Best 33 quotes of Leslie Fiedler on MyQuotes

All good criticism should be judged the way art is. You shouldn't read it the way you read history or science.

Anybody in the next centuries wanting to know what it was like to be a poet in the middle of the 20th century should read Kaddish.

Cooper wrote a novel which is absolutely indistinguishable from Austen, completely from a female point of view, completely English, no sense that he was an American.

Critics? How do they happen? I know how it happened to me. I would send a poem or story to a magazine and they would say this doesn't suit our needs precisely but on the other hand you sound interesting. Would you be interested in doing a review?

DeLillo never seems committed to me to what he is writing. Very nice surfaces, but he's got nothing underneath.

Faulkner sat in our living room and read from Light in August. That was incredible.

Faulkner turned out to be a great teacher. When a student asked a question ineptly, he answered the question with what the student had really wanted to know.

Foucault was the one person I met in France that I could talk to. He was a mensch. You know whether you agree with him or not because you know what he is saying.

Hemingway seems to be in a funny position. People nowadays can't identify with him closely as a member of their own generation, and he isn't yet historical.

Henry Miller wrote novels, but he calls his protagonist Henry, often Henry Miller, and his books are in this gray area between memoir and novel.

I admire Ginsberg as a poet, despite the fact that he seems not to know when he is being good and when he is bad. But he will last, or at least those poems will last.

I gave up writing blurbs because you make one friend and 200 enemies.

I like that people who are not experts can not only understand but get engaged by my work. I like that Joe Paterno can read me. Bill Bradley.

I never met anybody in my life who says, I want to be a critic. People want to be a fireman, poet, novelist.

I think Henry Miller has had huge influence not because he wrote about sex, but because the memoir or the nonfiction novel has become such a monumental force in American publishing, if not in literature.

I think the pattern of my essays is, A funny thing happened to me on my way through Finnegans Wake.

It's so wrong when I pick up a new edition of Huckleberry Finn and I look at the last page and it doesn't say, Yours truly, at the end.

I've been writing about James Fenimore Cooper. He was not a writer. Here was a man who was 30 years old and had never put anything more than his signature on paper.

I've had a tough time with Pynchon. I liked him very much when I first read him. I liked him less with each book. He got denser and more complex in a way that didn't really pay off.

Jane Austen is at the end of the line that begins with Samuel Richardson, which takes wonder and magic out of the novel, treats not the past but the present.

Of the female black authors, I really like Morrison's early books a lot. But she's really become so much a clone of Faulkner. He did it better.

Raymond Carver is good. I think he'll be appreciated more and more. He's an easy writer to imitate.

The black situation has changed. They finally realized they're Americans.

The novel doesn't come into existence until certain methods of reproducing fiction come along.

The novel is always pop art, and the novel is always dying. That's the only way it stays alive. It does really die. I've been thinking about that a lot.

There are things in American culture that want to wipe the class distinction. Blue jeans. Ready-made clothes. Coca-Cola.

The reason Saul Bellow doesn't talk to me anymore is because he knows his new novels are not worth reading.

There is a place in men's lives where pictures do in fact bleed, ghosts gibber and shriek, maidens run forever through mysterious landscapes from nameless foes; that place is, of course, the world of dreams and of the repressed guilts and fears that motivate them [i.e., the unconscious]. This world the dogmatic optimism and shallow psychology of the Age of Reason had denied; and yet this world it is the final, perhaps the essential, purpose of the gothic romance to assert.

The text is merely one of the contexts of a piece of literature, its lexical or verbal one, no more or less important than the sociological, psychological, historical, anthropological or generic.

To be an American (unlike being English or French or whatever) is precisely to imagine a destiny rather than to inherit one; since we have always been, insofar as we are Americans at all, inhabitants of myth rather than history.

Unless criticism refuses to take itself quite so seriously or at least to permit its readers not to, it will inevitably continue to reflect the finicky canons of the genteel tradition and the depressing pieties of the Culture Religion of Modernism.

When all of us are forgotten, people will still be remembering Stephen King.

When I was 12 years old, someone took me to see Martha Graham. It was nothing like what I thought of as serious dancing and even then I knew I was having a great experience. It was as if somebody was moving through space like no one ever did before.