A Quote by Camilo Jose Cela

Literature is the denunciation of the times in which one lives. — © Camilo Jose Cela
Literature is the denunciation of the times in which one lives.
The denunciation of suffering by photography has replaced the religious justification of suffering in painting. Denunciation is a function of photojournalism, and in itself that's a step in the right direction.
It is a characteristic of any decaying civilization that the great masses of the people are unconscious of the tragedy. Humanity in a crisis is generally insensitive to the gravity of the times in which it lives. Men do not want to believe their own times are wicked, partly because it involves too much self-accusation and principally because they have no standards outside of themselves by which to measure their times.
We write from life and call it literature, and literature lives because we are in it.
Literature is an investment of genius which pays dividends to all subsequent times.
What literature brings to our times is always the fact that literature refuses to bring any simple or easy answers.
The amplification of our diverse literary voices is a political act of resistance. Our lives are important, too. Our lives should be represented in our literature. And that literature is vital, compelling, and accessible. That literature deserves to be disseminated and noticed and available. And with respect to the dissemination and promotion of diverse voices - librarians, educators, and editors of literary journals play such an important role. They deserve not only a hearty shout out, but also our thanks and support.
Literature hasn't come up with any new themes. The literature of all different times - it's still dealing with how one resolves issues of existence.
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.
Part of my methodological approach is made explicit when I discuss ways in which literature can have philosophical significance. Literature doesn't typically argue - and when it does, it's deadly dull. But literature can supply the frame within which we come to observe and reason, or it can change our frame in highly significant ways. That's one of the achievements I'd claim for Mann, and for Death in Venice.
There is nothing so charming as the knowledge of literature; of that branch of literature, I mean, which enables us to discover the infinity of things, the immensity of Nature, the heavens, the earth, and the seas; this is that branch which has taught us religion, moderation, magnanimity, and that has rescued the soul from obscurity; to make her see all things above and below, first and last, and between both; it is this that furnishes us wherewith to live well and happily, and guides us to pass our lives without displeasure and without offence.
Literature was the passport to enter a larger life; that is, the zone of freedom. Literature was freedom. Especially in a time in which the values of reading and inwardness are so strenuously challenged, literature is freedom.
I'm kind of a reluctant Anglophile. My mother's a children's librarian, and all of the children's literature I read was from her childhood - E. Nesbit and Dickens, which isn't children's literature at all, but I was sort of steeped in English literature. I thought I was of that world.
Modern Arabic literature achieved international recognition when Mahfouz was awarded the Nobel prize in 1988 (.....) Mahfouz also rendered Arabic literature a great service by developing, over the years, a form of language in which many of the archaisms and cliches that had become fashionable were discarded, a language that could serve as an adequate instrument for the writing of fiction in these times.
Pessimism is a form of mental dipsomania; it disdains healthy nourishment, indulges in the strong drink of denunciation, and creates an artificial dejection which thirsts for a stronger draught.
I believe in a kind of literature which makes clear that, at a deeper level, below the surface, we are tied together through invisible but existing threads. A kind of literature which talks about a lively, ever-changing world of unity, of which we are a small, but not insignificant part.
South African literature is a literature in bondage. It is a less-than-fully-human literature. It is exactly the kind of literature you would expect people to write from prison.
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