A Quote by Lev Grossman
The idea of some kind of objectively constant, universal literary value is seductive. It feels real. It feels like a stone cold fact that In Search of Lost Time, by Marcel Proust, is better than A Shore Thing, by Snooki. And it may be; Snooki definitely has more one-star reviews on Amazon. But if literary value is real, no one seems to be able to locate it or define it very well. We're increasingly adrift in a grey void of aesthetic relativism.
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Aesthetic value emanates from the struggle between texts: in the reader, in language, in the classroom, in arguments within a society. Aesthetic value rises out of memory, and so (as Nietzsche saw) out of pain, the pain of surrendering easier pleasures in favour of much more difficult ones ... successful literary works are achieved anxieties, not releases from anxieties.
[Michael] Chabon, who is himself a brash and playful and ebullient genre-bender, writes about how our idea of what constitutes literary fiction is a very narrow idea that, world-historically, evolved over the last sixty or seventy years or so - that until the rise of that kind of third-person-limited, middle-aged-white-guy-experiencing-enlightenment story as in some way the epitome of literary fiction - before that all kinds of crazy things that we would now define as belonging to genre were part of the literary canon.
I was writing very early, like I was involved in our high school literary magazine, which was called 'Pariah.' The football team was the Bears, and the literary magazine was 'Pariah.' It was great. It was definitely a real sub-culture. But I wrote stories for them.
I love Marcel Proust, but I leave him to his nostalgia. I don't approach art the way most people do. I don't get into Proust by imagining that I am Charlus or whoever. It's the same thing in painting - I try to look at it objectively. There's no pathos in that. It's like Bach's "Goldberg Variations." They have to be approached with a scalpel.
The most dangerous thing, when you have a serious mental illness, is convincing yourself that you don't have it. And you see it all the time. People get on medication, and they feel better, and they stop taking it. And some flirt with unreality on some levels. But it feels so convincing to them that it feels real.
Modern man has no real "value" for the ocean. All he has is the most crass form of egoist, pragmatic value for it. He treats it as a "thing" in the worst possible sense, to exploit it for the "good" of man. The man who believes things are there only by chance cannot give things a real value. But for the Christian the value of a thing is not in itself autonomously, but because God made it.
You're more likely to finish a book you enjoy, than one that feels like literary drudgery.
I can also be very happy in this life, but it's usually happiness that I get from other lives I've lived and other dimensions. This life is hardly important to me. It's very small compared to the importance that I think the fourth and fifth dimension have. Those places are much more real to me, like when you have a dream and it's more real to you than real life. Compared to where I'll be going, this life seems like a dream that just feels like a dream.
Sometimes violence in a very real way is much faster and more impactful because it feels real and you're watching it happen and you're watching your star do these things, so it's not like he's doing superhero moves.
Snooki is really beautiful and looks quite like Elizabeth Taylor in 'Cleopatra.' She has the same bone structure. I'm kind of obsessed with 'Jersey Shore.' People don't give them enough credit for how entertaining they are.
I think how I've gotten better, hopefully, at taking what I've got and being able to mish-mash something together, and as long as it feels real to me in the moment, then it feels like a success.
As an artist, one doesn't know what is real. And so there's a search and a process of trying to locate something that feels or appears or somehow resonates with us on a deeper level. This is why art is such an interesting business to be in.
I’m not club-able, you see. I don’t like literary parties and literary gatherings and literary identities. I’d hate to join anything, however loosely.
The striking thing about New Girl is that under all the comedy, theres something about the emotions and reactions that feels very real - much more real than other sitcoms. Like - maybe everybody is sort of laid bare in different ways.
The striking thing about 'New Girl' is that under all the comedy, there's something about the emotions and reactions that feels very real - much more real than other sitcoms. Like - maybe everybody is sort of laid bare in different ways.
Perhaps the pleasure one feels in writing is not the infallible test of the literary value of a page; perhaps it is only a secondary state which is often superadded, but the want of which can have no prejudicial effect on it. Perhaps some of the greatest masterpieces were written while yawning.
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