Literary Revolution Quotes

In the long revolt against inherited forms that has by now become the narrative of 20th-century poetry in English, no poet was more flamboyant or more recognizable in his iconoclasm than Cummings.

The rise of the dramas in the thirteenth century, and the rise of the great novels in a later period, together with their frank glorification of love and the joys of life, may be called the Third Renaissance.

Contemporary literature in the West has shown some signs of ethical change.

You must continue. Poets are the ones who change the world.

What has been forgotten is that there were major intellectual breakthroughs in the 1960s, thanks to North American writers of an older generation. There was a rupture in continuity, since most young people influenced by those breakthroughs did not enter the professions.

The world is changing from day to day; it is high time for our writers to take off their masks, look frankly, keenly, and boldly at life, and write about real flesh and blood. It is high time for a brand-new arena for literature, high time for some bold fighters to charge headlong into battle!

The novel as we knew it in the nineteenth century was killed off by Proust and Joyce.

The Romantics were whipping boys of the New Criticism, but they appealed to me anyway. I was recalcitrant. It was clear to me that they had thought innovatively.

In a country as united as ours [Russia], it is quite inevitable that a certain amount of thinking in clichés should appear, and I want to overcome this standardized way of thinking and introduce into our literature new ideas, new feeling and rhythms.

With Shakespeare and poetry, a new world was born. New dreams, new desires, a self consciousness was born. I desired to know to know myself in terms of the new standards set by these books.

It may be that the most striking thing about members of my literary generation in retrospect will be that we were allowed to say absolutely anything without fear of punishment.

On July 26, 1916, I announced to all my friends in America that from now on I resolved to write no more poems in the classical language, and to begin my experiments in writing poetry in the so-called vulgar tongue of the people.

The 1960s was a period when writers in the West began to be aware of the extraordinary eloquence and popular attraction of the Russian poets such as Yevtushenko and Voznesensky - oppositional figures who could draw crowds. The Russian poets recited from memory as a matter of course.

The 1970s were so wonderful for women writers. There were all these women, and they were seen as doing the most interesting, innovative and exciting stuff in science fiction. I was inspired by that.

I wasn't trying to be an outlaw writer. I never heard of that term; somebody else made it up. But we were all outside the law: Kerouac, Miller, Burroughs, Ginsberg, Kesey; I didn't have a gauge as to who was the worst outlaw. I just recognized allies: my people.

[T]he effects of general change [in literature] are most tellingly recorded not in alteration of the best products, but in the transformation of the most ordinary workaday books; for when potboilers adopt the new style, then the revolution is complete.

As the poet has expected, the alarms now are sounded, for - and it must be said again - the birth of a poet is always a threat to the existing cultural order, because he attempts to break through the circle of literary castes to reach the center.

Writing is in fact an entirely outworn, decayed and corrupt convention whose chief & most conspicuous character is its monumental witness to the conservatism, laziness and irrationality of men and women.

In my opinion, the most significant works of the twentieth century are those that rise beyond the conceptual tyranny of genre; they are, at the same time, poetry, criticism, narrative, drama, etc.

There are plenty of writers, past and present, from Shakespeare to Henry James to Lydia Davis, who test the limits of coherence and put pressure on current notions of accessible (and acceptable) narrative methods. To thrive and change and grow, any art needs this kind of pressure.

Hemingway changed prose; so did Salinger and Nabokov.

What good is a writer if he can't destroy literature? And us... what good are we if we don't help as much as we can in that destruction?

'Cue for Treason,' by Geoffrey Trease, radicalized my young girl brain and made me want to be a gender-bending, sonnet-writing anarchist. It really made something roar to life inside of me.

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.

Ibsen, Chekhov, Shakespeare, and Beckett to me are the most revolutionary.