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0ba00a7 Some who have read the book, or at any rate have reviewed it, have found it boring, absurd, or contemptible, and I have no cause to complain, since I have similar opinions of their works, or of the kinds of writing that they evidently prefer. tolkien bad-reviews boring opinions reviews complain lotr literary-criticism J.R.R. Tolkien
878ecad As for literary criticism in general: I have long felt that any reviewer who expresses rage and loathing for a novel or a play or a poem is preposterous. He or she is like a person who has put on full armor and attacked a hot fudge sundae or a banana split. writing reviewers critics literary-criticism kurt Vonnegut
e69a511 In theory it was, around now, Literature. Susan hated Literature. She'd much prefer to read a good book. literary-criticism Terry Pratchett
9595bc6 "At first I was glad for the help. My freshmen English class, "Mythology and Archetypal Experience," confounded me. I didn't understand why we couldn't just read books without forcing contorted interpretations on then" literary-criticism university Alison Bechdel
4405039 "Do not start me on writing the-davinci-code novels literary-criticism Salman Rushdie
315ad80 Several times he had to flatten himself against the shelves as a thesaurus thundered by. He waited patiently as a herd of Critters crawled past, grazing on the contents of the choicer books and leaving behind them piles of small slim volumes of literary criticism. library literary-criticism discworld Terry Pratchett
a6bf587 Reading a novel after reading semiotic theory was like jogging empty-handed after jogging with hand weights. What exquisite guilt she felt, wickedly enjoying narrative! Madeleine felt safe with a nineteenth century novel. There were going to be people in it. Something was going to happen to them in a place resembling the world. Then too there were lots of weddings in Wharton and Austen. There were all kinds of irresistible gloomy men. reading nineteenth-century victorians semiotics narrative plot novels literary-theory postmodernism literary-criticism Jeffrey Eugenides
0e50e5c It was as easy as breathing to go and have tea near the place where Jane Austen had so wittily scribbled and so painfully died. One of the things that causes some critics to marvel at Miss Austen is the laconic way in which, as a daughter of the epoch that saw the Napoleonic Wars, she contrives like a Greek dramatist to keep it off the stage while she concentrates on the human factor. I think this comes close to affectation on the part of some of her admirers. Captain Frederick Wentworth in , for example, is partly of interest to the female sex because of the 'prize' loot he has extracted from his encounters with Bonaparte's navy. Still, as one born after Hiroshima I can testify that a small Hampshire township, however large the number of names of the fallen on its village-green war memorial, is more than a world away from any unpleasantness on the European mainland or the high or narrow seas that lie between. (I used to love the detail that Hampshire's 'New Forest' is so called because it was only planted for the hunt in the late eleventh century.) I remember watching with my father and brother through the fence of Stanstead House, the Sussex mansion of the Earl of Bessborough, one evening in the early 1960s, and seeing an immense golden meadow carpeted entirely by grazing rabbits. I'll never keep that quiet, or be that still, again. This was around the time of countrywide protest against the introduction of a horrible laboratory-confected disease, named 'myxomatosis,' into the warrens of old England to keep down the number of nibbling rodents. Richard Adams's lapine masterpiece is the remarkable work that it is, not merely because it evokes the world of hedgerows and chalk-downs and streams and spinneys better than anything since , but because it is only really possible to imagine gassing and massacre and organized cruelty on this ancient and green and gently rounded landscape if it is organized and carried out against herbivores. jane-austen literature silence women 1960s earl-of-bessborough gassing hampshire hiroshima mansions myxomatosis napoleonic-wars new-forest persuasion-novel richard-adams sussex theatre-of-ancient-greece townships war-memorials watership-down wind-in-the-willows napoleon countryside meadow massacre rabbits cruelty world-war-ii quiet england europe literary-criticism Christopher Hitchens
0d2ece0 Many things in this period have been hard to bear, or hard to take seriously. My own profession went into a protracted swoon during the Reagan-Bush-Thatcher decade, and shows scant sign of recovering a critical faculty--or indeed any faculty whatever, unless it is one of induced enthusiasm for a plausible consensus President. (We shall see whether it counts as progress for the same parrots to learn a new word.) And my own cohort, the left, shared in the general dispiriting move towards apolitical, atonal postmodernism. Regarding something magnificent, like the long-overdue and still endangered South African revolution (a jagged fit in the supposedly smooth pattern of axiomatic progress), one could see that Ariadne's thread had a robust reddish tinge, and that potential citizens had not all deconstructed themselves into Xhosa, Zulu, Cape Coloured or 'Eurocentric'; had in other words resisted the sectarian lesson that the masters of apartheid tried to teach them. Elsewhere, though, it seemed all at once as if competitive solipsism was the signifier of the 'radical'; a stress on the salience not even of the individual, but of the trait, and from that atomization into the lump of the category. Surely one thing to be learned from the lapsed totalitarian system was the unwholesome relationship between the cult of the masses and the adoration of the supreme personality. Yet introspective voyaging seemed to coexist with dull group-think wherever one peered about among the formerly 'committed'. Traditionally then, or tediously as some will think, I saw no reason to discard the Orwellian standard in considering modern literature. While a sort of etiolation, tricked out as playfulness, had its way among the non-judgemental, much good work was still done by those who weighed words as if they meant what they said. Some authors, indeed, stood by their works as if they had composed them in solitude and out of conviction. Of these, an encouraging number spoke for the ironic against the literal mind; for the generously interpreted interest of all against the renewal of what Orwell termed the 'smelly little orthodoxies'--tribe and Faith, monotheist and polytheist, being most conspicuous among these new/old disfigurements. In the course of making a film about the decaffeinated hedonism of modern Los Angeles, I visited the house where Thomas Mann, in another time of torment, wrote . My German friends were filling the streets of Munich and Berlin to combat the recrudescence of the same old shit as I read: The path to this concept of enlightenment is not to be found in the pursuit of self-pity, or of self-love. Of course to be merely a political animal is to miss Mann's point; while, as ever, to be an apolitical animal is to leave fellow-citizens at the mercy of Ideolo'. For the sake of argument, then, one must never let a euphemism or a false consolation pass uncontested. The truth seldom lies, but when it does lie it lies somewhere in between. enlightenment progress irony lies socialism literature humanism politics faith religion science truth apoliticism berlin bought-priesthood cape-coloureds eurocentricism george-hw-bush german-people groupthink left-wing-politics margaret-thatcher munich personality-politics polytheism potus radical-politics tribalism xhosa-people zulu-people ronald-reagan sectarianism monotheism solipsism argument critical-thinking self-pity self-love south-africa totalitarianism journalism right-wing-politics george-orwell soviet-union united-states conviction orthodoxy los-angeles film individualism atheism hedonism thomas-mann populism russia communism postmodernism cold-war germany literary-criticism euphemism Christopher Hitchens
4ba5666 I define influence simply as literary love, tempered by defense. The defenses vary from poet to poet. But the overwhelming presence of love is vital to understanding how great literature works. poetry literary-criticism Harold Bloom
06192f3 I want to give just a slight indication of the influence the book has had. I knew that , in his second novel, , published in 1935, had borrowed from for his nighttime scene in Trafalgar Square, where Deafie and Charlie and Snouter and Mr. Tallboys and The Kike and Mrs. Bendigo and the rest of the bums and losers keep up a barrage of song snatches, fractured prayers, curses, and crackpot reminiscences. But only on my most recent reading of did I discover, in the middle of the long and intricate mock-Shakespeare scene at the National Library, the line 'Go to! You spent most of it in Georgina Johnson's bed, clergyman's daughter.' So now I think Orwell quarried his title from there, too. literature influence trafalgar-square ulysses-novel james-joyce george-orwell literary-criticism Christopher Hitchens
5875386 I had not particularly liked the way in which he wrote about literature in , and I was always on my guard if not outright hostile when any tincture of 'deconstruction' or 'postmodernism' was applied to my beloved canon of English writing, but when Edward talked about English literature and quoted from it, he passed the test that I always privately apply: Do you truly this subject and could you bear to live for one moment if it was obliterated? literature edward-said postmodernism literary-criticism Christopher Hitchens
572c6d7 A book can't be a half fantasy any more than a woman can be half pregnant. self-deprecating literary-criticism David Mitchell
ebc0040 "But even in such works where the author is ideally unobtrusive, he remains diffused through the book so that his very absence becomes a kind of radiant presence. As the French say, il brille par son absence -- "he shines by his absence." In connection with Bleak House we are concerned with one of those authors who are so to speak not supreme deities, diffuse and aloof, but puttering, amiable, sympathetic demigods, who descend into their books under various disguises or send therein various middlemen, representatives, agents, minions, spies, and stooges. [...] Roughly speaking, there are three types of such representatives. Let us inspect them. First, the narrator insofar as he speaks in the first person, the capital I of the story, its moving pillar. [...] Second, a type of author's representative, what I call the sifting agent. [...] The third type is the so-called perry, possibly derived from periscope, despite the double r, or perhaps from parry in vague connection with foil as in fencing. But this does not matter much since anyway I invented the term myself many years ago." how-to literary-criticism Vladimir Nabokov
174d0c4 The Bloomsbury Group has been characterised as a liberal, pacifist, and at times libertine, intellectual enclave of Cambridge-based privilege. The Cambridge men of the group (Bell, Forster, Fry, Keynes, Strachey, Sydney-Turner) were members of the elite and secret society of Cambridge Apostles. aesthetic understanding, and broader philosophy, were in part shaped by, and at first primarily interpreted in terms of, (male) Bloomsbury's dominant aesthetic and philosophical preoccupations, rooted in the work of (a central influence on the Apostles), and culminating in Fry's and differing brands of pioneering aesthetic formalism. 'The main things which Moore instilled deep into our minds and characters,' recalls, 'were his peculiar passion for truth, for clarity and common sense, and a passionate belief in certain values.' Increasing awareness of Woolf's feminism, however, and of the influence on her work of other women artists, writers and thinkers has meant that these Moorean and male points of reference, though of importance, are no longer considered adequate in approaching Woolf's work, and her intellectual development under the tutelage of women, together with her involvement with feminist thinkers and activists, is also now acknowledged. cambridge literary-criticism Jane Goldman
3d245e5 Mr. Morris's poem is ushered into the world with a very florid birthday speech from the pen of the author of the too famous ,--a circumstance, we apprehend, in no small degree prejudicial to its success. But we hasten to assure all persons whom the knowledge of Mr. Swinburne's enthusiasm may have led to mistrust the character of the work, that it has to our perception nothing in common with this gentleman's own productions, and that his article proves very little more than that his sympathies are wiser than his performance. If Mr. Morris's poem may be said to remind us of the manner of any other writer, it is simply of that of Chaucer; and to resemble Chaucer is a great safeguard against resembling Swinburne. poetry geoffrey-chaucer william-morris literary-criticism Henry James
77278f3 "To deprive the derelicts of hope is right, and to sustain them in their illusory "pipe dreams" is right also." -- tragedy the-iceman-cometh literary-criticism Harold Bloom
81503f1 The enduring rapture with magic and fable has always struck me as latently childish and somehow sexless (and thus also related to childlessness). sex literature magic childlessness fable fantasy-literature sexuality literary-criticism Christopher Hitchens
1db37f5 The Lethean Library, for all its incalculable volumes, is, I know, sadly incomplete without Mr. Goodman's effort. irony negative-reviews literary-criticism Vladimir Nabokov
6c08273 What surer sign is there that the creative aquifers are dry than a writer creating a writer-character? self-deprecating literary-criticism David Mitchell
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