A Quote by Marilynne Robinson

When I went to college, I majored in American literature, which was unusual then. But it meant that I was broadly exposed to nineteenth-century American literature. I became interested in the way that American writers used metaphoric language, starting with Emerson.
I am fine with my books being categorized as African-American literature but I hope they are also considered Haitian-American literature and American literature. All of these things are part of who I am and what I write.
English is, from my point of view as an Americanist, an ethnicity. And English literature should be studied in Comparative Literature. And American literature should be a discipline, certainly growing from England and France, Germany, Spain, Denmark, and the Native traditions, particularly because those helped form the American canon. Those are our backgrounds. And then we'd be doing it the way it ought to be done. And someday I hope that it will be.
I'm using my degree. You know, I studied English and American literature in college, and now I'm an American poet.
The English tourist in American literature wants above all things something different from what he has at home. For this reason the one American writer whom the English whole-heartedly admire is Walt Whitman. There, you will hear them say, is the real American undisguised. In the whole of English literature there is no figure which resembles his - among all our poetry none in the least comparable to Leaves of Grass
Freud did some serious damage to American literature - a lot of writers began therapy in the 1940s, after which they all became terribly egocentric.
As an undergraduate I majored in British and American literature at Rice University.
Lincoln is a genius of language and a brilliant writer who deserves to be seen as part of the canon of great writers in American literature.
It [9/11 event] was aimed at symbols: the World Trade Center, the heart of American capitalism, and the Pentagon, the headquarters of the American military establishment. But it was not meant to be argued with. It wasn't part of any negotiation. No message was intended with it. It spoke for itself, which is unusual.
It does not follow because many books are written by persons born in America that there exists an American literature. Books which imitate or represent the thoughts and life of Europe do not constitute an American literature. Before such can exist, an original idea must animate this nation and fresh currents of life must call into life fresh thoughts along the shore.
Twentieth-century American poetry has been one of the glories of modern literature.
You see the one thing I've always maintained is that I'm an American Indian. I'm not a Native American. I'm not politically correct. Everyone who's born in the Western Hemisphere is a Native American. We are all Native Americans. And if you notice, I put American before my ethnicity. I'm not a hyphenated African-American or Irish-American or Jewish-American or Mexican-American.
People don't realize how black people, minorities, women as well, all their lives, they have had to make the effort to understand everybody else. All my life, I've known American culture very well. I probably know American literature more than the average American.
If you read Islamic creationist literature, it's pretty much lifted from American evangelical literature.
But this is predicated upon the man's becoming in very fact an American and nothing but an American. If he tries to keep segregated with men of his own origin and separated from the rest of America, then he isn't doing his part as an American. There can be no divided allegiance here. . . We have room for but one language here, and that is the English language, for we intend to see that the crucible turns our people out as Americans, of American nationality, and not as dwellers in a polyglot boarding-house; and we have room for but one soul loyalty, and that is loyalty to the American people.
I think that as far as language goes I'm an American, I'm afraid, my accent is American, my way of talk is an American way of talk, I'm an old-fashioned American. That's probably one of the reasons why I'm in England now and why I'll always stay in England.
I have been using the art of photography to research the ways in which the pictorial strategies of the Nineteenth Century color the way in which the American landscape is apprehended by today's viewers.
This site uses cookies to ensure you get the best experience. More info...
Got it!