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Literary Criticism Quotes

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Literary Criticism Quotes

“If someone's personhood is in doubt (or seen as lacking), all the easier to direct death wishes at them. When a tiny minority of them transgresses, their crimes of violence only confirm their abjection from the human [. . .] Anxiety, threat, dread, fear, and prejudice feed into the explanatory mechanisms that construct them as somehow beyond human, beyond mercy.”

ViolenceCrimeSuperheroLiterary CriticismTransgressionPersonhoodDc ComicsMarvel ComicsDisability StudiesPhysical DisabilityJose AlanizPhysical ImpairmentSilver Age ComicsAbjection From HumanityBeyond Human
Book:Death, Disability, and the Superhero: The Silver Age and Beyond
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“[In "The Night Gwen Stacy Died"], death took on an existential quality -- the beloved, innocent but weak Gwen is merely a victim, the casualty of a war between superpowered rivals -- and as such the episode proved a turning point int eh genre's depiction of mortality.”

SuperheroLiterary CriticismDc ComicsMarvel ComicsDisability StudiesPhysical DisabilityJose AlanizPhysical ImpairmentSilver Age ComicsSpidermanGwen Stacy
Book:Death, Disability, and the Superhero: The Silver Age and Beyond
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“Disability fluctuates, growing visible, then invisible, then visible again, becoming both ever-present and haunting. Such a problematizing of physical life added a new wrinkle to the genre's double/secret identity trope: the characters now interact with their shifting bodies as bodies with all the complications involved.”

SuperheroBody ImageLiterary CriticismInvisibilityDc ComicsMarvel ComicsDisability StudiesPhysical DisabilityJose AlanizPhysical ImpairmentSilver Age ComicsBodies As Bodies
Book:Death, Disability, and the Superhero: The Silver Age and Beyond
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“The stereotype of the supercrip, in the eyes of its critics, represents a sort of overachieving, overdetermined self-enfreakment that distracts from the lived daily reality of most disabled people.”

SuperheroStereotypesLiterary CriticismDc ComicsMarvel ComicsDisability StudiesPhysical DisabilityJose AlanizPhysical ImpairmentSilver Age ComicsSupercrip
Book:Death, Disability, and the Superhero: The Silver Age and Beyond
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“With emancipation comes the opening up of new possibilities for challenging assumptions over women's appearance and, more radically, the gender order itself. Ventura (She-Thing) comes not only to accept her new "intragender" status but to see it as advantageous -- for dealing with her misandry, for personal growth, and even for becoming a person capable of giving and accepting love.”

SuperheroLiterary CriticismDc ComicsMarvel ComicsDisability StudiesFantastic FourPhysical DisabilityThe ThingJose AlanizPhysical ImpairmentSilver Age ComicsShe ThingVentura
Book:Death, Disability, and the Superhero: The Silver Age and Beyond
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“In fact, the advocates of People's Park had asserted another version of what is probably America's oldest and most cherished fantasy: a daily reality of harmony between man and nature based on an experience of the land land as essentially feminine - that is not simply the land as mother, but the land as woman, the total female principle of gratification - enclosing the individual in an environment of receptivity, repose, and painless and integral satisfaction.”

NatureEnvironmentLiterary CriticismEnvironmental HistoryEcofeminismEcocritism
Book:Lay of the Land: Metaphor as Experience and History in American Life and Letters
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“Some very eminent critics writing in the decades immediately after the novel's publication felt that Eliot failed to maintain sufficient critical distance in her depiction of Ladislaw--that she fell in love with her own creation in a way that shows a lack of artistic control and is even unseemly, like a hoary movie director whose lens lingers too long on the young flesh of a favored actress. Lord David Cecil calls Ladislaw 'a schoolgirl's dream, and a vulgar one at that,' while Leslie Stephen complained 'Ladislaw is almost obtrusively a favorite with his creator,' and depreciated him as 'an amiable Bohemian.”

WritingLiterary CriticismArtistic CreativityFictional CharactersLiterary Creation
Book:My Life in Middlemarch
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“...she knew from school that that sort of literature was boring: Gorky was correct but somehow ponderous; Mayakovsky was very correct but somehow awkward; Saltykov-Shchedrin was progressive, but you could die yawning if you tried to read him through; Turgenev was limited to his nobleman's ideals; Goncharov was associated with the beginnings of Russian capitalism; Lev Tolstoi came to favor patriarchal peasantry—and their teacher did not recommend reading Tolstoi's novels because they were very long and only confused the clear critical essays written about him. And then they reviewed a batch of writers totally unknown to anyone: Dostoyevsky, Stepnyak-Kravchinsky, and Sukhovo-Kobylin. It was true that one did not even have to remember the titles of their works. In all this long procession, only Pushkin shone like a sun.”

Literary CriticismRussian Literature1968Academic Education
Book:The First Circle
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“The character of Superman is a rebuttal of Lord Acton's famous dictum: he has absolute power, but it does not corrupt him. Rather, his power grants him freedom from fear. This freedom allows him to be a superman, and to realize his potential by helping others.”

FearPowerLiterary CriticismAbsolute PowerSupermanComic BooksLord Acton
Book:J.R.R. Tolkien, Robert E. Howard and the Birth of Modern Fantasy
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“For a while, Criticism travels side by side with the Work, then Criticism vanishes and it's the Readers who keep pace. The journey may be long or short. Then the Readers die one by one and the Work continues on alone, although a new Criticism and new Readers gradually fall into step with it along its path. Then Criticism dies again and the Readers die again and the Work passes over a trail of bones on its journey toward solitude. To come near the work, to sail in her wake, is a sign of certain death, but new Criticism and new Readers approach her tirelessly and relentlessly and are devoured by time and speed. Finally the Work journeys irremediably alone in the Great Vastness. And one day the Work dies, as all things must die and come to an end: the Sun and the Earth and the Solar System and the Galaxy and the farthest reaches of man's memory. Everything that begins as comedy ends in tragedy.”

Literary CriticismBook ReviewsBolanoThe Written WordInaki EchevarneSavage Detectives
Book:The Savage Detectives
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“Like Hamlet, Goethe's Faust offers a wide panorama of scenes from the vulgar to the sublime, with passages of wondrous poetry that can be sensed even through the veil of translation. And it also preserves the iridescence of its modern theme. From it Oswald Spengler christened our Western culture 'Faustian,' and others too have found it an unexcelled metaphor for the infinitely aspiring always dissatisfied modern self. Goethe himself was wary of simple explanations. When his friends accused him of incompetence in metaphysics, he replied. 'I, being an artist, regard this as of little moment. Indeed, I prefer that the principle from which and through which I work should be hidden from me.”

Literary CriticismHamletFaustGoetheFaustianOswald SpenglerGerman Poet
Book:The Creators: A History of Heroes of the Imagination
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“The magic of Faërie is not an end in itself, its virtue is in its operations: among these are the satisfaction of certain primordial human desires. One of these desires is to survey the depths of space and time. Another is (as will be seen) to hold communion with other living things. A story may thus deal with the satisfaction of these desires, with or without the operation of either machine or magic, and in proportion as it succeeds it will approach the quality and have the flavour of fairy-story.”

WritingFairy TalesLiterary CriticismFairytalesFairy StoriesFaerie Tale
Book:The Monsters and the Critics and Other Essays
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“Gissing did not, at least consciously, even want to be the kind of writer that he was. His ideal, a rather melancholy one, was to have a moderate private income and live in a small comfortable house in the country, preferably unmarried, where he could wallow in books, especially the Greek and Latin classics. He might perhaps have realised this ideal if he had not managed to get himself into prison immediately after winning an Oxford scholarship: as it was he spent his life in what appeared to him to be hack work, and when he had at last reached the point where he could stop writing against the clock, he died almost immediately, aged only about forty-five. His death, described by H.G. Wells in his Experiment in Autobiography, was of a piece with his life. The twenty novels, or thereabouts, that he produced between 1880 and 1900 were, so to speak, sweated out of him during his struggle towards a leisure which he never enjoyed and which he might not have used to good advantage if he had had it: for it is difficult to believe that his temperament really fitted him for a life of scholarly research. Perhaps the natural pull of his gifts would in any case have drawn him towards novel writing sooner or later. If not, we must be thankful for the piece of youthful folly which turned him aside from a comfortable middle-class career and forced him to become the chronicler of vulgarity, squalor and failure.”

Literary CriticismGeorge Gissing
Book:Collected Works
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“In my freshman and sophomore years of college, I read dozens of books by the great thinkers of Western civilization. From Plato to Nietzsche, Homer to Shakespeare - you name it, I read it. At times it drove me crazy - picture reading hundreds of pages that sound like this every week: "All rational knowledge is either material and concerned with some object, or formal and concerned only with the form of understanding and of reason themselves and with the universal rules of thought in general without regard to differences of its objects." Come again, Kant?”

CollegeLiterary CriticismFreshmanSophomore
Book:The Secrets of Top Students: Tips, Tools, and Techniques for Acing High School and College
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“The great and present danger to American literature is the growing homogeneity of our writers, especially the younger generation. Often raised in several places in no specific cultural or religious community, educated with no deep connection to a particular region, history, or tradition, and now employed mostly in academia, the American writer is becoming as standardized as the American car—functional, streamlined, and increasingly interchangeable.”

WritersPublishingWriters On WritingAmerican CultureLiterary CriticismAmerican WritersArts And CultureLiterary Culture
Book:The Catholic Writer Today: And Other Essays
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“Mr. Morris's poem is ushered into the world with a very florid birthday speech from the pen of the author of the too famous Poems and Ballads,—a circumstance, we apprehend, in no small degree prejudicial to its success. But we hasten to assure all persons whom the knowledge of Mr. Swinburne's enthusiasm may have led to mistrust the character of the work, that it has to our perception nothing in common with this gentleman's own productions, and that his article proves very little more than that his sympathies are wiser than his performance. If Mr. Morris's poem may be said to remind us of the manner of any other writer, it is simply of that of Chaucer; and to resemble Chaucer is a great safeguard against resembling Swinburne.”

PoetryLiterary CriticismWilliam MorrisGeoffrey ChaucerAlgernon Charles Swinburne
Book:Views and reviews
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“[T]he new weird represents a productive experiment in fantasy fiction. The New Wave of the 1960s and 1970s arguably embodied science fiction's claim to literary 'seriousness.' This desire for seriousness is not snobbery, as sometimes suggested by folks who overemphasize the entertainment function of speculative fiction; it's about recognition of the vast possibilities within the field.”

FantasyScience FictionLiterary CriticismNew WeirdNew Wave
Author:Darja Malcolm-Clarke
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“That book of [Melancthon], to my mind, deserves not merely to live as long as books are read, but to take its place in the Church canon; whereas your book, by comparison, struck me as so worthless and poor that my heart went out to you for having defiled your lovely, brilliant flow of language with such vile stuff. I thought it outrageous to convey material of so low a quality in the trappings of such rare eloquence; it is like using gold or silver dishes to carry garden rubbish or dung.”

InsultLiterary CriticismPolemics
Book:The Bondage of the Will
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“It doesn't matter whether a sequence of words is called a history or a story: that is, whether it is intended to follow a sequence of actual events or not. As far as its verbal shape is concerned, it will be equally mythical in either case. But we notice that any emphasis on shape or structure or pattern or form always throws a verbal narrative in the direction we call mythical rather than historical.(p.21)”

Literary CriticismLiterary TheoryWorld CultureNarrative Theory
Book:Biblical and Classical Myths: The Mythological Framework of Western Culture
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“Yes, I hate orthodox criticism. I don't mean great criticism, like that of Matthew Arnold and others, but the usual small niggling, fussy-mussy criticism, which thinks it can improve people by telling them where they are wrong, and results only in putting them in straitjackets of hesitancy and self-consciousness, and weazening all vision and bravery. ...I hate it because of all the potentially shining, gentle, gifted people of all ages, that it snuffs out every year. It is a murderer of talent. And because the most modest and sensitive people are the most talented, having the most imagination and sympathy, these are the very first ones to get killed off. It is the brutal egotists that survive.”

WritingCriticismSensitivityLiterary Criticism
Book:If You Want to Write: A Book about Art, Independence and Spirit
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“Isaac Deutscher was best known—like his compatriot Joseph Conrad—for learning English at a late age and becoming a prose master in it. But, when he writes above, about the ‘fact’ that millions of people ‘may’ conclude something, he commits a solecism in any language. Like many other critics, he judges Orwell’s Nineteen Eighty-Four not as a novel or even as a polemic, but by the possibility that it may depress people. This has been the standard by which priests and censors have adjudged books to be lacking in that essential ‘uplift’ which makes them wholesome enough for mass consumption. The pretentious title of Deutscher’s essay only helps to reinforce the impression of something surreptitious being attempted.”

CensorshipLiterary CriticismGeorge OrwellNineteen Eighty FourIsaac Deutscher
Author:Christopher Hitchens
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“It doesn’t take a literary detective, scanning the passage above, to notice that he is partly saying of Orwell what Orwell actually says about Gissing. This half-buried resentment can be further noticed when Williams turns to paradox. I have already insisted that Orwell contains opposites and even contradictions, but where is the paradox in a ‘humane man who communicated an extreme of inhuman terror’? Where is the paradox in ‘a man committed to decency who actualized a distinctive squalor’? The choice of verbs is downright odd, if not a little shady. ‘Communicated’? ‘Actualised’? Assuming that Williams means to refer to Nineteen Eighty-Four in the first case, which he certainly does, would it not be more precise to say that Orwell ‘evoked’ or even ‘prefigured’ or perhaps simply ‘described’ an extreme of inhuman terror? Yet that choice of verb, because more accurate, would be less ‘paradoxical.’ Because what Williams means to imply, but is not brave enough to say, is that Orwell ‘invented’ the picture of totalitarian collectivism. As for ‘actualising’ a distinctive squalor, the author of that useful book Keywords has here chosen a deliberately inexact term. He may mean Nineteen Eighty-Four again—he is obsessed with the ‘gritty dust’ that infests Orwell’s opening passage—or he may mean the depictions of the mean and cramped (and malodorous) existence imposed on the denizens of Wigan Pier. But to ‘actualise’ such squalor is either to make it real—no contradiction to decency—or to make it actually occur, a suggestion which is obviously nonsensical.”

PoliticsLiterary CriticismGeorge OrwellNineteen Eighty FourRaymond WilliamsNineteen Eighty Fournism
Author:Christopher Hitchens
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“The Bloomsbury Group has been characterised as a liberal, pacifist, and at times libertine, intellectual enclave of Cambridge-based privilege. The Cambridge men of the group (Bell, Forster, Fry, Keynes, Strachey, Sydney-Turner) were members of the elite and secret society of Cambridge Apostles. Woolf’s aesthetic understanding, and broader philosophy, were in part shaped by, and at first primarily interpreted in terms of, (male) Bloomsbury’s dominant aesthetic and philosophical preoccupations, rooted in the work of G. E. Moore (a central influence on the Apostles), and culminating in Fry’s and Clive Bell’s differing brands of pioneering aesthetic formalism. ‘The main things which Moore instilled deep into our minds and characters,’ Leonard Woolf recalls, ‘were his peculiar passion for truth, for clarity and common sense, and a passionate belief in certain values.’ Increasing awareness of Woolf’s feminism, however, and of the influence on her work of other women artists, writers and thinkers has meant that these Moorean and male points of reference, though of importance, are no longer considered adequate in approaching Woolf’s work, and her intellectual development under the tutelage of women, together with her involvement with feminist thinkers and activists, is also now acknowledged.”

Literary CriticismCambridgeBloomsbury
Book:The Cambridge Introduction to Virginia Woolf
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“When the line is delivered, Hamlet is gazing on Yorrick's skull, casually unearthed by the gravedigger. Yorrick's fame grew out of being the line which accompanied what is perhaps the single most recognizable iconic image in literature: a man in black, considering a human skull. Show some form of that picture to most moderately educated people and plenty who aren't and they'll know that the man is Hamlet. Such things don't find their way into the popular consciousness by accident and trivial though the line may sound, it speaks to the heart of the play: a man compelled by circumstances outside of his control to confront his own mortality.”

ShakespeareLiterary CriticismAfterword
Book:Hamlet, Prince of Denmark
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“Government and revolution, the Tsar and the Radicals, were both philistines in art. The radical critics fought despotism, but they evolved a despotism of their own. The claims, the promptings, the theories that they tried to enforce were in themselves just as irrelevant to art as was the conventionalism of the administration. What they demanded of an author was a social message and no nonsense, and from their point of view a book was good only insofar as it was of practical use to the welfare of the people. There was a disastrous flaw in their fervor. Sincerely and boldly they advocated freedom and equality but they contradicted their own creed by wishing to subjugate the arts to current politics. If in the opinion of the Tsars authors were to be the servants of the state, in the opinion of the radical critics writers were to be the servants of the masses. The two lines of thought were bound to meet and join forces when at last, in our times, a new kind of regime, the synthesis of a Hegelian triad, combined the idea of the masses with the idea of the state.”

ArtFreedomCommunismDictatorshipLiterary CriticismAutocracyArt Politics
Book:Lectures on Russian Literature
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“I would recommend it to you to reflect, and remark on, and digest what you read; to enter into the spirit and design of your author; to observe every step he takes to accomplish his end; and to dwell on any remarkable beauties of diction, justness or sublimity of sentiment, or masterly strokes of true wit which may occur in the course of your reading.”

LiteratureHistoryLiterary CriticismThomas JeffersonThomas Jefferson Education
Book:Jefferson the Virginian
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“Offered a job as book critic for Time magazine as a young man, Bellow had been interviewed by Chambers and asked to give his opinion about William Wordsworth. Replying perhaps too quickly that Wordsworth had been a Romantic poet, he had been brusquely informed by Chambers that there was no place for him at the magazine. Bellow had often wondered, he told us, what he ought to have said. I suggested that he might have got the job if he'd replied that Wordsworth was a once-revolutionary poet who later became a conservative and was denounced by Browning and others as a turncoat. This seemed to Bellow to be probably right. More interesting was the related question: What if he'd kept that job?”

Literary CriticismRomantic PoetryTime MagazineWordsworthRobert BrowningSaul BellowWhittaker Chambers
Book:Hitch 22: A Memoir
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“Later on in Culture and Society, Williams scores a few points by reprinting some absolutist sentences that, taken on their own, represent exaggerations or generalisations. It was a strength and weakness of Orwell’s polemical journalism that he would begin an essay with a bold and bald statement designed to arrest attention—a tactic that, as Williams rightly notices, he borrowed in part from GK Chesterton and George Bernard Shaw. No regular writer can re-read his own output of ephemera without encountering a few wince-making moments of this kind; Williams admits to ‘isolating’ them but has some fun all the same. The flat sentence ‘a humanitarian is always a hypocrite’ may contain a particle of truth—does in fact contain such a particle—but will not quite do on its own. Other passages of Orwell’s, on the failure of the Western socialist movement, read more convincingly now than they did when Williams was mocking them, but are somewhat sweeping for all that. And there are the famous outbursts of ill-temper against cranks and vegetarians and homosexuals, which do indeed disfigure the prose and (even though we still admire Pope and Swift for the heroic unfairness of their invective) probably deserve rebuke. However, Williams betrays his hidden bias even when addressing these relatively easy targets. He upbraids Orwell for the repeated use of the diminutive word ‘little’ as an insult (‘The typical Socialist ... a prim little man,’ ‘the typical little bowlerhatted sneak,’ etc.). Now, it is probable that we all overuse the term ‘little’ and its analogues. Williams does at one point—rather ‘loftily’ perhaps—reproach his New Left colleagues for being too ready to dismiss Orwell as ‘petit-bourgeois.’ But what about (I draw the example at random) Orwell’s disgust at the behaviour of the English crowd in the First World War, when ‘wretched little German bakers and hairdressers had their shops sacked by the mob’?”

Literary CriticismGeorge OrwellRaymond Williams
Author:Christopher Hitchens
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“Making another effort to be paradoxical, Williams decides to identify Orwell as an instance of ‘the paradox of the exile’. This, which he also identified with D. H. Lawrence, constituted an actual ‘tradition’, which, in England: attracts to itself many of the liberal virtues: empiricism, a certain integrity, frankness. It has also, as the normally contingent virtue of exile, certain qualities of perception: in particular, the ability to distinguish inadequacies in the groups which have been rejected. It gives, also, an appearance of strength, although this is largely illusory. The qualities, though salutary, are largely negative; there is an appearance of hardness (the austere criticism of hypocrisy, complacency, self-deceit), but this is usually brittle, and at times hysterical: the substance of community is lacking, and the tension, in men of high quality, is very great. This is quite a fine passage, even when Williams is engaged in giving with one hand and taking away with the other. Orwell’s working title for Nineteen Eighty-Four was ‘The Last Man in Europe,’ and there are traces of a kind of solipsistic nobility elsewhere in his work, the attitude of the flinty and solitary loner. May he not be valued, however, as the outstanding English example of the dissident intellectual who preferred above all other allegiances the loyalty to truth? Self-evidently, Williams does not believe this and the clue is in the one word, so seemingly innocuous in itself, ‘community.”

Literary CriticismGeorge OrwellRaymond Williams
Author:Christopher Hitchens
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“Williams, having awarded Orwell the title of exile, immediately replaces it with the description ‘vagrant’. A vagrant will, for example, not be reassured or comforted by Williams’s not-very-consoling insistence that '"totalitarian" describes a certain kind of repressive social control, but, also, any real society, any adequate community, is necessarily a totality. To belong to a community is to be a part of a whole, and, necessarily, to accept, while helping to define, its disciplines.’ In other words, Williams is inviting Orwell and all of us to step back inside the whale! Remember your roots, observe the customs of the tribe, recognise your responsibilities. The life of the vagrant or exile is unwholesome, even dangerous or deluded. The warmth of the family and the people is there for you; so is the life of the ‘movement.’ If you must criticize, do so from within and make sure that your criticisms are constructive. This rather peculiar attempt to bring Orwell back into the fold is reinforced by this extraordinary sentence: ‘The principle he chose was socialism, and Homage to Catalonia is still a moving book (quite apart from the political controversy it involves) because it is a record of the most deliberate attempt he ever made to become part of a believing community.’ I leave it to any reader of those pages to find evidence for such a proposition; it is true that Orwell was very moved by the Catalan struggle and by the friends he made in the course of it. But he wasn’t exactly deracinated before he went, and the ‘believing community’ of which, in the aftermath, he formed a part was a community of revolutionary sympathisers who had felt the shared experience of betrayal at the hands of Stalin. And of Stalin’s ‘community’, at that epoch, Williams formed an organic part. Nor, by the time he wrote Culture and Society, had he entirely separated from it.”

Literary CriticismGeorge OrwellRaymond Williams
Author:Christopher Hitchens
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“Read as little as possible of literary criticism - such things are either partisan opinions, which have become petrified and meaningless, hardened and empty of life, or else they are just clever word-games, in which one view wins today, and tomorrow the opposite view. Works of art are of an infinite solitude, and no means of approach is so useless as criticism.”

MeanLittlesArtTodayGamesWinningViewsOpinionTomorrowSolitudeApproachCriticismEmptyOppositesInfiniteCleverUselessWorks Of ArtMeaninglessPartisansHardenedLiterary CriticismToday And Tomorrow
Author:Rainer Maria Rilke
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“There's a certain kind of conversation you have from time to time at parties in New York about a new book. The word "banal" sometimes rears its by-now banal head; you say "underedited," I say "derivative." The conversation goes around and around various literary criticisms, and by the time it moves on one thing is clear: No one read the book; we just read the reviews.”

KindBookSometimesMovingCertainPartyClearOne ThingNew YorkConversationCriticismVariousReviewsNew BooksLiterary CriticismDerivatives
Author:Anna Quindlen
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