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Read through the most famous quotes by topic #liter
Brannagh Maloney had lived with disappearances all her life. They were as familiar to her as the changing of the Fundy tides. People who disappeared left cast-off shadows of themselves, murky tremblings that slunk out of corners on drizzly autumn afternoons. They lurked offstage, silent or sighing or reaching out to run a finger across her arm. They were the curtains fluttering in the window on a breezeless morning, the musty scent that arose when opening an abandoned cellar door. LET THE SHADOWS FALL BEHIND YOU (Kunati Books) ↗
When magic through nerves and reason passes, Imagination, force, and passion will thunder. The portrait of the world is changed. ↗
it strikes me that the writers most deeply concerned with the state of literary fiction and its biases against women could do a lot worse than trying to coin some terms of their own: to name the archetypes they wish to invert or criticise and thereby open up the discussion. If authors can be thought of as magicians in any sense, then the root of our power has always rested with words: choosing them, arranging them and – most powerfully – inventing them. Sexism won’t go away overnight, and nor will literary bias. But until then, if we’re determined to invest ourselves in bringing about those changes, it only makes sense to arm ourselves with a language that we, and not our enemies, have chosen. May 14, 2011 Blog post ↗
#importance-of-words #language #literary-bias #writings #change
Old English poetry is characterised by a number of poetic tropes which enable a writer to describe things indirectly and which require a reader imaginatively to construct their meaning. The most widespread of these figurative descriptions are what are known as kennings. Kennings often occur in compounds: for example, hronrad (whale-road) or swanrad (swan- road) meaning 'the sea'; banhus (bone-house) meaning the 'human body'. Some kennings involve borrowing or inventing words; others appear to be chosen to meet the alliterative requirement of a poetic line, and as a result some kennings are difficult to decode, leading to disputes in critical interpretation. But kennings do allow more abstract concepts to be communicated by using more familiar words: for example, God is often described as moncynnes weard ('guardian of mankind'). ↗
The first unanalysed impression that most readers receive from Jane Eyre is that it has a very violent atmosphere. If this were simply the effect of the plot and the imagined events then sensation novels like Walpole's The Castle of Otranto or Mrs Radcliffe's The Mystery of Udolpho ought to produce it even more powerfully. But they do not. Nor do they even arouse particularly strong reader responses. Novelists like Charlotte Brontë or D. H. Lawrence, on the other hand, are able quite quickly to provoke marked reactions of sympathy or hostility from readers. The reason, apparently, is that the narrator's personality is communicating itself through the style with unusual directness. ↗
Recognising such dimensions implicit to the reading experience can distract from the immediacy of our response; it can substitute literary archaeology for novelistic reality. That is one pole. But the other extreme is equally limiting. By failing to realise the issues involved in communicating with fictional modes that are different to our own, in effect we do not read in the fullest sense. Between intellectual pedantry and cultivated ignorance I would pose a third approach to reading—that of the informed imagination. After occupying this position true evaluation can begin. ↗
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. ↗
What I know about you, Henry,” he said. “Is that you, as big as you are, know how to walk gently on this earth. ↗
