Literary Works Quotes & Sayings

[Northrop] Frye was concerned mostly with literary criticism, and myths interested him as structural elements in works of literature. He used the word myth to mean story, without attaching any connotation of truth or falsehood to it; but a myth is a story of a certain kind. The myths of a culture are those stories it takes seriously - the ones that are thought to be a key to its identity. — Margaret Atwood

That's the way literary recognition works, at least to a certain degree. It's all a matter of rumor, a rumor that multiplies like a virus until it becomes a collective affinity. — Valeria Luiselli

I hate to see great works of literature ghettoized, whereas others that conform to the rules, conventions, and procedures of the genre we call literary fiction get accorded greater esteem and privilege. I also have a problem with how books are marketed, with certain cover designs and typefaces. They're often stamped with an identity that has nothing to do with their effect on the reader. — Michael Chabon

Writing about Africa by Africans has been part of my literary apprenticeship, standing alongside works by authors such as Joseph Conrad, Joyce Cary and Graham Greene as influences. — Giles Foden

The best programs are written so that computing machines can perform them quickly and so that human beings can understand them clearly. A programmer is ideally an essayist who works with traditional aesthetic and literary forms as well as mathematical concepts, to communicate the way that an algorithm works and to convince a reader that the results will be correct. — Donald Ervin Knuth

There are metaphors more real than the people who walk in the street. There are images tucked away in books that live more vividly than many men and women. There are phrases from literary works that have a positively human personality. There are passages from my own writing that chill me with fright, so distinctly do I feel them as people, so sharply outlined do they appear against the walls of my room, at night, in shadows ... I've written sentences whose sound, read out loud or silently (impossible to hide their sound), can only be of something that acquired absolute exteriority and a full-fledged soul. — Fernando Pessoa

Woolf 's control over the production of her own work is a significant factor in her genesis as a writer. The Hogarth Press became an important and influential publishing house in the decades that followed. It was responsible, for example, for the first major works of Freud in English, beginning in 1922, and published significant works by key modernist writers such as T. S. Eliot and Gertrude Stein. Woolf herself set the type for the Hogarth edition of
Eliot's The Waste Land (1923), which he read to them in June 1922, and which she found to have 'great beauty & force of phrase: symmetry; & tensity. What connects it together, I'm not so sure' (D2 178). — Jane Goldman

Creating one single story often requires experimenting and planning and falling on your literary rear more than once before you find the way that works for your particular tale. The most important issue is to keep on trying until you get it right. — Nancy Lam

We lived in a culture that denied any merit to literary works, considering them important only when they were handmaidens to something seemingly more urgent
namely ideology. This was a country where all gestures, even the most private, were interpreted in political terms. The colors of my head scarf or my father's tie were symbols of Western decadence and imperialist tendencies. Not wearing a beard, shaking hands with members of the opposite sex, clapping or whistling in public meetings, were likewise considered Western and therefore decadent, part of the plot by imperialists to bring down our culture. — Azar Nafisi

Every year the literary press praises dozens if not hundreds of novels to the skies, asserting explicitly or implicitly that these books will probably not be suffering water damage in the basements of their authors' houses 20 years from now. But historically, anyway, that's not the way the novelistic ecology works. — Lev Grossman

All great literary works influence us as writers, not their stories as much as their storytelling ability. — Michael Scott

I've read countless literary works that detail the longing and ache that characters have for someone they love, and over time, I have developed a strong belief that it's just dramatic bullshit meant to entice readers. — Jessica Park

I used to do miserably in English literature, which I thought was a sign of moral turpitude. As I look back on it, I think it was rather to my credit. The notion of actually putting writers' words into other words is quite ridiculous because why bother if writers mean what they mean, and if they don't, why read them? There is, I suppose, a case for studying literary works in depth, but I don't quite know what 'in depth' means unless you read a paragraph over and over again. — Patricia Wentworth

I would rather be attacked than unnoticed. For the worst thing you can do to an author is to be silent as to his works. — Samuel Johnson

...she knew from school that that sort of literature was boring: Gorky was correct but somehow ponderous; Mayakovsky was very correct but somehow awkward; Saltykov-Shchedrin was progressive, but you could die yawning if you tried to read him through; Turgenev was limited to his nobleman's ideals; Goncharov was associated with the beginnings of Russian capitalism; Lev Tolstoi came to favor patriarchal peasantry - and their teacher did not recommend reading Tolstoi's novels because they were very long and only confused the clear critical essays written about him. And then they reviewed a batch of writers totally unknown to anyone: Dostoyevsky, Stepnyak-Kravchinsky, and Sukhovo-Kobylin. It was true that one did not even have to remember the titles of their works. In all this long procession, only Pushkin shone like a sun. — Aleksandr Solzhenitsyn

All his life, at every moment, Tolstoy possessed the faculty of seeing phenomena in the detached finality of each separate instant, in perfectly distinct outline, as we see only on rare occasions, in childhood, or on the crest of an all-renewing happiness, or in the triumph of a great spiritual victory.

To see things like that, our eye must be directed by passion. For it is passion that by its flash illuminates an object, intensifying its appearance.

Such passion, the passion of creative contemplation, Tolstoy constantly carried with him. It was precisely in its light that he saw everything in its pristine freshness, in a new way, as if for the first time. The authenticity of what he saw differs so much from what we are used to that it may appear strange to us. But Tolstoy was not seeking that strangeness, was not pursuing it as a goal, still less did he apply it to his works as a literary method. — Boris Pasternak

The past haunts libraries, not only in documents bearing witness to past ages, but through scholarly works, literary reconstructions and images of all kinds. — Jacques Bonnet

Everything is much easier in the half-blind and half-deaf world of modern giants that seduce processions of the blind into the world of great emptiness. In their sky the stars shine and their names live in the parallel and independently of their work. — Dejan Stojanovic

What works for me is that I read widely and stay focused on my writing. I'm no longer concerned about what happens in the literary marketplace. It is distracting and can lead to discontent. — Sefi Atta

Reading literary works enlightened and sheltered me; now I'm paying back by writing.

--"My Confession — Zoe S. Roy

He attempted to distract his thoughts from the events that were overwhelming him by going over his papers. These were the sum total of his literary output over the last fifteen years. In the early days he had harbored an inflated idea as to the merit of his work and had even enjoyed publication in magazines that nobody read. It was only later that he discovered he preferred to write for himself alone and not for the dubious pleasure of seeing his strange works in print. He liked to dream over them, writing only when inspiration came to him, which was infrequently, and the half-formed pieces and the false starts were either destroyed or subsumed into longer writings - of which there were few. He enjoyed destroying the work that did not satisfy him. Sometimes he even wondered if he actually wrote just so he could obliterate the results. — Mark Samuels

The concept of an author, the single creative person who gives the text 'authority', only comes later in this period. Most Old English poetry is anonymous, even though names which are in no way comparable, such as Caedmon and Deor, are used to identify single texts. Caedmon and Deor might indeed be as mythical as Grendel, might be the originators of the texts which bear their names, or, in Deor's case only, the persona whose first-person voice narrates the poem. Only Cynewulf 'signed' his works, anticipating the role of the 'author' by some four hundred years. — Ronald Carter

Ambitious young women today are taught to ignore or suppress every natural instinct, if it conflicts with the feminist agenda posed on them. All literary and artistic works, no matter how great, that document the ambivalence of female sexuality they are trained to dismiss as "misogynous." In other words, their minds are being programmed to secede from their bodies ... there is a huge gap between feminist rhetoric and women's actual sex lives, where feminism is of little help except with a certain stratum of deferential, malleable, white middle-class men. — Camille Paglia

Mal Peet: "In terms of sustaining a literate and literary culture, the books we put into our children's hands are immeasurably more important than the latest works of high-profile novelists. — M.G. Harris

[A] finished tale may give a man immortality in the light and literary sense; but an unfinished tale suggests another immortality, more essential and more strange. — G.K. Chesterton

My reasoning, if one can call it that, was inflamed by the scatter shot passions of youth and a literary diet overly rich in the works of Nietzshe, Kerouac, and John Menlove Edwards ... — Jon Krakauer

John Milton has, since his own lifetime, always been one of the major figures in English literature, but his reputation has changed constantly. He has been seen as a political opportunist, an advocate of 'immorality' (he wrote in favour of divorce and married three times), an over-serious classicist, and an arrogant believer in his own greatness as a poet. He was all these things. But, above all, Milton's was the last great liberal intelligence of the English Renaissance. The values expressed in all his works are the values of tolerance, freedom and self-determination, expressed by Shakespeare, Hooker and Donne. The basis of his aesthetic studies was classical, but the modernity of his intellectual interests can be seen in the fact that he went to Italy (in the late 1630s) where he met the astronomer Galileo, who had been condemned as a heretic by the Catholic church for saying the earth moved around the sun. — Ronald Carter

Unfortunately, these days, 'literary' writing seems to have become synonymous with 'showy' writing, writing that is beautiful but doesn't tell a story. This is a misguided trend. If today's 'literary' writers would look back only one or two hundred years at real literary writers like Dostoyevsky, Poe, Conrad, Melville, they would find momentous stories
not just pretty writing
at the core of almost all of their great works. — Noah Lukeman

Sometimes he spent hours together in the great libraries of Paris, those catacombs of departed authors, rummaging among their hoards of dusty and obsolete works in quest of food for his unhealthy appetite. He was, in a manner, a literary ghoul, feeding in the charnel-house of decayed literature. — Washington Irving

The extraordinarily facile and in literary terms long lived works tend to be about ordinary people. Even Sappho writes about the utterly insignificant . What art can do is make the extraordinary more ordinary and ordinary more extraordinary. — Robert Dessaix

I use biography, I use literary connections (as with Platen - this seems to me extremely helpful for appreciating the nuances of Mann's and Aschenbach's sexuality), I use philosophical sources (but not in the way many Mann critics do, where the philosophical theses and concepts seem to be counters to be pushed around rather than ideas to be probed), and I use juxtapositions with other literary works (including Mann's other fiction) and with works of music. — Philip Kitcher

In elaborating how "philosophy by showing" works, and in defending the idea that literature and music can contribute to philosophical "showing", I am also doing something more standardly philosophical. But I view most of the book as an interweaving of philosophy and literary criticism. If that entails a broadening of a standard idea of philosophy, it's a broadening I'd like to see happen. — Philip Kitcher

WHEN you are creeping through the literary underbrush hoping to bag a piece of humor with your net, nothing seems funny," Russell Baker wrote in a preface to an anthology of American humor that he compiled. "The thing works the other way around. Humor is funny when it sneaks up on you and takes you by surprise." Yes, — David Remnick

I define influence simply as literary love, tempered by defense. The defenses vary from poet to poet. But the overwhelming presence of love is vital to understanding how great literature works. — Harold Bloom

Literary works quite often 'know' things that the reader does not know, or does not know yet, or perhaps will never know. — Terry Eagleton

Literary works cannot be taken over like factories, or literary forms of expression like industrial methods. Realist writing, of which history offers many widely varying examples, is likewise conditioned by the question of how, when and for what class it is made use of. — Bertolt Brecht

Some who have read the book, or at any rate have reviewed it, have found it boring, absurd, or contemptible, and I have no cause to complain, since I have similar opinions of their works, or of the kinds of writing that they evidently prefer. — J.R.R. Tolkien

At present, the novels which we owe to English ladies form no small part of the literary glory of our country. No class of works is more honorably distinguished for fine observation, by grace, by delicate wit, by pure moral feeling. — Thomas B. Macaulay

I have graded my separate works from A to D. The grades I hand out to myself do not place me in literary history. I am comparing myself with myself. Thus can I give myself an A-plus for Cat's Cradle, while knowing that there was a writer named William Shakespeare. The report card is chronological, so you can plot my rise and fall on graph paper, if you like:
Player Piano B
The Sirens of Titan A
Mother Night A
Cat's Cradle A-plus
God Bless You, Mr. Rosewater A
Slaughterhouse-Five A-plus
Welcome to the Monkey House B-minus
Happy Birthday, Wanda June D
Breakfast of Champions C
Wampeters, Foma & Grandfalloons C
Slapstick D
Jailbird A
Palm Sunday C — Kurt Vonnegut

Hinde Esther Kreitman is a forgotten literary foremother, her works largely lost, ignored and out of print. — Clive Sinclair

I doubt very much if a man whose main literary interests were in works by Mr. Zane Grey, admirable as they may be, is particularly equipped to be the chief executive of this country, particularly where Indian Affairs are concerned. — Dean Acheson

It's still true that literary works by women, gays, and writers of color are often framed as specific rather than universal, small rather than big, personal or particular rather than socially significant. There are things you can do to shed light on and challenge those biases and bullshit moves. But the best possible thing you can do is get your ass down onto the floor. Write so blazingly good that you can't be framed. Nobody is going to ask you to write about your vagina, hon. Nobody is going to give you a thing. You have to give it to yourself. You have to tell us what you have to say. — Cheryl Strayed

LIFE IS AN ENTHUSIASM. MY EXPERIENCE OF LIFE, MY VISION ALL ARE MENTION IN MY BOOKS. WRITING LANGUAGE - MALAYALAM. I BORN AND BROUGHT UP IN KERALA. MY LIFE PERIOD MORE THAN 28 YEARS WORKING IN THE MIDDLE EAST. IN MY LIFE EXPERIENCE INVOLVED IN MY ALL LITERARY WORKS - POEMS, DRAMA, NOVELS, TRAVELOGUES, SHORT STORIES & SCREENPLAY. — Saravan Maheswer

In a sense, Open City is a kind of Wunderkammer, one of those little rooms assembled with bric-a-brac by Renaissance scholars. I don't mean it as a term of praise: these cabinets of curiousities contained specific sorts of objects - maps, skulls (as memento mori), works of art, stuffed animals, natural history samples, and books - and Open City actually contains many of the same sort of objects. So, I don't think it's as simple as literary inclusiveness. — Teju Cole

I'm a pluralist about perspectives on literature. There seem to me to be all sorts of illuminating ways of responding to major literary works, some of them paying considerable attention to context, others applying various theoretical ideas, yet others focusing on details of language, or linking the work to the author's life, or connecting it with other works. — Philip Kitcher

First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation , a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the (literary) time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on. — Randall Jarrell

History is indeed stranger than fiction. The twists and turns of human history are too outlandish for to be believable in any work of fiction. — A.E. Samaan

Some writers refuse to lay their heads peaceably on the pillow of literary history in order to give posterity good dreams.
review in London Review of Books, of the works of Knut Hamsun (26 nov 1998) — James Wood

The same tantalizing guile and sublime skill ... [The series is] reinforced in its claim to be one of the major literary works of this century ... Only two other writers that this reviewer can think of have each created an entire, discrete and compelling world, a totally believable entity which one might wish to inhabit, and they are Joyce and Proust. It is not pretentious to place Patrick O'Brian in the first canon of literature ... — Kevin Myers

Aesthetic value emanates from the struggle between texts: in the reader, in language, in the classroom, in arguments within a society. Aesthetic value rises out of memory, and so (as Nietzsche saw) out of pain, the pain of surrendering easier pleasures in favour of much more difficult ones ... successful literary works are achieved anxieties, not releases from anxieties. — Harold Bloom

Sometime during the 1990s, when I was teaching philosophy at UCSD, my friend, colleague, and music teacher, Carol Plantamura, discussed the possibility of teaching a course together looking at ways in which various literary works (plays, stories, novels) had been treated as operas, and how different themes emerged in the opera and in its original. One of the pairings we planned to use was Mann's great novella and Britten's opera. Unfortunately, the course was never taught, but the idea remained with me. — Philip Kitcher

The world that seemed so various and new, well, it does contract. One's burning desire to investigate human behavior, and to make, or imply, statements about it, does fall off. And so one does find that early works are full of energy and also full of vulgarity, crudity, and incompetence, and later works are more carefully finished, and in that sense better literary products. But ... there's often a freshness that is missing in later works
for every gain there's a loss. I think it evens out in that way. — Kingsley Amis

History gives us the facts, sort of, but from literary works we can learn what the past smelled like, sounded like, and felt like, the forgotten gritty details of a lost era. Literature brings us as close as we can come to reinhabiting the past. By reclaiming this use of literature in the classroom, perhaps we can move away from the political agitation that has been our bread and butter - or porridge and hardtack - for the last 30 years. — Scott Herring

A writer's letters should be as literary as his printed works. — Virginia Woolf

Stop being part of the social norms of writing and teaching, which then leads to the point, stop being a capitalist person, one who works for a salary to teach writing in a form that's acceptable to capitalism, which then leads further to the point, exit social norms imposed upon you, do not have a lifestyle that requires living by capitalist rules even outside the teaching and practice of writing - which ultimately is the only way to a real literary community, which is based on real art, and you see how impossible a track I'm on? — Anis Shivani

It is the voice of everyday people, rather than of a self-conscious 'artist', that we hear in Caedmon's Hymn, and in such texts as Deor's Lament (also known simply as Deor) or The Seafarer. These reflect ordinary human experience and are told in the first person. They make the reader or hearer relate directly with the narratorial 'I', and frequently contain intertextual references to religious texts. Although they express a faith in God, only Caedmon's Hymn is an overtly religious piece. Already we can notice one or two conventions creeping in; ways of writing which will be found again and again in later works. One of these is the use of the first-person speaker who narrates his experience, inviting the reader or listener to identify with him and sympathise with his feelings. — Ronald Carter

We should be familiar with the great histories, the great biographies. We should be familiar with the great success stories, the great love stories, the great philosophies. It would also be a good idea to memorize potent passages from great poetry and other literary works. Our literature also may give us extra, pleasant hours as well as furnish contrasts and comparisons which may help us to evaluate and direct our own lives. — Sterling W. Sill

One effect that the Nobel Prize seems to have had is that more Arabic literary works have been translated into other languages. — Naguib Mahfouz

I divide all literary works into two categories: Those I like and those I don't like. No other criterion exists for me. — Anton Chekhov

I myself do not believe that the Torah is any more or less the revealed Word of God than are Dante's Commedia, Shakespeare's King Lear, or Tolstoy's novels, all works of comparable literary sublimity — Harold Bloom

The Gospels were not thought of as works of literature. People were not concerned with the literary reputation of Matthew or Mark, but with the substance of their records of our Lord's life. They did not have to respect their actual words, as they would if they were transcribing the works of Thucydides or Plato. — Frederic G. Kenyon

Our generation grew up with the Review as a fact of life. It was America's literary magazine. To our minds, it still is. It has launched our favorite writers. It has made a special claim for the quarterly as such, being both timely and lasting, free of the news of the day or the pressure to please a crowd. Most of all, the Review has shown, repeatedly, that works of imagination can be as stylish and urgent as the flashiest feature reporting, and can do more to refocus our picture of the world. — Lorin Stein

Gunn would be an important figure-rewarding, delightful, accomplished, enduring-in the history of English-language poetry even were his life not as fascinating as it now seems; he would be an important figure in the history of gay writing and in the history of transatlantic literary relations even were his poetry not so good as it is. With his life as it was and his works as they are, he's an obvious candidate for a volume of retrospective and critical essays, and this one is first-rate. — Stephen Burt

Literary works are not democracies. We hold this truth to be self-evident, that all men and women are created equal. We may, but the country of Novels, Etc., doesn't. In that faraway place, no character is created equal. One or two of them get all the breaks; the rest exist to get them to the finish line. — Thomas C. Foster

For a writer, New York works well. Literary work is very elitist. I worked two hours a day, maximum, and the time after that was very agreeable. I walked a lot with pleasure. Those two hours augmented the day. I wrote more here than in Paris, an entire chapter of a new novel. — Ismail Kadare

All Renaissance drama, especially the works of Marlowe and Shakespeare, is profoundly concerned with shifting power relations within society. The individual was a new force in relation to the state. The threat of rebellion, of the overturning of established order, was forcefully brought home to the Elizabethan public by the revolt of the Earl of Essex, once the Queen's favourite. The contemporary debate questioned the relationship between individual life, the power and authority of the state, and the establishing of moral absolutes. Where mediaeval drama was largely used as a means of showing God's designs, drama in Renaissance England focuses on man, and becomes a way of exploring his weaknesses, depravities, flaws - and qualities. — Ronald Carter

The word "canon" is derived from a Hebrew word signifying "reed" (qaneh) and by extension "measuring stick." It enters into the Greek language as "canon" (kanon) with a wider semantic range signifying exemplary standards in relation to literary works, grammatical rules, and even certain human beings. The word was coined in the early church to indicate an absolutely authoritative, complete list of God-inspired books, which was the standard of truth (Athanasius, 39th Festal Letter). Although such a list was considered closed, it is clear that the creation of the canon did not happen in an instant. It had a long and complex history before such closure occurred. The historian Josephus (AD 95) describes a closed list of inspired books that had been authoritative for all Jews for centuries (Against Apion 8). — J. Daniel Hays

Ever since my youth it has disturbed me that of the literary works that survived their own epoch, so many dealt with historical rather than contemporary subjects. — Lion Feuchtwanger

Those who have not learned to read the ancient classics in the language in which they were written must have a very imperfect knowledge of the history of the human race; for it is remarkable that no transcript of them has ever been made into any modern tongue, unless our civilization itself may be regarded as such a transcript. Homer has never yet been printed in English, nor Aeschylus, nor Virgil even, works as refined, as solidly done, and as beautiful almost as the morning itself; for later writers, say what we will of their genius, have rarely, if ever, equaled the elaborate beauty and finish and the lifelong and heroic literary labors of the ancients. They only talk of forgetting them who never knew them. — Henry David Thoreau

There is a difference between dramatizing your sensibility and your personality. The literary works which we think of as classicsdid the former. Much modern writing does the latter, and so has an affinity with, say, night-club acts in all their shoddy immediacy. — Paul Horgan

In all literary history there is no such figure as Dante, no such homogeneousness of life and works, such loyalty to ideas, such sublime irrecognition of the unessential. — James Russell Lowell

The lady who works in the grocery store at the corner of my block is called Denise, and she's one of America's great unpublished novelists. Over the years she's written forty-two romantic novels, none of which have ever reached the bookstores. I, however, have been fortunate enough to hear the plots of the last twenty-seven of these recounted in installments by the authoress herself every time I drop by the store for a jar of coffee or can of beans, and my respect for Denise's literary prowess knows no bounds. So, naturally enough, when I found myself faced with the daunting task of actually starting the book you now hold in your hands, it was Denise I turned to for advice. — Dave Gibbons

No one knows the nature of God, or even if God exists. In a sense, all of our religions are literary works of the imagination. — Alan Lightman

There was a period when I lived on book reviews, when I had basked and drawn sustenance from what I deemed the light of their intelligence, the beneficience of their charm. But something had gone sour. Over the years I had read too much, in dim-lighted railway stations, lying on the davenports of strangers' houses, in the bleak and dismal wards of insane asylums. That reading had forced the charm to relinquish itself. Now I found that reviews were not only bland but scarcely, if ever, relevant; and that all books, whether works of imagination or the blatant frauds of literary whores, were approached by the reviewer with the same crushing sobriety. I wanted to reviewer to be fair, kind, and funny. I wanted to be made to laugh. — Frederick Exley

Eyeglasses had been in use since the turn of the century, allowing old people to read more in their later years and greatly extending the scholar's life of study. The manufacture of paper as a cheaper and more plentiful material than parchment was beginning to make possible multiple copies and wider distribution of literary works. — Barbara W. Tuchman

In my profession more generally, it's not an exaggeration to say that masculinity is viewed as the root of all evil. If you were to take a literary theory course, you might think it would be about literature, but it's really not. It's about all the various forms of oppression on earth and how we can see them playing out in literary works. And behind all these forms of oppression is a guy. — Jonathan Gottschall

I've been actively engaged with mythic imagery ever since I picked up that Rackham book, but it really came into focus for me when I moved from London to the country. As I walked the extraordinary landscape of Dartmoor, I looked at the trees and the rocks and the hills and I could see the personality in those forms ... then they metamorphosed under my pencil into faeries, goblins and trolls. After Alan and I published "Faeries", he moved on from the subject of faery folklore to illustrate Tolkien and other literary works ... while I discovered that my own exploration of Faerieland had only just begun. In the countryside, the old stories seemed to come alive around me; the faeries were a tangible aspect of the landscape, pulses of spirit, emotion, and light. They "insisted" on taking form under my pencil, emerging on the page before me cloaked in archetypal shapes drawn from nature and myth. I'd attracted their attention, you see, and they hadn't finished with me yet. — Brian Froud

I realise that a novel and a film are different mediums. As artistes, we need to respect other artistes. It also needs a lot of courage to take risks to experiment and interpret known literary works. — Chitra Banerjee Divakaruni

Sermon design is not just a matter of what works. Sermon design also relates to theology, literary form, and to the culture of the world in which we live. We cannot — Dennis M. Cahill