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The real Scott is to be found in his notebooks and working papers, where he elaborated so patiently at turning the mess of his life to gold. "To observe one must be unwary," he wrote, so he took experience straight without a notebook. But he later hoarded it like a miser and pored over it like a monk illuminating a manuscript and produced enduring work. When a writer explores emotions to danger point like Scott, it is worse than philistine to talk about weakness of character. The whole moral test is in the books. The Great Gatsby and Tender Is the Night are all the character reference a writer could want.
--
Wilfrid Sheed, in "F. Scott Fitzgerald" (1973), from The Good Word & Other Words (1978)

 

F. Scott Fitzgerald

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As Voltaire once remarked, "It is the privilege of the real genius, especially one who opens up a new path, to make great mistakes with impunity." The Copernican revolution brought about by Kant was, I think, the most important single turning point in the history of philosophy. For that reason there has been, ever since, a watershed in understanding between those who have taken his work on board and those who have not. For a good many of the problems he uncovered, the solutions he put forward have not stood the test of time, but his uncovering of the problems remains the most illuminating thing a philosopher has ever done. Because of the fundamental character of these problems, and because Kant did not solve them, confronting them has been the most important challenge to philosophy ever since.

 

Bryan Magee

 

But the novels of women were not affected only by the necessarily narrow range of the writer's experience. They showed, at least in the nineteenth century, another characteristic which may be traced to the writer's sex. In Middlemarch and in Jane Eyre we are conscious not merely of the writer's character, as we are conscious of the character of Charles Dickens, but we are conscious of a woman's presence — of someone resenting the treatment of her sex and pleading for its rights.

 

Virginia Woolf

 

I meet a lot of people, dude, and I've never been star-struck, but I met Scott and I was like, "Hi Scott - my name is durrrh" He was like, "Are you alright, dude?" and I was like, "Yeah - I mean, my name's Chester and I think you're great, I just wanted to tell you" I felt like a total schmuck! He was like, "Well, are you in a band or what?" and I was like, "Yeah, I'm in a band called Linkin Park" and he was like, "You just played today, right?" and I went, "Yeah" and he went, "I've heard real cool things about you - good luck!" and I was like, "Nargggh" And I mean, when I met him, I was in the middle of talking to the bass player from Green Day and these bands are like of the same calibre, but talking to the bass player from Green Day, I was totally comfortable - "Yeah, dude, what's up, man? It's cool to meet you!" - and here comes Scott and I'm like, "Urrrgh!" I don't know why - maybe I'm gay!

 

Chester Bennington

 

Emma and Scott had free rein with the toys.
"What," Scott asked his father one evening, "is a wabe, dad?"
"Wave?"
He hesitated. "I … don't think so. Isn't wabe right?"
"Wab is Scot for web. That it?"
"I don't see how," Scott muttered, and wandered off, scowling, to amuse himself with the abacus. He was able to handle it quite deftly now. But, with the instinct of children for avoiding interruptions, he and Emma usually played with the toys in private. Not obviously, of course  but the more intricate experiments were never performed under the eye of an adult.

 

Lewis Padgett

 

I am late with the new Doris Lessing [The Golden Notebook]. I make no apology: it has taken me a long time to read (568 pages of close print) and at the end of it all I feel cheated. This talented writer has attempted an experiment which has failed, essayed a scale which is beyond her....This is a book of revolt – political, social, sexual. Anna [the heroine] became a Communist in South Africa, seeing in Communism a "moral energy" not to be found in other creeds or in the long-entrenched privileged class. Anna is also concerned with being a "free woman" – rebelling against traditional male dominance – and with achieving maximal erotic fulfilment....There is no doubt about the great moral virtues here – intelligence, honesty, integrity – but it is the aesthetic virtues that seem to be lacking. The characters do not really interest us: when we have dialogue it is strangely unnatural … Mrs Lessing’s old singleness of vision, her strength as a writer, is not to be found here. [Review in the English provincial newspaper the Yorkshire Post, 1962]

 

Anthony Burgess