A Quote by Pankaj Mishra
German writers in the late 18th century were the first to uphold a prickly, literary nationalism, in reaction to the then dominance and prestige of French literature.
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One [paradox] is that pornography follows in that wake of women's liberation. The first instances of hard-core pornography were in late 18th-century in France, "the Golden Age of Women." The next wave in the 20th century comes from Sweden, one of the first countries where women voted. Then Germany, again, at the forefront of progress. Then America in the '80s, when women were closing the pay gap. And Japan, same thing.
There's such a wealth of literature from the 18th century and 19th century, George Eliot... Jane Austen... that's all about a genteel high society, relationships, all of that stuff. There wasn't ever really, apart from Dickens, a literary evocation of working class life.
Beginning in the late 18th century, some German scholars began to regard Holy Scripture not as a single revelation but a sequence of inspired texts that occurred in specific times and places and were subject to varied and multiple meanings.
Right up until the late 18th century, when the first weighted lines were used to probe the ocean depths, many people believed the seas were bottomless - the watery equivalent of infinite outer space.
The French Revolution was a kind of 21st-century moment in the heart of the 18th century - and Alex Dumas, outstanding though he was, could never have risen the way he did if not for that. The French Revolution was the American Revolution on steroids.
As for the role of France and Germany: French politics is often more self-confident then German politics due to the catastrophe in the first half of the last century. If Berlin and Paris don't agree, then it is difficult to make progress in Europe.
When I wrote about Mary Wollstonecraft, I found that here she was, in the late 18th century, going to work for the 'Analytical Review.' What was the 'Analytical Review?' It was a magazine that dealt with politics and literature.
Ever since the first power looms put weavers out of work in the late 18th century, technology has increased productivity but threatened jobs for humans.
But there is no doubt that to attempt a novel of ideas is to give oneself a handicap: the parochialism of our culture is intense. For instance, decade after decade bright young men and women emerge from their universities able to say proudly: 'Of course I know nothing about German literature.' It is the mode. The Victorians knew everything about German literature, but were able with a clear conscience not to know much about the French.
More particularly, having a largely German-oriented education has made me very responsive to 19th-century German 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.
Literature, the study of literature in English in the 19th century, did not belong to literary studies, which had to do with Greek, Latin, and Hebrew, but instead with elocution and public speaking. So when people read literature, it was to memorize and to recite it.
I wanted to create a believable feeling for 18th Century reality in the Perfume: The Story Of A Murderer. I didn't want this typical film feel of strange people in strange costumes, not really knowing what to do or how to move. If you put an 18th Century costume on Alan Rickman, it looks like he's been wearing it forever because he inhabits the stuff. He is a character that can really travel in time as an actor and transform into this 18th Century person with seemingly no effort.
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.
On sober reflection, I find few reasons for publishing my Italian version of an obscure, neo-Gothic French version of a seventeenth century Latin edition of a work written in Latin by a German Monk toward the end of the fourteenth century...First of all, what style should I employ?
If you go to old houses on Long Island you will see painted Chinese wallpaper, which was big in the 18th century. Throughout history, notable, established families have always tried to link to the 18th century.
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