Friday, March 29, 2024 Text is available under the CC BY-SA 3.0 licence.

Gore Vidal

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We do not, of course, write literary criticism at all now. Academe has won the battle in which Wilson fought so fiercely on the other side. Ambitious English teachers now invent systems that have nothing to do with literature or life but everything to do with those games that must be played in order for them to rise in the academic bureaucracy. Their works are empty indeed. But then, their works are not meant to be full. They are to be taught, not read. The long dialogue has broken down. Fortunately, as Flaubert pointed out, the worst thing about the present is the future. One day there will be no... But I have been asked not to give the game away. Meanwhile, I shall drop a single hint: Only construct!
--
"Edmund Wilson: This Critic and This Gin and These Shoes", closing lines

 
Gore Vidal

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Read as little as possible of literary criticism - such things are either partisan opinions, which have become petrified and meaningless, hardened and empty of life, or else they are just clever word-games, in which one view wins today, and tomorrow the opposite view. Works of art are of an infinite solitude, and no means of approach is so useless as criticism.

 
Rainer Maria Rilke
 

Writing stories was not easy. When they were turned into words, projects withered on the paper and ideas and images failed. How to reanimate them? Fortunately, the masters were there, teachers to learn from and examples to follow. Flaubert taught me that talent is unyielding discipline and long patience. Faulkner, that form – writing and structure – elevates or impoverishes subjects. Martorell, Cervantes, Dickens, Balzac, Tolstoy, Conrad, Thomas Mann, that scope and ambition are as important in a novel as stylistic dexterity and narrative strategy. Sartre, that words are acts, that a novel, a play, or an essay, engaged with the present moment and better options, can change the course of history. Camus and Orwell, that a literature stripped of morality is inhuman, and Malraux that heroism and the epic are as possible in the present as is the time of the Argonauts, the Odyssey, and the Iliad.

 
Mario Vargas Llosa
 

The Gospels were not thought of as works of literature. People were not concerned with the literary reputation of Matthew or Mark, but with the substance of their records of our Lord's life. They did not have to respect their actual words, as they would if they were transcribing the works of Thucydides or Plato.

 
Frederic G. Kenyon
 

The theater chose me. As I said, I started with poetry, and I also wrote criticism and dialogue. But I realized that I was most successful at dialogue. Perhaps I abandoned criticism because I am full of contradictions, and when you write an essay you are not supposed to contradict yourself. But in the theater, by inventing various characters, you can. My characters are contradictory not only in their language, but in their behavior as well.

 
Eugene Ionesco
 

First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation, a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the (literary) time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on.

 
Randall Jarrell
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