A Quote by Jean-Paul Sartre

That is exactly the writer's problem. What does literature stand for in a hungry world? — © Jean-Paul Sartre
That is exactly the writer's problem. What does literature stand for in a hungry world?
The problem with literature, with writing, is that it works sometimes in terms of correction of social ills. Other times, it just does not suffice. The proof of that is the ability of a dictator to snuff out the life of a writer.
South African literature is a literature in bondage. It is a less-than-fully-human literature. It is exactly the kind of literature you would expect people to write from prison.
All third world literature is about nation, that identity is the fundamental literary problem in the third world. The writer's identity is insecure because the nation's identity is not secure. The nation doesn't provide the third world writer with a secure identity, because the nation is colonized, it's oppressed, it's part of somebody else's empire.
The truth is, everything ultimately comes down to the relationship between the reader and the writer and the characters. Does or does not a character address moral being in a universal and important way? If it does, then it's literature.
If I am hungry, that is a material problem; if someone else is hungry, that is a spiritual problem.
Religion does not confirm that there are hungry people in the world; it interprets the hungry to be our brethren whom we allow to starve.
A writer's problem does not change. He himself changes and the world he lives in changes but his problem remains the same. It is always how to write truly and having found what is true, to project it is such a way that it becomes a part of the experience of the person who reads it.
The world today is hungry Not only for bread But hungry for love; Hungry to be wanted, Hungry to be loved.
My idea of teaching literature is just to read great passages aloud or to look at it the way a writer does, which is what I try to do. Which is to say, 'How does this writer do this? How did he order his scenes? Do you notice any pattern to his sentences?'
Literature remains an indispensable human activity, in which the reader and the writer are engaged of their own volition. Hence, literature has no duty to the masses or society, and ethical or moral pronouncements added by busybody critics are of no concern to the writer.
For me the problem of induction is a problem about the world: a problem of how we, as we are now (by our present scientific lights), in a world we never made, should stand better than random, or coin-tossing chances changes of coming out right when we predict by inductions. . . .
There's a practical problem about time and energy, and a more subtle problem of what it does to a writer's head, to continually analyze why they write, where it all comes from, where it's going to.
As a writer, I live in the world of literature and ideas, but I entered that world as an emigre from a medieval fiefdom, the sports world of Michigan.
Christ and the life of Christ is at this moment inspiring the literature of the world as never before, and raising it up a witness against waste and want and war. It may confess Him, as in Tolstoi's work it does, or it may deny Him, but it cannot exclude Him; and in the degree that it ignores His spirit, modern literature is artistically inferior. In other words, all good literature is now Christmas literature.
The body of literature, with its limits and edges, exists outside some people and inside others. Only after the writer lets literature shape her can she perhaps shape literature.
The writer studies literature, not the world.
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