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When the book appeared, a few reviewers found this plot incredible; they accused Professor O'Neal of having too little art to persuade them to suspend their disbelief in his assertion that Shakespeare was a precocious girl. Perhaps this was because they knew that the life of literary people is usually devoid of exciting external incident.

 

Robertson Davies

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The author qua author is thereby also in the fortunate position of owing no one anything. I am referring to critics, reviewers, intermediaries, appraisers, etc., who in the literary world are just like the tailors, who in civil life “create the man”-they set the fashion of the author, the point of view of the reader. With their help and art, a book amounts to something. But then it is with these benefactors as, according to Baggesen, with the tailors: “In turn they slay people with bills for the creation.” One comes to owe them everything, yet without even being able to pay off this debt with a new book, because the importance of the new book, if it comes to have any, will in turn be due to the art and help of these benefactors.

 

Soren Aabye Kierkegaard

 

As far as “plot” goes, as I get older I more and more suspect that “plot” is really being used, in the many incarnations of this argument, as a placeholder for a whole cloud of qualities found (or not found) in certain narratives, some of which actually constitute “plot” and many of which do not. What first led me to suspect this is the fact that many of the sternest exponents of “I want novels to have plots, dammit” are also demonstrably fans of, for instance, quite a few Robert A. Heinlein novels whose plots can barely be detected even by advanced scientific equipment. (Not just later Heinlein, either; go back and look at Beyond This Horizon). As it happens, I like some of those books, too, and what I learn from them, and from thousands of other books, is that what matters isn’t the presence of a carefully-engineered, structurally sound “plot.” What matters is whether a book entrances us into reading it or forces us to decode it — and “plot” is just one of several methods of getting us into the reading trance. It’s a good method. It’s not the only one.

 

Patrick Nielsen Hayden

 

Michael Moorcock: Several reviewers accused you of saying that all intercourse was rape. I haven't found a hint of that anywhere in the book. Is that what you are saying?
Dworkin: No, I wasn't saying that and I didn't say that, then or ever.… My point was that as long as the law allows statutory exemption for a husband from rape charges, no married woman has legal protection from rape. I also argued, based on a reading of our laws, that marriage mandated intercourse — it was compulsory, part of the marriage contract. Under the circumstances, I said, it was impossible to view sexual intercourse in marriage as the free act of a free woman.

 

Andrea Dworkin

 

Now, practically all reviewers have academic aspirations. The people from the universities are used to a captive audience, but the literary journalist has to please his audience.

 

V. S Pritchett

 

Biography can be the most middle-class of all forms, the judgment of little people avenging themselves on the great. One English critic took me to task for not saying that Genet was "afraid of intimacy" all his life because he'd been abandoned by his mother at the age of seven months. All the evidence needed to make such an interpretation is in my book, but I don't myself draw the vulgar conclusion. Since most literary biographies ignore the work except for potted plot summaries, they strip the biographee of everything redeeming and leave his or her subject to this spiteful revenge, this half-baked Freudian-Christian-bourgeois moralizing.

 

Edmund White