A Quote by Jose Bergamin

In French literature, you can choose a la carte; in Spanish literature, there is only the set meal. — © Jose Bergamin
In French literature, you can choose a la carte; in Spanish literature, there is only the set meal.
Literature remains alive only if we set ourselves immeasurable goals, far beyond all hope of achievement. Only if poets and writers set themselves tasks that no one else dares imagine will literature continue to have a function.
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.
Literature cannot develop between the categories "permitted"—"not permitted"—"this you can and that you can't." Literature that is not the air of its contemporary society, that dares not warn in time against threatening moral and social dangers, such literature does not deserve the name of literature; it is only a facade. Such literature loses the confidence of its own people, and its published works are used as waste paper instead of being read. -Letter to the Fourth National Congress of Soviet Writers
The central symbol for Canada-and this based on numerous instances of its occurrence in both English and French Canadian literature-is undoubtedly Survival, la Survivance.
I didn't choose literature. Literature chose me. There was no decision on my side.
When I arrived at Columbia, I gave up acting and became interested in all things French. French poetry, French history, French literature.
When I was a child, I grew up speaking French, I mean, in a French public school. So my first contact with literature was in French, and that's the reason why I write in French.
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.
Scholarship cannot do without literature.... It needs literature to float it, to set it current, to authenticate it to all the race, to get it out of closets and into the brains of men who stir abroad.
I think it can be tremendously refreshing if a creator of literature has something on his mind other than the history of literature so far. Literature should not disappear up its own asshole, so to speak.
When I got to college I simply decided that I could speak French, because I just could not spend any more time in French classes. I went ahead and took courses on French literature, some of them even taught in French.
Most British playwrights of my generation, as well as younger folks, apparently feel somewhat obliged to Russian literature - and not only those writing for theatres. Russian literature is part of the basic background knowledge for any writer. So there is nothing exceptional in the interest I had towards Russian literature and theatre. Frankly, I couldn't image what a culture would be like without sympathy towards Russian literature and Russia, whether we'd be talking about drama or Djagilev.
Seine et Danube was launched in 2003 with the help of Romanian authorities who had finally realized the necessity of promoting literature and Romanian culture in general. Along with focusing on the literature of the countries the Danube traversed (with an emphasis on Romania), we printed work that interested us from the banks of the Seine: French and French-Romanian authors like Cioran and Fondane. We dedicated our last edition to surrealism and Esthetic Onirisme.
Literature must become party literature. Down with unpartisan litterateurs! Down with the superman of literature! Literature must become a part of the general cause of the proletariat.
There is a certain tendency on the part of some Americans to treat the UN as a multilateralism à la carte where you pick and choose where it suits you and when it doesn't suit you, you pull back.
Good literature can be created only with something that is different from literature.
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