Quotes about literature

page 11

Source: The Story Of The Bible, Chapter I, The Bible And Recent Discoveries, p. 4
Context: The history of the Bible text is a romance of literature, though it is a romance of which the consequences are of vital import; and thanks to the succession of discoveries which have been made of late years, we know more about it than of the history of any other ancient book in the world.

"Quotes", The Educated Imagination (1963), Talk 3: Giants in Time
Context: In literature you don't just read one poem or novel after another, but enter into a complete world of which every work of literature forms part. This affects the writer as much as it does the reader.

Context: I cherish as strong a love for the land of my nativity as any man living. I am proud of her civil, political and religious institutions — of her high advancement in science, literature and the arts — of her general prosperity and grandeur. But I have some solemn accusations to bring against her. I accuse her of insulting the majesty of Heaven with the grossest mockery that was ever exhibited to man — inasmuch as, professing to be the land of the free and the asylum of the oppressed, she falsifies every profession, and shamelessly plays the tyrant.
I accuse her, before all nations, of giving an open, deliberate and base denial to her boasted Declaration, that "all men are created equal; that they are endowed by their Creator with certain inalienable rights; that among these are life, liberty and the pursuit of happiness."
I accuse her of disfranchising and proscribing nearly half a million free people of color, acknowledging them not as countrymen, and scarcely as rational beings, and seeking to drag them thousands of miles across the ocean on a plea of benevolence, when they ought to enjoy all the rights, privileges and immunities of American citizens.
I accuse her of suffering a large portion of her population to be lacerated, starved and plundered, without law and without justification, at the will of petty tyrants.
I accuse her of trafficking in the bodies and souls of men, in a domestic way, to an extent nearly equal to the foreign slave trade; which traffic is equally atrocious with the foreign, and almost as cruel in its operations.
I accuse her of legalizing, on an enormous scale, licentiousness, fraud, cruelty and murder.

Address to the World Anti-slavery Convention, London (12 July 1833)

Letter to Mrs. T. P. Hyatt (1895)
Context: There are heaps of things I would like to do, but there is no time to do them. The most gorgeous ideas float before the imagination, but time, money, and alas! inspiration to complete them do not arrive, and for any work to be really valuable we must have time to brood and dream a little over it, or else it is bloodless and does not draw forth the God light in those who read. I believe myself, that there is a great deal too much hasty writing in our magazines and pamphlets. No matter how kindly and well disposed we are when we write we cannot get rid of the essential conditions under which really good literature is produced, love for the art of expression in itself; a feeling for the music of sentences, so that they become mantrams, and the thought sings its way into the soul. To get this, one has to spend what seems a disproportionate time in dreaming over and making the art and workmanship as perfect as possible.
I could if I wanted, sit down and write steadily and without any soul; but my conscience would hurt me just as much as if I had stolen money or committed some immorality. To do even a ballad as long as The Dream of the Children, takes months of thought, not about the ballad itself, but to absorb the atmosphere, the special current connected with the subject. When this is done the poem shapes itself readily enough; but without the long, previous brooding it would be no good. So you see, from my slow habit of mind and limited time it is all I can do to place monthly, my copy in the hands of my editor when he comes with a pathetic face to me.

Source: I Am Legend (1954), Ch. 3
Context: Something black and of the night had come crawling out of the Middle Ages. Something with no framework or credulity, something that had been consigned, fact and figure, to the pages of imaginative literature. Vampires were passé; Summers’ idylls or Stoker’s melodramatics or a brief inclusion in the Britannica or grist for the pulp writer’s mill or raw material for the B-film factories. A tenuous legend passed from century to century.
Well, it was true.

Source: The Outsider (1956), p. 77
Context: Considered as a whole, Hesse's achievement can hardly be matched in modern literature; it is the continually rising trajectory of an idea, the fundamentally religious idea of how to 'live more abundantly'. Hesse has little imagination in the sense that Shakespeare or Tolstoy can be said to have imagination, but his ideas have a vitality that more than makes up for it. Before all, he is a novelist who used the novel to explore the problem: What should we do with our lives? The man who is interested to know how he should live instead of merely taking life as it comes, is automatically an Outsider.

On Literature, Revolution, Entropy and Other Matters (1923)
Context: The formal character of a living literature is the same as its inner character: it denies verities; it denies what everyone knows and what I have known until this moment. It departs from the canonical tracks, from the broad highway. … To literature today the plane surface of daily life is what the earth is to an airplane — a mere runway from which to take off, in order to rise aloft, from daily life to the realities of being, to philosophy, to the fantastic. Let yesterday's cart creak along the well-paved highways. The living have strength enough to cut away their yesterday.

"Exeunt the Humanities" (1980), p. 117
The Culture We Deserve (1989)
Context: A person is not a democrat thanks to his ignorance of literature and the arts, nor an elitist because he or she has cultivated them. The possession of knowledge makes for unjust power over others only if used for that very purpose: a physician or lawyer or clergyman can exploit or humiliate others, or he can be a humanitarian and a benefactor. In any case, it is absurd to conjure up behind anybody who exploits his educated status the existence of an "elite" scheming to oppress the rest of us.

Paris Review interview (1986)
Context: Whitman to me is the most fascinating of American poets. Whitman started to write the great poetry from scratch after he had written all that junk for newspapers, the sentimental lyrical poems. All of a sudden he wrote Leaves of Grass. When I was teaching at the University of Nebraska, my friend James Miller was chairman of the English Department. He wrote the first book attempting to make a parallel between the structure of Leaves of Grass and the steps of the mystical experience as in St. John of the Cross. I was completely bowled over by this, not having been able to explain how Whitman came to write “Song of Myself,” which is unlike anything not only in American literature, but unique in all the world. The parallels to it are mystical literature. Miller tried to show that there was actual evidence for this kind of experience, which evidently happens at a particular moment in someone’s life. … When I saw the negative reaction to Whitman with the great ruling critics of the time, I couldn’t believe it. Eliot never really gave up hammering away on Whitman, neither did Pound. Although Pound makes little concessions. Whitman, you know, didn’t have any influence in this country until Allen Ginsberg came along.

Anarchism And Other Impediments To Anarchy (1985)
Context: My considered judgment, after years of scrutiny of, and sometimes harrowing activity in the anarchist milieu, is that anarchists are a main reason — I suspect, a sufficient reason — why anarchy remains an epithet without a prayer of a chance to be realized. Most anarchists are, frankly, incapable of living in an autonomous cooperative manner. A lot of them aren't very bright. They tend to peruse their own classics and insider literature to the exclusion of broader knowledge of the world we live in. Essentially timid, they associate with others like themselves with the tacit understanding that nobody will measure anybody else's opinions and actions against any standard of practical critical intelligence; that no one by his or her individual achievements will rise too far above the prevalent level; and, above all, that nobody challenges the shibboleths of anarchist ideology.

The Chinese Novel (1938)
Context: I grew up believing that the novel has nothing to do with pure literature. So I was taught by scholars. The art of literature, so I was taught, is something devised by men of learning. Out of the brains of scholars came rules to control the rush of genius, that wild fountain which has its source in deepest life. Genius, great or less, is the spring, and art is the sculptured shape, classical or modern, into which the waters must be forced, if scholars and critics were to be served. But the people of China did not so serve. The waters of the genius of story gushed out as they would, however the natural rocks allowed and the trees persuaded, and only common people came and drank and found rest and pleasure. For the novel in China was the peculiar product of the common people. And it was solely their property.

The Syntax of Sorcery (2012)
Context: Certain individual words do possess more pitch, more radiance, more shazam! than others, but it's the way words are juxtaposed with other words in a phrase or sentence that can create magic. Perhaps literally. The word "grammar," like its sister word "glamour," is actually derived from an old Scottish word that meant "sorcery." When we were made to diagram sentences in high school, we were unwittingly being instructed in syntax sorcery, in wizardry. We were all enrolled at Hogwarts. Who knew?
When a culture is being dumbed down as effectively as ours is, its narrative arts (literature, film, theatre) seem to vacillate between the brutal and the bland, sometimes in the same work. The pervasive brutality in current fiction – the death, disease, dysfunction, depression, dismemberment, drug addiction, dementia, and dreary little dramas of domestic discord – is an obvious example of how language in exploitative, cynical or simply neurotic hands can add to the weariness, the darkness in the world. Less apparent is that bland writing — timid, antiseptic, vanilla writing – is nearly as unhealthy as the brutal and dark. Instead of sipping, say, elixir, nectar, tequila, or champagne, the reader is invited to slurp lumpy milk or choke on the author's dust bunnies.

Literature and Life, reported in Bartlett's Familiar Quotations, 10th ed. (1919).
Context: Life comes before literature, as the material always comes before the work. The hills are full of marble before the world blooms with statues.

Foreword, p. xiii
The War Against Cliché: Essays and Reviews 1971-2000 (2001)
Context: One of the historical vulnerabilities of literature, as a subject for study, is that it has never seemed difficult enough. This may come as news to the buckled figure of the book reviewer, but it's true. Hence the various attempts to elevate it, complicate it, systematize it. Interacting with literature is easy.

1850s, Latter-Day Pamphlets (1850), Stump Orator (May 1, 1850)
Context: If the young aspirant is not rich enough for Parliament, and is deterred by the basilisks or otherwise from entering on Law or Church, and cannot altogether reduce his human intellect to the beaverish condition, or satisfy himself with the prospect of making money,—what becomes of him in such case, which is naturally the case of very many, and ever of more? In such case there remains but one outlet for him, and notably enough that too is a talking one: the outlet of Literature, of trying to write Books. Since, owing to preliminary basilisks, want of cash, or superiority to cash, he cannot mount aloft by eloquent talking, let him try it by dexterous eloquent writing. Here happily, having three fingers, and capital to buy a quire of paper, he can try it to all lengths and in spite of all mortals: in this career there is happily no public impediment that can turn him back; nothing but private starvation—which is itself a finis or kind of goal—can pretend to hinder a British man from prosecuting Literature to the very utmost, and wringing the final secret from her: "A talent is in thee; No talent is in thee." To the British subject who fancies genius may be lodged in him, this liberty remains; and truly it is, if well computed, almost the only one he has.

Frankfurt Book Fair speech (2003)
Context: To have access to literature, world literature, was to escape the prison of national vanity, of philistinism, of compulsory provincialism, of inane schooling, of imperfect destinies and bad luck. Literature was the passport to enter a larger life; that is, the zone of freedom.
Literature was freedom. Especially in a time in which the values of reading and inwardness are so strenuously challenged, literature is freedom.

Introduction: What is Literature?, p. 2
1980s, Literary Theory: An Introduction (1983)
Context: Literature transforms and intensifies ordinary language, deviates systematically from everyday speech. If you approach me at a bus stop and murmur "Thou still unravished bride of quietness," then I am instantly aware that I am in the presence of the literary.

“Morality and literature,” pp. 161-162
On Science, Necessity, and the Love of God (1968)
Context: It is not only in literature that fiction generates immorality. It does it also in life itself. For the substance of our life is almost exclusively composed of fiction. We fictionalize our future, and, unless we are heroically devoted to truth, we fictionalize our past, refashioning it to our taste. We do not study other people; we invent what they are thinking, saying, and doing. Reality provides us with some raw material, just as novelists often take a theme from a news item, but we envelop it in a fog in which, as in all fiction, values are reversed, so that evil is attractive and good is tedious.

This work is also noteworthy because it contains the first of an effort to represent the imaginary number graphically by the method now used. The effort stopped short of success but was an ingenious beginning.
History of Mathematics (1923) Vol.1

The Principles of Success in Literature (1865)
Context: Literature is at once the cause and the effect of social progress. It deepens our natural sensibilities, and strengthens by exercise our intellectual capacities. It stores up the accumulated experience of the race, connecting Past and Present into a conscious unity; and with this store it feeds successive generations, to be fed in turn by them. As its importance emerges into more general recognition, it necessarily draws after it a larger crowd of servitors, filling noble minds with a noble ambition.

Joyce Carol Oates interviews herself (2013)
Context: My theory is that literature is essential to society in the way that dreams are essential to our lives. We can’t live without dreaming — as we can’t live without sleep. We are “conscious” beings for only a limited period of time, then we sink back into sleep — the “unconscious.” It is nourishing, in ways we can’t fully understand.

"Quotes", The Educated Imagination (1963), Talk 3: Giants in Time
Context: We relate the poems and plays and novels we read and see, not to the men who wrote them, nor even directly to ourselves; we relate them to each other. Literature is a world that we try to build up and enter at the same time.

"Bisexuality and the Causes of Homosexuality: The Case of the Sambia"
Context: Social and cultural factors very broadly channel and limit sexual variation in human populations. Sexual laws, codes, and roles do restrict the range and intensity of sexual practices, as far as we can judge from the cross-cultural literature (Herdt and Stoller 1990). Kinsey lent his support to this view; Ford and Beach (1950) documented it in surveys; and Margaret Mead (1961) did so in her ethnographic studies. But biosocial, genetic, and hormonal predispositions also broadly limit and channel. Each culture's theory of the combination of these social and biological constraints we could call its theory of human sexual nature. Yet none of these broad principles, nor the local theory of human sexual nature, entirely explains or predicts a particular person's sexual desires or behaviors. A sexual behavior, that is, does not necessarily indicate an erotic orientation, preference, or desire. The homosexual is not the same as the homoerotic; whether in our society or one very exotic, I will claim, we can distinguish the homosexual from the homoerotic, as Oscar Wilde's case first hinted.

In Harper's New Monthly Magazine, Editor's Study Christmas Literature (December 1888), p. 158-59, as quoted in An Imperative Duty, Appendix D, 7

Preface http://andromeda.rutgers.edu/~jlynch/Texts/preface.html
A Dictionary of the English Language (1755)
Context: It is the fate of those, who toil at the lower employments of life, to be rather driven by the fear of evil, than attracted by the prospect of good; to be exposed to censure, without hope of praise; to be disgraced by miscarriage, or punished for neglect, where success would have been without applause, and diligence without reward. Among these unhappy mortals is the writer of dictionaries, whom mankind have considered, not as the pupil, but the slave of science, the pioneer of literature, doomed only to remove rubbish and clear obstructions from the paths through which Learning and Genius press forward to conquest and glory, without bestowing a smile on the humble drudge that facilitates their progress. Every other author may aspire to praise; the lexicographer can only hope to escape reproach, and even this negative recompense has been yet granted to very few.

Frankfurt Book Fair speech (2003)
Context: Literature is dialogue; responsiveness. Literature might be described as the history of human responsiveness to what is alive and what is moribund as cultures evolve and interact with one another.
Writers can do something to combat these clichés of our separateness, our difference — for writers are makers, not just transmitters, of myths. Literature offers not only myths but counter-myths, just as life offers counter-experiences — experiences that confound what you thought you thought, or felt, or believed.

As quoted in “Don Pañong – Genius" by A.V.H. Hartendorp in Philippine Magazine (September 1929), p. 211.
ULOL
Context: When I left the University of Santo Tomas, I had but a smattering of Spanish. My friends made sport of me. What keen mortification did I suffer at my ignorance! One day, no longer able to stand the jeerings of my friends, I made up my mind to learn Spanish. I purchased a dozen good novels and began to read. I did not spend hours over a grammar, but just kept on reading, taking care to remember the idioms. In the meantime my library grew. At the end of three years my knowledge of Spanish and of literature in general was far beyond that of my friends. It was then my turn to laugh!

Section 3.13 <!-- p. 183 -->
The Crosswicks Journal, A Circle of Quiet (1972)
Context: St. John said, "And the light shineth in the darkness; and the darkness comprehended it not." The light shines in the darkness and the darkness does not understand it, and cannot extinguish it ( I need the double meaning here of comprehend). This is the great cry of affirmation that is heard over and over again in our imaginative literature, in all art. It is a light to lighten our darkness, to guide us, and we do not need to know, in the realm of provable fact, exactly where it is going to take us.

Slate interview, 2015 http://www.slate.com/articles/arts/books/2015/11/philip_pullman_interview_the_golden_compass_author_on_young_adult_literature.single.html
Context: They’re often bracketed together, Tolkien and Lewis, which I suppose is fair because they were great friends — both Oxford writers and scholars, both Christians. Tolkien’s work has very little of interest in it to a reader of literature, in my opinion. When I think of literature — Dickens, George Eliot, Joseph Conrad — the great novelists found their subject matter in human nature, emotion, in the ways we relate to each other. If that’s what Tolkien’s up to, he’s left out half of it. The books are wholly male-oriented. The entire question of sexual relationships is omitted.

Fahrenheit 451 (1953), Coda (1979)
Context: There is more than one way to burn a book. And the world is full of people running about with lit matches. Every minority, be it Baptist/Unitarian, Irish/Italian/Octogenarian/Zen Buddhist, Zionist/Seventh-day Adventist, Women's Lib/Republican, Mattachine/FourSquareGospel feels it has the will, the right, the duty to douse the kerosene, light the fuse. Every dimwit editor who sees himself as the source of all dreary blanc-mange plain porridge unleavened literature, licks his guillotine and eyes the neck of any author who dares to speak above a whisper or write above a nursery rhyme.

"On the Modern Element in Modern Literature," Partisan Review (January/February 1961); reprinted as "On the Teaching of Modern Literature," Beyond Culture (1965)
Context: A real book reads us. I have been read by Eliot's poems and by Ulysses and by Remembrance of Things Past and by The Castle for a good many years now, since early youth. Some of these books at first rejected me; I bored them. But as I grew older and they knew me better, they came to have more sympathy with me and to understand my hidden meanings. Their nature is such that our relationship has been very intimate. No literature has ever been so shockingly personal as that of our time — it asks every question that is forbidden by polite society.

Evan Charteris, Life and Letters of Sir Edmund Gosse (1931), p. 197

Liquidation (2003)
Context: The state is always the same. The only reason it financed literature up till now was in order to liquidate it. Giving state support to literature is the state's sneaky way for the state liquidation of literature.

Section 29
The Passionate State Of Mind, and Other Aphorisms (1955)
Context: A fateful process is set in motion when the individual is released "to the freedom of his own impotence" and left to justify his existence by his own efforts. The autonomous individual, striving to realize himself and prove his worth, has created all that is great in literature, art, music, science and technology. The autonomous individual, also, when he can neither realize himself nor justify his existence by his own efforts, is a breeding call of frustration, and the seed of the convulsions which shake our world to its foundations.
The individual on his own is stable only so long as he is possessed of self-esteem. The maintenance of self-esteem is a continuous task which taxes all of the individual's powers and inner resources. We have to prove our worth and justify our existence anew each day. When, for whatever reason, self-esteem is unattainable, the autonomous individual becomes a highly explosive entity. He turns away from an unpromising self and plunges into the pursuit of pride — the explosive substitute for self-esteem. All social disturbances and upheavals have their roots in crises of individual self-esteem, and the great endeavor in which the masses most readily unite is basically a search for pride.

Source: The Cream of the Jest (1917), Ch. 27 : Evolution of a Vestryman
Context: The purblind majority quite honestly believed that literature was meant to mimic human life, and that it did so. And in consequence, their love-affairs, their maxims, their so-called natural ties and instincts, and above all, their wickedness, became just so many bungling plagiarisms from something they had read, in a novel or a Bible or a poem or a newspaper. People progressed from the kindergarten to the cemetery assuming that their emotion at every crisis was what books taught them was the appropriate emotion, and without noticing that it was in reality something quite different. Human life was a distorting tarnished mirror held up to literature: this much at least of Wilde's old paradox — that life mimicked art — was indisputable. Human life, very clumsily, tried to reproduce the printed word.

"Previous Thoughts" at rawilson.com
Context: I regard the two major male archetypes in 20th Century literature as Leopold Bloom and Hannibal Lecter. M. D. Bloom, the perpetual victim, the kind and gentle fellow who finishes last, represented an astonishing breakthrough to new levels of realism in the novel, and also symbolized the view of humanity that hardly anybody could deny c. 1900-1950. History, sociology, economics, psychology et al. confirmed Joyce’s view of Everyman as victim. Bloom, exploited and downtrodden by the Brits for being Irish and rejected by many of the Irish for being Jewish, does indeed epiphanize humanity in the first half of the 20th Century. And he remains a nice guy despite everything that happens...
Dr Lecter, my candidate for the male archetype of 1951-2000, will never win any Nice Guy awards, I fear, but he symbolizes our age as totally as Bloom symbolized his. Hannibal's wit, erudition, insight into others, artistic sensitivity, scientific knowledge etc. make him almost a walking one man encyclopedia of Western civilization. As for his "hobbies" as he calls them — well, according to the World Game Institute, since the end of World War II, in which 60,000,000 human beings were murdered by other human beings, 193, 000,000 more humans have been murdered by other humans in brush wars, revolutions, insurrections etc. What better symbol of our age than a serial killer? Hell, can you think of any recent U. S. President who doesn't belong in the Serial Killer Hall of Fame? And their motives make no more sense, and no less sense, than Dr Lecter's Darwinian one-man effort to rid the planet of those he finds outstandingly loutish and uncouth.

The March of Literature (1939)
Context: For the judging of contemporary literature the only test is one's personal taste. If you much like a new book, you must call it literature even though you find no other soul to agree with you, and if you dislike a book you must declare that it is not literature though a million voices should shout you that you are wrong. The ultimate decision will be made by Time.

Sketches of English Literature, Vol II, p. 36 http://books.google.com/books?id=V9AtAAAAYAAJ, as translated by Henry Colburn
Context: In living literature no person is a competent judge but of works written in his own language. I have expressed my opinion concerning a number of English writers; it is very possible that I may be mistaken, that my admiration and my censure may be equally misplaced, and that my conclusions may appear impertinent and ridiculous on the other side of the Channel.

Foreword
LSD : My Problem Child (1980)
Context: In studying the literature connected with my work, I became aware of the great universal significance of visionary experience. It plays a dominant role, not only in mysticism and the history of religion, but also in the creative process in art, literature, and science. More recent investigations have shown that many persons also have visionary experiences in daily life, though most of us fail to recognize their meaning and value. Mystical experiences, like those that marked my childhood, are apparently far from rare.

Brown : The Last Discovery of America (2003)
Context: Books should confuse. Literature abhors the typical. Literature flows to the particular, the mundane, the greasiness of paper, the taste of warm beer, the smell of onion or quince. Auden has a line: "Ports have names they call the sea." Just so will literature describe life familiarly, regionally, in terms life is accustomed to use — high or low matters not. Literature cannot by this impulse betray the grandeur of its subject — there is only one subject: What it feels like to be alive. Nothing is irrelevant. Nothing is typical.

"Fanfare", in H. L. Mencken (1920)
Context: American literature has been, and is, singularly deficient in established critics who have anything like a rational conception of their jobs. The majority, initiate in a few of the patent rituals of Aristotle and Quintilian, don the forbidding robes of high priests to Sweetness and Light, and go about their business much as if the idea were to keep all they know to themselves.

Vol. I, Ch. 1 : A Man of His Day, p. 8
New Grub Street : A Novel (1891)
Context: I am learning my business. Literature nowadays is a trade. Putting aside men of genius, who may succeed by mere cosmic force, your successful man of letters is your skilful tradesman. He thinks first and foremost of the markets; when one kind of goods begins to go off slackly, he is ready with something new and appetising. He knows perfectly all the possible sources of income. Whatever he has to sell he'll get payment for it from all sorts of various quarters; none of your unpractical selling for a lump sum to a middleman who will make six distinct profits.

How to Understand Politics: What the Humanities Can Say to Science (2007)
Context: Literature... seeks to entertain — and why is this?... The reason, fundamentally, is that literature knows something that science does not: the human resistance to hearing the truth. Science does not inform scientists of this basic fact.... The wisdom of literature arises mainly from its attention to this point. To overcome the resistance to truth, literature makes use of fictions that are images of truth.

Radio interview (1939) quoted in Introduction by Robert DeMott to a 1992 edition of The Grapes of Wrath
Context: Boileau said that Kings, Gods and Heroes only were fit subjects for literature. The writer can only write about what he admires. Present-day kings aren't very inspiring, the gods are on a vacation and about the only heroes left are the scientists and the poor … And since our race admires gallantry, the writer will deal with it where he finds it. He finds it in the struggling poor now.

Amusing Ourselves to Death: Public Discourse in the Age of Show Business (1985)
Context: In a world populated by people who believe that through more and more information, paradise is attainable, the computer scientist is king. But I maintain that all of this is a monumental and dangerous waste of human talent and energy. Imagine what might be accomplished if this talent and energy were turned to philosophy, to theology, to the arts, to imaginative literature or to education? Who knows what we could learn from such people — perhaps why there are wars, and hunger, and homelessness and mental illness and anger.

The Judging of Jurgen (1920)
Context: In Philistia to make literature and to make trouble for yourself are synonyms,… the tumblebug explained. — I know, for already we of Philistia have been pestered by three of these makers of literature. Yes, there was Edgar, whom I starved and hunted until I was tired of it: then I chased him up a back alley one night, and knocked out those annoying brains of his. And there was Walt, whom I chivvied and battered from place to place, and made a paralytic of him: and him, too, I labelled offensive and lewd and lascivious and indecent. Then later there was Mark, whom I frightened into disguising himself in a clown's suit, so that nobody might suspect him to be a maker of literature: indeed, I frightened him so that he hid away the greater part of what he had made until after he was dead, and I could not get at him. That was a disgusting trick to play on me, I consider. Still, these are the only three detected makers of literature that have ever infested Philistia, thanks be to goodness and my vigilance, but for both of which we might have been no more free from makers of literature than are the other countries.…

On Literature, Revolution, Entropy and Other Matters (1923)
Context: A literature that is alive does not live by yesterday's clock, nor by today's but by tomorrow's. It is a sailor sent aloft: from the masthead he can see foundering ships, icebergs, and maelstroms still invisible from the deck. He can be dragged down from the mast and put to tending the boilers or working the capstan, but that will not change anything: the mast will remain, and the next man on the masthead will see what the first has seen.
In a storm, you must have a man aloft. We are in the midst of storm today, and SOS signals come from every side.

S.K. Chatterjee quoted in Aziz Ahmad, Studies In Islamic Culture in the Indian Environment, Oxford. 1964, pp. 252-55. https://archive.org/details/StudiesInIslamicCultureInTheIndianE

About Tilaks influential book on the Rigveda. Elst, Koenraad. Return of the Swastika: Hate and Hysteria versus Hindu Sanity (2007)

p. 174 https://babel.hathitrust.org/cgi/pt?id=yale.39002032470974;view=1up;seq=190
English Voyages of the Sixteenth Century (1906)

[Bowring, John, 1832, Cheskian Anthology, Preface, https://en.wikisource.org/wiki/Cheskian_Anthology/Preface, Rowland Hunter, London]

On the thematic constraints of Puerto Rican literature in “Luis Rafael Sánchez: Counterpoints" https://ufdc.ufl.edu/UF00096005/00024/14j (Sargasso, 1984)

On her novel Girl, Woman, Other in “Bernardine Evaristo: ‘I want to put presence into absence’” https://www.theguardian.com/books/2019/apr/27/bernardine-evaristo-girl-woman-other-interview in The Guardian (2019 Apr 27)

The World of Fatwas (Or The Shariah In Action)

On her encouraging that Americans read literature beyond their country in “Samanta Schweblin on Revealing Darkness Through Fiction” https://lithub.com/samanta-schweblin-on-revealing-darkness-through-fiction/ in LitHub (2017 Jan 12)

On the staying power of literature in “Samanta Schweblin on Revealing Darkness Through Fiction” https://lithub.com/samanta-schweblin-on-revealing-darkness-through-fiction/ in LitHub (2017 Jan 12)

The Transhumanism Handbook, 2019

Vikram Sampath - Savarkar, Echoes from a Forgotten Past

On her concept of plays in “Carmen Rivera” https://www.newschool.edu/drama/faculty/carmen-rivera/ (The New School Drama)

"Auctorial Induction"
The Certain Hour (1916)

Aurobindo said on her poetry quoted in Critical Response To Indian Poetry In English, p123/xxxx

On her earliest influences in “JOSEFINA LÓPEZ – IN HER OWN WORDS” http://latinopia.com/latino-theater/josefina-lopez/ in Latinopia (2010 Mar 6)

Introduction, pp. 2-3
Capitalism and Freedom (1962)

On his advice to Latino poets in “Interview with Francisco Aragón: Latino Poetry From All Its Perspectives” https://www.sampsoniaway.org/literary-voices/2010/09/16/interview-with-francisco-aragon-latino-poetry-from-all-its-perspectives/ in Sampsonia Way (2010 Sept 16)

On how she processed literature differently at an early age in “Jacqueline Woodson On Growing Up, Coming Out And Saying Hi To Strangers” https://www.npr.org/2016/10/14/497953254/jacqueline-woodson-on-growing-up-coming-out-and-saying-hi-to-strangers in NPR (2016 Oct 14)

Source: Broca's Brain (1979), Chapter 9, “Science Fiction—A Personal View” (p. 172)

On Genius, Parerga and Paralipomena, Chapter III,
Parerga and Paralipomena (1851)

Source: The Masters and the Path (1925), Ch. 1

I know, for already we of Philistia have been pestered by three of these makers of literature. Yes, there was Edgar, whom I starved and hunted until I was tired of it: then I chased him up a back alley one night, and knocked out those annoying brains of his. And there was Walt, whom I chivvied and battered from place to place, and made a paralytic of him: and him, too, I labelled offensive and lewd and lascivious and indecent. Then later there was Mark, whom I frightened into disguising himself in a clown's suit, so that nobody might suspect him to be a maker of literature: indeed, I frightened him so that he hid away the greater part of what he had made until after he was dead, and I could not get at him. That was a disgusting trick to play on me, I consider. Still, these are the only three detected makers of literature that have ever infested Philistia, thanks be to goodness and my vigilance, but for both of which we might have been no more free from makers of literature than are the other countries.…
The Judging of Jurgen (1920)

It fascinated me the first time I read it as a schoolboy and as soon as I possibly could after I started making animated cartoons, I acquired the film rights to it. People in his period had no time to waste on triviality, yet Carroll with his nonsense and fantasy furnished a balance between seriousness and enjoyment which everybody needed then and still needs today.
American Weekly (1946)

This contradiction was first pointed out by David Frawley
The Rigveda and the Avesta (2008)

Michael Witzel – An Examination of his Review of my Book (2001)

Outlook for Socialism in the United States (1900)

"Quotes", The Educated Imagination (1963), Talk 4: The Keys To Dreamland

Vol.4. Part 2.
The History of Rome - Volume 4: Part 2

Source: The Case for India, Will Durant. Quoted from Gewali, Salil (2013). Great Minds on India. New Delhi: Penguin Random House.

Symmetry (1952) (quote on p. 138; referring to a letter by Évariste Galois to Auguste Chevalier from May 29, 1832, two days before Galois&rsquo; death, containing a testamentary summary of Galois&rsquo; discoveries)

Memoir and Letters of Charles Sumner, Volume 4, p. 500, also cited in W. E. B. Du Bois, Black Reconstruction in America (1935), p. 592

[Pictures Called Products Of Art., The Record, https://commons.wikimedia.org/wiki/File:Harvey_Dwight_Dash_(1924-2002)_in_The_Record_of_Hackensack,_New_Jersey_on_5_November_1959.png, November 5, 1959, Harvey Dwight Dash]
Quote

Yitzhak Y. Melamed, Spinoza's Metaphysics and His Relationship to Hegel and the German Idealists, an interview by Richard Marshall (3:AM Magazine, 30 December 2017) https://www.3ammagazine.com/3am/spinozas-metaphysics-relationship-hegel-german-idealists/
M - R

Antonio Labriola, Socialism and Philosophy (1897) [original in Italian]
G - L

comprise a logically persuasive set of assumptions which have had a profound influence upon managerial behavior.
Source: The Human Side of Enterprise (1960), p. 15 (p. 21 in 2006 edition)

By J.R. Jagrat
Speech By Mr. S. G. Page, Government Pleader, High Court, Bombay, Made OnMonday, 28 September, 1992

What is Americanization? (1919)

Source: Sailing the Wine-Dark Sea: Why the Greeks Matter (2003), Ch.IV The Politician and the Playwright: How to Rule

Grierson, in "A Garden of Deeds: Ramacharitmanas, a Message of Human Ethics", p. 35
On Tulsidas’s epic Ramacharritamanas

K. R. Sundararajan in Hindu spirituality: Postclassical and modern http://books.google.co.in/books?id=LO0DpWElIRIC&pg=PA306&hl=en#v=onepage&q=Bhakti&f=false, p. 73

About Rukmini Devi

Matt Schudel " Leading Arab Novelist Gave Streets a Voice http://www.washingtonpost.com/wp-dyn/content/article/2006/08/30/AR2006083000475.html" in: Washington Post, August 31, 2006

The History and Culture of the Indian People: The Vedic age, ed. R.C. Majumdar https://archive.org/stream/in.ernet.dli.2015.110240/2015.110240.The-Vedic-Age-Vol1_djvu.txt

Dorothy Parker, "Re-enter Margot Asquith - A Masterpiece from the French," The New Yorker, October 22, 1927.

This ideological a fusion has reduced all romance to a sort of heroic assault that a bellicose and lyrical male launches against a tower that bristles with enemies, a story which ends when the hero, now beneath starlight, carries the divine Beauty-Woman away to new heights. Novels such as Toilers of the Sea by Victor Hugo or Salammbô by Flaubert can clarify my point. It is a matter of a dominant leitmotif, already worn out,c of which we would like to disencumber literature and art in general.
1910's, Multiplied Man and the Reign of the Machine' 1911
Source: Poggi, Christine, and Laura Wittman, eds. Futurism: An Anthology. Yale University Press, 2009. p. 89

This it does with some consistency and some confidence. Violation is a synonym for intercourse. At the same time, the penetration is taken to be a use, not an abuse; a normal use; it is appropriate to enter her, to push into ("violate") the boundaries of her body. She is human, of course, but by a standard that does not include physical privacy.
Source: Intercourse (1987), Chapter 7

It was not just the sophisticates and the reformers who had no belief in the validity or endurance of the system. Everybody in what they used to call the master class, from the Pope to William Howard Taft, believed in his bones that the days of his kind were strictly numbered and found wanting. What happened instead of apocalypse and judgment was a long-drawn-out apocalypse of counterrevolution against the promise and potential of a humane civilization. It began with the world economic crisis of 1912, and the First and Second World Wars and the Bolshevik Revolution have been episodes, always increasing in violence and plain immorality, in the struggle of our civilization to suppress its own potential.
"Introduction"
An Autobiographical Novel (1991)

The Magic of Images: Word and Picture in a Media Age (2004)

Yoav Gelber, Nation and History: Israeli Historiography between Zionism and Post-Zionism (London and Portland, OR: Vallentine Mitchell, 2011), p. 56

Source: The Way of All Flesh (1903), Ch. 14