A la estación se la comen las casas adosadas y luego los campos se comen a las casas, primero vacíos y después salpicados de ovejas. La gente se quita el abrigo y enciende los portátiles y se oye un suspiro colectivo. Al otro lado del pasillo una mujer abre una bolsa de patatas con queso y cebolla. Parpadea y se mete cinco en la boca. Se hacen pedazos y suenan como los parásitos de la radio.
Literary art's sudden, startling truth and beauty make us feel, in the most solitary part of us, that we are not alone, and that there are meanings that cannot be bought, sold or traded, that do not decay and die. This socially and economically worthless experience is called transcendence, and you cannot assign a paper, or a grade, or an academic rank, on that. Literature is too sacred to be taught. It needs only to be read.
Books can make a difference in dispelling prejudice and building community: not with role models and recipes, not with noble messages about the human family, but with enthralling stories that make us imagine the lives of others. A good story lets you know people as individuals in all their particularity and conflict; and once you see someone as a person—flawed, complex, striving—you’ve reached beyond stereotype.
Out of the corner of one eye, I could see my mother. Out of the corner of the other eye, I could see her shadow on the wall, cast there by the lamplight. It was a big and solid shadow, and it looked so much like my mother that I became frightened. For I could not be sure whether for the rest of my life I would be able to tell when it was really my mother and when it was really her shadow standing between me and the rest of the world.
Every day I would run to the library to get new books. Reading was a passion: I wanted to understand life. I read Dostoevsky and Brehm, Jules Verne and Turgenev, Dickens and the Zhivopisnoye Obozreniye; and the more I read, th emore I doubted everything. Lies surrounded me on all sides; one moment I wanted to run off to the Indian jungle, the next to throw a bomb at the governor-general's house on Tverskaya, the next to hang myself.
...apparently "London" gave out my address! that's what they're saying...not just London, though! Brazzaville, too!...and said that I'm a dirty pornographer...a letch besides being the most despicable traitor of the century!...I'd make a urinal blush! that what we need is to cleanse France and the French language of this smut-writing, demoralizing, grammaclast who's sullying our sacred homeland and its literary heritage!
Koleraya yayılan bayıltıcı kuyrukyağı kokusu Gıli Gıli 'nin midesinde fırtına gibi esip gözlerini kararttı. Nefes almakta güçlük çeken Salih, dükkana sürünerek girip havlu dolabının arkalarında sota bir yere sakladığı ojeyi çıkarıp defalarca koklayarak kendine gelmeye çalıştı.
He did recall that the summer after graduating from college before he joined the state police he had read Shakespeare. It was the pure language that stupefied him. He would be in a diner reading A Midsummer Night's Dream and his acquaintances were confident he was studying for some test. The test turned out to be the nature of his mind. Shakespeare seemed even truer than history. Literature was against the abyss while history wallowed in it.
There must have been moments even that afternoon when Daisy tumbled short of his dreams -- not through her own fault, but because of the colossal vitality of his illusion. It had gone beyond her, beyond everything. He had thrown himself into it with a creative passion, adding to it all the time, decking it out with every bright feather that drifted his way. No amount of fire or freshness can challenge what a man will store up in his ghostly heart.
Adornment, exoticism, affectation are all willed decadent strategies meant to pervert the texts they made. Decadent texts often live in their descriptive excursions, in their evocation of dreams, mysterious places and states of mind, in their excess of words, not events. The surface of the texts, the sound of the words, point to themselves as manufactured, as illusion. The decadents attempted to create texts that announced themselves as artifice.
the writer is delegated to declare and to celebrate man's proven capacity for greatness of heart and spirit—for gallantry in defeat, for courage, compassion and love. In the endless war against weakness and despair, these are the bright rally flags of hope and of emulation. I hold that a writer who does not believe in the perfectibility of man has no dedication nor any membership in literature.—Steinbeck Nobel Prize Acceptance Speech
The idea of some kind of objectively constant, universal literary value is seductive. It feels real. It feels like a stone cold fact that In Search of Lost Time, by Marcel Proust, is better than A Shore Thing, by Snooki. And it may be; Snooki definitely has more one-star reviews on Amazon. But if literary value is real, no one seems to be able to locate it or define it very well. We’re increasingly adrift in a grey void of aesthetic relativism.
I had as yet no notion that life every now and then becomes literature—not for long, of course, but long enough to be what we best remember, and often enough so that what we eventually come to mean by life are those moments when life, instead of going sideways, backwards, forward, or nowhere at all, lines out straight, tense and inevitable, with a complication, climax, and, given some luck, a purgation, as if life had been made and not happened.
Bir tek tutkum var; Bunca acılar çeken ve mutluluğa hakkı olan insanlık adına duyduğum aydınlık tutkusu. Coşkulu protestom, yüreğimden kopan çığlıktan başka bir şey değildir. Beni ağır ceza mahkemesi önüne çıkarmayı göze alsınlar ve herkesin önünde soruşturma açılsın! Bekliyorum.
... endowing the imperfect and the preterite with all the sweetness which there is in generosity, all the melancholy which there is in love; guided the sentence that was drawing to an end towards that which was waiting to begin, now hastening, now slackening the pace of the syllables so as to bring them, despite their difference in quantity, into a uniform rhythm, and breathed into this quite ordinary prose a kind of life, continuous and full of feeling.
