A Quote by Alison Bechdel

I still found literary criticism to be a suspect activity — © Alison Bechdel
I still found literary criticism to be a suspect activity
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.
I also encourage my students to read literary criticism that is deeply personal yet formally inventive and intellectually expansive... books that offer unorthodox ways of doing double duty as literary criticism and as love letters to the power of literature per se.
I don't have a very high opinion, actually, of the world of criticism - or the practice of criticism. I think I admire art criticism, criticism of painting and sculpture, far more than I do that of say films and books, literary or film criticism. But I don't much like the practice. I think there are an awful lot of bad people in it.
In the mainstream, I'm suspect because I'm black. I have dreadlocks, I have a goatee. I mean, I'm just suspect. In my classroom and at Columbia, I'm not as suspect because it's clear I know what I'm doing, but I am still suspect.
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.
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.
What was needed was a literary theory which, while preserving the formalist bent of New Criticism, its dogged attention to literature as aesthetic object rather than social practice, would make something a good deal more systematic and 'scientific' out of all this. The answer arrived in 1957, in the shape of the Canadian Northrop Fryes mighty 'totalization' of all literary genres, Anatomy of Criticism .
In certain kinds of writing, particularly in art criticism and literary criticism, it is normal to come across long passages which are almost completely lacking in meaning.
I believe that true identity is found . . . in creative activity springing from within. It is found, paradoxically, when one loses oneself. Woman can best refind herself in some kind of creative activity of her own.
I suspect that most authors don't really want criticism, not even constructive criticism. They want straight-out, unabashed, unashamed, fulsome, informed, naked praise, arriving by the shipload every fifteen minutes or so.
In truth, even if they have an imperfect insight into their own methods, I still slightly mistrust writers of fiction who are assured literary critics; it makes me suspect that they favour the word over the world it should describe. Such scribes fall victim too easily to the solecism of equating style with morality.
The most exciting thing that we have found with Cassini is the geological activity, the geysering activity at the south pole of Enceladus.
The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism. Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images.
A panel at a beautiful annual literary festival in Brazil, held in the almost Utopian coastal town of Parati, found me matched with Fernando Gabeira. This comparison reduced my own limited charisma value to something like zero: Gabeira has excelled at every cultural activity in Brazil.
Literary criticism now is all pranks and polemics.
The educated man had throughout the ages found a way to covert passionate activity into silent and motionless pleasure. He can sit still in a room and not perish.
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