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Read through the most famous quotes by topic #liter
I watched commercial ave. slide past and there in the distance were the lights of route 18. that was one of those moments that would always be Rutgers for me. ↗
Beautiful day out there,” I said, perching on the stool and crossing my legs. “It’s autumn, Sunday, great weather, and crowded everywhere you go. Relaxing indoors like this is the best thing you can do on such a nice day. It’s exhausting to get into those crowds. And the air is bad. I mostly do laundry on Sundays—wash the stuff in the morning, hang it out on the roof of my dorm, take it in before the sun goes down, do a good job of ironing it. I don’t mind ironing at all. There’s a special satisfaction in making wrinkled things smooth. And I’m pretty good at it, too. Of course, I was lousy at it at first. I put creases in everything. After a month of practice, though, I knew what I was doing. So Sunday is my day for laundry and ironing. I couldn’t do it today, of course. Too bad: wasted a perfect laundry day. ↗
Nearly all our older poetry was written and read by men to whom the distinction between poetry and rhetoric, in its modern form, would have been meaningless. The 'beauties' which they chiefly regarded in every composition were those which we either dislike or simply do not notice. This change of taste makes an invisible wall between us and them. ↗
In the only sense that matters the surprise works as well the twentieth time as the first. It is the quality of unexpectedness, not the fact that delights us. It is even better the second time. Knowing that the 'surprise' is coming we can now fully relish the fact that this path through the shrubbery doesn't look as if it were suddenly going to bring us out on the edge of the cliff. So in literature. We do not enjoy a story fully at the first reading. Not till the curiosity, the sheer narrative lust, has been given its sop and laid asleep, are we are leisure to savour the real beauties. Till then, it is like wasting great wine on a ravenous natural thirst which merely wants cold wetness. The children understand this well when they ask for the same story over and over again, and in the same words. They want to have again the 'surprise' of discovering that what seemed Little Red Riding Hood's grandmother is really the wolf. It is better when you know it is coming: free from the shock of actual surprise you can attend better to the intrinsic surprisingness of the peripeteia. ↗
Perhaps it was that I wanted to see what I had learned, what I had read, what I had imagined, that I would never be able to see the city of London without seeing it through the overarching scrim of every description of it I had read before. When I turn the corner into a small, quiet, leafy square, am I really seeing it fresh, or am I both looking and remembering? [...] This is both the beauty and excitement of London, and its cross to bear, too. There is a tendency for visitors to turn the place into a theme park, the Disney World of social class, innate dignity, crooked streets, and grand houses, with a cavalcade of monarchs as varied and cartoony as Mickey Mouse, Snow White, and, at least in the opinion of various Briths broadhseets, Goofy. They come, not to see what London is, or even what it was, but to confirm a kind of picture-postcard view of both, all red telephone kiosks and fog-wreathed alleyways. ↗
#clichés #fiction #fictional-london #imagination #literary-london
Just read The Virtue of Minding Your Own Business. Oh my, what currents run deep! Beautifully seen, beautifully told. Praise praise praise . . . Pardon my French, but you are one darn major American writer!" ---Richard Bach, author of Jonathan Livingston Seagull and Illusions, on Sandcastle and Other Stories ↗
Alongside the development of theatres came the growth of an acting culture; in essence it was the birth of the acting profession. Plays had generally been performed by amateurs - often men from craft guilds. Towards the end of the sixteenth century there developed companies of actors usually under the patronage of a powerful or wealthy individual. These companies offered some protection against the threat of Puritan intervention, censorship, or closure on account of the plague. They encouraged playwrights to write drama which relied on ensemble playing rather than the more static set pieces associated with the classical tradition. They employed boys to play the parts of women and contributed to the development of individual performers. Audiences began to attend the theatre to see favourite actors, such as Richard Burbage or Will Kempe, as much as to see a particular play. Although the companies brought some stability and professionalism to the business of acting - for instance, Shakespeare's company, the Lord Chamberlain's, subsequently the King's, Men, continued until the theatres closed (1642) - they offered little security for the playwright. Shakespeare was in this respect, as in others, the exception to the rule that even the best-known and most successful dramatists of the period often remained financially insecure. ↗
I have used the theologians and their treatment of apocalypse as a model of what we might expect to find not only in more literary treatments of the same radical fiction, but in the literary treatment of radical fictions in general. The assumptions I have made in doing so I shall try to examine next time. Meanwhile it may be useful to have some kind of summary account of what I've been saying. The main object: is the critical business of making sense of some of the radical ways of making sense of the world. Apocalypse and the related themes are strikingly long-lived; and that is the first thing to say tbout them, although the second is that they change. The Johannine acquires the characteristics of the Sibylline Apocalypse, and develops other subsidiary fictions which, in the course of time, change the laws we prescribe to nature, and specifically to time. Men of all kinds act, as well as reflect, as if this apparently random collocation of opinion and predictions were true. When it appears that it cannot be so, they act as if it were true in a different sense. Had it been otherwise, Virgil could not have been altissimo poeta in a Christian tradition; the Knight Faithful and True could not have appeared in the opening stanzas of "The Faerie Queene". And what is far more puzzling, the City of Apocalypse could not have appeared as a modern Babylon, together with the 'shipmen and merchants who were made rich by her' and by the 'inexplicable splendour' of her 'fine linen, and purple and scarlet,' in The Waste Land, where we see all these things, as in Revelation, 'come to nought.' Nor is this a matter of literary allusion merely. The Emperor of the Last Days turns up as a Flemish or an Italian peasant, as Queen Elizabeth or as Hitler; the Joachite transition as a Brazilian revolution, or as the Tudor settlement, or as the Third Reich. The apocalyptic types--empire, decadence and renovation, progress and catastrophe--are fed by history and underlie our ways of making sense of the world from where we stand, in the middest. ↗
