Robert Morgan Quotes

In its fifty-first year of publication, 'The Paris Review' continues to search for new ways to bring together writers and readers.

A literary journal is intended to connect writer with reader; the role of the editor is to mediate.

Being in the Sahitya Akademi, I did know quite a few poets - Jayanta Mahapatra, Sitakant Mahapatra, Sunil Gangopadhyay, to name a few. There were many poets.

I don't get on with novelists, don't enjoy their company. Once you've worked for a publisher, you understand the species, see them in their natural habitat, and it's not always pretty.

I would love to see young writers come out of college and know there is a possibility to be a novelist.

It is in literature that the concrete outlook of humanity receives its expression.

I never accepted why there should be some invisible, wavy cutoff line separating Great Fiction from phosphorescent beauties and dollhouse miniatures, novels that contain a whole world in a snow globe.

Somebody once said to me, 'If you want to be understood, don't write fiction.'

I've had very close relationships with some twentieth-century writers.

I'm told I am over-choosy, and I shocked everybody by doing Jeffrey Archer. I did that to annoy everybody; sometimes, between Medea and Virginia Woolf, you can get punch-drunk.

There are always interesting, innovative, dynamic stories being written and being published. They're not always being prominently published, but they're being published.

'The Paris Review's mandate has been the same for fifty years. First and foremost, this magazine is for writers; the editors' task is to support and celebrate them, especially at the beginning of their careers, but also as they move forward, venturing stories that are creative, risky, new.

It is okay to experiment with language. Writers such as James Joyce, Virginia Woolf experimented with writing, but basically, one must have a familiarity with the language. And to have that, one must respect it.

I wrote poetry and short stories. I would send them to magazines; they wouldn't get in. But short stories are how I found philosophy and how I'd understand the world.

I'm using my degree. You know, I studied English and American literature in college, and now I'm an American poet.

In Bangkok's budding literary scene, Prabda Yoon sits at the centre.

I am not a contest-enterer by nature. But contests - and their entry fees - are often the main way literary journals raise money to, you know, publish their issues. So entering contests helps support the journal, which also helps support the writers they publish.

I know I'll keep writing poems. That's the constant. I don't know about novels. They're hard. It takes so much concentrated effort. When I'm writing a novel it's pretty much all I can do. I get bored. It takes months. Movies do the same thing. It's all-encompassing. It feels like I'm going to end up writing poems, short stories and screenplays.

Men of great talents, whether poets or historians, seldom escape the attacks of those who, without ever favoring the world with any production of their own, take delight in criticising the works of others.

I realized early on that the academy and the literary world alike

I may turn out an intellectual, but I'll never write anything but mediocre poetry.

There's more substance in my prose and my poetry than in all my films together. Writing is a more direct way of expressing yourself because, in cinema, you always have finances, organization, actors, technical apparatus and all that stuff coming in between.

Poetry has been the longest pleasure of my life.

Decide for yourself what kind of works you want to create... facts, essays, poems - do you want to speak or to sing?