American Literature Quotes
The best sayings about American Literature that you can share on Instagram, Pinterest, Facebook and other social networks!
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One classic American landscape haunts all of American literature. It is a picture of Eden, perceived at the instant of history when corruption has just begun to set it. The serpent has shown his scaly head in the undergrowth. The apple gleams on the tree. The old drama of the Fall is ready to start all over again.
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I am fine with my books being categorized as African-American literature but I hope they are also considered Haitian-American literature and American literature. All of these things are part of who I am and what I write.
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Here is one of the fundamental defects of American fiction--perhaps the one character that sets it off sharply from all other known kinds of contemporary fiction. It habitually exhibits, not a man of delicate organization in revolt against the inexplicable tragedy of existence, but a man of low sensibilities and elemental desires yielding himself gladly to his environment, and so achieving what, under a third-rate civilization, passes for success. To get on: this is the aim. To weigh and reflect, to doubt and rebel: this is the thing to be avoided.
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As a young writer, I was on guard against the Latina in me, the Spanish in me because as far as I could see the models that were presented to me did not include my world. In fact, 'I was told by one teacher in college that one could only write poetry in the language in which one first said Mother. That left me out of American literature, for sure.
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The Puritan, of course, is not entirely devoid of aesthetic feeling. He has a taste for good form; he responds to style; he is even capable of something approaching a purely aesthetic emotion. But he fears this aesthetic emotion as an insinuating distraction from his chief business in life: the sober consideration of the all-important problem of conduct. Art is a temptation, a seduction, a Lorelei, and the Good Man may safely have traffic with it when it is broken to moral uses--in other words, when its innocence is pumped out of it, and it is purged of gusto.
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Every reader of the Dreiser novels must cherish astounding specimens--of awkward, platitudinous marginalia, of whole scenes spoiled by bad writing, of phrases as brackish as so many lumps of sodium hyposulphite.
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The aim of poetry, it appears, is to fill the mind with lofty thoughts--not to give it joy, but to give it a grand and somewhat gaudy sense of virtue. The essay is a weapon against the degenerate tendencies of the age. The novel, properly conceived, is a means of uplifting the spirit; its aim is to inspire, not merely to satisfy the low curiosity of man in man.
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There is something very romantic about the orphan figure in American literature.
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American literature has always been immigrant.
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I like the hip writers: Fitzgerald, the guy who committed suicide, Hemingway, all those guys. Some of them were alcoholics and drug addicts but they had fun. They were real people. They formed the culture of American literature. Hemingway admired Tolstoy, Tolstoy admired Pushkin, and Mailer admired Hemingway. It all flows down. The greats are all connected. One day I'm gonna write a book myself. The first chapter will be about what a rough deal my momma got. She believed in you guys and your society.
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Does people not asking me about Asian American literature mean they don't see it as its own literary tradition? I certainly believe in it as its own literary tradition, because your race plays a great factor in how you are seen by the world, and how you see the world; the fact that I'm an Asian American isn't incidental to who I am as a writer. Where it becomes difficult is defining what, if anything identifiable at all, makes an Asian American book an Asian American book, other than the fact of its creator being Asian. And I'd argue that there is nothing identifiable beyond that.
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I've translated a lot of American literature into Japanese, and I think that what makes a good translator is, above all, a feel for language and also a great affection for the work you're translating. If one of those elements is missing the translation won't be worth much.
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Jerome Charyn is one of the most important writers in American literature and one of only three now writing whose work makes me truly happy to be a reader.
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When I came to America, I was already a writer, already published in Bosnia. I was planning to go back, but I had no choice but to stay here after the civil war, so I enrolled at Northwestern in a master's program and studied American literature.
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I am interested in Scripture and theology. This is an interest that I can assume I would share with a pastor, so that makes me a little bit prone to use that kind of character, perhaps, just at the moment. Then there is also the fact that, having been a church member for many years, I am very aware of how much pastors enrich people's experience, people for whom they are significant. I know that it's a kind of custom of American literature and culture to slang them. I don't think there is any reason why that needs to be persisted in.
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I have for myself no conceivable complaint to make, and yet for American literature in general, and its standing in a country where industrialism and finance and science flourish and the only arts that are vital and respected are architecture and the film, I have a considerable complaint.
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I finally returned to Iran in 1979, when I got my degree in English and American literature, and stayed for 18 years in the Islamic republic.
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If there was ever a dissenter from the national optimismit was surely Edgar Allan Poe--without question the bravest and mostoriginal, if perhaps also the least orderly and judicious, of all the critics that we have produced.
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There's nothing political about American literature.
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Our American professors like their literature clear and cold and pure and very dead.
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[John Adams's] vividly descriptive prose is supremely quotable. Adams wears his heart on his sleeve and reveals all of his ambitions, doubts, and insecurities, especially in his diary, which is one of the greatest and most readable in all of American literature.
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English is, from my point of view as an Americanist, an ethnicity. And English literature should be studied in Comparative Literature. And American literature should be a discipline, certainly growing from England and France, Germany, Spain, Denmark, and the Native traditions, particularly because those helped form the American canon. Those are our backgrounds. And then we'd be doing it the way it ought to be done. And someday I hope that it will be.
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I always thought books were just the canon, things I couldn't identify with. And then I was introduced to really amazing multicultural literature - it was all things I was trying to do unsuccessfully in my poetry. It really just changed everything. I was introduced to authors like Sandra Cisneros, Gabriel García Márquez, Junot Díaz, and a lot of African American literature, as well.
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The adolescent protagonist is one of the hallmarks of American literature.
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One does not arise from such a book as Sister Carrie with a smirk of satisfaction; one leaves it infinitely touched.
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Modern American literature was born in protest, born in rebellion, born out of the sense of loss and indirection which was imposed upon the new generations out of the realization that the old formal culture-the "New England idea"-could no longer serve.
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I've been as bad an influence on American literature as anyone I can think of.
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In my first class at the University of Kentucky, my American Literature professor came in, and the first sentence out of his mouth was "The central theme of American Literature is an attempt to reconcile what we've done to the New World." wrote that down in my notebook, and thought, "What is he talking about?" But that's what I think about now. The New World and what we've done to it.
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American literature has been, and is, singularly deficient in established critics who have anything like a rational conception of their jobs. The majority, initiate in a few of the patent rituals of Aristotle and Quintilian, don the forbidding robes of high priests to Sweetness and Light, and go about their business much as if the idea were to keep all they know to themselves.
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It is one of the paradoxes of American literature that our writers are forever looking back with love and nostalgia at lives they couldn't wait to leave.
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