“Literary works do not take as their subjects characters and events which have impressed a writer primarily by the frequency of their appearance. For example, how many Jewish men, as we know them, have come nearly to the brink of plunging a knife into their only son because they believed God had commanded them to? The story of Abraham and Isaac derives its meaning from something other than its being a familiar, recognizable, everyday occurrence. The test of any literary work is not how broad is its range of representation — for all that breadth may be characteristic of a kind of narrative — but the depth with which the writer reveals whatever it may be that he has chosen to represent.”

Writing About Jews (1963)

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Philip Roth95

American novelist 1933–2018

Dan Simmons book The Fall of Hyperion

Source: The Fall of Hyperion (1990), Chapter 45 (p. 491)

“How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art & Other Serious Matters, (1985), p. 55, "Evidences of Surreality"

“I have always held the old-fashioned opinion that the primary object of a work of fiction should be to tell a story; and I have never believed that the novelist who properly performed this first condition of his art, was in danger, on that account, of neglecting the delineation of character — for this plain reason, that the effect produced, by any narrative of events is essentially dependent, not on the events themselves, but on the human interest which is directly connected with them. It may be possible in novel-writing to present characters successfully without telling a story; but it is not possible to tell a story successfully without presenting characters: their existence, as recognizable realities, being the sole condition on which the story can be effectively told. The only narrative which can hope to lay a strong hold on the attention of readers is a narrative which interests them about men and women — for the perfectly obvious reasons that they are men and women themselves.”

Wilkie Collins book The Woman in White

Source: Collins explaining what he calls the literary principal guiding him, in the preface of the second edition of The Woman in White. Also in Reality's Dark Light: The Sensational Wilkie Collins by Maria K. Bachman & Don Richard Cox [University of Tennessee Press, 2003, ISBN 1-572-33274-3] ( p. xiv https://books.google.com/books?id=_X8AlmIp0dwC&pg=PR14)

“Literary works cannot be taken over like factories, or literary forms of expression like industrial methods. Realist writing, of which history offers many widely varying examples, is likewise conditioned by the question of how, when and for what class it is made use of.”

Bertolt Brecht (1898–1956) German poet, playwright, theatre director

"The Popular and the Realistic" (written 1938, published 1958), as translated in Brecht on Theatre (1964) edited and translated by John Willett.

“First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation, a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the (literary) time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“ ‘Very Graceful Are the Uses of Culture’ ”, p. 211
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“So many people these days, it seemed, believed that these things (personal fulfillment and self-esteem) could come only from work, not from parenting, and many people believed that having children had nothing to do with raising them.”

Nicholas Sparks (1965) American writer and novelist

Taylor McAden, Chapter 18, p. 200
2000s, The Rescue (2000)

“Positivism … implies the double falsehood that no interpretation is needed, and that it is not needed because the story which the positivist writer tells, such as it is, is obvious. The story he or she tells is usually a bad one, and its being obvious only means that it is familiar.”

Bernard Williams (1929–2003) English moral philosopher

Source: Truth and Truthfulness (2002), p. 12

“Creationists contend that they don’t believe in magic. But “speaking” anything into existence is an incantation, and the Bible is full of spells of one sort or another. Animating golems, or conjuring interdependent systems, and causing complex organisms to appear out of thin air -are each logically implausible and physically impossible according to everything we know about anything at all, yet this is exactly what religiously-motivated pseudoscientists actually promote! How do we test these ideas? How can we tell them apart from any of the thousands of fables men have concocted for the ghosts and gods of other religions? How can we tell whether any of this is even real, and not something someone just made up? Because despite anyone’s assertions of personal conviction, it is impossible to distinguish miracles from subjective impressions imagined out of nothing. In the realm of fantasy, it’s easy to demonstrate psionic talents, astral entities, and magical manifestations. Until they do that in reality too, then science has nothing but nature to work with.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

"12th Foundational Falsehood of Creationism" https://www.youtube.com/watch?v=2TkY7HrJOhc Youtube (April 19, 2008) <br class="br">Youtube, Foundational Falsehoods of Creationism

“In the course of a life devoted less to living than to reading, I have verified many times that literary intentions and theories are nothing more than stimuli and that the final work usually ignores or even contradicts them.”

Jorge Luis Borges book Other Inquisitions

"Nathaniel Hawthorne"
Other Inquisitions (1952)

“The literary critic, or the critic of any other specific form of artistic expression, may detach himself from the world for as long as the work of art he is contemplating appears to do the same.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Introduction'
Essays and reviews, Glued to the Box (1983)

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