literary-theory

Literature is like phosphorus: it shines with its maximum brilliance and the moment when it attempts to die.

Some have speculated that the way [Albert] Camus died made his theories on absurdity a self-fulfilling prophecy. Others would say it was the triumphant meaningful way he lived that allowed him to rise heroically above absurdity.

The ambition of much of today's literary theory seems to be to find ways to read literature without imagination.

The literary text seems like "a fortified medieval town __oreigners and outsiders are repelled, or allowed in only after rigorous checks, but within all is bustling life; exchange, mutual interdependence and influence are the rule.

When the critic has said everything in his power about a literary text, he has still said nothing; for the very existence of literature implies that it cannot be replaced by non-literature

Your page stands against you and says to you that you are a thief.

Favoring 'resolution' the way we do, it is hard for us men to write great love stories. Why?, because we want to tell too much. We aren__ satisfied unless at the end of the story the characters are lying there, panting.

I ran across an excerpt today (in English translation) of some dialogue/narration from the modern popular writer, Paulo Coelho in his book: Aleph.(Note: bracketed text is mine.)... 'I spoke to three scholars,' [the character says 'at last.'] ...two of them said that, after death, the [sic (misprint, fault of the publisher)] just go to Paradise. The third one, though, told me to consult some verses from the Koran. [end quote]' ...I can see that he's excited. [narrator]' ...Now I have many positive things to say about Coelho: He is respectable, inspiring as a man, a truth-seeker, and an appealing writer; but one should hesitate to call him a 'literary' writer based on this quote. A 'literary' author knows that a character's excitement should be 'shown' in his or her dialogue and not in the narrator's commentary on it. Advice for Coelho: Remove the 'I can see that he's excited' sentence and show his excitement in the phrasing of his quote.(Now, in defense of Coelho, I am firmly of the opinion, having myself written plenty of prose that is flawed, that a novelist should be forgiven for slipping here and there.)Lastly, it appears that a belief in reincarnation is of great interest to Mr. Coelho ... Just think! He is a man who has achieved, (as Leonard Cohen would call it), 'a remote human possibility.' He has won lots of fame and tons of money. And yet, how his preoccupation with reincarnation__one other than an interest in being born again as somebody else__uggests that he is not happy!

Theories about world literature, of which fairy tale is a fundamental part, emphasize the porousness of borders, geographical and inguistic: no frontiercan keep a good story from roaming. It will travel, and travel far, and travel back again in a different guise, a changed mood, and, above all, a new meaning.

Like ´Bluebeard´, the fairy tale of ´Snow White´does not record a single, appalling crime, but testifies to a structural and endemic conflict in society that was political and social as well as personal, producing many, many instances of similar violence.

Art is not religion, 'it doesn't even lead to religion.' But in the time of distress which is ours, the time when the gods are missing, the time of absence and exile, art is justified, for it is the intimacy of this distress: the effort to make manifest, through the image, the error of the imaginary, and eventually the ungraspable, forgotten truth which hides behind the error.

Individuals often turn to poetry, not only to glean strength and perspective from the words of others, but to give birth to their own poetic voices and to hold history accountable for the catastrophes rearranging their lives.

Your body expresses yesterday in what it wants today. If you think: yesterday I was, tomorrow I shall be, you are thinking: I have died a little. Be what you are becoming, without clinging to what you might have been, what you might yet be. Never settle. Leave definitiveness to the undecided; we don't need it.

Reading a novel after reading semiotic theory was like jogging empty-handed after jogging with hand weights. What exquisite guilt she felt, wickedly enjoying narrative! Madeleine felt safe with a nineteenth century novel. There were going to be people in it. Something was going to happen to them in a place resembling the world. Then too there were lots of weddings in Wharton and Austen. There were all kinds of irresistible gloomy men.

Punctuation was, it is sad to say, invented a very long time ago. Even more frustrating, it has remained with us ever since.

A clever schoolboy's reaction to his reading is most naturally expressed by parody or imitation.

The business of the novelist is not to relate great events, but to make small ones interesting.

Even in the act of fleeing modern ideologies, however, literary theory reveals its often unconscious complicity with them, betraying its elitism, sexism or individualism in the very __esthetic_ or __npolitical_ language it finds natural to use of the literary text. It assumes, in the main, that at the centre of the world is the contemplative individual self, bowed over its book, striving to gain touch with experience, truth, reality, history or tradition. Other things matter too, of course _ this individual is in personal relationship with others, and we are always much more than readers _ but it is notable how often such individual consciousness, set in its small circle of relationships, ends up as the touchstone of all else. The further we move from the rich inwardness of the personal life, of which literature is the supreme exemplar, the more drab, mechanical and impersonal existence becomes. It is a view equivalent in the literary sphere to what has been called possessive individualism in the social realm, much as the former attitude may shudder at the latter: it reflects the values of a political system which subordinates the sociality of human life to solitary individual enterprise.