“Once an author finishes a poem, he becomes merely another reader. I may remember what I intended to put into a text, but what matters is what a reader actually finds there — which is usually something both more and less than the poet planned.”

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
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Dana Gioia80

American writer 1950

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“I think that the reader should enrich what he is reading. He should misunderstand the text; he should change it into something else.”

Jorge Luis Borges (1899–1986) Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish language literature

“The human mind is [a poet's] individual mind at first, but as soon as he writes a poem it becomes our [the readers'] minds too. There is no self-expression in [a poet's] poem, because once the poem is there the individual [poet] has disappeared. …there is really no such thing as self-expression in literature.”

Northrop Frye (1912–1991) Canadian literary critic and literary theorist

"Quotes", The Educated Imagination (1963), Talk 3: Giants in Time

“In the old romanticism the poem was an uncommon effect of common experience on the poet. All interest in the poem centred in this mysterious capacity of the poet for overfeeling, for being overaffected. In Poe the old romanticism ended and the new romanticism began. That is, the interest was broadened to include the reader: the end of the poem was pushed ahead a stage, from the poet to the reader. The uncommon effect of experience on the poet became merely incidental to the uncommon effect which he might have on the reader. Mystery was replaced by science; inspiration by psychology.”

Laura Riding Jackson (1901–1991) poet, critic, novelist, essayist and short story writer

"What is a Poem?" from Anarchism Is Not Enough (London: Jonathan Cape, 1928)

“To say that an author is a reader or a reader an author, to see a book as a human being or a human being a book, to describe the world as text or a text as the world, are ways of naming the readers craft.”

Alberto Manguel (1948) writer

Metaphors of Reading, p. 168.
A History of Reading (1996)

“The aim of the scholarly editor is not to produce the the easiest text for the reader, but to get as near as he can to the text of the author.”

Frederic G. Kenyon (1863–1952) British palaeographer and biblical and classical scholar

Source: The Story Of The Bible, Chapter X, The Position Today, p. 142

“No poem is intended for the reader, no picture for the beholder, no symphony for the listener.”

Walter Benjamin (1892–1940) German literary critic, philosopher and social critic (1892-1940)

Source: Illuminations: Essays and Reflections

“The "I" who speaks in this book is by no means the author. Rather, the author wishes that the reader may come to see himself in this "I": that the reader may not simply relate to what is said here as he would to history, but rather that while reading he will actually converse with himself, deliberate back and forth, deduce conclusions, make decisions like his representative in the book, and through his own work and reflection, purely out of his own resources, develop and build within himself the philosophical disposition that is presented to him in this book merely as a picture.”

Johann Gottlieb Fichte book The Vocation of Man

Source: The Vocation of Man (1800), P. Preuss, trans. (1987), p. 2

“The words in the traditional texts may sound different to us than they did to their authors, but they continue to resonate with our religious selves. We know what they are intended to mean.”

Ursula Goodenough book The Sacred Depths of Nature

Source: The Sacred Depths of Nature (1998), p. 173
Context: I love traditional religions. Whenever I wander into distinctive churches or mosques or temples, or visit museums of religious art, or hear performances of sacred music, I am enthralled by the beauty and solemnity and power they offer. Once we have our feelings about Nature in place, then I believe that we can also find important ways to call ourselves Jews, or Muslims, or Taoists, or Hopi, or Hindus, or Christians, or Buddhists. Or some of each. The words in the traditional texts may sound different to us than they did to their authors, but they continue to resonate with our religious selves. We know what they are intended to mean.

“The private reader of listener can become an executant of felt meaning when he learns the poem or the musical passage by heart. To learn by heart is to afford the text or music an indwelling clarity and life-force.”

George Steiner (1929–2020) American writer

Source: Real Presences (1989), I: A Secondary City, Ch. 3 (p. 9).

“I have not written all this to complain: I have simply written the truth. I do not intend by what I have written to compliment myself: I have simply set down exactly what happened. Since I have made it a point in this history to write the truth of every matter and to set down no more than the reality of every event, as a consequence I have reported every good and evil I have seen of father and brother and set down the actuality of every fault and virtue of relative and stranger. May the reader excuse me; may the listener take me not to task.”

Babur (1483–1530) 1st Mughal Emperor

As quoted in The Baburnama : Memoirs of Babur, Prince and Emperor, as translated by Wheeler M. Thackston (2002), p. xxvii

“Once an author finishes a poem, he becomes merely another reader. I may remember what I intended to put into a text, but what matters is what a reader actually finds there — which is usually something both more and less than the poet planned.”

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Dana Gioia80

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