Fiction Quotes - page 21
For what is a nation? What is our mother-country? It is not a piece of earth, nor a figure of speech, nor a fiction of the mind. It is a mighty Shakti, composed of the Shaktis of all the millions of units that make up the nation, just as Bhawani Mahisha Mardini sprang into being from the Shakti of all the millions of gods assembled in one mass of force and welded into unity. The Shakti we call India, Bhawani Bharati, is the living unity of the Shaktis of three hundred million people, but she is inactive, imprisoned in the magic circle of Tamas, the self-indulgent inertia and ignorance of her sons...
Sri Aurobindo
I know that my early life was at one and the same time so common as to be unremarkable, and so strange as to be the stuff of fiction. I know of course that this is how all human lives are, but that it is only given to a few of us to luxuriate in the bath of self-revelation, self-curiosity, apology, revenge, bafflement, vanity and egoism that goes under the name Autobiography. You have seen me at my washpot scrubbing at the grime of years: to wallow in a washpot may not be the same thing as to be purified and cleansed, but I have come away from this very draining, highly bewildering and passionately intense few months feeling slightly less dirty. Less dirty about the first twenty years of my life, at least. The second twenty, now that is another story.
Stephen Fry
O. K., I'm a rock critic. I also write and record music. I write poetry, fiction, straight journalism, unstraight journalism, beatnik drivel, mortifying love letters, death threats to white jazz critics signed "The Mau Maus of East Harlem," and once a year my own obituary (latest entry: "He was promising...").
Lester Bangs
The planet has a fever. If your baby has a fever, you go to the doctor. If the doctor says you need to intervene here, you don't say, "Well, I read a science fiction novel that told me it's not a problem." If the crib's on fire, you don't speculate that the baby is flame retardant. You take action.
Al Gore
In previous conditions, extreme states came under the jurisdiction of the arts... People substituted writing (fiction) for what was once spiritual life, poetry (chaotic words) for actual ecstasies. Art constitutes a minor free zone outside action, paying for its freedom by giving up the real world. A heavy price!
Georges Bataille
Extreme states of being, whether individual or collective, were once purposefully motivated. Some of those purposes no longer have meaning (expiation, salvation). The well-being of communities is no longer sought through means of doubtful effectiveness, but directly, through action. Under these conditions, extreme states of being fell into the domain of the arts, and not without a certain disadvantage. Literature (fiction) took the place of what had formerly been the spiritual life; poetry (the disorder of words) that of real states of trance. Art constituted a small free domain, outside action: to gain freedom it had to renounce the real world. This is a heavy price to pay, and most writers dream of recovering a lost reality. They must then pay in another sense, by renouncing freedom.
Georges Bataille
And the second thing fiction does is to build empathy. When you watch TV or see a film, you are looking at things happening to other people. Prose fiction is something you build up from 26 letters and a handful of punctuation marks, and you, and you alone, using your imagination, create a world and people it and look out through other eyes. You get to feel things, visit places and worlds you would never otherwise know. You learn that everyone else out there is a me, as well. You're being someone else, and when you return to your own world, you're going to be slightly changed. Empathy is a tool for building people into groups, for allowing us to function as more than self-obsessed individuals.
Neil Gaiman
Chesterton and Tolkien and Lewis were, as I've said, not the only writers I read between the ages of six and thirteen, but they were the authors I read over and over again; each of them played a part in building me. Without them, I cannot imagine that I would have become a writer, and certainly not a writer of fantastic fiction. I would not have understood that the best way to show people true things is from a direction that they had not imagined the truth coming, nor that the majesty and the magic of belief and dreams could be a vital part of life and of writing.
And without those three writers, I would not be here today. And nor, of course, would any of you. I thank you.
Neil Gaiman
I have always held the old-fashioned opinion that the primary object of a work of fiction should be to tell a story; and I have never believed that the novelist who properly performed this first condition of his art, was in danger, on that account, of neglecting the delineation of character - for this plain reason, that the effect produced, by any narrative of events is essentially dependent, not on the events themselves, but on the human interest which is directly connected with them. It may be possible in novel-writing to present characters successfully without telling a story; but it is not possible to tell a story successfully without presenting characters: their existence, as recognizable realities, being the sole condition on which the story can be effectively told. The only narrative which can hope to lay a strong hold on the attention of readers is a narrative which interests them about men and women - for the perfectly obvious reasons that they are men and women themselves.
Wilkie Collins
Saving Silverman is so bad in so many different ways that perhaps you should see it, as an example of the lowest slopes of the bell-shaped curve. This is the kind of movie that gives even its defenders fits of desperation. Consider my friend James Berardinelli, the best of the Web-based critics. No doubt 10 days of oxygen deprivation at the Sundance Film Festival helped inspire his three-star review, in which he reports optimistically, "Saving Silverman" has its share of pratfalls and slapstick moments, but there's almost no flatulence." Here's a critical rule of thumb: You know you're in trouble when you're reduced to praising a movie for its absence of fart jokes, and have to add "almost"... as for Neil Diamond, Saving Silverman is his first appearance in a fiction film since The Jazz Singer, and one can only marvel that he waited 20 years to appear in a second film, and found one even worse than his first one.
Roger Ebert
Some writers like to boil down headlines of liberal newspapers into fiction, so they say there shouldn't be communal riots, everybody should love each other, there shouldn't be boundaries or fundamentalism. But I think literature is more than that; these are political views which most of us hold anyway.
Arundhati Roy
