A Quote by James Russell Lowell
In all literary history there is no such figure as Dante, no such homogeneousness of life and works, such loyalty to ideas, such sublime irrecognition of the unessential.
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Gunn would be an important figure-rewarding, delightful, accomplished, enduring-in the history of English-language poetry even were his life not as fascinating as it now seems; he would be an important figure in the history of gay writing and in the history of transatlantic literary relations even were his poetry not so good as it is. With his life as it was and his works as they are, he's an obvious candidate for a volume of retrospective and critical essays, and this one is first-rate.
The book I'm working on next, which will be my fifth, returns to literary history. I really do love literary history, and I have plenty more ideas on it.
Dante would not have forgotten: they say that when Dante was a boy, he was asked: Dante what is the best food? to test his memory. Eggs, replied Dante. Years later, when Dante was a grown man, he was asked only: how? and Dante replied: fried.
I'm a pluralist about perspectives on literature. There seem to me to be all sorts of illuminating ways of responding to major literary works, some of them paying considerable attention to context, others applying various theoretical ideas, yet others focusing on details of language, or linking the work to the author's life, or connecting it with other works.
I use biography, I use literary connections (as with Platen - this seems to me extremely helpful for appreciating the nuances of Mann's and Aschenbach's sexuality), I use philosophical sources (but not in the way many Mann critics do, where the philosophical theses and concepts seem to be counters to be pushed around rather than ideas to be probed), and I use juxtapositions with other literary works (including Mann's other fiction) and with works of music.
Literary works cannot be taken over like factories, or literary forms of expression like industrial methods. Realist writing, of which history offers many widely varying examples, is likewise conditioned by the question of how, when and for what class it is made use of.
If loyalty is, and always has been, perceived as obsolete, why do we continue to praise it? Because loyalty is essential to the most basic things that make life livable. Without loyalty there can be no love. Without loyalty there can be no family. Without loyalty there can be no friendship. Without loyalty there can be no commitment to community or country. And without those things, there can be no society.
Emerson was the chief figure in the American transcendental movement, a fact that complicates all accounts of him in literary or cultural history.
The library is not a shrine for the worship of books. It is not a temple where literary incense must be burned or where one's one devotion to the bound book is expressed in ritual. A library, to modify the famous metaphor of Socrates, should be the delivery room for the birth of ideas - a place where history comes to life.
I think that fiction and, as I say, history and biography are immensely important, not only for their own sake, because they provide a picture of life now and of life in the past, but also as vehicles for the expression of general philosophic ideas, religious ideas, social ideas.
The biggest misconception that people have about the literary life is the romance of it. That a writer has this large world available to him or her of people, of ideas, of experiences, of interchange of ideas...
Pu La was like a father figure to people of my generation. I thank him for the characters his literary works offered us. They personify full-fledged human beings and have always given me company.
Emerson was such an important figure in our literary history, and in the moral and religious development of our people, that attention cannot be directed to him too often.
I used to enjoy the anonymity of being a literary figure and occasionally a public radio figure.
Gradually we come to admit that Shakespeare understands a greater extent and variety of human life than Dante; but that Dante understands deeper degrees of degradation and higher degrees of exaltation.
The same tantalizing guile and sublime skill....[The series is] reinforced in its claim to be one of the major literary works of this century....Only two other writers that this reviewer can think of have each created an entire, discrete and compelling world, a totally believable entity which one might wish to inhabit, and they are Joyce and Proust. It is not pretentious to place Patrick O'Brian in the first canon of literature.
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