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“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.”
― Aberjhani, Splendid Literarium: A Treasury of Stories, Aphorisms, Poems, and Essays

“Your page stands against you and says to you that you are a thief.”
― Martial, Epigrams

“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.”
― Luce Irigaray, This Sex Which is Not One

“Characters should be interchangeable as between one book and another. The entire corpus of existing literature should be regarded as a limbo from which discerning authors could draw their characters as required, creating only when they failed to find a suitable existing puppet. The modern novel should be largely a work of reference. Most authors spend their time saying what has been said before â€� usually said much better. A wealth of references to existing works would acquaint the reader instantaneously with the nature of each character, would obviate tiresome explanations and would effectively preclude mountebanks, upstarts, thimble-riggers and persons of inferior education from an understanding of contemporary literature.”
― Flann O'Brien, At Swim-Two-Birds

“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.”
― Maurice Blanchot, The Space of Literature

“Literature is like phosphorus: it shines with its maximum brilliance and the moment when it attempts to die.”
― Roland Barthes, Writing Degree Zero

“The reader is the space on which all the quotations that make up a writing are inscribed without any of them being lost; a text's unity lies not in its origin but in its destination. Yet this destination cannot any longer be personal: the reader is without history, biography, psychology; he is simply that someone who holds together in a single field all the traces by which the written text is constituted…Classic criticism has never paid any attention to the reader; for it, the writer is the only person in literature…we know that to give writing its future, it is necessary to overthrow the myth: the birth of the reader must be at the cost of the death of the Author. [Final passage in "The Death of the Author," in Image-Music-Text, by Roland Barthes, Trans. Stephen Heath (1977)]”
― Roland Barthes, The Death of the Author

“For me, fantasy must be about something, otherwise it's foolishness... ultimately it must be about human beings, it must be about the human condition, it must be another look at infinity, it must be another way of seeing the paradox of existence.”
― George Clayton Johnson

“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.”
― Marina Warner, Once Upon a Time: A Short History of Fairy Tale

“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.”
― Marina Warner, Once Upon a Time: A Short History of Fairy Tale

“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.”
― Aberjhani, Illuminated Corners: Collected Essays and Articles Volume I.

“Thus we come to the problem of determining what the poem is 'about.' Charles Altieri notes that '[a]n expression of the self can be one that is intended, the self's act, or one that is symptomatic, the act of a self not in control of what it manifests'(24) In 'Yankee Doodle,' and to a lesser extent in '$$$$$$," the interesting aspects of the poem are not 'the intended expression of the self.' The lack of explicitness is not suggestive in any positive sense because we feel that were things to be spelled out, this would weaken, not strengthen, the narrator's case by revealing the unacknowledged irrationality at the root of it.”
― Russell Harrison, Against the American Dream: Essays on Charles Bukowski

“Among both the learned and the not so learned it is accepted that poetry can be the language of the emotions; what does not gain such ready acceptance is that poetry is a living language whose syllables fall naturally into verse. And yet both these effects may be illustrated simultaneously by the easy experiment of dropping a weight on your toe. Any really prolonged and heartfelt profanity may lack originality but its imagery is elaborately fantastic; and it invariably scans.”
― R.D. Fitzgerald

“in 1068, it would have already been impossible for Hansel and Gretel to walk more than four miles through any English wood without bursting back out into open fields. The landscape of fairy tales is symbolic: "The forest is where you are when your surroundings are not mastered.”
― Marina Warner, Once Upon a Time: A Short History of Fairy Tale

“Punctuation was, it is sad to say, invented a very long time ago. Even more frustrating, it has remained with us ever since.”
― Anne Elizabeth Moore, The Manifesti of Radical Literature

“Normally, we are supposed to say farewell to the page even as we look, to see past the cut of the type, hear beyond the shape of the sound, feel more than the heft of the book, to hear the bird sing whose name has been invoked, and think of love being made through the length of the night if the bird's name is nightingale; but when the book itself has the beauty of the bird, and the words do their own singing; when the token is treated as if it, not some divine intention, was holy and had power; when the bird itself is figured in the margins as though that whiteness were a moon-bleached bough and the nearby type the leaves it trembles; and when indigo turbans or vermilion feathers are, with jasmines, pictured so perfectly that touch falls in love with the finger, eyes light, and nostrils flare; when illustrations refuse to illustrate but instead suggest the inside of the reader's head, where a consciousness is being constructed; then the nature of the simple sign is being vigorously denied, and the scene or line or brief rendition is being treated like a thing itself, returning the attention to its qualities and composition. -- From "The Book As a Container of Consciousness”
― William H. Gass, Finding a Form

“There is, in fact, no need to drag politics into literary theory: as with South African sport, it has been there from the beginning. I mean by the political no more than the way we organize our social life together, and the power-relations which this involves; and what I have tried to show throughout this book is that the history of modern literary theory is part of the political and ideological history of our epoch. From Percy Bysshe Shelley to Norman N. Holland, literary theory has been indissociably bound up with political beliefs and ideological values. Indeed literary theory is less an object of intellectual enquiry in its own right than a particular perspective in which to view the history of our times. Nor should this be in the least cause for surprise. For any body of theory concerned with human meaning, value, language, feeling and experience will inevitably engage with broader, deeper beliefs about the nature of human individuals and societies, problems of power and sexuality, interpretations of past history, versions of the present and hopes for the future. It is not a matter of regretting that this is so â€� of blaming literary theory for being caught up with such questions, as opposed to some 'pure' literary theory which might be absolved from them. Such 'pure' literary theory is an academic myth: some of the theories we have examined in this book are nowhere more clearly ideological than in their attempts to ignore history and politics altogether. Literary theories are not to be upbraided for being political, but for being on the whole covertly or unconsciously so â€� for the blindness with which they offer as a supposedly 'technical', 'self-evident', 'scientific' or 'universal' truth doctrines which with a little reflection can be seen to relate to and reinforce the particular interests of particular groups of people at particular times.”
― Terry Eagleton, Literary Theory: An Introduction

“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 ‘aestheticâ€� or ‘unpoliticalâ€� 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 â€� this individual is in personal relationship with others, and we are always much more than readers â€� 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.”
― Terry Eagleton, Literary Theory: An Introduction

“We insist that this stuff we call science fiction is not SCI-FI. For some in the ghetto of Genre this is axiomatic, a secret truth known only to the genre kids, that there is proper science fiction and then there’s that SCI-FI shit.”
― Hal Duncan, Rhapsody: Notes on Strange Fictions

“Characters may lend the action a certain colouring, but it is what happens that comes first. To overlook this while watching a tragedy would be like treating a football game simply as the acts of a set of solitary individuals, or as chance for each of them to display 'personality'. The fact that some players behave as though this is precisely what football games are about should not distract us from this point.”
― Terry Eagleton, How to Read Literature

“Faced with the numbering logic of neoliberal regimes, literature offers an intervention in order to consider identity and voice, to consider representation in both the political and artistic sense of the term... [Literature and art] cultivate tension between an unresolved past and present, between invisibility and exposure, showing the dualities of face and mask that leave their trace on identitarian struggles today.”
― Francine Masiello, The Art of Transition: Latin American Culture and Neoliberal Crisis

“To deprive the bourgeoisie not of its art but of its concept of art, this is the precondition of a revolutionary argument.”
― Pierre Macherey, A Theory of Literary Production

“Like any other artist, the writer is a licensed critic, traditionally given the leeway to have a long and critical look at society, to satirise its conventions, to be subversive, to question and challenge, and, ultimately to construct new ways of looking at the world that society comes to value and eventually to use in shaping new conventions, new rules of thumb for behaviour.

� From a lecture "What Is Literary Value," given 15 October 1997

Ms. Hunter was the Gresham Professor of Rhetoric between 1997 and 2000”
― Lynette Hunter

“By virtue of the literary work over which they meet, the reader and the writer both begin to loosen their hold on selfhood.”
― Wendy Lesser, Why I Read: The Serious Pleasure of Books