You need a high degree of corruption or a very big heart to love absolutely everything
In criticism, I will be bold, and as sternly, absolutely just with friend and foe. From this purpose nothing shall turn me.
Not a moment passes these days without fresh rushes of academic lemmings off the cliffs they proclaim the political responsibilities of the critic, but eventually all this moralizing will subside.
That was excellently observed
Anybody will do for you, but not for me. I must have somebody.
This is what is known as perspective, and it is a swindle.
Having the critics praise you is like having the hangman say you
How much easier it is to be critical than to be correct.
We of this age have discovered a shorter, and more prudent method to become scholars and wits, without the fatigue of reading or of thinking.
Corporate irony not only ridicules the thing it is selling but the very act of selling it. In the process it disarms critics by making anyone who goes against the flow of commerce seem clueless.
Interpretation is the revenge of the intellect upon art
I'd like to emphasize that when a reader finishes a great novel, he will immediately begin looking for another. If someone loves your book, it increases the chance that he or she will look at mine. So there is no competition between writers. Another writer's success helps build a larger readership for all of us.
A man inherited a field in which was an accumulation of old stone, part of an older hall. Of the old stone some had already been used in building the house in which he actually lived, not far from the old house of his fathers. Of the rest he took some and built a tower. But his friends coming perceived at once (without troubling to climb the steps) that these stones had formerly belonged to a more ancient building. So they pushed the tower over, with no little labour, and in order to look for hidden carvings and inscriptions, or to discover whence the man's distant forefathers had obtained their building material. Some suspecting a deposit of coal under the soil began to dig for it, and forgot even the stones. They all said: 'This tower is most interesting.' But they also said (after pushing it over): 'What a muddle it is in!' And even the man's own descendants, who might have been expected to consider what he had been about, were heard to murmur: 'He is such an odd fellow! Imagine using these old stones just to build a nonsensical tower! Why did not he restore the old house? he had no sense of proportion.' But from the top of that tower the man had been able to look out upon the sea.
Critics are our friends, they show us our faults.
Asking a working writer what he thinks about critics is like asking a lamppost how it feels about dogs.
Has anyone ever seen a dramatic critic in the daytime? No! They come out after dark, up to no good.
Any reviewer who expresses rage and loathing for a novel is preposterous. He or she is like a person who has put on full armor and attacked a hot fudge sundae.
Critics are to authors what dogs are to lamp-posts.
Has anybody ever seen a drama critic in the daytime? Of course not. They come out after dark, up to no good.
Work freely and rollickingly as though you were talking to a friend who loves you. Mentally (at least three or four times a day) thumb your nose at all know-it-alls, jeerers, critics, doubters.
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