Quotes & Sayings About Literary Style

I often reread passages of "Lolita" for its exquisite language. To me, "Lolita" has no message, no purpose, other than to exist as a marvel of literary creation. It has wit, intelligence and style. It pointedly makes no attempt to serve a higher moral purpose, and previous attempts by critics to find one have proven ludicrous. The annotated edition is accompanied by a brilliant afterword by Nabokov that is a lucid reminder of the pure joy of writing, its interplay with life. — Amy Tan

In truth, even if they have an imperfect insight into their own methods, I still slightly mistrust writers of fiction who are assured literary critics; it makes me suspect that they favour the word over the world it should describe. Such scribes fall victim too easily to the solecism of equating style with morality. — Will Self

However, although The Da Vinci Code did a whole heap of things defectively, it did one thing stupefyingly well - the plot. It was as though Brown had jettisoned all traces of style and credibility from his novel because he had realised, in a flash of Leonardo-like scientific insight, that style and credibility were the very properties preventing his theoretical story-balloon from taking flight. So they had been tossed over the side, along with beauty, truth and five hundred years of literary progress. — Andy Miller

"Okay! ... my three dots! have people ever reproached me for them! they've slobbered on about my three dots! ... 'Ah! his three dots! ... Ah, his three dots! ... He can't finish his sentences!' Every stupidity in the book! every one, Colonel!"
"So?"
"Go!pss!pss! ... piss off, Colonel! and what's your opinion, Colonel?"
"Instead of those three dots, you might just as well put in a few words, that's what I feel!" — Louis-Ferdinand Celine

But everything written has style. The list of ingredients on the side of a cornflakes box has style. And everything literary has literary style. And style is integral to a work. How something is told correlates with - more - makes what's being told. A story is its style. — Ali Smith

Literary criticism can be no more than a reasoned account of the feeling produced upon the critic by the book he is criticizing. Criticism can never be a science: it is, in the first place, much too personal, and in the second, it is concerned with values that science ignores. The touchstone is emotion, not reason. We judge a work of art by its effect on our sincere and vital emotion, and nothing else. All the critical twiddle-twaddle about style and form, all this pseudoscientific classifying and analysing of books in an imitation-botanical fashion, is mere impertinence and mostly dull jargon. — D.H. Lawrence

The New Testament evinces its universal design in its very, style, which alone distinguishes it from all the literary productions of earlier and later times. — Philip Schaff

Malone's commentary on Sonnet 93 was a defining moment in the history not only of Shakespeare studies but also of literary biography in general. What has emerged in our time as a dominant form of life writing can trace its lineage back to this extended footnote. — James Shapiro

Literary style is like crystal-ware: the cleaner the wineglass, the brighter the brilliance. As a reader, I agree with those who believe that a colour of the dress, which a character has on, as well as any enumeration and description of dishes at dinner or in the kitchen should be mentioned only in case if all this has a strong consequent relation to the plot, but as an author, I can't help mentioning all this, with no particular reason, just for love for my characters, desiring to give them something nice and pleasant. Melancholy grows a platinum rose. Affection grows a double rose. — Lara Biyuts

Never try to keep it professional, keep it smutty, write with bodily fluids on sandpaper, and damn the men with clipboards in white suits, the literary bean-counters, the prose police. — Peter Selgin

Every genuinely literary style, from the high authorial voice to Foster Wallace and his footnotes-within-footnotes, requires the reader to see the world from somewhere in particular, or from many places. So every novelist's literary style is nothing less than an ethical strategy - it's always an attempt to get the reader to care about people who are not the same as he or she is. — Zadie Smith

I have no favourite genre or style but treat each novel with the same care, imagination and craftsmanship. It's as difficult to write a crime or a children's novel with a touch of style and grace as it is a literary novel. — Garry Disher

I should say that I'm not conscious of any particular style or any particular literary device when I am writing. I have written 22 books, and they are all very different. I have tried all kinds of genres. — Isabel Allende

If Scripture were to describe the downfall of an empire in the style adopted by political historians, the common people would not be stirred. — Baruch Spinoza

We should have scant notion of the gardens of these New England colonists in the seventeenth century were it not for a cheerful traveller named John Josselyn, a man of everyday tastes and much inquisitiveness, and the pleasing literary style which comes from directness, and an absence of self-consciousness. — Alice Morse Earle

I changed my writing style deliberately. My first two novels were written in a very self-consciously literary way. After I embraced gay subject matter, which was then new, I didn't want to stand in its way. I wanted to make the style as transparent as possible so I could get on with it and tell the story, which was inherently interesting. — Edmund White

What this also suggests, intriguingly, is that the task of translating (or writing) literary novels cannot be broken into parts and done by a succession of different humans either - not by wikis, nor crowdsourcing, nor ghostwriters. Stability of point of view and consistency of style are too important. What's truly strange, then, is the fact that we do seem to make a lot of art this way. — Brian Christian

Most modern literary criticism is literary and nothing else - that is, it concentrates on an author's style and thinks it rather vulgar to notice his subject matter. — George Orwell

There are some themes, some subjects, too large for adult fiction; they can only be dealt with adequately in a children's book. In adult literary fiction, stories are there on sufferance. Other things are felt to be more important: technique, style, literary knowingness ... The present-day would-be George Eliots take up their stories as if with a pair of tongs. They're embarrassed by them. If they could write novels without stories in them, they would. Sometimes they do. We need stories so much that we're even willing to read bad books to get them, if the good books won't supply them. We all need stories, but children are more frank about it. — Philip Pullman

Hardboiled crime fiction came of age in 'Black Mask' magazine during the Twenties and Thirties. Writers like Dashiell Hammett and Raymond Chandler learnt their craft and developed a distinct literary style and attitude toward the modern world. — Charles Frazier

I intend Deaths in Venice to contribute both to literary criticism and to philosophy. But it's not "strict philosophy" in the sense of arguing for specific theses. As I remark, there's a style of philosophy - present in writers from Plato to Rawls - that invites readers to consider a certain class of phenomena in a new way. In the book, I associate this, in particular, with my good friend, the eminent philosopher of science, Nancy Cartwright, who practices it extremely skilfully. — Philip Kitcher

Downtown New York, I'm within certain styles of music and I'm also within certain cultural, you know, and literary context. — DJ Spooky

A little inventor, that's it! ... of a little gimmick! ... just a little gimmick that's all! ... I don't fling out messages to the world! ... not me, no sir! I don't clutter up the air with my thoughts! not me! I don't get high on words, nor on port, nor on the flattery of youth! ... I don't cogitate for the universe. I'm just a little inventor, of a two-bit gimmick at that! and that won't last long! like everything else! like the swivel-stem collar button! I'm aware of my paltry importance! anything rather than ideas! ... I leave ideas to the flea merchants! all ideas! to the hucksters, the pimps, the confusion mongers! ... — Louis-Ferdinand Celine

Apollinaire said a poet should be 'of his time.' I say objects of the Digital Age belong in newspapers, not literature. When I read a novel, I don't want credit cards; I want cash in ducats and gold doubloons. — Roman Payne

Your literary style reflects your personality. — Louis Auchincloss

If the Bible were the most boring book in the world--dull, uninteresting and seemingly irrelevant--it would still be our duty to study it. If its literary style were awkward and confusing, the duty would remain. We live as human beings under an obligation by divine mandate to study diligently God's Word. He is our Sovereign, it is his Word, and he commands that we study it. A duty is not an option. If you have not yet begun to respond to that duty, then you need to ask God to forgive you and to resolve to do your duty from this day forth. — R.C. Sproul

The truth is, Jung has brought back one member of the old duality, unreason, with a new name; it is no synthesis at all, but only the latest maneuver in the war against rationality that has been conducted with rising hysteria by literary intellectuals and humanists against the laws of a culture they have reason to distrust and disobey. The Jungian theory proposes to every disaffected humanist his "personal myth," as a sanctuary against the modern world. Against the vulgar democracy of intelligence, Jungian theory proposes an aristocracy of feeling. From this proposal derives Jung's persistent influence on modern critical and aesthetic style. — Philip Rieff

All progress in literary style lies in the heroic resolve to cast aside accretions and exuberances, all the conventions of a past age that were once beautiful because alive and are now false because dead. — Havelock Ellis

To understand a literary style, consider what it omits. — Mason Cooley

Be warned. This book has no literary merit whatsoever. It it a lurid piece of nonsense, convoluted, implausible, peopled by unconvincing characters, written in drearily pedestrian prose, frequently ridiculous and wilfully bizarre. Needless to say, I doubt you'll believe a word of it. — Jonathan Barnes

I was in full digression! far from the subject! ... my colonel was losing track ... rapidly, of my story! my story! ... my own story! ... the gifts that I had personally received from Heaven! ... yet I had insisted, every time! truly extraordinary gifts! ... I'd made him repeat them a hundred times! ... enough so he'd remember! that I was the only true genius! the century's only writer! the proof: that no one ever spoke of me! ... everyone was jealous! Nobel! no Nobel! they had all joined forces to have me executed! ... they could just go fuck off! ... drop dead! since it was a question of death between me and them! I'll send their readers packing! all their readers! I'll make the public grow sick of their books! cabal! no cabal! since there was no room for two styles! ... it was mine or theirs! ... crawl or breastroke! ... you understand! ... the only inventor of the century! is me! me! me right here! the only genius, you might say! damned or not! ... — Louis-Ferdinand Celine

Who's to say what a 'literary life' is? As long as you are writing often, and writing well, you don't need to be hanging-out in libraries all the time.
Nightclubs are great literary research centers. So is Ibiza! — Roman Payne

Even in dialogue, your own style rules your selection. Do not give yourself a blank check of this kind: 'I'll merely reproduce what I think a character like so-and-so would say.' You have to reproduce it in the way your literary premises dictate. — Ayn Rand

It is, as I say, easy enough to describe Holden's style of narration; but more difficult to explain how it holds our attention and gives us pleasure for the length of a whole novel. For, make no mistake, it's the style that makes the book interesting. The story it tells is episodic, inconclusive and largely made up of trivial events. Yet the language is, by normal literary criteria, very impoverished. Salinger, the invisible ventriloquist who speaks to us through Holden, must say everything he has to say about life and death and ultimate values within the limitations of a seventeen-year-old New Yorker's argot, eschewing poetic metaphors, periodic cadences, fine writing of any kind. — David Lodge

A writer must face up to the test of reality, including political reality, and that can't be done if he keeps his distance. A literary style cultivated like a hothouse plant may show a certain artificial purity, but it won't really be pure. — Gunter Grass

As social concerns override literary ones, writers seem fated to eschew virtuosity and experimentation in favor of a bland but immediately accessible style. Writing will become a means for recording chatter. — Nicholas Carr

To my mind, Death in Venice represents an enormous advance in Mann's literary development, not simply for the commonly appreciated reason that he crafted a superbly supple and elegant style, apparently well suited to the kind of prose Aschenbach is supposed to write. — Philip Kitcher

The chief beauty of this book lies not so much in its literary style, or in the extent and usefulness of the information it conveys, as in its simple truthfulness. — Jerome K. Jerome

Whose are the truly labored sentences? From the weak and flimsy periods of the politician and literary man, we are glad to turn even to the description of work, the simple record of the month's labor in the farmer's almanac, to restore our tone and spirits. — Henry David Thoreau

I no more thought of style or literary excellence than the mother who rushes into the street and cries for help to save her children from a burning house, thinks of the teachings of the rhetorician or the elocutionist. — Harriet Beecher Stowe

I want to be able to do anything with words: handle slashing, flaming descriptions like Wells, and use the paradox with the clarity of Samuel Butler, the breadth of Bernard Shaw and the wit of Oscar Wilde, I want to do the wide sultry heavens of Conrad, the rolled-gold sundowns and crazy-quilt skies of Hitchens and Kipling as well as the pastel dawns and twilights of Chesterton. All that is by way of example. As a matter of fact I am a professed literary thief, hot after the best methods of every writer in my generation. — F Scott Fitzgerald

After reading Edgar Allan Poe. Something the critics have not noticed: a new literary world pointing to the literature of the 20th Century. Scientific miracles, fables on the pattern A+ B, a clear-sighted, sickly literature. No more poetry but analytic fantasy. Something monomaniacal. Things playing a more important part than people; love giving away to deductions and other forms of ideas, style, subject and interest. The basis of the novel transferred from the heart to the head, from the passion to the idea, from the drama to the denouement. — Jules De Goncourt

The look that one directs at things, both outward and inward, as an artist, is not the same as that with which one would regard the same as a man, but at once colder and more passionate. As a man, you might be well-disposed, patient, loving, positive, and have a wholly uncritical inclination to look upon everything as all right, but as an artist your daemon constrains you to "observe", to take note, lightning fast and with hurtful malice, of every detail that in the literary sense would be characteristic, distinctive, significant, opening insights, typifying the race, the social or the psychological mode, recording all as mercilessly as though you had no human relationship to the observed object whatever. — Joseph Campbell

What a newspaper needs in its news, in its headlines, and on its editorial page is terseness, humor, descriptive power, satire, originality, good literary style, clever condensation and accuracy, accuracy, accuracy. — Joseph Pulitzer

Christopher Hitchens was a writer and an orator with a matchless style, commanding a vocabulary and a range of literary and historical allusion far wider than anybody I know. — Richard Dawkins

Consider the different narrative styles within the story, and the glee with which the "moralistic narrator" celebrates Aschenbach's fall - maybe, then, this is a hostile verdict and the international fame is warranted after all (given that Mann modeled his protagonist so closely on himself, it would be quite odd if he had intended Aschenbach's literary inferiority to be a fixed part of the interpretation). — Philip Kitcher

Shakespearean words, foreign words, slang and dialect and made-up phrases from kids on the street corner: English has room for them all. And writers - not just literary writers, but popular writers as well - breathe air into English and keep it lively by making it their own, not by adhering to some style manual that gets handed out to college Freshmen in a composition class. — Donna Tartt

Nothing on earth really matters, there is nothing to fear, and death is but a question of style, a mere literary device, a musical resolution. — Vladimir Nabokov

There is a payoff for examining the divine author's literary style. It will tell you something about Him. Whereas, Jonah's actions are extensively described and laboriously detailed, God's reactions (although miraculous) are only described in sparse, minimalist terms.
God seems much more amused by Jonah than Jonah is with God. Every miracle is directed at Jonah. Yet, very little copy is used to described God's miracles. Although God's miracles are much more astonishing than Jonah's immature fits of rebellion, more copy is dedicated to Jonah. — Michael Ben Zehabe

Are you kidding me?' Shan asked, slightly drunk, slightly dramatic, and now sitting yoga style on the floor. 'You can't write an honest novel about race in this country. If you write about how people are really affected by race, it'll be too obvious. Black writers who do literary fiction in this country, all three of them, not the ten thousand who write those bullshit ghetto books with the bright covers, have two choices: they can do precious or they can do pretentious. When you do neither, nobody knows what to do with you. So if you're going to write about race, you have to make sure it's so lyrical and subtle that the reader who doesn't read between the lines won't even know it's about race ... ' p.335 — Chimamanda Ngozi Adichie

All literary style, especially national style, is made up of such coincidences, which are a spiritual sort of puns. That is why style is untranslatable ... — Gilbert K. Chesterton

Fine writing is a distinct disadvantage. So is unique literary style. They take attention from the subject — Claude C. Hopkins

Music and literature, the two temporal arts, contrive their pattern of sounds in time; or, in other words, of sounds and pauses. Communication may be made in broken words, the business of life be carried on with substantives alone; but that is not what we call literature; and the true business of the literary artist is to plait or weave his meaning, involving it around itself; so that each sentence, by successive phrases, shall first come into a kind of knot, and then, after a moment of suspended meaning, solve and clear itself.
-ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE — Robert Louis Stevenson

Amit likens fashion to a mask, and style to beauty of countenance. Style, he feels, belongs to the literary elite, who live by their own wishes. And fashion is for the ordinary lot, who make it their business to please other people ... You may view a professional dancing girl beneath the awning of a public marquee; but for the first glimpse of the bride's face during the shubhodrishti ritual, a veil of Benarasi fabric is required. The marquee belongs to fashion, the Benarasi veil
which reveals the special one's countenance shaded by a special hue
to style. — Rabindranath Tagore

We all know what good writing is: It's the novel we can't put down, the poem we never forget, the speech that changes the way we look at the world. It's the article that tells us when, where, and how, the essay that clarifies what was hazy before. Good writing is the memo that gets action, the letter that says what a phone call can't. It's the movie that makes us cry, the TV show that makes us laugh, the lyrics to the song we can't stop singing, the advertisement that makes us buy. Good writing can take form in prose or poetry, fiction or nonfiction. It can be formal or informal, literary or colloquial. The rules and tools for achieving each are different, but one difficult-to-define quality runs through them all: style. "Effectiveness of assertion" was George Bernard Shaw's definition of style. "Proper words in proper places" was Jonathan Swift's. You — Mitchell Ivers

The tides wash up the Pearl of Great Price; I see it clearly. There it is: the secret so secret that even Indiana Jones has yet to discover it. But it's mine.
It's a style pointer, a favorite agent, a best avenue for publication. It's a sure-fire fire-starter, a league of extraordinary information.
Shall we gather at the river and share? No. I found it. It's mine! — Chila Woychik

With the myriad of new Bible translations on the market today, few stand out. The ESV is one of the few, and surpasses the others in its simple yet elegant style. In many respects the ESV has accomplished in the 21st century what the KJV accomplished in the 17th: a trustworthy, literary Bible that is suitable for daily reading, memorizing, and preaching. — Daniel B. Wallace

Close friends, or those in my pay, sometimes call me a literary polymath, while others say that I'm just a shallow dilettante, superficial and breezy, with a faux-naif style. — Michael Dirda

Hardy's astonishing technical versatility has won the admiration of major poets from Ezra Pound and Cecil Day Lewis to Philip Larkin. Among other genres he employs the lyric, narrative, ballads, and the sonnet. He also moves easily between the amplitude of dramatic monologue and the compression of imagism. He experiments continually with an ingenious variety of stanza forms and rhyme schemes, rejecting the fluidity of contemporary poetry for his own idiosyncratic style, based on a real understanding of the variety of speech rhythms and registers. Each individual poem is designed to express in its language and form, and with utter honesty, Hardy's impressions of life. — Geoffrey Harvey

Tolstoy's characters seem to come forward to meet you, very conscious of the impression they are making on one another and on the reader. — Stephen Spender

[I]n adult literary fiction, stories are there on sufferance. Other things are felt to be more important: technique, style, literary knowingness. Adult readers who do deal in straightforward stories find themselves sidelined into a genre such as crime or science fiction, where no one expects literary craftsmanship. But stories are vital. Stories never fail us, because, as Isaac Bashevis Singer says, "events never grow stale." There's more wisdom in a story than in volumes of philosophy. [Contemporary writers, however,] take up their stories as with a pair of tongs. They're embarrassed by them. If they could write novels without stories in them, they would. Sometimes they do. — Philip Pullman

Most of my formal choices are a combination of everything I learned about form - semiotics, linguistics, and the history of style experimentations tethered to literary movements (formalism, deconstruction, modernism, and postmodernism), and the basic principal of breaking every rule I ever learned from a patriarchal writing tradition that never included my body or experience, and thus has nothing to offer me in terms of representation. — Lidia Yuknavitch

The Press nowadays is not a literary press; classic diction and brilliancy of style do not distinguish it by any means. — Marie Corelli

Realism hasn't fallen out of favor with most people, who are interested in people's lives rather than gymnastics of style or literary trends. It's a certain kind of academic who undervalues realism, largely because it is not amenable to endless exegesis. — Vikram Seth