A Quote by Ellen Glasgow
No one in the modern world is more lonely than the writer with a literary conscience.
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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.
A female writer does definitely get more attention if she writes about male characters. It's true. It's considered somehow more literary, in the same way that it's more literary to write about supposedly male subjects, such as war. You're considered more seriously by the literary establishment.
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.
Meggie Folchart: Having writer's block? Maybe I can help. Fenoglio: Oh yes, that's right. You want to be a writer, don't you? Meggie Folchart: You say that as if it's a bad thing. Fenoglio: Oh no, it's just a lonely thing. Sometimes the world you create on the page seems more friendly and alive than the world you actually live in.
We stink more of the world than we stink of sack cloth and ashes. A lot of contemporary churches today would feel more at home in a movie house rather than in a house of prayer, more afraid of holy living than of sinning, know more about money than magnifying Christ in our bodies. It is so compromised that holiness and living a sin-free life is heresy to the modern church. The modern church is, quite simply, just the world with a Christian T-shirt on!
I came to believe the green fuse that drives spring and summer through the world is essentially a literary energy. That the world was more than a place. Life was more than an event. It was all one thing - and that thing was story.
Women excel more in literary judgment than in literary production,--they are better critics than authors.
For me the path to the literary goes through the non - literary. For this reason it surprises me that I am a writer, or that people speak of me as a writer. I'm flattered, but I don't quite believe it.
Oh, I love labels, as long as they are numerous. I'm an American writer. I'm a Nigerian writer. I'm a Nigerian American writer. I'm an African writer. I'm a Yoruba writer. I'm an African American writer. I'm a writer who's been strongly influenced by European precedents. I'm a writer who feels very close to literary practice in India - which I go to quite often - and to writers over there.
The literary world is more time-traveling than the art world, and novelty is much more important in art than it is in writing.
The thematic, psychological, and cultural concerns of a writer are more relevant than whatever literary mode he or she chooses to deal with in any given novel.
By the respectable terms of the modern literary profession, novelists do not preach. And, in fact, there has probably not been a less respectable novelist among the irrefutably enduring writers of our time than Ayn Rand: philosopher queen of the best-seller lists in the forties and fifties, cult phenomenon and nationally declared threat to public morality in the sixties, guru to the Libertarians and to White House economic policy in the seventies, and a continuing exemplar or Wilde's tragic observation that more than half of modern culture depends on what one shouldn't read.
All my life I've been lonely. I've been lonely at crowded parties. I've been lonely in the middle of kissing a girl and I've been lonely at camp with hundreds of fellows around. But now I'm not lonely any more.
In the modern world, all literary art is necessarily political -- especially that which pretends not to be.
The nation as the horizon of an identity that you want to come into being as a fundamental absence of something that is compromised, something that needs to be rescued or made - these matters preoccupy the third world writer. It is seductive for a Marxist understanding of literary practice and production in the sense that it says that material culture determines literary output.
I am no more lonely than a single mullein or dandelion in a pasture, or a bean leaf, or sorrel, or a horse-fly, or a bumblebee. I am no more lonely than the Mill Brook, or a weathercock, or the north star, or the south wind, or an April shower, or a January thaw, or the first spider in a new house.
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