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Read through the most famous quotes by topic #literary
If the relation of morality to art were based simply on the demand that art be concerned with values, then almost every author should satisfy it even if he wrote with his prick while asleep. (Puritans will object to the language in that sentence, and feminists to the organ, and neither will admire or even notice how it was phrased.) ↗
#art
If critics say your work stinks it's because they want it to stink and they can make it stink by scaring you into conformity with their comfortable little standards. Standards so low that they can no longer be considered "dangerous" but set in place in their compartmental understandings. ↗
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) ↗
But there is in everything a reasonable division of labour. I have written the book, and nothing on earth would induce me to read it. ↗
...a fundamental rule of journalism, which is to tell a story and stick to it. The narratives of journalism (significantly called "stories"), like those of mythology and folklore, derive their power from their firm, undeviating sympathies and antipathies. Cinderella must remain good and the stepsisters bad. "Second stepsister not so bad after all" is not a good story. ↗
Here the phenomenologist has nothing in common with the literary critic who, as has frequently been noted, judges a work that he could not create and, if we are to believe certain facile condemnations, would not want to create. A literary critic is a reader who is necessarily severe. By turning inside out like a glove an overworked complex that has become debased to the point of being part of the vocabulary of statesmen, we might say that the literary critic and the professor of rhetoric, who know-all and judge-all, readily go in for a simplex of superiority. As for me, being an addict of felicitous reading, I only read and re-read what I like, with a bit of reader's pride mixed in with much enthusiasm. ↗
Some think it the historian's business to penetrate beyond this apparent confusion and heterogeneity, and to grasp in a single intuition the 'spirit' or 'meaning' of his period. With some hesitation, and with much respect for the great men who have thought otherwise, I submit that this is exactly what we must refrain from doing. ↗
