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For a while, Criticism travels side by side with the Work, then Criticism vanishes and it's the Readers who keep pace. The journey may be long or short. Then the Readers die one by one and the Work continues on alone, although a new Criticism and new Readers gradually fall into step with it along its path. Then Criticism dies again and the Readers die again and the Work passes over a trail of bones on its journey toward solitude. To come near the work, to sail in her wake, is a sign of certain death, but new Criticism and new Readers approach her tirelessly and relentlessly and are devoured by time and speed. Finally the Work journeys irremediably alone in the Great Vastness. And one day the Work dies, as all things must die and come to an end: the Sun and the Earth and the Solar System and the Galaxy and the farthest reaches of man's memory. Everything that begins as comedy ends in tragedy. ↗
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The light in that room was a glow; I seem to remember the color green, or perhaps flowers. A pale green sheet covered his inert body but not his head, which lay (eyes closed, mouth set in a tense and terrible grimace) unmoving. Gianluca. Barely able to see, barely able to stand - my knees kept buckling – and breathing so quietly I thought that I, too, might die; that out of shock, I would just drift away, the shell of my body cracking open. No longer anchored by my brother’s love, I would be reabsorbed by sky. Gianluca. If there was never another sound in the world, I would understand – yes, that would be appropriate, it would be fitting. This was the antithesis of music, the antithesis of noise. My brother’s death seemed to demand silence of all the world. Gianluca. ↗
Isso é mais uma coisa que aprendi com o tempo, sabe? O bem e o mal não existem! Quer dizer, existir até que existem, mas apenas no contexto de uma pergunta importante: bem ou mal para quem? A questão é que tudo depende do ponto de vista, entende, filho? Pense numa partida de futebol, por exemplo. A vitória é ótima para o time que vence, mas a mesma vitória é amarga para quem perde. Não é? Agora, imagine que jogadores dos dois times sejam entrevistados para falar da partida. Os que ganharam com certeza elogiarão a atuação do seu time, enfatizarão a importância dos pontos obtidos com a vitória. No entanto, o jogador do time que perdeu reclamará dos erros da equipe, das condições desfavoráveis do gramado, descerá o pau na arbitragem e coisa e tal. No fim, para uns o resultado terá sido justo, enquanto outros tenderão a se sentir injustiçados. As coisas são sempre assim. Nossa visão depende sempre do lado em que estamos. ↗
I just make the best book that I can and try to not worry about audience or if it will sell. The odds are against you, so why abuse your talent for the sake of a chimera? The only real pleasure for me in writing comes from pleasing myself. What readers think is interesting and illuminating (and it may even be correct), but that is nothing compared to the excitement of seeing a world develop. Besides, even though I like most individuals I meet, I have a pretty low opinion of people in general. So if I were to write for people in general, I would have to drastically lower my estimation of the intelligence of my reader. Rather than doing that, I write the way it seems the book has to appear. I don’t think that’s egotistic. There are often things I would like to include in my books—things about me personally and other materials—that I feel I have to leave out because they aren’t relevant to the book. I’m fairly ruthless along those lines, because I try to let nothing come in the way of what’s best for the book. If that means that the book won’t sell or that a publisher won’t buy it, then that’s my problem. I’ll suffer for that, but I won’t let the book suffer for it. ↗
I am grateful for the rare opportunities to look at my circumstances from a higher perspective, one detached from the dim outlook I normally insist on seeing. These periodic glimpses show me life's grandeur. ↗
A reporter discovers, in the course of many years of interviewing celebrities, that most actors are more attractive behind a spotlight than over a spot of tea. ↗
