A Quote by Robertson Davies
Literary critics, however, frequently suffer from a curious belief that every author longs to extend the boundaries of literary art, wants to explore new dimensions of the human spirit, and if he doesn't, he should be ashamed of himself.
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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.
I can't change overnight into a serious literary author. You can't compare apples to oranges. William Faulkner was a great literary genius. I am not.
The most accomplished literary work would be reduced to nothing by carping criticism, if the author would listen to all critics and allow every one to erase the passage which pleases him the least.
Women excel more in literary judgment than in literary production,--they are better critics than authors.
My view, as one who taught it, is that the whole purpose of a literary education should be to tell people that these things exist. I don't think any teacher should try to 'teach an author,' but rather simply describe what the author has written. And this is what I tried to do.
A key to my thinking has always been the almost fanatical belief that what I was engaged in was a literary art form. That belief was compounded out of ego and necessity, I guess, a combination of the two.
Most literary critics agree that fiction cannot be reduced to mere falsehood. Well-crafted protagonists come to life, pornography causes orgasms, and the pretense that life is what we want it to be may conceivably bring about the desired condition. Hence religious parables, socialist realism, Nazi propaganda. And if this story likewise crawls with reactionary supernaturalism, that might be because its author longs to see letters scuttling across ceilings, cautiously beginning to reify themselves into angels. For if they could only do that, then why not us?
The provincial intellectual is doomed to arguing at low level... there is still no Australian literary world, not in Sydney, Melbourne, Adelaide. It is some consolation to realise that there is no literary world in Birmingham or Los Angeles either. I have heard there is one in Montreal, but I don't believe it. The literary world is in London and New York, the only cities big enough to sustain magazines which can afford to reject copy.
A word, and all the infinite fluctuations it may possess. Like that moment when you know you have something to say, and you know you're speaking, even, but you still have no idea how you will say it. Or the moment when, as a reader, you're reading, and you are understanding what you are reading, but still have utterly no idea what will come next for you, what precisely the author wants to say. For me, that is the ultimate level of literary depth, of literary density.
First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation , a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the (literary) time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on.
Poetry is often very critical of the culture from which it emerges. Quite often literary critics of a nationalist bent talk up the national culture, in a way that the literary texts don't. Poetry can bring out areas of denial and repression.
It remains a mystery to me why some of that [pulp] fiction should be judged inferior to the rafts and rafts of bad social [literary] fiction which continues to be treated by literary editors as if it were somehow superior, or at least worthier of our attention. The careerist literary imperialism of the Bloomsbury years did a lot to produce fiction's present unseemly polarities.
San Francisco itself is art, above all literary art. Every block is a short story, every hill a novel. Every home a poem, every dweller within immortal. That is the whole truth.
In new work, we need to see the shadow, however faint, of previous literary effort.
There are so many new young poets, novelists, and playwrights who are much less politically committed than the former generations. The trend is to be totally concentrated on the literary aesthetic and to consider politics to be something dirty that shouldn't be mixed with an artistic or a literary vocation.
He should avail himself of their resources in such ways as to advance the expression of the spirit in the life of mankind. He should use them so as to afford to every human being the greatest possible opportunity for developing and expressing his distinctively human capacity as an instrument of the spirit, as a centre of sensitive and intelligent awareness of the objective universe, as a centre of love of all lovely things, and of creative action for the spirit.
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