A Quote by Anne Stevenson
There is far too much literary criticism of the wrong kind. That is why I never could have survived as an academic.
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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.
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.
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.
Much literary criticism comes from people for whom extreme specialization is a cover either for grave cerebral inadequacy or terminal laziness, the latter being a much-cherished aspect of academic freedom.
Much literary criticism comes from people for whom extreme specialization is a cover for either grave cerebral inadequacy or terminal laziness, the latter being a much cherished aspect of academic freedom.
Nothing is so good it lasts eternally. Perfect situations must go wrong. But this has never yet prevented me wanting far too much for far too long.
I don't believe in pulling punches or being judicious, as the standard in literary criticism or academic musicology.
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.
Sometimes I wonder if there's something wrong with me. Perhaps I've spent too long in the company of my literary romantic heroes, and consequently my ideals and expectations are far too high.
While it may be tempting to bask fully in the glory of success, remember: When a CEO takes too much credit for the good, they will receive far too much criticism for the bad.
Whoever could properly characterize Goethe's Meister would have actually expressed what is the timely trend in literature. He would be able, as far as literary criticism is concerned, to rest.
What I think I've learned is that you're never going to get it all right, and you can't obsess about having a fact wrong or a date wrong or something like that, as long as you tried as best you could. If you've done the kind of research that you're sure is pretty good, then you just have to have confidence in it, so that nothing is perfect in life. I think that is what the criticism has helped me to understand.
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.
Never let too much criticism or too much praise get in your way.
The kind of acting that's wholly literary or cerebral is wrong. It's useless for me to have actors so much in their heads that they can't be organic.
Errol Spence, I really want that fight because everyone says it's too much, too risky. That's exactly why I want to do it. That's a guy who could put me on top as far as best fighter in the world.
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