#literary

The Stetson passage is an allusion to Frazer theory in The Golden Bough that religion originated as agricultural engineering. Through a grotesque process of literalization, all of the dying gods and heroes in The Golden Bough, along with Christ and the Fisher King, are transferred from mythic to modern consciousness ( Frazer himself was an unabashed positivist) to be made explicable in scientific terms as fertilizer. ↗

— Jewel Spears Brooker

#religion

Nobody ever wanted to go to war, but if a war came your way, it might as well be the right war, about the most important things in the world, and you might as well, if you were going to fight it, be called "Rushdie," and stand where your father had placed you, in the tradition of the grand Aristotelian, Averroës, Abul Walid Muhammad ibn Ahmad ibn Rushd. ↗

— Salman Rushdie

#history-religion-terrorism #literary #memoir #religion

Dismissing fantasy writing because some of it is bad is exactly like saying I'm not reading Jane Eyre because it is a romance and I know romance is crap. ↗

— China Miéville

#genres #literary-criticism #pulp #criticism

Each work of criticism is supposed to build on the body of work, to increase the total sum of human understanding. It's not like filling your house with more and more beautiful wicker baskets. It's supposed to be cumulative - it believes in progress. ↗

— Elif Batuman

#beauty

It took me fifty years to deal with the Holocaust at all. And I did it in a literary way. ↗

— Leonard Baskin

#did #fifty #holocaust #i #literary

People aren't used to thinking of cultural forms spreading out across the full range of formal interactions - or what is called the "text" in literary terms. ↗

— Tony Conrad

#called #cultural #formal #forms #full

In fact this desire for consonance in the apocalyptic data, and our tendency to be derisive about it, seem to me equally interesting. Each manifests itself, in the presence of the other, in most of our minds. We are all ready to be sceptical about Father Marystone, but we are most of us given to some form of 'centurial mysticism,' and even to more extravagant apocalyptic practices: a point I shall be taking up in my fourth talk. What it seems to come to is this. Men in the middest make considerable imaginative investments in coherent patterns which, by the provision of an end, make possible a satisfying consonance with the origins and with the middle. That is why the image of the end can never be permanently falsified. But they also, when awake and sane, feel the need to show a marked respect for things as they are; so that there is a recurring need for adjustments in the interest of reality as well as of control. This has relevance to literary plots, images of the grand temporal consonance; and we may notice that there is the same co-existence of naïve acceptance and scepticism here as there is in apocalyptic. Broadly speaking, it is the popular story that sticks most closely to established conventions; novels the clerisy calls 'major' tend to vary them, and to vary them more and more as time goes by. I shall be talking about this in some detail later, but a few brief illustrations might be useful now. I shall refer chiefly to one aspect of the matter, the falsification of one's expectation of the end. The story that proceeded very simply to its obviously predestined end would be nearer myth than novel or drama. Peripeteia, which has been called the equivalent, in narrative, of irony in rhetoric, is present in every story of the least structural sophistication. Now peripeteia depends on our confidence of the end; it is a disconfirmation followed by a consonance; the interest of having our expectations falsified is obviously related to our wish to reach the discovery or recognition by an unexpected and instructive route. It has nothing whatever to do with any reluctance on our part to get there at all. So that in assimilating the peripeteia we are enacting that readjustment of expectations in regard to an end which is so notable a feature of naïve apocalyptic. And we are doing rather more than that; we are, to look at the matter in another way, re-enacting the familiar dialogue between credulity and scepticism. The more daring the peripeteia, the more we may feel that the work respects our sense of reality; and the more certainly we shall feel that the fiction under consideration is one of those which, by upsetting the ordinary balance of our naïve expectations, is finding something out for us, something real. The falsification of an expectation can be terrible, as in the death of Cordelia; it is a way of finding something out that we should, on our more conventional way to the end, have closed our eyes to. Obviously it could not work if there were not a certain rigidity in the set of our expectations. ↗

— Frank Kermode

#death

Emerson was the chief figure in the American transcendental movement, a fact that complicates all accounts of him in literary or cultural history. ↗

— Howard Mumford Jones

#american #chief #complicates #cultural #emerson

The critical method which denies literary modernity would appear - and even, in certain respects, would be - the most modern of critical movements. ↗

— Paul de Man

#certain #critical #denies #even #literary

I'm not against asking the audience to work, but I think what you have now is a sort of gratuitous deconstruction as a result of a fashion of literary deconstructionism indicating that there are no meanings. ↗

— Jonathan Miller

#asking #audience #deconstruction #fashion #gratuitous