A Quote by George Ade

The only literary men are those who have to work at it. — © George Ade
The only literary men are those who have to work at it.
It can do truth no service to blind the fact, known to all who have the most ordinary acquaintance with literary history, that a large portion of the noblest and most valuable moral teaching has been the work not only of men who did not know, but of men who knew and rejected the Christian faith.
To vest a few fallible men — prosecutors, judges, jurors — with vast powers of literary or artistic censorship, to convert them into what J. S. Mill called a "moral police," is to make them despotic arbiters of literary products. If one day they ban mediocre books as obscene, another day they may do likewise to a work of genius.
Of course Nebraska is a storehouse of literary material. Everywhere is a storehouse of literary material. If a true artist were born in a pigpen and raised in a sty, he would still find plenty of inspiration for his work. The only need is the eye to see.
True education seeks to make men and women not only good mathematicians, proficient linguists, profound scientists, or brilliant literary lights, but also honest men and women with virtue, temperance, and brotherly love.
Men have two basic needs. Neither of them, no matter what they say, is sex. They need love and they need work. And work takes priority over love. If a woman could know only one fact about men and work, it should be that work is the most seductive mistress most men ever have.
it never really occurred to her that literary men, if they like women at all, do not want literary women but girls.
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.
But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.
Men will work hard for money. They will work harder for other men. But men will work hardest of all when they are dedicated to a cause. Until willingness overflows obligation, men fight as conscripts rather than following the flag as patriots. Duty is never worthily performed until it is performed by one who would gladly do more if only he could.
The men and women who have the right ideals . . . are those who have the courage to strive for the happiness which comes only with labor and effort and self-sacrifice, and those whose joy in life springs in part from power of work and sense of duty.
This is how I understand literature - as a kind of remix or echo chamber. What's going on in a literary work are other literary things disinterred, cannibalized, and recombined.
I was only 26 when I started my career. Those days I only wanted to work. When my films did not work, I didn't know what to do. But I never went to anyone for work. Work came in search of me.
The literary culture, if you examine it, the high literary culture is that which preserves the government and you know it's really the talk for those who have.
A literary work can only be received through symbols, through concepts - for that is what words are; but cinema, like music, allows for utterly direct, emotional, sensuous perception of the work.
We believe that if men have the talent to invent new machines that put men out of work, they have the talent to put those men back to work.
Only a literary work that reveals an unknown fragment of human existence has a reason for being.
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