temporal arts, contrive their pattern of sounds in time; or, in other words, of sounds and pauses. Communication may be made in broken words, the business of life be carried on with substantives alone; but that is not what we call literature; and the true business of the literary artist is to plait or weave his meaning, involving it around itself; so that each sentence, by successive phrases, shall first come into a kind of knot, and then, after a moment of suspended meaning, solve and clear itself.-ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE
She felt the cold blast from the sterile air conditioning on her bare arms and thighs, as she ambled down the center of the shopping complex's ground floor.The scene was a swirl of candy bright lights--the Victoria's Secret fuchsia signboard, signboards which lured one to purchase "confidence," or "sexual appeal," or whatever it was that was being advertised--the fluorescent lights in each store, contrasting with the shiny, black-tiled walls and eye-catching speckled marble tiles on the ground.One could lick the floor--the tiles were spotless, clean like the fake air she was breathing in, like the atoms and cells in her that were decaying in stale neglect.
A man inherited a field in which was an accumulation of old stone, part of an older hall. Of the old stone some had already been used in building the house in which he actually lived, not far from the old house of his fathers. Of the rest he took some and built a tower. But his friends coming perceived at once (without troubling to climb the steps) that these stones had formerly belonged to a more ancient building. So they pushed the tower over, with no little labour, and in order to look for hidden carvings and inscriptions, or to discover whence the man's distant forefathers had obtained their building material. Some suspecting a deposit of coal under the soil began to dig for it, and forgot even the stones. They all said: 'This tower is most interesting.' But they also said (after pushing it over): 'What a muddle it is in!' And even the man's own descendants, who might have been expected to consider what he had been about, were heard to murmur: 'He is such an odd fellow! Imagine using these old stones just to build a nonsensical tower! Why did not he restore the old house? he had no sense of proportion.' But from the top of that tower the man had been able to look out upon the sea.
Nevertheless, the potential and actual importance of fantastic literature lies in such psychic links: what appears to be the result of an overweening imagination, boldly and arbitrarily defying the laws of time, space and ordered causality, is closely connected with, and structured by, the categories of the subconscious, the inner impulses of man's nature. At first glance the scope of fantastic literature, free as it is from the restrictions of natural law, appears to be unlimited. A closer look, however, will show that a few dominant themes and motifs constantly recur: deals with the Devil; returns from the grave for revenge or atonement; invisible creatures; vampires; werewolves; golems; animated puppets or automatons; witchcraft and sorcery; human organs operating as separate entities, and so on. Fantastic literature is a kind of fiction that always leads us back to ourselves, however exotic the presentation; and the objects and events, however bizarre they seem, are simply externalizations of inner psychic states. This may often be mere mummery, but on occasion it seems to touch the heart in its inmost depths and become great literature.
Fantastic literature has been especially prominent in times of unrest, when the older values have been overthrown to make way for the new; it has often accompanied or predicted change, and served to shake up rational Complacency, challenging reason and reminding man of his darker nature. Its popularity has had its ups and downs, and it has always been the preserve of a small literary minority. As a natural challenger of classical values, it is rarely part of a culture's literary mainstream, expressing the spirit of the age; but it is an important dissenting voice, a reminder of the vast mysteries of existence, sometimes truly metaphysical in scope, but more often merely riddling.
The exercise of imagination is dangerous to those who profit from the way things are because it has the power to show that the way things are is not permanent, not universal, not necessary. Having that real though limited power to put established institutions into question, imaginative literature has also the responsibility of power. The storyteller is the truthteller.
What is fantasy? On one level, of course, it is a game: a pure pretense with no ulterior motive whatever. It is one child saying to another child, “Let’s be dragons,” and then they’re dragons for an hour or two. It is escapism of the most admirable kind—the game played for the game’s sake. On another level, it is still a game, but a game played for very high stakes. Seen thus, as art, not spontaneous play, its affinity is not with daydream, but with dream. It is a different approach to reality, an alternative technique for apprehending and coping with existence. It is not antirational but pararational; not realistic, but surrealistic, superrealistic, a heightening of reality. In Freud’s terminology, it employs primary, not secondary process thinking. It employs archetypes, which, Jung warned us, are dangerous things. Dragons are more dangerous, and a good deal commoner, than bears. Fantasy is nearer to poetry, to mysticism, and to insanity than naturalistic fiction is. It is a real wilderness, and those who go there should not feel too safe. And their guides, the writers of fantasy, should take their responsibilities seriously.
I think people should take mythology much more seriously, because it tells us an awful lot about the history of the human race. We tend to dismiss it as 'fairy tales,' when it isn't. Fairy tales in themselves are about fundamentals of human nature. And they keep being reinvented in different ways. Fantasy acknowledges that, whereas a lot of modern literature is trying to distance itself from 'story,' never mind anything else. Which is why a lot of books are read by the critics, then people buy them, put them on their shelves, and don't really read them much, because they're not very interesting!
literature is a way in which we can learn to live deeper lives -- husband with wife, parent with child, brother with sister, fellow member with fellow member. Most good authors are better than we are. They are much better company than our own friends. What comes from good company? What comes from good company is better manners, greater sensitivity, greater sensibility, greater empathy, great sympathy. Reading good literature makes us more capable of understanding other people, of loving other people, those whom we don't particularly want to love, even our enemies, as well as those closest to us. How can we expect to have full marriages when we are not going into those marriages with full minds and fine sensibilities? We are ignoring the tremendous possibilities of a delicate, well-poised, rich, sensitive life if we ignore the literature of the past. There is no substitute.
The one thing is fiction in a novel and the other thing is reality. With fiction you don't make a fuss - you can 'beat it' and there's never enough. At least in my opinion - cause there are people, who complain about style intensity in literature: they prefer cereals with milk than abyssinian bitches roasted alive on bringhausers and watered with ya-yoo juice.
Interestingly, this speech by Prospero does not contrast the unreality of the stage with the solid, flesh-and-blood existence of real men and women. On the contrary, it seizes on the flimsiness of dramatic characters as a metaphor for the fleeting, fantasy-ridden quality of actual human lives. It is we who are made of dreams, not just such figments of Shakespeare’s imagination as Ariel and Caliban. The cloud-capped towers and gorgeous palaces of this earth are mere stage scenery after all.
I would never attempt to dissuade anyone from reading a book. But please, if you're reading something that's killing you, put it down and read something else, just as you would reach for the remote if you weren't enjoying a TV program...All I know is that you can get very little from a book that is making you weep with the effort of reading it. You won't remember it, and you'll be less likely to choose a book over [insert popular contemporary TV program] next time you have a choice.
If it's not good enough for adults, it's not good enough for children. If a book that is going to be marketed for children does not interest me, a grownup, then I am dishonoring the children for whom the book is intended, and I am dishonoring books. And words.
I believe that children in this country need a more robust literary diet than they are getting. …It does not hurt them to read about good and evil, love and hate, life and death. Nor do I think they should read only about things that they understand. '…a man’s reach should exceed his grasp.' So should a child’s. For myself, I will never talk down to, or draw down to, children.(from the author's acceptance speech for the Caldecott award)
It goes a long way back, some twenty years. All my life I had been looking for something, and everywhere I turned someone tried to tell me what it was. I accepted their answers too, though they were often in contradiction and even self-contradictory. I was naive. I was looking for myself and asking everyone except myself questions which I, and only I, could answer. It took me a long time and much painful boomeranging of my expectations to achieve a realization everyone else appears to have been born with: That I am nobody but myself. But first I had to discover that I am an invisible man!
So Janie waited a bloom time, and a green time and an orange time. But when the pollen again gilded the sun and sifted down on the world she began to stand around the gate and expect things. What things? She didn't know exactly. Her breath was gusty and short. She knew things that nobody had ever told her. For instance, the words of the trees and the wind. She often spoke to falling seeds and said, 'Ah hope you fall on soft ground,' because she had heard seeds saying that to each other as they passed. She knew the world was a stallion rolling in the blue pasture of ether. She knew that God tore down the old world every evening and built a new one by sun-up. It was wonderful to see it take form with the sun and emerge from the gray dust of its making. The familiar people and things had failed her so she hung over the gate and looked up the road towards way off. She knew now that marriage did not make love. Janie's first dream was dead, so she became a woman.
Fiction, with its preference for what is small and might elsewhere seem irrelevant; its facility for smuggling us into another skin and allowing us to live a new life there; its painstaking devotion to what without it might go unnoticed and unseen; its respect for contingency, and the unlikely and odd; its willingness to expose itself to moments of low, almost animal being and make them nobly illuminating, can deliver truths we might not otherwise stumble on.
The feeling, all encompassing, safe and warm like a blanket permanently draped over her shoulders, follows her around. She takes it into the shower, to meals with her mother and sister, to work as she reads out the news script, her voice never faltering.
Literature differs from life in that life is amorphously full of detail, and rarely directs us toward it, wheras literature teaches us to notice. Literature makes us better noticers of life; we get to practice on life itself; which in turn makes us better readers of detail in literature; which in turn makes us better readers of life.
There were things hiding inside of her I wasn’t equipped to see and this collapse ripped her open to me. I searched her cavities for symbols that would betray her true nature, but found nothing I could read, just a vast absence containing her poverty of morals. I should’ve known, the need for my presence in her life was never love, only a sluice of goodness she would let flood the gulley of her body when she needed to appear human.
He knelt down beside her and slowly rubbed a soft, muculent mix on her bare skin like a sculptor at work. It carried the pleasurable smell of wet earth. With his fingertips, he gently stroked every part of her body; and with every stroke, she groaned softly. She felt the pain that filled every bone in her body, yet she also felt the immense sensation of pleasure and comfort that was so foreign to her
The small Chinese man sank onto the plush leather sofa. He sank so low on the large brown sofa, it looked like it would swallow him whole. He sat, clutching his briefcase close to his chest, his alert eyes scanning the spacious room. Opposite him, across a glass table sat a large African Minister in a freshly pressed Italian suit.
Yet Nathan appreciated being alone as he sipped his cold glass of beer. It gave him time to think. In the next thirty minutes or so, the flight he was waiting for would land and his day would begin. It was autumn in the capital, and the clear skies created an illusion of a city that was at peace with itself.
As insane as his request sounded to her, the fact that he already saw her nakedness the day before made her calm down a little. “He even covered my nakedness and gifted me with a beautiful dress,” she thought to herself. He held her hand and led her to the Nile river’s shore. He let go and stood back watching her.
great literature is literature that speaks to deep, fundamental human truths and experience in a way that is relatable to the reader and that may provoke engagement or facilitate insight into these truths and experiences. If these truths and experiences are about breaches of the normal, then surely horror has a place in literature, and in facts may proffer deep engagement with the most profound aspects of our existence. Sometimes only horror can say what needs to be said.
I believe that books, once they are written, have no need of their authors. If they have something to say, they will sooner or later find readers; if not, they won’t. . . . I very much love those mysterious volumes, both ancient and modern, that have no definite author but have had and continue to have an intense life of their own. They seem to me a sort of nighttime miracle, like the gifts of the Befana, which I waited for as a child. . . . True miracles are the ones whose makers will never be known. . . . Besides, isn’t it true that promotion is expensive? I will be the least expensive author of the publishing house. I’ll spare you even my presence.
One reason why fiction is a human necessity is that it satisfies many unconscious as well as conscious needs. It would be important if it only touched the conscious mind, as expository writing does. But fiction is important, too, because it teaches the unconscious.
Before he went away, he had heard all about the self-made girl, and there was something in the picture that strongly impressed him. She was possible doutbless only in America; American life had smoothed the way for her. She was not fast, nor emancipated, nor crude, nor loud, and there wasn’t in her, of necessity at least, a grain of the stuff of which the adventuress is made.She was simply very successful, and her success was entirely personal. She hadn’t been born with the silver spoon of social opportunity, she had grasped it by honest exertion. You knew her by many different signs, but chiefly, infallibly, by the appearance of her parents. It was her parents who told her story; you always saw how little her parents could have made her. Her attitude with regard to them might vary in different ways. As the great fact on her own side was that she had lifted herself from a lower social plane, done it all herself, and done it by the simple lever of her personality, it was naturally to be expected that she would leave the authors of her mere material being in the shade.(…)But the general characteristic of the self-made girl was that, though it was frequently understood that she was privately devoted to her kindred, she never attempted to impose them on society, and it was striking that, though in some of her manifestations a bore, she was at her worst less of a bore than they. They were almost always solemn and portentous, and they were for the most part of a deathly respectability. She wasn’t necessarily snobbish, unless it was snobbish to want the best. She didn’t cringe, she didn’t make herself smaller than she was, she took on the contrary a stand of her own and attracted things to herself.Naturally she was possible only in America, only in a country where whole ranges of competition and comparison were absent.
She’s the latest freshest fruit of our great American evolution. She’s the self-made girl!(…)Well, to begin with, the self-made girl’s a new feature. That, however, you know. In the second place she isn’t self-made at all. We all help to make her, we take such an interest in her.
I think it all basically breaks down to something like this: You have to look and feel great first. If you eat well, exercise and get enough sleep, you will have ample energy and the proper self-confidence to create and produce beyond your wildest dreams! Looking great and radiating positive energy, while presenting your highest quality work, is what will always make you the most valuable and only logical choice in whatever it is that you reach for.
Although many things may still need to happen before you identify what your exact work will be, I know that every single person whom you’re meeting and every experience that you’re having is necessary to you discovering your purpose. They are points on a map leading you to the moment where a match will finally be lit and you will be able to see through the darkness.
Recognize that you have been chosen to be alive, right now, at this exact moment in time and know that none of that is random. There is something about you, your past or your future that is required at this exact moment in history. We need to know who you are and what you have been through.
Sometimes you have to let go a little bit and travel the path of least resistance but this doesn’t mean that you quit when things get tough, as you are working towards a goal! It just means that you may only be able to see a rough draft of your final destination, right now, and that it’s safe to explore along the way.
As girls, we will do anything for the person whom we love. We will scale buildings in the rain or run through fire if it means saving our love’s life. There is absolutely nothing more life altering that the fire burning inside of our souls for the one we want most…
For most of us free-thinking, wild hearts, our relationship with God or the Universe will go through peaks and valleys – transforming into new concepts and beliefs, completely disappearing, at times, only then to instantly explode back into existence by something even as small as a sunset!
Freaky kids like us can’t ever be normal- Tyler says smugly- Our generation is some new kind of “evolutionary development”, my shrink says- “Normal” is just “average”, not cool. My latest diagnosis is “A.P.M”, Acute Premature Melancholia”, usually an affliction of late middle age, they think is genetic since Ty Senoir has had it all his life, too.You look if you might be A.P.M, too, Sky: that kind of pissed-off mopey look in your face like you swallowed something really gross and can’t spit it out.
For in America this season is decreed “family season”. (Eat your hearts out, you pitiable loners who don’t have families!) Melancholy as Thanksgiving is, the Christmas-New year’s season is far worse and lasts far longer, providing rich fund of opportunities for self-medicating, mental collapse, suicide and public mayhem with firearms. In fact it might be argued that the Christmas-New year’s season which begins abruptly after Thanksgiving is now the core-sason of American life itself, the meaning of American life„ the brute existencial point of it. How without families must envy us who bask in parental love, in the glow of yule-logs burning in fireplaces stoked by our daddie’s robust pokers, we who are stuffed to bursting with our mummie’s frantic holiday cooking; how you wish you could be us, pampered/protected kids tearing expensive foil wrappings off too many packages to count, gathered about the Christmas tree on Christmas morning as Mummy gently chided: “Skyler! Bliss! Show Daddy and Mummy what you’ve just opened, please! And save the little cards, so you know who gave such nice things to you
For in America this season is decreed “family season”. (Eat your hearts out, you pitiable loners who don’t have families!) Melancholy as Thanksgiving is, the Christmas-New year’s season is far worse and lasts far longer, providing rich fund of opportunities for self-medicating, mental collapse, suicide and public mayhem with firearms. In fact it might be argued that the Christmas-New year’s season which begins abruptly after Thanksgiving is now the core-sason of American life itself, the meaning of American life„ the brute existencial point of it. How without families must envy us who bask in parental love, in the glow of yule-logs burning in fireplaces stoked by our daddie’s robust pokers, we who are stuffed to bursting with our mummie’s frantic holiday cooking; how you wish you could be us, pampered/protected kids tearing expensive foil wrappings off too many packages to count, gathered about the Christmas tree on Christmas morning as Mummy gently chided: “Skyler! Bliss! Show Daddy and Mummy what you’ve just opened, please! And save the little cards, so you know who gave such nice things to you”.
Playdate. (n) A Date arranged by adults in which young children are brought together, usually at the home of one of them, for the premeditated purpose of “playing”. A feature of contemporary American upscale suburban life in which “neighborhoods” have ceased to exist, and children no longer trail in and out of “neighbor childrens” houses or play in “backyards”. In the absence of sidewalks in newer “gated” coummunities, children cannot “walk” to playdates but must be driven by adults, usually mothers. A “playdate” is never initiated by the players (i.e., children), but only by their mothers.In American-suburban social climbing through playdating, this is the chapter you’ve been awaiting.
It is through hearing stories about wicked stepmothers, lost children, good but misguided kings, wolves that suckle twin boys, youngest sons who receive no inheritance but must make their own way in the world, and eldest sons who waste their inheritance on riotous living and go into exile to live with the swine, that children learn or mislearn both what a child and what a parent is, what the cast of characters may be in the drama into which they have been born and what the ways of the world are.
Workshop Hermeticism, fiction for which the highest praise involves the words 'competent,' 'finished,' 'problem-free,' fiction over which Writing-Program pre- and proscriptions loom with the enclosing force of horizons: no character without Freudian trauma in accessible past, without near-diagnostic physical description; no image undissolved into regulation Updikean metaphor; no overture without a dramatized scene to 'show' what's 'told'; no denouement prior to an epiphany whose approach can be charted by and Freitag on any Macintosh.
The type of mind that can understand good fiction is not necessarily the educated mind, but it is at all times the kind of mind that is willing to have its sense of mystery deepened by contact with reality, and its sense of reality deepened by contact with mystery.
If improving conditions in the workplace for women had been a central agenda for feminist movement in conjunction with efforts to obtain better paying jobs for women and finding jobs for unemployed women of all classes, feminism would have been seen as a movement addressing the concerns of all women.
Critical interventions around race did not destroy the women's movement; it became stronger . . . It shows us that no matter how misguided feminist thinkers have been in the past, the will to change, the will to create the context for struggle and liberation, remains stronger than the need to hold on to wrong beliefs and assumptions.
The best part of being a nanny, Katya thought, was reading children’s books aloud to enraptured children like Tricia, for no one had read such books aloud to her when she’d been a little girl. There hadn’t been such books in the Spivak household on County Line Road, nor would there have been any time for such interludes.
Stephen King once wrote, “Nightmares exist outside of logic, and there’s little fun to be had in explanations; they’re antithetical to the poetry of fear.” In a horror story, the victim keeps asking why - but there can be no explanation, and there shouldn’t be one. The unanswered mystery is what stays with us the longest, and it’s what we’ll remember in the end.
Sentimentality was used because other political avenues were closed, and authors hoped that through it they could bring about a political change that would fulfill the egalitarian promises of the Revolution. Real political venues were unavailable, so fiction became a medium for authors to appeal to audiences for change.
There used to be a rubbish heap under the great tree in Dhoby Ghaut with a sarabat stall parked next to it. It was a low, sprawling rubbish heap made up of the usual things—refuse from dustbins, paper, old tins and slippers and leaves from the tree above. Then one day, people forgot about it. They found a new dumping place and the old rubbish heap settled low on the ground. Time passed and its contents became warm and rich and fertile and people living in the area would take away potfuls of it to plant flowers in.Somehow, a rose cutting, slim as a cheeping chicken’s leg and almost brown, appeared on the rubbish heap one day.
She remembered the way the damp, coarse sand had clumped to her legs and hands, and burrowed beneath her nails and into the folds of her clothes, and she had wondered why the British children in her storybooks were always excited about going to the beach—just as now she wondered why the light from the lighthouse seemed to be coming from the landward side of the expressway. “I thought a lighthouse is out at sea.
In French culture, the best way of buying time or getting off the hook entirely in a thorny personal situation is to claim that it’s complicated. The French did not invent love, but they did invent romance, so they’ve had more time than any other culture on earth to refine the nuances of its language.
The French have a penchant for absolutism, for thinking that things are all one way or all another, which is why their politics are marked by a general inability to compromise and why they tend to hold their personal opinions until the bitter end, even after they have clearly lost an argument.
When you’re used to being in dangerous situations, you develop a sixth sense about your surroundings, about where possible enemies might be lurking, how many steps it will take to reach the next corner on a dead run, the best hiding places if bullets start to fly...
In all ages woman has been the source of all that is pure, unselfish, and heroic in the spirit and life of man.....poetry and fiction are based upon woman's love, and the movements of history are mainly due to the sentiments or ambitions she has inspired......there is no aspiration which any man here to-night entertains, no achievement he seeks to accomplish, no great and honorable ambition he desires to gratify, which is not directly related to either or both a mother or a wife. From the hearth-stone around which linger the recollections of our mother, from the fireside where our wife awaits us, come all the purity, all the hope, and all the courage with which we fight the battle of life. The man who is not thus inspired, who labors not so much to secure the applause of the world as the solid and more precious approval of his home, accomplishes little of good for others or of honor for himself. I close with the hope that each of us may always have near us: 'A perfect woman, nobly planned,To warn, to comfort, and command,And yet a spirit still, and brightWith something of an angel light.
Moreover, it is not just that the early documents are silent about so much of Jesus that came to be recorded in the gospels, but that they view him in a substantially different way -- as a basically supernatural personage only obscurely on Earth as a man at some unspecified period in the past, 'emptied' then of all his supernatural attributes (Phil.2:7), and certainly not a worker of prodigious miracles which made him famous throughout 'all Syria' (Mt.4:24). I have argued that there is good reason to believe that the Jesus of Paul was constructed largely from musing and reflecting on a supernatural 'Wisdom' figure, amply documented in the earlier Jewish literature, who sought an abode on Earth, but was there rejected, rather than from information concerning a recently deceased historical individual. The influence of the Wisdom literature is undeniable; only assessment of what it amounted to still divides opinion.
Re-vision--the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction--is for women more than a chapter in cultural history: it is an act of survival. Until we can understand the assumptions in which we are drenched we cannot know ourselves. And this drive to self-knowledge, for women, is more than a search for identity: it is part of our refusal of the self-destructiveness of male-dominated society. A radical critique of literature, feminist in its impulse, would take the work first of all as a clue to how we live, how we have been living, how we have been led to imagine ourselves, how our language has trapped as well as liberated us, how the very act of naming has been till now a male prerogative, and how we can begin to see and name--and therefore live--afresh. A change in the concept of sexual identity is essential if we are not going to see the old political order reassert itself in every new revolution. We need to know the writing of the past, and know it differently than we have ever known it; not to pass on a tradition but to break its hold over us.
Narratives are universally used for mediating emotional experiences. The purpose of aesthetic objects has been defined, in part, as 'the awakening, intensifying, or maintaining of definite emotional states' (Lee, 1913: 99–100). When we read or hear stories, we put aside our own goals and plans, and we temporarily replace our own goals and plans with those of the story characters.
Was it worth while to lay— with infinite exertion—a roof I can't live under? —All those blueprints, closings of gaps,measurings, calculations? A life I didn't choose chose me: even my tools are the wrong ones for what I have to do. I'm naked, ignorant, a naked man fleeing across the roofs who could with a shade of difference be sitting in the lamplight against the cream wallpaper reading—not with indifference—about a naked man fleeing across the roofs.
I travel to know the life of great souls in the pages of a book.
I'm not saying that French books are talented, and intelligent, and noble. They don't satisfy me either. But they're less boring than the Russian ones, and not seldom one finds in them the main element of creative work––a sense of personal freedom, which Russian authors don't have. I can't remember a single new book in which the author doesn't do his best, from the very first page, to entangle himself in all possible conventions and private deals with his conscience. One is afraid to speak of the naked body, another is bound hand and foot by psychological analysis, a third must have "a warm attitude towards humanity," a fourth purposely wallows for whole pages in descriptions of nature, lest he be suspected of tendentiousness... One insists on being a bourgeois in his work, another an aristocrat, etc. Contrivance, caution, keeping one's own counsel, but no freedom nor courage to write as one wishes, and therefore no creativity.- A Boring Story
There is nothing in the world which an artist cannot recreate into something poetic, ennobling. And why do we read these things? They are not facts, they do not improve our business skills, our techniques in manufacturing goods, the management of a home. That is what most of you will be doing anyway. We read these because they teach us about people, we can see ourselves in them, in their problems. And by seeing ourselves in them, we clarify ourselves, we explain ourselves to ourselves, so we can live with ourselves…
Words are the residue that I was there, that I loved my wife, that I kissed my children goodnight, that I sacrificed my life for them. Words are a curse. Life is a curse. Words escape life. Life escapes words. What in God's name am I? How does someone name a God? What is it to name yourself?
I have hopein who I am becoming.I have belief in every scar and disgraceful wordI have ever spokenor been toldbecause it is still teaching meand I have hope in who I am becoming.They say it takes 756 days to run to someone you loveand they also say that the only romance worth fighting foris the one with yourselfand I know by nowthat they say a lot of things,people talking everywherewithout saying a word,but if it took me all those years to learn myselfor teach myselfhow to look into the mirrorwithout breaking itI know for a fact that it was a fight worth fighting.I stood up for my own head and so did my heartand we are coming to terms with ourselves.Shaking hands, saying ”let’s make this workfor we have places to goand people to seeand we will need each other”So I have hopein who I am becoming.It’s Julyand I have hope in who I am becoming.
I am about tribal feminine power. As a leader, I may stumble but my essence lives to the future-- of my people, of my literature, of my art. And when a tribesman turn against its leader, that tribe will become two. It may faulter my course, but it will not stifle my ending. I rule only among my believers.
Maybe at the very bottom of it... I really don't like God. You know, it's silly to say I don't like God because I don't believe in God, but in the same sense that I don't like Iago, or the Reverend Slope or any of the other villains of literature, the god of traditional Judaism and Christianity and Islam seems to me a terrible character. He's a god who will... who obsessed the degree to which people worship him and anxious to punish with the most awful torments those who don't worship him in the right way. Now I realise that many people don't believe in that any more who call themselves Muslims or Jews or Christians, but that is the traditional God and he's a terrible character. I don't like him.
There must have been moments even that afternoon when Daisy tumbled short of his dreams -- not through her own fault, but because of the colossal vitality of his illusion. It had gone beyond her, beyond everything. He had thrown himself into it with a creative passion, adding to it all the time, decking it out with every bright feather that drifted his way. No amount of fire or freshness can challenge what a man will store up in his ghostly heart.
Human beings do not live forever, Reuven. We live less than the time it takes to blink an eye, if we measure our lives against eternity. So it may be asked what value is there to a human life. There is so much pain in the world. What does it mean to have to suffer so much if our lives are nothing more than the blink of an eye? I learned a long time ago, Reuven, that a blink of an eye in itself is nothing. But the eye that blinks, that is something. A span of life is nothing. But the man who lives that span, he is something. He can fill that tiny span with meaning, so its quality is immeasurable though its quantity may be insignificant. Do you understand what I am saying? A man must fill his life with meaning, meaning is not automatically given to life. It is hard work to fill one's life with meaning. That I do not think you understand yet. A life filled with meaning is worthy of rest. I want to be worthy of rest when I am no longer here.
You may have noticed that the books you really love are bound together by a secret thread. You know very well what is the common quality that makes you love them, though you cannot put it into words: but most of your friends do not see it at all, and often wonder why, liking this, you should also like that. Again, you have stood before some landscape, which seems to embody what you have been looking for all your life; and then turned to the friend at your side who appears to be seeing what you saw -- but at the first words a gulf yawns between you, and you realise that this landscape means something totally different to him, that he is pursuing an alien vision and cares nothing for the ineffable suggestion by which you are transported. Even in your hobbies, has there not always been some secret attraction which the others are curiously ignorant of -- something, not to be identified with, but always on the verge of breaking through, the smell of cut wood in the workshop or the clap-clap of water against the boat's side? Are not all lifelong friendships born at the moment when at last you meet another human being who has some inkling (but faint and uncertain even in the best) of that something which you were born desiring, and which, beneath the flux of other desires and in all the momentary silences between the louder passions, night and day, year by year, from childhood to old age, you are looking for, watching for, listening for? You have never had it. All the things that have ever deeply possessed your soul have been but hints of it -- tantalising glimpses, promises never quite fulfilled, echoes that died away just as they caught your ear. But if it should really become manifest -- if there ever came an echo that did not die away but swelled into the sound itself -- you would know it. Beyond all possibility of doubt you would say "Here at last is the thing I was made for". We cannot tell each other about it. It is the secret signature of each soul, the incommunicable and unappeasable want, the thing we desired before we met our wives or made our friends or chose our work, and which we shall still desire on our deathbeds, when the mind no longer knows wife or friend or work. While we are, this is. If we lose this, we lose all.
When you read a great book, you don’t escape from life, you plunge deeper into it. There may be a superficial escape – into different countries, mores, speech patterns – but what you are essentially doing is furthering your understanding of life’s subtleties, paradoxes, joys, pains and truths. Reading and life are not separate but symbiotic.
Dixon was alive again. Consciousness was upon him before he could get out of the way; not for him the slow, gracious wandering from the halls of sleep, but a summary, forcible ejection. He lay sprawled, too wicked to move, spewed up like a broken spider-crab on the tarry shingle of morning. The light did him harm, but not as much as looking at things did; he resolved, having done it once, never to move his eyeballs again. A dusty thudding in his head made the scene before him beat like a pulse. His mouth had been used as a latrine by some small creature of the night, and then as its mausoleum. During the night, too, he'd somehow been on a cross-country run and then been expertly beaten up by secret police. He felt bad.
It is true, that which I have revealed to you; there is no God, no universe, no human race, no earthly life, no heaven, no hell. It is all a dream--a grotesque and foolish dream. Nothing exists but you. And you are but a thought--a vagrant thought, a useless thought, a homeless thought, wandering forlorn among the empty eternities!
Literature duplicates the experience of living in a way that nothing else can, drawing you so fully into another life that you temporarily forget you have one of your own. That is why you read it, and might even sit up in bed till early dawn, throwing your whole tomorrow out of whack, simply to find out what happens to some people who, you know perfectly well, are made up.
I sometimes used to ask myself, what on earth did I love her for? Maybe fore the warm hazel iris of her fluffy eyes, or for the natural side-wave of her brown hair, done anyhow, or again for that movement of her plump shoulders. But, probably the truth was that I loved her because she loved me. To her I was the ideal man: brains, pluck. And there was none dressed better. I remember once, when I first put on that new dinner jacket, with the vast trousers, she clapsed her hands, sank down on a chair and murmured: 'Oh, Hermann...." It was ravishment bordering upon something like heavenly woe.
It was a time I slept in many rooms, called myself by many names. I wandered through the quarters of the city like alluvium wanders the river banks. I knew every kind of joy, ascents of every hue. Mine was the twilight and the morning. Mine was a world of rooftops and love songs.
There is nothing for it but for all of us to invent our own ideal libraries of classics. I would say that such a library ought to be composed half of books we have read and that have really counted for us, and half of books we propose to read and presume will come to count—leaving a section of empty shelves for surprises and occasional discoveries
To make someone an icon is to make him an abstraction, and abstractions are incapable of vital communication with living people.1010 One has only to spend a term trying to teach college literature to realize that the quickest way to kill an author's vitality for potential readers is to present that author ahead of his time as "great" or "classic." Because then the author becomes for the students like medicine or vegetables, something the authorities have declared "good for them" that they "ought to like," at which point the students' nictitating membranes come down, and everyone just goes through the requisite motions of criticism and paper-writing without feeling one real or relevant thing. It's like removing all oxygen from the room before trying to start a fire.
Anybody may blame me who likes, when I add further, that, now and then, when I took a walk by myself in the grounds; when I went down to the gates and looked through them along the road; or when, while Adele played with her nurse, and Mrs. Fairfax made jellies in the storeroom, I climbed the three staircases, raised the trap-door of the attic, and having reached the leads, looked out afar over sequestered field and hill, and along dim sky-line - that then I longed for a power of vision which might overpass that limit; which might reach the busy world, towns, regions full of life I had heard of but never seen - that then I desired more of practical experience than I possessed; more of intercourse with my kind, of acquaintance with variety of character, than was here within my reach.
I once received a letter from an old lady in California who informed me that when the tired reader comes home at night, he wishes to read something that will lift up his heart. And it seems her heart had not been lifted up by anything of mine she had read. I think that if her heart had been in the right place, it would have been lifted up.
When you can assume that your audience holds the same beliefs you do, you can relax and use more normal means of talking to it; when you have to assume that it does not, then you have to make your vision apparent by shock -- to the hard of hearing you shout, and for the almost-blind you draw large and startling figures.
Two adolescent girls on a hot summer night--hardly the material of great literature, which tends to endow all male experience (that of those twin brothers who found themselves adrift so many years ago in the dark northern woods for instance) with universal radiance. Faithless sons, wars and typhoons, fields of blood, greed and knives: our literature's full of such stories. And yet suppose for an instant that it wasn't the complacent father but his bored daughter who was the Prime Mover; suppose that what came first wasn't an appetite for drama but the urge to awaken it. Mightn't we then permit a single summer in the lives of two bored girls to represent an essential stage in the history of the universe?
[On Female Attraction to Men in Uniform] That male military persona feeds a subconscious, passive-aggressive female desire to dominate the warrior as he is perceived an iconic example of masculinity (particularly amongst traditionally warlike cultures). The damsel in distress theme always struck me as embodying this: the hapless, innocently beautiful woman unwittingly enraptures the heroic male so completely that he would risk all to submit to her at his own peril, and quite in spite of it.
There is nothing sacred about literature, it is damned from one end to the other. There is nothing in literature but change and change is mockery. I'll write whatever I damn please, whenever I damn please and as I damn please and it'll be good if the authentic spirit of change is on it.
If a teacher has only love for the cause, it will be a good teacher. If a teacher has only love for student, as a father, mother, he will be better than the teacher, who read all the books, but has no love for the cause, nor to the students. If the teacher combines love to the cause and to his disciples, he is the perfect teacher.
You are not to take it, if you please, as the saying of an ignorant man, when I express my opinion that such a book as ROBINSON CRUSOE never was written, and never will be written again. I have tried that book for years—generally in combination with a pipe of tobacco—and I have found it my friend in need in all the necessities of this mortal life. When my spirits are bad—ROBINSON CRUSOE. When I want advice—ROBINSON CRUSOE. In past times when my wife plagued me; in present times when I have had a drop too much—ROBINSON CRUSOE. I have worn out six stout ROBINSON CRUSOES with hard work in my service. On my lady's last birthday she gave me a seventh. I took a drop too much on the strength of it; and ROBINSON CRUSOE put me right again. Price four shillings and sixpence, bound in blue, with a picture into the bargain.
What matters in the end in literature, what is always there, is the truly good. And -- though played out forms can throw up miraculous sports like The Importance of Being Earnest or Decline and Fall-- what is good is always what is new, in both form and content. What is good forgets whatever models it might have had, and is unexpected; we have to catch it on the wing. ((p. 62, Reading & Writing)
But even now, with the crates piled high in the hall, what I see most plainly about the books is that they are beautiful. They take up room? Of course they do: they are an environment; atoms, not bits. My books are not dead weight, they are live weight — matter infused by spirit, every one of them, even the silliest. They do not block the horizon; they draw it. They free me from the prison of contemporaneity: one should not live only in one’s own time. A wall of books is a wall of windows.
A novel works it's magic by putting a reader inside another person's life. The pace is as slow as life. It's as detailed as life. It requires you, the reader, to fill in an outline of words with vivid pictures drawn subconsciously from your own life, so that the story feels more personal than the sets designed by someone else and handed over via TV or movies. Literature duplicates the experience of living in a way that nothing else can, drawing you so fully into another life that you temporarily forget you have one of your own. That is why you read it, and might even sit up in bed till early dawn, throwing your whole tomorrow out of whack, simply to find out what happens to some people who, you know perfectly well, are made up. It's why you might find yourself crying, even if you aren't the crying kind.
A novel examines not reality but existence. And existence is not what has occurred, existence is the realm of human possibilities, everything that man can become, everything he's capable of. Novelists draw up the map of existence by discovering this or that human possibilit. But again, to exist mean: 'being-in-the-world.' Thus both the character and his world must be understood as possibilities.
Because subjects like literature and art history have no obvious material pay-off, they tend to attract those who look askance at capitalist notions of utility. The idea of doing something purely for the delight of it has always rattled the grey-bearded guardians of the state. Sheer pointlessness has always been a deeply subversive affair.
Knowing, above all, that I would come looking, and find what he had left for me, all that remained of The Jungle Book in the pocket of his doctor’s coat, that folder-up, yellowed page torn from the back of the book, with a bristle of thick, coarse hairs clenced inside. Galina, says my grandfather’s handwriting, above and below a child’s drawing of the tiger, who is curved like the blade of a scimitar across the page. Galina, it says, and that is how I know to find him again, in Galina, in the story he hadn’t told me but perhaps wished he had.
Not thou alone, but all humanity doth in its progress fable emulate. Whence came thy rocket-ships and submarine if not from Nautilus, from Cavorite? Your trustiest companions since the cave, we apparitions guided mankind's tread, our planet, unseen counterpart to thine, as permanent, as ven'rable, as true. On dream's foundation matter's mudyards rest. Two sketching hands, each one the other draws: the fantasies thou've fashioned fashion thee.
Literature had torn Tessa and me apart, or prevented us from merging in the first place. That was its role in the world, I'd started to fear: to conjure up disagreements that didn't matter and inspire people to act on them as though they mattered more than anything. Without literature, humans would all be one. Warfare was simply literature in arms. The pen was the reason man invented the sword.
Week before last I went to Wesleyan and read “A Good Man Is Hard to Find.” After it I went to one of the classes where I was asked questions. There were a couple of young teachers there and one of them, an earnest type, started asking the questions. “Miss O’Connor,” he said, “why was the Misfit’s hat black?” I said most countrymen in Georgia wore black hats. He looked pretty disappointed. Then he said, “Miss O’Connor, the Misfit represents Christ, does he not?” “He does not,” I said. He looked crushed. “Well, Miss O’Connor,” he said, “what is the significance of the Misfit’s hat?” I said it was to cover his head; and after that he left me alone. Anyway, that’s what’s happening to the teaching of literature.
The idea of some kind of objectively constant, universal literary value is seductive. It feels real. It feels like a stone cold fact that In Search of Lost Time, by Marcel Proust, is better than A Shore Thing, by Snooki. And it may be; Snooki definitely has more one-star reviews on Amazon. But if literary value is real, no one seems to be able to locate it or define it very well. We’re increasingly adrift in a grey void of aesthetic relativism.
Is there just one single love in a lifetime? Are all our lovers ― from the first to the last, including the most fleeting ― part of that unique love, and is each of them merely an expression of it, a variation, a particular version? In the same way that in literature there is just one true masterpiece to which different writers give a particular form (taking the twentieth century alone: Joyce, who explores everything happening inside his character;s head with microscopic precision; Proust, for whom the present is merely a memory of the past; Kafka, who drifts on the margins between dream and reality; the blind Borges, probably the one I relate to best, etc).
This irritated or puzzled such students of literature and their professors as were accustomed to ‘serious’ courses replete with ‘trends ’ and ‘schools ’ and ‘myths ’ and ‘symbols ’ and ‘social comment ’ and something unspeakably spooky called ‘climate of thought.’ Actually these ‘serious’ courses were quite easy ones with the students required to know not the books but about the books.
The conventional use of words and of narrative structure is deliberately subverted in decadent fiction; language deviates from the established norms in an attempt to reproduce pathology on a textual level. With its emphasis on aberration and artifice, the decadents' approach to the language of fiction frequently leans towards the baroque and the obscure.
If [literature] should turn into pure propaganda or pure entertainment, society will slip back into the sty of the immediate -- which is to say, the memoryless existence of hymenoptera and gastropods. None of this is so important, to be sure. The world can get by nicely without literature. But without human beings it can get by better yet.
Her seven-year-old self had decided that stealing books was morally bankrupt, but since the books hadn’t actually left the library—they’d merely been relocated—it wasn’t technically stealing. Echo looked around at her sea of tomes, and a single word came to mind: Tsundoku. It was the Japanese word for letting books pile up without reading them all.
The highest form of morality is not to feel at home in ones own home." Most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed too immutable. I told my students I wanted them in their readings to consider in what ways these works unsettled them, made them a little uneasy, made them look around and consider the world, like Alice in Wonderland, through different eyes.
Jonah-John-if I had been a Sam, I would have been a Jonah still-not because I have been unlucky for others, but because somebody or something has compelled me to be certain places, at certain times, without fail. Conveyances and motives, both conventional and bizarre, have been provided. And, according to plan, at each appointed second, at each appointed place this Jonah was there.
Men sometimes speak as if the study of the classics would at length make way for more modern and practical studies; but the adventurous student will always study classics, in whatever language they may be written and however ancient they may be. For what are the classics but the noblest recorded thoughts of man? They are the only oracles which are not decayed, and there are such answers to the most modern inquiry in them as Delphi and Dodona never gave. We might as well omit to study Nature because she is old. To read well, that is, to read true books in a true spirit, is a noble exercise, and one that will task the reader more than any exercise which the customs of the day esteem.
For him that stealeth, or borroweth and returneth not, this book from its owner, let it change into a serpent in his hand and rend him. Let him be struck with palsy, and all his members blasted. Let him languish in pain, crying aloud for mercy, and let there be no surcease to this agony till he sing in dissolution. Let bookworms gnaw his entrails…and when at last he goeth to his final punishment, let the flames of Hell consume him forever.”— Anonymous Curse on Book Theives from the Monaster of San Pedro, Barcelona, Spain
We do literature a real disservice if we reduce it to knowledge or to use, to a problem to be solved. If literature solves problems, it does so by its own inexhaustibility, and by its ultimate refusal to be applied or used, even for moral good. This refusal, indeed, is literature's most moral act. At a time when meanings are manifold, disparate, and always changing, the rich possibility of interpretation--the happy resistance of the text to ever be fully known and mastered--is one of the most exhilarating products of human culture.
I speak this way because I know how perilous speech can be.... A saber might be stopped by a shield. A bullet might be dodged by a stroke of luck. But you can't dodge a word. If one is flung at you it will hit its mark unerringly. No Garritt there's nothing in the world more dangerous than talk.
The heroic books, even if printed in the character of our mother tongue, will always be in a language dead to degenerate times; and we must laboriously seek the meaning of each word and line, conjecturing a larger sense than common use permits out of what wisdom and valor and generosity we have.
When you've got a thing to say, Say it! Don't take half a day.When your tale's got little in itCrowd the whole thing in a minute! Life is short--a fleeting vapor--Don't you fill the whole blamed paperWith a tale which, at a pinch, Could be cornered in an inch!Boil her down until she simmers,Polish her until she glimmers.
In literature one has the best company in the world at complete command; one also has the worst. One has a social conscience which dissuades one from harbouring unprofitable company in life, and I find that my two canons are a great aid and support for an analogous literary conscience which speaks up against consorting with unprofitable company in literature.
These studies are the result of my attempt to extract the essence of literature. Literature is either the essential or nothing. I believe that the Evil—an acute form of Evil—which it expresses, has a sovereign value for us. But this concept does not exclude morality: on the contrary, it demands a 'hypermorality.'Literature is communication. Communication requires loyalty. A rigorous morality results from complicity in the knowledge of Evil, which is the basis of intense communication.—Literature and Evil
Adornment, exoticism, affectation are all willed decadent strategies meant to pervert the texts they made. Decadent texts often live in their descriptive excursions, in their evocation of dreams, mysterious places and states of mind, in their excess of words, not events. The surface of the texts, the sound of the words, point to themselves as manufactured, as illusion. The decadents attempted to create texts that announced themselves as artifice.
A stubborn refusal of the conditions of 20th Century 'reality', surrealism has denied intransigently and consistently that modern man can live without a sense of wonder at the world that was once embodied in myth. In approaching literature, it has aimed at restoring to the word its magical qualities. And at giving back to language the elemental power it once had within society. This determinism lies at the heart of the surrealist attitude and distinguishes it radically from the modernism which took shape contemporaneously with it.
Speaking about time’s relentless passage, Powell’s narrator compares certain stages of experience to the game of Russian Billiards as once he used to play it with a long vanished girlfriend. A game in which, he says, “...at the termination of a given passage of time...the hidden gate goes down...and all scoring is doubled. This is perhaps an image of how we live. For reasons not always at the time explicable, there are specific occasions when events begin suddenly to take on a significance previously unsuspected; so that before we really know where we are, life seems to have begun in earnest at last, and we ourselves, scarcely aware that any change has taken place, are careering uncontrollably down the slippery avenues of eternity."
(from his random observations after reading David Copperfield by Charles Dickens)In the Old Curiosity Shop I discovered that in the character of Dick Swiveller, Dickens provided P.G. Wodehouse with pretty much the whole of his oeuvre. In David Copperfield, David's bosses Spenlow and Jorkins are what must be the earliest fictional representations of good cop/bad cop.
To return to antiquity [in literature]: that has been done. To return to the Middle Ages: that too has been done. Remains the present day. But the ground is shaky: so where can you set the foundations? An answer to this question must be found if one is to produce anything vital and hence lasting. All this disturbs me so much that I no longer like to be spoken to about it.
During his extensive career as an airmail pilot with Aéropostale, Antoine served as the company’s station manager in barren Villa Bens. During the Second World War, although he was older than most, Saint-Exupéry joined the Free French Air Force. On July 31, 1944, as fate would have it, he disappeared on a reconnaissance mission flying a P-38 Lightning over the Mediterranean, somewhere south of Marseille. The body of a French pilot was found a few days after Antoine’s disappearance and was buried in Carqueiranne, France. After his death he became an icon and national hero throughout France. For a fleeting moment I wondered what anyone could do to pass the time of day at such a remote location…. Antoine de Saint-Exupéry used his time to write books!Today the word Aéropostale takes on an entirely new meaning. It has become the name of an American retailer of casual apparel for young people. Go figure….
6 criteria to upgrade literary production; Correct language, the power of the idea, the fluency in expressing, the connection between ideas and the depth of their meanings, the characters movements towards high convictions whether in the beginning or in the middle, and the ending must serves ideals and values and accomplishes victory to the human beings.
My father had left a small collection of books in a little room upstairs, to which I had access (for it adjoined my own) and which nobody else in our house ever troubled. From that blessed little room, Roderick Random, Peregrine Pickle, Humphrey Clinker, Tom Jones, the Vicar of Wakefield, Don Quixote, Gil Blas, and Robinson Crusoe, came out, a glorious host, to keep me company. They kept alive my fancy, and my hope of something beyond that place and time . . .
Their ghosts are gagged, their books are library flotsam,Some of their names - not all - we learnt in schoolBut, life being short, we rarely read their poems,Mere source-books now to point or except a rule,While those opinions which rank them high are basedOn a wish to be different or on lack of taste.
In the Dictionary 'lumpy jaw' comes just before 'lunacy,' but in life there are no such clues. Suddenly, for no reason, you might start to dribble from the mouth, to howl peevishly at the moon. You might start quoting your mother, out loud and with conviction. You might lose your friends to the most uninspired of deaths. You might one day wake up and find yourself teaching at a community college; there will have been nothing to warn you. You might say things to your students like, There is only one valid theme in literature: Life will disappoint you.
Did she feel pity for me, did she want me to suffer?The next morning she led me to the coat closet, which faces the living room, she went in with me, we were in there all day, although she knew he wouldn’t come until the afternoon, it was too small, we needed more space between us, we needed Nothing Places, she said “This is what it’s felt like, except you weren’t here.” We looked at each other in silence for hours.
Literature is a defense against the attacks of life. It says to life: "You can't deceive me. I know your habits, foresee and enjoy watching your reactions, and steal your secret by involving you in cunning obstructions that halt your normal flo
But, like Shakespeare, I too am often occupied with the pursuit of my creative endeavors and dealing with all aspects of life's mundane matters. "Who are the best musicians for these songs?" "Am I recording in the right studio?" "Is this song in the right key?" Some things never change, even in 400 years.Not once have I ever had the time to ask myself, "Are my songs literature?"So, I do thank the Swedish Academy, both for taking the time to consider that very question, and, ultimately, for providing such a wonderful answer.
I liked to call myself a poet and had affected a habit of reading classical texts (in translation, of course – I was a lazy student). I would ride the Greyhound for thirty-six hours down from the Midwest to Leechfield, then spend days dressed in black in the scalding heat of my mother’s front porch reading Homer (or Ovid or Virgil) and waiting for someone to ask me what I was reading. No one ever did. People asked me what I was drinking, how much I weighed, where I was living, and if I had married yet, but no one gave me a chance to deliver my lecture on Great Literature.
We sometimes hear of the death of literature or of this or that genre, but literature doesn't die, just as it doesn't 'progress' or 'decay.' It expands, it increases. When we feel that it has become stagnant or stale, that usually just means we ourselves are not paying sufficient attention.
Death, like fiction, is brutal in its symmetry. Take this story and strip it down -all the way back- until you are left with two points. Two dots on a vast, blank canvas, separeted by a sea of white. Here, we have come to the first point, where the batj is drawn and the hand is reachinh for the razor blade. I will meet you at the next, by the axle of a screaming wheel, the revolution of a clock, the closing of an orbit.
This paying attention is the foundational act of empathy, of listening, of seeing, of imagining experiences other than one's own, of getting out of the boundaries of one's own experience. There's a currently popular argument that books help us feel empathy, but if they do so they do it by helping us imagine that we are people we are not. Or to go deeper within ourselves, to be more aware of what it means to be heartbroken, or ill, or six, or ninety-six, or completely lost. Not just versions of our self rendered awesome and eternally justified and always right, living in a world in which other people only exist to help reinforce our magnificence, though those kinds of books and movies exist in abundance to cater to the male imagination. Which is a reminder that literature and art can also help us fail at empathy if it sequesters us in the Big Old Fortress of Magnificent Me.
Literature works from mind to mind and is more progenitive. It is at once more universal and more poignantly particular. If it speaks of bread or wine or stone or tree, it appeals to the whole of these things, to their ideas; yet each hearer will give to them a peculiar personal embodiment in his imagination. Should the story say 'he ate bread', the dramatic producer or painter can only show 'a piece of bread' according to his taste or fancy, but the hearer of the story will think of bread in general and picture it in some form of his own. If a story says 'he climbed a hill and saw a river in the valley below', the illustrator may catch, or nearly catch, his own vision of such a scene; but every hearer of the words will have his own picture, and it will be made out of all the hills and rivers and dales he has ever seen, but especially out of The Hill, The River, The Valley which were for him the first embodiment of the word.
In the wildlife sanctuaries of literature, we study the species of speech, the flight patterns of individual words, the herd behavior of words together, and we learn what language does and why it matters. this is excellent training for going out into the world and looking at all the unhallowed speech of political statements and news headlines and CDC instructions and seeing how it makes the word or in this case, makes a mess of it. It is the truest, highest purpose of language to make things clear and help us see; when words are used to do the opposite you know you're in trouble and maybe that there's a cover-up.
In the present day, when popular literature is running into the low levels of life, and luxuriating on the vices and follies of mankind; and when the universal pursuit of gain is trampling down the early growth of poetic feeling, and wearing out the verdure of the soul, I question whether it would not be of service for the reader occasionally to turn to these records of prouder times and loftier modes of thinking; and to steep himself to the very lips in old Spanish romance.
As it happened I was no longer interested in literature as a form of snobbery or even of self-definition — I had no desire to prove that one book was better than another; in fact, if I read something I admired I found myself increasingly disinclined to mention it at all. What I knew personally to be true had come to seem unrelated to the process of persuading others. I did not, any longer, want to persuade anyone of anything.
It was hard to decide on a literature course. Everything the professors said seemed to be somehow beside the point. You wanted to know why Anna had to die, and instead they told you that 19th century Russian landowners felt conflicted about whether they were really a part of Europe. The implication was that it was somehow naive to want to talk about anything interesting, or to think that you would ever know anything important.
Poems are surmountable. They have rhymes and rhythms to help you make meaning. They're short enough. . . to read and reread until you've made some sense of them. Short stories are a different ballgame. You read them and understand the words completely. You know what happens in each sentence. You follow the dialogue and action. at the end, you know exactly what's happened. And also you have no idea.
I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids -- and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass.When they approach me they see only my surroundings, themselves, or figments of their imagination -- indeed, everything and anything except me.
Progress is not one of those floating comparatives, so beloved of our friends in advertising, we need a context, a perspective. What are we better than? Who are we better than? Examine this statement: Most people are better off. Financially? socially? educationally? medically? spiritually? I dare not ask if you are happy? Are you happy?
This compulsion to an activity without respite, without variety, without result was so cruel that one day, noticing a swelling over his stomach, he felt an actual joy in the idea that he had, perhaps, a tumor that would prove fatal, that he need not concern himself with anything further, since it was this malady that was going to govern his life, to make a plaything of him, until the not-distant end. If indeed, at his period, it often happened that, though without admitting it even to himself, he longed for death, it was in order to escape not so much from the keenness of his sufferings as from the monotony of his struggle.
Say you've just read Faulkner's 'Barn Burning'. Like the son in the story, you've sensed the faults in your father's character. Thinking about them makes you uncomfortable, left alone you'd probably close the book and move on to other thoughts. But instead you are taken in hand by a tall, brooding man with a distinguished limp who involves you and a roomful of other boys in the consideration of what it means to be a son. The loyalty that is your duty and your worth and your problem. The goodness of loyalty and its difficulties and snares, how loyalty might also become betrayal - of the self and the world outside the circle of blood. You've never had this conversation before, not with anyone. And even as its happening you understand that just as your father's troubles with the world - emotional frailty, self-doubt, incomplete honesty - will not lead him to set it on fire, your own loyalty will never be the stuff of tragedy. You will not turn bravely and painfully from your father, as the boy in the story does, but foresake him, without regret. And as you accept that separation, it seems to happen; your father's sad, fleshy face grows vague, and you blink it away and look up to where your teachers leans against his desk, one hand in a coat pocket, the other rubbing his bum knee as he listens desolately to the clever bore behind you saying something about bird imagery.
I have lived so long within the circle of this book [Tender Is The Night] and with these characters that often it seems to me that the real world does not exist but that only these characters exist, and, however pretentious that remark sounds....it is an absolute fact---so much so that their glees and woes are just exactly as important to me as what happens in life.
The amount of meaning you get into a sentence, the dimensions and intensity of the impression you make a paragraph carry, are most extraordinary.... You once told me you were not a natural writer—my God! You have plainly mastered the craft, of course; but you needed far more than craftsmanship for this. [about The Great Gatsby]
According to the scientist, time is interminable and inexhaustible. The artist is more inclined to relate the passage of time as a subject involving the randomness of memory and humankind’s ability to create vivid recollections. Astute artists depict collections of disjointed thought fragments in paintings and literature in order to stir the pot of human consciousness. Art rests upon the correspondence between the impact of external experience and the finiteness of human life. An artist attempts to articulate answers to the mystery of being by rendering a thoughtful interpretation of the world that we occupy and experience through our senses.
Utopia retains throughout its long history the basic form of the narrative of a journey. The traveler in space or time is an explorer who happens upon utopia. He (or, more recently, she) meets its people, usually at first its ordinary people, observes them at work and play, sees their dwellings and their cities... The traveler is, as are we, the more prepared to accept the validity and desirability of the general principles for having seen with his own eyes its effects in the daily life of its inhabitants.
The artistic creation of the poet, painter, photographer, and writer is a reflection of the artist’s inner world. The agenda of consciousness that spurs all forms of art is not to represent the outward appearance of things, but to portray its inward significance to the creator. A great poem, painting, photograph, and written composition fully express what the creator feels, in the deepest sense, about the distinctively depicted image that captured their imagination.
Utopia retains throughout its long history the basic form of the narrative of a journey... First comes the picture of a happy people in a beautiful and well-ordered setting; then comes the lecture on how it all came about, how it works, and, by implication, how it might be made to work in the traveller's own society.
In literature, the reader standing at the threshold of the end of a book harbors no illusion that the end has not come—he or she can see where it finishes, the abyss the other side of the last chunk of text. Which means that the writer is never in danger of ending too soon—or if he does the reader has been so forewarned. This is the advantage a book has over a film—it is the brain that marshals forward the text and controls the precise moment of conclusion of the book, as the density of the pages thins. A film can end without you if you’ve fallen asleep or, because you can’t wait any longer to use the bathroom, slipped out of the darkness of the theatre salon, and missed it. There will never be a form more perfect than the book, which always moves at your pace, that sits waiting for you exactly where you’ve left it and never goes on without you.
If he had stayed in Slovenia, and Slovenia had stayed Communist, Zizek would not have been the nuisance he has since become. Indeed, if there were no greater reason to regret the collapse of Communism in Eastern Europe, the release of Zizek on to the world of Western scholarship would perhaps already be a sufficient one.
Glasgow is a magnificent city,” said McAlpin. “Why do we hardly ever notice that?” “Because nobody imagines living here…think of Florence, Paris, London, New York. Nobody visiting them for the first time is a stranger because he’s already visited them in paintings, novels, history books and films. But if a city hasn’t been used by an artist not even the inhabitants live there imaginatively.
Love has always been the chief business of my life, the only thing I have thought—no, felt—supremely worth while, and I don’t pretend that this experience was not succeeded by others. But at that time, I was innocent, with the innocence of ignorance, I didn’t know what was happening to me. I was without consciousness, that is to say, more utterly absorbed than was ever possible again. For after that first time there was always part of me standing aside, comparing, analysing, objecting: ‘Is this real? Is this sincere?’ All the world of my predecessors was there before me, taking, as it were, the bread out of my mouth. Was this stab in my heart, this rapture, really mine or had I merely read about it? For every feeling, every vicissitude of my passion, there would spring into my mind a quotation from the poets. Shakespeare or Donne or Heine had the exact phrase for it. Comforting, perhaps, but enraging too. Nothing ever seemed spontaneously my own. As the blood dripped from the wound, there was always part of me to watch with a smile and a sneer: ‘Literature! Mere literature! Nothing to make a fuss about!’ And then I would add, ‘But so Mercutio jested as he died!
To be fair to them, they were only after something that walled them off from the past and from people in general, not something that offered any connection that might prove painful or human. Thet wanted stories, I came to realise, in which they were already imprisoned, not stories in which they appeared along with the storyteller, accomplices in escaping.
I think the writer is initially set going by literature more than by life. When there are many writers all employing the same idiom, all looking out on more or less the same social scene, the individual writer will have to be more than ever careful that he isn't just doing badly what has already been done to completion. The presence alone of Faulkner in our midst makes a great difference in what the writer can and cannot permit himself to do. Nobody wants his mule and wagon stalled on the same track the Dixie Limited is roaring down.
Here at last was an Attendant Spirit to liberate us from the spells of Burkhardt or Addington Symonds and challenge the easy antithesis of fantastic and fideistic Middle Ages versus logical and free-thinking Renaissance. And it is a prime justification of medieval studies that if properly pursued they soon dispose of such facile distinctions, and overthrow the barriers of narrow specialism and textbook chronology. In this sense medieval just as much as classical studies make men more humane. It would indeed be hard to separate in Lewis' culture the one from the other: just as hard as it is to understand the Middle Ages themselves without knowing classical literature or the Renaissance without knowing the Middle Ages. This continuity of literature and of learning Lewis not only asserted but embodied.
Quote of the day."Al, for want of anything better to do, is standing nodding his head. This reminds Faron of those stupid dogs that people put in their cars, that when the car moves, the dogs frantically nod their heads, like some demented, freshly graduated psychologist, with their first patients.
let us start by picturing the Japan archipelago lying in the sea by the Chinese mainland. If its proximity allowed it to become part of the Sinosphere and acquire a written culture, its distance benefited the development of indigenous writing. The Dover Strait, separating England and France, is only 34 kilometers (21 miles) wide. A fine swimmer can swim across it. In contrast, the shortest distance between Japan and the Korean Peninsula is five or six times greater, and between Japan and the Chinese mainland, twenty-five times greater. The current, moreover, is deadly. . . . Japan's distance from China gave it political and cultural freedom and made possible the flowering of its own writing.
She was looking into my eyes with that way she had of looking that made you wonder whether she really saw out of her own eyes. They would look on and on after everyone else's eyes in the world would have stopped looking. She looked as though there were nothing on earth she would not look at like that, and really she was afraid of so many things.
I was searching for a vocabulary with which to make sense of death, to find a way to begin defining myself and inching forward again. The privilege of direct experience had led me away from literary and academic work, yet now I felt that to understand my own experiences, I would have to translate them back into language. Hemingway described his process in similar terms: acquiring rich experiences, then retreating to cogitate and write about them. I needed words to go forward.
Since language is the only tool with which writers can reflect and shape a culture, it must be transformed into art. Language is not a limitation on the art of literature; it is a glorification. It has been the scaffolding inside which nations and philosophies have been built, and the language of literature has added the ornamental pediment by which the culture is remembered.
Literature destabilizes thought by breaking open language and smuggling in sound, rhythm, and image--an invasion of aesthetics. More easily than analytic writing, poetry can emancipate itself from the standard definitions of words, enabling a breakthrough to new (and perhaps wayward or even nonsensical) meaning, which can then develop after the fact--different at each new reading. Literary language is presumptuous. It dips into the unknown in order to get nearer to a truth different from that of the superficially visible. As the poet Franz Josef Czernin described it, it is as though one step after another into emptiness could become a ladder. Literary writing can take the writers themselves by surprise; it can disturb and disappoint them--for stirring up turmoil is inherent in metaphor. Thus with every flash of understanding that comes from hearing or reading a poem, the fundamental work of thinking is taken up anew.
A union of literary and scientific cultures – there was not the dissociation of sensibility that was so soon to come ... Davy himself was writing (and sometimes publishing) a good deal of poetry at the time; his notebooks mix details of chemical experiments, poems, and philosophical reflections all together; and these did not seem to exist in separate compartments in his mind.
In the mansion called literature I would have the eaves deep and the walls dark, I would push back into the shadows the things that come forward too clearly, I would strip away the useless decoration. I do not ask that this be done everywhere, but perhaps we may be allowed at least one mansion where we can turn off the electric lights and see what it is like without them.
If the ancients had been able to see it as I see it now, Mr. Palomar thinks, they would have thought they had projected their gaze into the heaven of Plato's ideas, or in the immaterial space of the postulates of Euclid; but instead, thanks to some misdirection or other, this sight has been granted to me, who fear it is too beautiful to be true, too gratifying to my imaginary universe to belong to the real world. But perhaps it is this same distrust of our senses that prevents us from feeling comfortable in the universe. Perhaps the first rule I must impose on myself is this: stick to what I see.
They sat a few meters apart, speaking very rarely, and there was really only the noise of turning pages (…) Where Hans Hubermann and Erik Vandenburg were ultimately united by music, Max and Liesel were held together by the quiet gathering of words."Hi, Max.""Hi, Liesel."They would sit and read.
The stories we read in books, what's presented to us as being interesting - they have very little to do with real life as it's lived today. I'm not talking about straight-up escapism, your vampires, serial killers, codes hidden in paintings, and so on. I mean so-called serious literature. A boy goes hunting with his emotionally volatile father, a bereaved woman befriends an asylum seeker, a composer with a rare neurological disorder walks around New York, thinking about the nature of art. People looking back over their lives, people having revelations, people discovering meaning. Meaning, that's the big thing. The way these books have it, you trip over a rock you'll find some hidden meaning waiting there. Everyone's constantly on the verge of some soul-shaking transformation. And it's - if you'll forgive my language - it's bullshit. Modern people live in a state of distraction. They go from one distraction to the next, and that's how they like it. They don't transform, they don't stop to smell the roses, they don't sit around recollecting long passages of their childhood - Jesus, I can hardly remember what I was doing two days ago. My point is, people aren't waiting to be restored to some ineffable moment. They're not looking for meaning. That whole idea of the novel - that's finished.
A story is a wedding in which we listeners are the groom watching the bride coming up the aisle. It is together, in an act of imaginary consummation, that the story is born. This act wholly involves us, as any marriage would, and just as no marriage is exactly the same as another, so each of us interprets a story differently, feels for it differently.
There is something in this January Siberian landscape that overpowers, oppresses, stuns. Above all, it is its enormity, its boundlessness, its oceanic limitlessness. The earth has no end here; the world has no end. Man is no created for such measureless. For him a comfortable, palpable, serviceable measure is the measure of his village, his field, street, house. At sea, the size of the ship's deck will be such a measure. Man is created for the kind of space that he can traverse at one try, with a single effort.
I call that creativity," Orville said. "The purpose of literature is to teach you how to THINK, not how to be practical. Learning to discover the connective tissue between seemingly unrelated events is the only way we are equipped to understand patterns in the real world.
In all fiction, when a man is faced with alternatives he chooses one at the expense of the others. In the almost unfathomable Ts'ui Pen, he chooses – simultaneously – all of them. He thus creates various futures, various times which start others that will in their turn branch out and bifurcate in other times. That is the cause of the contradictions in the novel.
I do not know whether music knows how to despair over music, or marble over marble, but literature is an art which knows how to prophesize the time in which it might have fallen silent, how to attack its own virtue, and how to fall in love with its own dissolution and court its own end.
A very small class of books have nothing in common say that each admits us to a world of its own that seems to have been going on before we stumbled into it, but which, once found by the right reader, becomes indispensable to him.
A vision of the little house in Soho flickered across his mind’s eye, his mother at a desk, writing in her journal, with hazy sunlight streaming through the morning windows. The woman inhabited a world he had once thought his own – a world of publishers and reliable suppliers. A London that was confident and competent amid its grey, puddle-strewn streets.
The discovery of the horror tale at an early age was fortuitous for me. This sort of tale serves, in many ways, the very same purpose as fairy tales did in our childhood. It operates as a theater of the mind in which internal conflicts are played out. In these tales we can parade the most reprehensible aspects of our being: cannibalism, incest, parricide. It allows us to discuss our anxieties and even to contemplate the experience of death in absolute safety.And again, like a fairy tale, horror can serve as a liberating or repressive social tool, and it is always an accurate reflection of the social climate of its time and the place where it gets birthed.
These (Shakespeare, Milton, and Victor Hugo) not only knit and knot the logical texture of the style with all the dexterity and strength of prose; they not only fill up the pattern of the verse with infinite variety and sober wit; but they give us, besides, a rare and special pleasure, by the art, comparable to that of counterpoint, with which they follow at the same time, and now contrast, and now combine, the double pattern of the texture and the verse. Here the sounding line concludes; a little further on, the well-knit sentence; and yet a little further, and both will reach their solution on the same ringing syllable. The best that can be offered by the best writer of prose is to show us the development of the idea and the stylistic pattern proceed hand in hand, sometimes by an obvious and triumphant effort, sometimes with a great air of ease and nature. The writer of verse, by virtue of conquering another difficulty, delights us with a new series of triumphs. He follows three purposes where his rival followed only two; and the change is of precisely the same nature as that from melody to harmony.-ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE
In an age when other fantastically speedy, widespread media are triumphing, and running the risk of flattening all communication onto a single homogeneous surface, the function of literature is communication between things that are different simply because they are different, not blunting but even sharpening the differences between them, following the true bent of written language.
I think that my first impulse arises from a hypersensitivity or allergy. It seems to me that language is always used in a random, approximate, careless manner, and this distresses me unbearably. Please don't think that my reaction is the result of intolerance towards my neighbor: the worst discomfort of all comes from hearing myself speak. That's why I try to talk as little as possible. If I prefer writing, it is because I can revise each sentence until I reach the point where - if not exactly satisfied with my words - I am able at least to eliminate those reasons for dissatisfaction that I can put a finger on. Literature - and I mean the literature that matches up to those requirements - is the promised land in which language becomes what it really ought to be.
My idea of literature, as I have often said, is that it should save lives. My idea of literature is that it once did save lives, and was of consequence in that way. I believe it can do so again. With every book, to the best of my ability, I try to put this belief in action, even if, as in some of the recent books, the best way to save lives is to cause laughter. Bring on your problems, and I will listen, and bear witness, and when the occasion permits, I will respond, according to certain general rules, on this page, in this hope that here too words may be redemptive.
He had liked to listen to the exotic (to a Belsey) chatter of business and money and practical politics; to hear that Equality was a myth, and Multiculturalism was a fatuous dream; he thrilled at the suggestion that Art was a gift from God, blessing only a handful of masters, and most Literature merely a veil for poorly reasoned left-wing ideologies.
I hate reading poems—school made me hate them. I’d spend hours interpreting one, just to read the memorandum and realize I’d be fucked during exams. I remember making a little asterisk next to every question I struggled with, and at the end of the paper, I’d realize I was looking at the fucking Milky Way.
Such fascinating things, libraries. She closes her eyes. She couldwalk inside and step into a murder, a love story, a complete accountof somebody else’s life, or mutiny on the high seas. Such potential;such adventure—there’s a shimmer of malfeasance in trying otherways of being.
Plato laments the decline of the oral tradition and the atrophy of memory which writing induces, I at the other end of the Age of the Written Word am impressed by the sturdiness and reliability of words on paper... The will to record indelibly, to set down stories in permanent words, seems to me akin to the conviction that we are larger than our biologies.
And did the distress I was feeling derive from some internal sickness of the soul, or was it imposed on me by the sickness of society? That someone besides me had suffered from these ambiguities and had seen light on their far side... that I could find company and consolation and hope in an object pulled almost at random from a bookshelf—felt akin to an instance of religious grace.
STARLIGHT and THUNDERThe Limits of Art is an anthological collection for the ages...for a lifetime. A veritable ark containing excerpts from the sound and fury representative of the finest literary scriveners the world has yet produced.Unequivocally, intellectual nourishment breeds a fire in the mind...a conflagration of ideas and incendiary thoughts that furnish the spirit with conviction and courage to confront the ballet and ballistics of life with passion, wit, tenderness, reason, resolve, humor, imagination and unconditional curiosity.Amidst the clamor brought forth by the alarums and excursions of modern day pontifications, nevertheless, conform and commit your mind to the abolition of ignorance! Accede your sensibilities to the rapture of beauty and her ineffable grace. For beauty is enchantment, a romantic allegiance to the rhapsodic seduction celebratory of the ephemeral, the eternal and the esoteric nature and narratives of fictive splendor, which valorously emanate from this voluptuous volume. This magisterial tome is a figurative brocade of both starlight and thunder transcribed into an insatiable verbal delirium groping toward an unbridled exposition on life’s wonders and mysteries. Drink mightily from its gilded chalice.
If you want to take pictures of Chinese food, you have to taste real Chinese food. The flavors soak into your tongue, go into your stomach. The stomach is where your true feelings are. And if you take photos, these true feelings from your stomach can come out, so that everyone can taste the food just by looking at your pictures.
My thoughts about pornography tend to revolve around the fact that while very few of us are zombies, detectives, cowboys, or spacemen, there are an infinite number of books that are recounting the stories of those lifestyles. However, all of us have some sort of feelings or opinions about sex. And yet the only art form which in any way is able to discuss sex, or depict sex, is this grubby despised under the counter art form, which has absolutely no standards. This was what Lost Girls was intended as a remedy for, that there is no reason why a horny piece of literature, that is purely about sex, could not be as beautiful, as meaningful, and have as absorbing characters as any other piece of fiction.
Who knows, maybe one day there will no longer be Literature. Instead there will be literary web sites. Like those stars, still shining but long dead, the web sites will testify to the existence of past writers. There will be quotes, fragments of texts, which prove that there used to be complete texts once. Instead of readers there will be cyber space travelers who will stumble upon the websites by chance and stop for a moment to gaze at them. How they will read them? Like hieroglyphs? As we read the instructions for a dishwasher today? Or like remnants of a strange communication that meant something in the past, and was called Literature?
The literary experience extends impression into discourse. It flowers to thought with nouns, verbs, objects. It thinks. Film implodes discourse, it deliterates thought, it shrinks it to the compacted meaning of the preverbal impression or intuition or understanding. You receive what you see, you don't have to think it out. . . . Fiction goes everywhere, inside, outside, it stops, it goes, its action can be mental. Nor is it time-driven. Film is time-driven, it never ruminates, it shows the outside of life, it shows behavior. It tends to the simplest moral reasoning. Films out of Hollywood are linear. The narrative simplification of complex morally consequential reality is always the drift of a film inspired by a book. Novels can do anything in the dark horrors of consciousness. Films do close-ups, car drive-ups, places, chases and explosions.
I'm not asking you to come reverently or unquestioningly; I'm not asking you to be politically correct or cast aside your sense of humor (please God you have one). This isn't a popularity contest, it's not the moral Olympics, and it's not church. But it's Writing, damn it, not washing the car or putting on eyeliner. If you can take it seriously, we can do business. If you can't or won't, it's time for you to close the book and do something else. Wash the car, maybe.
Little is to be expected of that day, if it can be called a day, to which we are not awakened by our Genius, but by the mechanical nudgings of some servitor, are not awakened by our own newly acquired force and aspirations from within, accompanied by the undulations of celestial music, instead of factory bells, and a fragrance filling the air--to a higher life than we fell asleep from; and thus the darkness bear its fruit, and prove itself to be good, no less than the light.
Those who judge must take all aspects of an individual's personality into account. It is only through literature that one can put oneself in someone else's shoes and understand the other's different and contradictory sides and refrain from becoming too ruthless. Outside the sphere of literature only one aspect of individuals is revealed. But if you understand their different dimensions you cannot easily murder them…
Much, maybe too much, has been written about literature. (I know better than anyone; I’m an expert in the field). Yet the special thing about literature, the major art form of a Western civilization now ending before our very eyes, is not hard to define. Like literature, music can overwhelm you with sudden emotion, can move you to absolute sorrow or ecstasy; like literature, painting has the power to astonish, and to make you see the world through fresh eyes. But only literature can put you in touch with another human spirit, as a whole, with all its weaknesses and grandeurs, it limitations, its pettinesses, its obsessions, its beliefs; with whatever it finds moving, interesting, exciting, or repugnant. Only literature can grant you access to a spirit from beyond the grave–a more direct, more complete, deeper access than you’d have in conversation with a friend. Even in our deepest, most lasting friendships, we never speak so openly as when we face a blank page and address an unknown reader.
It was pretty silly quoting poetry around free and easy like that. It was the act of a silly damn snob. Give man a few lines of verse and he thinks he's the Lord of all Creation. You think you can walk on water with all your books. Well, the world can get by just fine without them.
Of all the art forms, poetry is the most economical. It is the one which is the most secret, which requires the least physical labor, the least material, and the one which can be done between shifts, in the hospital pantry, on the subway, and on scraps of surplus paper. Over the last few years, writing a novel on tight finances, I came to appreciate the enormous differences in the material demands between poetry and prose. As we reclaim our literature, poetry has been the major voice of poor, working class, and Colored women. A room of one's own may be a necessity for writing prose, but so are reams of paper, a typewriter, and plenty of time.
Nabokov calls every great novel a fairy tale, I said. Well, I would agree. First, let me remind you that fairy tales abound with frightening witches who eat children and wicked stepmothers who poison their beautiful stepdaughters and weak fathers who leave their children behind in forests. But the magic comes from the power of good, that force which tells us we need not give in to the limitations and restrictions imposed on us by McFate, as Nabokov called it.Every fairy tale offers the potential to surpass present limits, so in a sense the fairy tale offers you freedoms that reality denies. In all great works of fiction, regardless of the grim reality they present, there is an affirmation of life against the transience of that life, an essential defiance.
The main vehicle for nineteenth-century socialization was the leading textbook used in elementary school. They were so widely used that sections in them became part of the national language. Theodore Roosevelt, scion of an elite New York family, schooled by private tutors, had been raised on the same textbooks as the children of Ohio farmers, Chicago tradesman, and New England fishermen. If you want to know what constituted being a good American from the mid-nineteenth century to World War I, spend a few hours browsing through the sections in the McGuffey Readers.
Litchat, however, is singleminded. Seemingly, it can only conceive of a writer’s persona as one thing at a time: a prick, a detached brainiac, a suffering saint. Litchat is adamant, yes, and impervious to factual challenges, but that tends to be true of all strong opinions formed on a basis of incomplete and selective evidence. The weaker our footing, the more fiercely we defend it. We believe it not because it fits what we know—we know next to nothing, after all—but because we need to believe this particular thing at this particular time, regardless of what the truth may be. It suits our purposes to do so, and one of those purposes may be as flimsy as the desire to be excused from reading the books in question before telling the world what we think of them.
The vitality of literary character has less to do with dramatic action, novelistic coherence, and even plain plausibility—let alone likeability—than with a larger philosophical or metaphysical sense, our awareness that a character’s actions are deeply important, that something profound is at stake, with the author brooding over the face of that character like God over the face of the waters.
The most difficult achievement is the capacity to see oneself, to name oneself, to imagine oneself. If in daily life we use ideologies, common sense, religion, even literature itself to disguise our experiences and make them presentable, in fiction it’s possible to sweep away all the veils—in fact, perhaps, it’s a duty.
And once the novelist has brought us to this state, in which, as in all purely mental states, every emotion is multiplied ten-fold, into which his book comes to disturb us as might a dream, but a dream more lucid and more abiding than those which come to us in sleep, why then, for the space of an hour he sets free within us all the joys and sorrows in the world, a few of which only we should have to spend years of our actual life in getting to know, and the most intense of which would never be revealed to us because the slow course of their development prevents us from perceiving them. It is the same in life; the heart changes, and it is our worst sorrow; but we know it only through reading, through our imagination: in reality its alteration, like that of certain natural phenomena, is so gradual that, even if we are able to distinguish, successively, each of its different states, we are still spared the actual sensation of change.
In order to justify their claim on our attention, the organs of mass culture and information are compelled to offer something "new" on a daily, indeed hourly, basis. Although good novelists don't deliberately seek out trends, many of them feel a responsibility to pay attention to contemporary issues, and they now confront a culture in which almost all of the issues are burned out almost all the time. The writer who wants to tell a story about society that's true not just in 1996 but in 1997 as well can find herself at a loss for solid cultural referents. What's topically relevant while she's planning the novel will almost certainly be passé by the time it's written, rewritten, published, distributed, and read.
Every language has a grammar, a set of rules that govern usage and meaning, and literary language is no different. It’s all more or less arbitrary of course, just like language itself.
Anybody gets to ask questions about any fiction-related issues she wants. No question about literature is stupid. You are forbidden to keep yourself from asking a question or making a comment because you fear it will sound obvious or unsophisticated or lame or stupid. Because critical reading and prose fiction are such hard, weird things to try to study, a stupid-seeming comment or question can end up being valuable or even profound. I am deadly-serious about creating a classroom environment where everyone feels free to ask or speak about anything she wishes. So any student who groans, smirks, mimes machines-gunning or onanism, chortles, eye-rolls, or in any way ridicules some other student's in-class question/comment will be warned once in private and on the second offense will be kicked out of class and flunked, no matter what week it is. If the offender is male, I am also apt to find him off-campus and beat him up.. . . This does not mean we all have to sit around smiling sweetly at one another for three hours a week. No truths about the form, content, structure, symbolism, theme, or overall artistic quality of any piece of fiction are etched in stone or beyond dispute.
Later that night though, as I stayed awake into the early hours of morning devouring the second novel in a series, I understood what it meant to befriend a book. The books knew me, far better than I knew them; they knew my fears, my doubts, my dreams. They gave words to feelings I did not even realize I experienced. They listened. They consoled. They kept me company. The books gave me a life outside of my own.
Anybody gets to ask questions about any fiction-related issues she wants. No question about literature is stupid. You are forbidden to keep yourself from asking a question or making a comment because you fear it will sound obvious or unsophisticated or lame or stupid. Because critical reading and prose fiction are such hard, weird things to try to study, a stupid-seeming comment or question can end up being valuable or even profound. I am deadly-serious about creating a classroom environment where everyone feels free to ask or speak about anything she wishes. So any student who groans, smirks, mimes machines-gunning or onanism, chortles, eye-rolls, or in any way ridicules some other student's in-class question/comment will be warned once in private and on the second offense will be kicked out of class and flunked, no matter what week it is. If the offender is male, I am also apt to find him off-campus and beat him up.
So what does it mean for a person to devote himself or herself to, as you put it, “literary reading and thinking”? I would argue this is a person who’s trying to see things for what they are. Who’s interested in distinguishing the truth from the lies, the real from the fake, the solid from the cheap. Those are the people who want to think for themselves, and I really question whether we can make good lives for ourselves if we aren’t doing our own thinking.
Homicide is not a sin. It is sometimes a necessary violence on resistant and ossified forms of existence which have ceased to be amusing. In the interests of an important and fascinating experiment, it can even become meritorious. Here is the starting point of a new apologia for sadism.
Decades after little Colleen’s death, my sister Kathy still loves her daughter dearly. Colleen was born with cerebral palsy. She died in Kath’s arms in a rocking chair at the age of six. They were listening to a music box that looked very much like a smiling pink bunny.The opening quote in this book, “I will love you forever, but I’ll only miss you for the rest of my life,” is from Kath’s nightly prayers to her child.Colleen couldn’t really talk or walk very well, but loved untying my mother’s tennis shoes and then laughing. When Mom died decades later we sent her off in tennis shoes so Colleen would have something to untie in Heaven.In the meantime, Dad had probably been taking really good care of her up there. He must have been aching to hug her for all of her six years on earth.Mom’s spirit comes back to play with great grandchildren she’d never met or had a chance to love while she was still – I almost said “among the living.” In my family, though, the dead don’t always stay that way. You can be among the living without technically being alive. Mom comes back to play, but Dad shows up only in emergencies. They are both watching over their loved ones.“The Mourning After” is dedicated to all those we have had the joy of loving before they’ve slipped away to the other side.It then celebrates the joy of re-unions.
I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader's mind. No matter how many times we reopen 'King Lear,' never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert's father's timely tear. Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them.
(...) Sir Boris had fought and killed the Paynim; Sir Gawain, the Turk; Sir Miles, the Pole; Sir Andrew, the Frank; Sir Richard, the Austrian; Sir Jordan, the Frenchman; and Sir Herbert, the Spaniard. But of all that killing and campaigning, that drinking and love-making, that spending and hunting and riding and eating, what remained? A skull; a finger. Whereas, he said, turning to the page of Sir Thomas Browne, which lay open upon the table – and again he paused. Like an incantation rising from all parts of the room, from the night wind and the moonlight, rolled the divine melody of those words which, lest they should outstare this page, we will leave where they lie entombed, not dead, embalmed rather, so fresh is their colour, so sound their breathing – and Orlando, comparing that achievement with those of his ancestors, cried out that they and their deeds were dust and ashes, but this man and his words were immortal.
All I can tell you with certainty is that I, for one, have no self, and that I am unwilling or unable to perpetrate upon myself the joke of a self.... What I have instead is a variety of impersonations I can do, and not only of myself — a troupe of players that I have internalised, a permanent company of actors that I can call upon when a self is required.... I am a theater and nothing more than a theater.
Literary works are not democracies. We hold this truth to be self-evident, that all men and women are created equal. We may, but the country of Novels, Etc., doesn't. In that faraway place, no character is created equal. One or two of them get all the breaks; the rest exist to get them to the finish line.
There comes a hush between darkness and day.Like expectation of a caress.A murmur of silence. Tree crests peeked down at Paulette through slowly lifting fog. Bark felt around for its texture again. Morning gathered and drifted through mere hints; through vague hopeful nuances of ‘Just maybe’.- From "The Gardens of Ailana" handbook for healers & mystics
I carry my liberty with me. It is in my thoughts, in my head. Shakespeare is one of my countries, Goethe another. You can change that badge that I wear, but you can’t change the way I think. It is through my intellect that I can escape the roles, intrusions, and obligations with which every civilisation, every community would burden me. I make myself my own homeland through my affinities, my choices, my ideas, and no one can take it away from me – I may even be able to enlarge it. I don’t spend my life in the company of crowds but individuals. If I could pick fifty individuals from each nation, then perhaps I could put together a society I’d be happy with. My first possession is myself; better to sent it into exile than to lose it, to change a few habits rather than terminate my role as a human being. We only have one homeland: the world.
Literature is impossible, in exactly this sense: every new generation has so much 'catching up' to do that the real choice that presents itself soon is the following one: one either spends ones entire life just reading all the classics, or one pretends to be 'contemporary and hip' and never reads any of the classics because in order to pretend to be contemporary one has to at least superficially read the works of contemporaries. Hence the dilemma: one either does not care about being fashionable, or one is fashionable and just learns to mimic some knowledge about the classics. As time develops this rift just becomes bigger, because the amount of books written grows and grows to insane proportions. Conclusion: one can only be hip in the future if one does not read at all, which is a phenomenon I am already witnessing in the media.
If literature matters today, it is chiefly because it seems to many conventional critics one of the few remaining places where, in a divided, fragmented world, a sense of universal value may still be incarnate; and where, in a sordidly material world, a rare glimpse of transcendence can still be attained.
The topic was eloquence, something Christians had been conflicted about since the first-century church when Paul wrote that in bringing the gospel, he did not come with “eloquence.” A few centuries later, Saint Augustine wrestled with the value of eloquence, associating it with his pagan background and training in Greek rhetoric while simultaneously employing it winsomely in his Christian writings. Such suspicion of beauty and form, whether in art, literature, speech, or human flesh, has shadowed Christian thought throughout the history of the church; sadly so, considering God is the author of all beauty.
Vladimir Nabokov“... one cannot read a book: one can only reread it. A good reader, a major reader, an active and creative reader is a rereader. And I shall tell you why. When we read a book for the first time the very process of laboriously moving our eyes from left to right, line after line, page after page, this complicated physical work upon the book, the very process of learning in terms of space and time what the book is about, this stands between us and artistic appreciation. When we look at a painting we do no have to move our eyes in a special way even if, as in a book, the picture contains elements of depth and development. The element of time does not really enter in a first contact with a painting. In reading a book, we must have time to acquaint ourselves with it. We have no physical organ (as we have the eye in regard to a painting) that takes in the whole picture and can enjoy its details. But at a second, or third, or fourth reading we do, in a sense, behave towards a book as we do towards a painting. However, let us not confuse the physical eye, that monstrous achievement of evolution, with the mind, an even more monstrous achievement. A book, no matter what it is - a work of fiction or a work of science (the boundary line between the two is not as clear as is generally believed) - a book of fiction appeals first of all to the mind. The mind, the brain, the top of the tingling spine, is, or should be, the only instrument used upon a book.” ― Vladimir Nabokov, Lectures on Literature
Give at least fifteen minutes everyday to reading. Sometimes, we spend a lot of time watching television - surfing through channels; not really watching anything in particular. Fifteen minutes out of that time is not a big deal. Soon you will find yourself reading for more than fifteen minutes. Soon you will find yourself turning to a book when you need to relax. Soon you will realize that reading a book heals you in a way you never imagined possible.
A totalitarian society which succeeded in perpetuating itself would probably set up a schizophrenic system of thought, in which the laws of common sense held good in everyday life and in certain exact sciences, but could be disregarded by the politician, the historian, and the sociologist. Already there are countless people who would think it scandalous to falsify a scientific textbook, but would see nothing wrong in falsifying an historical fact. It is at the point where literature and politics cross that totalitarianism exerts its greatest pressure on the intellectual. The exact sciences are not, at this date, menaced to anything like the same extent. This partly accounts for the fact that in all countries it is easier for the scientists than for the writers to line up behind their respective governments.
... endowing the imperfect and the preterite with all the sweetness which there is in generosity, all the melancholy which there is in love; guided the sentence that was drawing to an end towards that which was waiting to begin, now hastening, now slackening the pace of the syllables so as to bring them, despite their difference in quantity, into a uniform rhythm, and breathed into this quite ordinary prose a kind of life, continuous and full of feeling.
The first one to bed always lit the candle, and the last one turned out the lamp....The tradition had seen them through quite a bit by now, and Rebecca had come to love the candlelight, not only because it meant that Mike loved to see her just the way she was, which was incredibly liberating once you began to actually believe it, but also because the light just felt holy to her. It made the end of the day into a kind of prayer, whether they made love or just lay in each other's arms and chewed over the day's portion of craziness; and there was that beautiful little puff of "Amen" when they blew the candle out and settled into sleep.
What is so special about a title? The mode and significance of titles have changed with the change in the lyrical traditions. So these transitions in style and the art of signification are all collective. What has never changed is the author's intentionality in entitling his works. The art of giving a title to a piece of work is entirely conscious. The author chooses, exercises his will in giving a title to his work.
In general, when a novel manipulates its material to conform to the pieties of the day, or alternatively to attack those pieties for no other reason than the visibility such an attack will generate, when its literary tropes are all too familiar, its clever prose reminiscent of other clever prose, then the compass needle is slipping away from true north . . . When, on the other hand, the author renounces some easy twist, some expected payoff, to take us into territory we didn’t expect but that nevertheless fits with the drift of the story, then the novel gains force and conviction. And when he or she does it again, telling quite a different story that is nevertheless driven by the same urgent tensions, then we are likely moving into the zone of authenticity.
Apart from such chaotic classics as these, my own taste in novel reading is one which I am prepared in a rather especial manner, not only to declare, but to defend. My taste is for the sensational novel, the detective story, the story about death, robbery and secret societies; a taste which I share in common with the bulk at least of the male population of this world. There was a time in my own melodramatic boyhood when I became quite fastidious in this respect. I would look at the first chapter of any new novel as a final test of its merits. If there was a murdered man under the sofa in the first chapter, I read the story. If there was no murdered man under the sofa in the first chapter, I dismissed the story as tea-table twaddle, which it often really was. But we all lose a little of that fine edge of austerity and idealism which sharpened our spiritual standard in our youth. I have come to compromise with the tea-table and to be less insistent about the sofa. As long as a corpse or two turns up in the second, the third, nay even the fourth or fifth chapter, I make allowance for human weakness, and I ask no more. But a novel without any death in it is still to me a novel without any life in it. I admit that the very best of the tea-table novels are great art - for instance, Emma or Northanger Abbey. Sheer elemental genius can make a work of art out of anything. Michelangelo might make a statue out of mud, and Jane Austen could make a novel out of tea - that much more contemptible substance. But on the whole I think that a tale about one man killing another man is more likely to have something in it than a tale in which, all the characters are talking trivialities without any of that instant and silent presence of death which is one of the strong spiritual bonds of all mankind. I still prefer the novel in which one person does another person to death to the novel in which all the persons are feebly (and vainly) trying to get the others to come to life.
But whatever the exact psychology of the process {receiving recognition or literary success}, the present has a way of contaminating the past. And the writing will change accordingly. Turmoil and dilemma once experienced with a certain desperation may be seen more complacently as the writer reflects that through expressing them he has realized his inevitable and well-deserved triumph. The lean years of patient toil when no one paid attention may even begin to seem preferable to the present. The very thing you created in the heat of fierce concentration has destroyed the circumstances that made it possible. The writer is devoured along with his books.
I am fully conscious that, not being a literary man , certain presumptuous persons will think that they may reasonably blame me; alleging that I am not a man of letters. Foolish folks! do they not know that I might retort as Marius did to the Roman Patricians by saying: That they, who deck themselves out in the labours of others will not allow me my own. They will say that I, having no literary skill, cannot properly express that which I desire to treat of, but they do not know that my subjects are to be dealt with by experience rather than by words; and experience has been the mistress of those who wrote well. And so, as mistress, I will cite her in all cases.
It is naive to suppose that something that has been expressed in one form can be expressed in another without significantly changing its meaning, texture or value. Much prose translates fairly well from one language to another, but we know that poetry does not; we may get a rough idea of the sense of a translated poem but usually everything else is lost, especially that which makes it an object of beauty. The translation makes it into something it was not.
Science may explain how humans came into being, but it has no answer to the slippery question of how humans should live. Only literature makes it possible to pose such questions in the first place. And if there is no answer, only literature can point to the impossibility of ever finding one.
With her it's as if a text was written so that we can identify the characters, the narrator, the setting, the plot, the time of the story, and so on. I don't think it has ever occurred to her that a text is written above all to be read and to arouse emotions in the reader.
People are always saying these things about how there's no need to read literature anymore-that it won't help the world. Everyone should apparently learn to speak Mandarin, and learn how to write code for computers. More young people should go into STEM fields: science, technology, engineering, and math. And that all sounds to be true and reasonable. But you can't say that what you learn in English class doesn't matter. That great writing doesn't make a difference. I'm different. It's hard to put into words, but it's true. Words matter.
They filed out in descending order by altitudes, the father first, out through the sunlit doors in a sextet of calico isotropes and into the street, the elder smiling, along through the crowds and down the road toward the river still single file and with deadpan decorum leaving behind a congregation mute and astounded.
I went to work, but the mood of the book would not die; it lingered, coloring everything I saw, heard, did. I now felt that I knew what the white man were feeling. Merely because I had read a book that had spoken of how they lived and thought, I identified myself with that book.
Don't you think our society is designed to kill in that way? Of course, you've surely heard about those tiny fish in the rivers of Brazil which attack the swimmer by the thousands, eat him up in a few moments in quick little mouthfuls and leave only a perfectly clean skeleton behind? So, that's the way they're constituted. 'Do you want a clean life, like everyone else?' Of course the answer is yes. How could you not? 'Fine. We'll clean you up. Here's a job, here's a family, here's some organized leisure.' And the little teeth bite into the flesh, right down to the bone. But i'm being unfair. I shouldn't have said, 'the way they're constituted', because after all, it's our way, too: it's a case of who strips whom.
His feet went banging down some stairs. He closed his eyes. They went through cinders and dirt, his heels gathering small windrows of trash. A dim world receded above his upturned toes, shapes of skewed shacks erupted bluely in the niggard lamplight. The rusting carcass of an automobile passed slowly on his right. Dim scenes pooling in the summer night, wan ink wash of junks tilting against a paper sky, rorschach boatmen poling mutely over a mooncobbled sea. He lay with his head on the moldy upholstery of an old car seat among packingcrates and broken shoes and suncrazed rubber toys in the dark. Something warm was running on his chest. He put up a hand. I am bleeding. Unto my death.
My own mother, who's always dazzled by my faculty and answering questions in the literature a category on Jeopardy whenever we watch it together, keeps urging me to try to get on the show to make all those years spent reading finally pay off. Leave me alone I'm reading
Through books I discovered everything to be loved, explored, visited, communed with. I was enriched and given all the blueprints to a marvelous life, I was consoled in adversity, I was prepared for both joys and sorrows, I acquired one of the most precious sources of strength of all: an understanding of human beings, insight into their motivations.
For me a work of fiction exists only insofar as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm. There are not many such books. All the rest is either topical trash or what some call the Literature of Ideas, which very often is topical trash coming in huge blocks of plaster that are carefully transmitted from age to age until somebody comes along with a hammer and takes a good crack at Balzac, at Gorki, at Mann.
They began to come upon chains and packsaddles, singletrees, dead mules, wagons. Saddletrees eaten bare of their rawhide coverings and weathered white as bone, a light chamfering of miceteeth along the edges of the wood. They rode through a region where iron will not rust nor tin tarnish. The ribbed frames of dead cattle under their patches of dried hide lay like the ruins of primitive boats upturned upon that shoreless void and they passed lurid and austere the black and desiccated shapes of horses and mules that travelers had stood afoot.
Hundreds of thousands of people live in my library. Some are real, others are fictional. The real ones are the so-called imaginary characters in works of literature, the fictional ones are their authors. We know everything about the former, or at least as much as we are meant to know, everything that is written about a given character in a novel, a story or a poem in which she or he figures...The rest doesn't matter. Nothing is hidden from us. For us, a novel's characters are real. (p. 80
There were the usual exhortations to purity – think of the novel not as your opportunity to get rich or famous but to wrestle, in your own way, with the titans of the form – exhortations poets don’t have to make, given the economic marginality of the art, an economic marginality that soon all literature will share.
Perhaps reading and writing books is one of the last defences human dignity has left, because in the end they remind us of what God once reminded us before He too evaporated in this age of relentless humiliations—that we are more than ourselves; that we have souls.
It looks like it’s wasting time, but literature is actually the ultimate time-saver – because it gives us access to a range of emotions and events that it would take you years, decades, millennia to try to experience directly. Literature is the greatest reality simulator — a machine that puts you through infinitely more situations than you can ever directly witness.
I can relate to Marguerite Duras even though I'm not French, nor have I been consumed by love for an East Asian man. I can life inside Alice Munro's skin. But I can't relate to my own mother. My body is full of sentences and moments, my heart resplendent with lovely turns of phrases, but neither is able to be touched by another.
That such a slave as this should wear a sword,Who wears no honesty. Such smiling rogues as these,Like rats, oft bite the holy cords atwainWhich are too intrinse t' unloose; smooth every passionThat in the natures of their lords rebel,Being oil to the fire, snow to the colder moods,Renege, affirm, and turn their halcyon beaksWith every gale and vary of their mastersKnowing naught, like dogs, but following.
I do not share the pessimism of the age about the novel. They are one of our greatest spiritual, aesthetic and intellectual inventions. As a species it is story that distinguishes us, and one of the supreme expressions of story is the novel. Novels are not content. Nor are they are a mirror to life or an explanation of life or a guide to life. Novels are life, or they are nothing.
But just understand the difference between a man like Reardon and a man like me. He is the old type of unpractical artist; I am the literary man of 1882. He won't make concessions, or rather, he can't make them; he can't supply the market. I--well, you may say that at present, I do nothing; but that's a great mistake, I am learning my business. Literature nowadays is a trade. Putting aside men of genius, who may succeed by mere cosmic force, your successful man of letters is your skilful tradesman. He thinks first and foremost of the markets; when one kind of goods begins to go off slackly, he is ready with something new and appetising. He knows perfectly all the possible sources of income. Whatever he has to sell, he'll get payment for it from all sorts of various quarters; none of your unpractical selling for a lump sum to a middleman who will make six distinct profits.
The mythic voice rising from literature and art allows us to be humane. We are not humane because of political power, or education, or even religion. We are humane because we recognize the humanity of others. The writer and the artist appeal to that humanity. For that reason, literature and art are the bones of civilization.
My heart was full and uplifted; it seemed that in my soul the question arose whether such things as Art, literature, science encompassed and completed life or whether there was still something in the distance which encompassed it even more completely and filled it with a far greater happiness.
In this course I have tried to reveal the mechanism of those wonderful toys — literary masterpieces. I have tried to make of you good readers who read books not for the infantile purpose of identifying oneself with the characters, and not for the adolescent purpose of learning to live, and not for the academic purpose of indulging in generalizations. I have tried to teach you to read books for the sake of their form, their visions, their art. I have tried to teach you to feel a shiver of artistic satisfaction, to share not the emotions of the people in the book but the emotions of its author — the joys and difficulties of creation. We did not talk around books, about books; we went to the center of this or that masterpiece, to the live heart of the matter.
This person has hoped and dreamed and now it is really happening and this person can hardly believe it. But believing is not an issue here, the time for faith and fantasy is over, it is really really happening. It involves stepping forward and bowing. Possibly there is some kneeling, such as when one is knighted. One is almost never knighted. But this person may kneel and receive a tap on each shoulder with a sword. Or, more likely, this person will be in a car or a store or under a vinyl canopy when it happens. Or online or on the phone. It could be an e-mail re: your knighthood. Or a long, laughing, rambling phone message in which every person this person has ever known is talking on a speakerphone and they are all saying, You have passed the test, it was all just a test, we were only kidding, real life is so much better than that.
Shakespeare's bitter play [Troilus and Cressida] is therefore a dramatization of a part of a translation into English of the French translation of a Latin imitation of an old French expansion of a Latin epitome of a Greek romance. (p. 55)
There is something magical to me about literature and fiction and I think it can do things not only that pop culture cannot do but that are urgent now: one is that by creating a character in a work of fiction you can allow a reader to leap over the wall of self and to allow him to imagine himself not only somewhere else but someone else in a way that television and movies, in a way that no other form can do. I think people are essentially lonely and alone and frightened of being alone.
The reader should be carried forward, not merely or chiefly by the mechanical impulse of curiosity, or by a restless desire to arrive at the final solution; but by the pleasurable activity of mind excited by the attractions of the journey itself.
Stories don’t teach us to be good; it isn’t as simple as that. They show us what it feels like to be good, or to be bad. They show us people like ourselves doing right things and wrong things, acting bravely or acting meanly, being cruel or being kind, and they leave it up to our own powers of empathy and imagination to make the connection with our own lives. Sometimes we do, sometimes we don’t. It isn’t like putting a coin in a machine and getting a chocolate bar; we’re not mechanical, we don’t respond every time in the same way…The moral teaching comes gently, and quietly, and little by little, and weighs nothing at all. We hardly know it’s happening. But in this silent and discreet way, with every book we read and love, with every story that makes its way into our heart, we gradually acquire models of behavior and friends we admire and patterns of decency and kindness to follow.
YOUR BOREDOM IS YOUR PROBLEM," said Owen Meany. "IT'S YOUR LACK OF IMAGINATION THAT BORES YOU. HARDY HAS THE WORLD FIGURED OUT. TESS IS DOOMED. FATE HAS IT IN FOR HER. SHE'S A VICTIM; IF YOU'RE A VICTIM, THE WORLD WILL USE YOU. WHY SHOULD SOMEONE WHO'S GOT SUCH A WORKED-OUT WAY OF SEEING THE WORLD BORE YOU? WHY SHOULDN'T YOU BE INTERESTED IN SOMEONE WHO'S WORKED OUT A WAY TO SEE THE WORLD? THAT'S WHAT MAKES WRITERS INTERESTING!
Everyone in this tale has a rock-solid hamartia: hers, that she is so sick; yours, that you are so well. Were she better or you sicker, then the stars would not be so terribly crossed, but it is the nature of stars to cross, and never was Shakespeare more wrong than when he had Cassius, "The fault, dear Brutus, is not in our stars, but in ourselves.
Clarissa had a theory in those days - they had heaps of theories, always theories, as young people have. It was to explain the feeling they had of dissatisfaction; not knowing people; not being known. For how could they know each other? You met every day; then not for six months, or years. It was unsatisfactory, they agreed, how little one knew people.
I reread these negative remarks and realize that I do not know whether music can despair of music or marble of marble. I do know that literature is an art that can foresee the time when it will be silenced, an art that can become inflamed with its own virtue, fall in love with its own decline, and court its own demise.
To read well, that is, to read true books in a true spirit, is a noble exercise, and one that will task the reader more than any exercise which the customs of the day esteem. It requires a training such as the athletes underwent, the steady intention almost of the whole life to this object. Books must be read as deliberately and reservedly as they were written. It is not enough even to be able to speak the language of that nation by which they are written, for there is a memorable interval between the spoken and the written language, the language heard and the language read.
The re-evaluation and rediscovery of minority art (including the cultural minority of women) is often conceived as a matter of remedying injustice and exclusiveness through doing justice to individual artists by allowing their work into the canon, which will thereby be more complete, but fundamentally unchanged.
Stories don’t teach us to be good; it isn’t as simple as that. They show us what it feels like to be good, or to be bad. They show us people like ourselves doing right things and wrong things, acting bravely or acting meanly, being cruel or being kind, and they leave it up to our own powers of empathy and imagination to make the connection with our own lives. Sometimes we do, sometimes we don’t. It isn’t like putting a coin in a machine and getting a chocolate bar; we’re not mechanical, we don’t respond every time in the same way…The moral teaching comes gently, and quietly, and little by little, and weighs nothing at all. We hardly know it’s happening. But in this silent and discreet way, with every book we read and love, with every story that makes its way into our heart, we gradually acquire models of behaviour and friends we admire and patterns of decency and kindness to follow.
On of the reasons that I wanted to study literature was because it exposed everything. Writers looked for secrets that had never been mined. Every writer has to invent their own magical language, in order to describe the indescribable. They might seem to be writing in French, English, or Spanish, but really they were writing in the language of butterflies, crows, and hanged men.
I can hear the library humming in the night, a choir of authors murmuring inside their books along the unlit, alphabetical shelves, Giovanni Pontano next to Pope, Dumas next to his son, each one stitched into his own private coat, together forming a low, gigantic chord of language.
This is the paradox of the power of literature: it seems that only when it is persecuted does it show its true powers, challenging authority, whereas in our permissive society it feels that it is being used merely to create the occasional pleasing contrast to the general ballooning of verbiage.
He gave it its present name, and lived here shut up: day and night poring over the wicked heaps of papers in the suit, and hoping against hope to disentangle it from its mystification and bring it to a close. In the meantime, the place became dilapidated, the wind whistled through the cracked walls, the rain fell through the broken roof, the weeds choked the passage to the rotting door. When I brought what remained of him home here, the brains seemed to me to have been blown out of the house too; it was so shattered and ruined.
Reading literature is a way of reaching back to something bigger and older and different. It can give you the feeling that you belong to the past as well as the present, and it can help you realize that your present will someday be someone else’s past. This may be disheartening, but it can also be strangely consoling at times.
He had some taste for romance reading before he went to the university, where, we must confess, in justice to his college, he was cured of the love of reading in all its shapes; and the cure would have been radical, if disappointment in love, and total solitude, had not conspired to bring on a relapse.
If I could change the attitude of young men toward literature, I would want them to read not just for escape, but because literature can be more truthful about things like sex, commitment, and aging. It can be more truthful about the stuff that our parents lied to us (and themselves) about, and the stuff that everyone has to lie about. It can all be dealt with truthfully in fiction and poetry.
The principle of art is to pause, not bypass. The principles of true art is not to portray, but to evoke. This requires a moment of pause--a contract with yourself through the object you look at or the page you read. In that moment of pause, I think life expands. And really the purpose of art--for me, of fiction--is to alert, to indicate to stop, to say: Make certain that when you rush through you will not miss the moment which you might have had, or might still have. That is the moment of finding something which you have not known about yourself, or your environment, about others and about life.
O, great wise man,' she said, 'I have been wondering so many things. Is life more than sitting at home doing the same thing over and over? Wise man, is life more than watching one's relatives do unpleasant things, or more than grim tasks one must perform at school and at work? Is life more than being entertained by literature, wise man, or more than traveling from one place to another, suffering from poor emotional health and pondering the people one loves? And what about those who lead a life of mystery? And the mysteries of life? And, wise man, what about the overall feeling of doom that one cannot ever escape no matter what one does, and miscellaneous things that I have neglected to mention in specific?
Oh literature is a wonderful thing, Varenka, a very wonderful thing: I discovered that from being with those people the day before yesterday. It is a profound thing. It strengthens people’s hearts and instructs them,… Literature is a picture, or rather in a certain sense both a picture and a mirror; it is an expression of emotion, a subtle form of criticism, a didactic lesson and a document…
Life, authentic life, is supposed to be all struggle, unflagging action and affirmation, but when I look back I see that the greater part of my energies was always given over to the simple search for shelter, for comfort, for, yes, I admit it, for cosiness. This is a surprising, not to say a shocking, realization. Before, I saw myself as something of a buccaneer, facing all-comers with a cutlass in my teeth, but now I am compelled to acknowledge that this was a delusion. To be concealed, protected, guarded, that is all I have truly wanted, to burrow down into a place of womby warmth and cower there, hidden from the sky’s indifferent gaze and the harsh air’s damagings. That is why the past is just such a retreat for me, I go there eagerly, rubbing my hands and shaking off the cold present and the colder future. And yet, what existence, really, does it have, the past? After all, it is only what the present was, once, the present that is gone, no more than that. And yet.
Analysis goes a step farther still, and assures us that those impressions of the individual mind to which, for each one of us, experience dwindles down, are in perpetual flight; that each of them is limited by time, and that as time is infinitely divisible, each of them is infinitely divisible also; all that is actual in it being a single moment, gone while we try to apprehend it, of which it may ever be more truly said that it has ceased to be than that it is. To such a tremulous wisp constantly reforming itself on the stream, to a single sharp impression, with a sense in it, a relic more or less fleeting, of such moments gone by, what is real in our life fines itself down.
There are some people about whom it is difficult to say anything which would describe them immediately and fully in their most typical and characteristic aspects; these are the people who are usually called "ordinary" and accounted as "the majority," and who actually do make up the great majority of society. In their novels and stories writers most often try to choose and present vividly and artistically social types which are extremely seldom encountered in real life, and which are nevertheless more real than real life itself. Podkolyosin, viewed as a type, in perhaps exaggerated, but he is hardly unknown. How many clever people having learned from Gogol about Podkolyosin at once discover that great numbers of their friends bear a terrific resemblance to Podkolyosin. They knew before Gogol that their friends were like Podkolyosin, except they did not know yet that that was their name...Nevertheless the question remains before us: what is the novelist to do with the absolutely "ordinary" people, and how can he present them to readers so that they are at all interesting? To leave them out of a story completely is not possible, because ordinary people are at every moment, by and large, the necessary links in the chain of human affairs; leaving them out, therefore, means to destroy credibility. To fill a novel entirely with types or, simply for the sake of interest, strange and unheard-of people, would be improbable and most likely not even interesting. In our opinion the writer must try to find interesting and informative touches even among commonplace people. When, for example, the very nature of certain ordinary persons consists precisely of their perpetual and unvarying ordinariness, or, better still, when in spite of their most strenuous efforts to life themselves out of the rut of ordinariness and routine, then such persons acquire a certain character of their own-the typical character of mediocrity which refuses to remain what it is and desires at all costs to become original and independent, without having the slightest capacity for independence.
Read sometimes for the story, Bobby. Don't be like the book-snobs who won't do that. Read sometimes for the words - the language. Don't be like the play-it-safers that won't do that. But when you find a book that has both good story and good words, treasure that book.
Literature is my sandbox. In it I play, build my forts and castles, spend glorious time. It is the world outside that box that gives me trouble. I have adapted tamely, though not conventionally, to this visible world so I can retreat without much inconvenience into my inner world of books." (p. 5)
A month later the law student leaves you for one of her classmates, tells you that it was great but she has to start being realistic. . . . .Later you see her with said classmate on the Yard. He's even lighter than you but he still looks unquestionably black. He's also like nine feet tall and put together like an anatomy primer. They are walking hand in hand and she looks so very happy that you try to find the space in your heart not to begrudge her.
The past gathered out of the darkness where it stayed, and the dead raised themselves to live before him; and the past and the dead flowed into the present among the alive, so that he had for an intense instant a vision of denseness into which he was compacted and from which he could not escape, and had no wish to escape. Tristan, Iseult the fair, walked before him; Paolo and Francesca whirled in the glowing dark; Helen and bright Paris, their faces bitter with consequence, rose from the gloom. And he was with them in a way that he could never be with his fellows who went from class to class.
Literature shrivels in a universal language, and an uprooted language rots before it dies. And it should be possible to lift the eyes above the cant of the ‘language of Shakespeare’... sufficiently to realise the magnitude of the loss to humanity that the world-dominance of any one language now spoken would entail: no language has ever possessed but a small fraction of the varied excellences of human speech, and each language represents a different vision of life ...
Critics and academics have been trying for forty years to bury the greatest work of imaginative fiction in English. They ignore it, they condescend to it, they stand in large groups with their backs to it - because they're afraid of it. They're afraid of dragons. They have Smaugophobia. "Oh those awful Orcs," they bleat, flocking after Edmund Wilson. They know if they acknowledge Tolkien they'll have to admit that fantasy can be literature, and that therefore they'll have to redefine what literature is. And they're too damned lazy to do it.
When you write a story, don't just write it - live it;When putting words into the mouth of a protagonist (or any character) imagine yourself saying them and while writing about the reaction of the listener, write it the way you would react.Let the conversations not be meant merely to be read but felt as well.If you do not feel what you write; how can you expect the readers to feel it?
Out of the corner of one eye, I could see my mother. Out of the corner of the other eye, I could see her shadow on the wall, cast there by the lamplight. It was a big and solid shadow, and it looked so much like my mother that I became frightened. For I could not be sure whether for the rest of my life I would be able to tell when it was really my mother and when it was really her shadow standing between me and the rest of the world.
The true elitists in the literary world are the ones who have become annoyed by literary ambition in any form, who have converted the very meaning of ambition so totally that it now registers as an act of disdain, a hostility to the poor common reader, who should never be asked to do anything that might lead to a pulled muscle. (What a relief to be told there's no need to bother with a book that might seem thorny, or abstract, or unusual.) The elitists are the ones who become angry when it is suggested to them that a book with low sales might actually deserve a prize (...) and readers were assured that the low sales figures for some of the titles could only mean that the books had failed our culture's single meaningful literary test.
If you could forget mortality... You could really believe that time is circular, and not linear and progressive as our culture is bent on proving. Seen in geological perspective, we are fossils in the making, to be buried and eventually exposed again for the puzzlement of creatures of later eras.
There are gentle souls who would pronounce Lolita meaningless because it does not teach them anything. I am neither a reader nor a writer of didactic fiction, and, despite John Ray's assertion, Lolita has no moral in tow. For me a work of fiction exists only insofar as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm. There are not many such books. All the rest is either topical trash or what some call the Literature of Ideas, which very often is topical trash coming in huge blocks of plaster that are carefully transmitted from age to age until somebody comes along with a hammer and takes a good crack at Balzac, at Gorki, at Mann.
The writer is delegated to declare and to celebrate man's proven capacity for greatness of heart and spirit—for gallantry in defeat, for courage, compassion and love. In the endless war against weakness and despair, these are the bright rally flags of hope and of emulation. I hold that a writer who does not believe in the perfectibility of man has no dedication nor any membership in literature.—Steinbeck Nobel Prize Acceptance Speech
The slight, the facile and the merely self-glorifying tend to drop away over the centuries, and what we are left with is the bedrock: Homer and Milton, the Greek tragedian and Shakespeare, Chaucer and Cervantes and Swift, Dostoyevsky and Tolstoy and James and Conrad. Time does not make their voices fainter, on the contrary, it reinforces our sense of their truth-telling capacity.
There are books that speak to us of our own lives with a clarity we cannot match. They prevent the morose suspicion that we do not fully belong to the species, that we lie beyond comprehension. Our embarrassments, our sulks, our envy, our feelings of guilt, these phenomena are conveyed in Austen in a way that affords us bursts of almost magical self-recognition. The author has located words to depict a situation we thought ourselves alone in feeling, and for a few moments, we see ourselves more clearly and wish to become whom the author would have wanted us to be.
I have always lusted after a sepia-toned library with floor-to-ceiling bookshelves and a sliding ladder. I fantasie about Tennessee Williams' types of evenings involving rum on the porch. I long for balmy slightly sleepless nights with nothing but the whoosh of a wooden ceiling fan to keep me company, and the joy of finding the cool spot on the bed. I would while away my days jotting down my thoughts in a battered leather-bound notebook, which would have been given to me by some former lover. My scribbling would form the basis of a best-selling novel, which they wold discuss in tiny independent bookshops on quaint little streets in forgotten corners of terribly romantic European cities. In other words, I fantasize about being credible, in that artistic, slightly bohemian way that only girls with very long legs can get away with.
Journey through the Power of the Rainbow represents a condensed compendium of literary efforts from a life dedicated to transforming the themes of injustice, grief, and despair that we all encounter during some unavoidable point of our existence into a sustainable life-affirming poetics of passionate creativity, empowered spiritual vision, and inspired commitment.
I wish I’d known those words on the day I watched those German troops land, plane-load after plane-load of them—and come off ships down in the harbor! All I could think of was damn them, damn them, over and over. If I could have thought the words "the bright day is done and we are for the dark," I’d have been consoled somehow and ready to go out and contend with circumstance—instead of my heart sinking to my shoes.
Yet one had ancestors in literature as well as in one’s own race, nearer perhaps in type and temperament, many of them, and certainly with an influence of which one was more absolutely conscious. There were times when it appeared to Dorian Gray that the whole of history was merely the record of his own life, not as he had lived in act and circumstance, but as his imagination had created it for him, as if it had been in his brain and in his passions. He felt that he had known them all, those strange terrible figures that had passed across the stage of the world and made sin so marvellous and evil so full of subtlety. It seemed to him that in some mysterious way their lives had been his own.
Are you sure?" Aidan asked, "Gavriel's still a vampire." "He warned me about you and about them. He didn't have to. I'm not going to repay that by-" she hesitated, then frowned. "What did you call him?" "That's his name," Aidan sighed, "Gavriel. The other vampires, while they were tying me to the bed, they said his name." "Oh." With a final tug she pulled the blanked free and tossed it over to 'Gavriel
I'm sorry,' she said to each of the dead as she unzipped and unfastened their things, 'I'm sorry Courtney. I'm sorry Marcus. I'm sorry Rachel. I'm sorry Jon. I'm sorry I'm alive and you're dead. I'm sorry I was asleep. I'm sorry I didn't save you and now I'm taking your things. I'm sorry. I'm sorry. I'm sorry.
If I could describe myself, I'd say that I am a poetic gerd. (A geek and nerd combo) I love Shakespeare and romance, but sci-fi and action have a big slice of my heart. When I meet a man who can quote some Hitchcock out of thin air, do a perfect ''Timey Whimey'' impression, play me some classic rock when I'm sad and can give a 'Gone with the Wind' kiss, I will have my soul mate.
The desire for glory is no different from that instinct for preservation that is common to all creatures. It is as if we enhance our being if we can gain a place in the memory of others; it is a new life that we acquire, which becomes as precious to us as the one we received from Heaven.
Some have speculated that the way [Albert] Camus died made his theories on absurdity a self-fulfilling prophecy. Others would say it was the triumphant meaningful way he lived that allowed him to rise heroically above absurdity.
If Freud turns to literature to describe traumatic experience, it is because literature, like psychoanalysis, is interested in the complex relation between knowing and not knowing, and it is at this specific point at which knowing and not knowing intersect that the psychoanalytic theory of traumatic experience and the language of literature meet.
I don't hold with shamans, witch doctors, or psychiatrists. Shakespeare, Tolstoy, or even Dickens, understood more about the human condition than ever occurred to any of you. You overrated bunch of charlatans deal with the grammar of human problems, and the writers I've mentioned with the essence.
How can the mind take hold of such a country? Generations of invaders have tried, but they remain in exile. The important towns they build are only retreats, their quarrels the malaise of men who cannot find their way home. India knows of their trouble. She knows of the whole world's trouble, to its uttermost depth. She calls "Come" through her hundred mouths, through objects ridiculous and august. But come to what? She has never defined. She is not a promise, only an appeal.
I shall tell you what I believe. I believe God is a librarian. I believe that literature is holy...it is that best part of our souls that we break off and give each other, and God has a special dispensation for it, angels to guard its making and its preservation.
Nobody could catch cold by the sea; nobody wanted appetite by the sea; nobody wanted spirits; nobody wanted strength. Sea air was healing, softening, relaxing -- fortifying and bracing -- seemingly just as was wanted -- sometimes one, sometimes the other. If the sea breeze failed, the seabath was the certain corrective; and where bathing disagreed, the sea air alone was evidently designed by nature for the cure.
Critical thinking does seem a superior sort of thinking because it seems as though the critic is actually going beyond the scope of what is being criticized in order to criticize it. That is only rarely a true assumption because, most often, the critic will seize on some little aspect that he or she understands and tackle only that.
Since the Renaissance, Shakespeare, Rembrandt, Mozart, and a host of others have shown that this religious dimension can be experienced and communicated apart from any religious context. But that is no reason for closing my heart to Job's cry, or to Jeremiah's, or to the Second Isaiah. I do not read them as mere literature; rather, I read Sophocles and Shakespeare with all my being, too.
We were supposed to be an English literature class, but Miss Nesbitt used literature to teach real life. She said she didn't have time to teach us like a regular English teacher--we were too far behind. Instead, she taught us the world through literature.
Genuine bravery for a writer.... It is about calmly speaking the truth when everyone else is silenced, when the truth cannot be expressed. It is about speaking out with a different voice, risking the wrath of the state and offending everyone, for the sake of the truth, and the writer’s conscience.
I should point out, creating one's own style, as much as is required to illustrate one of the aspects, the golden seam of language, involves beginning again at once, in a different manner, adopting the guise of a pupil when one risked becoming pedantic - thus by a shrugging of one's shoulders, disconcerting some with their genuflecting stance, and immortalizing oneself in multiple, impersonal, or even anonymous forms in response to the gesture of arms raised in stupefaction.
Thence it is possible to arrive by easy stages at the happy notion, not uncommon among 'intellectuals', that taste consists of distaste, and that the loftiest of pleasures is that of feeling displeased; and thus to end by enjoying almost nothing in literature but one's own opinions, while oneself incapable of writing a living sentence.
Why is contemporary China short of works that speak directly? Because we writers cannot speak directly, or rather we can only speak in an indirect way.Why does contemporary China lack good works that critique our current situation? Because our current situation may not be critiqued. We have not only lost the right to criticise, but the courage to do so.Why is modern China lacking in great writers? Because all the great writers are castrated while still in the nursery.
The literary text seems like "a fortified medieval town –foreigners and outsiders are repelled, or allowed in only after rigorous checks, but within all is bustling life; exchange, mutual interdependence and influence are the rule.
Howard adores Sam's looks. He loves the strong cut of jaw made satin with thickening peach fuzz, loses himself in the green eyes. Howard stares at them like a lover, but always obliquely. (Sometimes we watch our son from a distance. "I wonder what he's thinking," Howard will say.)
It is precisely, if paradoxically, because reversal is in the service of repetition (so as to ensure, alongside its companion strategies, a dizzying proliferation of citations) that it gains a subversive power rather than remain a mere dependent (and thus conservative) form of social discourse. Reversal plays a double role in this novel (MONSIEUR VENUS), for it is not only a formal strategy bearing on citation, but itself a citation as well; one more cliché mobilized from the fin-de-siecle reserve.
So much of life is invisible, inscrutable: layers of thoughts, feelings, outward events entwined with secrecies, ambiguities, ambivalences, obscurities, darknesses strongly present even to the one who's lived it- maybe especially to the one who's lived it. I didn't seek to find her, wandered instead within and among her fragments of language-notebooks, drafts, journals, fictions, letters, essays, and found there whole worlds like spinning planets, lived in their cold light and burning light, wondering where I was, where they might take me. Curious, I heard a monster's voice and followed-
I see the process of reaching out, sharing yourself, communicating, establishing contact between two people as similar to, if not the same as, the interaction between two people entering a relationship in literature – that is, as reader and writer. Both seem to have the same astounding possibilities and the same terrible pitfalls. But if you battle through and souls touch, magic happens. Love. We feel more human, more alive, more understood, naked and yet protected from the cold of isolation and indifference. Our loneliness is, temporarily, held at bay.
The fact about contemporaries is that they're doing the same thing on another railway line: one resents their distracting one, flashing past, the wrong way- something like that: from timidity, partly, one keeps one's eyes on one's own road.
I haven't re-read Kafka for forty years. I had a second read-through when first teaching English at the University of Warwick in the 1970s, but since then have not been tempted to return. The reason for this, I suspect, is that he is a young person's writer, not in the sense that only the young can appreciate him, but because on first exposure he is so comprehensively and unexpectedly formative that you may never feel the need to read him again. He becomes part of you, and your mind and spirit and view of the human condition are inhabited by his stories, his views, and especially his characters: by poor persecuted Josef K., by Gregor Samsa trapped in his rotting shell, by the hunger artist, yearning to find something, anything, that is actually good to eat, by poor K., who can't get into the castle to visit the Authorities. Kafkaesque: a world incomprehensible, alienating and threatening, absurd. We visit it with incomprehension and at our peril, lost at all points, disorientated, inoculated against faith, searchers for meaning in a book - and universe that either has none, or in which it lurks inaccessibly. Once you have read Kafka, you know this.
Literary criticism, as I attempt to practice it, is in the first place 'literary', which is to say personal and passionate. It is not philosophy, politics, or institutionalised religion. At its strongest - Johnson, Hazlitt, Charles Augustin Sainte-Beuve, and Paul Valéer, among others - it is a kind of wisdom literature, and so a meditation upon life. Yet any distinction between literature and life is misleading. Literature for me is not merely the best part of life; it is itself the form of life, which has no other form.
So things remained until one day, many years later, I happened upon a line in a poem by Heine: “Death is the cooling night.” That childhood memory, lost for so long, suddenly restored itself to my quivering heart, returning freshly washed, in limpid clarity, never again to leave me. If literature truly possesses a mysterious power, I think perhaps it is precisely this: that one can read a book by a writer of a different time, a different country, a different race, a different language, and a different culture and there encounter a sensation that is one’s very own. Heine put into words the feeling I had as a child when I lay napping in the morgue. And that, I tell myself, is literature.
He had so long since ceased to direct his life toward any ideal goal, and had confined himself to the pursuit of quotidian satisfactions, that he had come to believe, though without ever formally stating his belief even to himself that he would remain all his life in that condition, which only death could alter.
with you, the sense i have lost my place in a bookor simply lost — misplaced the memorywhich isn't in the last place where I looked.a thought that the clouds don't move — that it is wewho thunder past — there it is! an old vacation,a train ride — sense of immobility.as sky and forest scroll past in relation,we are not moved, pretend to love the view,resort at length to scripted conversationby a poet-turned-screenwriter who didn't want this job, career gone grossly wrongand now drafts action film scripts wholly two-dimensional unless you choose to don the 3d glasses that do not stay on —
O, I do read Indian novels sometimes. But you know, Ms Rupinder, what we Indians want in literature, at least the kind written in English, is not literature at all, but flattery. We want to see ourselves depicted as soulful, sensitive, profound, valorous, wounded, tolerant and funny beings. All that Jhumpa Lahiri stuff. But the truth is, we are absolutely nothing of that kind. What are we, then, Ms Rupinder? We are animals of the jungle, who will eat our neighbour's children in five minutes, and our own in ten. Keep this in mind before you do any business in this country.
It’s hard to say something about Pushkin to a person who doesn’t know anything about him. Pushkin is a great poet. Napoleon is not as great as Pushkin. Bismarck compared to Pushkin is a nobody. And the Alexanders, First, Second and Third, are just little kids compared to Pushkin. In fact, compared to Pushkin, all people are little kids, except Gogol. Compared to him, Pushkin is a little kid.And so, instead of writing about Pushkin, I would rather write about Gogol.Although, Gogol is so great that not a thing can be written about him, so I'll write about Pushkin after all.Yet, after Gogol, it’s a shame to have to write about Pushkin. But you can’t write anything about Gogol. So I’d rather not write anything about anyone.
The emotional pattern seems to be something like, “[Karl] Polanyi, a person of the left like me, says many true things, beautifully. Therefore his tales about what happened in economic history must be true.” Marx before him got similar treatment. Lately the more eloquent of the environmentalists, such as Wendell Berry, get it too. People want to believe that beauty is truth. A supporting emotional frame on the left arises from the very idea of historical progress: “We must be able to do so much better than this wretched capitalism.” It is not true, but it motivates.
it would be fairer to say I have traveled widely, without ever leaving my own native soil, I've traveled, one might say, through literature, each time I've opened a book the pages echoed with a noise like the dip of a paddle in midstream, and throughout my odyssey I never crossed a single border, and so never had to produce a passport, I'd just pick a destination at random, setting my prejudices firmly to one side, and be welcomed with open arms in places swarming with weird and wonderful characters
This reasoning is based on the wishful thinking that genius can only be earned through education and hard work. It denies the time-proven truth that genius can strike like a random bolt of lightning, at any time in any place, even in a humble glover's home in a small town in Elizabethan England.
I wished, first of all, to buy my way into people's good graces with my book so that, in subsequent personal contact, I would find the ground already prepared, and, I reasoned, if I succeeded in implanting in their soules a favorable image of me, this image would in turn shape me; and so, willy-nilly, I would become mature.
I immediately thought of the stars. Stars. Heavenly bodies formed by huge clouds of dust and gas bumpinginto one another, getting bigger, their gravity getting stronger. Once hot enough, nuclear fusion occurs. And then a star is formed.People are shaped in a similar way—just like stars—excessive amounts of dust and hot gas. And like stars, everyone’s life has a turning point prior to their big bang. The shit show before the creation. Y ’know, one of those moments that can fuck you up.Cleopatra’s was when her father named her joint regent at fourteen. Fucked-up.Bruce Wayne’s when he witnessed his parents get murdered. Fucked-up.Charles Manson’s when his mother sold him for a pitcher of beer. Fucked. Up.Not to mention 'Helter Skelter.
Novelists would do well to remember that when the works of the scholar-historians create doubt in the researcher’s mind, the researcher then turns to literature as a primary source for confirmation or correction. If the truth of a time, a people, a state is not available anywhere else, let it be in the novel. - from Twayne’s US Authors Series: JOHN A WILLIAMS by Gilbert Muller
I didn't notice I was crying until a stewardess came by and gave me a tissue to blow my nose in. Her arm and wrist were slender and they formed a pretty arch, like the limb of a fruit tree, as she poked the tissue into my clenched fist. She didn't look at my eyes. It was a perfect gesture, an expression of indifference and concern, which is the most a drunk can ask for.
I believe one of the important differences between creating literature and just telling a story around the campfire is that in literature you’re recreating the experience of life, not just relaying a ‘this happened, then that happened’ kind of narrative. The specific details and layers of depth that make the world of the story — and what the character is experiencing in that world — as real as possible are elements I love as a reader and, consequently, elements I strive to use effectively as a writer.
The back of the church was raised up from the ground. Tossed in among its supports were what looked like moldering bones.My heart ached so much for these poor souls, neglected even after death, I turned away to head back, but managed only a few burdened steps.I drew up abruptly and froze.An old, worn marker, standing off by itself, grabbed at my heart.It was Edgar Alan Poe.He fit in so perfectly there. Maybe I did, too. His sorrow and pain ate through me as I stood, head lowered. Can’t even death let us step away from our darkness? It was like he was scratching a warning into the dirt with his finger, and meant it specifically for me. Don’t wait around for sermons to wash you clean, he seemed to say, for death or drugs to close your eyes. God won’t come roaring in with fresh troops to drive away the darkness we’ve walled our own souls up in. He didn’t put us there; we’ll have to dig ourselves out.I looked at my own life as I stood there, feeling buried alive, like some of his characters.But unlike his characters I had caught a flash of hope.
Mother made sure her little kids were subjected to a strict routine. We were given a timetable which covered our every waking moment, copies of which were posted by our bedside, in the sitting room and in the kitchen. Story hour meant that mother would read us novels and short stories by Guy de Maupassant, Oscar Wilde and Edmondo de Amicis. Soon we graduated to Tolstoy, Gogol and Turgenev. She read them to us in Chinese and I never realised until much later that the writers wrote them in different European languages. Comics were absolutely forbidden and so were Enid Blyton adventures and pop music. . .Lee Cyn and I soon went to a primary school nearby. . .After mother’s rigorous timetable, school became fun and easy-going.
Don't bother looking for the meaning of it all. There isn't one.Maybe not, but life compulsively dangled the possibility. Life, the dramatist on speed. Life, that couldn't stop with its foreshadows and ironies and symbols and clues, its wretched jokes and false endings and twists. Life with its hopeless addiction to plot.
The night I sat down to read Dostoievski for the first time was a most important event in my life, even more important than my first love. It was the first deliberate, conscious act which had significance for me; it changed the whole face of the world. Whether it is true that the clock stopped that moment when I looked up after the first deep gulp I don't know any more. But the world stopped dead for a moment, that I know. It was my first glimpse into the soul of a man, or shall I say simply that Dostoievski was the first man to reveal his soul to me?"Henry Miller
The curious fact is that biology tells us nothing about desire. And, when you think about it, culture -- novels, movies, opera, and quite a lot of painting -- is about desire, how we manage desire, how we suffer from it, and how it brings us joy when we get things right. A story without desire -- and that means without the insistence of desire -- will be empty, dry, and more or less aimless. That is one reason we read novels, to see how people fall into awkward moral situations and then try to extricate themselves. This is why there is so much anguish in the world: frustrated desire is every bit as miserable as poverty, because desire is no respecter of one’s position in life: everyone goes through it.
Dear Natasha,It's the middle of the night. I can't sleep. Thoughts are creeping through my head like darkness slips around the bodies of sky scrapers in every city we've ever been to. From the bottom up, suffocating the life on the street first and then raising to the head and the brain, circling into smog and clouds until the black stretches up so high that nobody can even remember what the stars used to look like.This is how I feel when I lie awake and think of you. I miss you.
Imagine that the genome is a book.There are twenty-three chapters, called CHROMOSOMES.Each chapter contains several thousand stories, called GENES.Each story is made up of paragraphs, called EXTONS, which are interrupted by advertisements called INTRONS.Each paragraph is made up of words, called CODONS.Each word is written in letters called BASES.
This view of literature as an aesthetic object that could make us ‘better people’ is linked to a certain idea of the subject, to what theorists have come to call ‘the liberal subject’, the individual defined not by a social situation and interests but by an individual subjectivity (rationality and morality) conceived as essentially free of social determinants.
Burnout at its deepest level is not the result of some train wreck of examinations, long call shifts, or poor clinical evaluations. It is the sum total of hundreds and thousands of tiny betrayals of purpose, each one so minute that it hardly attracts notice. When a great ship steams across the ocean, even tiny ripples can accumulate over time, precipitating a dramatic shift in course. There are many Tertius Lydgates, male and female, inhabiting the lecture halls, laboratories, and clinics of today’s medical schools. Like latter-day Lydgates, many of them eventually find themselves expressing amazement and disgust at how far they have veered from their primary purpose.
The committees scour the bookstores, printing and publishing houses, paying particular attention to secondhand bookstores. There, they requisition countless copies of 'Incautious Maidens' or 'Flames at the Metropole.' So that those who prefer the false view of the world presented in cheap novels will never find refuge again.
I stress the expansion and elaboration of language. In simplifying it, reducing it, we reduce the power of our expression and our power to communicate. Standardization, the use of worn-out formulas, impedes communication because it does not match the subtlety of our minds or emotions, the multimedia of our unconscious life.
To become a 'good reader' one must give oneself over to a regime of concentrated pleasure. One does not set out to read a book a day (there is no necessary pleasure in that) but may spend two or three years on one book [. . .], read only portions of another, devour a third at a single sitting.
Every day I would run to the library to get new books. Reading was a passion: I wanted to understand life. I read Dostoevsky and Brehm, Jules Verne and Turgenev, Dickens and the Zhivopisnoye Obozreniye; and the more I read, th emore I doubted everything. Lies surrounded me on all sides; one moment I wanted to run off to the Indian jungle, the next to throw a bomb at the governor-general's house on Tverskaya, the next to hang myself.
As Borges himself showed us in so many stories — "The Aleph", "The Garden of Forking Paths", "The Gift", "Blue Tigers", "Shakespeare's Memory" — a blessing is always a mixed blessing.As Borges noted sadly, he inherited a library, and blindness; we who study Borges inherit great sight, yet the rest of the library somehow fades.(pg 303, "What I Lost When I Translated Jorge Luis Borges")
writing home"here in the wilderness of australiawriting home becomes easyin spite of the spreading wild firesthere is less heat, more certainty.writing home, writing thisi think of those without real homes–our city, people say, provides houseswhich do not, often, bring one home.
It seemed as if the mountains, wave after wave of them, were like the sea, going outward forever into distance, till, far away, they became engulfed in clouds, and joined—mountain and sky in one. Standing there on top, facing the enormity of the world, I thought of myself as a man. How boundlessly small we are…
It’s a powerful moment, when you discover a vocabulary exists for something you’d thought incommunicably unique. Personally, I felt it reading Joseph Conrad’s “Lord Jim.” I have friends who’ve found themselves described in everything from science fiction to detective novels. This self-recognition through others is not simply a by-product of art — it’s the whole point.
Many things in this period have been hard to bear, or hard to take seriously. My own profession went into a protracted swoon during the Reagan-Bush-Thatcher decade, and shows scant sign of recovering a critical faculty—or indeed any faculty whatever, unless it is one of induced enthusiasm for a plausible consensus President. (We shall see whether it counts as progress for the same parrots to learn a new word.) And my own cohort, the left, shared in the general dispiriting move towards apolitical, atonal postmodernism. Regarding something magnificent, like the long-overdue and still endangered South African revolution (a jagged fit in the supposedly smooth pattern of axiomatic progress), one could see that Ariadne’s thread had a robust reddish tinge, and that potential citizens had not all deconstructed themselves into Xhosa, Zulu, Cape Coloured or ‘Eurocentric’; had in other words resisted the sectarian lesson that the masters of apartheid tried to teach them. Elsewhere, though, it seemed all at once as if competitive solipsism was the signifier of the ‘radical’; a stress on the salience not even of the individual, but of the trait, and from that atomization into the lump of the category. Surely one thing to be learned from the lapsed totalitarian system was the unwholesome relationship between the cult of the masses and the adoration of the supreme personality. Yet introspective voyaging seemed to coexist with dull group-think wherever one peered about among the formerly ‘committ
Literature is called adabiyat in Islam precisely because it is seen as the keeper of a civilization and the collector of teachings and statements that educate the self and society with adab such that both are elevated to the rank of the cultured man (insan adabi) and society.
And with distance in time it is the same as with distance in place. The imagination has its atmosphere and its sunlight as well as the earth has; only its mists are even more gorgeous and delicate, its aerial perspectives are even more wide and profound. It also transifgures and beautifies things in far more various ways. For the imagination is all senses in one; it is sight, it is smell, it is hearing; it is memory, regret, and passion. Everything goes to nourish it, from first love to literature - literature, which, for cultivated people, is the imagination's gastric juice.
If arts and music, precious gifts in themselves, were akin to memory, literature was the self-knowing of the species; the human mind accumulated, a manifest of wisdom and knowledge, self-doubt and awareness, folly and foible, all transmitted through the generations. Books amplified the light of mind, reinforced the soul.
Literature, I have always thought, is in most places and companies a singularly dull and uninteresting thing to talk about, but one may, as a rule, hate literary conversation, and yet at the right moment, with all its powers of feeling, the mind in silence may feel what it owes to literature.
I don't think that, when future generations look at the apartheid struggle, they will see it as quite the momentous literary cauldron that recent history has suggested. In fact, as well as recording the struggle for human rights, the literary account, which Gordimer has kept so faithfully and truthfully, may be seen as something of a storm in a teacup. Of course it was true that South Africa preserved in much-condensed form all the nasty prejudices and cruelties of an earlier age, and so it was of particular interest to the liberal West. How, it wondered, could something so obscenely and obviously wrong persist? But this was also obvious to every educated white person in South Africa. Certainly, in my family there were never any misconceptions about the nakedly discriminatory nature of Nationalist rule from 1948 to 1994. Those of us who left had many motives, but one of them was a reluctance to spend our lives attacking the indefensible, particularly in Marxist terms. The point I am making, and have been making for a few years, is that white South African writing rode a wave, whether consciously or not. The big issues that it tackled were in fact long since resolved: The South African Afrikaner government was a blind appendix loosely attached to the western digestive system.
If literature truly possesses a mysterious power, I think perhaps it is precisely this: that one can read a book by a writer of a different time, a different country, a different race, a different language, and a different culture and there encounter a sensation that is one's very own.
Tis true what Hemingway says--if we're lucky enough to live our dreams in youth, as Ernest Hemingway did in 1920's Paris and I did with the Beat poets, then youth's dreams become a moveable feast you take wherever you go--youthful love remains the repast plentiful; exquisite, substantive and good. You can live on happy memories. Eat of them forever.
When a child is born, I once explained to the kids, some dads lay down bottles of wine for them that will mature when they grow up into ungrateful adults. Instead, what you're going to get from me, as each of you turns sixteen, is a library of the one hundred books that gave me the most pleasure when I was a know-nothing adolescent.
On THE AMBER SPYGLASS:"If this plotline was a motorist, it would have been arrested for driving while intoxicated, if it had not perished in the horrible drunk accident where it went headlong over the cliff of the author's preachy message, tumbled down the rocky hillside, crashed, and burned.
But when the wizard is onstage as the main character, you have to adopt what I call the Jack Vance Rule. I call it this because Jack Vance is the first author successfully and adroitly to have applied this rule in his The Dying Earth. The Jack Vance Rule is: (1) The wizard has to be able to do something unusual, or else he is not a wizard, (2) he cannot do everything, or else there is no drama; therefore (3) the story teller has to communicate to the reader whatever the dividing line is that separates what the wizard can do from what he cannot do, so that the reader can have a reasonable expectation of knowing what the wizard can and cannot do.
Imagine the same scene in HAMLET if Pullman had written it. Hamlet, using a mystic pearl, places the poison in the cup to kill Claudius. We are all told Claudius will die by drinking the cup. Then Claudius dies choking on a chicken bone at lunch. Then the Queen dies when Horatio shows her the magical Mirror of Death. This mirror appears in no previous scene, nor is it explained why it exists. Then Ophelia summons up the Ghost from Act One and kills it, while she makes a speech denouncing the evils of religion. Ophelia and Hamlet are parted, as it is revealed in the last act that a curse will befall them if they do not part ways.
I think that the thematic, formal history of the literary form ultimately harkens back to a different political system. That is to say, a feudal order: the aristocratic dispensation of leisure time, the refinements of the self. With the shift from feudal aristocracy to democracy there has been a long process of evolution. I think we’re in the throes of a kind of steep, logarithmic shift, and I think that literary forms are losing their capacity to connect people to issues, to the experiences that feel most meaningful to them.
A page of a book is like a human face. Look at a page by Hemingway and compare it with Sterne and Marcel Proust. They are different typographical beings. But force upon them those ragged edges, and the influence of the author’s style on the physical aspect of the page, their typographical physiognomy will disappear. No, unjustified setting is a sort of gleichschaltung [enforced conformity] through diversity, a very phoney diversity. Produced methodically by chance. For the comfort of the keyboard, and not for the comfort of the eye.
Literature is love. I think it went like this: drawings in the cave, sounds in the cave, songs in the cave, songs about us. Later, stories about us. Part of what we always did was have sex and fight about it and break each other’s hearts. I guess there’s other kinds of love too. Great friendships. Working together. But poetry and novels are lists of our devotions. We love the feel of making the marks as the feelings are rising and falling. Living in literature and love is the best thing there is. You’re always home.
You can be a good painter if you study Cézanne's vision. Whoever dares to copy Van Gogh falls inevitably into the hell of imitators. For this painter didn't care about masterpieces, or even good paintings... but about what is beyond all painting, all art.
Very early on, near the beginning of my writing life, I came to believe that I had to seize on some object outside of literature. Writing as a sylistic exercise seemed barren to me. Poetry as the art of the word made me yawn. I also understood that I couldn't sustain myself very long on the poems of others. I had to go out from myself and literature, look around in the world and lay hold of other spheres of reality.
Though it's true that (dictionary-maker Samuel) Johnson sometimes seem to feel that the language was in decline, he didn't rail against it with (Jonathan) Swift's anger. Instead, he hoped the example of his dictionary would temper that change by providing a distinguished literary example
What is hell to a writer? Hell is being too busy to find the time to write or being unable to find the inspiration. Hell is suddenly finding the words but being away from your notebook or typewriter. Hell is when the verses slip away through your fingers and they never return again.
I find it sad that more Christian literature does not address miracles, and the possibility of demons in our midst. Jesus performed countless miracles in his life that were clearly discussed in the New Testament. And, he cast out demons. Why do some Christians act as those the potential for miracles died with Him? Why do people believe in angels, but not demons? Both were evident in the Bible.
A group of ten prisoners from Dachau, I was with them, we hid in the forest to wait for the Americans. The Germans had already left everything behind. We had food but no weapons. For days we could hear bombs exploding around us. We just wanted to survive long enough for the Americans to control the territory. We didn’t want to die. At that point, our prison uniforms were the only things to keep us from being shot on the spot by the Americans. That was all we had. Who would the Americans believe? Real prisoners or guards dressed as prisoners? Those devils might even say we were the Germans. This was our nightmare.
AND where did the books go when the world turned against them? When the flames of wrath blackened their pages and erased the words, they fled to find solace and redemption in the dark places of the world.“They were exiled into darkness so their own light might one day return to illuminate the world. They went underground, literally and metaphorically, so that their haven became the hidden places far beneath the feet of their persecutors.“Thus was born the Incunabula: it was forged by fire and persecution, to preserve and protect until the book might rise, Phoenix-like, from the ashes of demise.
One day at Fenner's (the university cricket ground at Cambridge), just before the last war, G. H. Hardy and I were talking about Einstein. Hardy had met him several times, and I had recently returned from visiting him. Hardy was saying that in his lifetime there had only been two men in the world, in all the fields of human achievement, science, literature, politics, anything you like, who qualified for the Bradman class. For those not familiar with cricket, or with Hardy's personal idiom, I ought to mention that “the Bradman class” denoted the highest kind of excellence: it would include Shakespeare, Tolstoy, Newton, Archimedes, and maybe a dozen others. Well, said Hardy, there had only been two additions in his lifetime. One was Lenin and the other Einstein.
Modern civilization depends on science … James Smithson was well aware that knowledge should not be viewed as existing in isolated parts, but as a whole, each portion of which throws light on all the other, and that the tendency of all is to improve the human mind, and give it new sources of power and enjoyment … narrow minds think nothing of importance but their own favorite pursuit, but liberal views exclude no branch of science or literature, for they all contribute to sweeten, to adorn, and to embellish life … science is the pursuit above all which impresses us with the capacity of man for intellectual and moral progress and awakens the human intellect to aspiration for a higher condition of humanity.[Joseph Henry was the first Secretary of the Smithsonian Institution, named after its benefactor, James Smithson.]
What is needed is the imagination of the poet and the reasoning power of the mathematician. The thief of "The Purloined Letter" successfully hides the letter from the police because he is both a poet and a mathematician. Dupin is able to find it because he too meets both conditions.
Thee, my serenity, one can not bear, Seeing thee befuddled, bereaved,Dimmed like the midnight, secluded, darkened,Thee, my serenity,A window to my eyes, A window to laughter, and peace of mind,Thee, my serenity, one can not bear,Seeing thee wail, whine, cry,Like a gloomy, mourning brume,Thee, my serenity,Soared through fervor and delight,To the crown of heavens, the Almighty Myth,One can not bear, Seeing thee prostrate, razed, demure,Upon the dimmed streets, crawling, for a sight of the lune,Thee, my birdy in love, What befall to thy song, The very chant of my life, Cut short, stopped, along with all I gasp,Thee, my serenity, one can not bear,Seeing thee, caged in thy own night, Encumbered, through thy own heart,Lean on my shoulders now,My beautiful, wonderful Lily,That thee shall not fear, the sorrow of,Of being lonely, apart, not having a peer,As I promise, to my most dear,The girl to my heart, always near,Come what may, don’t age a year,That I will be, forever here,
In a sense, Joyce was Beckett's Don Quixote, and Beckett was his Sancho Panza. Joyce aspired to the One; Beckett encapsulated the fragmented many. But as each author accomplished his task, it was in the service of the other. Ultimately, Beckett's landscapes would resound with articulate silence, and his empty spaces would collect within themselves the richness of multiple shadows--a physicist would say the negative particles--of all that exists in absence, as in the white patches of an Abstract Expressionist painting. Becket would evoke, on his canvasses of vast innuendo and through the interstices of conscious and unconscious thought, the richness that Joyce had made explicit in words and intricate structure.
When Mats came in the evenings, they would drink tea in the kitchen while reading their books and talking about them. If Katri came in, they were quiet and waited for her to leave. The back door would close, and Katri would have gone.“Does your sister read our books?” Anna wanted to know.“No. She reads literature.
Writers more interested in literature than the truth ensure that they never come out with either thing — one reason that the word literature today sounds so fake, as if you were to insist on saying cuisine every time you meant food. Food, as in sustenance, is more like what we have in mind.
Yet Katie held fast to the dream that perhaps there were men in the world who appreciated good women - men capable of loving a woman enough to die for her.Something had to inspire the heroes in fairy tales and books.Her Aunt Augusta always said it was only womenfolk’s eternal wish for better men that inspired such stories…but Katie liked to believe that living or, at least, once-living men inspired them.
He couldn't imagine using the word 'rewarding' about a work of art - for instance that such and such a book has given me so much, taught me so much, etc etc. - but thought solely that it enlightened him, made him see, cynically and withough false expectations, so that he felt he was alive.
The capital ... shall form a fund, the interest of which shall be distributed annually as prizes to those persons who shall have rendered humanity the best services during the past year. ... One-fifth to the person having made the most important discovery or invention in the science of physics, one-fifth to the person who has made the most eminent discovery or improvement in chemistry, one-fifth to the one having made the most important discovery with regard to physiology or medicine, one-fifth to the person who has produced the most distinguished idealistic work of literature, and one-fifth to the person who has worked the most or best for advancing the fraternization of all nations and for abolishing or diminishing the standing armies as well as for the forming or propagation of committees of peace.
The main danger is that of supposing that the thing to do is get a mind on the scale of Thomas (Aquinas)’s into your head, a task of compression that will be achieved only at your head’s peril. The only safe thing to do is to find a way of getting your mind into his, wherein yours has room to expand and grow, and explore the worlds his contains.
Most people are afflicted with an inability to say what they see or think. They say there’s nothing more difficult than to define a spiral in words; they claim it is necessary to use the unliterary hand, twirling it in a steadily upward direction, so that human eyes will perceive the abstract figure immanent in wire spring and a certain type of staircase. But if we remember that to say is to renew, we will have no trouble defining a spiral; it’s a circle that rises without ever closing. I realize that most people would never dare to define it this way, for they suppose that defining is to say what others want us to say rather than what’s required for the definition. I’ll say it more accurately: a spiral is a potential circle that winds round as it rises, without ever completing itself. But no, the definition is still abstract. I’ll resort to the concrete, and all will become clear: a spiral is a snake without a snake, vertically wound around nothing. All literature is an attempt to make life real. All of us know, even when we act on what we don’t know, life is absolutely unreal in its directly real form; the country, the city and our ideas are absolutely fictitious things, the offspring of our complex sensation of our own selves. Impressions are incommunicable unless we make them literary. Children are particularly literary, for they say what they feel not what someone has taught them to feel. Once I heard a child, who wished to say that he was on the verge of tears, say not ‘I feel like crying’, which is what an adult, i.e., an idiot, would say but rather, ’ I feel like tears.’ And this phrase -so literary it would seem affected in a well-known poet, if he could ever invent it - decisively refers to the warm presence of tears about to burst from eyelids that feel the liquid bitterness. ‘I feel like tears’! The small child aptly defined his spiral. To say! To know how to say! To know how to exist via the written voice and the intellectual image! This is all that matters in life; the rest is men and women, imagined loves and factitious vanities, the wiles of our digestion and forgetfulness, people squirming- like worms when a rock is lifted - under the huge abstract boulder of the meaningless blue sky.
It is right that you should read according to your temperament, occupations, hobbies, and vocations. But it is a sign of great inner insecurity to be hostile to the unfamiliar, unwilling to explore the unfamiliar. In science, we respect the research worker. In literature, we should not always read the books blessed by the majority.
The most common mistake students of literature make is to go straight for what the poem or novel says, setting aside the way that it says it. To read like this is to set aside the ‘literariness’ of the work – the fact that it is a poem or play or novel, rather than an account of the incidence of soil erosion in Nebraska.
Human beings don’t necessarily exist inside of (or correspond to) the neat racial, gendered or national boxes into which we often unthinkingly place them.It’s a mistake to ask literature to reinforce such structures. Literature tends to crack them. Literature is where we free ourselves.
My job is unbearable to me because it conflicts with my only desire and my only calling, which is literature. Since I am nothing but literature and can and want to be nothing else, my job will never take possession of me, it may, however, shatter me completely, and this is by no means a remote possibility.
The Cool Stuff Theory of Literature is as follows: All literature consists of whatever the writer thinks is cool. The reader will like the book to the degree that he agrees with the writer about what's cool. And that works all the way from the external trappings to the level of metaphor, subtext, and the way one uses words. In other words, I happen not to think that full-plate armor and great big honking greatswords are cool. I don't like 'em. I like cloaks and rapiers. So I write stories with a lot of cloaks and rapiers in 'em, 'cause that's cool. Guys who like military hardware, who think advanced military hardware is cool, are not gonna jump all over my books, because they have other ideas about what's cool.The novel should be understood as a structure built to accommodate the greatest possible amount of cool stuff.
Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love.
Considering that the modern and contemporary literature taught in most universities is largely bleak, cynical, morbid, pessimistic, misanthropic dogmatism, often written by suicidal types who sooner or later kill themselves with alcohol or drugs, or shotguns, Professor Takuda was a remarkably cheerful man.
I will not mention the name (and what bits of it I happen to give here appear in decorous disguise) of that man, that Franco-Hungarian writer... I would rather not dwell upon him at all, but I cannot help it— he is surging up from under my pen. Today one does not hear much about him; and this is good, for it proves that I was right in resisting his evil spell, right in experiencing a creepy chill down my spine whenever this or that new book of his touched my hand. The fame of his likes circulates briskly but soon grows heavy and stale; and as for history it will limit his life story to the dash between two dates. Lean and arrogant, with some poisonous pun ever ready to fork out and quiver at you, and with a strange look of expectancy in his dull brown veiled eyes, this false wag had, I daresay, an irresistible effect on small rodents. Having mastered the art of verbal invention to perfection, he particularly prided himself on being a weaver of words, a title he valued higher than that of a writer; personally, I never could understand what was the good of thinking up books, of penning things that had not really happened in some way or other; and I remember once saying to him as I braved the mockery of his encouraging nods that, were I a writer, I should allow only my heart to have imagination, and for the rest rely upon memory, that long-drawn sunset shadow of one’s personal truth.I had known his books before I knew him; a faint disgust was already replacing the aesthetic pleasure which I had suffered his first novel to give me. At the beginning of his career, it had been possible perhaps to distinguish some human landscape, some old garden, some dream- familiar disposition of trees through the stained glass of his prodigious prose... but with every new book the tints grew still more dense, the gules and purpure still more ominous; and today one can no longer see anything at all through that blazoned, ghastly rich glass, and it seems that were one to break it, nothing but a perfectly black void would face one’s shivering soul. But how dangerous he was in his prime, what venom he squirted, with what whips he lashed when provoked! The tornado of his passing satire left a barren waste where felled oaks lay in a row, and the dust still twisted, and the unfortunate author of some adverse review, howling with pain, spun like a top in the dust.
Aesthetic value emanates from the struggle between texts: in the reader, in language, in the classroom, in arguments within a society. Aesthetic value rises out of memory, and so (as Nietzsche saw) out of pain, the pain of surrendering easier pleasures in favour of much more difficult ones ... successful literary works are achieved anxieties, not releases from anxieties.
Sang Ly, we are literature-our lives, our hopes, our desires, our despairs, our passions, our strengths, our weaknesses. Stories express our longing not only to make a difference today but to see what is possible for tomorrow. Literature has been called a handbook for the art of being human.
Any man living in complete luxury and security who chooses to write a play or a novel which causes a flutter and exchange of compliments in Chelsea and Chiswick and a faint thrill in Streatham and Surbiton, is described as "daring," though nobody on earth knows what danger it is that he dares. I speak, of course, of terrestrial dangers; or the only sort of dangers he believes in. To be extravagantly flattered by everybody he considers enlightened, and rather feebly rebuked by everybody he considers dated and dead, does not seem so appalling a peril that a man should be stared at as a heroic warrior and militant martyr because he has had the strength to endure it.
Marx was troubled by the question of why ancient Greek art retained an ‘eternal charm’, even though the social conditions which produced it had long passed; but how do we know that it will remain ‘eternally’ charming, since history has not yet ended? Let us imagine that by dint of some deft archaeological research we discovered a great deal more about what ancient Greek tragedy actually meant to its original audiences, recognized that these concerns were utterly remote from our own, and began to read the plays again in the light of this deepened knowledge. One result might be that we stopped enjoying them. We might come to see that we had enjoyed them previously because we were unwittingly reading them in the light of our own preoccupations; once this became less possible, the drama might cease to speak at all significantly to us.The fact that we always interpret literary works to some extent in the light of our own concerns - indeed that in one sense of ‘our own concerns’ we are incapable of doing anything else - might be one reason why certain works of literature seem to retain their value across the centuries. It may be, of course, that we still share many preoccupations with the work itself; but it may also be that people have not actually been valuing the ‘same’ work at all, even though they may think they have. ‘Our’ Homer is not identical with the Homer of the Middle Ages, nor ‘our’ Shakespeare with that of his contemporaries; it is rather that different historical periods have constructed a ‘different’ Homer and Shakespeare for their own purposes, and found in these texts elements to value or devalue, though not necessarily the same ones. All literary works, in other words, are ‘rewritten’, if only unconsciously, by the societies which read them; indeed there is no reading of a work which is not also a ‘re-writing’. No work, and no current evaluation of it, can simply be extended to new groups of people without being changed, perhaps almost unrecognizably, in the process; and this is one reason why what counts as literature is a notably unstable affair.
Literary art's sudden, startling truth and beauty make us feel, in the most solitary part of us, that we are not alone, and that there are meanings that cannot be bought, sold or traded, that do not decay and die. This socially and economically worthless experience is called transcendence, and you cannot assign a paper, or a grade, or an academic rank, on that. Literature is too sacred to be taught. It needs only to be read.
Literature is a cake with many toys baked inside-and even if you find them all, if you don't enjoy the path that leads you to them, it will be a hollow accomplishment. There was a playwright named Heller, American, I believe, who summed it up this way. He said, 'They knew everything about literature except how to enjoy it.
Before I could respond, I looked out the window again and as if in response to my thoughts, I saw Cooper walking up my driveway. My jaw dropped. I peeked around the kitchen doorframe. Mom was still lost to the television. I turned and looked out the window to make sure I wasn’t hallucinating. No, it was really him. And he had a horse walking beside him. How clichéd could it get?
I am the man who comes and goes between the bar and the telephone booth. Or, rather:that man is called 'I' and you know nothing else about him, just as this station is called only 'station' and beyond it there exists nothing except the unanswered signal of a telephone ringing in a dark room of a distant city.
In literature, too, we admire prose in which a small and astutely arranged set of words has been constructed to carry a large consignment of ideas. 'We all have strength enough to bear the misfortunes of others,' writes La Rochefoucauld in an aphorism which transports us with an energy and exactitude comparable to that of Maillard bridge. The Swiss engineer reduces the number of supports just as the French writer compacts into a single line what lesser minds might have taken pages to express. We delight in complexity to which genius has lent an appearance of simplicity. (p 207)
She had thought of literature all these years (her seclusion, her rank, her sex must be her excuse) as something wild as the wind, hot as fire, swift as lightning; something errant, incalculable, abrupt, and behold, literature was an elderly gentleman in a grey suit talking about duchesses…Orlando then came to the conclusion (opening half-a-dozen books)…that it would be impolitic in the extreme to wrap a ten-pound note round the sugar tongs when Miss Christina Rossetti came to tea…next (here were half-a-dozen invitations to celebrate centenaries by dining) that literature since it all these dinners must be growing very corpulent; next (she was invited to a score of lectures on the Influence of this upon that; the Classical revival; the Romantic survival, and other titles of the same engaging kind) that literature since it listened to all these lectures must be growing very dry; next (here she attended a reception given by a peeress) that literature since it wore all those fur tippets must be growing very respectable; next (here she visited Carlyle’s sound-proof room at Chelsea) that genius since it needed all this coddling must be growing very delicate…
I watched the shadow of our plane hastening below us across hedges and fences, rows of poplars and canals … Nowhere, however, was a single human being to be seen. No matter whether one is flying over Newfoundland or the sea of lights that stretches from Boston to Philadelphia after nightfall, over the Arabian deserts which gleam like mother-of-pearl, over the Ruhr or the city of Frankfurt, it is as though there were no people, only the things they have made and in which they are hiding. One sees the places where they live and the roads that link them, one sees the smoke rising from their houses and factories, one sees the vehicles in which they sit, but one sees not the people themselves. And yet they are present everywhere upon the face of the earth, extending their dominion by the hour, moving around the honeycombs of towering buildings and tied into networks of a complexity that goes far beyond the power of any one individual to imagine, from the thousands of hoists and winches that once worked the South African diamond mines to the floors of today's stock and commodity exchanges, through which the global tides of information flow without cease. If we view ourselves from a great height, it is frightening to realize how little we know about our species, our purpose and our end, I thought, as we crossed the coastline and flew out over the jelly-green sea.
Why should literature be easy? Sometimes you can do what you want to do in a simple, direct way that is absolutely right. Sometimes you can't. Reading is not a passive act. Books are not TV. Art of all kinds is an interactive challenge. The person who makes the work and the person who comes to the work both have a job to do. I am never wilfully obscure, but I do ask for some effort.
Which is probably one of the reasons those of us who love contemporary fiction love it as we do. We’re alone with it. It arrives without references, without credentials we can trust. Givers of prizes (not to mention critics) do the best they can, but they may—they probably will—be scoffed at by their children’s children. We, the living readers, whether or not we’re members of juries, decide, all on our own, if we suspect ourselves to be in the presence of greatness. We’re compelled to let future generations make the more final decisions, which will, in all likelihood, seem to them so clear as to produce a sense of bafflement over what was valued by their ancestors; what was garlanded and paraded, what carried to the temple on the shoulders of the wise.
We have learnt a lesson: words written in books, all of them, are lies. There are no exceptions. Words written on papers are all deceitful.If we put it in a more proper manner, counting non-fiction works, then things like documents, reports, and reviews that are recorded are also deceitful.There’s nothing but deceit.Don’t believe in the for-sale literature.
In reality there is no kind of evidence or argument by which one can show that Shakespeare, or any other writer, is "good". Nor is there any way of definitely proving that--for instance--Warwick Beeping is "bad". Ultimately there is no test of literary merit except survival, which is itself an index to majority opinion.
The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim.The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.
It is just dawn, daylight: that gray and lonely suspension filled with the peaceful and tentative waking of birds. The air, inbreathed, is like spring water. He breathes deep and slow, feeling with each breath himself diffuse in the natural grayness, becoming one with loneliness and quiet that has never known fury or despair. "That was all I wanted," he thinks, in a quiet and slow amazement. "That was all, for thirty years. That didn't seem to be a whole lot to ask in thirty years.
Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. ... The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years.
Outside of the dreary rubbish that is churned out by god knows how many hacks of varying degrees of talent, the novel is, it seems to me, a very special and rarefied kind of literary form, and was, for a brief moment only, wide-ranging in its sociocultural influence. For the most part, it has always been an acquired taste and it asks a good deal from its audience. Our great contemporary problem is in separating that which is really serious from that which is either frivolously and fashionably "radical" and that which is a kind of literary analogy to the Letterman show. It's not that there is pop culture around, it's that so few people can see the difference between it and high culture, if you will. Morton Feldman is not Stephen Sondheim. The latter is a wonderful what-he-is, but he is not what-he-is-not. To pretend that he is is to insult Feldman and embarrass Sondheim, to enact a process of homogenization that is something like pretending that David Mamet, say, breathes the same air as Samuel Beckett. People used to understand that there is, at any given time, a handful of superb writers or painters or whatever--and then there are all the rest. Nothing wrong with that. But it now makes people very uncomfortable, very edgy, as if the very idea of a Matisse or a Charles Ives or a Thelonious Monk is an affront to the notion of "ain't everything just great!" We have the spectacle of perfectly nice, respectable, harmless writers, etc., being accorded the status of important artists...Essentially the serious novelist should do what s/he can do and simply forgo the idea of a substantial audience.
...the mode by which he "heard" the universe and projected it far beyond himself. Perhaps it was in this, I said to Albertine, this unknown quality of a unique world which no other composer had ever yet revealed, that the most authentic proof of genius lies, even more than in the content of the work itself. "Even in literature?” Albertine inquired. “Even in literature.” And thinking again of the sameness of Vinteuil’s works, I explained to Albertine that the great men of letters have never created more than a single work, or rather have never done more than refract through various media an identical beauty which they bring into the world. “If it were not so late, my sweet,” I said to her, “I would show you this quality in all the writers whose works you read while I’m asleep, I would show you the same identity as in Vinteuil. These key-phrases, which you are beginning to recognise as I do, my little Albertine, the same in the sonata, in the septet, in the other works, would be, say for instance in Barbey dAurevilly, a hidden reality revealed by a physical sign, the physiological blush...
Now I could appreciate the merits of a broad, poetical, powerful interpretation, or rather it was to this that those epithets were conventionally applied, but only as we give the names of Mars, Venus, Saturn to planets which have nothing mythological about them. We feel in one world, we think, we give names to things in another; between the two we can establish a certain correspondence, but not bridge the gap.
The book was in her lap; she had read no further. The power to change one’s life comes from a paragraph, a lone remark. The lines that penetrate us are slender, like the flukes that live in river water and enter the bodies of swimmers. She was excited, filled with strength. The polished sentences had arrived, it seemed, like so many other things, at just the right time. How can we imagine what our lives should be without the illumination of the lives of others?
You can be good for the mere sake of goodness; you cannot be bad for the mere sake of badness. You can do a kind action when you are not feeling kind and when it gives you no pleasure, simply because kindness is right; but no one ever did a cruel action simply because cruelty is wrong - only because cruelty is pleasant or useful to him, In other words, badness cannot succeed even in being bad in the same way in which goodness is good. Goodness is, so to speak, itself: badness is only spoiled goodness. And there must be something good first before it can be spoiled.
Behind every door in London there are stories, behind every one ghosts. The greatest writers in the history of the written word have given them substance, given them life.And so we readers walk, and dream, and imagine, in the city where imagination found its great home.
Reading Chekhov, I felt not happy, exactly, but as close to happiness as I knew I was likely to come. And it occurred to me that this was the pleasure and mystery of reading, as well as the answer to those who say that books will disappear. For now, books are still the best way of taking great art and its consolations along with us on a bus.
Human existence is temporary and all the knowledge of the universe we acquire will in time be forgotten because there will be no humans left to benefit from any of the stuff we learned.And yet, this doesn't invalidate scientific exploration to me. We seek to understand the universe because it makes our lives better and more rich. Similarly, we tell stories (and think about why and how to tell stories) because it makes human existence richer. Made-up stories matter. They bring us pleasure and solace and nurture empathy by letting us see the world through others' eyes. They also help us to feel unalone, to understand that our grief and joy is shared not just by those around us but by all those who came before us and all those still yet to come.
The first demand any work of art makes upon us is surrender. Look. Listen. Receive. Get yourself out of the way. (There is no good asking first whether the work before you deserves such a surrender, for until you have surrendered you cannot possibly find out.)
Writing, painting, singing--it cannot stop everything. Cannot halt death in its tracks. But perhaps it can make the pause between death's footsteps sound and look and feel beautiful, can make the space of waiting a place where you can linger without as much fear. For we are all walking each other to our deaths, and the journey there between footsteps makes up our lives.
The embrace of present and past time, in which English antiquarianism becomes a form of alchemy, engenders a strange timelessness. It is as if the little bird which flew through the Anglo-Saxon banqueting hall, in Bede's Historia Ecclesiastica Gentis Anglorum, gained the outer air and became the lark ascending in Vaughan Williams's orchestral setting. The unbroken chain is that of English music itself.
It is a great thing to start life with a small number of really good books which are your very own. You may not appreciate them at first. You may pine for your novel of crude and unadulterated adventure. You may, and will, give it the preference when you can. But the dull days come, and the rainy days come, and always you are driven to fill up the chinks of your reading with the worthy books which wait so patiently for your notice. And then suddenly, on a day which marks an epoch in your life, you understand the difference. You see, like a flash, how the one stands for nothing, and the other for literature. From that day onwards you may return to your crudities, but at least you do so with some standard of comparison in your mind. You can never be the same as you were before. Then gradually the good thing becomes more dear to you; it builds itself up with your growing mind; it becomes a part of your better self, and so, at last, you can look, as I do now, at the old covers and love them for all that they have meant in the past.
What is literature, and why do I try to write about it? I don’t know. Likewise, I don’t know why I go on living, most of the time. But this not knowing is precisely what I want to preserve. As readers, the closest way we can engage with a literary work is to protect its indeterminacy; to return ourselves and it to a place that precludes complete recognition. Really, when I’m reading, all I want is to stand amazed in front of an unknown object at odds with the world.
I've always felt that the performance of a raag resembles a novel - or at least the kind of novel I'm attempting to write. You know,' he continued, extemporizing as he went along, 'first you take one note and explore it for a while, then another to discover its possibilities, then perhaps you get to the dominant, and pause for a bit, and it's only gradually that the phrases begin to form and the tabla joins in with the beat...and then the more brilliant improvisations and diversions begin, with the main theme returning from time to time, and finally it all speeds up, and the excitement increases to a climax.
Sometimes, in the course of my hopeless quest, I would pick up and dip into one of the ordinary books that lay strewn around the castle. Whenever I did, it seemed so insipid and insubstantial that I flew into a rage and hurled it at the wall after reading the first few sentences. I was spoilt for any other form of literature, and the mental torment I endured was comparable to the agony of unrequited love compounded by the withdrawal symptoms associated with a severe addiction.
If I understand you rightly, you had formed a surmise of such horror as I have hardly words to-- Dear Miss Morland, consider the dreadful nature of the suspicions you have entertained. What have you been judging from? Remember the country and the age in which we live. Remember that we are English, that we are Christians. Consult your own understanding, your own sense of the probable, your own observation of what is passing around you. Does our education prepare us for such atrocities? Do our laws connive at them? Could they be perpetrated without being known, in a country like this, where social and literary intercourse is on such a footing, where every man is surrounded by a neighbourhood of voluntary spies, and where roads and newspapers lay everything open? Dearest Miss Morland, what ideas have you been admitting?"They had reached the end of the gallery, and with tears of shame she ran off to her own room.
There was no sense to life, to the structure of things. D.H. Lawrence had known that. You needed love, but not the kind of love most people used and were used up by. Old D.H. had known something. His buddy Huxley was just an intellectual fidget, but what a marvelous one. Better than G.B. Shaw with that hard keel of a mind always scraping bottom, his labored wit finally only a task, a burden on himself, preventing him from really feeling anything, his brilliant speech finally a bore, scraping the mind and the sensibilities. It was good to read them all though. It made you realize that thoughts and words could be fascinating, if finally useless.
[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 can also be useful to politics, enabling that science to discover how much of it is no more than verbal construction, myth, literary tops. Politics, like literature, must above all know itself and distrust itself. As a final observation, I should like to add that it is impossible today for anyone to feel innocent, if in whatever we do or say we can discover a hidden motive - that of a white man, or a male, or the possessor of a certain income, or a member of a given economic system, or a sufferer from a certain neurosis - this should not induce in us either a universal sense of guilt or an attitude of universal accusation. When we become aware of our disease or of our hidden motives, we have already begun to get the better of them. What matters is the way in which we accept our motives and live through the ensuing crisis. This is the only chance we have of becoming different from the way we are - that is, the only way of starting to invent a new way of being.
I drove all night, northeast, and once again I felt it was literature I had been confronting these past days, the archetypes of the dismal mystery, sons and daughters of the archetypes, images that could not be certain which of two confusions held less terror, their own or what their own might become if it ever faced the truth. I drove at insane speeds.
Poirot, watching him, felt suddenly a doubt--an uncomfortable twinge. Was there, here, something that he had missed? Some richness of the spirit? Sadness crept over him. Yes, he should have become acquainted with the classics. Long ago. Now, alas, it was too late....
Literary style is like crystal-ware: the cleaner the wineglass, the brighter the brilliance. As a reader, I agree with those who believe that a colour of the dress, which a character has on, as well as any enumeration and description of dishes at dinner or in the kitchen should be mentioned only in case if all this has a strong consequent relation to the plot, but as an author, I can’t help mentioning all this, with no particular reason, just for love for my characters, desiring to give them something nice and pleasant. Melancholy grows a platinum rose. Affection grows a double rose.
In the language of the day it is customary to describe a certain sort of book as “escapist” literature. As I understand it, the adjective implies, a little condescendingly, that the life therein depicted cannot be identified with the real life which the critic knows so well in W.C.1: and may even have the disastrous effect on the reader of taking him happily for a few hours out of his own real life in N.W.8. Why this should be a matter for regret I do not know; nor why realism in a novel is so much admired when realism in a picture is condemned as mere photography; nor, I might add, why drink and fornication should seem to bring the realist closer to real life than, say, golf and gardening.
Do you know why teachers use me? Because I speak in tongues. I write metaphors. Every one of my stories is a metaphor you can remember. The great religions are all metaphor. We appreciate things like Daniel and the lion’s den, and the Tower of Babel. People remember these metaphors because they are so vivid you can’t get free of them and that’s what kids like in school. They read about rocket ships and encounters in space, tales of dinosaurs. All my life I’ve been running through the fields and picking up bright objects. I turn one over and say, Yeah, there’s a story. And that’s what kids like. Today, my stories are in a thousand anthologies. And I’m in good company. The other writers are quite often dead people who wrote in metaphors: Edgar Allan Poe, Herman Melville, Washington Irving, Nathaniel Hawthorne. All these people wrote for children. They may have pretended not to, but they did.
In politics no permanent friends, no permanent enemies but permanent interest.
Books can make a difference in dispelling prejudice and building community: not with role models and recipes, not with noble messages about the human family, but with enthralling stories that make us imagine the lives of others. A good story lets you know people as individuals in all their particularity and conflict; and once you see someone as a person—flawed, complex, striving—you’ve reached beyond stereotype.
Already the people murmur that I am your enemybecause they say that in verse I give the world your me.They lie, Julia de Burgos. They lie, Julia de Burgos.Who rises in my verses is not your voice. It is my voicebecause you are the dressing and the essence is me;and the most profound abyss is spread between us.You are the cold doll of social lies,and me, the virile starburst of the human truth.You, honey of courtesan hypocrisies; not me;in all my poems I undress my heart.You are like your world, selfish; not mewho gambles everything betting on what I am.You are only the ponderous lady very lady;not me; I am life, strength, woman.You belong to your husband, your master; not me;I belong to nobody, or all, because to all, to allI give myself in my clean feeling and in my thought.You curl your hair and paint yourself; not me;the wind curls my hair, the sun paints me.You are a housewife, resigned, submissive,tied to the prejudices of men; not me;unbridled, I am a runaway Rocinantesnorting horizons of God's justice.You in yourself have no say; everyone governs you;your husband, your parents, your family,the priest, the dressmaker, the theatre, the dance hall,the auto, the fine furnishings, the feast, champagne,heaven and hell, and the social, "what will they say."Not in me, in me only my heart governs,only my thought; who governs in me is me.You, flower of aristocracy; and me, flower of the people.You in you have everything and you owe it to everyone,while me, my nothing I owe to nobody.You nailed to the static ancestral dividend,and me, a one in the numerical social divider,we are the duel to death who fatally approaches.When the multitudes run riotingleaving behind ashes of burned injustices,and with the torch of the seven virtues,the multitudes run after the seven sins, against you and against everything unjust and inhuman,I will be in their midst with the torch in my hand.
most common people oft he market-place much prefer light literature to improving books. The problem is, that so many romances contain slanderous anecdotes about sovereigns and ministers or cast aspersions upon man’s wives and daughters so that they are packed with sex and violence. Even worse are those writers of the breeze-and-moonlight school, who corrupt the young with pornography and filth. As for books of the beauty-and-talented-scholar type, a thousand are written to a single pattern and none escapes bordering on indecency. They are filled with allusions to handsome, talented young men and beautiful, refined girls in history; but in order to insert a couple of his own love poems, the author invents stereotyped heroes and heroines with the inevitable low character to make trouble between them like a clown in a play, and makes even the slave girls talk pedantic nonsense. So all these novels are full of contradictions and absurdly unnatural.
...apparently "London" gave out my address! that's what they're saying...not just London, though! Brazzaville, too!...and said that I'm a dirty pornographer...a letch besides being the most despicable traitor of the century!...I'd make a urinal blush! that what we need is to cleanse France and the French language of this smut-writing, demoralizing, grammaclast who's sullying our sacred homeland and its literary heritage!
[Giordano] Bruno died, despised and suffering, after eight years of agony. From that moment, his works have attracted interest, and he has long been recognized as an important figure in the development of modern thought. Nevertheless, few are familiar with the many and often bewildering pages of his writings. His Italian works have their place in the history of Italian literature. The Latin works in prose and verse are much more bulky and diffuse, but the few who grapple with them are rewarded by passages of great beauty and eloquence.
How to explain the sheer tingling joy one experiences when two interesting, complex, and occasionally aggravating characters have at last settled their misunderstandings and will live happily ever after, no matter what travails life might throw in their path, because Jane Austen said they will, and that's that? How to describe the exhilaration of being caught up in an unknown but glamorous world of balls and gowns and rides in open carriages with handsome young men? How to explain that the best part of Jane Austen's world is that sudden recognition that the characters are just like you?
I held Angie Luna in that room for hours, and I remember the different times we made love like epochs in a civilization, each movement and every touch, apex upon abyss. In the luxury of our bed, we tried every position and every angle. I explored the curves on her body and delighted in seeing the freedom of her ecstasy. Her desperate whispers and pleas. I told her I loved her, and she said she loved me too. We lay in bed with our limbs entangled, in a pacific silence that reminded me of existing on a beach just for the sake of such an existence. I couldn't imagine the world ever becoming better, and for some strange reason the thought slipped into my head that I had suddenly grown to be an old man because I could only hope to repeat, but never improve on, a night like this. I finally took her home sometime when the interstate was empty, and the bridges seemed to lead to nowhere, for they were desolate too.
A rural Venus, Selah rises from thegold foliage of the Sixhiboux River, sweepspetals of water from her skin. At once,clouds begin to sob for such beauty.Clothing drops like leaves."No one makes poetry,my Mme.Butterfly, my Carmen, in Whylah,”I whisper. She smiles: “We’ll shape it withour souls.”Desire illuminates the dark manuscriptof our skin with beetles and butterflies.After the lightning and rain has ceased,after the lightning and rain of lovemakinghas ceased, Selah will dive again into thesunflower-open river.
And if I am not mistaken here is the secret of the greatness that was Spain. In Spain it is men that are the poems, the pictures and the buildings. Men are its philosophies. They lived, these Spaniards of the Golden Age; they felt and did; they did not think. Life was what they sought and found, life in its turmoil, its fervour and its variety. Passion was the seed that brought them forth and passion was the flower they bore. But passion alone cannot give rise to a great art. In the arts the Spaniards invented nothing. They did little in any of those they practised, but give a local colour to a virtuosity they borrowed from abroad. Their literature, as I have ventured to remark, was not of the highest rank; they were taught to paint by foreign masters, but, inapt pupils, gave birth to one painter only of the very first class; they owed their architecture to the Moors, the French and the Italians, and the works themselves produced were best when they departed least from their patterns. Their preeminence was great, but it lay in another direction: it was a preeminence of character. In this I think they have been surpassed by none and equalled only by the ancient Romans. It looks as though all the energy, all the originality, of this vigorous race had been disposed to one end and one end only, the creation of man. It is not in art that they excelled, they excelled in what is greater than art--in man. But it is thought that has the last word.
Basically, if the author is totally un-educated, then the text won't bring out his best. Normal, educated people always understand that. But here's the thing—when the author is very highly-educated, the result is the same: the text turns out sub-par. Like if Charybdis was an uneducated cannibal, and Scylla was a sophisticated gourmand.Real literature snakes between the two. Like Hera's hair.
A midst deceit I found the truth;there in the rough I found a diamond.And from the moment we met,I think of no one elseToday I choose to be, to live and breathe;to dream, to weep, and to sing in free verse.And you, the object of my delight:a like-minded opposite I am myself with,a mind-fuck times six, seven, eight thousand and three.I know that you love me with every inch of your deep.
Is it a coincidence that stories from the private life became more popular just as the grand hope for public redemption through revolution was beginning to sour? I witnessed a similar shift in taste in my own time. In the 1960s, while a hopeful vision of a just society arose again, countless poems and plays concerning politics and public life were written, read, and performed. But after the hope diminished and public life seemed less and less trustworthy, this subject was less in style.
Words are instruments, they are tools that, in their different ways, are as effective as any sharp edge or violate chemical. They are, like coins, items of great value, but they represent a currency that, well spent, returns ever greater riches.
Science has discovered that, like any work of literature, the human genome is a text in need of commentary, for what Eliot said of poetry is also true of DNA: 'all meanings depend on the key of interpretation.' What makes us human, and what makes each of us his or her own human, is not simply the genes that we have buried into our base pairs, but how our cells, in dialogue with our environment, feed back to our DNA, changing the way we read ourselves. Life is a dialectic.
Literature for me… tries to heal the harm done by stories. (How much harm? Most of the atrocities of history have been created by stories, e.g., the Jews killed Jesus.) I follow Sartre that the freedom the author claims for herself must be shared with the reader. So that would mean that literature is stories that put themselves at the disposal of readers who want to heal themselves. Their healing power lies in their honesty, the freshness of their vision, the new and unexpected things they show, the increase in power and responsibility they give the reader.
Tonight, however, Dickens struck him in a different light. Beneath the author’s sentimental pity for the weak and helpless, he could discern a revolting pleasure in cruelty and suffering, while the grotesque figures of the people in Cruikshank’s illustrations revealed too clearly the hideous distortions of their souls. What had seemed humorous now appeared diabolic, and in disgust at these two favourites he turned to Walter Pater for the repose and dignity of a classic spirit.But presently he wondered if this spirit were not in itself of a marble quality, frigid and lifeless, contrary to the purpose of nature. ‘I have often thought’, he said to himself, ‘that there is something evil in the austere worship of beauty for its own sake.’ He had never thought so before, but he liked to think that this impulse of fancy was the result of mature consideration, and with this satisfaction he composed himself for sleep. He woke two or three times in the night, an unusual occurrence, but he was glad of it, for each time he had been dreaming horribly of these blameless Victorian works…It turned out to be the Boy’s Gulliver’s Travels that Granny had given him, and Dicky had at last to explain his rage with the devil who wrote it to show that men were worse than beasts and the human race a washout. A boy who never had good school reports had no right to be so morbidly sensitive as to penetrate to the underlying cynicism of Swift’s delightful fable, and that moreover in the bright and carefully expurgated edition they bring out nowadays. Mr Corbett could not say he had ever noticed the cynicism himself, though he knew from the critical books it must be there, and with some annoyance he advised his son to take out a nice bright modern boy’s adventure story that could not depress anybody. Mr Corbett soon found that he too was ‘off reading’. Every new book seemed to him weak, tasteless and insipid; while his old and familiar books were depressing or even, in some obscure way, disgusting. Authors must all be filthy-minded; they probably wrote what they dared not express in their lives. Stevenson had said that literature was a morbid secretion; he read Stevenson again to discover his peculiar morbidity, and detected in his essays a self-pity masquerading as courage, and in Treasure Island an invalid’s sickly attraction to brutality. This gave him a zest to find out what he disliked so much, and his taste for reading revived as he explored with relish the hidden infirmities of minds that had been valued by fools as great and noble. He saw Jane Austen and Charlotte Brontë as two unpleasant examples of spinsterhood; the one as a prying, sub-acid busybody in everyone else’s flirtations, the other as a raving, craving maenad seeking self-immolation on the altar of her frustrated passions. He compared Wordsworth’s love of nature to the monstrous egoism of an ancient bellwether, isolated from the flock.
They were both young men under thirty. Art is not so precocious as literature, and does not send quite so many early potatoes into the market, so that the age of thirty is considered young enough for a painter to have learnt his business sufficiently to be marketable from the picture-dealing point of view. ("The Phantom Model")
When I was little, my ambition was to grow up to be a book. Not a writer. People can be killed like ants. Writers are not hard to kill either. But not books: however systematically you try to destroy them, there is always a chance that a copy will survive and continue to enjoy a shelf-life in some corner on an out-of-the-way library somehwere in Reykjavik, Valladolid or Vancouver.
What the critic as a teacher of language tries to teach is not an elegant accomplishment, but the means of conscious life. Literary education should lead not merely to the admiration of great literature, but to some possession of its power of utterance. The ultimate aim is an ethical and participating aim, not an aesthetic or contemplative one, even though the latter may be the means of achieving the former.
Sence and Sensibility, for instance, came out in three separate volumes, as did Pride and Prejudice (so the next time you read one of the ubiquitous time-travel Austen adaptations and somebody picks up a single-volume first edition, you can hit your nerd buzzer and say "wrong!").
They were...no ordinary group, gathering together to kill an evening, to seek refuge from critical husbands and demanding children while idly discussing their new best-seller. They met because literature was their shared passion. Books were as important to them as breath itself. They shared the ability to immerse themselves in the lives of fictional characters, to argue passionately about the development of plots, about decisions taken, dilemmas resolved.
They were readers for whom literature was a drug, each complex plot line delivering a new high, suspending them above reality, allowing them a magical crossover...They had spoken often, with rueful honesty, of how the books they read represented escape, offered pathways to literary landscapes that intrigued and engrossed...From childhood on, books had been the hot air balloons that carried them above the angry mutterings of quarreling parents, schoolyard rejections, academic boredom...They were of a kind, readers from birth.
When it begins it is like a light in a tunnel, a rush of steel andsteam across a torn up life. It is a low rumble, an earthquake in theback of the mind. My spine is a track with cold black steel racing onit, a trail of steam and dust following behind, ghost like. It feelslike my whole life is holding its breath.By the time she leaves the room I am surprised that she can’t see thetrain. It has jumped the track of my spine and landed in my mothers’living room. A cold dark thing, black steel and redwood paneling. Itis the old type, from the western movies I loved as a kid.He throws open the doors to the outside world, to the dark ocean. Ifeel a breeze tugging at me, a slender finger of wind that catches atmy shirt. Pulling. Grabbing. I can feel the panic build in me, theneed to scream or cry rising in my throat.And then I am out the door, running, tumbling down the steps fallingout into the darkened world, falling out into the lifeless ocean. Outinto the blackness. Out among the stars and shadows.And underneath my skin, in the back of my head and down the back of myspine I can feel the desperation and I can feel the noise. I can feelthe deep and ancient ache of loudness that litters across my bones.It’s like an old lover, comfortable and well known, but unwelcome andinappropriate with her stories of our frolicking.And then she’s gone and the Conductor is closing the door. Thedarkness swells around us, enveloping us in a cocoon, pressing flatagainst the train like a storm. I wonder, what is this place?Those had been heady days, full and intense. It’s funny. I rememberthe problems, the confusions and the fears of life we all dealt with.But, that all seems to fade. It all seems to be replaced by images ofthe days when it was all just okay. We all had plans back then,patterns in which we expected the world to fit, how it was to bedeciphered.Eventually you just can’t carry yourself any longer, can’t keep youreyelids open, and can’t focus on anything but the flickering light ofthe stars. Hours pass, at first slowly like a river and then all in arush, a climax and I am home in the dorm, waking up to the ringing ofthe telephone.When she is gone the apartment is silent, empty, almost like a personsleeping, waiting to wake up. When she is gone, and I am alone, I curlup on the bed, wait for the house to eject me from its dying corpse.Crazy thoughts cross through my head, like slants of light in anattic.The Boston 395 rocks a bit, a creaking noise spilling in from theundercarriage. I have decided that whatever this place is, all thesenoises, sensations - all the train-ness of this place - is afabrication. It lulls you into a sense of security, allows you to feelas if it’s a familiar place. But whatever it is, it’s not a train, orat least not just a train.The air, heightened, tense against the glass. I can hear the squeak ofshoes on linoleum, I can hear the soft rattle of a dying man’sbreathing. Men in white uniforms, sharp pressed lines, run past,rolling gurneys down florescent hallways.
Then said he, ’I am going to my Father’s; and though with great difficulty I am got hither, yet now I do not repent me of all the trouble I have been at to arrive where I am. My sword I give to him that shall succeed me in my pilgrimage, and my courage and skill to him that can get it. My marks and scars I carry with me, to be a witness for me that I have fought His battles who now will be my rewarder.’.... So he passed over, and all the trumpets sounded for him on the other side.
Water, wind and birdsong were the echoes in this quiet place of a great chiming symphony that was surging around the world. Knee-deep in grasses and moon daisies, Stella stood and listened, swaying a little as the flowers and trees were swaying, her spirit voice singing loudly, though her lips were still, and every pulse in her body beating its hammer strokes in time to the song.
Spend the glittering moonlight therePursuing down the soundless deepLimbs that gleam and shadowy hair,Or floating lazy, half-asleep.Dive and double and follow after,Snare in flowers, and kiss, and call,With lips that fade, and human laughterAnd faces individual,Well this side of Paradise! . . .There's little comfort in the wise.
This is all a tale of an older world and a forgotten countryside. At this moment of time change has come; a screaming line of steel runs through the heather of no-man’s-land, and the holiday-maker claims the valleys for his own. But this busyness is but of yesterday, and not ten years ago the fields lay quiet to the gaze of placid beasts and the wandering stars. This story I have culled from the grave of an old fashion, and set down for the love of a great soul and the poetry of life.
It hadn’t always been this way, that’s a cliché, but it is a cliché for a reason. It’s not like anyone starts a relationship with nothing to say to the other person. No-one wants to feel like a complete stranger and live together because it’s easier than trying to remember who owns the copy of Almost Famous – which was mine by the way.
What do I miss, as a human being, if I have never heard of the Second Law of Thermodynamics? The answer is: Nothing. And what do I miss by not knowing Shakespeare? Unless I get my understanding from another source, I simply miss my life. Shall we tell our children that one thing is as good as another-- here a bit of knowledge of physics, and there a bit of knowledge of literature? If we do so, the sins of the fathers will be visited upon the children unto the third and fourth generation, because that normally is the time it takes from the birth of an idea to its full maturity when it fills the minds of a new generation and makes them think by it.Science cannot produce ideas by which we could live.
An artist is the magician put among men to gratify--capriciously--their urge for immortality. The temples are built and brought down around him, continuously and contiguously, from Troy to the fields of Flanders. If there is any meaning in any of it, it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities. What now of the Trojan War if it had been passed over by the artist's touch? Dust. A forgotten expedition prompted by Greek merchants looking for new markets. A minor redistribution of broken pots. But it is we who stand enriched, by a tale of heroes, of a golden apple, a wooden horse, a face that launched a thousand ships--and above all, of Ulysses, the wanderer, the most human, the most complete of all heroes--husband, father, son, lover, farmer, soldier, pacifist, politician, inventor and adventurer...
The digital sunset always looks better than the real thing, always. Because a sunset generated by the basic package of yellow sun and blue sky is unreliable. Today it may be stunning, hypnotic. Tomorrow it may be lifeless and dull, a white sky scorched with yellow. Tomorrow the sky will be velvet.
Whether or not the fame of Gilgamesh of Uruk had reached the Aegean – and the idea is attractive – there can be no doubt that it was as great as that of any other hero. In time his name became so much a household word that jokes and forgeries were fathered onto it, as in a popular fraud that survives on eighth-century B.C. tablets which perhaps themselves copy an older text. This is a letter supposed to be written by Gilgamesh to some other king, with commands that he should send improbable quantities of livestock and metals, along with gold and precious stones for an amulet for Enkidu, which would weigh no less that thirty pounds. The joke must have been well received, for it survives in four copies, all from Sultantepe.
The parrot had a range of phrases. His own name ('Niko, Niko'), the name of his original owner and now 'Stavros'. Occasionally he would also say 'Panagia mou', which could be an expression of piety but also a gentle expletive, depending on how it was said. With the parrot it was hard to tell. It did not sound pious.
Literature duplicates the experience of living in a way that nothing else can, drawing you so fully into another life that you temporarily forget you have one of your own. That is why you read it, and might even sit up in bed till early dawn, trowing your whole tomorrow out of whack, simply to find out what happens to some people who, you know perfectly well, are made up.
This is what Laura loved about literature. You could see things in it that perhaps weren’t there, but might be. And even that didn’t matter if, in the end, readers needed something to be there. They could bring their somethings to a text, as co-creators, embedding a needed reality in the story that, if it was flexible enough, would allow new threads to take their place beside the author’s.
Elgin himself looked ten years younger, now that he’d cast the die, but I thought exuberance had got the better of him when he strode into the saloon later, threw The Origin of Species on the table and announced:"It’s very original, no doubt, but not for a hot evening. What I need is some trollop."I couldn’t believe my ears, and him a church-goer, too. "Well, my lord, I dunno,” says I. "Tientsin ain’t much of a place, but I’ll see what I can drum up —""Michel’s been reading Doctor Thorne since Taku," cried he. "He must have finished it by now, surely! Ask him, Flashman, will you?" So I did, and had my ignorance, enlightened.
Watson is a cheap, efficient little sod of a literary device. Holmes doesn't need him to solve crimes any more than he needs a ten-stone ankle weight. The audience, Arthur. The audience needs Watson as an intermediary, so that Holmes's thoughts might be forever kept just out of reach. If you told stories from Holmes's perspective, everyone would know what the bleeding genius was thinking the whole time. They'd have the culprit fingered on page one.
Had Stella been named anything else, and/or had we lived in any other city besides New Orleans, my desperate call would have been just my desperate call. In that alternate universe the neighbors might have peeked from behind the curtains but they wouldn't have laughed or, worse, joined in. But you simply cannot shout the name Stella while standing under a window in New Orleans and hope for anything like an authentic or even mildly earnest moment. Literature had beaten me to this moment, had staked its flag here first, and there was nothing I could do outside in that soupy, rain-drenched alleyway that could rise above sad parody. Perhaps if she'd been named Beatrice, or Katarzyna-maybe then my life would have turned out differently. Maybe then my voice would have roused her to the window, maybe then I could have told her that I was sorry, that I could be a better man, that I couldn't promise I knew everything it meant but I loved her. Instead I stared up at that black window, shutmouthed and impotent, blinking and reblinking my eyes to flush out the rainwater. "Stella," I whispered. The French have an expression: "Without literature life is hell." Yeah, well. Life with it bears its own set of flames.
And adab towards language means the recognition and acknowledgement of the rightful and proper place of every word in a written or uttered sentence so as not to produce a dissonance in meaning, sound and concept. Literature is called adabiyat in Islam precisely because it is seen as the keeper of civilization, the collector of teachings and statements that educate the self and society with adab such that both are elevated to the rank of the cultured man (insan adabi) and society.
I was beginning to understand something I couldn't articulate. It was a jazzy feeling in my chest, a fluttering, a kind of buzzing in my brain. Warmth. Life. The circulation of blood. Sanguinity. I don't know. I understood the enormous risk of telling the truth, how the telling could result in every level of hell reigning down on you, your skin scorched to the bone and then bone to ash and then nothing but a lingering odour of shame and decomposition, but now I was also beginning to understand the new and alien feeling of taking the risk and having the person on the other end of the telling, the listener, say: Bad shit at home? You guys are running away? Yeah, I said. I understand, said, Noehmi.
Irma, she said. But I had started to walk away. I heard her say some more things but by then I had yanked my skirt up and was running down the road away from her and begging the wind to obliterate her voice. She wanted to live with me. She missed me. She wanted me to come back home. She wanted to run away. She was yelling all this stuff and I wanted so badly for her to shut up. She was quiet for a second and I stopped running and turned around once to look at her. She was a thimble-sized girl on the road, a speck of a living thing. Her white-blond hair flew around her head like a small fire and it was all I could see because everything else about her blended in with the countryside. He offered you a what? she yelled. An espresso! I yelled back. It was like yelling at a shorting wire or a burning bush. What is it? she said. Coffee! I yelled. Irma, can I come and live--I turned around again and began to run.
The Anglican service today was more familiar to me from movies. Like one of the great Shakespeare speeches, the graveside oration, studded in fragments in the memory, was a succession of brilliant phrases, book titles, dying cadences that breathed life, pure alertness, along the spine.
The Booker thing was a catalyst for me in a bizarre way. It’s perceived as an accolade to be published as a ‘literary’ writer, but, actually, it’s pompous and it’s fake. Literary fiction is often nothing more than a genre in itself. I’d always read omnivorously and often thought much literary fiction is read by young men and women in their 20s, as substitutes for experience.
Reading good literature is an experience of pleasure...but it is also an experience of learning what and how we are, in our human integrity and our human imperfection, with our actions, our dreams, and our ghosts, alone and in relationships that link us to others, in our public image and in the secret recesses of our consciousness.
For those of us who take literature very seriously, picking up a work of fiction is the start of an adventure comparable in anticipatory excitement to what I imagine is felt by an athlete warming up for a competition, a mountain climber preparing for the ascent: it is the beginning of a process whose outcome is unknown, one that promises the thrill and elation of success but may as easily end in bitter disappointment. Committed readers realize at a certain point that literature is where we have learned a good part of the little we know about living.