A Quote by Carlos Fuentes

In literature, you know only what you imagine — © Carlos Fuentes
In literature, you know only what you imagine
Literature remains alive only if we set ourselves immeasurable goals, far beyond all hope of achievement. Only if poets and writers set themselves tasks that no one else dares imagine will literature continue to have a function.
Literature cannot develop between the categories "permitted"—"not permitted"—"this you can and that you can't." Literature that is not the air of its contemporary society, that dares not warn in time against threatening moral and social dangers, such literature does not deserve the name of literature; it is only a facade. Such literature loses the confidence of its own people, and its published works are used as waste paper instead of being read. -Letter to the Fourth National Congress of Soviet Writers
That's really what SF is all about, you know: the big reality that pervades the real world we live in: the reality of change. Science fiction is the very literature of change. In fact, it is the only such literature we have.
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.
For those of us who take literature very seriously, picking up a work of fiction is the start of an adventure comparable in anticipatory excitement to what I imagine is felt by an athlete warming up for a competition, a mountain climber preparing for the ascent: it is the beginning of a process whose outcome is unknown, one that promises the thrill and elation of success but may as easily end in bitter disappointment. Committed readers realize at a certain point that literature is where we have learned a good part of the little we know about living.
It seems to me that literature is giving way a little bit to the immediacy of other diversions, other forms of entertainment. What will it be in fifty years? I don't know. Will there be printed books? Probably, but I'm not sure. There's always going to be literature, though. I believe that. I think literature has a way of getting deep into people and being essential. Literature has its own powers.
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.
The vast majority of us imagine ourselves as like literature people or math people. But the truth is that the massive processor known as the human brain is neither a literature organ or a math organ. It is both and more.
What a lost person needs is a map of the territory, with his own position marked on it so he can see where he is in relation to everything else. Literature is not only a mirror; it is also a map, a geography of the mind. Our literature is one such map, if we can learn to read it as our literature, as the product of who and where we have been. We need such a map desperately, we need to know about here, because here is where we live. For the members of a country or a culture, shared knowledge of their place, their here, is not a luxury but a necessity. Without that knowledge we will not survive.
You know the John Lennon song 'Imagine'? 'Imagine no possessions, no religion'? That's what it was like in Cambodia. The only thing people had was a spoon, for eating the daily pourridge. And that pourridge was grossly insufficient for the work they were made to do in the fields.
In French literature, you can choose a la carte; in Spanish literature, there is only the set meal.
Good literature can be created only with something that is different from literature.
My confidence in the future of literature consists in the knowledge that there are things that only literature can give us, by means specific to it.
You can say that literature is about topics like love, death, and all that, but I think there is only one topic that applies to all literature and that is belonging.
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.
If you stand over on the edge of the west coast of Ireland and look west, you are looking at something you can't see, only imagine. You know America is there, and you can imagine it being there. But you're also looking into infinity, because you can see nothing.
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