A Quote by Sarah Fielding
If modesty and candor are necessary to an author in his judgment of his own works, no less are they in his reader.
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I believe that there is much less difference between the author and his works than is currently supposed; it is usually in the physical appearance of the writer,--his manners, his mien, his exterior,--that he falls short of the ideal a reasonable man forms of him--rarely in his mind.
There's a contract that I make between myself, the author, and the reader. I have to figure out how to give the reader certain powers of recognition, or his own knowledge, his own feelings, but I provide them, so we're working together.
What a poem means is as much what it means to others as what it means to the author; and indeed, in the course of time a poet may become merely reader in respect to his own works, forgetting his original meaning.
I loved my friend for his gentleness, his candor, his good repute, his freedom even from my own livelier manner, his calm and reasonable kindness. It was not any particular talent that attracted me to him, or i anything striking whatsoever. I should say in one word, it was his goodness.
An author who sets his reader on sounding the depths of his own thoughts serves him best.
To ask an author who hopes to be a serious writer if his work is autobiographical is like asking a spider where he buys his thread. The spider gets his thread right out of his own guts, and that is where the author gets his writing.
If a reader likes a particular author, they keep reading all his books, and if the supply is not kept up, then the reader shifts his loyalties.
A reader is doubly guilty of bad manners against an author when he praises his second book at the expense of his first (or vice versa) and then expects the author to be grateful for what he has done.
To live his life in his own way, to call his house his castle, to enjoy the fruits of his own labour, to educate his children as his conscience directs, to save for their prosperity after his death -- these are wishes deeply ingrained in civilised man. Their realization is almost as necessary to our virtues as to our happiness. From their total frustration disastrous results both moral and psychological might follow.
The objects of a financier are, then, to secure an ample revenue; to impose it with judgment and equality; to employ it economically; and, when necessity obliges him to make use of credit, to secure its foundations in that instance, and for ever, by the clearness and candor of his proceedings, the exactness of his calculations, and the solidity of his funds.
An actor is totally vulnerable. His total personality is exposed to critical judgment - his intellect, his bearing, his diction, his whole appearance. In short, his ego.
Aschenbach is not only a projection of Mann in the obvious ways - same daily routines, author of the works Mann had planned - nor even in sharing his author's aspirations, doubts, and sexual identity. His watchword, "Durchhalten!" [persevere, keep going] could be Mann's own.
Atticus Finch is, you know, he was just his whole - the business of his modesty and his ability to see tomorrow and to try to buttress his knowledge of what was coming for his kids was something that I'll never - as a father I'm not able to do.
We over-estimate the conscience of our friend. His goodness seems better than our goodness, his nature finer, his temptations less. Everything that is his,--his name, his form, his dress, books, and instruments,--fancy enhances. Our own thought sounds new and larger from his mouth.
The author always loads his dice, but he must never let the reader see that he has done so, and by the manipulation of his plot, he can engage the reader's attention so that he does not perceive the violence that has been done to him.
Everyone his own cinematographer. His own stream-of-consciousness e-mail poet. His own nightclub DJ. His own political columnist. His own biographer of his top-10 friends!
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