Literature is like phosphorus: it shines with its maximum brilliance and the moment when it attempts to die.
Roland BarthesStichwörter: literature literary-theory roland-barthes
Favoring 'resolution' the way we do, it is hard for us men to write great love stories. Why?, because we want to tell too much. We aren’t satisfied unless at the end of the story the characters are lying there, panting.
Roman PayneStichwörter: sex fiction feminism characterization roman literary-theory making-love payne roman-payne women-writers plot-suggestions panting
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.
Jeffrey EugenidesStichwörter: reading books literary-criticism novels plot postmodernism narrative literary-theory semiotics victorians nineteenth-century
I ran across an excerpt today (in English translation) of some dialogue/narration from the modern popular writer, Paulo Coelho in his book: Aleph.(Note: bracketed text is mine.)... 'I spoke to three scholars,' [the character says 'at last.'] ...two of them said that, after death, the [sic (misprint, fault of the publisher)] just go to Paradise. The third one, though, told me to consult some verses from the Koran. [end quote]' ...I can see that he's excited. [narrator]' ...Now I have many positive things to say about Coelho: He is respectable, inspiring as a man, a truth-seeker, and an appealing writer; but one should hesitate to call him a 'literary' writer based on this quote. A 'literary' author knows that a character's excitement should be 'shown' in his or her dialogue and not in the narrator's commentary on it. Advice for Coelho: Remove the 'I can see that he's excited' sentence and show his excitement in the phrasing of his quote.(Now, in defense of Coelho, I am firmly of the opinion, having myself written plenty of prose that is flawed, that a novelist should be forgiven for slipping here and there.)Lastly, it appears that a belief in reincarnation is of great interest to Mr. Coelho ... Just think! He is a man who has achieved, (as Leonard Cohen would call it), 'a remote human possibility.' He has won lots of fame and tons of money. And yet, how his preoccupation with reincarnation—none other than an interest in being born again as somebody else—suggests that he is not happy!
Roman PayneStichwörter: life truth happiness education writing inspiration literary-criticism writing-craft paulo-coelho leonard-cohen fame happy excitement paradise novels writing-advice educational islam koran craft birth fortune critique inspirational-life publishing imperfection life-and-death grammar reincarnation inspiring characterization faults authorship roman novelist born-again literary-theory dialogue cohen sentence-structure writing-art craftsmanship writing-from-the-heart writing-and-art critique-of-modernity inspirational-attitude human-potential islamic payne roman-payne narration coelho humaneness famous-authors islamic-quotes inspiring-quotes fame-and-fortune art-of-literature writing-as-a-profession aleph literature-quotes happiness-positive-outlook advice-for-writers phrasing grammatical
Your page stands against you and says to you that you are a thief.
Marcus Valerius MartialisStichwörter: writing writers literature creativity creative-process tradition literary-theory writing-process
When the critic has said everything in his power about a literary text, he has still said nothing; for the very existence of literature implies that it cannot be replaced by non-literature
Tzvetan TodorovStichwörter: literary-criticism literature literary-theory
For me, fantasy must be about something, otherwise it's foolishness... ultimately it must be about human beings, it must be about the human condition, it must be another look at infinity, it must be another way of seeing the paradox of existence.
George Clayton JohnsonStichwörter: literary-theory fantasy-literature
There is, in fact, no need to drag politics into literary theory: as with South African sport, it has been there from the beginning. I mean by the political no more than the way we organize our social life together, and the power-relations which this involves; and what I have tried to show throughout this book is that the history of modern literary theory is part of the political and ideological history of our epoch. From Percy Bysshe Shelley to Norman N. Holland, literary theory has been indissociably bound up with political beliefs and ideological values. Indeed literary theory is less an object of intellectual enquiry in its own right than a particular perspective in which to view the history of our times. Nor should this be in the least cause for surprise. For any body of theory concerned with human meaning, value, language, feeling and experience will inevitably engage with broader, deeper beliefs about the nature of human individuals and societies, problems of power and sexuality, interpretations of past history, versions of the present and hopes for the future. It is not a matter of regretting that this is so — of blaming literary theory for being caught up with such questions, as opposed to some 'pure' literary theory which might be absolved from them. Such 'pure' literary theory is an academic myth: some of the theories we have examined in this book are nowhere more clearly ideological than in their attempts to ignore history and politics altogether. Literary theories are not to be upbraided for being political, but for being on the whole covertly or unconsciously so — for the blindness with which they offer as a supposedly 'technical', 'self-evident', 'scientific' or 'universal' truth doctrines which with a little reflection can be seen to relate to and reinforce the particular interests of particular groups of people at particular times.
Terry EagletonStichwörter: politics social political ideology literary-theory power-relations
Even in the act of fleeing modern ideologies, however, literary theory reveals its often unconscious complicity with them, betraying its elitism, sexism or individualism in the very ‘aesthetic’ or ‘unpolitical’ language it finds natural to use of the literary text. It assumes, in the main, that at the centre of the world is the contemplative individual self, bowed over its book, striving to gain touch with experience, truth, reality, history or tradition. Other things matter too, of course — this individual is in personal relationship with others, and we are always much more than readers — but it is notable how often such individual consciousness, set in its small circle of relationships, ends up as the touchstone of all else. The further we move from the rich inwardness of the personal life, of which literature is the supreme exemplar, the more drab, mechanical and impersonal existence becomes. It is a view equivalent in the literary sphere to what has been called possessive individualism in the social realm, much as the former attitude may shudder at the latter: it reflects the values of a political system which subordinates the sociality of human life to solitary individual enterprise.
Terry EagletonStichwörter: social authenticity individualism ideology literary-theory capitalist-subjectivity
Some have speculated that the way [Albert] Camus died made his theories on absurdity a self-fulfilling prophecy. Others would say it was the triumphant meaningful way he lived that allowed him to rise heroically above absurdity.
AberjhaniStichwörter: philosophy literature absurdity prophecy literary-theory albert-camus famous-authors aberjhani-on-albert-camus albert-camus-100th-birthday nobel-laureates nobel-prize-in-literature algerian-authors essays-on-albert-camus french-authors literature-of-commitment winners-of-the-nobel-prize
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