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L Quotes

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All L Quotes

“Literature for me… tries to heal the harm done by stories. (How much harm? Most of the atrocities of history have been created by stories, e.g., the Jews killed Jesus.) I follow Sartre that the freedom the author claims for herself must be shared with the reader. So that would mean that literature is stories that put themselves at the disposal of readers who want to heal themselves. Their healing power lies in their honesty, the freshness of their vision, the new and unexpected things they show, the increase in power and responsibility they give the reader.”

“Literature gives us models of living human beings who may not agree with us and even be our enemies. D. H. Lawrence said that the purpose of literature was to expand our sympathies. To be a human being is to be in a state of tension between your appetites and your dreams, and the social realities around you and your obligations to your fellow man. And this conflict cannot be easily reconciled. The tension is always there as a kind of a pain in the human condition.”

“Literature has chosen the domain of small scale personal relationships, and no longer deals with great metaphysical themes. We no longer have writers like Balzac and Zola, geniuses of human comedy who could explore every domain. Proust also created an inexhaustible world, and Joyce’s Ulysses is still very close to Homer . . . Joyce is the bridge between the two great worlds of classicism and chaos. In the past, philosophy could also claim to be universal. The entire world was open to the thought of a philosopher like Spinoza. Today an immense part of the universe is closed to us.”

“Literature has sometimes flourished under despotic regimes, but, as has often been pointed out, the despotisms of the past were not totalitarian. Their repressive apparatus was always inefficient, their ruling classes were usually either corrupt or apathetic or half-liberal in outlook, and the prevailing religious doctrines usually worked against perfectionism and the notion of human infallibility. Even so it is broadly true that prose literature has reached its highest levels in periods of democracy and free speculation. What is new in totalitarianism is that its doctrines are not only unchallengeable but also unstable. They have to be accepted on pain of damnation, but on the other hand, they are always liable to be altered on a moment’s notice. Consider, for example, the various attitudes, completely incompatible with one another, which an English Communist or ‘fellow-traveler’ has had to adopt toward the war between Britain and Germany. For years before September, 1939, he was expected to be in a continuous stew about ‘the horrors of Nazism’ and to twist everything he wrote into a denunciation of Hitler: after September, 1939, for twenty months, he had to believe that Germany was more sinned against than sinning, and the word ‘Nazi’, at least as far as print went, had to drop right out of his vocabulary. Immediately after hearing the 8 o’clock news bulletin on the morning of June 22, 1941, he had to start believing once again that Nazism was the most hideous evil the world had ever seen. Now, it is easy for the politician to make such changes: for a writer the case is somewhat different. If he is to switch his allegiance at exactly the right moment, he must either tell lies about his subjective feelings, or else suppress them altogether. In either case he has destroyed his dynamo. Not only will ideas refuse to come to him, but the very words he uses will seem to stiffen under his touch. Political writing in our time consists almost entirely of prefabricated phrases bolted together like the pieces of a child’s Meccano set. It is the unavoidable result of self-censorship. To write in plain, vigorous language one has to think fearlessly, and if one thinks fearlessly one cannot be politically orthodox. Totalitarianism, however, does not so much promise an age of faith as an age of schizophrenia…to be corrupted by totalitarianism one does not have to live in a totalitarian country. The mere prevalence of certain ideas can spread a kind of poison that makes one subject after another impossible for literary purposes. Wherever there is an enforced orthodoxy…good writing stops.”

“Literature is a defense against the attacks of life. It says to life: "You can't deceive me. I know your habits, foresee and enjoy watching your reactions, and steal your secret by involving you in cunning obstructions that halt your normal flow." The other defense against things in general is silence as we muster strength for a fresh leap forward. But we must impose that silence on ourselves, not have it imposed on us, not even by death. To choose hardship for ourselves is our only defense against that hardship. This is what is meant by accepting suffering. Not being resigned to it, but using it as a springboard. Controlling the effect of the blow. Those who, by their very nature, can suffer completely, utterly, have an advantage. That is how we can disarm the power of suffering, make it our own creation, our own choice; submit to it. A justification for suicide. Charity has no place in all this. Unless, perhaps, this act of violence is in itself the truest form of charity?”

“Literature is a form of language that breaks with the whole definition of genres as forms adapted to an order of representations, and becomes merely a manifestation of a language which has no other law than that of affirming in opposition to all other forms of discourse its own precipitous existence.”

“Literature is a place for generosity and affection and hunger for equals - not a prizefight ring. We are increased, confirmed in our medium, roused to do our best, by every good writer, every fine achievement. Would we want one good writer or fine book less? The sense of writers being pitted against each other is bred primarily by the workings of the commercial marketplace, and by critics lauding one writer at the expense of another while ignoring the existence of nearly all.”