A Quote by Wole Soyinka
What I teach is literary criticism and comparative literature and so on and that's my function, but from time to time it's possible for me actually to help a writer. I read something and something strikes me then, I feel I can talk to that writer about it.
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One of the functions of literary criticism, or reviewing, generally - and I, most of my reviews actually are not about literature - but one of the functions of that is basically the sort of Consumer Reports function of letting readers know whether this is something they want to read.
I'm not a good writer, and I don't care. Unfortunately, after I left college, I didn't have time much for literature. I wish I did. Most of the time I read documents, and that's not going to help your writing. But I'm a very logical writer, and you can't get out of me. Once I've nailed you, you're finished.
It's not possible to advise a young writer because every young writer is so different. You might say, "Read," but a writer can read too much and be paralyzed. Or, "Don't read, don't think, just write," and the result could be a mountain of drivel. If you're going to be a writer you'll probably take a lot of wrong turns and then one day just end up writing something you have to write, then getting it better and better just because you want it to be better, and even when you get old and think, "There must be something else people do," you won't be able to quit.
I dislike literary jargon and never use it. Criticism has only one function and that is to help readers read and understand literature. It is not a science, it is an aid to art.
The very function of creativity, of the elaboration of the human condition only enlarges the human spirit and, I mean, as a writer I don't want to read political literature all the time. It would be terribly boring and, you know, abrasive, but just reading the insights, you know, partaking of the insights of a writer into phenomena, into society, into human relationships, both on a micro level and on a macro level, is already a function.
For me the path to the literary goes through the non - literary. For this reason it surprises me that I am a writer, or that people speak of me as a writer. I'm flattered, but I don't quite believe it.
My literary criticism has become less specifically academic. I was really writing literary history in The New Poetic, but my general practice of writing literary criticism is pretty much what it always has been. And there has always been a strong connection between being a writer - I feel as though I know what it feels like inside and I can say I've experienced similar problems and solutions from the inside. And I think that's a great advantage as a critic, because you know what the writer is feeling.
The Booker thing was a catalyst for me in a bizarre way. It’s perceived as an accolade to be published as a ‘literary’ writer, but, actually, it’s pompous and it’s fake. Literary fiction is often nothing more than a genre in itself. I’d always read omnivorously and often thought much literary fiction is read by young men and women in their 20s, as substitutes for experience.
Students may feel the criticism is harsh, but I think it's possible they haven't had criticism before. It's my job to point out when something is badly done, or when there's no point of view. To build a brand you have to have something about you. If not personality, then some thought process. I'm 40, and they're young, so they're meant to be informing me. They should be bringing me a book or something that I haven't seen, not like some obscure chant book by Dominican monks, but an image of the way they see the world.
I love the beautiful distractions of the world - television and movies, video games, the Internet in general. But I try really hard to avoid them, because they don't help me become a better writer. They subtract hours from my day. And a writer's main currency is time. Time to daydream, time to walk and think, time to sit and do the work.
A novel I read when I was about 17 or 18 - 'The World According to Garp,' by John Irving - really made me want to become a writer. The character of Garp is a novelist, and at the time, the whole lifestyle of being a writer was hugely appealing to me.
I studied Comparative Literature at Cornell. Structuralism was real big then. The idea of reading and writing as being this language game. There's a lot of appeal to that. It's nice to think of it as this playful kind of thing. But I think that another way to look at it is "Look, I just want to be sincere. I want to write something and make you feel something and maybe you will go out and do something." And it seems that the world is in such bad shape now that we don't have time to do nothing but language games. That's how it seems to me.
No one can teach writing, but classes may stimulate the urge to write. If you are born a writer, you will inevitably and helplessly write. A born writer has self-knowledge. Read, read, read. And if you are a fiction writer, don't confine yourself to reading fiction. Every writer is first a wide reader.
No one can teach writing, but classes may stimulate the urge to write. If you are born a writer, you will inevitably and helplessly write. A born writer has self-knowledge. Read, read, read. And if you are a fiction writer, dont confine yourself to reading fiction. Every writer is first a wide reader.
I'm not a writer myself, so I'm forced to try to get what's a sort of an odour or a colour or something I feel in my head from a writer, and that's a... I don't have a recipe for that process. I don't know what it is... it's different every time.
Every writer I admire is my teacher. If you look at it, and if you care to read carefully enough and to read and reread a text, you teach yourself something about craft.
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