Contemporary literature in the West has shown some signs of ethical change.— Lafcadio Hearn
Off-limits Contemporary Literature quotations
What we call education and culture is for the most part nothing but the substitution of reading for experience, of literature for life, of the obsolete fictitious for the contemporary real.
The most prevalent poetic representation of contemporary experience is the mimesis of disorientation by non sequitor.
The contemporary thing in art and literature is the thing which doesn't make enough difference to the people of that generation so that they can accept it or reject it.
Even though what I enjoy most is literature, I would not want to live only in a world of fiction, cut off from the rest of life. No - I want to always have a foot in the street, to be inmersed in the activities of my contemporaries, in the times, in the place where I live.
I like contemporary American literature and I like biographies and I like jazz and I like baseball and I like writers who write about the human condition and sci-fi is just something that I happened into.
Maya Angelou, the famous African American poet, historian, and civil rights activist who is hailed be many as one of the great voices of contemporary literature, believes a struggle only makes a person stronger.
His ignorance was as remarkable as his knowledge.
Of contemporary literature, philosophy and politics he appeared to know next to nothing... My surprise reached a climax, however, when I found incidentally that he was ignorant of the Copernican Theory and of the composition of the Solar System.
Literature that is not the breath of contemporary society, that dares not transmit the pains and fears of that society . . . loses the confidence of its own people, and its published works are used as wastepaper instead of being read.
Most of the really good literature I've read in my life was political, meaning it was important - about something going on in the history of the world - or contemporary.
I read recently that the problem with stereotypes isn't that they are inaccurate, but that they're incomplete. And this captures perfectly what I think about contemporary African literature. The problem isn't that it's inaccurate, it's that it's incomplete.
Literature that is not the breath of contemporary society, that dares not transmit the pains and fears of that society, that does not warn in time against threatening moral and social dangers -- such literature does not deserve the name of literature; it is only a fa?ade. Such literature loses the confidence of its own people, and its published works are used as wastepaper instead of being read.
A particularly fine head on a man usually means that he is stupid;
particularly deep philosophers are usually shallow thinkers; in literature, talents not much above the average are usually regarded by their contemporaries as geniuses.
I'm a big believer in pairing classics with contemporary literature, so students have the opportunity to see that literature is not a cold, dead thing that happened once but instead a vibrant mode of storytelling that's been with us a long time - and will be with us, I hope, for a long time to come.
People like to complain about the state of contemporary literature, but I can only assume they don't read it very widely.
I think the anti-intellectualism of a lot of contemporary fiction is a kind of despairing of literature's ability to be anything more than perfectly bound blog posts or transcribed sitcoms.
For my students who are trying to learn the craft of writing in a writing class - contemporary literature is what's most useful.
When I saw what painting had done in the last thirty years, what literature had done - people like Joyce and Virginia Woolf, Faulkner and Hemingway - in France we have Nathalie Sarraute - and paintings became so strongly contemporary while cinema was just following the path of theater. I have to do something which relates with my time, and in my time, we make things differently.
Much contemporary verse reads like failed short-short stories rather than failed poetry.
The immediate success of the war poem anthologies .
.. proved that the war had aroused in a new public an ear for contemporary verse ... There has never before, in the world's history, been an epoch which has tolerated and even welcomed such a flood of verse as has been poured forth over Great Britain during the last three years.
By the age of nine I had a thorough knowledge of contemporary Polish literature as well as of foreign literature in Polish translation, and I began to write poems in honour of a lady of thirty years. Naturally, she knew nothing about them.
In high school I was drawn to the study of literature, poetry Shakespeare, contemporary fiction, drama, you name it - I read it.
Every few seconds a new book sees the light of day.
Most of them will just be a part of the hum that makes us hard of hearing. Even the book is becoming an instrument of forgetting. A truly literary work comes into being as its creator's cry of protest against the forgetting that looms over him, over his predecessors and his contemporaries alike, and over his time, and the language he speaks. A literary work is something that defies death.
For the judging of contemporary literature the only test is one's personal taste. If you much like a new book, you must call it literature even though you find no other soul to agree with you, and if you dislike a book you must declare that it is not literature though a million voices should shout you that you are wrong. The ultimate decision will be made by Time.
It's an absurd error to put modern English literature in the curriculum.
You should read contemporary literature for pleasure or not at all. You shouldn't be taught to monkey with it.
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.
Like no other writer in contemporary American literature, Brock Clarke has a way of looking at us, I mean looking straight at us--warts, lots of warts, and beauty and hypocrisy and love, too, the gamut. And hes done it again in this brilliant The Happiest People in the World, a novel that is as hilarious and thought-provoking as it is ultimately, deadly, deadly serious. I for one am grateful hes out there--watching our every move.
No one is ahead of his time, it is only that the particular variety of creating his time is the one that his contemporaries who are also creating their own time refuse to accept. For a very long time everybody refuses and then almost without a pause almost everybody accepts. In the history of the refused in the arts and literature the rapidity of the change is always startling.
Of all the unexpected things in contemporary literature, this is among the oddest: that kids have an inordinate appetite for very long, very tricky, very strange books about places that don't exist...
Oddly enough, my favorite genre is not fiction.
I'm attracted by primary sources that are relevant to historical questions of interest to me, by famous old books on philosophy or theology that I want to see with my own eyes, by essays on contemporary science, by the literatures of antiquity.
A lot of my work comes from what in Asia is called the 'mind of wonder.
' There is not a lot of 'mind of wonder' writing in contemporary Western literature. I think that's what appeals to the readers who are my fans.