A Quote by Matthew Pearl
The book I'm working on next, which will be my fifth, returns to literary history. I really do love literary history, and I have plenty more ideas on it.
Related Quotes
Because Fascism is a lie, it is condemned to literary sterility. And when it is past, it will have no history, except the bloody history of murder.
Certainly professionally, yes [I was interested more in history]. And literary criticism, the structure of poetry. But it is primarily as a historian that I work, although text criticism and literary criticism are very much a part of my interests.
Literary works cannot be taken over like factories, or literary forms of expression like industrial methods. Realist writing, of which history offers many widely varying examples, is likewise conditioned by the question of how, when and for what class it is made use of.
I may remind you that history is not a branch of literature. The facts of history, like the facts of geology or astronomy, can supply material for literary art; for manifest reasons they lend themselves to artistic representation far more readily than those of the natural sciences; but to clothe the story of human society in a literary dress is no more the part of a historian as a historian, than it is the part of an astronomer as an astronomer to present in an artistic shape the story of the stars.
I'm beyond thrilled to be working with Faber, whose literary history is second to none. And I'm even more excited to bring my books to a wider audience in the U.K.
In all literary history there is no such figure as Dante, no such homogeneousness of life and works, such loyalty to ideas, such sublime irrecognition of the unessential.
My literary criticism has become less specifically academic. I was really writing literary history in The New Poetic, but my general practice of writing literary criticism is pretty much what it always has been. And there has always been a strong connection between being a writer - I feel as though I know what it feels like inside and I can say I've experienced similar problems and solutions from the inside. And I think that's a great advantage as a critic, because you know what the writer is feeling.
The library is not a shrine for the worship of books. It is not a temple where literary incense must be burned or where one's one devotion to the bound book is expressed in ritual. A library, to modify the famous metaphor of Socrates, should be the delivery room for the birth of ideas - a place where history comes to life.
'War and Peace' holds a strange place in literary history, participating in the crowning of realism as a substantial and serious literary mode in America, even as the novel also contributed to the argument that historical fiction could be by nature dangerous, illegitimate, and inaccurate.
You can write a great book and be ignored. Literary history is full of classics that were under-appreciated in their own time.
That rewriting of literary history is most obvious in the case of The Yage Letters, where I was able to show that the true history inverts the official one.
Anybody who comes to the cinema is bringing they're whole sexual history, their literary history, their movie literacy, their culture, their language, their religion, whatever they've got. I can't possibly manipulate all of that, nor do I want to.
I’m not club-able, you see. I don’t like literary parties and literary gatherings and literary identities. I’d hate to join anything, however loosely.
Every literary critic believes he will outwit history and have the last word.
A female writer does definitely get more attention if she writes about male characters. It's true. It's considered somehow more literary, in the same way that it's more literary to write about supposedly male subjects, such as war. You're considered more seriously by the literary establishment.
The literary culture, if you examine it, the high literary culture is that which preserves the government and you know it's really the talk for those who have.
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