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Cyril Connolly

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Literature is the art of writing something that will be read twice; journalism what will be grasped at once, and they require separate techniques.
--
Ch. 3: The Challenge of the Mandarins (p. 19)

 
Cyril Connolly

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Oh! journalism is unreadable, and literature is not read.

 
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His journalism was usually about journalism: no matter what he started out off writing about, he ended up writing about Hunter Thompson trying to cover a story.

 
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“How come you write the way you do?” an apprentice writer in my Johns Hopkins workshop once disingenuously asked Donald Barthelme, who was visiting. Without missing a beat, Donald replied, “Because Samuel Beckett was already writing the way he does.”
Asked another, likewise disingenuosly, “How can we become better writers than we are?”
“For starters," DB advised, “read through the whole history of philosophy, from the pre-Socratics up through last semester. That might help.”
“But Coach Barth has already advised us to read all of literature, from Gilgamesh up through last semester....”
“That, too,” Donald affirmed, and turned on that shrewd Amish-farmer-from-West-Eleventh-Street twinkle of his. “You’re probably wasting time on things like eating and sleeping. Cease that, and read all of philosophy and all of literature. Also art. Plus politics and a few other things. The history of everything.”

 
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I discovered that I had, in the past two decades, written a far greater amount in the essay form than I remembered. Certainly I have written enough of it to demonstrate that I harbor no disdain for literary journalism or just plain journalism, under whose sponsorship I have been able to express much that has fascinated me, or alarmed me, or amused me, or otherwise engaged my attention when I was not writing a book.

 
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The writer is an ordinary man, not a spokesman for the people, and that literature can only be the voice of one individual. Writing that becomes an ode to a country, the standard of a nation, the voice of a party... loses its nature—it is no longer literature. Writers do not set out to be published, but to know themselves. Although Kafka or Pessoa resorted to language, it was not in order to change the world. I, myself, believe in what I call cold literature: a literature of flight for one's life, a literature that is not utilitarian, but a spiritual self-preservation in order to avoid being stifled by society. I believe in a literature of the moment, for the living. You have to know how to use freedom. If you use it in exchange for something else, it vanishes.

 
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