A Quote by Carlos Fuentes

I have no literary fears. — © Carlos Fuentes
I have no literary fears.
I’m not club-able, you see. I don’t like literary parties and literary gatherings and literary identities. I’d hate to join anything, however loosely.
There are two kinds of fears: rational and irrational- or in simpler terms, fears that make sense and fears that don't.
My fears are the obvious ones: that marketplace-minded publishers - all four of them - will shy further away from literary fiction, international authors, poetry, and the other marginal but hugely important regions of the book world.
Man, wow, there's so many things to do, so many things to write! How to even begin to get it all down and without modified restraints and all hung-up on like literary inhibitions and grammatical fears.
As a mom, the minute your baby is born, you all of a sudden have these fears. People always say, 'Don't let your fears get you.' But for me, my fears educated me.
The fears that assault us are mostly simple anxieties about social skills, about intimacy, about likeableness, or about performance. We need not give emotional food or charge to these fears or become attached to them. We don’t even have to shame ourselves for having these fears. Simply ask your fears, “What are you trying to teach me?” Some say that FEAR is merely an acronym for “False Evidence Appearing Real.” From Everything Belongs, p. 143
You can never get rid of all of your fears. Some are necessary and a part of life. But most of our fears are illusory, based on risks or threats that exist only in our minds. Such fears constrain and make you miserable. The feeling of moving past a particular fear is one of liberation and freedom.
I don't have traceable literary models because I haven't had great literary influences in my life.
I have always loved reading, so was interested in the literary world, and took many literary portraits.
The novel is not so much a literary genre, but a literary space, like a sea that is filled by many rivers.
There's literary creation and literary business. When I first got something accepted, it gave my life a validation it didn't otherwise have.
The provincial intellectual is doomed to arguing at low level... there is still no Australian literary world, not in Sydney, Melbourne, Adelaide. It is some consolation to realise that there is no literary world in Birmingham or Los Angeles either. I have heard there is one in Montreal, but I don't believe it. The literary world is in London and New York, the only cities big enough to sustain magazines which can afford to reject copy.
I can't change overnight into a serious literary author. You can't compare apples to oranges. William Faulkner was a great literary genius. I am not.
The Booker thing was a catalyst for me in a bizarre way. It’s perceived as an accolade to be published as a ‘literary’ writer, but, actually, it’s pompous and it’s fake. Literary fiction is often nothing more than a genre in itself. I’d always read omnivorously and often thought much literary fiction is read by young men and women in their 20s, as substitutes for experience.
This is something I've struggled with a lot: how to relate to the fear in a constructive way. It's not that you eliminate the fear. We have all the fears. That's natural; that's human beings. But how do you deal with the fears, how do you engage with your fears in a way that's productive?
I think one of the most important changes of our time has been our attitude to fear. Every civilisation defends itself by keeping fears out and saying 'we protect you from fear'. But it also produces new fears and throughout history people have changed the kind of fears which have worried them.
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