A Quote by Edmund White
What is new about Barthes's posthumous reputation is the view of him as a writer whose books of criticism and personal musings must be admired as serious and beautiful works of the imagination.
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The writer's role is to menace the public's conscience. He must have a position, a point of view. He must see the arts as a vehicle of social criticism and he must focus on the issues of his time.
For the serious mediocre writer convention makes him sound like a lot of other people; for the popular writer it gives him a formula he can exploit; for the serious good writer it releases his experiences or emotions from himself and incorporates them into literature, where they belong.
Jacques Derrida is a very important thinker and philosopher who has made serious contributions to both philosophy and literary criticism. Roland Barthes is the one I feel most affinity for, and Michel Foucault, well, his writing influenced my novel, 'Middlesex.'
Buying new books supports the writer by providing both a royalty and an audience; a writer whose book sells well has a better chance of selling another.
I don't feel when I'm writing that I'm drawing from any other writer, but of course I must be. The writers I've admired have been not so very different from myself: Evelyn Waugh, for example, that kind of crystalline prose. And I've always admired W. Somerset Maugham more than any other writer.
Ironically, Henry James' biography comforts me & I long to make known to him his posthumous reputation he wrote, in pain, gave all his life (which is more than I could think of doing I have Ted, will have children but few friends) & the critics insulted & mocked him, readers didn't read him.
Reputation being essentially contemporaneous, is always at the mercy of the Envious and the Ignorant. But Fame, whose very birth is posthumous, and which is only known to exist by the echo of its footsteps through congenial minds, can neither be increased nor diminished by any degree of wilfulness.
Read as little as possible of literary criticism - such things are either partisan opinions, which have become petrified and meaningless, hardened and empty of life, or else they are just clever word-games, in which one view wins today, and tomorrow the opposite view. Works of art are of an infinite solitude, and no means of approach is so useless as criticism.
Librarians are serious people, seldomgiven to idle jocularity. The reason for this, I believe, is because we are overwhelmed by the enormous number of good books waiting to be read, leaving little time for frivolity. My personal list of must-read books presents a daunting challenge; I can't even imagine the pressure our head librarian must be under.
When I get serious criticism - if I get serious criticism - it's about how I'm thinking and engaging in a topic. I can't think of an example of someone saying, 'You're too nice.'
That's really the essence of what any fiction writer does. Some of it is research-based, but most of it is a really long-term, imaginative, empathetic effort to see the world the way someone whose experiences remote from yours might see it. Not every writer works that way; some writers make a wonderful career out of writing books that adhere very closely to how they view the world. The further I go with this, the more interested I get in trying to imagine my way into other perspectives that at first seem foreign to me.
If we would succeed in works of the imagination, we must offer a mild morality in the midst of rigid manners; but where the manners are corrupt, we must consistently hold up to view an austere morality.
Jim Rohn's perspective on personal development is simply unparalleled. His books and appearances have touched the lives of untold thousands, and I am pleased to include him among my most admired friends.
I'm a very wide reader. I read serious books and I read airplane, forgettable books. I never have fewer than four or five books beside my bed at night. I particularly enjoy reading about people who have gone through a personal growth.
A prince must be prudent enough to know how to escape the bad reputation of those vices that would lose the state for him, and must protect himself from those that will not lose it for him, if this is possible; but if he cannot, he need not concern himself unduly if he ignores these less serious vices.
There must be courage; there must be no awe. There must be criticism, for humor, to my mind, is encapsulated in criticism. There must be a disciplined eye and a wild mind...There must be a magnificent disregard of your reader, for if he cannot follow you, there is nothing you can do about it.
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