John Updike Quotes
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John Hoyer Updike was an American novelist, poet, short-story writer, art critic, and literary critic. One of only three writers to win the Pulitzer Prize for Fiction more than once , Updike published more than twenty novels, more than a dozen short-story collections, as well as poetry, art and literary criticism and children's books during his career.

Hundreds of his stories, reviews, and poems appeared in The New Yorker starting in 1954. He also wrote regularly for The New York Review of Books. His most famous work is his "Rabbit" series , which chronicles the life of the middle-class everyman Harry "Rabbit" Angstrom over the course of several decades, from young adulthood to death. Both Rabbit Is Rich and Rabbit at Rest were recognized with the Pulitzer Prize.

Describing his subject as "the American small town, Protestant middle class", Updike was recognized for his careful craftsmanship, his unique prose style, and his prolific output – he wrote on average a book a year. Updike populated his fiction with characters who "frequently experience personal turmoil and must respond to crises relating to religion, family obligations, and marital infidelity".His fiction is distinguished by its attention to the concerns, passions, and suffering of average Americans, its emphasis on Christian theology, and its preoccupation with sexuality and sensual detail. His work has attracted significant critical attention and praise, and he is widely considered one of the great American writers of his time. Updike's highly distinctive prose style features a rich, unusual, sometimes arcane vocabulary as conveyed through the eyes of "a wry, intelligent authorial voice" that describes the physical world extravagantly while remaining squarely in the realist tradition. He described his style as an attempt "to give the mundane its beautiful due".



Wikipedia  

✵ 18. March 1932 – 27. January 2009   •   Other names John Hoyer Updike, Con Apdayk
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John Updike: 240   quotes 10   likes

John Updike Quotes

“He skates saucily over great tracts of confessed ignorance.”

On T S Matthews, and his biography of T. S. Eliot, Great Tom (1974), in The New Yorker (25 March 1985)

“[Harry listening to car radio] …he resents being made to realise, this late, that the songs of his life were as moronic as the rock the brainless kids now feed on, or the Sixties and Seventies stuff that Nelson gobbled up – all of it designed for empty heads and overheated hormones, an ocean white with foam, and listening to it now is like trying to eat a double banana split the way he used to. It's all disposable, cooked up to turn a quick profit. They lead us down the garden path, the music manufacturers, then turn around and lead the next generation down with a slightly different flavour of glop.
Rabbit feels betrayed. He was reared in a world where war was not strange but change was: the world stood still so you could grow up in it. He knows when the bottom fell out. When they closed down Kroll's, Kroll's that had stood in the centre of Brewer all those years, bigger than a church, older than a courthouse, right at the head of Weiser Square there,… […] So when the system just upped one summer and decided to close Kroll's down, just because shoppers had stopped coming in because the downtown had become frightening to white people, Rabbit realised the world was not solid and benign, it was a shabby set of temporary arrangements rigged up for the time being, all for the sake of money. You just passed through, and they milked you for what you were worth, mostly when you were young and gullible. If Kroll's could go, the courthouse could go, the banks could go. When the money stopped, they could close down God himself.”

Rabbit at Rest (1990)

“I secretly understood: the primitive appeal of the hearth. Television is — its irresistible charm — a fire.”

On a child doing homework near the family’s television set, in Roger’s Version (1986)

“His voice is hurrying, to keep up with his brain.”

Rabbit Remembered (2000)

“The refusal to rest content, the willingness to risk excess on behalf of one's obsessions, is what distinguishes artists from entertainers, and what makes some artists adventurers on behalf of us all.”

On J. D. Salinger, from a review of his Franny and Zooey, in Studies in J. D. Salinger : Reviews, Essays, and Critiques of The Catcher in the Rye and other Fiction (1963) edited by Marvin Laser and Norman Fruman, p. 231; also quoted in The Christian Science Monitor (August 26, 1965) and Updike's Assorted Prose (1965).

“Being naked approaches being revolutionary; going barefoot is mere populism.”

“Going Barefoot,” On the Vineyard (1980)

“Like water, blood must run or grow scum.”

Rabbit Redux (1969)

“There's a crystallization that goes on in a poem which the young man can bring off, but which the middle-aged man can't.”

As quoted in “When Writers Turn to Brave New Forms” by Michiko Kakutani in The New York Times (24 March 1986)

“Weeds don't know they're weeds.”

Rabbit at Rest (1990)

“I love my government not least for the extent to which it leaves me alone.”

Testimony given before the Subcommittee on Select Education of the House of Representatives Committee on Education and Labor, Boston, Massachusetts (30 January 1978)