“Today's novelist is not only limited by the thin subject matter of personal experience, but by the pinched clinical conventions of the Health generation. Faced with Othello, say, he would have to divide the man into departments, like a liberal arts course. Race relations — that's still a subject, although of course whites can't write about blacks and vice versa; sexual politics (somehow); Othello's ultimate therapy and decision to endure. Since jealousy is now curable, like TB, we can't have people dying of it anymore. A few rap sessions, some fearless touching, and a new sense of self-worth would have Othello and Iago and Hamlet and Juliet back on their feet in no time; and Fiction struggling.”

—  Wilfrid Sheed

"A Moral Problem" (1974), p. 88
The Good Word & Other Words (1978)

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "Today's novelist is not only limited by the thin subject matter of personal experience, but by the pinched clinical con…" by Wilfrid Sheed?
Wilfrid Sheed photo
Wilfrid Sheed 50
English-American novelist and essayist 1930–2011

Related quotes

Jacob Bronowski photo

“Christopher Columbus discovered the West Indies, and Alexander Graham Bell invented the telephone. We do not call their achievements creations because they are not personal enough. The West Indies were there all the time; and as for the telephone, we feel that Bell's ingenious thought was somehow not fundamental. The groundwork was there, and if not Bell then someone else would have stumbled on the telephone almost as accidently as on the West Indies.
By contrast, we feel that Othello is genuinely a creation. This is not because Othello came out of a clear sky; it did not. There were Elizabethan dramatists before William Shakespeare, and without them he could not have written as he did. Yet within their tradition Othello remains profoundly personal; and though every element in the play has been a theme of other poets, we know that the amalgam of these elements is Shakespeare's; we feel the presence of his single mind. The Elizabethan drama would have gone on without Shakespeare, but no one else would have written Othello…”

Jacob Bronowski (1908–1974) Polish-born British mathematician

Source: The Creative Process, 1958, p. 97-98: As quoted in: S.P. Sector (‎1997). A Study of Issues Relating to the Patentability of Biotechnological Subject Matter. Footnote 51. https://www.ic.gc.ca/eic/site/ippd-dppi.nsf/eng/ip00201.html

Alan Ayckbourn photo

“The darker the subject, the more light you must try to shed on the matter. And vice versa.”

Alan Ayckbourn (1939) English playwright

The Crafty Art of Playwriting (New York: Palgrave Macmillan, 2003) p. 3.

“Poems, like dreams, have a visible subject and an invisible one. The invisible one is the one you can't choose, the one that writes itself.”

Alice Oswald (1966) British poet

Get Writing (2004), as quoted in Modern Women Poets (2005) by Deryn Rees-Jones, p. 392
Context: Poems, like dreams, have a visible subject and an invisible one. The invisible one is the one you can't choose, the one that writes itself. Not a message that comes at the end of the poem, more like a pathological condition that deforms every word – a resonance, a manner of speaking, a nervous tic, a pressure. And this invisible subject only shows up when you're speaking the language that you speak when no one is there to correct or applaud you. Remembering that language is the whole skill of writing well.

Khaled Hosseini photo

“The problem, of course, was that [he] saw the world in black and white. And he got to decide what was black and what was white. You can't love a person who lives that way without fearing him too. Maybe even hating him a little.”

Khaled Hosseini book The Kite Runner

Source: The Kite Runner (2003)
Context: With me as the glaring exception, my father molded the world around him to his liking. The problem, of course, was that Baba saw the world in black and white. And he got to decide what was black and what was white. You can't love a person who lives that way without fearing him too. Maybe even hating him a little.

Richard Feynman photo

“So, ultimately, in order to understand nature it may be necessary to have a deeper understanding of mathematical relationships. But the real reason is that the subject is enjoyable, and although we humans cut nature up in different ways, and we have different courses in different departments, such compartmentalization is really artificial, and we should take our intellectual pleasures where we find them.”

Richard Feynman (1918–1988) American theoretical physicist

volume I; lecture 22, "Algebra"; section 22-1, "Addition and multiplication"; p. 22-1
The Feynman Lectures on Physics (1964)

Alfred North Whitehead photo

“A man really writes for an audience of about ten persons. Of course if others like it, that is clear gain. But if those ten are satisfied, he is content.”

Alfred North Whitehead (1861–1947) English mathematician and philosopher

Source: Attributed from posthumous publications, Dialogues of Alfred North Whitehead (1954), p. 66

Ingmar Bergman photo

“I've never liked Welles as an actor, because he's not really an actor. In Hollywood you have two categories, you talk about actors and personalities. Welles was an enormous personality, but when he plays Othello, everything goes down the drain, you see, that's when he's croaks. In my eyes he's an infinitely overrated filmmaker.”

Ingmar Bergman (1918–2007) Swedish filmmaker

On Orson Welles
Jan Aghed interview (2002)

Richard Feynman photo

“Principles
You can't say A is made of B
or vice versa.
All mass is interaction.”

Richard Feynman (1918–1988) American theoretical physicist

note (c. 1948), quoted in Genius: The Life and Science of Richard Feynman (1992) by James Gleick, p. 5 (repeated p. 283)

Girish Raghunath Karnad photo

“The subject that interests most writers is, of course, themselves and it is easy subject to talk about. But you know it is always easier if you are a poet or a novelist because you are used to talking in your voice. You suspend your whole life talking as writer directly to the audience. The problem is being playwright is that everything that you write is for someone else to say.”

Girish Raghunath Karnad (1938–2019) Indian playwright

Expressed to R.K.Dhavan, quoted here [Sahu, Nandini title=The Post-colonial Space: Writing the Self and the Nation, http://books.google.com/books?id=xs_tj0tDnnwC&pg=PA59, 2007, Atlantic Publishers & Dist, 978-81-269-0777-9, 116]

“You can't be in an unconscious state and paint. Because whatever is in your mind, and not the subject matter, but the feelings that you have related to that subject matter, is what you're going to paint. So, the beginning is not actually painting, you know. The beginning of painting is not you put down green, and then you like pink, and you put down pink.
Painting's not about that anymore than music is about this sound and that sound.... And it's something that drives you to expression. And it's irresistible.”

Agnes Martin (1912–2004) American artist

1974
1970's, interview, K. Horsfield & L. Blumenthal

Related topics