Quotes & Sayings About Literature And Characters

The truth is, everything ultimately comes down to the relationship between the reader and the writer and the characters. Does or does not a character address moral being in a universal and important way? If it does, then it's literature. — Whitley Strieber

My thoughts about pornography tend to revolve around the fact that while very few of us are zombies, detectives, cowboys, or spacemen, there are an infinite number of books that are recounting the stories of those lifestyles. However, all of us have some sort of feelings or opinions about sex. And yet the only art form which in any way is able to discuss sex, or depict sex, is this grubby despised under the counter art form, which has absolutely no standards. This was what Lost Girls was intended as a remedy for, that there is no reason why a horny piece of literature, that is purely about sex, could not be as beautiful, as meaningful, and have as absorbing characters as any other piece of fiction. — Alan Moore

To me, feminism in literature deals with the female characters being in some way central to the thematic concerns of the book, or that they are agents of change to some degree. In other words, the lens is focused deeply and intensely on the female characters and doesn't waver, which allows for a glimpse into the rich inner lives of the characters. — Laurie Foos

When the river meets the sea, he dies! Because the character of the river is to flow and when the character dies, everything dies! — Mehmet Murat Ildan

Dostoyevsky wrote of the unconscious as if it were conscious; that is in reality the reason why his characters seem 'pathological', while they are only visualized more clearly than any other figures in imaginative literature ... He was in the rank in which we set Dante, Shakespeare and Goethe. — Edwin Muir

What I can say is that all my characters are searching for their souls, because they are my mirrors. I'm someone who is constantly trying to understand my place in the world, and literature is the best way that I found in order to see myself. — Paulo Coelho

Once
God wrote a story
that shook the heaven to the very core.
Love was the only language used;
You and I
were the only characters. — Subhan Zein

...because there's a secret order. The books, you can't place them random. The other day I put Cervantes next to Tolstoj.
And I thought, if close to Anna Karenina we have Don Quixote, sure the latter will do his best to save her. — Ettore Scola

It's critical we examine the kind of standards we hold fictional girls to and consider how it reflects in the way we treat real girls and, most important, what kind of emotional impact that has on them. What are we saying to girls when we cannot accept difficult, hurting female characters as being worthy of love because they are difficult and hurting? — Courtney Summers

Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love. — Anne Carson

I often like to think that our map of the world is wrong, that where we have centered physics, we should actually place literature as the central metaphor that we want to work out from. Because I think literature occupies the same relationship to life that life occupies to death. A book is life with one dimension pulled out of it. And life is something that lacks a dimension which death will give it. I imagine death to be a kind of release into the imagination in the sense that for characters in a book, what we experience is an unimaginable dimension of freedom. — Terence McKenna

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

The problem with 'the crown jewel of Chinese literature' [Dream of the Red Chamber] is that it has two thousand pages and an equal number of characters, and the hero is an effeminate ass who should have either been spanked or decapitated, both ends being equally objectionable. — Barry Hughart

I love the gothic literature. It always has such great stories with characters bigger than life and the stakes are always high. And because there's always a wolf at the door, the emotions are high; the romance, the sexuality, friendships, and relationships. You don't know if the guy kissing you one minute is going to bite you the next. This heightens all of the sensibilities and emotions, and therefore, it sings to me. And that's where the music comes from. — Frank Wildhorn

In politics, they have ran with the hare and hunted with the hound. In criticism, they have, knowingly and unblushingly, given false characters, both for good and for evil; sticking at no art of misrepresentation, to clear out of the field of literature all who stood in the way of the interests of their own clique. They have never allowed their own profound ignorance of anything (Greek for instance) to throw even an air of hesitation into their oracular decision on the matter. They set an example of profligate contempt for truth, of which the success was in proportion to the effrontery; and when their prosperity had filled the market with competitors, they cried out against their own reflected sin, as if they had never committed it, or were entitled to a monopoly of it. The latter, I rather think, was what they wanted. Mr. — Thomas Love Peacock

Q: What literary complexities do you find most interesting? That is, what do you like most to "solve," so to speak, as a novelist?
A: One wishes to create characters who will speak directly to the minds of comparative literature professors and intelligent book reviewers. — Gilbert Sorrentino

In general there should be gay characters in YA because a) surprise, there are gay folks everywhere and b) in my opinion as a father, there's not a damn thing wrong with my child encountering gay folks in her literature, because see point a). — John Scalzi

As with any great literature, there are probably as many ways to read William Faulkner's writing as there are readers. There are hundreds of books devoted to interpretations of his novels, numerous biographies, and every year high school teachers and college professors guide their students through one or more of the novels. But after all is said and done, there are the books themselves, and the pleasure of reading them can be deep and lasting. The language Faulkner uses ranges from the poetically beautiful, nearly biblical to the coarse sounds of rough dialect. His characters linger in the mind, whether for their heroism or villainy, their stoicism or self-indulgence, their honesty or deceitfulness or self-deception, their wisdom or stupidity, their gentleness or cruelty. In short, like Shakespeare, William Faulkner understood what it means to be human. — William Faulkner

It is through hearing stories about wicked stepmothers, lost children, good but misguided kings, wolves that suckle twin boys, youngest sons who receive no inheritance but must make their own way in the world, and eldest sons who waste their inheritance on riotous living and go into exile to live with the swine, that children learn or mislearn both what a child and what a parent is, what the cast of characters may be in the drama into which they have been born and what the ways of the world are. — Alasdair MacIntyre

I've grown up well, partly because there weren't great girls' literature - Nancy Drew, maybe - but there weren't things. So there was Huck Finn and "Spin And Marty." The boys characters were interesting and you lived through them when you're watching it. — Meryl Streep

I don't mind nothing happening in a book, but nothing happening in a phony way
characters saying things people never say, doing jobs that don't fit, the whole works
is simply asking too much of a reader. Something happening in a phony way must beat nothing happening in a phony way every time, right? I mean, you could prove that, mathematically, in an equation, and you can't often apply science to literature. — Nick Hornby

How to explain the sheer tingling joy one experiences when two interesting, complex, and occasionally aggravating characters have at last settled their misunderstandings and will live happily ever after, no matter what travails life might throw in their path, because Jane Austen said they will, and that's that? How to describe the exhilaration of being caught up in an unknown but glamorous world of balls and gowns and rides in open carriages with handsome young men? How to explain that the best part of Jane Austen's world is that sudden recognition that the characters are just like you? — Margaret C. Sullivan

These Phoenicians who came with Cadmus and of whom the Gephyraeans were a part brought with them to Hellas, among many other kinds of learning, the alphabet, which had been unknown before this, I think, to the Greeks. As time went on the sound and the form of the letters were changed. At this time the Greeks who were settled around them were for the most part Ionians, and after being taught the letters by the Phoenicians, they used them with a few changes of form. In so doing, they gave to these characters the name of Phoenician, as was quite fair seeing that the Phoenicians had brought them into Greece.
(5-58-59) — Herodotus

Gormenghast.
Withdrawn and ruinous it broods in umbra: the immemorial masonry: the towers, the tracts. Is all corroding? No. Through an avenue of spires a zephyr floats; a bird whistles; a freshet beats away from a choked river. Deep in a fist of stone a doll's hand wriggles, warm rebellious on the frozen palm. A shadow shifts its length. A spider stirs ...
And darkness winds between the characters.
- Gormenghast — Mervyn Peake

I'm not writing great literature. I'm writing commercial fiction for people to enjoy the stories and to like the characters. — Kathy Reichs

I get most of my inspiration from two places: my own life, and reading. I read widely - in my genre (romance), and in all sorts of different genres, from urban fantasy to literature. Then there's your own life. Romance is a fantasy genre, but if the rock core of your characters doesn't come from your own life, from emotions you know intimately, the book won't fly. I don't mean you have to be married to Casanova - I mean that a heroine will feel genuine to readers if she shares some of your fears or triumphs. Craft the emotional part of the plot from truths you learned from your own life, from watching your friends' lives, or from reading books. — Eloisa James

I picked up one of the books and flipped through it. Don't get me wrong, I like reading. But some books should come with warning labels: Caution: contains characters and plots guaranteed to induce sleepiness. Do not attempt to operate heavy machinery after ingesting more than one chapter. Has been known to cause blindness, seizures and a terminal loathing of literature. Should only be taken under the supervision of a highly trained English teacher. Preferably one who grades on the curve. — Laurie Halse Anderson

The problem with being ravished by books at an early age is that later rereadings are often likely to disappoint. "The sharp luscious flavor, the fine aroma is fled," Hazlitt wrote, "and nothing but the stalk, the bran, the husk of literature is left." Terrible words, but it can happen. You become harder to move, frighten, arouse, provoke, jangle. Your education becomes an interrogation lamp under which the hapless book, its every wart and scar exposed, confesses its guilty secrets: "My characters are wooden! My plot creaks! I am pre-feminist, pre-deconstructivist, and pre-postcolonialist!" (The upside of English classes is that they give you critical tools, some of which are useful, but the downside is that those tools make you less able to shower your books with unconditional love. Conditions are the very thing you're asked to learn.) You read too many other books, and the currency of each one becomes debased. — Anne Fadiman

Interestingly, this speech by Prospero does not contrast the unreality of the stage with the solid, flesh-and-blood existence of real men and women. On the contrary, it seizes on the flimsiness of dramatic characters as a metaphor for the fleeting, fantasy-ridden quality of actual human lives. It is we who are made of dreams, not just such figments of Shakespeare's imagination as Ariel and Caliban. The cloud-capped towers and gorgeous palaces of this earth are mere stage scenery after all. — Terry Eagleton

Whether we like it or not, if we are to pursue a career in science, eventually we have to learn the "language of nature": mathematics. Without mathematics, we can only be passive observers to the dance of nature rather than active participants. As Einstein once said, "Pure mathematics is, in its way, the poetry of logical ideas." Let me offer an analogy. One may love French civilization and literature, but to truly understand the French mind, one must learn the French language and how to conjugate French verbs. The same is true of science and mathematics. Galileo once wrote, "[The universe] cannot be read until we have learnt the language and become familiar with the characters in which it is written. It is written in mathematical language, and the letters are triangles, circles, and other geometrical figures, without which means it is humanly impossible to understand a single word. — Michio Kaku

I was given the ability to create stories and characters. That's my part of the long chain of writers, publishers, agents, booksellers, librarians, and a host of others who eventually deliver literature to the world. I want to do for others what Eudora Welty did for me. — Karl Marlantes

literature and opera are full of
characters who die for love:
i stay alive for her.
- Excerpt from "No Longer A Teenager — Gerald Locklin

I love the walking contradiction of the body. I want to make corporeal characters, corporeal writing, I want to bring the intensities and contradictions and beauty and violence and stench and desire and astonishing physicality of the body back into literature. — Lidia Yuknavitch

If creative fiction writing is a process of translating an abstraction into the concrete, there are three possible grades of such writing: translating an old (known) abstraction (theme or thesis) through the medium of old fiction means (that is, characters, events or situations used before for that same purpose, that same translation) -- this is most of the popular trash; translating an old abstraction through new, original fiction means -- this is most of the good literature; creating a new, original abstraction and translating it through new, original means. This, as far as I know, is only me -- my kind of fiction writing. — Ayn Rand

The characters act for reasons that they can't control and, as readers, we have to believe in their motivations, their sense of choice and in the reality of their suffering, even though, deep down, we know it's all just puppetry on the part of the writer. — Johnny Rich

To recount modern life one has to have characters with iPads and smart phones who take trains and planes, and to be aware how this alters consciousness, identity, and the kind of experiences people have. They are constantly exposed to contact from everyone they know and many they don't. — Tim Parks

Worse, the bodies of women, minorities, children, disenfranchised bodies (prisoners, so-called nut cases, etc ... ) and their truths don't "count" as either present and important in society or worth Pulitzer prizes as characters in literature. — Lidia Yuknavitch

If you could meet any character from literature, who would it be?

I would not want characters to come to my world. They'd lose their special qualities, the perfect amount of what I should know about them. On the other hand, I could go to theirs because they would not have any preconceptions of who I was. I'd like to hang out with the Cheshire cat, learn how to disappear, and speak in smart illogic. He would look exactly like his pen-and-ink illustration by Tenniel. I'd be rendered in pen and ink, too. That would be required for entering a pen-and-ink world with its particular dimensional strangeness. — Amy Tan

Isn't that the essence of literature?...Our ability to identify with characters, no matter that they're separated from us by thousands of miles and hundreds of lifetimes. We may have no Mount Vesuvius looming over us. It may not be lava and ashes we fear. But we look at these forms, and we know what they felt. — Paul Fleischman

Angela Carter ... refused to join in rejecting or denouncing fairy tales, but instead embraced the whole stigmatized genre, its stock characters and well-known plots, and with wonderful verve and invention, perverse grace and wicked fun, soaked them in a new fiery liquor that brought them leaping back to life. From her childhood, through her English degree at the University of Bristol where she specialised in Medieval Literature, and her experiences as a young woman on the folk-music circuit in the West Country, Angela Carter was steeped in English and Celtic faerie, in romances of chivalry and the grail, Chaucerian storytelling and Spenserian allegory, and she was to become fairy tale's rescuer, the form's own knight errant, who seized hold of it in its moribund state and plunged it into the fontaine de jouvence itself.
(from "Chamber of Secrets: The Sorcery of Angela Carter") — Marina Warner

I feel closer ties and more intimate bonds with certain characters in books, with certain images I've seen in engravings, than with many supposedly real people with the metaphysical absurdity known as 'flesh and blood'. In fact, 'flesh and blood' describes them very well: they resemble cuts of meat laid out on the butcher's marble slab, dead creatures bleeding as though still alive. — Fernando Pessoa

The journey had been long and dangerous, and along the way he had met countless travelers, many of whom were so amazing that they must certainly rank among the most original and memorable characters in the history of recorded literature. Which is why it's so sad that there's no time to describe them. — Jason Carter Eaton

We may divide characters into flat and round. — E. M. Forster

We do not charge an author with unpardonable ignorance because his twelfth-century characters never stop arguing about The Smiths. It is possible that the writer, having only a feeble grasp of history, really does believe that The Smiths were around in the twelfth century, or that Morrissey is such a superlative genius as to be timeless. But the fact that this occurs in a work of fiction inclines us to the charitable view that the distortion is deliberate. This is highly convenient for poets and novelists. Literature, like an absolute monarch among his fawning courtiers, is where you can never be wrong. — Terry Eagleton

Trout might have said, and it can be said of me as well, that he created caricatures rather than characters. His animus against so-called mainstream literature, moreover, wasn't peculiar to him. It was generic among writers of science fiction. — Kurt Vonnegut

I suppose that literature as it is won't die, science fiction included. But games are becoming an extremely important part of the science fiction world, including games that are adapted from books (or vice versa: books that are adapted from games). It's wonderful to have the opportunity to play and see your favorite characters on the screen, but the opportunity to read a book does not become less attractive. — Sergei Lukyanenko

it would be fairer to say I have traveled widely, without ever leaving my own native soil, I've traveled, one might say, through literature, each time I've opened a book the pages echoed with a noise like the dip of a paddle in midstream, and throughout my odyssey I never crossed a single border, and so never had to produce a passport, I'd just pick a destination at random, setting my prejudices firmly to one side, and be welcomed with open arms in places swarming with weird and wonderful characters — Alain Mabanckou

Poetry is a tool for writers to create literature in different forms of expression and messages. — Vanessa M Chattman

"Someone": I understood that this was a character who in her own life her voice hadn't much been heard and in literature her life isn't much heard. For me, it was resisting all the more appealing characters and listening to the voice that hadn't been much heard from. — Alice McDermott

For me, where genre ends and literature begins doesn't matter. What matters is whether a given novel hits me with high impact. If it does, it probably is fulfilling the purpose of fiction. It has drawn me into a story world, held me captive, taken me on a journey with characters like none I've ever met, revealed truths I've somehow always known and insights that rock my brain. It's filled me with awe, which is to say it's made me see the familiar in a wholly new way and made the unfamiliar a foundational part of me. It both entertains and matters. It both captures our age and becomes timelessly great. It does all that with the sturdy tools of story and the flair of narrative art. — Donald Maass

Utter objectivity ... is not only impossible when judging literature, it's not exactly desirable. Fiction involves trace elements of magic; it works for reasons we can explain and also for reasons we can't. If novels or short-story collections could be weighed strictly in terms of their components (fully developed characters, check; original voice, check; solidly crafted structure, check; serious theme, check) they might satisfy, but they would fail to enchant. A great work of fiction involves a certain frisson that occurs when its various components cohere and then ignite.
(Source: "Letter from the Pulitzer Fiction Jury: What Really Happened This Year" in The New Yorker.) — Michael Cunningham

All deeply good characters in imaginative literature, have to be, as it were, diluted with weakness or eccentricity; for only on such conditions are they comprehensible by readers and expressible by writers. Aldous Huxley — Nicholas Murray

I have a vision of artists putting into film, drama, literature, music, and paintings great themes and great characters from the Book of Mormon. — Ezra Taft Benson

Great. He was a hottie, a good kisser, and a literature buff. God really must have had a sense of humor, because if I had to name my biggest turn-on, it was literature. And he had just recommended a book that I didn't know, that wasn't taught in school. If I were single, there would be no better pick-up line. Suddenly, I found myself thinking back to Atonement - you know, the scene in the book where the two main characters have sex in the library? Even though Chloe said doing it against bookshelves would be really uncomfortable (and she'd probably know), it was still a fantasy of mine. Like, what's more romantic than a quiet place full of books? But I shouldn't have been thinking about my library fantasies. Especially while I was staring at Cash. In the middle of a library. — Kody Keplinger

More than any other contemporary British playwright, Tom Stoppard populates his plays
from Rosencrantz and Guildenstern Are Dead to The Invention of Love (his portrait of the poet and scholar A. E. Housman)
with characters from life and literature. But one cannot always tell the difference between those who are real and those who are imaginary. — Mel Gussow

The advantage of literature over life is that its characters are clearly defined, and act consistently. — Jerome K. Jerome

The naturalistic literature of this country has reached such a state that no family of characters is considered true to life whichdoes not include at least two hypochondriacs, one sadist, and one old man who spills food down the front of his vest. — Robert Benchley

It isn't as if a writer merely records life as it unfurls. Reality does not automatically transcribe as literature; real people are not shapely, compelling characters to be harvested. Charming facts and sharp observations rarely slide seamlessly into whatever narrative is at hand. — Michelle Huneven

Perhaps this is what Henry James meant when he talked about the "irresponsibility" of characters. Characters are irresponsible, art is irresponsible when compared to life, because it is first and foremost important that a character be real, and as readers or watchers we tend to applaud any effort made towards the construction of that reality. We do not, of course, indulge actual people in the world this way at all. In real life, the fact that something seems real to someone is not enough to interest us, or to convince us that that reality is interesting. But the self-reality of fictional characters is deeply engrossing, which is why villains are lovable in literature in ways that they are not in life. — James Wood

Fantasy stories will always be popular, as there are always readers who are willing to escape, freely, to the worlds that the authors create, and spend time with the characters we give life to. — Jason Ellis

If you ever meet someone who thinks they are so special, the best thing to do is smile. You don't have to say anything. Be friendly and then go do
your best. That will make you special, too! — Jeff Hutchins

Art should walk a tightrope. That's what art should be. Art should be dangerous. You can't be scared to say something with it. People love to talk about how comics are real art and real literature, so why not use these characters to talk about real things, even if it is dangerous? — Jeff Lemire

I think, honestly, the film industry is eating up comics characters at such a fast pace, and spewing them out as so much unspeakable, stench-y, crap. I mean, I think people are going to get pretty sick of the comics product of superhero, per se. Super-heroism seems to be so visceral for these times. Nobody needs a big clunky guy to throw cars about. You know, we've got drunks in town here that can do that. We don't need that kind of superhero. What we need is a super-sage. We need a genuine group of wise people. We need to become wise. That's the job of tomorrow; becoming wise, and integrated, and understanding. — Melinda Gebbie

Do we take less pride in the possession of our home because its walls were built by some unknown carpenter, its tapestries woven by some unknown weaver on a far Oriental shore, in some antique time? No. We show our home to our friends with the pride as if it were our home, which it is. Why then should we take less pride when reading a book written by some long-dead author? Is it not our book just as much, or even more so, than theirs? So the landowner says, 'Look at my beautiful home! Isn't it fine?' And not, 'Look at the home so-and-so has built.' Thus we shouldn't cry, 'Look what so-and-so has written. What a genius so-and-so is!' But rather, 'Look at what I have read! Am I not a genius? Have I not invented these pages? The walls of this universe, did I not build? The souls of these characters, did I not weave? — Roman Payne

All great characters, great icons, in literature are a bit of a riddle, and that's the reason we go back to them over and over. — David Lagercrantz

There's a wealth of literature out there which, hopefully, will be, you know, exploded in the future, and I personally find it very rewarding to be involved with classic storytelling, and sort of legendary characters. — Sean Bean

Feminist narrative theory notes that for most of literary history there's been an imbalance between men's and women's stories. Male characters go out into a world of infinite possibilities. Female characters either get married or die. This makes enlightened female readers such as ourselves pissed off. But however much we deconstruct the narrative, however vigilantly we plow and apply the theory and read with our skeptical, over-educated eyes, still some lessons are hard to fully internalize, and the dream of happily-ever-after love, in real life and in literature, dies hardest of all. — Laurie Frankel

The thing about great fictional characters from literature, and the reason that they're constantly turned into characters in movies, is that they completely speak to what makes people human. They're full of flaws as much as they are full of heroics. I think the reason that people love them and hate them so much is because, in some way, they always see a mirror of themselves in them, and you can always understand them on some level. Sometimes it's a terrifyingly dark mirror that's held up. — Keira Knightley

Great artistic works are often based on solving several psychological problems simultaneously. In literature this is often accomplished by splitting apart the conflict and assigning each aspect to a different character. Marjie Rynearson, for instance, wrote an award-winning play, Jenny, about the meeting and reconciliation of two women: the mother of a murder victim and the mother of the murderer. Within the dialogue between the two characters she sought to resolve two sets of problems: the rage and grief of the victim's mother, and the horror, guilt, and grief of the murderer's mother. She worked on the play for several years, and only when it was finished did she realize that through it she was struggling to resolve her feelings about the suicide of her best friend. Rynearson had simultaneously been, in effect, both the friend of the victim and the friend of the perpetrator of the killing. The power of the work lay in its simultaneous resolution of conflicting problems. — Linda Austin

Growing up, I loved the tale of Peter Rabbit and also books on Pippi Longstocking. Pippi was a girl who had so much fun and was very daring. My sons loved all the Dr. Seuss books — Soraya Diase Coffelt

Barrie and the wonderful characters he created, Lewis Carroll, even French literature, like Baudelaire or over in the States, Poe, you open those books, you open The Flowers of Evil and begin to read. If it were written today, you'd be absolutely stupefied by the work. It's this incredible period where the work is timeless, ageless. So yeah, I just love all those guys. It's my deep passion in those great 19th century writers. — Johnny Depp

Schools provide safe spaces to talk about controversial issues, and literature presents characters portraying human experience in all its richness and contradictoriness. — Julia Alvarez

Instead he thinks up the worst ending imaginable: Hemingway has Catherine die from
hemorrhaging after their child is stillborn. It is the most torturous ending I have ever
experienced and probably will ever experience in literature, movies, or even television.
I am crying so hard at the end, partly for the characters, yes, but also because Nikki
actually teaches this book to children. I cannot imagine why anyone would want to
expose impressionable teenagers to such a horrible ending. Why not just tell high school
students that their struggle to improve themselves is all for nothing? — Matthew Quick

In this course I have tried to reveal the mechanism of those wonderful toys - literary masterpieces. I have tried to make of you good readers who read books not for the infantile purpose of identifying oneself with the characters, and not for the adolescent purpose of learning to live, and not for the academic purpose of indulging in generalizations. I have tried to teach you to read books for the sake of their form, their visions, their art. I have tried to teach you to feel a shiver of artistic satisfaction, to share not the emotions of the people in the book but the emotions of its author - the joys and difficulties of creation. We did not talk around books, about books; we went to the center of this or that masterpiece, to the live heart of the matter. — Vladimir Nabokov

We can be reluctant to recognize how much of our culture was literary, particularly now that so many of the institutional purveyors of literature happily have joined in proclaiming its death. A substantial number of Americans who believe they worship God actually worship three major literary characters: the Yahweh of the J Writer (earliest author of Genesis, Exodus, Numbers), the Jesus of the Gospel of Mark, and Allah of the Koran. — Harold Bloom

Chaucer's world in The Canterbury Tales brings together, for the first time, a diversity of characters, social levels, attitudes, and ways of life. The tales themselves make use of a similarly wide range of forms and styles, which show the diversity of cultural influences which the author had at his disposal. Literature, with Chaucer, has taken on a new role: as well as affirming a developing language, it is a mirror of its times - but a mirror which teases as it reveals, which questions while it narrates, and which opens up a range of issues and questions, instead of providing simple, easy answers. — Ronald Carter

Well, the thing about great fictional characters from literature, and the reason that they're constantly turned into characters in movies, is that they completely speak to what makes people human. — Keira Knightley

In Gothic fiction, characters must contend with the dead, with active hauntings or with hallucinations of hauntings, as well as whatever other trying circumstances they might find themselves in: orphanhood, lunacy, imprisonment, inheritances that go astray, troubling romantic situations. The Gothic novel does not strive for subtlety, and it isn't to everyone's taste. It can seem adolescent, an immature version of the stately, measured, grown-up realist novel, except that the line between Gothic and the realist is never clear. A disdain for the Gothic is limiting, since this literature, in all its flagrancy, has something to say about emotional as well as physical death, and a tale of a haunting can have a narrative vitality that is far from conclusive. Gothic stories linger especially in the mind. — Brenda Walker

They were ... no ordinary group, gathering together to kill an evening, to seek refuge from critical husbands and demanding children while idly discussing their new best-seller. They met because literature was their shared passion. Books were as important to them as breath itself. They shared the ability to immerse themselves in the lives of fictional characters, to argue passionately about the development of plots, about decisions taken, dilemmas resolved. — Gloria Goldreich

As for most writers, language is vital for me: a writer's ability to render a fictional world - characters, landscape, emotions - into something original that alters or deepens my understanding of both literature and life. — Dinaw Mengestu