Quotes about literature
page 7

S. W. R. D. Bandaranaike photo
Susan Sontag photo

“Since it is hardly likely that contemporary critics seriously mean to bar prose narratives that are unrealistic from the domain of literature, one suspects that a special standard is being applied to sexual themes. … There is nothing conclusive in the well-known fact that most men and women fall short of the sexual prowess that people in pornography are represented as enjoying; that the size of organs, number and duration of orgasms, variety and feasibility of sexual powers, and amount of sexual energy all seem grossly exaggerated. Yes, and the spaceships and the teeming planets depicted in science-fiction novels don’t exist either. The fact that the site of narrative is an ideal topos disqualifies neither pornography or science-fiction from being literature. … The materials of the pornographic books that count as literature are, precisely, one of the extreme forms of human consciousness. Undoubtedly, many people would agree that the sexually obsessed consciousness can, in principle, enter into literature as an art form. … But then they usually add a rider to the agreement which effectively nullifies it. They require that the author have the proper “distance” from his obsessions for their rendering to count as literature. Such a standard is sheer hypocrisy, revealing one again that the values commonly applied to pornography are, in the end, those belonging to psychiatry and social affairs rather than to art. (Since Christianity upped that ante and concentrated on sexual behavior as the root of virtue, everything pertaining to sex has been a “special case” in our culture, evoking particularly inconsistent attitudes.) Van Gogh’s paintings retain their status as art even if it seems his manner of painting owed less to a conscious choice of representational means than to his being deranged and actually seeing reality the way he painted it. … What makes a work of pornography part of the history of art rather than of trash is not distance, the superimposition of a consciousness more conformable to that of ordinary reality upon the “deranged consciousness” of the erotically obsessed. Rather, it is the originality, thoroughness, authenticity, and power of that deranged consciousness itself, as incarnated in a work.”

“The Pornographic Imagination,” pp. 45-47
Styles of Radical Will (1966)

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Tim Parks photo
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Frederic G. Kenyon photo
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Rod Serling photo
Confucius photo
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Juan Ramón Jimenéz photo

“Literature is a state of culture, poetry is a state of grace, before and after culture.”

Juan Ramón Jimenéz (1881–1958) Spanish poet

"Poetry and Literature" (1941), as translated in Selected Writings (1957).

Muhammad Iqbál photo
Mike Tyson photo

“I probably have a 20,000-word vocabulary. I'll match my wits with anyone on literature, science and the arts.”

Mike Tyson (1966) American boxer

http://www.usatoday.com/sports/boxing/2005-06-02-tyson-saraceno_x.htm
On himself

André Weil photo
Barry Eichengreen photo
Anthony Burgess photo
Elbert Hubbard photo

“In our online descriptions and program literature we describe the cloisters as a public sphere for networked interaction, the gathering place for students, professors, and librarians engaged in planning, evaluating, or reviewing the efforts of research and study utilizing the whole range of technologies of literacy. We go further and describe the task of the cloisters as to "channel flows of research, learning and teaching between the increasingly networked world of the library and the intimacy and engagement of our classrooms and other campus spaces". There we continue to explore the "collectible object", which I tentatively described in Othermindedness in terms of maintaining an archive of "the successive choices, the errors and losses, of our own human community" and suggesting that what constitutes the collectible object is the value which suffuses our choices. It seemed to me then that electronic media are especially suited to tracking such "changing change".
I think it still seems so to me now but I do fear we have lost track of the beauty and nimbleness of new media in representing and preserving the meaning-making quotidian, the ordinary mindfulness which makes human life possible and valuable.
It is interesting, I think, that recounting and rehearsing this notion leaves this interview layered and speckled with (self) quotations, documentations, implicit genealogies, images, and traditions of continuity, change, and difference. Perhaps the most quoted line of afternoon over the years has been the sentence "There is no simple way to say this."”

Michael Joyce (1945) American academic and writer

The same is true of any attempt to describe the way in which the collectible object participates in (I use this word as a felicitous shorthand for the complex of ideas involved in what I called "representing and preserving the meaning-making quotidian" above) the library as living archive.
An interview with Michael Joyce and review of Liam’s Going at Trace Online Writing Centre Archive (2 December 2002) http://tracearchive.ntu.ac.uk/review/index.cfm?article=33

Richard A. Posner photo
Vyasa photo

“Although the MBh is the text having the most information about Vyasa, there are few references to him in Sanskrit literature that predated the MBh or is atleast contemporaneous with the early phase.”

Vyasa central and revered figure in most Hindu traditions

In p. 4.
Sources, Seer of the Fifth Veda: Kr̥ṣṇa Dvaipāyana Vyāsa in the Mahābhārata

Peter Sloterdijk photo

“The evidence introduced for political pessimism; the criminal, the lunatic, and the asocial individual, in a word, the second-rate citizen —these are not by nature as one finds them now but have been made so by society. It is said that they have never had a chance to be as they would be according to their nature, but were forced into the situation in which they find themselves through poverty, coercion, and ignorance. They are victims of society.
This defense against political pessimism regarding human nature is at first convincing. It possesses the superiority of dialectical thinking over positivistic thinking. It transforms moral states and qualities into processes. Brutal people do not “exist,” only their brutalization; criminality does not “exist,” only criminalization; stupidity does not “exist,” only stupefaction; self-seeking does not “exist,” only training in egoism; there are no second-rate citizens, only victims of patronization. What political positivism takes to be nature is in reality falsified nature: the suppression of opportunity for human beings. Rousseau knew of two aids who could illustrate his point of view, two classes of human beings who lived before civilization and, consequently, before perversion: the noble savage and the child. Enlightenment literature develops two of its most intimate passions around these two figures: ethnology and pedagogy.”

Peter Sloterdijk (1947) German philosopher

(describing Rousseau’s philosophy) p. 55
Kritik der zynischen Vernunft [Critique of Cynical Reason] (1983)

“We read the works of the older literature differently from those of our own age; we enjoy them purely aesthetically, that is, indirectly, disinterestedly, perfectly aware of their fictitiousness and of our self-deception.”

Arnold Hauser (1892–1978) Hungarian art historian

Source: The Social History of Art, Volume IV. Naturalism, impressionism, the film age, 1999, Chapter 1. Naturalism and Impressionism

Martin Heidegger photo

“From our human experience and history, at least as far as I am informed, I know that everything essential and great has only emerged when human beings had a home and were rooted in a tradition. Today’s literature is, for instance, largely destructive.”

Martin Heidegger (1889–1976) German philosopher

Interview (23 September 1966), published posthumously in Der Spiegel (31 May 1976), as translated by Maria P. Alter and John D. Caputo in The Heidegger Controversy : A Critical Reader (1991), edited by Richard Wolin.

Will Eisner photo

“1920
The Times
London, Saturday, May 8, 1920.
“The Jewish peril.”
A disturbing pamphlet
Call for inquiry.
(From a correspondent.)
The Times has not as yet noticed this singular little book. Its diffusion is, however, increasing, and its reading is likely to perturb the thinking public. Never before have a race and a creed been accused of a more sinister conspiracy. We in this country, who live in good fellowship with numerous representatives of Jewry, may well ask that some authoritative criticism should deal with it., and either destroy the ugly “Semitic” body or assign their proper place to the insidious allegations of this kind of literature.
In spite of the urgency of impartial and exhaustive criticism, the pamphlet has been allowed, so far, to pass almost unchallenged. The Jewish Press announced, it is true, that the anti-semitism of the “Jewish Peril” was going to be exposed. But save for an unsatisfactory article in the March 5 issue of the ‘’Jewish Guardian’’ and for an almost equally unsatisfactory article in the March 5 issue of contribution to the ‘’Nation’’ of March 27, this exposure is yet to come. The article of the ‘’Jewish Guardian’’ is unsatisfactory, because it deals mainly with the personality of the author of the book in which the pamphlet is embodied, with Russian reactionary propaganda, and the Russian secret police. It does not touch the substance of the “Protocols of the Learned Elders of Zion.” The purely Russian side of the book and its fervid “Orthodoxy.” Is not its most interesting feature. Its author-Professor S. Nilus-who was a minor official in the Department of Foreign Religions at Moscow, had, in all likelihood, opportunities of access to many archives and unpublished documents. On the other hand, the world-wide issue raised by the “Protocols” which he incorporated in his book and are now translated into English as “The Jewish Peril,” cannot fail not only to interest, but to preoccupy. What are the these of the “Protocols” with which, in the absence of public criticism, British readers have to grapple alone and unaided?”

Will Eisner (1917–2005) American cartoonist

The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005)

Geoffrey Moore photo
W. Somerset Maugham photo

“The crown of literature is poetry.”

W. Somerset Maugham (1874–1965) British playwright, novelist, short story writer

Matthew Arnold, Count Leo Tolstoi
Misattributed

Ernest Hemingway photo

“Scott took LITERATURE so solemnly. He never understood that it was just writing as well as you can and finishing what you start.”

Ernest Hemingway (1899–1961) American author and journalist

Letter to Arthur Mizener (12 May 1950); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker

“It is above all through landscape that music joins Romantic art and literature.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 3 : Mountains and Song Cycles

Asger Jorn photo
Jean Cocteau photo

“Take a commonplace, clean it and polish it, light it so that it produces the same effect of youth and freshness and originality and spontaneity as it did originally, and you have done a poet’s job. The rest is literature.”

Jean Cocteau (1889–1963) French poet, novelist, dramatist, designer, boxing manager and filmmaker

Mettez un lieu commun en place, nettoyez-le, frottez-le, éclairez-le de telle sorte qu'il frappe avec sa jeunesse et avec la même fraîcheur, le même jet qu'il avait à sa source, vous ferez œuvre de poète. Tout le reste est littérature.
"Le Secret Professionnel" (originally published 1922); later published in Collected Works Vol. 9 (1950)
A Call to Order (1926)

Vladimir Lenin photo
Percy Bysshe Shelley photo
Samuel Butler photo
André Gide photo

“It is with noble sentiments that bad literature gets written.”

André Gide (1869–1951) French novelist and essayist

C'est avec de beaux sentiments qu'on fait de la mauvaise littérature.
Letter to François Mauriac (1929)

Lawrence M. Krauss photo
William Dean Howells photo
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Thomas Babington Macaulay, 1st Baron Macaulay photo
Gregory Scott Paul photo

“How would we think and feel about predatory dinosaurs if they were alive today? Humans have long felt antipathy toward carnivores, our competitors for scarce protein. But our feelings are somewhat mollified by the attractive qualities we see in them. For all their size and power, lions remind us of the little creatures that we like to have curl up in our laps and purr as we stroke them. Likewise, noble wolves recall our canine pets. Cats and dogs make good companions because they are intelligent and responsive to our commands, and their supple bodies make them pleasing to touch and play with. And, very importantly, they are house-trainable. Their forward-facing eyes remind us of ourselves. However, even small predaceous dinosaurs would have had no such advantage. None were brainy enough to be companionable or house-trainable; in fact, they would always be a danger to their owners. Their stiff, perhaps feathery bodies were not what one would care to have sleep at the foot of the bed. The reptilian-faced giants that were the big predatory dinosaurs would truly be horrible and terrifying. We might admire their size and power, much as many are fascinated with war and its machines, but we would not like them. Their images in literature and music would be demonic and powerful - monsters to be feared and destroyed, yet emulated at the same time.”

Gregory Scott Paul (1954) U.S. researcher, author, paleontologist, and illustrator

Gregory S. Paul (1988) Predatory Dinosaurs of the World, Simon and Schuster, p. 19
Predatory Dinosaurs of the World

Bell Hooks photo
J. William Fulbright photo
Henry Adams photo
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John Cheever photo

“What I am going to write is the last of what I have to say. I will say that literature is the only consciousness we possess and that its role as consciousness must inform us of our ability to comprehend the hideous danger of nuclear power.”

John Cheever (1912–1982) American novelist and short story writer

Entry in his journal before his last public appearance, the ceremony at which he received the National Medal for Literature, quoted by Susan Cheever, Home before Dark Houghton Mifflin (1984).

Irene Dunne photo
Ben Gibbard photo

“Run from the Furies, and they find you, as if fear were a homing device, as if literature itself, on contemplating the abyss, were an invitation to jump into it, while Wagner whistles.”

John Leonard (1939–2008) American critic, writer, and commentator

"Meeting at Winkel" http://query.nytimes.com/gst/fullpage.html?res=9A00E1DE1538F935A3575AC0A964948260&scp=36&sq=, The New York Times (6 September 1982)

Christopher Hitchens photo

“Ronald Reagan claimed that the Russian language had no word for "freedom." (The word is "svoboda"; it's quite well attested in Russian literature)… said that intercontinental ballistic missiles (not that there are any non-ballistic missiles—a corruption of language that isn't his fault) could be recalled once launched… said that he sought a "Star Wars" defense only in order to share the technology with the tyrants of the U. S. S. R… professed to be annoyed when people called it "Star Wars," even though he had ended his speech on the subject with the lame quip, "May the force be with you"… used to alarm his Soviet counterparts by saying that surely they'd both unite against an invasion from Mars… used to alarm other constituencies by speaking freely about the "End Times" foreshadowed in the Bible. In the Oval Office, Ronald Reagan told Yitzhak Shamir and Simon Wiesenthal, on two separate occasions, that he himself had assisted personally at the liberation of the Nazi death camps.There was more to Ronald Reagan than that. Reagan announced that apartheid South Africa had "stood beside us in every war we've ever fought," when the South African leadership had been on the other side in the most recent world war… allowed Alexander Haig to greenlight the Israeli invasion of Lebanon in 1982, fired him when that went too far and led to mayhem in Beirut, then ran away from Lebanon altogether when the Marine barracks were bombed, and then unbelievably accused Tip O'Neill and the Democrats of "scuttling.".. sold heavy weapons to the Iranian mullahs and lied about it, saying that all the weapons he hadn't sold them (and hadn't traded for hostages in any case) would, all the same, have fit on a small truck… then diverted the profits of this criminal trade to an illegal war in Nicaragua and lied unceasingly about that, too… then modestly let his underlings maintain that he was too dense to understand the connection between the two impeachable crimes. He then switched without any apparent strain to a policy of backing Saddam Hussein against Iran. (If Margaret Thatcher's intelligence services had not bugged Oliver North in London and become infuriated because all European nations were boycotting Iran at Reagan's request, we might still not know about this.) One could go on… This was a man never short of a cheap jibe or the sort of falsehood that would, however laughable, buy him some time.”

Christopher Hitchens (1949–2011) British American author and journalist

2000s, 2004

Jorge Luis Borges photo

“In the order of literature, as in others, there is no act that is not the coronation of an infinite series of causes and the source of an infinite series of effects.”

"The Flower of Coleridge" ["La flor de Coleridge"] — The title of this work makes reference to a line by Samuel Coleridge in Anima Poetæ : From the Unpublished Note-books of Samuel Taylor Coleridge (1895), p. 282 : "If a man could pass through Paradise in a dream, and have a flower presented to him as a pledge that his soul had really been there, and if he found that flower in his hand when he awake — Aye, what then?"
Other Inquisitions (1952)

Alan Bennett photo

“Franklin: Sapper, Buchan, Dornford Yates, practitioners in that school of Snobbery with Violence that runs like a thread of good-class tweed through twentieth-century literature.”

Act 2.
Bennett is often credited with having coined the pun "snobbery with violence", though he himself pointed out in Writing Home (1994), p. 199, that the phrase had been used by Count Geoffrey Potocki de Montalk in 1932 as the title of a pamphlet.
Forty Years On (1972)

Antonio Negri photo
Wendell Phillips photo

“Take the whole range of imaginative literature, and we are all wholesale borrowers. In every matter that relates to invention, to use, or beauty or form, we are borrowers.”

Wendell Phillips (1811–1884) American abolitionist, advocate for Native Americans, orator and lawyer

Lecture: The Lost Arts, reported in Bartlett's Familiar Quotations, 10th ed. (1919)

“How much of our literature, our political life, our friendships and love affairs, depend on being able to talk peacefully in a bar!”

John Wain (1925–1994) British writer

As given in Simpson's Contemporary Quotations (1988) p. 301

George Saintsbury photo

“Oratory is, after all, the prose literature of the savage.”

George Saintsbury (1845–1933) British literary critic

Vol. 1, p. 203
A History of Criticism and Literary Taste in Europe from the Earliest Texts to the Present Day

Perry Anderson photo
John Banville photo

“Oh, I'm terribly ignorant of Czech literature. It's disgraceful really.”

John Banville (1945) Irish writer

John Banville: Using words to paint pictures of "magical" Prague (2006)

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Northrop Frye photo
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Philip Schaff photo

“He adapted the words to the capacity of the Germans, often at the expense of accuracy. He cared more for the substance than the form. He turned the Hebrew shekel into a Silberling, He used popular alliterative phrases as Geld und Gut, Land und Leute, Rath und That, Stecken und Stab, Dornen und Disteln, matt und müde, gäng und gäbe. He avoided foreign terms which rushed in like a flood with the revival of learning, especially in proper names (as Melanchthon for Schwarzerd, Aurifaber for Goldschmid, Oecolampadius for Hausschein, Camerarius for Kammermeister). He enriched the vocabulary with such beautiful words as holdselig, Gottseligkeit.
Erasmus Alber, a contemporary of Luther, called him the German Cicero, who not only reformed religion, but also the German language.
Luther's version is an idiomatic reproduction of the Bible in the very spirit of the Bible. It brings out the whole wealth, force, and beauty of the German language. It is the first German classic, as King James's version is the first English classic. It anticipated the golden age of German literature as represented by Klopstock, Lessing, Herder, Goethe, Schiller,—all of them Protestants, and more or less indebted to the Luther-Bible for their style. The best authority in Teutonic philology pronounces his language to be the foundation of the new High German dialect on account of its purity and influence, and the Protestant dialect on account of its freedom which conquered even Roman Catholic authors.”

Philip Schaff (1819–1893) American Calvinist theologian

Notable examples of Luther's renderings of Hebrew and Greek words

Marshall McLuhan photo

“Headlines are icons, not literature.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, Counterblast (1969), p. 5

Gertrude Stein photo
John Lancaster Spalding photo
Emma Goldman photo
Andrei Sakharov photo
Georg Brandes photo

“Young girls sometimes make use of the expression: “Reading books to read one’s self.” They prefer a book that presents some resemblance to their own circumstances and experiences. It is true that we can never understand except through ourselves. Yet, when we want to understand a book, it should not be our aim to discover ourselves in that book, but to grasp clearly the meaning which its author has sought to convey through the characters presented in it. We reach through the book to the soul that created it. And when we have learned as much as this of the author, we often wish to read more of his works. We suspect that there is some connection running through the different things he has written and by reading his works consecutively we arrive at a better understanding of him and them. Take, for instance, Henrik Ibsen’s tragedy, “Ghosts.” This earnest and profound play was at first almost unanimously denounced as an immoral publication. Ibsen’s next work, “An Enemy of the People,” describes, as is well known the ill-treatment received by a doctor in a little seaside town when he points out the fact that the baths for which the town is noted are contaminated. The town does not want such a report spread; it is not willing to incur the necessary expensive reparation, but elects instead to abuse the doctor, treating him as if he and not the water were the contaminating element. The play was an answer to the reception given to “Ghosts,” and when we perceive this fact we read it in a new light. We ought, then, preferably to read so as to comprehend the connection between and author’s books. We ought to read, too, so as to grasp the connection between an author’s own books and those of other writers who have influenced him, or on whom he himself exerts an influence. Pause a moment over “An Enemy of the People,” and recollect the stress laid in that play upon the majority who as the majority are almost always in the wrong, against the emancipated individual, in the right; recollect the concluding reply about that strength that comes from standing alone. If the reader, struck by the force and singularity of these thoughts, were to trace whether they had previously been enunciated in Scandinavian books, he would find them expressed with quite fundamental energy throughout the writings of Soren Kierkegaard, and he would discern a connection between Norwegian and Danish literature, and observe how an influence from one country was asserting itself in the other. Thus, by careful reading, we reach through a book to the man behind it, to the great intellectual cohesion in which he stands, and to the influence which he in his turn exerts.”

Georg Brandes (1842–1927) Danish literature critic and scholar

Source: On Reading: An Essay (1906), pp. 40-43

Thornton Wilder photo

“Literature is the orchestration of platitudes.”

Thornton Wilder (1897–1975) American playwright and novelist

TIME magazine (12 January 1953)

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Edith Hamilton photo
Erick Avari photo
Edward Bulwer-Lytton photo

“In science, read, by preference the newest works; in literature, the oldest. The classic literature is always modern.”

Edward Bulwer-Lytton (1803–1873) English novelist, poet, playwright, and politician

Caxtoniana: Hints on Mental Culture (1862)

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