Literary Analysis Quotes

“I would want kids to talk and write about how the book makes them feel, what it reminded them of, if it changed their thoughts about anything. I’d have them keep a journal and have them freewrite after they read each assignment. What did this make you think about? That’s what I’d want to know. I think you could get some really original ideas that way, not the old regurgitated ones like man versus nature. Just shoot me if I ever assign anyone an essay about man versus nature. Questions like that are designed to pull you completely out of the story. Why would you want to pull kids out of the story? You want to push them further in, so they can feel everything the author tried so hard to create for them.”
― Lily King, Writers & Lovers

“I would argue that stupidity is born out of bad reading, bad teaching and bad thinking!”
― John Green

“I call that creativity," Orville said. "The purpose of literature is to teach you how to THINK, not how to be practical. Learning to discover the connective tissue between seemingly unrelated events is the only way we are equipped to understand patterns in the real world.”
― Catherine Lowell, The Madwoman Upstairs

“I realized that my life of late had consisted of far too much dialogue and not enough exposition. I imagined an angry, bespectacled English teacher slashing his pen through the transcript of my life, wondering how someone could possibly say so much and think so little.”
― Catherine Lowell, The Madwoman Upstairs

“Anybody gets to ask questions about any fiction-related issues she wants. No question about literature is stupid. You are forbidden to keep yourself from asking a question or making a comment because you fear it will sound obvious or unsophisticated or lame or stupid. Because critical reading and prose fiction are such hard, weird things to try to study, a stupid-seeming comment or question can end up being valuable or even profound.

I am deadly-serious about creating a classroom environment where everyone feels free to ask or speak about anything she wishes. So any student who groans, smirks, mimes machines-gunning or onanism, chortles, eye-rolls, or in any way ridicules some other student's in-class question/comment will be warned once in private and on the second offense will be kicked out of class and flunked, no matter what week it is. If the offender is male, I am also apt to find him off-campus and beat him up.

. . . This does not mean we all have to sit around smiling sweetly at one another for three hours a week. No truths about the form, content, structure, symbolism, theme, or overall artistic quality of any piece of fiction are etched in stone or beyond dispute.”
― David Foster Wallace

“I read at Wesleyan last week— “A Good Man Is Hard to Find.” After the reading, I went to one of their classes to answer questions. There were several young teachers in there and one began by saying, “Miss O’Connor, why was the Misfit’s hat black?” I said most countrymen in Georgia wore black hats. He looked quite disappointed. Then he said, “Miss O’Connor, the Misfit represents Christ, does he not?” “He does not,” says I. He really looked hurt at that. Finally he said, “Well Miss O’Connor, what IS the significance of the Misfit’s hat?” "To cover his head," I said. He looked crushed then and left me alone." - Flannery O'Connor to Caroline Gordon”
― Christine Flanagan, The Letters of Flannery O'Connor and Caroline Gordon

“Anybody gets to ask questions about any fiction-related issues she wants. No question about literature is stupid. You are forbidden to keep yourself from asking a question or making a comment because you fear it will sound obvious or unsophisticated or lame or stupid. Because critical reading and prose fiction are such hard, weird things to try to study, a stupid-seeming comment or question can end up being valuable or even profound.

I am deadly-serious about creating a classroom environment where everyone feels free to ask or speak about anything she wishes. So any student who groans, smirks, mimes machines-gunning or onanism, chortles, eye-rolls, or in any way ridicules some other student's in-class question/comment will be warned once in private and on the second offense will be kicked out of class and flunked, no matter what week it is. If the offender is male, I am also apt to find him off-campus and beat him up.”
― David Foster Wallace

“This classification is applied to the two Homeric epics: the Iliad is simple and based on suffering, the Odyssey is complex and based on character.”
― Malcolm Heath, Poetics

“In my view, the gospels are true, not historically, but theologically, or, as I would argue, prophetically! What we have is, the Messiah’s history written in advance in story form.”
― Eli Of Kittim, The Little Book of Revelation: The First Coming of Jesus at the End of Days

“Classification may very well not be useless, but it is never analysis, no matter how baroquely detailed and comprehensive-seeming its categories. At best, it begs questions. At worst it is presumptuous and totalitarian, replacing understanding with filing. We have all heard papers where categories are the driving force, according to which the way we understand literature (or whatever) is to work out what title fits where, as if literary theory was a giant card-catalog. Even when the last book has been slotted neatly into the last of the holes that were cut to be filled with books, what we have are books in neat piles. Which is not nothing, but neither is it that much.”
― China Miéville

“Yeah,” I agreed, “the author just immediately tries to write down as many emotions as possible. Initially, I thought that the method of writing was ineffective, but eventually, I realized how the structure potently manifested her passion for her own thoughts about mental illness and the restrictions of herself and the woman in the yellow wallpaper. First off, the experience-oriented writing was relevant to the conveyance of the author’s ideas, because since the writing was, well, about experiences, the issues the author was addressing appeared to be more based on the reality of society, not a hypothetical model of it, and the issues really were based on the reality of society, since some of the events in the book were actually based on events in the author’s life. Also, the spontaneity and honesty of the writing was an effective choice of the author. I observed that the narrator’s silence in the presence of her husband and her spontaneous and expressive writing were juxtaposed, which emphasized the restrictions the narrator was put in and also her progressive views on mental health and her ability to stay true to herself. Also, this way of writing exemplifies that the narrator had to hold in so much thought because of her restrictions. She wrote without hesitation! In other words, her spontaneous writing and the lack of thematic structure in her writing showed her ability to stay true to her own beliefs.”
― Lucy Carter, The Reformation

“In general we may say that the deliquescence of instruction in any art proceeds in this manner. A master invents a gadget, or procedure to perform a particular function, or a limited set of functions. Pupils adopt the gadget. Most of them use it less skilfully than the master. The next genius may improve it, or he may cast it aside for something more suited to his own aims. Then comes the paste-headed pedagogue or theorist and proclaims the gadget a law, or rule. Then a bureaucracy is endowed, and the pin-headed secretariat attacks every new genius and every form of inventiveness for not obeying the law, and for perceiving something the secretariat does not. The great savants ignore, quite often, the idiocies of the ruck of the teaching profession. [...] the ignorant of one generation set out to make laws, and gullible children next try to obey them.”
― Ezra Pound, ABC of Reading