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Read through the most famous quotes by topic #liter
Chorus of old men: How true the saying: 'Tis impossible to live with the baggages, impossible to live without 'em. ↗
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. ↗
We love the imperfect shapes in nature and in the works of art, look for an intentional error as a sign of the golden key and sincerity found in true mastery. ↗
#dejan-stojanovic #golden #golden-rule #imperfect #imperfection
Like symbolism, decadence puts forth the idea that the function of literature is to evoke impressions and 'correspondences', rather than to realistically depict the world. ... the decadent aestheticized decay and took pleasure in perversity. In decadent literature, sickness is preferable to health, not only because sickness was regarded as more interesting, but because sickness was construed as subversive, as a threat to the very fabric of society. By embracing the marginal, the unhealthy and the deviant, the decadents attacked bourgeois life, which they perceived as the chief enemy of art. ↗
The first phase of modernism, which so far as the English language goes we associate with Pound and Yeats, Wyndham Lewis and Eliot and Joyce, was clerkly enough, sceptical in many ways; and yet we can without difficulty convict most of these authors of dangerous lapses into mythical thinking. All were men of critical temper, haters of the decadence of the times and the myths of mauvaise foi. All, in different ways, venerated tradition and had programmes which were at once modern and anti-schismatic. This critical temper was admittedly made to seem consistent with a strong feeling for renovation; the mood was eschatological, but scepticism and a refined traditionalism held in check what threatened to be a bad case of literary primitivism. It was elsewhere that the myths ran riot. ↗
#men
The architect represents neither a Dionysian nor an Apollinian condition: here it is the mighty act of will, the will which moves mountains, the intoxication of the strong will, which demands artistic expression. The most powerful men have always inspired the architects; the architect has always been influenced by power. ↗
This will never be a civilized country until we expend more money for books than we do for chewing gum. ↗
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. ↗
...reduction is precisely what a work of art opposes. Easy answers...annotations, arrows...an oudine of its design...very seriously mislead. ↗
#literary-criticism #the-recognitions #twentieth-century #art
