Literary Simplicity Quotes

There are people who say, 'Oh this guy is quite thick.' I think the reason is that, increasingly, I don't mind being simple in terms of literary expression. Others say, 'No, no, no. He went to Cambridge. He got a good degree. He must be Einstein.'

Art is not difficult because it wishes to be difficult, rather because it wishes to be art. However much the writer might long to be straightforward, these virtues are no longer available to him. He discovers that in being simple, honest, straightforward, nothing much happens.

People often ask me why my style is so simple. It is, in fact, deceptively simple, for no two sentences are alike. It is clarity that I am striving to attain, not simplicity. Of course, some people want literature to be difficult and there are writers who like to make their readers toil and sweat. They hope to be taken more seriously that way. I have always tried to achieve a prose that is easy and conversational. And those who think this is simple should try it for themselves.

I want to write something so simply about love or about pain that even as you are reading you feel it and as you read you keep feeling it and though it be my story it will be common, though it be singular it will be known to you so that by the end you will think— no, you will realize— that it was all the while yourself arranging the words, that it was all the time words that you yourself, out of your heart had been saying.

Clarity, clarity, surely clarity is the most beautiful thing in the world, A limited, limiting clarity I have not and never did have any motive of poetry But to achieve clarity.

I wonder now what Ernest Hemingways dictionary looked like, since he got along so well with dinky words that anybody can spell and truly understand.

Cross out as many adjectives and adverbs as you can. ... It is comprehensible when I write: "The man sat on the grass," because it is clear and does not detain one's attention. On the other hand, it is difficult to figure out and hard on the brain if I write: "The tall, narrow-chested man of medium height and with a red beard sat down on the green grass that had already been trampled down by the pedestrians, sat down silently, looking around timidly and fearfully." The brain can't grasp all that at once, and art must be grasped at once, instantaneously.

Alec Wilkinson is a spare, clear, and lucid writer who works in stylistic simplicity with material that is not simple at all.

The Bible is not only laws, it's also stories. It begins, 'In the beginning God created Heaven.' If I had written these words, I wouldn't have written anything else; it's just enough.

I think the bravest thing to write about is nothing, just to write a book in which nothing happens.

However, if a poem can be reduced to a prose sentence, there can't be much to it.

I would call back at least for literature this world of shadows we are losing. In the mansion called literature I would have the eaves deep and the walls dark, I would push back into the shadows the things that come forward too clearly, I would strip away the useless decoration. I do not ask that this be done everywhere, but perhaps we may be allowed at least one mansion where we can turn off the electric lights and see what it is like without them.

I have no ambition to surprise my reader. Castles with unknown passages are not compatible with my homely muse.

Let's say I find a lot of current American fiction too overwritten for my tastes, too self-conscious; I like something that's simpler and more direct. The story is what matters to me. I hope to make it seem real to readers, as if it happened just like this - so I don't want fancy descriptions getting in the way.

I've simplified much more in my writing. I say what I've got to say, not in metaphor.

A book sometimes seems to impose a through-line to life that real life doesn't actually have.

Taking the question in general, I should say, in the case of many poets, that the most important thing for them to do ... is to write as little as possible

I have tried (I am not sure how successfully) to write plain tales. I dare not say they are simple; there is not a simple page, a simple word, on earth -\-\ for all pages, all words, predicate the universe, whose most notorious attribute is its complexity.

The translators of the Bible were masters of an English style much fitter for that work than any we see in our present writings; the which is owing to the simplicity that runs through the whole.

I think the book that really kind of woke me up a little bit when I was starting to write was 'Winesburg, Ohio' by Sherwood Anderson. I was in grad school at Brown, going for an M.A. in creative writing. Those stories seemed to me to be doing away with pretty writing.

I need the lightness of children's lit.

Here lies a plain and simple Jew who wrote in plain and simple prose.

I think quite a misguided literary culture has grown up in the 20th century that says a book has to have a seriousness of purpose and a seriousness of language.

The religion of the short poem, in every age and in every literature, has a single commandment: Less is always more. The short poem rejects preamble and summary. It's about all and everything, the metaphysics of a few words surrounded by much silence. …The short poem is a match flaring up in a dark universe.

Converse with a mind that is grandly simple, and literature looks like word-catching. The simplest utterances are worthiest to bewritten, yet are they so cheap, and so things of course, that, in the infinite riches of the soul, it is like gathering a few pebbles off the ground, or bottling a little air in a phial, when the whole earth and the whole atmosphere are ours.