Literature Quotes - Page 6

Books are like imprisoned souls till someone takes them down from a shelf and frees them.

The feeling, all encompassing, safe and warm like a blanket permanently draped over her shoulders, follows her around. She takes it into the shower, to meals with her mother and sister, to work as she reads out the news script, her voice never faltering.

Sleeping beauty awoke at the kiss of a scientist and expired at the fatal puncture of his syringe.

I wish I’d known those words on the day I watched those German troops land, plane-load after plane-load of them—and come off ships down in the harbor! All I could think of was damn them, damn them, over and over. If I could have thought the words "the bright day is done and we are for the dark," I’d have been consoled somehow and ready to go out and contend with circumstance—instead of my heart sinking to my shoes.

The Cool Stuff Theory of Literature is as follows: All literature consists of whatever the writer thinks is cool. The reader will like the book to the degree that he agrees with the writer about what's cool. And that works all the way from the external trappings to the level of metaphor, subtext, and the way one uses words. In other words, I happen not to think that full-plate armor and great big honking greatswords are cool. I don't like 'em. I like cloaks and rapiers. So I write stories with a lot of cloaks and rapiers in 'em, 'cause that's cool. Guys who like military hardware, who think advanced military hardware is cool, are not gonna jump all over my books, because they have other ideas about what's cool.The novel should be understood as a structure built to accommodate the greatest possible amount of cool stuff.

Summer was full on and the nights hot. It was like lying in warm syrup there in the dark under the viaduct, in the steady whine of gnats and nightbugs.

By reading the writings of the most interesting minds in history, we meditate with our own minds and theirs as well. This is to me is a miracle.

Maybe we're all ongoing stories, defined at various stages of life, or whenever people oblige us to declare ourselves. Fiction is marvelous for studying this, allowing the writer and reader to leap decades in a sentence. No other art lets you bend time as much.

The type of mind that can understand good fiction is not necessarily the educated mind, but it is at all times the kind of mind that is willing to have its sense of mystery deepened by contact with reality, and its sense of reality deepened by contact with mystery.

The problem was not an issue of availability because there were African girls everywhere. Christopher met them in church, in bars and in the cafeteria on the ground floor of the Sir Duncan Rice library.

Sometimes he spent hours together in the great libraries of Paris, those catacombs of departed authors, rummaging among their hoards of dusty and obsolete works in quest of food for his unhealthy appetite. He was, in a manner, a literary ghoul, feeding in the charnel-house of decayed literature.

In short, to enter the lists of literature is wilfully to expose yourself to the arrows of neglect, ridicule, envy, and disappointment. Whether you write well or ill, be assured that you will not escape from blame...

Considering that the modern and contemporary literature taught in most universities is largely bleak, cynical, morbid, pessimistic, misanthropic dogmatism, often written by suicidal types who sooner or later kill themselves with alcohol or drugs, or shotguns, Professor Takuda was a remarkably cheerful man.

You read enough books in which people like you are disposable, or are dirt, or are silent, absent, or worthless, and it makes an impact on you. Because art makes the world, because it matters, because it makes us. Or breaks us.

A deus ex machina will never appear in real life so you best make other arrangements.

If [literature] should turn into pure propaganda or pure entertainment, society will slip back into the sty of the immediate -- which is to say, the memoryless existence of hymenoptera and gastropods. None of this is so important, to be sure. The world can get by nicely without literature. But without human beings it can get by better yet.

Say you've just read Faulkner's 'Barn Burning'. Like the son in the story, you've sensed the faults in your father's character. Thinking about them makes you uncomfortable, left alone you'd probably close the book and move on to other thoughts. But instead you are taken in hand by a tall, brooding man with a distinguished limp who involves you and a roomful of other boys in the consideration of what it means to be a son. The loyalty that is your duty and your worth and your problem. The goodness of loyalty and its difficulties and snares, how loyalty might also become betrayal - of the self and the world outside the circle of blood. You've never had this conversation before, not with anyone. And even as its happening you understand that just as your father's troubles with the world - emotional frailty, self-doubt, incomplete honesty - will not lead him to set it on fire, your own loyalty will never be the stuff of tragedy. You will not turn bravely and painfully from your father, as the boy in the story does, but foresake him, without regret. And as you accept that separation, it seems to happen; your father's sad, fleshy face grows vague, and you blink it away and look up to where your teachers leans against his desk, one hand in a coat pocket, the other rubbing his bum knee as he listens desolately to the clever bore behind you saying something about bird imagery.

Whenever I encounter writer’s block, I stop writing … with my hands; and I then start writing with my legs.

Science has discovered that, like any work of literature, the human genome is a text in need of commentary, for what Eliot said of poetry is also true of DNA: 'all meanings depend on the key of interpretation.' What makes us human, and what makes each of us his or her own human, is not simply the genes that we have buried into our base pairs, but how our cells, in dialogue with our environment, feed back to our DNA, changing the way we read ourselves. Life is a dialectic.

If you cannot read Shakespeare, or Melville, or Toni Morrison because it will trigger something traumatic in you, and you'll be harmed by the reading of the text because you are still defining yourself through your self-victimization, then you need to see a doctor.

Without literature, life is hell.

Inspiration is wonderful when it happens, but the writer must develop an approach for the rest of the time... The wait is simply too long.

In the mansion called literature I would have the eaves deep and the walls dark, I would push back into the shadows the things that come forward too clearly, I would strip away the useless decoration. I do not ask that this be done everywhere, but perhaps we may be allowed at least one mansion where we can turn off the electric lights and see what it is like without them.

Long ago we conquered our passions looking at ourselves in the mirror of eternity.

She was fascinated with words. To her, words were things of beauty, each like a magical powder or potion that could be combined with other words to create powerful spells.

Give at least fifteen minutes everyday to reading. Sometimes, we spend a lot of time watching television - surfing through channels; not really watching anything in particular. Fifteen minutes out of that time is not a big deal. Soon you will find yourself reading for more than fifteen minutes. Soon you will find yourself turning to a book when you need to relax. Soon you will realize that reading a book heals you in a way you never imagined possible.

The eyesight for an eagle is what thought is to a man.

I have the mind of Christ. The best life you could ever live is the one that your creator destined you for. The one He made you for. He has given us everything we need ......... to become like Him. To reach to your potentials. Worship Him in spirit and in truth.

There’s a different flavor to children’s literature you read after you grow up than there was reading it as a child. Things that were sweet as a child become bitter once you grow up.

We keep quiet about what we read. Our enjoyment of a book remains a jealously guarded secret. Perhaps because there`s no need to talk, or because it takes time to distill what we've read before we can say anything. Silence is our guarantee of intimacy. We might have finished reading but we`re still livingthe book.

They were...no ordinary group, gathering together to kill an evening, to seek refuge from critical husbands and demanding children while idly discussing their new best-seller. They met because literature was their shared passion. Books were as important to them as breath itself. They shared the ability to immerse themselves in the lives of fictional characters, to argue passionately about the development of plots, about decisions taken, dilemmas resolved.

Half of all the great art and literature in existence went unrecognised during the lifetimes of its creators.

We human beings build houses because we're alive but we write books because we're mortal. We live in groups because we're sociable but we read because we know we're alone. Reading offers a kind of companionship that takes no one's place but that no one can replace either. It offers no definitive explanation of our destiny but links us inextricably to life. Its tiny secret links remind us of how paradoxically happy we are to be alive while illuminating how tragically absurd life is.

In the present day, when popular literature is running into the low levels of life, and luxuriating on the vices and follies of mankind; and when the universal pursuit of gain is trampling down the early growth of poetic feeling, and wearing out the verdure of the soul, I question whether it would not be of service for the reader occasionally to turn to these records of prouder times and loftier modes of thinking; and to steep himself to the very lips in old Spanish romance.

The reality of a serious writer is a reality of many voices, some of them belonging to the writer, some of them belonging to the world of readers at large.

(the modern writer’s aim is) general revelation by suggestion (and) making a very tiny part do for a whole.

He ate and drank the precious words,His spirit grew robust;He knew no more that he was poor,Nor that his frame was dust.He danced along the dingy days,And this bequest of wingsWas but a book. What libertyA loosened spirit brings!

Nothing is more hallowing than the union of kindred spirits in art. At the moment of meeting, the art lover transcends himself. At once he is and is not. He catches a glimpse of Infinity... Freed from the fetters of matter, his spirit moves in the rhythm of things. It is thus that art becomes akin to religion and ennobles mankind. It is this which makes a masterpiece something sacred.

Reading is solitude. One reads alone, even in another's presence.

Even bad books are books and therefore sacred.

The novelist’s happy discovery was to think of substituting for those opaque sections, impenetrable by the human spirit, their equivalent in immaterial sections, things, that is, which the spirit can assimilate to itself. After which it matters not that the actions, the feelings of this new order of creatures appear to us in the guise of truth, since we have made them our own, since it is in ourselves that they are happening, that they are holding in thrall, while we turn over, feverishly, the pages of the book, our quickened breath and staring eyes. And once the novelist has brought us to that state, in which, as in all purely mental states, every emotion is multiplied ten-fold, into which his book comes to disturb us as might a dream, but a dream more lucid, and of a more lasting impression than those which come to us in sleep; why, then, for the space of an hour he sets free within us all the joys and sorrows in the world, a few of which, only, we should have to spend years of our actual life in getting to know, and the keenest, the most intense of which would never have been revealed to us because the slow course of their development stops our perception of them.

I think of literature - she wrote - as a vast country to the far borders of which I am journeying but cannot possibly reach. And I have started too late. I will never catch up.

There’s a German term- heimweh, homesickness. It’s a powerful sensation, like a narcotic. A yearning from home, but for something more- a past self, perhaps. A lost self. When I first saw you on the street, Katya, I felt such a sensation… I have no idea why

Puns are the highest form of literature.

... she was a pudding of immaturity and precocious wisdom that had not yet set into a stable mold.

No one has the right to enter literature without fresh new ideas. We’ve got too many dexterous drudges as it is.

Romantic literature is in effect imaginative lying.

I think we ought to read only the kind of books that wound and stab us. If the book we’re reading doesn’t wake us up with a blow on the head, what are we reading it for?

There is no born lover, There is no born Don Juan, For we are all lovers.

Literary style is like crystal-ware: the cleaner the wineglass, the brighter the brilliance. As a reader, I agree with those who believe that a colour of the dress, which a character has on, as well as any enumeration and description of dishes at dinner or in the kitchen should be mentioned only in case if all this has a strong consequent relation to the plot, but as an author, I can’t help mentioning all this, with no particular reason, just for love for my characters, desiring to give them something nice and pleasant. Melancholy grows a platinum rose. Affection grows a double rose.

Oh? And what's so stinking about it?.

Blackadder was fifty-four and had come to editing Ash out of pique. He was the son and grandson of Scottish schoolmasters. His grandfather recited poetry on firelight evenings: Marmion, Childe Harold, Ragnarok. His father sent him to Downing College in Cambridge to study under F. R. Leavis. Leavis did to Blackadder what he did to serious students; he showed him the terrible, the magnificent importance and urgency of English literature and simultaneously deprived him of any confidence in his own capacity to contribute to, or change it. The young Blackadder wrote poems, imagined Dr Leavis’s comments on them, and burned them.

Poetry and visions, springing as they do from an ever-present sense of mortality, might easily appear morbid to the sturdycommon sense of a burgher-class in the making.

You have never asked for anything, yet you have become an albatross around my neck. Your bony arms are knotted behind my head, I walk bowed under the weight of you.

I seek to take my audience on an emotional roller-coaster ride, a journey of laughter and tears and every sentiment in between.

All those big words produce disgust today.

If want to become a person with vision, get back and reconnect to your source.

The one way of tolerating existence is to lose oneself in literature as in a perpetual orgy.

The art teacher's scarlet book was called Story of the Eye by Georges Bataille. 'As the title suggests,' Mr Dunwoody saw the book'd caught my attention, 'it's about the history of opticians. What are you about?

Better to keep it in the old heads, where no one can see it or suspect it. We are all bits and pieces of history and literature and international law. Byron, Tom Paine, Machiavelli, or Christ, it's here. And the hour's late. And the war's begun. And we are out here, and the city is there, all wrapped up in its own coat of a thousand colors... All we want to do is keep the knowledge we think we will need intact and safe. We're not out to incite or anger anyone yet. For if we are destroyed, the knowledge is dead, perhaps for good... Right now we have a horrible job; we're waiting for the war to begin and, as quickly, end. It's not pleasant, but then we're not in control, we're the odd minority crying in the wilderness. When the war's over, perhaps we can be of some use in the world.