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Read through the most famous quotes by topic #liter
If I could start over today, I would choose literature again. If the answers exist in the world or in the universe, I still think that's where we're going to find them. ↗
It doesn't matter whether a sequence of words is called a history or a story: that is, whether it is intended to follow a sequence of actual events or not. As far as its verbal shape is concerned, it will be equally mythical in either case. But we notice that any emphasis on shape or structure or pattern or form always throws a verbal narrative in the direction we call mythical rather than historical.(p.21) ↗
No reason for a feverish rush For we will all arrive in the same place At the right time. Justice will be served. There will be no better or worse, No big and small, no rewards, no punishment, No guilt, no judges, no hierarchies; Only silent equality. ↗
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. ↗
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. ↗
Literary Fiction and Reality Towards the beginning of his novel The Man Without Qualities, Robert Musil announces that 'no serious attempt will be made to... enter into competition with reality.' And yet it is an element in the situation he cannot ignore. How good it would be, he suggests, if one could find in life ' the simplicity inherent in narrative order. 'This is the simple order that consists in being able to say: "When that had happened, then this happened." What puts our mind at rest is the simple sequence, the overwhelming variegation of life now represented in, as a mathematician would say, a unidimensional order.' We like the illusions of this sequence, its acceptable appearance of causality: 'it has the look of necessity.' But the look is illusory; Musil's hero Ulrich has 'lost this elementary narrative element' and so has Musil. The Man Without Qualities is multidimensional, fragmentary, without the possibility of a narrative end. Why could he not have his narrative order? Because 'everything has now become nonnarrative.' The illusion would be too gross and absurd. Musil belonged to the great epoch of experiment; after Joyce and Proust, though perhaps a long way after, he is the novelist of early modernism. And as you see he was prepared to spend most of his life struggling with the problems created by the divergence of comfortable story and the non-narrative contingencies of modern reality. Even in the earlier stories he concerned himself with this disagreeable but necessary dissociation; in his big novel he tries to create a new genre in which, by all manner of dazzling devices and metaphors and stratagems, fiction and reality can be brought together again. He fails; but the point is that he had to try, a sceptic to the point of mysticism and caught in a world in which, as one of his early characters notices, no curtain descends to conceal 'the bleak matter-of-factness of things. ↗
It was a wonderful experience. She mistrusted his very slumbers--and she seemed to think I could tell her why! Thus a poor mortal seduced by the charm of an apparition might have tried to wring from another ghost the tremendous secret of the claim the other world holds over a disembodied soul astray amongst the passions of this earth. The very ground on which I stood seemed to melt under my feet. And it was so simple too; but if the spirits evoked by our fears and our unrest have ever to vouch for each other's constancy before the forlorn magicians that we are, then I--I alone of us dwellers in the flesh--have shuddered in the hopeless chill of such a task. ↗
Tess is not simply presented as a passive victim, however. Throughout the novel she is shown as experiencing tension between the intractable materiality of the social and economic world in which she has to live, and her extraordinarily vulnerable, sensitive self. Hardy is particularly interested in the nature of her consciousness, and in the intense subjectivity of her experience. ↗
Thus, on the one hand, Spenser's thought is steeped in sensuous detail, so that for him there is no really abstract thinking; men, he thinks, 'should be satisfied with the use of these days, seeing all things accounted by their showes, and nothing esteemed of, that is not delightfull and pleasing to commune sense' ( Prefatory Letter). But on the other hand the details of the physical universe become translucent from the pulsing light of varied human experience which is seen behind it. His 'haunt and the main region of (his) song' is the inner life of man and it is described in the symbolism of human figures clothed in raiment iridescent with innumerable associations. His art is a development of the mediaeval. ↗
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