Quotes About Literary

Try to meet as many authors, agents, and editors as you can.

I'm trying to move a little more toward literary fiction while still retaining a popular feel.

But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.

Audience participation can often inject a dose of adrenalin into your average dial-tone literary reading, especially if a handful of audience-members are mentally unhinged, and let's face it - you can always depend on at least one crackpot at these things.

Here where the literary culture is held hostage, the art of narration flourishes by mouth. In Prague, stories aren't simply stories; it's what they have instead of life.

The New Testament evinces its universal design in its very, style, which alone distinguishes it from all the literary productions of earlier and later times.

Far from breaking with tradition, they understood the Great War and its aftermath in the light of tradition, believing, as did their literary and spiritual ancestors, that ours is a fallen world yet not a forsaken one.

And language for Tolkien was also the soil from which his literary garden grew, as he explains in a 1966 interview, referring again to "cellar door": "Supposing you say some quite ordinary words to me—'cellar door,' say. From that, I might think of a name, 'Selador,' and from that a character, a situation begins to grow.

A great number of elements in the characters' lives, both psychic and factual, are not communicated to us. […] These characters, I believe, enjoy a much greater autonomy than we usually think, and are able to take initiatives unknown both to the writer and the reader. When characters have their own will, their own autonomy, it gives the literary universe a greater internal mobility; it also makes the texts through which we view this world all the more open and incomplete.

I think literary theory satisfied a deep love I have for big, encompassing narratives about the world and how it works - which are usually, in the end, more creative visions unto themselves than illuminating explanations.

Visual art and writing don't exist on an aesthetic hierarchy that positions one above the other, because each is capable of things the other can't do at all. Sometimes one picture is equal to 30 pages of discourse, just as there are things images are completely incapable of communicating.

I often find myself privately stewing about much British art, thinking that except for their tremendous gardens, that the English are not primarily visual artists, and are, in nearly unsurpassable ways, literary.

I remember, when I was young, to have a literary or artistic vocation was really dramatic because you were so isolated from the common world. You felt that you were marginal, and if you dared to try to organise your life around your vocation, you knew you'd be completely segregated.

When I first started editing a 'Year's Best' volume in the '70s, the job was pretty straightforward - there were three or four monthly magazines to read and a few original anthologies from trade publishers every year.

When I was a teenager, just about the only thing I could do right was play music. In my graduating class, I was certainly not voted 'Most Literary Boy.' I can assure you I was not voted 'Mostly Likely to Succeed.' I was voted 'Most Musical Boy.' And the music led to the poetry.

My reasoning, if one can call it that, was inflamed by the scatter shot passions of youth and a literary diet overly rich in the works of Nietzshe, Kerouac, and John Menlove Edwards...

So many Jonathans. A plague of literary Jonathans. If you read only the New York Times Book Review, you'd think it was the most common male name in America. Synonymous with talent, greatness. Ambition, vitality.

I...have always known that my destiny was, above all, a literary destiny — that bad things and some good things would happen to me, but that, in the long run, all of it would be converted into words. Particularly the bad things, since happiness does not need to be transformed: happiness is its own end.

When a writer dies, he becomes his books.

She's always suggesting books like a literary marriage broker, wedding readers to the titles just right for them.

For if anything is capable of making a poet of a literary man, it is my hometown love of the human, the living and ordinary.

Publishing is not, of course, dependent on the individual taste of the publisher," Perkins replied to one reader of Hemingway's novel. "He is under an obligation to his profession which binds him to bring out a work which in the judgment of the literary world is significant in its literary qualities and is a pertinent criticism of the civilization of the time.

the tart values of New England were the essence of his character. He was full of Yankee quirks and biases. He could be crotchety in his behavior and literary taste, obtuse and old-fashioned. And yet, Brooks believed, Windsor and all it stood for had kept him at heart "so direct, so uninfluenced by prejudice, so unclouded by secondary feelings, so immediate, so fresh." Max's was a New England mind, filled with dichotomies.

The Guernsey Literary and Potato Peel Pie Society, a novel/memoir by Annie Barrows and Mary Ann Shaffer that is every bit as charming as its title, and Island at War, a Masterpiece Theatre TV miniseries. In