Best 5099 quotes in «literature quotes» category

O sonbahar, kendimi örnek alarak, insanın bedeni cansızlaşmadan önce ölümün eşiğinden geçebileceğini öğrendim. Kanınız bedeninizde dolaşabilir ama psikolojik olarak ölüm için bütün hazırlıkları yapmış, ölümün kendisine tahammül etmişsinizdir. Çevrenizdeki her şeyi mezardan seyrediyor gibi ilgisizce izlersiniz, Kendinizi asla bir Hıristiyan olarak kabullenmemenize, zaman zaman bunun aksini düşünmenize rağmen birdenbire bakmışsınız ki herşeye rağmen sizi inciten herkesi bağışlamış, size haksızlığı dokunanlara olan öfkenizi kaybetmişsinizdir. Değiştirmek için kaygılandığınız veya üzüldüğünüz bir şey de yoktur.

Ô, the wine of a woman from heaven is sent, more perfect than all that a man can invent.

Os meus sonhos são pirilampos - pontos de luz viva cintilando na escuridão.

Ô, the wine of a woman from heaven is sent, more perfect than all that a man can invent. When she came to my bed and begged me with sighs not to tempt her towards passion nor actions unwise, I told her I’d spare her and kissed her closed eyes, then unbraided her body of its clothing disguise. While our bodies were nude bathed in candlelight fine I devoured her mouth, tender lips divine; and I drank through her thighs her feminine wine. Ô, the wine of a woman from heaven is sent, more perfect than all that a man can invent.

Our belief is not a belief. Our principles are not a faith. We do not rely solely upon science and reason, because these are necessary rather than sufficient factors, but we distrust anything that contradicts science or outrages reason. We may differ on many things, but what we respect is free inquiry, open-mindedness, and the pursuit of ideas for their own sake ... We are not immune to the lure of wonder and mystery and awe: we have music and art and literature, and find that the serious ethical dilemmas are better handled by Shakespeare and Tolstoy and Schiller and Dostoyevsky and George Eliot than in the mythical morality tales of the holy books. Literature, not scripture, sustains the mind and -- since there is no other metaphor -- also the soul.

Our desire to say more grows bigger and what to say about it, except that saying is not always about saying, growing is not always about growing.

Our future depends on stories. As the world advances, literature has the ability to ground us—in our humanness, our imaginations, and our enlightenment.

Our life is not in stuff, focus your attention on Christ where it should be. Prosperity and wealth has damaged the body of Christ. God takes pleasure in the prosperity of his children but don't replace him with material.

Our son Barney was about to be born when I started, [this book] and will start school about the time this is going to press. When I told him I was a writer and not a firefighter, he said:" but writers don't do anything.

Our thoughts of literary renaissance should always center themselves on the removal of superstition, meanness, indignity and ignorance.

Outside of the dreary rubbish that is churned out by god knows how many hacks of varying degrees of talent, the novel is, it seems to me, a very special and rarefied kind of literary form, and was, for a brief moment only, wide-ranging in its sociocultural influence. For the most part, it has always been an acquired taste and it asks a good deal from its audience. Our great contemporary problem is in separating that which is really serious from that which is either frivolously and fashionably "radical" and that which is a kind of literary analogy to the Letterman show. It's not that there is pop culture around, it's that so few people can see the difference between it and high culture, if you will. Morton Feldman is not Stephen Sondheim. The latter is a wonderful what-he-is, but he is not what-he-is-not. To pretend that he is is to insult Feldman and embarrass Sondheim, to enact a process of homogenization that is something like pretending that David Mamet, say, breathes the same air as Samuel Beckett. People used to understand that there is, at any given time, a handful of superb writers or painters or whatever--and then there are all the rest. Nothing wrong with that. But it now makes people very uncomfortable, very edgy, as if the very idea of a Matisse or a Charles Ives or a Thelonious Monk is an affront to the notion of "ain't everything just great!" We have the spectacle of perfectly nice, respectable, harmless writers, etc., being accorded the status of important artists...Essentially the serious novelist should do what s/he can do and simply forgo the idea of a substantial audience.

Overambitious projects may be objectionable in many fields, but not in literature. Literature remains alive only if we set ourselves immeasurable goals, far beyond all hope of achievement.

Over the last 10 years, we've learned that there's still no better way to succeed in college than to be well read.

Overhyped books are the empty calories of the literary world.

Ô, wine!, the truth-serum so potent that all those who wish to live happy lives should abstain from drinking it entirely!... except of course when they are alone.

Özgürlük senin nene gerek? Çünkü dışarda elin kolun serbest gezerken sende kalan son inancını da yitirebilirsin.

Oysa acınılmaktan hiç hoşlanmazdı. Yaşantısı boyunca ona hiç kimse acımamıştı. Acımanın, hem acınanlar hem de acıyanlar için aşağılatıcı bir duygu olduğunu okumuştu ve işitmişti.

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy? Pratchett: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question. O: It’s a rather ghettoized genre. P: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre. O: It’s certainly regarded as less than serious fiction. P: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that. (Pauses) That was a bloody good answer, though I say it myself.

Özgürlük, özgürlüğü için her gün mücadele edenin hakkıdır.

Pain is there when you are born, Its the very first thing you feel when you come in to the world. Then why run? Face it head on, cry in it, laugh in it because in the end pain is what you will remember.

Part of dedicating your life to studying literature is realizing that storytelling is more than just make-believe and that make-believe is far more important that we all pretend -- make believe -- it is. One way or another books tell the stories of their readers. But telling our lives is not the same as shaping them, whittling them away. Suddenly Jill had lost control. Her books had taken over and were in charge.

Para cargar el lenguaje de significado hasta el grado máximo disponemos de tres medios principales [...]: I) proyectar el objeto (fijo o en movimiento) sobre la imaginación visual; II) inducir un correlato emocional por medio del sonido y del ritmo de lo dicho; III) inducir ambos efectos mediante la estimulación de asociaciones (intelectuales o emocionales) que hayan permanecido en la conciencia del receptor relacionadas con las palabras reales o con los grupos de palabras empleados. (fanopoeia, melopoeía, logopoeia)

Paradoxically, however, a story ceases to be like life on its last page. Life goes on, but the story does not. Its characters have no vitality outside the first page and after the last is only good as the next reader's.

Pay attention, and use your imagination.

Part of him was beautiful, a creative, sensitive soul. But there was another part, a part perhaps hinted at, which I had not yet truly seen.

People should read more Indigenous writers. They are writing some of the most innovative and important work in contemporary literature.

People are so fucking dumb. Nobody reads anymore, nobody goes out and looks and explores the society and culture they were brought up in. People have attention spans of five seconds and as much depth as a glass of water.

People come and go all the time, it’s ripping me to pieces and I was in a state of simply not caring about anything or anyone other than the very thought of not giving a damn anymore. People always leave, I thought, and I did not want to be excited.

People don't see it that way. It's always the woman who is blamed for not trying hard enough to please her man.

People who want to change everything in the world but never think of changing themselves are clapping with one palm.

People won't see Imagination in something that doesn't relate to their experience because of their own mental limitations. I want people to escape the expected and ordinary, to escape the regular expectations of a story, and truly step into a different world of literature.

Personally I know only one person who wrote about utopia. Afterwards he was executed. I suppose it's not my genre.

People are talking high of Thiruvalluvar. But in practice they do not respect his teachings. They act against him and disregard him.

People don’t read to enlighten themselves or seek to gain some valuable insight into their own psychology. People read to escape.

People recover differently. Some change cities, some fall in love and some begin writing.

People who say literature doesn't matter, there are three books from the Middle East that are still shaping the world many centuries later.

People with vision sees opportunity where there is problem. They see money not problem.

People would want to get safe and come to Christ because they see the evidence in your life not because you quote the scriptures to them.

Perhaps forgiveness wasn’t a singular event, but a progression, or better, a dance that took some figuring before you could perform the steps.

Pienso que en la vida de cada uno de nosotros existe un libro similar, que de pequeños no nos limitamos simplemente a leer, sino que inspeccionamos y rebuscamos en cada uno de sus rincones como si de una habitación se tratara. Un libro así, rebuscado como una habitación, escrutado o interrogado como una cara en cada rasgo y arruga, nunca podremos juzgarlo como se juzga un libro, porque para nosotros ha abandonado la zona de los libros y ha pasado a vivir a la zona de la memoria y de los afectos.

Pinapakita nyong mga dayuhang libro pa rin at mga dayuhang libro lang ang tinatangkilik ng mga tao. Bakit magsusugal ang mga publisher sa Pilipinong manunulat kung hindi naman pala mabili ang mga kwentong isinusulat ng mga Pilipino? At kung walang mga publisher na tatanggap ng mga trabaho ng mga Pilipinong manunulat, sino pa ang gugustong magsulat? Kung walang magsusulat, ano ang kahihinatnan ng panitikan sa bansa at sa kakayanan nating bumasa't sumulat?

Playdate. (n) A Date arranged by adults in which young children are brought together, usually at the home of one of them, for the premeditated purpose of “playing”. A feature of contemporary American upscale suburban life in which “neighborhoods” have ceased to exist, and children no longer trail in and out of “neighbor childrens” houses or play in “backyards”. In the absence of sidewalks in newer “gated” coummunities, children cannot “walk” to playdates but must be driven by adults, usually mothers. A “playdate” is never initiated by the players (i.e., children), but only by their mothers. In American-suburban social climbing through playdating, this is the chapter you’ve been awaiting.

Poetry is, after all, only nonsense and justifies what would be considered impudence if written in prose.

Poetry empowers the simplest of lives to confront the most extreme sorrows with courage, and motivates the mightiest of offices to humbly heed lessons in compassion.

Popular! In America, what else matters?

Pose your questions to people and you will get countless useless answers.

Post-structuralism is a reaction to structuralism and works against seeing language as a stable, closed system. It is a shift from seeing the poem or novel as a closed entity, equipped with definite meanings which it is the critic's task to decipher, to seeing literature as irreducibly plural, an endless play of signifiers which can never be finally nailed down to a single center, essence, or meaning. Jan Rybicki, 2003

Progress is not one of those floating comparatives, so beloved of our friends in advertising, we need a context, a perspective. What are we better than? Who are we better than? Examine this statement: Most people are better off. Financially? socially? educationally? medically? spiritually? I dare not ask if you are happy? Are you happy?

please,Tana,please.' -lots of characters in The Coldest Girl in Coldtown

Poetry is a machine that manufactures love. Its other virtues escape me.