"literature"タグの名言

The poet must always, in every instance, have the vibrant word... that by it's trenchancy can so wound my soul that it whimpers.... One must know and recognize not merely the direct but the secret power of the word; one must be able to give one's writing unexpected effects. It must have a hectic, anguished vehemence, so that it rushes past like a gust of air, and it must have a latent, roistering tenderness so that it creeps and steals one's mind; it must be able to ring out like a sea-shanty in a tremendous hour, in the time of the tempest, and it must be able to sigh like one who, in tearful mood, sobs in his inmost heart.

Green in nature is one thing, green in literature another. Nature and letters seem to have a natural antipathy; bring them together and they tear each other to pieces.

A tough life needs a tough language—and that is what poetry is. That is what literature offers—a language powerful enough to say how it is.

A precious, mouldering pleasure ’tis To meet an antique book, In just the dress his century wore; A privilege, I think, His venerable hand to take, And warming in our own, A passage back, or two, to make To times when he was young. His quaint opinions to inspect, His knowledge to unfold On what concerns our mutual mind, The literature of old

A precious, mouldering pleasure ’t is To meet an antique book, In just the dress his century wore; A privilege, I think.

I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words.

But words are things, and a small drop of ink,       Falling like dew, upon a thought, produces That which makes thousands, perhaps millions, think;       ’T is strange, the shortest letter which man uses Instead of speech, may form a lasting link       Of ages; to what straits old Time reduces Frail man, when paper — even a rag like this, Survives himself, his tomb, and all that’s his.

Yes, I read. I have that absurd habit. I like beautiful poems, moving poetry, and all the beyond of that poetry. I am extraordinarily sensitive to those poor, marvelous words left in our dark night by a few men I never knew.

Poetry isn’t an island, it is the bridge. Poetry isn’t a ship, it is the lifeboat. Poetry isn’t swimming. Poetry is water.

I only wrote prose before I met you. My musings were superfluous and serious as well. But now the words dance with me. I sing with them and we create poetry.

For my part, I love to give myself up to the illusion of poetry. A hero of fiction that never existed is just as valuable to me as a hero of history that existed a thousand years ago.

Read for yourselves, read for the sake of your inspiration, for the sweet turmoil in your lovely head. But also read against yourselves, read for questioning and impotence, for despair and erudition, read the dry sardonic remarks of cynical philosophers like Cioran or even Carl Schmitt, read newspapers, read those who despise, dismiss or simply ignore poetry and try to understand why they do it. Read your enemies, read those who reinforce your sense of what's evolving in poetry, and also read those whose darkness or malice or madness or greatness you can't understand because only in this way will you grow, outlive yourself, and become what you are.

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.

I do strongly feel that among the greatest pieces of luck for high achievement is ordeal. Certain great artists can make out without it, Titian and others, but mostly you need ordeal. My idea is this: the artist is extremely lucky who is presented with the worst possible ordeal which will not actually kill him. At that point, he's in business: Beethoven's deafness, Goya's deafness, Milton's blindness, that kind of thing.

Don't patronize the chain bookstores. Every time I see some author scheduled to read and sign his books at a chain bookstore, I feel like telling him he's stabbing the independent bookstores in the back.

The Waves is an extraordinary achievement ... It is trembling on the edge. A little less - and it would lose its poetry. A little more - and it would be over into the abyss, and be dull and arty. It is her greatest book.

the glory of the protagonist is always paid for by a lot of secondary characters

The birth of a true poet is neither an insignificant event nor an easy delivery. Complications generally begin long before the fated soul carries its dubious light into whatever womb has been kind enough to volunteer the intricate machinery of its blood and prayers and muscles for a gestation period much longer than nine months or even nine years.

Kill me, or you are a murderer.

About here, she thought, dabbling her fingers in the water, a ship had sunk, and she muttered, dreamily half asleep, how we perished, each alone.