A Quote by Fay Godwin
I have always loved reading, so was interested in the literary world, and took many literary portraits.
Related Quotes
I want my books to exist in the literary world, not only in the art world. I am interested in having a dialogue with other writers, and the readers of those writers. Someone who is reading a book of mine might not have visited my exhibitions related to it, but can still have a full, literary experience with that book. This would be a completely different experience from stepping into the show, not having read the book. One form is not illustrative of the other.
I actually dislike, more than many people, working through literary allusion. I just feel that there's something a bit snobbish or elitist about that. I don't like it as a reader, when I'm reading something. It's not just the elitism of it; it jolts me out of the mode in which I'm reading. I've immersed myself in the world and then when the light goes on I'm supposed to be making some kind of literary comparison to another text. I find I'm pulled out of my kind of fictional world, I'm asked to use my brain in a different kind of way. I don't like that.
The provincial intellectual is doomed to arguing at low level... there is still no Australian literary world, not in Sydney, Melbourne, Adelaide. It is some consolation to realise that there is no literary world in Birmingham or Los Angeles either. I have heard there is one in Montreal, but I don't believe it. The literary world is in London and New York, the only cities big enough to sustain magazines which can afford to reject copy.
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 novel is not so much a literary genre, but a literary space, like a sea that is filled by many rivers.
I don't know that I've gotten much feedback directly from the literary world; sometimes I doubt even the notion that there is a literary world, though I guess there is or was.
The fact that fairy tales remain a literary underdog - undervalued and undermined - even as they shape so many popular stories, redoubles my certainty that it is time for contemporary fairy tales to be celebrated in a popular, literary collection. Fairy tales hold the secret to reading.
Certainly professionally, yes [I was interested more in history]. And literary criticism, the structure of poetry. But it is primarily as a historian that I work, although text criticism and literary criticism are very much a part of my interests.
Every genuinely literary style, from the high authorial voice to Foster Wallace and his footnotes-within-footnotes, requires the reader to see the world from somewhere in particular, or from many places. So every novelist's literary style is nothing less than an ethical strategy - it's always an attempt to get the reader to care about people who are not the same as he or she is.
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.
I'm not sure that the culture of literary prizes is always a good thing, but while there are literary prizes, it's nice to be nominated.
I think the novel is not so much a literary genre, but a literary space, like a sea that is filled by many rivers. The novel receives streams of science, philosophy, poetry and contains all of these; it's not simply telling a story.
There's definitely been a focus on the literary aspects of my music, and I always get a little cringey because I don't feel like I'm particularly literary. There's a sort of academic label that's put on me that seems inaccurate.
There are so many new young poets, novelists, and playwrights who are much less politically committed than the former generations. The trend is to be totally concentrated on the literary aesthetic and to consider politics to be something dirty that shouldn't be mixed with an artistic or a literary vocation.
I cannot stand Tolstoy, and reading him was the most boring literary duty I ever had to perform, his philosophy and his sense of life are not merely mistaken, but evil, and yet, from a purely literary viewpoint, on his own terms, I have to evaluate him as a good writer.
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.
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