#liter

They watch on, evil, incredibly stupid, enjoying my destruction. 'Poor Grendel's had an accident,' I whisper. 'So may you all. ↗

— John Gardner

#historical-fiction #last-lines #literature #retelling #historical

As immigrant artists for whom so much has been sacrificed, so many dreams have been deferred, we already doubt so much. Who do we think we are? We think we are people who risked not existing at all. People who might have had a mother and father killed, either by a government or nature, even before we were born. Some of us think we are accidents of literacy. I do. ↗

— Edwidge Danticat

#dreams

It doesn't matter whether a sequence of words is called a history or a story: that is, whether it is intended to follow a sequence of actual events or not. As far as its verbal shape is concerned, it will be equally mythical in either case. But we notice that any emphasis on shape or structure or pattern or form always throws a verbal narrative in the direction we call mythical rather than historical.(p.21) ↗

— Northrop Frye

#literary-theory #narrative-theory #world-culture #equality

There is only one motive for writing a novel: to be published and read. To me there is no distinction between the mystery novel and the novel, only between good books and bad books. A good book takes the reader into a new world of experience; it is an experiment. A bad book, unless the writing is inept, reinforces the intransigent attitude of the reader not to experiment with a new world. Since there are criminals and psychopaths and sociopaths in all my novels they are in a way psychological thrillers. ↗

— John Franklin Bardin

#motivation #attitude

Literary Fiction and Reality Towards the beginning of his novel The Man Without Qualities, Robert Musil announces that 'no serious attempt will be made to... enter into competition with reality.' And yet it is an element in the situation he cannot ignore. How good it would be, he suggests, if one could find in life ' the simplicity inherent in narrative order. 'This is the simple order that consists in being able to say: "When that had happened, then this happened." What puts our mind at rest is the simple sequence, the overwhelming variegation of life now represented in, as a mathematician would say, a unidimensional order.' We like the illusions of this sequence, its acceptable appearance of causality: 'it has the look of necessity.' But the look is illusory; Musil's hero Ulrich has 'lost this elementary narrative element' and so has Musil. The Man Without Qualities is multidimensional, fragmentary, without the possibility of a narrative end. Why could he not have his narrative order? Because 'everything has now become nonnarrative.' The illusion would be too gross and absurd. Musil belonged to the great epoch of experiment; after Joyce and Proust, though perhaps a long way after, he is the novelist of early modernism. And as you see he was prepared to spend most of his life struggling with the problems created by the divergence of comfortable story and the non-narrative contingencies of modern reality. Even in the earlier stories he concerned himself with this disagreeable but necessary dissociation; in his big novel he tries to create a new genre in which, by all manner of dazzling devices and metaphors and stratagems, fiction and reality can be brought together again. He fails; but the point is that he had to try, a sceptic to the point of mysticism and caught in a world in which, as one of his early characters notices, no curtain descends to conceal 'the bleak matter-of-factness of things. ↗

— Frank Kermode

#experience

Hespe's mouth went firm. She didn't scowl exactly, but it looked like she was getting all the pieces of a scowl together in one place, just in case she needed them in a hurry. ↗

— Patrick Rothfuss

#literacy #relationships #humor

It is the voice of everyday people, rather than of a self-conscious 'artist', that we hear in Caedmon's Hymn, and in such texts as Deor's Lament (also known simply as Deor) or The Seafarer. These reflect ordinary human experience and are told in the first person. They make the reader or hearer relate directly with the narratorial 'I', and frequently contain intertextual references to religious texts. Although they express a faith in God, only Caedmon's Hymn is an overtly religious piece. Already we can notice one or two conventions creeping in; ways of writing which will be found again and again in later works. One of these is the use of the first-person speaker who narrates his experience, inviting the reader or listener to identify with him and sympathise with his feelings. ↗

— Ronald Carter

#experience

I lose faith in mathematics, logical and rigid. What with those that even zero doesn’t accept? ↗

— Dejan Stojanovic

#acceptance #dejan-stojanovic #faith #literature #literature-quotes

While it's true that, as Tolstoy observed, every unhappy family is unhappy in its own way, and everyone on planet Earth, vale of tears that it is, is certainly entitled to the specificity of his or her suffering, one nonetheless likes to think that literature has the power to render comprehensible different kinds of unhappiness. If it can't do that, what's it good for? ↗

— Elif Batuman

#tolstoy #unhappiness #family

Unfortunately, I have dedicated great effort to the task of compiling this ‘sensitive words glossary,’ and I have mastered my filtering skills. I knew which words and sentences had to be cut, and I accepted the cutting as if that was the way it should be. In fact, I will often take it on myself to save time and cut a few words. I call this ‘castrated writing’ -—I am a proactive eunuch, I have already castrated myself before the surgeon raises his scalpel. ↗

— Murong Xuecun

#freedom-of-speech #freedom