literary pretension Quotes

When I wrote my first book, 'The Tennis Party', my overriding concern was that I didn't write the autobiographical first novel. I was so, so determined not to write about a 24-year-old journalist. It was going to have male characters, and middle-aged people, so I could say, 'Look, I'm not just writing about my life, I'm a real author.'

A lot of writers fall in love with their sentences or their construction of sentences, and sometimes that's great, but not everybody is Gabriel Garcia Marquez or James Joyce. A lot of people like to pretend that they are, and they wind up not giving people a good read or enlightening them.

A status symbol is a book. A very easy book to read is The Catcher in the Rye. Walk around with that under your arm, kids. That is status.

Sydney had been horrified to discover my home library consisted of a bartending dictionary and an old copy of Esquire, and at her pleading, I'd promised to read something more substantial. I was trying to think deep thoughts as I read Gatsby, but mostly I wanted to throw some parties.

I'm not terribly well read. My wife forces books into my hands and insists I read them, which I'm grateful to her for. She made me read 'War and Peace.' The whole thing. It was amazing, but I had to hide it. You can't walk round reading 'War and Peace' - it's like you're in a comedy sketch and you think you're smart.

All this is rather pretentious and fey to even talk about, but Flannery O'Connor sat down to write stories. The rest of us, some of us, don't have that kind of wit and genius. We don't do that. We sit down and have some accidents.

It's the time of year when the literati give advice on what we should be reading on our summer holidays. These terrifying lists often leave me appalled at my own ignorance, but also suspicious about the pretension of their advocates.

Literature has her quacks no less than medicine, and they are divided into two classes; those who have erudition without genius, and those who have volubility without depth; we shall get second-hand sense from the one, and original nonsense from the other.

All the lousy little poets coming around trying to sound like Charles Manson.

There is something laughable about the sight of authors who enjoy the rustling folds of long and involved sentences: they are trying to cover up their feet.

But every fool describes, in these bright days, His wondrous journey to some foreign court, And spawns his quarto, and demands your praise,-- Death to his publisher, to him 'tis sport.

How much energy is wasted in Italy in trying to write the novel that obeys all the rules. The energy might have been useful to provide us with more modest, more genuine things, that had less pretensions: short stories, memoirs, notes, testimonials, or at any rate, books that are open, without a preconceived plan.

Poetic talent is really easy to fake when thy sentences doth no f-king sense make.

Dining out is a vice, a dissipation of spirit punished by remorse. We eat, drink, and talk a little too much, abuse all our friends, belch out our literary preferences and are egged on by accomplices in the audience to acts of mental exhibitionism. Such evenings cannot fail to diminish those who take part in them. They end on Monkey Hill.

The literary world is so full of pretension, and there's such an enormous gap between how seriously poets take themselves and how widely they're ignored by everybody else.

I realized early on that the academy and the literary world alike - and I don't think there really is a distinction between the two - are always dominated by fools, knaves, charlatans and bureaucrats.

I don't want to pretend like I'm some intellectual person who understands Flannery O'Connor.

I'm not into high literature, but I think all my books are literate.

All the walks of literature are infested with mendicants for fame, who attempt to excite our interest by exhibiting all the distortions of their intellects and stripping the covering from all the putrid sores of their feelings.