Literary Works Quotes

One thing for sure is it will be written in the Icelandic language. All of my literary work is.

My books are my tools, and the greater their variety and perfection the greater the help to my literary work.

I don't know if memoirs can produce literary work of the first order. But I do know that novels are doing it only rarely.

We postpone our literary work until we have more ripeness and skill to write, and we one day discover that our literary talent wasa youthful effervescence which we have now lost.

SERIAL, n. A literary work, usually a story that is not true, creeping through several issues of a newspaper or magazine.

I can't do no literary work for the rest of this year because I'm meditating another lawsuit and looking around for a defendant.

When we read a literary work (or, in some instances, listen to music) our imagination is stimulated, we feel various emotions, and we arrive at new judgments. These attitudes are brought into relation with many others, including our standing tendencies to think and feel in particular ways, and we try to fit our psychological capacities and responses together.

During half a century of literary work, I have endeavoured to introduce the philosophy of evolution into the sphere of literature, and to inspire my readers to think in evolutionary terms.

A great literary work can be completely, completely unpredictable. Which can sometimes make them very hard to read, but it gives them a great originality.

All great literary works influence us as writers, not their stories as much as their storytelling ability.

No one knows the nature of God, or even if God exists. In a sense, all of our religions are literary works of the imagination.

If the literature we are reading does not wake us, why then do we read it? A literary work must be an ice-axe to break the sea frozen inside us.

It's still true that literary works by women, gays, and writers of color are often framed as specific, rather than universal, small rather than big, personal or particular rather than socially significant.

Only a literary work that reveals an unknown fragment of human existence has a reason for being.

Literary works cannot be taken over like factories, or literary forms of expression like industrial methods. Realist writing, of which history offers many widely varying examples, is likewise conditioned by the question of how, when and for what class it is made use of.

In my profession more generally, it's not an exaggeration to say that masculinity is viewed as the root of all evil. If you were to take a literary theory course, you might think it would be about literature, but it's really not. It's about all the various forms of oppression on earth and how we can see them playing out in literary works. And behind all these forms of oppression is a guy.

One effect that the Nobel Prize seems to have had is that more Arabic literary works have been translated into other languages.

I don't think Roger Ebert has ever mentioned a screenplay. He assigns every auctorial move to the director, which makes some sense since the director has run a one-off game, but if Hamlet were written last year and had been only performed once as a film, and it didn't come off well on screen for whatever reason, it would be gone forever as a literary work, and never would have been considered as one.

I enjoyed Jonathan Franzen's 'Freedom.' Would I make that into a film? I think it's better suited to television. That would very much be a dialogue and performance piece, and it would take some very skilful direction - but not my kind of directing. But I thought it was a real literary work.

Ever since my youth it has disturbed me that of the literary works that survived their own epoch, so many dealt with historical rather than contemporary subjects.

The period that I could consider the most important in my literary work came about beginning with the Revolution, and in a certain way, developed as a consequence of the Revolution. But it was also a result of the counterrevolutionary coup of November 1975.

I'm a pluralist about perspectives on literature. There seem to me to be all sorts of illuminating ways of responding to major literary works, some of them paying considerable attention to context, others applying various theoretical ideas, yet others focusing on details of language, or linking the work to the author's life, or connecting it with other works.

Writing and making films aren't different things to me. Or maybe it has become so, now. Making film is a very long process and you have to be physically strong. The literary work is more mystical, because it's only the writer, and connected to something inside.

Politics in a literary work, is like a gun shot in the middle of a concert, something vulgar, and however, something which is impossible to ignore.

My grandfather was a most gifted person, and amongst his many qualities, one of them had always particularly impressed me. While the past was a book he had read and re-read may times, the future was just one more literary work of art into which he used to pour himself with deep thought and concentration. Innumerable people since his death have told me how he used to read in the future, and this certainly was one of his very great strengths.

A literary work can only be received through symbols, through concepts - for that is what words are; but cinema, like music, allows for utterly direct, emotional, sensuous perception of the work.

This is how I understand literature - as a kind of remix or echo chamber. What's going on in a literary work are other literary things disinterred, cannibalized, and recombined.

We are deceiving ourselves if we believe that a literary work written and published in a country where 70 per cent of the population is illiterate, can change the political and social life of the country..it is up to political organization..and not to romantic literature.. to change the present situation.

I divide all literary works into two categories: Those I like and those I don't like. No other criterion exists for me.

Sometime during the 1990s, when I was teaching philosophy at UCSD, my friend, colleague, and music teacher, Carol Plantamura, discussed the possibility of teaching a course together looking at ways in which various literary works (plays, stories, novels) had been treated as operas, and how different themes emerged in the opera and in its original. One of the pairings we planned to use was Mann's great novella and Britten's opera. Unfortunately, the course was never taught, but the idea remained with me.

I used to do miserably in English literature, which I thought was a sign of moral turpitude. As I look back on it, I think it was rather to my credit. The notion of actually putting writers' words into other words is quite ridiculous because why bother if writers mean what they mean, and if they don't, why read them? There is, I suppose, a case for studying literary works in depth, but I don't quite know what 'in depth' means unless you read a paragraph over and over again.

The grounding in natural sciences which I obtained in the course of my medical studies, including preliminary examinations in botany, zoology, physics, and chemistry, was to become decisive in determining the trend of my literary work.

[Bob Dylan] builds his lyrics, of course, from personal experience, but it's also a literary work. He draws heavily on his knowledge of American lyric tradition as well as European modernism. But he should let the Nobel Prize Committee know if he is accepting it or not.

I very comprehensively studied Irving Thalberg and his biographies. He's who [Scott] Fitzgerald roughly modeled the character after. He worked for him, as a writer, when he was at MGM. And, of course, I revisited the novel and the politics of MGM and the studio system at the time and familiarized myself with the world. There was a great deal of physical and literary work that went into it.

I use biography, I use literary connections (as with Platen - this seems to me extremely helpful for appreciating the nuances of Mann's and Aschenbach's sexuality), I use philosophical sources (but not in the way many Mann critics do, where the philosophical theses and concepts seem to be counters to be pushed around rather than ideas to be probed), and I use juxtapositions with other literary works (including Mann's other fiction) and with works of music.

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.

Every few seconds a new book sees the light of day. Most of them will just be a part of the hum that makes us hard of hearing. Even the book is becoming an instrument of forgetting. A truly literary work comes into being as its creator's cry of protest against the forgetting that looms over him, over his predecessors and his contemporaries alike, and over his time, and the language he speaks. A literary work is something that defies death.

Autobiographical writings, essays, interviews, various other things... All the non-fiction prose I wanted to keep, that was the idea behind this collected volume, which came out about few years ago. I didn't think of Winter Journal, for example, as an autobiography, or a memoir. What it is is a literary work, composed of autobiographical fragments, but trying to attain, I hope, the effect of music.

Great books are readable anyway. Dickens is readable. Jane Austen is readable. John Updike's readable. Hawthorne's readable. It's a meaningless term. You have to go the very extremes of literature, like Joyce's "Finnegan's Wake," before you get a literary work that literally unreadable.

No man has an appreciation so various that his judgment is good upon all varieties of literary work.

In the history of the world the Vedas fill a gap which no literary work in any other language could fill. I maintain that to everybody who cares for himself for his ancestors for his intellectual development a study of the Vedic literature is indeed indispensable.

I understood that all the material of a literary work was in my past life, I understood that I had acquired it in the midst of frivolous amusements, in idleness, in tenderness and in pain, stored up by me without my divining its destination or even its survival, as the seed has in reserve all the ingredients which will nourish the plant.

'Freeing' a literary work into the public domain is less a public benefit than a transfer of wealth from the families of American writers to the executives and stockholders of various businesses who will continue to profit from, for example, 'The Garden Party,' while the descendants of Katherine Mansfield will not.

What is literature, and why do I try to write about it? I don’t know. Likewise, I don’t know why I go on living, most of the time. But this not knowing is precisely what I want to preserve. As readers, the closest way we can engage with a literary work is to protect its indeterminacy; to return ourselves and it to a place that precludes complete recognition. Really, when I’m reading, all I want is to stand amazed in front of an unknown object at odds with the world.

There is a difference between dramatizing your sensibility and your personality. The literary works which we think of as classicsdid the former. Much modern writing does the latter, and so has an affinity with, say, night-club acts in all their shoddy immediacy.

I am more affected by the attractions of virtue than by the deformities of vice; I turn gently away from the wicked and I fly to meet the good. If there is in a literary work, in a character, in a picture, in a statue, a beautiful spot, that is where my eyes rest; I see only that, I remember only that, all the rest is well-nigh forgotten. What becomes of me when the whole work is beautiful!

Aesthetic value emanates from the struggle between texts: in the reader, in language, in the classroom, in arguments within a society. Aesthetic value rises out of memory, and so (as Nietzsche saw) out of pain, the pain of surrendering easier pleasures in favour of much more difficult ones ... successful literary works are achieved anxieties, not releases from anxieties.

The most accomplished literary work would be reduced to nothing by carping criticism, if the author would listen to all critics and allow every one to erase the passage which pleases him the least.