A Quote by Annie Dillard

The writer studies literature, not the world. — © Annie Dillard
The writer studies literature, not the world.
The writer studies literature, not the world. He is careful of what he reads, for that is what he will write.
The methodologies of examining hip hop are borrowed from sociology, politics, religion, economics, urban studies, journalism, communications theory, American studies, transatlantic studies, black studies, history, musicology, comparative literature, English, linguistics, and other disciplines.
I have taught Philosophy, Religious Studies, English Literature, Cultural Studies, Writing and Publishing Studies, Critical Thinking.
Literature, the study of literature in English in the 19th century, did not belong to literary studies, which had to do with Greek, Latin, and Hebrew, but instead with elocution and public speaking. So when people read literature, it was to memorize and to recite it.
Given the devaluation of literature and of the study of foreign languages per se in the United States, as well as the preponderance of theory over text in graduate literature studies, creative writing programs keep literature courses populated.
I think the history of the world suggests if one studies the Romans, and one studies the early Greeks, and one studies the history of the world, they all eventually falter if they don't come back to the basic aspect of integrity and honor and feelings of love one for another.
Literature remains an indispensable human activity, in which the reader and the writer are engaged of their own volition. Hence, literature has no duty to the masses or society, and ethical or moral pronouncements added by busybody critics are of no concern to the writer.
As a writer, I live in the world of literature and ideas, but I entered that world as an emigre from a medieval fiefdom, the sports world of Michigan.
The body of literature, with its limits and edges, exists outside some people and inside others. Only after the writer lets literature shape her can she perhaps shape literature.
That is exactly the writer's problem. What does literature stand for in a hungry world?
The world gets older, without getting either better or worse and so does literature. But I do think that the drab current phenomenon that passes for literary studies in the university will finally provide its own corrective.
All third world literature is about nation, that identity is the fundamental literary problem in the third world. The writer's identity is insecure because the nation's identity is not secure. The nation doesn't provide the third world writer with a secure identity, because the nation is colonized, it's oppressed, it's part of somebody else's empire.
I always have done work on mythic relations since I started writing. I really want to be a novelist, or at least a writer of imaginative work... I do try to make my critical studies imaginative and try to write them in ways that are more like literature than philosophy, but I have disappointed myself because I am still so wedded to criticism.
Of course I'm a black writer... I'm not just a black writer, but categories like black writer, woman writer and Latin American writer aren't marginal anymore. We have to acknowledge that the thing we call "literature" is more pluralistic now, just as society ought to be. The melting pot never worked. We ought to be able to accept on equal terms everybody from the Hasidim to Walter Lippmann, from the Rastafarians to Ralph Bunche.
Most British playwrights of my generation, as well as younger folks, apparently feel somewhat obliged to Russian literature - and not only those writing for theatres. Russian literature is part of the basic background knowledge for any writer. So there is nothing exceptional in the interest I had towards Russian literature and theatre. Frankly, I couldn't image what a culture would be like without sympathy towards Russian literature and Russia, whether we'd be talking about drama or Djagilev.
The writer asks himself, 'Can I think of a plot that will parallel this? Can I take this work of literature as an example of something I might produce?' Let us, then, consider literature as a productive science.
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