Quotes about novel
page 5

“The nineteenth century will colonize; so, in its fantasies, did the nineteenth century soul. When Emma [Bovary] turns spendthrift and buys curtains, carpets and hangings from the draper, the information takes on something from the theme of the novel itself: the material is a symbol of the exotic, and the exotic feeds the Romantic appetite. It will lead to satiety, bankruptcy and eventually to nihilism and the final drive towards death and nothingness.”

V.S. Pritchett (1900–1997) British writer and critic

"Gustave Flaubert: The Quotidian", p. 130
The Myth Makers: European and Latin American Writers (1979)

Death, Soul

“The last time I was in Spain I got through six Jeffrey Archer novels. I must remember to take enough toilet paper next time.”

Bob Monkhouse (1928–2003) English entertainer

Independent on Sunday obituary http://web.archive.org/web/20100522031727/http://www.independent.co.uk/news/media/bob-monkhouse-jokewriter-to-the-stars-and-the-longreigning-king-of-primetime-comedy-dies-at-75-578058.html

Time

“Writing a novel is not very difficult: you simply write ten pages a day for a month and then you have a novel.”

Henri Peyre (1901–1988) American linguist

Henri Peyre, at Yale, as quoted in Graham, Garrett, The Writer's Voice: Conversations with Contemporary Writers (1973), p. 272

“And at that point, too, in Buddhist India as in Babylon, in Rome as in our own cities, a man's choice of the woman who is to be, not mother of his children as amongst peasants and primitives, but his own "companion for life", becomes a problem of mentalities. The Ibsen marriage appears, the "higher spiritual affinity" in which both parties are "free"—free, that is, as intelligences, free from the plantlike urge of the blood to continue itself, and it becomes possible for a Shaw to say "that unless Woman repudiates her womanliness, her duty to her husband, to her children, to society, to the law, and to everyone but herself, she cannot emancipate herself." The primary woman, the peasant woman, is mother. The whole vocation towards which she has yearned from childhood is included in that one word. But now emerges the Ibsen woman, the comrade, the heroine of a whole megalopolitan literature from Northern drama to Parisian novel. Instead of children, she has soul-conflicts; marriage is a craft-art for the achievement of "mutual understanding"….
At this level all Civilizations enter upon a stage, which lasts for centuries, of appalling depopulation. The whole pyramid of cultural man vanishes. It crumbles from the summit, first the world-cities, then the provincial forms, and finally the land itself, whose best blood has incontinently poured into the towns, merely to bolster them up awhile. At the last, only the primitive blood remains, alive, but robbed of its strongest and most promising elements. This residue is the Fellah type.
If anything has demonstrated the fact that Causality has nothing to do with history, it is the familiar "decline" of the Classical, which accomplished itself long before the irruption of Germanic migrants. The Imperium enjoyed the completest peace; it was rich and highly developed; it was well organized; and it possessed in its emperors from Nerva to Marcus Aurelius a series of rulers such as the Caesarism of no other Civilization can show. And yet the population dwindled, quickly and wholesale. The desperate marriage-and-children laws of Augustus—amongst them the Lex de maritandis ordinibus, which dismayed Roman society more than the destruction of Varus's legions—the wholesale adoptions, the incessant plantation of soldiers of barbarian origin to fill the depleted country-side, the immense food-charities of Nerva and Trajan for the children of poor parents—nothing availed to check the process.”

Oswald Spengler book The Decline of the West

Vol. II, Alfred A. Knopf, 1928, pp. 104–06 https://archive.org/stream/Decline-Of-The-West-Oswald-Spengler/Decline_Of_The_West#page/n573/mode/2up/search/depopulation The Decline of the West (1918, 1923)

Life, Marriage, Children, World

“WE MUST INVENT FUTURIST CLOTHES, hap-hap-hap-hap-happy clothes, daring clothes with brilliant colours and dynamic lines. They must be simple, and above all they must be made to last for a short time only in order to encourage industrial activity and to provide constant and novel enjoyment for our bodies.”

Giacomo Balla (1871–1958) Italian artist

(Manuscript, 1913); as quoted at dekorera.tumblr: futurist manifesto of men's clothing http://dekorera.tumblr.com/post/3212646425/futurist-manifesto-of-mens-clothing-by-giacomo Futurist Manifesto of Men's clothing,' 1913/1914

Happiness, Time, Clothes

“Almost all Muslims, including the most enlightened, feel offended by Rushdie's novel or, rather, by reports they have read or heard about it. Very few people have actually read the dense and tortuous book, but they do not have to. The very idea of using the prophet Muhammad as a character in a novel is painful to many Muslims. The entire Islamic system consists of the so-called Hodud, or limits beyond which one should simply not venture. Islam does not recognize unlimited freedom of expression. Call them taboos, if you like, but Islam considers a wide variety of topics as permanently closed. Most Muslims are prepared to be broad-minded about most things but never anything that even remotely touches their faith… To Muslims religion is not just a part of life. It is, in fact, life that is a part of religion. Muslims cannot understand a concept that has no rules, no limits. The Western belief in human rights, which seems to lack limits, is alien to Islamic traditions… The fact that Rushdie propagated his heresy in a book is of especial significance to Muslims. Islam is the religion of the book par excellence.”

Amir Taheri (1942) Iranian journalist

Few cultures hold the written and printed word in so much awe as Muslims, even though the vast majority are illiterate. When a Muslim wants to clinch an argument he says, 'It is written.'
"Khomeini's Scapegoat", Times, London, (February 13, 1989).

Life, Pain, People, Books

“The confirmations of novel predictions resulting from bold conjectures are very important in the falsificationist account of the growth of science.”

Alan Chalmers book What Is This Thing Called Science?

Source: What Is This Thing Called Science? (Third Edition; 1999), Chapter 6, Sophisticated falsification, novel predictions and the growth of science, p. 81.

Science

“I am one of what must be an increasing number who find the portentous moralisings of A. Solzhenitsyn a bore and an irritation. Scarcely any aspect of life in the countries where he passes his voluntary exile has failed to incur his pessimistic censure. Coming from Russia, where freedom of the press has been not so much unknown as uncomprehended since long before the Revolution, he is shocked to discover that a free press disseminated all kinds of false, partial and invented information and that journalists contradict themselves from one day to the next without shame and without apology. Only a Russian would find all that surprising, or fail to understand that freedom which is not misused is not freedom at all.

Like all travellers he misunderstands what he observes. It simply is not true that ‘within the Western countries the press has become more powerful than the legislative power, the executive and the judiciary’. The British electorate regularly disprove this by electing governments in the teeth of the hostility and misrepresentation of virtually the whole of the press. Our modern Munchhausen has, however, found a more remarkable mare’s nest still: he has discovered the ‘false slogan, characteristic of a false era, that everyone is entitled to know everything’. Excited by this discovery he announces a novel and profound moral principle, a new addendum to the catalogue of human rights. ‘People,’ he says, ‘have a right not to know, and it is a more valuable one.’ Not merely morality but theology illuminates the theme: people have, say Solzhenitsyn, ‘the right not to have their divine souls’ burdened with ‘the excessive flow of information’.

Just so. Whatever may be the case in Russia, we in the degenerate West can switch off the radio or television, or not buy a newspaper, or not read such parts of it as we do not wish to. I can assure Solzhenitsyn that the method works admirably, ‘right’ or ‘no right’. I know, because I have applied it with complete success to his own speeches and writings.”

Enoch Powell (1912–1998) British politician

Letter in answer to Solzhenitsyn's Harvard statement (21 June 1978), from Reflections of a Statesman. The Writings and Speeches of Enoch Powell (London: Bellew, 1991), p. 577
1970s

Life, Hostility, People, Travel

“Well, Aimee Semple McPherson has written a book. And were you to call it a little peach, you would not be so much as scratching its surface. It is the story of her life, and it is called In the Service of the King, which title is perhaps a bit dangerously suggestive of a romantic novel. It may be that this autobiography is set down in sincerity, frankness and simple effort. It may be, too, that the Statue of Liberty is situated in Lake Ontario.”

Dorothy Parker (1893–1967) American poet, short story writer, critic and satirist

"Our Lady of the Loudspeaker" in The New Yorker (25 February 1928)

Life, Books, Effort, Sincerity

“The novel remains for me one of the few forms where we can record man’s complexity and the strength and decency of his longings. Where we can describe, step by step, minute by minute, our not altogether unpleasant struggle to put ourselves into a viable and devout relationship to our beloved and mistaken world.”

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

Accepting National Book Award, The Writer (September 1958).

World

“That first novel of mine, Non-Stop, is directly attributable to Heinlein. His "Common Sense" seemed to me such a good story, but bereft of any human feelings. I thought long about that story, and then I thought how wonderful it would be to write about a spaceship in which people have been imprisoned for generations and to put in something of the human feeling. So that novel is directly attributable to Heinlein. I thought, in my youthful arrogance, that I could do it better — I didn't! I thought I could do it differently, and I think I did do it differently. And I suppose that on the whole, I've concentrated on doing things differently ever since.”

Brian W. Aldiss (1925–2017) British science fiction author

Locus interview (2000)

People, Youth, Feeling, Thinking

“The principle behind the cinema, like that behind all the arts, rests on a choice. It is, in Camus' words, "the revolt of the artist against the real."
If one holds to this principle, what difference can it make by what means reality is revealed? Whether the author of a film seizes on the real in a novel, in a newspaper story or in his own imagination, what counts is the way he isolates it, stylizes it, makes it his own.”

Michelangelo Antonioni (1912–2007) Italian film director and screenwriter

Cahiers du Cinema (1960)

Art, Way, Imagination, Reality

“This in turn suggests an answer to our question: what happened between the birth of De Sade and the birth of Krafft-Ebbing? The rise of the novel taught Europe to use its imagination. And when imagination was applied to sex, the result was the rise of pornography -- and of "sexual perversion."”

Colin Wilson book The Misfits: A Study of Sexual Outsiders

Source: The Misfits: A Study of Sexual Outsiders (1988), p. 86

Sex, Imagination, Birth, Question

“Literary criticism should arise out of a debt of love. In a manner evident and yet mysterious, the poem or the drama or the novel seizes upon our imaginings. We are not the same when we put down the work as we were when we took it up. To borrow an image from another domain: he who has truly apprehended a painting by Cézanne will thereafter see an apple or a chair as he had not seen them before. Great works of art pass through us like storm-winds, flinging open the doors of perception, pressing upon the architecture of our beliefs with their transforming powers. We seek to record their impact, to put our shaken house in its new order. Through some primary instinct of communion we seek to convey to others the quality and force of our experience. We would persuade them to lay themselves open to it. In this attempt at persuasion originate the truest insights criticism can afford.”

George Steiner (1929–2020) American writer

Source: Tolstoy or Dostoevsky (1960), Ch. 1.

Love, Art, Imagination, Painting

“I can't think of any one film that improved on a good novel, but I can think of many good films that came from very bad novels.”

Gabriel García Márquez (1927–2014) Colombian writer

Source: The Paris Review interview (1981), p. 338

Thinking

“Virginia Woolf thought one of the pleasures of reading contemporary novels was that they forced you to exercise your judgment. There was no received opinion about a book. You had to decide for yourself whether it was good.”

Tim Parks (1954) British writer

"Why Read New Books?" The New York Review of Books (11 November 2014).

Pleasure, Books, Exercises, Reading

“The construction of an economic model, or of any model or theory for that matter (or the writing of a novel, a short story, or a play) consists of snatching from the enormous and complex mass of facts called reality, a few simple, easily-managed key points which, when put together in some cunning way, become for certain purposes a substitute for reality itself.”

Evsey Domar (1914–1997) American economist

Essays in the Theory of Economic Growth (1957)

Way, Reality

“The light that radiates from the great novels time can never dim, for human existence is perpetually being forgotten by man and thus the novelists' discoveries, however old they may be, will never cease to astonish.”

Milan Kundera (1929–2023) Czech author of Czech and French literature

As quoted in The Guardian (3 June 1988)

Light, Time

“What initially attracted me to The Seventh Seal was that it had values and characteristics which I was familiar with in other art forms, most notably, the European novel and certain forms on English drama, and indeed, in relation to my rather academic interest in history -- not "history" in the normal sense, but history as a form of entertainment. It might be a very unfashionable view but I believe that history is an amazing bank or reserve area of plots, characterisations, extraordinary events, etc.”

Peter Greenaway (1942) British film director

From an interview in Art and Design, no. 49
Interviews

Art, History, Sense

“For some time I debated over whether I should start these memoirs at the beginning or at the end, that is, whether I should put my birth or my death in first place. Since common usage would call for beginning with birth, two considerations led me to adopt a different method: the first is that I am not exactly a writer who is dead but a dead man who is a writer, for whom the grave was a second cradle; the second is that the writing would be more distinctive and novel in that way. Moses, who also wrote about his death, didn't place it at the opening but at the close: a radical difference between this book and the Pentateuch.”

Machado de Assis (1839–1908) Brazilian writer

Algum tempo hesitei se devia abrir estas memórias pelo princípio ou pelo fim, isto é, se poria em primeiro lugar o meu nascimento ou a minha morte. Suposto o uso vulgar seja começar pelo nascimento, duas considerações me levaram a adotar diferente método: a primeira é que eu não sou propriamente um autor defunto mas um defunto autor, para quem a campa foi outro berço; a segunda é que o escrito ficaria assim mais galante e mais novo. Moisés, que também contou a sua morte, não a pôs no intróito, mas no cabo: diferença radical entre este livro e o Pentateuco.
Source: As Memórias Póstumas de Brás Cubas (1881), Ch. 1 (opening words), p. 7.

Death, Books, Way, Birth

“Are there any mythical beasts which aren't simple pastiches of nature? Centaurs, minotaurs, unicorns, griffons, chimeras, sphinxes, manticores, and the like don't speak well for the human imagination. None is as novel as a kangaroo or starfish.”

William Poundstone (1955) American writer

Source: Labyrinths of Reason (1988), Chapter 1: "Paradox", p. 11

Imagination, Nature

“I once tried to write a novel about revenge. It's the only book I didn't finish. I couldn't get into the mind of the person who was plotting vengeance.”

Maeve Binchy (1940–2012) Irish novelist

shelf-life.ew.com http://shelf-life.ew.com/2012/07/31/circle-of-friends-author-maeve-binchy-dies/

Books, Revenge, Personality

“Goethe said, “The author whom a lexicon can keep up with is worth nothing”; Somerset Maugham says that the finest compliment he ever received was a letter in which one of his readers said: “I read your novel without having to look up a single word in the dictionary.””

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

These writers, plainly, lived in different worlds.
"The Obscurity of the Poet", p. 13
No Other Book: Selected Essays (1999)

World, Reading

“Many of the symbols, word-plays and secret patterns with which the novel abounds seem to be used out of sheer ebullience, as though the author was playing some sort of game with himself and did not much care whether he was observed or not. Chinese devotees of the novel often continue to read and reread it throughout their lives and to discover more of these little private jokes each time they read it.”

David Hawkes (sinologist) (1923–2009) British sinologist

Source: Preface to The Golden Days, 1973, p. 45

Secret, Game, Time, Reading

“The political dismemberment of these once British colonies from the parent island, though involving a valuable principle, and many possible results, would scarcely merit a yearly commemoration, even in this country, had it not been accompanied by other occurrences more novel, and far more important.”

Frances Wright (1795–1852) American activist

Independence Day speech (1828)

Parent, Country

“A novel that does not uncover a hitherto unknown segment of existence is immoral. Knowledge is the novel's only morality.”

Milan Kundera (1929–2023) Czech author of Czech and French literature

New York Review of Books (19 July 1984)

Knowledge

“The only time I've ever learned anything from a review was when John Lanchester wrote a piece in the Guardian about my second novel, The Heather Blazing. He said that, together with the previous novel, it represented a diptych about the aftermath of Irish independence. I simply hadn't known that – and I loved the grandeur of the word "diptych."”

Colm Tóibín (1955) Irish novelist and writer

I went around quite snooty for a few days, thinking: "I wrote a diptych." Colm Tóibín, novelist – portrait of the artist http://www.guardian.co.uk/books/2013/feb/19/colm-toibin-novelist-portrait-artist, The Guardian (19 February 2013)

Love, Thinking, Learning, Time

“The mystery story is a kind of writing that need not dwell in the shadow of the past and owes little if any allegiance to the cult of the classics. It is a good deal more than unlikely that any writer now living will produce a better historical novel than Henry Esmond, a better tale of children than The Golden Age, a sharper social vignette than Madame Bovary, a more graceful and elegant evocation than The Spoils of Poynton, a wider and richer canvas than War and Peace or The Brothers Karamazov. But to devise a more plausible mystery than The Hound of the Baskervilles or The Purloined Letter should not be too difficult. Nowadays it would be rather more difficult not to.”

Raymond Chandler book The Simple Art of Murder

Introduction
The Simple Art of Murder (1950)

War, Children, Age, Peace

“I should have done my novel before this, but I was a journalist and a junkie for 20 years and unlike the junkie cliché, I had good jobs all over the world. I was a books editor, I did financial journalism for Asia Week for five years, I was Bombay correspondent for the South China Morning Post for 18 months, I worked for every newspaper in India doing arts journalism. I was a hardworking junkie.”

Jeet Thayil (1959) Indian writer

Jeet Thayil: Confessions of an Indian Opium-Eater

Books, World, Art

“I would sooner read a time-table or a catalogue than nothing at all. … They are much more entertaining than half the novels that are written.”

W. Somerset Maugham book The Summing Up

Source: The Summing Up (1938), p. 1

Time, Reading

“To doubt everything or to believe everything are two equally convenient solutions; both dispense with the necessity of reflection. (Note: This quote, although found in the 1985 sci-fi novel, 'Lucifer's Hammer', by Larry Niven and Jerry Pournelle, may be erroneously attributed to Pournelle. As this quote can also be found in the Preface of Henri Poincare's "Science and Hypothesis" the 1952 Dover abridged edition)”

Jerry Pournelle book Lucifer's Hammer

Lucifer's Hammer (1985)

Quotes, Science

“Out of this folk mind, turned into stories and crowded with thousands of years of life, grew, literally, the Chinese novel. For these novels changed as they grew. If, as I have said, there are no single names attached beyond question to the great novels of China, it is because no one hand wrote them. From beginning as a mere tale, a story grew through succeeding versions, into a structure built by many hands.”

Pearl S. Buck (1892–1973) American writer

The Chinese Novel (1938)

Life, Question, Change

“I had the company of monsieur Gibert. Such people see clearly, but they have the teacher's eye. As the train was taking us past Alexis' place a staggering subject for a picture came into view towards the east: St-Victoire [later Cezanne made series of paintings of Mont St. Victoire and the crags above Beaurecueil]. I said, 'What a splendid subject'; he replied, 'The lines are too symmetrical'. Referring to 'L'Assommoir' [a novel of Emile Zola ] about which, incidentally, he was the first person to speak to me, he said some very sound things, and praised it, but always from the point of view of technique.”

Paul Cézanne (1839–1906) French painter

Quote in Cézanne's letter to his friend Emile Zola, Aix-en-Provence, 14 April 1878; as quoted in Letters of the great artists – from Blake to Pollock"', Richard Friedenthal, Thames and Hudson, London, 1963, pp. 178-179
Quotes of Paul Cezanne, 1860s - 1870s

People, Teachers, Past, Painting

“The – now shop-worn – label of ‘magical realism’ is customarily applied to Márquez’s novels. It has never fitted Vargas Llosa, who disavows the adjective.”

Perry Anderson (1938) British historian

Spectrum: From Right to Left in the World of Ideas (2005), Ch 10. "Tropical Recall, Gabriel García Márquez" (2005)

“The mania for self-observation and self-admiration in literature and the view that a work is the more true and the more convincing, the more directly the author reveals himself in it, are part of the intellectual inheritance of Rousseau. In the next hundred to hundred and fifty years everything of importance in European literature is stamped with this subjectivism. Not only Werther, René, Obermann, Adolphe, Jacopo Ortis, are among the successors of Saint-Preux, but also the heroes in later novels— from Balzac’s Lucien de Rubempré, Stendhal’s Julien Sorel, Flaubert’s Frédéric Moreau and Emma Bovary to Tolstoy’s Pierre, Proust’s Marcel and Thomas Mann’s Hans Castorp—are derived from it. They all suffer from the discrepancy between dream and reality and are the victim of the conflict between their illusions and practical, commonplace, middle-class life.”

Arnold Hauser (1892–1978) Hungarian art historian

Source: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 2. The New Reading Public

Life, Dreams, Literature, Reality

“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.”

Susan Sontag book Styles of Radical Will

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

Women, Men, People, Books

“The bourgeoisie loves so-called “positive” types and novels with happy endings since they lull one into thinking that it is fine to simultaneously acquire capital and maintain one’s innocence, to be a beast and still be happy.”

Anton Chekhov (1860–1904) Russian dramatist, author and physician

Letter to A.S. Suvorin (April 13, 1895)
Letters

Love, Happiness, Thinking

“Between bad ideas of gender neutrality and even worse ideas of the innocence of pornography, we reach the world so vividly described by so many dissatisfied women today, one where men act like stereotypical women, and retreat from real relationships into a fantasy life via pornography (rather than Harlequin novels), and where women conversely act like stereotypical men, taking the lead in leaving their marriages and firing angry charges on the way, out of frustration and withheld sex.”

Mary Eberstadt American writer

Adam and Eve After the Pill: Paradoxes of the Sexual Revolution https://books.google.it/books?id=7z-hDQAAQBAJ&pg=PT0 (Ignatius Press, 2012), ch. 2.

Life, Women, Men, Marriage

“Humans… entered the 'cognitive niche.' Remember the definition of intelligence from Chapter 2: using knowledge of how things work to attain goals in the face of obstacles. By learning which manipulations achieve which goals, humans have mastered the art of the surprise attack. They use novel, goal-oriented courses of action to overcome the Maginot Line defenses of other organisms, which can respond only over evolutionary time. The manipulations can be novel because human knowledge is not just couched in concrete instructions like 'how to catch a rabbit.' Humans analyze the world using intuitive theories of objects, forces, paths, places, manners, states, substances, hidden biochemical essences, and, for other animals and people, beliefs and desires…. People compose new knowledge and plans by mentally playing out combinatorial interactions among these laws in their mind's eye.”

Steven Pinker book How the Mind Works

Source: How the Mind Works (1997), p. 188

People, World, Law, Art

“We," he said, not without complacency, "are different. We attest the divine paradox. We are barren only to be fertile. We proclaim the primary reality of the world of the spirit which has an infinitude of mansions for an infinitude of human souls. And you too are different. Your destiny is of the rarest kind. You will live to proclaim the love of Christ for man and man for Christ in a figure of earthly love." Preacher's rhetoric; it would have been better in Italian, which thrives on melodious meaninglessness.
I said, with the same weariness as before, "My destiny is to live in a state of desire both church and state condemn and to grow sourly rich in the purveying of a debased commodity. I've just finished a novel which, when I'd read it through in typescript, made me feel sick to my stomach. And yet it's what people want -- the evocation of a past golden time when there was no Mussolini or Hitler or Franco, when gods were paid for with sovereigns, Elgar's Symphony Number One in A flat trumpeted noblimente a massive hope in the future, and the romantic love of a shopgirl and a younger son of the aristocracy portended a healthful inflection but not destruction of the inherited social pattern. Comic servants and imperious duchesses. Hansom cabs and racing at Ascot. Fascists and democrats alike will love it. My destiny is to create a kind of underliterature that lacks all whiff of the subversive.”

Anthony Burgess (1917–1993) English writer

"Don't," Carlo said, "underestimate yourself."
Fiction, Earthly Powers (1980)

Love, God, People, Health

“This patchwork of largely fictional works makes the Protocols an incoherent text that easily reveals its fabricated origins. It is hardly credible, if not in a roman feuilleton or in a grand opera, that the “bad guys” should express their evil plans in such a frank and unashamed manner, that they should declare, as the Elders of Zion do, that they have “boundless ambition, a ravenous greed, a merciless desire for revenge and an intended hatred.” If at first the Protocols was taken seriously, it is because it was presented as a shocking revelation, and by sources all in all trustworthy. But what seems incredible is how this fake arose from its own ashes each time someone proved that it was, beyond all doubt, a fake. This is when the “novel of the Protocols” truly starts to sound like fiction. Following the article that appeared in 1921 in the Times of London revealing that the Protocols was plagiarized, as well as every other time some authoritative source confirmed the spurious nature of the Protocols, there was someone else who published it again claiming its authenticity. And the story continues unabated on the Internet today. It is as if, after Copernicus, Galileo, and Kepler, one were to continue publishing textbooks claiming that the sun travels around the earth.
How can one explain resilience against all evidence, and the perverse appeal that this book continues to exercise? The answer can be found in the works of Nesta Webster, an antisemetic author who spent her life supporting this account of the Jewish plot. In her Secret Societies and Subversive Movements, she seems well informed and knows the whole story as Eisner narrates it here, but this is her conclusion:
The only opinion I have committed myself is that, whether genuine or not, the Protocols represent the programme of a world revolution, and that in view of their prophetic nature and of their extraordinary resemblance to the protocols of certain secret societies of the past, they were either the work of some such society or of someone profoundly versed in the lore of secret society who was able to reproduce their ideas and phraseology.
Her reasoning is flawless: “since the Protocols say what I said in my story, they confirm it,” or: “the Protocols confirm the story that I derived from them, and are therefore authentic.” Better still: “the Protocols could be fake, but they say exactly what the Jews think, and must therefore be considered authentic.””

Will Eisner (1917–2005) American cartoonist

In other words, it is not the Protocols that produce antisemetism, it is people’s profound need to single out an Enemy that leads them to believe in the Protocols.
I believe that-in spite of this courageous, not comic but tragic book by Will Eisner- the story is hardly over. Yet is is a story very much worth telling, for one must fight the Big Lie and the hatred it spawns.
Umberto Eco, Milan Italy December 2004 translated by Allesandra Bastagli, p. vi-vii
The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005)

Life, People, Lie, Secret

“The only reason for the existence of a novel is that it does attempt to represent life.”

Henry James (1843–1916) American novelist, short story author, and literary critic

Variant text: The only reason for the existence of a novel is that it does compete with life. The Art of Fiction http://public.wsu.edu/~campbelld/amlit/artfiction.html (1884)

Life

“I have a theory of my own about what this art of the novel is, and how it came into being. To begin with, it does not simply consist in the author's telling a story about the adventures of some other person. On the contrary, it happens because the storyteller's own experience of men and things, whether for good or ill—not only what he has passed through himself, but even events which he has only witnessed or been told of—has moved him to an emotion so passionate that he can no longer keep it shut up in his heart.”

Arthur Waley (1889–1966) British academic

Source: Translations, The Tale of Genji (1925–1933), Ch. 25: 'The Glow-Worm'

Men, Art, Passion, Heart

“She had called Martin a 'lie-hunter,' a 'truth-seeker.' They decided now that most people who call themselves 'truth-seekers'—persons who scurry about chattering of Truth as though it were a tangible separable thing, like houses or salt or bread—did not so much desire to find Truth as to cure their mental itch. In novels, these truth-seekers quested the 'secret of life' in laboratories which did not seem to be provided with Bunsen flames or reagents; or they went, at great expense and much discomfort from hot trains and undesirable snakes, to Himalayan monasteries, to learn from unaseptic sages that the Mind can do all sort of edifying things if one will but spend thirty or forty years in eating rice and gazing on one's navel. To these high matters Martin responded, 'Rot!' He insisted that there is no Truth but only many truths; that Truth is not a colored bird to be chased among the rocks and captured by its tail, but a skeptical attitude toward life. He insisted that no one could expect more than, by stubbornness or luck, to have the kind of work he enjoyed and an ability to become better acquainted with the facts of that work than the average job-holder.”

Sinclair Lewis book Arrowsmith

Arrowsmith (1925), Ch. 25

Life, People, Truth, Lie

“I wrote the first 5,000 words of William the Antichrist. It had a demon named Crawleigh. He drove a Citroen 2CV, and was ineffectual. Proper demons like Hastur and Ligur loathed him. It had a baby swap. I sent it to a few friends for feedback. Then my graphic novel Sandman happened, and it was almost a year later that the phone rang.
"It's Terry," said Terry. "'Ere. That thing you sent me. Are you doing anything with it?"
"Not really."
"Well, I think I know what happens next. Do you want to sell it to me? Or write it together?"
"Write it together," I said, because I was not stupid, and because that was the nearest I was ever going to get to Michaelangelo phoning to ask if I wanted to paint a ceiling with him.”

Neil Gaiman (1960) English fantasy writer

Good Omens: How Neil Gaiman and Terry Pratchett wrote a book (2014)

Stupidity, Thinking, Baby, Painting

“The philosophy of Kant's great successors was consciously a synthesis of Spinoza's and Kant's philosophies. Spinoza's characteristic contribution to this synthesis was a novel conception of God. He thus showed the way toward a new religion or religiousness which was to inspire a wholly new kind of society, a new kind of Church.”

Leo Strauss (1899–1973) Classical philosophy specialist and father of neoconservativism

Preface
Spinoza's Critique of Religion (1965)

God, Religion, Way

“As soon as I get an idea, I write a short story, or I start a novel, or I do a poem. So I have no need for a notebook. I do keep files of ideas and stories that didn’t quite work a year ago, five years ago, ten years ago. I come back to them later and I look through the titles.”

Ray Bradbury (1920–2012) American writer

The Paris Review interview (2010)

Idea

“Other common names for fascism are 'crony capitalism', 'state capitalism', 'corporate socialism' and 'mercantilism'. Sometimes members of the mercantile class become partners with the state and, in certain circumstances, even end up controlling it. The whole thing looks like a different system than ordinary socialism until you apply the ethical definition. What's more important in a fascist society, the needs and wants of the group, or the rights of the individual? As Mr. Spock once famously observed (in the original James Blish novel Spock Must Die), 'a difference that makes no difference is no difference.”

L. Neil Smith (1946) American writer

"To Reduce Them Under Absolute Despotism".

“So it's entirely fair to say, and I've said it before, that the way Neuromancer-the-novel "looks" was influenced in large part by some of the artwork I saw in 'Heavy Metal'. I assume that this must also be true of John Carpenter's 'Escape from New York', Ridley Scott's 'Blade Runner'", and all other artefacts of the style sometimes dubbed 'cyberpunk.'”

William Gibson book Neuromancer

Those French guys, they got their end in early. William Gibson http://brmovie.com/FAQs/BR_FAQ_BR_Influence.htm Neuromancer (1984), About Neuromancer

Way, Guy, Parting

“I do have some early role models. I recall wanting to be a real-life version of the fictional "Sandor Arbitration Intelligence at the Zoo" (from Vernor Vinge's novel A Fire Upon the Deep) who in the story is known for consistently writing the clearest and most insightful posts on the Net. And then there was Hal Finney who probably came closest to an actual real-life version of Sandor at the Zoo, and Tim May who besides inspiring me with his vision of cryptoanarchy was also a role model for doing early retirement from the tech industry and working on his own interests/causes.”

Wei Dai Cryptocurrency pioneer and computer scientist

In response http://lesswrong.com/lw/jgz/aalwa_ask_any_lesswronger_anything/ap84 to the question "Do you have any role models?", March 2014

Life, Intelligence

“The usual criticism of a novel about an artist is that, no matter how real he is as a man, he is not real to us as an artist, since we have to take on trust the works of art he produces.”

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

“An Unread Book”, p. 20
The Third Book of Criticism (1969)

Art

“Man today can do more than the culture heros and half-gods; he has solved many insoluble problems. But he has also betrayed the hope and destroyed the truth which were preserved in the sublimations of higher culture. To be sure, the higher culture was always in contradiction with social reality, and only a privileged minority enjoyed its blessings and represented its ideals. The two antagonistic spheres of society have always coexisted; the higher culture has always been accommodating, while the reality was rarely disturbed by its ideals and its truth. Today's novel feature is the flattening out of the antagonism between culture and social reality through the obliteration of the oppositional, alien, and transcendent elements in the higher culture by virtue of which it constituted another dimension of reality. This liquidation of two-dimensional culture takes place not through the denial and rejection of the “cultural values,” but through their wholesale incorporation into the established order, through their reproduction and display on a massive scale.”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), pp. 56-57

God, Truth, Hope, Problem

“The opening screen of T’Rain was a frank rip-off of what you saw when you booted up Google Earth. Richard felt no guilt about this, since he had heard that Google Earth, in turn, was based on an idea from some old science-fiction novel.”

Neal Stephenson book Reamde

Thanksgiving (prologue)
Reamde (2011), Part I: Nine Dragons

Idea, Science

“For when we are interested in the beauty of a thing, the oftener we can see it the better; but when we are interested only by the story of a thing, we get tired of hearing the same tale told over and over again, and stopping always at the same point — we want a new story presently, a newer and better one — and the picture of the day, and novel of the day, become as ephemeral as the coiffure or the bonnet of the day. Now this spirit is wholly adverse to the existence of any lovely art. If you mean to throw it aside to-morrow, you can never have it to-day.”

John Ruskin (1819–1900) English writer and art critic

On the Condition of Modern Art, lecture (1867).

Love, Beauty, Art

“The characters in this movie should be arrested for loitering with intent to moan. Never have teenagers been in greater need of a jump-start. Granted some of them are more than 100 years old, but still: their charisma is by Madame Tussaud. The Twilight Saga: New Moon takes the tepid achievement of Twilight (2008), guts it, and leaves it for undead. You know you're in trouble with a sequel when the word of mouth advises you to see the first movie twice instead. Obviously the characters all have. Long opening stretches of this film make utterly no sense unless you walk in knowing the first film, and hopefully both Stephanie Meyer novels, by heart. Edward and Bella spend murky moments glowering at each other and thinking, So, here we are again.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/the-twilight-saga-new-moon-2009 of The Twilight Saga: New Moon (18 November 2009) Reviews, One-star reviews

Thinking, Sense, Heart

“Special qualities are required of the essayist. A poem or a novel may spring from the inner consciousness of an author.. reasoning poers must be brought to reinforce imagination.”

Flora Thompson (1876–1947) English author and poet

The Catholic Fireside Articles November 1924 Gillian Lindsay - The Story of the Lark Rise Writer 1990 ISBN 9781873855539
Literary Observations

Imagination, Spring

“The whole idea of interviews is in itself absurd – one cannot answer deep questions about what one's life was like – one writes novels about it.”

Anthony Powell (1905–2000) English novelist

The Times, May 15, 1986.

Life, Idea, Question

“It seems to me that life's circumstances, being ephemeral, teach us less about durable truths than the fictions based on those truths; and that the best lessons of delicacy and self-respect are to be found in novels where the feelings are so naturally portrayed that you fancy you are witnessing real life as you read.”

Anne Louise Germaine de Staël book Delphine

Delphine (1802), Preface

Life, Truth, Feeling, Nature

“What kind of political order, then, is taking shape in Europe, 15 years after Maastricht? The pioneers of European integration – Monnet and his fellow spirits – envisaged the eventual creation of a federal union that would one day be the supranational equivalent of the nation-states out of which it emerged, anchored in an expanded popular sovereignty, based on universal suffrage, its executive answerable to an elected legislature, and its economy subject to requirements of social responsibility. In short, a democracy magnified to semi-continental scale (they had only Western Europe in mind). But there was always another way of looking at European unification, which saw it more as a limited pooling of powers by member governments for certain – principally economic – ends, that did not imply any fundamental derogation of national sovereignty as traditionally understood, but rather the creation of a novel institutional framework for a specified range of transactions. De Gaulle famously represented one version of this outlook; Thatcher another. Between these federalist and inter-governmentalist visions of Europe, there has been a continual tension down to the present.”

Perry Anderson (1938) British historian

"Depicting Europe", London Review of Books (20 September 2007)

Way, Democracy, Universe

“We are told that Shakespeare's plays were generally performed in barns and that no great trouble was taken over the production. The constant changes of scene which, incidentally, seem the sign of a decadent art rather than one which is progressing, were shown by placards with the inscription: "A Forest," "A Prison," and so on. Within this conventional setting the onlooker's imagination was free to follow the actions of the various characters who were animated by passions drawn from nature, and that was enough for him. So-called innovations are gratefully seized on as an excuse for poverty of invention and in the same way, the long descriptive passages that so overburden modern novels are a sign of sterility, for it is obviously easier to describe a dress or the outward appearance of an object than to trace the subtle development of a character or portray the emotions of the heart.”

Eugène Delacroix (1798–1863) French painter

9 April 1856 (p. 313)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

Art, Way, Imagination, Nature

“When we represent technology to ourselves through its own common sense we think of ourselves as picking and choosing in a supermarket, rather than within the analogy of the package deal. We have bought a package deal of far more fundamental novelness than simply a set of instruments under our control. It is a destiny which enfolds us in its own conceptions of instrumentality, neutrality and purposiveness.”

George Grant (1918–1988) Canadian philosopher

Technology and Justice (Notre Dame: 1986), p. 32

Thinking, Sense

“One of the pleasures of writing novels is that my characters usually do something. But in real life we often stay locked in a situation that we know is painful or wrong.”

John Twelve Hawks American writer

Against Authority: Freedom and the Rise of Surveillance States (2014)

Life, Pain, Pleasure

“But the voice of anatomy, like the voice of all nature, never reaches the mental ear of the Great Commoner. It is the novel province of anatomy to tell the truth, the whole truth, and nothing but the truth about the structure, the origin and the history of man.”

Henry Fairfield Osborn (1857–1935) American geologist, paleontologist, and eugenist

Evolution and Religion in Education : Polemics of the Fundamentalist (1926), p. 138

Truth, History, Nature

“A novel is a marketable commodity, of the class collectively termed “luxuries,” as not contributing directly to the support of life or the maintenance of health. It is of the class "artistic luxuries" because it does not appeal to any of the three material senses — touch, taste, smell; and it is of the class "intellectual artistic luxuries,” because it is not judged by the superior senses — sight and hearing.”

Francis Marion Crawford (1854–1909) Novelist, short story writer, essayist (1854-1909)

The Novel: What It Is (1893)

Life, Health, Support, Sense

“Soon I must vote for Oscars and BAFTAs, so I've been having marathon screening sessions. Top of my list so far is ROOM, which is brilliant in every way. The boy actor, Jacob Tremblay, is astounding. But most of all, it's a film that never stoops to the rigged mini-plots so often used to generate viewer excitement: it goes its own way, always surprising, always utterly believable. The writer of both the novel and the screenplay, Emma Donoghue, has produced a perfect work. People seem surprised that a first-time screenwriter can be so good, but the truth is screenwriting's not hard, it's having something strong and real and true to write about that's hard. Emma Donoghue is original and wise: that's rare.”

Emma Donoghue (1969) Irish novelist, playwright, short-story writer and historian

William Nicholson, "Oscar voting" http://www.williamnicholson.com/blog/2016/1/3/oscar-voting-2 (January 3, 2016) About

People, Truth, Way, Boy

“In Flight (a quantum fiction novel), essentially our protagonist is a writer who is writing a novel and then begins to see things from his novel occurring in the reality around him, and he questions "am I losing my mind?"”

Vanna Bonta (1958–2014) Italian-American writer, poet, inventor, actress, voice artist (1958-2014)

or "am I somehow influencing reality around me?"
Vanna Bonta Talks About Quantum fiction: Author Interview (2007)

Question, Reality

“The capacity for imaginative reflex, for moral risk in any human being is not limitless; on the contrary, it can be rapidly absorbed by fictions, and thus the cry in the poem may come to sound louder, more urgent, more real than the cry in the street outside. The death in the novel may move us more potently than the death in the next room.”

George Steiner (1929–2020) American writer

"To Civilize our Gentlemen" (1965).
Language and Silence: Essays 1958-1966 (1967)

Death, Imagination, Cry

“His name was William Saroyan. He was the first writer I fell in love with, boyishly in love. I was held by his unaffected voice, his sentimentality, his defiant individualism. I found myself in the stories he told… I learned from Saroyan that you do not have to live in some great city — in New York or Paris — in order to write… When I was a student at Stanford, a generation ago, the name of William Saroyan was never mentioned by any professor in the English Department. William Saroyan apparently was not considered a major American talent. Instead, we undergraduates set about the business of psychoanalyzing Hamlet and deconstructing Lolita. In my mind Saroyan belongs with John Steinbeck, a fellow small town Californian and of the same generation. He belongs with Thornton Wilder, with those writers whose aching love of America was formed by the Depression and the shadow of war. … Saroyan's prose is as plain as it is strong. He talks about the pleasure of drinking water from a hose on a summer afternoon in California's Central Valley, and he holds you with the pure line. My favorite is his novel The Human Comedy… In 1943, The Human Comedy became an MGM movie starring Mickey Rooney, but I always imagined Homer Macaulay as a darker, more soulful boy, someone who looked very much like a young William Saroyan…”

Richard Rodríguez (1944) American journalist and essayist

"Time Of Our Lives" (26 May 1997) http://www.cilicia.com/armo22_william_saroyan_6.html

Love, War, Pleasure, Soul

“Sappho is a great poet because she is a lesbian, which gives her erotic access to the Muse. Sappho and the homosexual-tending Emily Dickinson stand alone above women poets, because poetry's mystical energies are ruled by a hierach requiring the sexual subordination of her petitioners. Women have achieved more as novelists than as poets because the social novel operates outside the ancient marriage of myth and eroticism.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 672

Women, Marriage

“There are benefits to be gained from the ambiguities of scientific discourse. Of the four previously identified functions served by ambiguity, two remain outside the boundaries of scientific work. The function of attaining enlightenment through the intuition of indeterminacy belongs to mysticism, or perhaps to philosophy and poetry, not to the disciplined activity of science. And the protection of one's meanings and intentions through ambiguously opaque utterance, while perhaps useful as a protective ploy in scientific competition, cannot be sanctioned as appropriate conduct for a scientific enquirer. Through its two other functions, however — the evocative representation of complex meanings and the bonding of a community through diffuse symbols — ambiguity has long served and will continue to serve the general objectives of scientific activity. It is useful for scientific formulations to express an abundance of meanings, for these can ignite a cluster of insights that in turn lead to novel explorations.”

Donald N. Levine (1931–2015) sociologist

Donald N. Levine (1988), The Flight from Ambiguity: Essays in Social and Cultural Theory. p. 218; Partly cited in: David L. Sills, ‎Robert King Merton (2000), Social Science Quotations: Who Said What, When, and Where. p. 129-130

Communication, Science

“He was a confidence-man, pauper, tutor, blackmailer, paedophile, translator – and author of seven novels and a number of short stories. Rolfe was a trickster whose failed life stank to himself as to the few friends whom he had and betrayed. But he was a fascinating figure: a bore, but also a pseudo-Borgian freak whose vindictiveness and paranoia have deservedly become legendary.”

Frederick Rolfe (1860–1913) British writer, photographer and historian

Martin Seymour-Smith Guide to Modern World Literature (London: Hodder and Stoughton, 1975) vol. 1, pp. 302-3.
Criticism

Life, Confidence

“Saturday is a dismayingly bad book. The numerous set pieces—brain operations, squash game, the encounters with Baxter, etc. — are hinged together with the subtlety of a child's Erector Set. The characters too, for all the nuzzling and cuddling and punching and manhandling in which they are made to indulge, drift in their separate spheres, together but never touching, like the dim stars of a lost galaxy. The politics of the book is banal, of the sort that is to be heard at any middle-class Saturday-night dinner party, before the talk moves on to property prices and recipes for fish stew. There are good things here, for instance the scene when Perowne visits his senile mother in an old-folks' home, in which the writing is genuinely affecting in its simplicity and empathetic force. Overall, however, Saturday has the feel of a neoliberal polemic gone badly wrong; if Tony Blair — who makes a fleeting personal appearance in the book, oozing insincerity — were to appoint a committee to produce a "novel for our time," the result would surely be something like this.”

John Banville (1945) Irish writer

Banville on Saturday http://marksarvas.blogs.com/elegvar/2005/05/banville_on_sat.html, from The New York Review of Books (source dated 10 May 2005). Original source http://www.nybooks.com/articles/archives/2005/may/26/a-day-in-the-life/?pagination=false.

Books, Feeling, Home, Game

“I’ve read Rudin before, but that was fifteen years ago in university. Rereading it now, lying all bandaged up, sipping my whiskey in bed in the afternoon, I felt new sympathy for the protagonist Rudin. I almost never identify with anybody in Dostoyevsky, but the characters in Turgenev’s old-fashioned novels are such victims of circumstance, I jump right in. I have a thing about losers. Flaws in oneself open you up to others flaws. Not that Dostoyevsky’s characters don’t generate pathos, but they’re flawed in a way that don’t come across as faults.”

Haruki Murakami book Hard-Boiled Wonderland and the End of the World

Source: Hard-Boiled Wonderland and the End of the World (1985), Chapter Fifteen: Whiskey, Torture, Turgenoev

Way, Lying, Fashion, Universe

“Bill Finger and I created the Joker. Bill was the writer. Jerry Robinson came to me with a playing card of the Joker. That's the way I sum it up. [The Joker] looks like Conrad Veidt — you know, the actor in The Man Who Laughs, [the 1928 movie based on the novel] by Victor Hugo. … Bill Finger had a book with a photograph of Conrad Veidt and showed it to me and said, 'Here's the Joker'. Jerry Robinson had absolutely nothing to do with it. But he'll always say he created it till he dies. He brought in a playing card, which we used for a couple of issues for him [the Joker] to use as his playing card".”

Bob Kane (1915–1998) American comic book artist, the creator of Batman

Entertainment Weekly writer Frank Lovece official site: Web Exclusives — Bob Kane interview http://franklovece.com/webexclusives.html (1994-05-17)

Books, Way

“Reality's kind of a medium, maybe greater than paper. We all want life to have the same texture that we read about in novels.”

Why the lucky stiff American computer programmer

Collected PDFs (2013)

Life, Reality, Reading

“The end of a novel, like the end of a children's dinner-party, must be made up of sweetmeats and sugar-plums.”

Anthony Trollope book Barchester Towers

Source: Barchester Towers (1857), Ch. 53

Children

“Just as people in zombie apocalypses seem never to have seen a zombie apocalypse movie, so people in novels about the pioneering days of time travel never seem to have read novels on the subject.”

James Nicoll (1961) Canadian fiction reviewer

Review of One Damned Thing After Another by Jodi Taylor https://jamesdavisnicoll.com/review/tick, 2018 2010s

People, Travel, Time, Reading

“Walter Scott has no business to write novels, especially good ones. It is not fair. He has fame and profit enough as a poet, and should not be taking the bread out of other people's mouths. I do not like him, and do not mean to like Waverley if I can help it, but fear I must.”

Jane Austen (1775–1817) English novelist

Letter to Anna (1814-09-28) [Letters of Jane Austen -- Brabourne Edition]
Letters

People, Fear, Business, Help

“Whatever is felt upon the page without being specifically named there — that, one might say, is created. It is the inexplicable presence of the thing not named, of the overtone divined by the ear but not heard by it, the verbal mood, the emotional aura of the fact or the thing or the deed, that gives high quality to the novel or the drama, as well as to poetry itself.”

Willa Cather (1873–1947) American writer and novelist

"The Novel Démeublé"; originally published in The New Republic (1922)
Not Under Forty (1936)

Mood

“Though my short stories are the more readable, my novels do have more to say; and they will, if anyone has the patience for it, repay a rereading.”

R. A. Lafferty (1914–2002) American writer

Interview in Alien Critic (August 1973)

Patience

“If ordinary people can really figure out how to set the alarm at a hotel, then we are going to make OpenOffice default to vi keybindings in the next Novell Linux Desktop.”

Nat Friedman (1977) American computer programmer

2005-01-14, 2006-09-22, January 14, 2005 blog entry http://www.nat.org/2005/january/#14-January-2005,

People

“I've no objection to the term 'graphic novel,' as long as what it is talking about is actually some sort of graphic work that could conceivably be described as a novel. My main objection to the term is that usually it means a collection of six issues of Spider-Man, or something that does not have the structure or any of the qualities of a novel, but is perhaps roughly the same size.”

Alan Moore (1953) English writer primarily known for his work in comic books

Interview with Locus Magazine http://www.locusmag.com/2003/Issue07/Moore.html (2003)

“Although the medium is the message, the controls go beyond programming. The restraints are always directed to the “content,” which is always another medium. The content of the press is literary statement, as the content of the book is speech, and the content of the movie is the novel. So the effects of radio are quite independent of its programming.”

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

Source: 1960s, Understanding Media (1964), p. 267

Books

“Historically, moves to new ways of moral decision making depend on and occur in pockets of people of good will, who can explore with each other novel ways of relating without threatening or being threatened.”

R. Edward Freeman (1951) American academic

Source: A stakeholder approach to strategic management, 1984, p. 64 as cited in: George Cheney, Steve May, Debashish Munshi (2010) Handbook of Communication Ethics. p. 108

People, Way, Decision, Dependency

“Tell a dream, lose a reader, said Henry James. Joyce told a dream, Finnegans Wake, and he told it in puns - cornily but rightly regarded as the lowest form of wit. This showed fantastic courage, and fantastic introversion. The truth is Joyce didn't love the reader, as you need to do. Well, he gave us Ulysses, incontestably the central modernist masterpiece; it is impossible to conceive of any future novel that might give the form such a violent evolutionary lurch. You can't help wondering, though. Joyce could have been the most popular boy in school, the funniest, the cleverest, the kindest. He ended with a more ambiguous distinction: he became the teacher's pet.”

Martin Amis (1949) Welsh novelist

Review of Ulysses, p. 446
The War Against Cliché: Essays and Reviews 1971-2000 (2001)

Love, Truth, School, Dreams

“Introspectionism got its ism because the protesting new schools needed a clear and stable contrasting background against which to exhibit their novel features. No proponent of introspection a the basic method of psychology ever called himself an introspectionist.”

Edwin Boring (1886–1968) American psychologist

Source: "A history of introspection." 1953, p. 172 ; Cited in: Kurt Danziger, "The history of introspection reconsidered." Journal of the History of the Behavioral Sciences 16.3 (1980): 241-262.

School

“Jim was a big sheepdog of a man, 6-feet-4, 250 pounds, softhearted, soft-spoken. I never heard him use a dirty word; I never heard him tell a salacious story. Yet his novels are full of such words and stories; he seemed to have a need to dig deeply into the dark depraved nature of man. Nobody did it better. But then, anything he did, he did better. Two years ago, crippled by strokes, he appeared in a film, "Farewell, My Lovely," playing the cuckolded judge. When his wife in the film, played by Charlotte Rampling, carries on with Robert Mitchum in front of him, there is a look on his face that is part bewilderment, part despair and all forgiveness. He was that way, turning up the dark corners of the soul with love and forgiveness.”

Arnold Hano (1922) American writer

From "Jim Thompson, 1906 - 1977"
Other Topics

Love, Way, Soul, Forgiveness

“Creativity is not limited to people practising one of the traditional forms of art, and even in the case of artists, creativity is not confined to the exercise of their art. Each one of us has a creative potential, which is hidden by competitiveness and success-aggression. To recognize, explore and develop this potential is the task of the School. Creation – whether it be a painting, sculpture, symphony or novel – involves not merely talent, intuition, powers of imagination and application, but also the ability to shape material that could be expanded to other socially relevant spheres.”

Heinrich Böll (1917–1985) German author, novelist, and short story writer

Joseph Beuys and Heinrich Böll (1972), cited in: Caroline Tisdall, Joseph Beuys, exh.cat., Solomon R. Guggenheim Museum, New York 1979. p. 278.

People, School, Art, Exercises

Joseph Beuys (1921–1986) German visual artist

Quote of Joseph Beuys and Heinrich Böll (1972), as cited in Joseph Beuys, exh. cat., Caroline Tisdall, Solomon R. Guggenheim Museum, New York 1979. p. 278
1970's

People, School, Art, Exercises

“I must know where you are, but I will not molest nor betray you till the time arrives. Go where you like, assume what disguise you choose, do what you please, except die or marry. I'll stand off and watch the play, but I must follow. I like the chase, it is exciting, novel and absorbing. I have tried and tried of other amusements, this satisfies me and I am in no haste to end it.”

Louisa May Alcott A Long Fatal Love Chase

A Long Fatal Love Chase (1866)

Time

“There are indeed certain names and prefixes to names which suggest serious reading, independently of the words printed on the title-page of the book. If the Archbishop of Canterbury, or General Booth, or the Emperor William published a novel, for instance, the work might reasonably be expected to contain an exposition of personal views on some question of the day. But in ordinary cases the purpose-novel is a simple fraud, besides being a failure in nine hundred and ninety-nine cases out of a thousand.”

Francis Marion Crawford (1854–1909) Novelist, short story writer, essayist (1854-1909)

The Novel: What It Is (1893)

Books, Failure, Question, Fraud

“[Henry] James’s repressions and evasions are many, varied and exhausting. Why more people are not seen rushing shrieking from libraries, shredding James novels in their hands, I cannot say. I used to wonder whether enthusiasm for him was based on identification, since his passive, tentative heroes resemble many academics. Perhaps what is intolerable is his enshrinement in a soporific criticism. So much must be overlooked to crown him with laurel.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 622

People

“It's a "hits" economy where resources flow to those that show some life. If a new novel, new product, or new service begins to succeed it is fed more; if it falters its left to wither.”

Kevin Kelly (1952) American author and editor

Out of Control: The New Biology of Machines, Social Systems and the Economic World (1995), New Rules for the New Economy: 10 Radical Strategies for a Connected World (1999)

Life

“A movie loosely based upon my novel, I Know What You Did Last Summer, opened in theaters around the country. I was ecstatic until I settled into a theater seat with my box of popcorn and discovered that Hollywood had turned my teenage suspense story into a slasher film. The setting had been changed from the mountains of New Mexico to a fishing village on the East Coast, so an insane fisherman, who wasn't in my book, could decapitate my characters with an ice hook. The first thing I did after leaving the theater was phone our daughter Kerry and warn her not to let the grandchildren see it.”

Lois Duncan (1934–2016) American young-adult and children's writer

On the adaptation of her novel I Know What You Did Last Summer in 1997, quoted in MoviePilot https://moviepilot.com/posts/3514425 piece 1990–2002

Books, Mountain, Fish, Change

““My destiny is accomplished and I die content.” How often she made such quotations as these, said or felt or was them! For just as many Americans want art to be Life, so this American novelist wanted life to be Art, not seeing that many of the values—though not, perhaps, the final ones—of life and art are irreconcilable; so that her life looked coldly into the mirror that it held up to itself, and saw that it was full of quotations, of data and analysis and epigrams, of naked and shameful truths, of facts: it saw that it was a novel by Gertrude Johnson.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 5: “Gertrude and Sidney”, p. 214

Life, Truth, Art

“Ending a novel is almost like putting a child to sleep – it can't be done abruptly.”

Colm Tóibín (1955) Irish novelist and writer

Colm Tóibín, novelist – portrait of the artist http://www.guardian.co.uk/books/2013/feb/19/colm-toibin-novelist-portrait-artist, The Guardian (19 February 2013)

Sleep

“Very little comes easily to our poor, benighted species (the first creature, after all, to experiment with the novel evolutionary inventions of self-conscious philosophy and art). Even the most “obvious,” “accurate,” and “natural” style of thinking or drawing must be regulated by history and won by struggle. Solutions must therefore arise within a social context and record the complex interactions of mind and environment that define the possibility of human improvement.”

Stephen Jay Gould book Leonardo's Mountain of Clams and the Diet of Worms

"Seeing Eye to Eye, Through a Glass Clearly", p. 72
Leonardo's Mountain of Clams and the Diet of Worms (1998)

Art, History, Nature, Thinking

“In Hitler's Germany, when to be a Communist or Socialist or militant trade unionist or liberal och democrat meant arrest, the concentration camp, and often death and torture, when there was institued one of the most thoroughgoing "purges" of litterature and burning of books that the world has ever known, when Schiller's "Don Carlos", the poems of Heine and the novels of Thomas Mann were banned or burned as "subversive", the writings of Trotsky were widely translated and distributed.”

James Klugmann (1912–1977) British writer

From Trotsky to Tito (1951)

Death, Books, World