Best 39 quotes in «american literature quotes» category

For me the poem and the poetry open mic isn’t about competition and it never will be. Honestly? It's wrong. The open mic is about 1 poet, one fellow human being up on a stage or behind a podium sharing their work regardless of what form or style they bring to it. In other words? The guy with the low slam score is more than likely a far better poet-writer than the guy who actually won. But who are you? I ? Or really anyone else to judge them? The Poetry Slam has become an overgrown, over used monopoly on American literature and poetry and is now over utilized by the academic & public school establishments. And over the years has sadly become the "McDonalds Of Poetry". We can only hope that the same old stale atmosphere of it all eventually becomes or evolves into something new that translates to and from the written page and that gives new poets with different styles & authentic voices a chance to share their work too.

Harper: You, the one part of the real world I wasn't allergic to.

I like to pet nice things with my fingers

I have seen them stagger out of their movie palaces and blink their empty eyes in the face of reality once more, and stagger home, to read the Times, to find out what's going on in the world. I have vomited at their newspapers, read their literature, observed their customs, eaten their food, desired their women, gaped at their art. But I am poor, and my name ends with a soft vowel, and they hate me and my father, and my father's father, and they would have my blood and put me down, but they are old now, dying in the sun and in the hot dust of the road, and I am young and full of hope and love for my country and my times, and when I say Greaser to you it is not my heart that speaks, but the quivering of an old wound, and I am ashamed of the terrible thing I have done.

He believed something that he could hardly explain, even to himself. He thought it was a tragedy that would have to be played out, in the sense that water always seeks its own level. In some ultimate sense, there was no one at the controls. The war ran on its own motion...But the thing would not be stopped, because to stop it, simply to end it, would be to repudiate too much. Too many words to eat, too many unforeseen consequences, too much shame, too many unrequited dead. So the war was a force of nature, a wand of the gods...

In that moment I think I learned the real tragedy of living too long. It is not losing one's health or one's memory or even one's mind; it is losing one's dignity.

Many men have triumphantly exploited a minuscule talent through life only to ruin themselves by muffing their deaths. Missing their proper exit cues they have hung around like dreary guests at a party, repeating themselves until it is made clear to all how little they ever had to say.

I have never had the lust to meet famous authors; the best of them is in their books.

L’immagine che abbiamo l’uno dell’altro. Strati e strati d’incomprensione. L’immagine che abbiamo di noi stessi. Vana. Presuntuosa. Completamente distorta. Ma noi tiriamo dritto e viviamo di queste immagini. «Lei è così, lui è così, io sono così. È andata così per questi motivi…» Basta.

Nessuno passa attraverso la tristezza, il dolore, la confusione e la perdita senza restare segnato in qualche modo.

Nay, so great was our famine that a Salvage we slew and buried, the poorer sort took him up again and eat him; and so did divers one another, boyled and stewed with roots and herbs. And one amongst the rest did kill his wife, powdered her, and had eaten part of her, before it was knowne, for which hee was executed, as hee well deserved. Now whether shee was better roasted, boyled, or carbonado'd I know not, but of such a dish as powdered wife I never heard of.

Our fiction is not merely in flight from the physical data of the actual world…it is, bewilderingly and embarrassingly, a gothic fiction, nonrealistic and negative, sadist and melodramatic – a literature of darkness and the grotesque in a land of light and affirmation…our classic [American] literature is a literature of horror for boys

Not long ago, after my last trip to Russia, I had a conversation with an American very eminent in the field of politics. I asked what he read, and he replied that he studied history, sociology, politics and law. "How about fiction - novels, plays poetry?" I asked. "No," he said, "I have never had time for them. There's so much else I have to read." I said, "Sir, I have recently visited Russia for the third time and don't know how well I understand Russians; but I do know that if I only read Russian history I could not have had the access to Russian thinking I have had from reading Dostoevsky, Tolstoy, Chekhov, Pushkin, Turgenev, Sholokhov, and Ehrenburg. History only recounts, with some inaccuracy, what they did. The fiction tells, or tries to tell, why they did it and what they felt and were like when they did it." My friend nodded gravely. "I hadn't though of that," he said. "Yes, that might be so; I had always thought of fiction as opposed to fact." But in considering the American past, how poor we would be in information without Huckleberry Fin, An American Tragedy, Winesburg, Ohio, Main Street, The Great Gatsby, and As I Lay Dying.

Persons attempting to find a motive in this narrative will be prosecuted; persons  attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.

Roy: The immutable heart of what we are that bleeds through whatever we might become. All else is vanity.

Rome took all the vanity out of me, for after seeing the wonders there, I felt too insignificant to live, and gave up all my foolish hopes in despair." "Why should you, with so much energy and talent?" "That's just why, because talent isn't genius, and no amount of energy can make it so. I want to be great, or nothing. I won't be a common-place dauber, so I don't intend to try anymore.

Quando vennero presentati, lui fece una battuta, sperando di piacere. Lei rise a crepapelle, sperando di piacere. Poi se ne tornarono a casa in macchina, ognuno per conto suo, lo sguardo fisso davanti a sé, la stessa identica smorfia sul viso. A quello che li aveva presentati nessuno dei due piaceva troppo, anche se faceva finta di sí, visto che ci teneva tanto a mantenere sempre buoni rapporti con tutti. Sai, non si sa mai, in fondo, o invece sì, o invece sì.

Sembrava non capire o, anche in un momento di stanchezza, non ammettere che avere dei limiti non era poi una cosa così vergognosa, e che lui stesso non era una casa di pietra di centosettant'anni, il cui peso gravasse su imperturbabili travi di quercia: che era, insomma, qualcosa di più transitorio e misterioso.

Social class. Class remains our national awkward topic, usually mumbled over in academic diversity workshops; indeed, most people don't know how to talk about class without automatically coupling it with race. That's because we Americans are loath to recognize that the sky's-the-limit potential we take as our birthright comes at a price far beyond what many Americans--of any race--can afford to pay.

Serving time doesn't make you fit to do anything but serve more time.

Sì, siamo soli, profondamente soli, e in serbo per noi, sempre, c’è uno strato di solitudine ancora più profondo. Non c’è nulla che possiamo fare per liberarcene. No, la solitudine non dovrebbe stupirci, per sorprendente che possa essere farne l’esperienza. Puoi cercare di tirar fuori tutto quello che hai dentro, ma allora non sarai altro che questo: vuoto e solo anziché pieno e solo.

There are no backwaters where things can breed—our connectivity is so high and so global that there are no more Seattles and no more Haight-Ashburys. We’ve arrived at a level of commodification that may have negated the concept of counterculture.

...that was the one distinct time in my life, the strangest moment of all, when I didn’t know who I was—I was far away from home, haunted and tired with travel, in a cheap hotel room I’d never seen, hearing the hiss of steam outside, and the creak of the old wood of the hotel, and footsteps upstairs, and all the sad sounds, and I looked at the cracked high ceiling and really didn’t know who I was for about fifteen strange seconds. I wasn’t scared; I was just somebody else, some stranger, and my whole life was a haunted life, the life of a ghost. I was halfway across America, at the dividing line between the East of my youth and the West of my future, and maybe that’s why it happened right there and then, that strange red afternoon.

The arrows of death fly unseen at noon-day; the sharpest sight cannot discern them.

One that actually relates to all Latin American literature: that is, not every author is interested in being a representative of his or her national culture on the global stage.

There is nothing political about American literature.

Twas noontide of summer, And mid-time of night; And stars, in their orbits, Shone pale, thro' the light Of the brighter, cold moon, 'Mid planets her slaves, Herself in the Heavens, Her beam on the waves. I gazed awhile On her cold smile; Too cold–too cold for me- There pass'd, as a shroud, A fleecy cloud, And I turned away to thee, Proud Evening Star, In thy glory afar, And dearer thy beam shall be; For joy to my heart Is the proud part Thou bearest in Heaven at night, And more I admire Thy distant fire, Than that colder, lowly light.

We are not native. We have no generations of Americans behind us. We have roots elsewhere. We are looking in from the outside. To me, that seems to be perfectly natural.

Writing. Not writing. Twin Terrors. Putting one's mother into words... It may have been easier to put her in her grave.

I like European and South American literature, but mostly I read nonfiction.

You might hear some ugly talk about it at school, but do one thing for me if you will: you just hold your head high and keep those fists down. No matter what anybody says to you, don't you let 'em get your goat.Try fighting with your head for a change . . .it's a good one, even if it does resist learning.

Young poets are too apt to consider themselves “children of the mist” – they must dwell apart from men and contemn their kind, or they fear they shall be only taken for common-place characters. They forget that poetry is the language which speaks to all hearts—and that instead of cherishing the sacred fire as a lonely light, as one that burns in a charnel house, they should bring it forth in its beauty and brightness as a guide to the pleasant places and sparkling waters of earth’s happiness and the radiant messenger of heaven’s exalted hopes. And they should rejoice and be glad that to them the kindling of such high imagination is given. ~ Sarah Josepha Hale Ladies Magazine, November 1830 From the Introduction to Cherishing the Sacred Fire

All good American literature is always interested in people who are ambiguously heroic, like Gatsby.

American literature has always been immigrant.

But even the falsest of men pay so much homage to truth as to seem its votaries.

The adolescent protagonist is one of the hallmarks of American literature.

Can it be that this mathematical universe is the graffito of a hare-brained numerologist?

Ciò che lui trovava stupefacente era il modo in cui gli uomini sembravano esaurire la propria essenza – esaurire la materia, qualunque fosse, che li rendeva quello che erano – e, svuotati di se stessi, trasformarsi nelle persone di cui un tempo avrebbero avuto pietà. Era come se, mentre la loro vita era ricca e piena, essi fossero, in segreto, stufi di se stessi e non vedessero l’ora di liberarsi del loro discernimento, della loro salute e di ogni senso delle proporzioni per passare all’altro io, il vero io: che era uno stronzo detestabile e completamente illuso. Era come se trovarsi in sintonia con la vita fosse qualcosa di accidentale che poteva capitare, certe volte, ai giovani fortunati; mentre, per il resto, era una cosa con la quale gli essere umani non riuscivano a rapportarsi. Che strano.

Christians are the salt of the earth...Nothing grows where they've been.