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England has the most sordid literary scene I've ever seen. They all meet in the same pub. This guy's writing a foreword for this person. They all have to give radio programs, they have to do all this just to scrape by. They're all scratching each other's backs.
--
Forbes (2 April 2001), p. 172

 

William S. Burroughs

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"Much of my work has come from being lazy. I didn't like writing programs, and so, when I was working on the IBM 701 (an early computer), writing programs for computing missile trajectories, I started work on a programming system to make it easier to write programs."

 

John Backus

 

The engines that have driven poetry's institutional success — the explosion of academic writing programs, the proliferation of subsidized magazines and presses, the emergence of a creative-writing career track, and the migration of American literary culture to the university — have unwittingly contributed to its disappearance from public view.

 

Dana Gioia

 

You can only learn to be a better writer by actually writing. I don't know much about creative writing programs. But they're not telling the truth if they don't teach, one, that writing is hard work and, two, that you have to give up a great deal of life, your personal life, to be a writer.

 

Doris Lessing

 

You see, some people have a talent for programming. At ten to thirteen years old, typically, they're fascinated, and if they use a program, they want to know: “How does it do this?” But when they ask the teacher, if it's proprietary, the teacher has to say: “I'm sorry, it's a secret, we can't find out.” Which means education is forbidden. A proprietary program is the enemy of the spirit of education. It's knowledge withheld, so it should not be tolerated in a school, even though there may be plenty of people in the school who don't care about programming, don't want to learn this. Still, because it's the enemy of the spirit of education, it shouldn't be there in the school.
But if the program is free, the teacher can explain what he knows, and then give out copies of the source code, saying: “Read it and you'll understand everything.” And those who are really fascinated, they will read it! And this gives them an opportunity to start to learn how to be good programmers.
To learn to be a good programmer, you'll need to recognize that certain ways of writing code, even if they make sense to you and they are correct, they're not good because other people will have trouble understanding them. Good code is clear code that others will have an easy time working on when they need to make further changes.
How do you learn to write good clear code? You do it by reading lots of code, and writing lots of code. Well, only free software offers the chance to read the code of large programs that we really use. And then you have to write lots of code, which means you have to write changes in large programs.
How do you learn to write good code for the large programs? You have to start small, which does not mean small program, oh no! The challenges of the code for large programs don't even begin to appear in small programs. So the way you start small at writing code for large programs is by writing small changes in large programs. And only free software gives you the chance to do that.

 

Richard M. Stallman

 

Radio affects most intimately, person-to-person, offering a world of unspoken communication between writer-speaker and the listener. That is the immediate aspect of radio. A private experience. The subliminal depths of radio are charged with the resonating echoes of tribal horns and antique drums. This is inherent in the very nature of this medium, with its power to turn the psyche and society into a single echo chamber.

 

Marshall McLuhan