Read through the most famous quotes by topic #reviews
I was going to suggest some hard-won guidelines for responsible reviewing. For instance: First, as in Hippocrates, do no harm. Second, never stoop to score a point or bite an ankle. Third, always understand that in this symbiosis, you are the parasite. Fourth, look with an open heart and mind at every different kind of book with every change of emotional weather because we are reading for our lives and that could be love gone out the window or a horseman on the roof. Fifth, use theory only as a periscope or a trampoline, never a panopticon, a crib sheet or a license to kill. Sixth, let a hundred Harolds Bloom. ↗
I am Orafoura, but you can call me Jarod Kintz. I’m fairly proud to proclaim that Dora J. Arod has me on her short list of “World’s worst writers.” The list couldn’t get any shorter, because I’m the only name on it. I should tell her to stop calling it a list, and change the title to “World’s worst writer.” If you’re wondering why I rate all my work one star, it’s because the rating system doesn’t have a zero star option, or better yet, go into negative numbers. ↗
Catch-22 has much passion, comic and fervent, but it gasps for want of craft and sensibility… Its author, Joseph Heller, is like a brilliant painter who decides to throw all the ideas in his sketchbooks onto one canvas, relying on their charm and shock to compensate for the lack of design… The book is an emotional hodgepodge; no mood is sustained long enough to register for more than a chapter. ↗
Nearly every writer writes a book with a great amount of attention and intention and hopes and dreams. And it's important to take that effort seriously and to recognize that a book may have taken ten years of a writer's life, that the writer has put heart and soul into it. And it behooves us, as book-review-editors, to treat those books with the care and attention they deserve, and to give the writer that respect." Pamela Paul, New York Times Book Review editor, in a Poets & Writer's interview (something for all reviewers to think about) ↗
Mr. Melville is evidently trying to ascertain how far the public will consent to be imposed upon. He is gauging, at once, our gullibilty and our patience. Having written one or two passable extravagancies, he has considered himself privileged to produce as many more as he pleases, increasingly exaggerated and increasingly dull…. In bombast, in caricature, in rhetorical artifice — generally as clumsy as it is ineffectual — and in low attempts at humor, each one of his volumes has been an advance among its predecessors…. Mr. Melville never writes naturally. His sentiment is forced, his wit is forced, and his enthusiasm is forced. And in his attempts to display to the utmost extent his powers of “fine writing,” he has succeeded, we think, beyond his most sanguine expectations… We have no intention of quoting any passages just now from Moby-Dick. The London journals, we understand, “have bestowed upon the work many flattering notices,” and we should be loth to combat such high authority. But if there are any of our readers who wish to find examples of bad rhetoric, involved syntax, stilted sentiment and incoherent English, we will take the liberty of recommending to them this precious volume of Mr. Melville’s. ↗
I know that an author must be brave enough to chop away clinging tentacles of good taste for the sake of a great work. But this is no great work, you see. ↗