A Quote by Antonia Fraser

I am re-reading Henry James as a change from history. I began with Daisy Miller, and I've just finished Washington Square. What a brilliant, painful book. — © Antonia Fraser
I am re-reading Henry James as a change from history. I began with Daisy Miller, and I've just finished Washington Square. What a brilliant, painful book.
While reading writers of great formulatory power — Henry James, Santayana, Proust — I find I can scarcely get through a page without having to stop to record some lapidary sentence. Reading Henry James, for example, I have muttered to myself, "C’mon, Henry, turn down the brilliance a notch, so I can get some reading done." I may be one of a very small number of people who have developed writer’s cramp while reading.
Henry Miller wrote novels, but he calls his protagonist Henry, often Henry Miller, and his books are in this gray area between memoir and novel.
I am reading Henry James...and feel myself as one entombed in a block of smooth amber.
That is the mystery: Reading Henry James can yield prose that is contrary to James, yet inspired by him. Who can understand this?
At that time, I had recently finished a book called Amazing Grace, which many people tell me is a very painful book to read. Well, if it was painful to read, it was also painful to write. I had pains in my chest for two years while I was writing that book.
Mr. Henry James writes fiction as if it were a painful duty.
I liked teaching Henry James. When you look down at a Henry James novel from a helicopter height, you find an intricate spider web that all clings together.
I've just finished reading a book about the brilliant Margaret Rutherford. She wasn't a beauty, but inside she was absolutely blazing and passionate about her work. She's one of those life-affirming characters.
I had the idea in my twenties that a writer could immediately become the late Henry James. Henry James himself had to mature. Even Saul Bellow did.
Reading Bukowski and Burroughs and Henry Miller doesn't necessarily mean that a kid is going to try to emulate their debauchery to the point that Nic did, but he really was fascinated by it.
One of the best things Henry Miller ever said was that art goes all out. It's all out. It goes full length. . . . A big book is an all-out book in which you limit your life to things that pertain directly to the book.
The book it reminded me of most is Henry Miller’s The Books in My Life. Like Miller, Shields manages to convey his affection for and admiration of literature, and that, the enthusiasm and admiration, can revitalize the reader’s love for the art form. I’m grateful for How Literature Saved My Life because the book has made me think again – and for the first time in a while – 'Well, what is it we do when we read?' It’s a damned annoying question, but it needs to be asked now and then, and Shields has asked it in a way I find resonant and moving.
I get letters from readers who say that they have always hated reading, but somebody suggested one of my books, they actually finished the book and enjoyed it, and they're going on to read another book. I'm thrilled that they have figured out that reading is fun.
I get letters from readers who say that they have always hated reading, but somebody suggested one of my books, they actually finished the book and enjoyed it, and they're going on to read another book. I'm thrilled that they have figured out that reading is fun
I began writing books after speaking for several years and I realize that when you have a written book people think that you're smarter than you really are if I can joke. But it's interesting. People will buy your book and hire you without reading the book just because you have a book and you have a book on a subject that they think is of interest to themselves or e to their company.
The work of Henry James has always seemed divisible by a simple dynastic arrangement into three reigns: James I, James II, and the Old Pretender.
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