I think literary theory has not been terribly good for English studies in a while. It's not that theory isn't interesting, but it isn't about books, or the idiosyncrasies and complexities of putting language together.
I am obsessed with story. I had a late awakening in life. In college was the first time that I understood what you could do with a story and what a good novel is - literary value and subtext and irony and everything.
I don't know the literary world; I was scared of being confronted with famous names, not knowing what they had written. It was occupied territory I was entering.
It's funny, I don't know where I would place myself in the literary landscape. I really just write the book that I would want to read. I put on the blinders, and I really - it is, for me, that simple.
I was greatly influenced by 'The Goons' and 'Monty Python' reconstituting what comedy was - it could come from a funny word, not just a set up and a pay-off. I liked the zaniness; they were satirical, slightly saucy and very literary in their referen...
Literary dementia seems dated now, but there was a time when a month in the funny farm was as de rigueur for budding writers as an M.F.A. is now. To be sent away was a badge of honor; to undergo electroshock, a glorious martyrdom.
I was an English major at the University of Minnesota, and I was very shy, which many people misinterpreted as intelligence. On the basis of that wrong impression, I became the editor of the campus literary magazine.
For the last half of my life I have had the doubtful benefit of a brother whose literary reputation is much greater than my own.
Literary life used to be quite different in Britain in the years I lived there, from 1971 to 1989, because money was not a factor - no one made very much except from U.S. sales and the occasional windfall.
In the time it takes American literary titan William H. Gass to write a novel, other artists have been born, completed their life's work and died. That may be an exaggeration, but only a slight one.
When I was in college, I was the editor of the literary magazine and insisted neither the editors nor the writers be specifically identified-only our student numbers appeared on the title page. I love that idea and still do.
The poem is the literary form of the 21st century. It's able to connect young people in a deep way to language... it's language as play.
I thought it was a glorious thing to be a critic and to be a literary editor, and one was really doing something that mattered: to keep up standards, to take books seriously.
So much of literary sci-fi is about creating worlds that are rich and detailed and make sense at a social level. We'll create a world for people and then later present a narrative in that world.
A literary critic is someone who can't write, but who loves to show he would have been a wonderful writer if only he could!
Writing about Africa by Africans has been part of my literary apprenticeship, standing alongside works by authors such as Joseph Conrad, Joyce Cary and Graham Greene as influences.
Our literary culture is marinated in deep traditions of the fantastic and the supernatural, and we export those rich qualities in films and books on a spectacular industrial scale.
Once more I can climb about and remind you that a woman in this epoch does the important literary thinking.
Extremists often derive their inspiration from literal interpretations of texts that should rightly be read not as Associated Press reports from the ancient world, but as theological and literary enterprises requiring independent intellectual assessm...
Mysteries and thrillers are not the same things, though they are literary siblings. Roughly put, I would say the distinction is that mysteries emphasize motive and psychology whereas thrillers rely more heavily on action and plot.
Some literary types subscribe to the notion that being a writer like Salinger entitles a person to remain free of the standards that might apply to mere mortals.
