Literature Sad Quotes

Life is not a PG feel-good movie. Real life often ends badly. Literature tries to document this reality, while showing us it is still possible for us to endure nobly.

You can’t save anyone who wouldn’t save themselves without you. It’s the hardest lesson to learn in life, take it from me. - p. 47, The Brothers Silver

At the end of the day your ability to connect with your readers comes down to how you make them feel.

It is a very sad thing that nowadays there is so little useless information.

exile is strangely compelling to think about but terrible to experience. It is the unhealable rift forced between a human being and a native place, between the self and its true home: its essential sadness can never be surmounted. And while it is true that literature and history contain heroic, romantic, glorious, even triumphant episodes in an exile’s life, these are no more than efforts meant to overcome the crippling sorrow of estrangement.

While art thrives on the blazing colours of scandal, literature blossoms on the dark soil of tragedy.

The literature says this is normal for traumatized people. Experts say it’s all part of the three P’s: We think our sadness is personal, pervasive, and permanent. Personal, in that we have caused all the problems we face. Pervasive, in that our entire life is defined by our failings. And permanent, in that the sadness will last forever.

Stories can sense happiness and snuff it out like a candle.

But most of all, she thought of John. She pictured him in Dingle, sitting out on the veranda of his wonderful little house, gazing with his peacefully intense, ocean blue eyes out toward the sea. She wondered if he was alone, and suspected he was, and she also reflected that he was probably quite sad, just as she was at that very moment.

O how incomprehensible everything was, and actually sad, although it was also beautiful. One knew nothing. One lived and ran about the earth and rode through forests, and certain things looked so challenging and promising and nostalgic: a star in the evening, a blue harebell, a reed-green pond, the eye of a person or a cow. And sometimes it seemed that something never seen yet long desired was about to happen, that a veil would drop from it all, but then it passed, nothing happened, the riddle remained unsolved, the secret spell unbroken, and in the end one grew old and looked cunning . . . or wise . . . and still one knew nothing perhaps, was still waiting and listening.

...whoever said that there was too much of a good thing never had a bad thing last too long. 

Busy with the ugliness of the expensive success We forget the easiness of free beauty Lying sad right around the corner, Only an instant removed, Unnoticed and squandered.

He chose The Metamorphosis over The Trial, he chose Bartleby over Moby-Dick, he chose A Simple Heart over Bouvard and Pecuchet, and A Christmas Carol over A Tale of Two Cities or The Pickwick Papers. What a sad paradox, thought Amalfitano. Now even bookish pharmacists are afraid to take on the great, imperfect, torrential works, books that blaze paths into the unknown. They choose the perfect exercises of the great masters. Or what amounts to the same thing: they want to watch the great masters spar, but they have no interest in real combat, when the great masters struggle against that something, that something that terrifies us all, that something that cows us and spurs us on, amid blood and mortal wounds and stench.

She grabbed the phone from the counter and dialed a number she convinced herself she had forgotten, a number for  a home from which she tried desperately to run. A silence ate at her through the earpiece.

Besides," he said breezily, "were it not for misunderstandings, we would be sadly lacking in great literature." She looked at him questioningly. "Where would Romeo and Juliet be?" "Alive.

When King Lear dies in Act V, do you know what Shakespeare has written? He's written "He dies." That's all, nothing more. No fanfare, no metaphor, no brilliant final words. The culmination of the most influential work of dramatic literature is "He dies." It takes Shakespeare, a genius, to come up with "He dies." And yet every time I read those two words, I find myself overwhelmed with dysphoria. And I know it's only natural to be sad, but not because of the words "He dies." but because of the life we saw prior to the words.

But in one pot, close to the edge—where the petals had tumbled over—Sofia planted a rosebush, a white one, and waited for the blossoms and the thorns.

Her manner was as though she were talking of a distant foreign literature. There was something lonely, something sad in it, something that rather suggested a beggar who has lost all desire.

. . . you don’t need a happy ending to move onto a happy beginning.

When I met a truly beautiful girl, I would tell her that if she spent the night with me, I would write a novel or a story about her. This usually worked; and if her name was to be in the title of the story, it almost always worked. Then, later, when we'd passed a night of delicious love-making together, after she’d gone and I’d felt that feeling of happiness mixed with sorrow, I sometimes would write a book or story about her. Sometimes her character, her way about herself, her love-making, it sometimes marked me so heavily that I couldn't go on in life and be happy unless I wrote a book or a story about that woman, the happy and sad memory of that woman. That was the only way to keep her, and to say goodbye to her without her ever leaving.

The world has become sad because a puppet was once melancholy. The nihilist, that strange martyr who has no faith, who goes to the stake without enthusiasm, and dies for what he does not believe in, is a purely literary product. He was invented by Turgenev, and completed by Dostoevsky. Robespierre came out of the pages of Rousseau as surely as the People's Palace rose out debris of a novel. Literature always anticipates life. It does not copy it, but moulds it to its purpose.

It’s amazing what people create using their pain. Work that is touched by melancholy has its own unique beauty. Even the word ‘melancholy’ is pretty, the way it rolls on your tongue. I think sadness adds something to literature that is unique. It’s an ingredient like . . .” I thought for a moment. “Like salt. Salt has that power to completely transform a dish. I think sadness has that same transformative effect in literature.

A magpie can be happy or sad: sometimes so happy that he sits on a high, high gum tree and rolls the sunrise around in his throat like beads of pink sunlight; and sometimes so sad that you would expect the tears to drip off his beak. This magpie was like that.

Leni had never known anyone who had died before. She had seen death on television and read about it in her beloved books, but now she saw the truth of it. In literature, death was many things - a message, catharsis, retribution. There were deaths that came from a beating heart that stopped and deaths of another kind, a choice made, like Frodo going to the Grey Havens. Death made you cry, filled you with sadness, but in the best of her books, there was peace, too, satisfaction, a sense of the story ending as it should. In real life, she saw, it wasn't like that. It was sadness opening up inside of you, changing how you saw the world.

It was here at the bottom of heaven, where the sun was whole and the clouds burned away to give hope back to the hopeless, where the snow fell full and comfortable, where the wind was silent, even if only for the moment, it was here, Peter found his bear and Claus found his boy, and the world held its breath—

No sé si soy una persona triste con vocación de alegre, o viceversa, o al revés. Lo que sí sé es que siempre hay algo de tristeza en mis momentos más felices, al igual que siempre hay un poco de alegría en mis peores días.

Of four infernal rivers that disgorge/ Into the burning Lake their baleful streams;/Abhorred Styx the flood of deadly hate,/Sad Acheron of sorrow, black and deep;/Cocytus, nam'd of lamentation loud/ Heard on the rueful stream; fierce Phlegethon/ Whose waves of torrent fire inflame with rage./ Far off from these a slow and silent stream,/ Lethe the River of Oblivion rolls/ Her wat'ry Labyrinth whereof who drinks,/ Forthwith his former state and being forgets,/ Forgets both joy and grief, pleasure and pain.

He was beneath the waves, a creature crawling the ocean bottom.

Wisdom is knowing the right thing to do and doing it at the right time to get the desired result. It is also the correct application of knowledge.

Thats what makes a view so sad, and so beautiful. It'll be there when we're not.

She did find that the books displayed prominently in every chamber had been dusted, but the spines were pristine and uncreased. They had the sad, untouched air of literature paraded for display purposes but never actually used. It was profoundly depressing.

If I could describe myself, I'd say that I am a poetic gerd. (A geek and nerd combo) I love Shakespeare and romance, but sci-fi and action have a big slice of my heart. When I meet a man who can quote some Hitchcock out of thin air, do a perfect ''Timey Whimey'' impression, play me some classic rock when I'm sad and can give a 'Gone with the Wind' kiss, I will have my soul mate.

Some looks are heavier than the thickest books because they carry the saddest stories of life!

It is not possible to express the most precious insights, To see all that craves to be seen, To visit even the closest neighbors in the universe, To learn all that needs to be learned, To live without dying, And I am sad about it. But I lived And I am happy about that.

It is usually unbearably painful to read a book by an author who knows way less than you do, unless the book is a novel.

A man with wisdom will always have a solution no matter how big his challenges may be. Wisdom makes you a problem solver.

There's a lot of beauty to be found in sadness and melancholia. One of the things that you find time and time again - not just with music, but with literature - is that things that appear to be quite depressing on the surface can ironically be very uplifting and touching to other people. When you hear something that really reminds you that you're not alone in feeling sad, depressed, melancholic, angry - I think that can actually be a very cathartic experience.

When King Lear dies in Act V, do you know what Shakespeare has written? He’s written “He dies.” That’s all, nothing more. No fanfare, no metaphor, no brilliant final words. The culmination of the most influential work of dramatic literature is “He dies.” It takes Shakespeare, a genius, to come up with “He dies.” And yet every time I read those two words, I find myself overwhelmed with dysphoria. And I know it’s only natural to be sad, but not because of the words “He dies,” but because of the life we saw prior to the words. I’ve lived all five of my acts, Mahoney, and I am not asking you to be happy that I must go. I’m only asking that you turn the page, continue reading… and let the next story begin. And if anyone asks what became of me, you relate my life in all its wonder, and end it with a simple and modest “He died.

A sad soul needs an infinite horizon which can throw all his sorrow into the silence of the eternal emptiness!

Exile is strangely compelling to think about but terrible to experience. It is the unhealable rift forced between a human being and a native place, between the self and its true home: its essential sadness can never be surmounted. And while it is true that literature and history contain heroic, romantic, glorious, even triumphant episodes in an exile’s life, these are no more than efforts meant to overcome the crippling sorrow of estrangement. The achievements of exile are permanently undermined by the loss of something left behind forever.

Life isn't just about passing on your genes. We can leave behind much more than just DNA. Through speech, music, literature and movies...what we've seen, heard, felt...anger, joy and sorrow...these are the things I will pass on. That's what I live for. We need to pass the torch, and let our children read our messy and sad history by its light.We have all the magic of the digital age to do that with. The human race will probably come to an end some time, and new species may rule over this planet. Earth may not be forever, but we still have the responsibility to leave what traces of life we can. Building the future and keeping the past alive are one and the same thing.

The best thing for being sad,” replied Merlyn, beginning to puff and blow, “is to learn something. That is the only thing that never fails. You may grow old and trembling in your anatomies, you may lie awake at night listening to the disorder of your veins, you may miss your only love, you may see the world about you devastated by evil lunatics, or know your honour trampled in the sewers of baser minds. There is only one thing for it then—to learn. Learn why the world wags and what wags it. That is the only thing which the mind can never exhaust, never alienate, never be tortured by, never fear or distrust, and never dream of regretting. Learning is the thing for you. Look at what a lot of things there are to learn—pure science, the only purity there is. You can learn astronomy in a lifetime, natural history in three, literature in six. And then, after you have exhausted a milliard lifetimes in biology and medicine and theocriticism and geography and history and economics—why, you can start to make a cartwheel out of the appropriate wood, or spend fifty years learning to begin to learn to beat your adversary at fencing. After that you can start again on mathematics, until it is time to learn to plough.

Death, like fiction, is brutal in its symmetry. Take this story and strip it down -all the way back- until you are left with two points. Two dots on a vast, blank canvas, separeted by a sea of white. Here, we have come to the first point, where the batj is drawn and the hand is reachinh for the razor blade. I will meet you at the next, by the axle of a screaming wheel, the revolution of a clock, the closing of an orbit.

There's very little authentic study of the humanities remaining. My research assistant came to me two years ago saying she'd been in a seminar in which the teacher spent two hours saying that Walt Whitman was a racist. This isn't even good nonsense. It's insufferable.

It was a sad and dismal day today, rainy, without a ray of hope, just like the long days of my old age which I know will be as sad and dismal.

...that was the one distinct time in my life, the strangest moment of all, when I didn’t know who I was—I was far away from home, haunted and tired with travel, in a cheap hotel room I’d never seen, hearing the hiss of steam outside, and the creak of the old wood of the hotel, and footsteps upstairs, and all the sad sounds, and I looked at the cracked high ceiling and really didn’t know who I was for about fifteen strange seconds. I wasn’t scared; I was just somebody else, some stranger, and my whole life was a haunted life, the life of a ghost. I was halfway across America, at the dividing line between the East of my youth and the West of my future, and maybe that’s why it happened right there and then, that strange red afternoon.

In literature, death was many things—a message, catharsis, retribution. There were deaths that came from a beating heart that stopped and deaths of another kind, a choice made, like Frodo going to the Grey Havens. Death made you cry, filled you with sadness, but in the best of her books, there was peace, too, satisfaction, a sense of the story ending as it should. In real life, she saw, it wasn’t like that. It was sadness opening up inside of you, changing how you saw the world.

I do not just want you at your best. I almost do not care where your Happiness lives, but please, let me visit your pain? Take me to the place where your sadness goes, and show me the tragedy that no one knows.

What is left after war is silence: The silence of the death; the silence of the debris; the silence of the birds! After war even the screams of sadness are silent because the pain is in the very depths of the soul!

School does not make people, it is learning that makes people great, that is why you see first class students fail and poor. The world is not ruled by those who went to school, it is ruled by those who learn everyday.

The best thing for being sad,’ replied Merlyn, beginning to puff and blow, ‘is to learn something. That is the only thing that never fails. You may grow old and trembling in you anatomies, you may lie awake at night listening to the disorder of your veins, you may miss your only love, you may see the world about you devastated by evil lunatics, or know your honour trampled in the sewers of baser minds. There is only one thing for it then – to learn. Learn why the world wags and what wags in it. That is the only thing which the mind can never exhaust, never alienate, never be tortured by, never fear or distrust, and never dream of regretting. Learning is the thing for you. Look at what a lot of things there are to learn – pure science, the only purity there is. You can learn astronomy in a lifetime, natural history in three, literature in six. And then, after you have exhausted a milliard lifetimes in biology and medicine and theocriticism and geography and history and economics – why, you can start to make a cartwheel out of the appropriate wood, or spend fifty years learning to begin to learn to beat your adversary at fencing. After that you can start again on mathematics, until it is time to learn to plough.

Wisdom cannot be bought from the walmart, it can only come from the Holy Spirit of God.

And what is gossip anyway?Just fragments of sad accounts, maneuvered and mutilated year after year for our sinful pleasure.

To be happy to be sad and sad to be happy is to sing an echo in that beautiful language called Sorrow.

It is dreadful that one cannot tear our the past by the roots. We cannot tear it out but we can hide the memory of it.

Little son, I have longed a while to see you, and now I see you the fairest thing ever a woman bore. In sadness came I hither, in sadness did I bring forth, and in sadness has your first feast day gone. And as by sadness you came into the world, your name shall be called Tristan; that is the child of sadness.” After she had said these words she kissed him, and immediately when she had kissed him she died.

I do see why Nikki likes the novel, as it's written so well, but her liking it makes me worry now that Nikki doesn't really believe in silver linings. Because she says The Great Gatsby is the greatest novel ever written by an American, and yet it ends so sadly. One thing's for sure. Nikki is going to be very proud of me when I tell her I finally read her favorite book. Here's another surprise: I'm going to read all the novels on her American Literature class syllabus, just to make her proud. To let her know that I am really interested in what she loves.

To Helen I saw thee once-once only-years ago; I must not say how many-but not many. It was a july midnight; and from out A full-orbed moon, that, like thine own soul, soaring, Sought a precipitate pathway up through heaven, There fell a silvery-silken veil of light, With quietude, and sultriness, and slumber Upon the upturn'd faces of a thousand Roses that grew in an enchanted garden, Where no wind dared to stir, unless on tiptoe- Fell on the upturn'd faces of these roses That gave out, in return for the love-light Thier odorous souls in an ecstatic death- Fell on the upturn'd faces of these roses That smiled and died in this parterre, enchanted by thee, by the poetry of thy prescence. Clad all in white, upon a violet bank I saw thee half reclining; while the moon Fell on the upturn'd faces of the roses And on thine own, upturn'd-alas, in sorrow! Was it not Fate that, on this july midnight- Was it not Fate (whose name is also sorrow) That bade me pause before that garden-gate, To breathe the incense of those slumbering roses? No footstep stirred; the hated world all slept, Save only thee and me. (Oh Heaven- oh, God! How my heart beats in coupling those two worlds!) Save only thee and me. I paused- I looked- And in an instant all things disappeared. (Ah, bear in mind this garden was enchanted!) The pearly lustre of the moon went out; The mossy banks and the meandering paths, The happy flowers and the repining trees, Were seen no more: the very roses' odors Died in the arms of the adoring airs. All- all expired save thee- save less than thou: Save only the divine light in thine eyes- Save but the soul in thine uplifted eyes. I saw but them- they were the world to me. I saw but them- saw only them for hours- Saw only them until the moon went down. What wild heart-histories seemed to lie enwritten Upon those crystalline, celestial spheres! How dark a woe! yet how sublime a hope! How silently serene a sea of pride! How daring an ambition!yet how deep- How fathomless a capacity for love! But now, at length, dear Dian sank from sight, Into western couch of thunder-cloud; And thou, a ghost, amid the entombing trees Didst glide away. Only thine eyes remained. They would not go- they never yet have gone. Lighting my lonely pathway home that night, They have not left me (as my hopes have) since. They follow me- they lead me through the years. They are my ministers- yet I thier slave Thier office is to illumine and enkindle- My duty, to be saved by thier bright light, And purified in thier electric fire, And sanctified in thier Elysian fire. They fill my soul with Beauty (which is Hope), And are far up in heaven- the stars I kneel to In the sad, silent watches of my night; While even in the meridian glare of day I see them still- two sweetly scintillant Venuses, unextinguished by the sun!

I find it sad that more Christian literature does not address miracles, and the possibility of demons in our midst. Jesus performed countless miracles in his life that were clearly discussed in the New Testament. And, he cast out demons. Why do some Christians act as those the potential for miracles died with Him? Why do people believe in angels, but not demons? Both were evident in the Bible.

Beautiful feelings make bad literature. In which case, this precious state of prose is proof that I'm no devil after all. Ah, blessed be the man who coined this phrase! It is a treasure of the language. An author can get away with using it but once in his career. Sad to say. The first time, it's endearing. If you insist on using it a second or a third time, though, dear reader, hiding behind it like a shield, you can expect nothing but misery.

What a sad paradox, though Amalfitano. Now even bookish pharmacists are afraid to take on the great, imperfect, torrential works, books that blaze the path into the unknown. They choose the perfect exercises of the great masters. Or what amounts to the same thing: they want to watch the great masters spar, but they have no interest in real combat, when the great masters struggle against that something, that something that terrifies us all, that something that cows us and spurs us on, amid blood and mortal wounds and stench.

I love the Russian language. I love the melancholic landscapes, when you look out of the window and want to cry; it’s just wonderful. I feel great, because all of this is close to me. I love our sad songs. I love our literature and cinema. It’s always about anguish, contemplation, suffering, melancholy, and self-reflection.

The confused medley of meditations on art and literature in which he had indulged since his isolation, as a dam to bar the current of old memories, had been rudely swept away, and the onrushing, irresistible wave crashed into the present and future, submerging everything beneath the blanket of the past, filling his mind with an immensity of sorrow, on whose surface floated, like futile wreckage, absurd trifles and dull episodes of his life.

Because a new love affair always gives hope, the irrational mortal loneliness is always crowned, that thing I saw (that horror of a snake emptiness) when I took the deep iodine deathbreath on the Big Sur beach is now justified and hosannah'd and raised up like a sacred urn to Heaven in the mere fact of the taking off of clothes and clashing wits and bodies in the inexpressibly nervously sad delight of love- don't let no old fogies tell you otherwise, and on top of that nobody in the world even ever dares to write the true story of lovem it's awful, we're stuck with a 50% incomplete literature and drama- lying mouth to mouth, kiss to kiss in the pillow dark, loin to loin in unbelievable surrendering sweetness so distant from all our mental fearful abstractions it makes you wonder why men have termed God antisexual somehow- the secret underground truth of mad desire hiding under fenders under buried junkyards throughout the world, never mentioned in newspapers, written about haltingly and like corn by authors and painted tongue in cheek by artists, agh, just listen to Tristan und Isolde by Wagner and think of him in a Bavarian field with his beloved naked beauty under fall leaves.

It is possible that some people are sorry for me, but I am not aware of it.

There are too many stars in the sky and none of them is overshadowing the other. Don't let anybody be a threat to your growth.

Even with fasting and prayers you still need wisdom. At the root of every great accomplishment is wisdom. In all your getting get wisdom first.

Norėjau surasti gyvenimo raktą ir įduoti tau į rankas. Bet matau – nesurasiu. Ne tokie ieškojo ir nesurado.

These are sad days in literature. Homer is dead. Shakespeare is dead. And I myself am not feeling at all well.

Only a happy mind will see the beauty of a beautiful view! For the sad mind everywhere looks gloomy!

No man's advice can change you unless you speak to yourself. Bible school or seminars can't change you, going to church can't change you except you decide to change. Psalm 139:23 - 24

Blindness to larger contexts is a constitutional defect of human thinking imposed by the painful necessity of being able to concentrate on only one thing at a time. We forget as we virtuously concentrate on that one thing that hundreds of other things are going on at the same time and on every side of us, things that are just as important as the object of our study and that are all interconnected in ways that we cannot even guess. Sad to say, our picture of the world to the degree to which it has that neatness, precision, and finality so coveted by scholarship is a false one. I once studied with a famous professor who declared that he deliberately avoided the study of any literature east of Greece lest the new vision destroy the architectonic perfection of his own celebrated construction of the Greek mind. His picture of that mind was immensely impressive but, I strongly suspect, completely misleading.

It is a sad truth, but we have lost the faculty of giving lovely names to things. Names are everything. I never quarrel with actions. My one quarrel is with words. That is the reason why I hate vulgar realism in literature. The man who could call a spade a spade should be compelled to use one. It is the only thing he is fit for.

Poirot, watching him, felt suddenly a doubt--an uncomfortable twinge. Was there, here, something that he had missed? Some richness of the spirit? Sadness crept over him. Yes, he should have become acquainted with the classics. Long ago. Now, alas, it was too late....

The world of publishing is in crisis. It's no coincidence that the worst published writer in the world today is also one of the world's most successful writers... Dan Brown. Now Dan Brown is not a good writer, The Da Vinci Code is not literature. Dan Brown writes sentences like "The famous man looked at the red cup." ...and it's only to be hoped that Dan Brown never gets a job where he's required to break bad news. "Doctor is he going to be alright?" "The seventy five year old man died a painful death on the large green table... it was sad".

If you read a story that really involves you, your body will tell you that you are living through the experience. You will recognize feelings that have physical signs - increased heart rate, sweaty palms, or calm, relaxed breathing and so on, depending on your mood. These effects are the same you would feel in similar real-life experiences - fear, anger, interest, joy, shame or sadness. Amazingly, you can actually 'live' experience without moving anything but your eyes across a page.

Sure we all need money but what do you really focus on? It is a matter of the heart. If your thoughts are on material and worldly things, no good fruits can come out of it. Seek the kingdom of God first and the other things shall be added unto you not vice versa.

If want to become a person with vision, get back and reconnect to your source.

No one is as real to me as people in the novel. It grows like a living thing. When I realize they do not exist except in my mind I have a feeling of sadness, looking around for them, as if the half-empty cafe were a place I had once come to with friends who had all moved away.

Jonathan Safran Foer’s 10 Rules for Writing: 1.Tragedies make great literature; unfathomable catastrophes (the Holocaust, 9/11) are even better – try to construct your books around them for added gravitas but, since those big issues are such bummers, make sure you do it in a way that still focuses on a quirky central character that’s somewhat like Jonathan Safran Foer. 2. You can also name your character Jonathan Safran Foer. 3. If you’re writing a non-fiction book you should still make sure that it has a strong, deep, wise, and relatable central character – someone like Jonathan Safran Foer. 4. If you reach a point in your book where you’re not sure what to do, or how to approach a certain scene, or what the hell you’re doing, just throw in a picture, or a photo, or scribbles, or blank pages, or some illegible text, or maybe even a flipbook. Don’t worry if these things don’t mean anything, that’s what postmodernism is all about. If you’re not sure what to put in, you can’t go wrong with a nice photograph of Jonathan Safran Foer. 5. If you come up with a pun, metaphor, or phrase that you think is really clever and original, don’t just use it once and throw it away, sprinkle it liberally throughout the text. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 6. Don’t worry if you seem to be saying the same thing over and over again, repetition makes the work stronger, repetition is good, it drives the point home. The more you repeat a phrase or an idea, the better it gets. You should not be afraid of repeating ideas or phrases. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 7. Other writers are not your enemies, they are your friends, so you should feel free to borrow some of their ideas, words, techniques, and symbols, and use them completely out of context. They won’t mind, they’re your friends, just like my good friend Paul Auster, with whom I am very good friends. Just make sure you don’t steal anything from Jonathan Safran Foer, it wouldn’t be nice, he is your friend. 8. Make sure you have exactly three plots in your novel, any more and it gets confusing, any less and it’s not postmodern. At least one of those plots should be in a different timeline. It often helps if you name these three plots, I often use “Jonathan,” “Safran,” and “Foer.” 9. Don’t be afraid to make bold statements in you writing, there should always be a strong lesson to be learned, such as “don’t eat animals,” or “the Holocaust was bad,” or “9/11 was really really sad,” or “the world would be a better place if everyone was just a little bit more like Jonathan Safran Foer.” 10. In the end, don’t worry if you’re unsuccessful as a writer, it probably wasn’t meant to be. Not all of us are chosen to become writers. Not all of us can be Jonathan Safran Foer.

I believe in han. There's no perfect English-language equivalent for this Korean emotion, but it's some combination of strife or unease, sadness, and resentment, born from the many historical injustices and indignities endured by our people. It's a term that came into use in the twentieth century after the Japanese occupation of Korea, and it describes this characteristic sorrow and bitterness that Koreans seem to possess wherever they are in the world. It is transmitted from generation to generation and defines much of the art, literature, and cinema that comes out of Korean culture.

Imaginative poetry produces a far greater mental strain than novels. It produces probably the severest strain of any form of literature. It is the highest form of literature. It yields the highest form of pleasure, and teaches the highest form of wisdom. In a word, there is nothing to compare with it. I say this with sad consciousness of the fact that the majority of people do not read poetry.

The universities are an absolute wreck right now, because for decades, any graduate student in the humanities who had independent thinking was driven out. There was no way to survive without memorizing all these stupid bromides with this referential bowing to these over-inflated figures like Lacan, Derrida, Foucault, and so on. Basically, it's been a tyranny in the humanities, because the professors who are now my age – who are the baby boomer professors, who made their careers on the back of Foucault and so on – are determined that that survive. So you have a kind of vampirism going on. So I've been getting letters for 25 years since Sexual Personae was released in 1990, from refugees from the graduate schools. It's been a terrible loss. One of my favorite letters was early on: a woman wrote to me, she was painting houses in St. Louis, she said that she had wanted a career as a literature professor and had gone into the graduate program in comparative literature at Berkeley. And finally, she was forced to drop out because, she said, every time she would express enthusiasm for a work they were studying in the seminar, everyone would look at her as if she had in some way created a terrible error of taste. I thought, 'Oh my God', see that's what's been going on – a pretentious style of superiority to the text. [When asked what can change this]: Rebellion! Rebellion by the grad students. This is what I'm trying to foment. We absolutely need someone to stand up and start criticizing authority figures. But no; this generation of young people have been trained throughout middle school and high school and college to be subservient to authority.

I find myself subject to the entire range of emotions and reactions that a great book will call forth from its reader. I chuckle, laugh out loud, smile wistfully, cringe, widen my eyes in surprise, and even feel sadness--all from the neatly ordered rows of words and their explanations. All of the human emotions and experiences are right here in this dictionary, just as they would be in any fine work of literature. They just happen to be alphabetized.

Outside theology and fantastic literature, few can doubt that the main features of our universe are its dearth of meaning and lack of discernible purpose. And yet, with bewildering optimism, we continue to assemble whatever scraps of information we can gather in scrolls and books and computer chips, on shelf after library shelf, whether material, virtual or otherwise, pathetically intent on lending the world a semblance of sense and order, while knowing perfectly well that, however much we'd like to believe the contrary, our pursuits are sadly doomed to failure.

I’ve seen middle grade books criticized by adult readers for leaving things for the reader to figure out, for not having perfect happily-ever-after endings. They get knocked for being too depressing, for using too many big words, for featuring parental characters who are too clueless. Girl protagonists are “too angry” or “too self-absorbed.” The issues raised are “too heavy,” the books “too earnest,” “too quiet,” “too hard,” “too far-reaching,” “too strange,” and it is all too too much for the reader. Except it’s never the readers themselves saying these things. Our critical discourse in middle grade is sometimes much more about what the reviewer believes children’s books should be rather than about engaging with the book itself and the literature as a whole. When we say a book is “too sad,” “too scary,” “too complicated;” when we demand that endings are perfectly happy and all tied up; when we demand that the themes not be too weighty or the characters not face too much hardship; we are projecting our own biases onto the book, and using them to prescribe what books for this age range can or cannot do. This is nannying, not literary criticism—and it doesn’t give kids much credit.

If Caribbean writers have one single unifying theme, it is a strong sense of place, and of home. There is also - always, beneath the humour, which is a West Indian characteristic - a sadness: an awareness of a past that can never really be forgotten, or forgiven.

Anyway', Anthony said ushering them away, 'that's Literature. One of the worst applications of Babel education, if you ask me.' 'You don't approve?' Robin asked. He shared Victoire's delight; a life spent on the fourth floor would be wonderful. 'Me? No.', Anthony chuckled, 'I'm here for silver-working. I think the Literature Department are an indulgent lot, as Vimal knows. See, the sad thing is they could be they could be the most dangerous scholars of them all, because they are the ones who really understand languages - know how they live and breathe or how they can make our blood pump, our skin prickle with just a turn of a phrase. But they are just too obsessed fiddling with their lovely images to bother with how all that living energy might be channelled into something far more powerful. I mean, of course, silver.

If you want to see the beauty of any fish, throw it into the water, you will see how best it can swim because that is its source. Do you want to see the beauty in you? Don't look in the mirror, don't put on makeups, no jewelleries or expensive designer clothes, just go back and reconnect to your source and I bet, the best of you will show up. Until you return back to God, your best won't come out because He is your source.

Two literary figures bridge the gap between the mediaeval age and the Renaissance. They are Sir Thomas Malory, the author of Le Morte D'Arthur, and the first 'poet-laureate', John Skelton. In their entirely separate ways, they made distinctive contributions to the history of literature and to the growth of English as a literary language. ........ Le Morte D'Arthur is, in a way, the climax of a tradition of writing, bringing together myth and history, with an emphasis on chivalry as a kind of moral code of honour. The supernatural and fantastic aspects of the story, as in Sir Gawain and the Green Knight, are played down, and the more political aspects, of firm government and virtue, emphasised. It was a book for the times. The Wars of the Roses ended in the same year as Le Morte D'Arthur was published. Its values were to influence a wide readership for many years to come. There is sadness, rather than heroism, in Arthur's final battle.. ...... John Skelton is one of the unjustly neglected figures of literature. His reputation suffered at the hands of one of the earliest critics of poetry, George Puttenham, and he is not easily categorised in terms of historical period, since he falls between clearly identified periods like 'mediaeval' and 'Renaissance'. He does not fit in easily either because of the kinds of poetry he wrote. But he is one of the great experimenters, and one of the funniest poets in English.

The best thing for being sad,” replied Merlin, beginning to puff and blow, “is to learn something. That is the only thing that never fails. You may grow old and trembling in your anatomies, you may lie awake at night listening to the disorder of your veins, you may miss your only love, you may see the world about you devastated by evil lunatics, or know your honor trampled in the sewers of baser minds. There is only one thing for it then—to learn. Learn why the world wags and what wags it. That is the only thing which the mind can never exhaust, never alienate, never be tortured by, never fear or distrust, and never dream of regretting. Learning is the thing for you. Look at what a lot of things there are to learn—pure science, the only purity there is. You can learn astronomy in a lifetime, natural history in three, literature in six. And then, after you have exhausted a million lifetimes in biology and medicine and theocriticism and geography and history and economics, why, you can start to make a cartwheel out of the appropriate wood, or spend fifty years learning to begin to learn to beat your adversary at fencing. After that you can start again on mathematics until it is time to learn to plough.”*

For me the poem and the poetry open mic isn’t about competition and it never will be. Honestly? It's wrong. The open mic is about 1 poet, one fellow human being up on a stage or behind a podium sharing their work regardless of what form or style they bring to it. In other words? The guy with the low slam score is more than likely a far better poet-writer than the guy who actually won. But who are you? I ? Or really anyone else to judge them? The Poetry Slam has become an overgrown, over used monopoly on American literature and poetry and is now over utilized by the academic & public school establishments. And over the years has sadly become the "McDonalds Of Poetry". We can only hope that the same old stale atmosphere of it all eventually becomes or evolves into something new that translates to and from the written page and that gives new poets with different styles & authentic voices a chance to share their work too.

Had Stella been named anything else, and/or had we lived in any other city besides New Orleans, my desperate call would have been just my desperate call. In that alternate universe the neighbors might have peeked from behind the curtains but they wouldn't have laughed or, worse, joined in. But you simply cannot shout the name Stella while standing under a window in New Orleans and hope for anything like an authentic or even mildly earnest moment. Literature had beaten me to this moment, had staked its flag here first, and there was nothing I could do outside in that soupy, rain-drenched alleyway that could rise above sad parody. Perhaps if she'd been named Beatrice, or Katarzyna-maybe then my life would have turned out differently. Maybe then my voice would have roused her to the window, maybe then I could have told her that I was sorry, that I could be a better man, that I couldn't promise I knew everything it meant but I loved her. Instead I stared up at that black window, shutmouthed and impotent, blinking and reblinking my eyes to flush out the rainwater. "Stella," I whispered. The French have an expression: "Without literature life is hell." Yeah, well. Life with it bears its own set of flames.

The best thing for being sad,’ replied Merlyn, beginning to puff and blow, ‘is to learn something. That is the only thing that never fails. You may grow old and trembling in your anatomies, you may lie awake at night listening to the disorder of your veins, you may miss your only love, you may see the world about you devastated by evil lunatics, or know your honour trampled in the sewers of baser minds. There is only one thing for it then – to learn. Learn why the world wags and what wags it. That is the only thing which the mind can never exhaust, never alienate, never be tortured by, never fear or distrust, and never dream of regretting. Learning is the thing for you. Look at what a lot of things there are to learn – pure science, the only purity there is. You can learn astronomy in a lifetime, natural history in three, literature in six. And then, after you have exhausted a milliard lifetimes in biology and medicine and theo-criticism and geography and history and economics – why, you can start to make a cartwheel out of the appropriate wood, or spend fifty years learning to begin to learn to beat your adversary at fencing. After that you can start again on mathematics, until it is time to learn to plough.

our ability to feel our feelings as they move as energy through our body with our ability to talk about what we feel. We can sit in therapy, tell sad stories, and talk about feeling sad without ever having the bodily experience of sadness. Psychology has historically focused too much on cognition and behavior while neglecting the process that underlies them both: emotion. But current neuroscientific research reveals emotion (also called affect in the scientific literature) as the central driver behind why we are the way we are, and how we develop and heal.2 We now know that most psychopathology, or mental illness, is the result of the inability to effectively regulate emotion.

It is therefore inevitable that we should seek compensation for the loss of life in the world of fiction, in literature, and in the theater. There we still find people who know how to die, who are even quite capable of killing others. There alone the condition for reconciling ourselves to death is fulfilled, namely, if beneath all the vicissitudes of life a permanent life still remains to us. It is really too sad that it may happen in life as in chess, where a false move can force us to lose the game, but with this difference, that we cannot begin a return match. In the realm of fiction we find the many lives in one for which we crave. We die in identification with a certain hero and yet we outlive him and, quite unharmed, are prepared to die again with the next hero.

How lovely the months, the years with him had been. At the moment I hadn’t understood their importance, and now here I was, growing sad. The rain the cold the snow the scents of Spring along the Arno and on the flowering streets of the city, the warmth we gave each other. Choosing a dress, glasses. His pleasure in changing me. And Paris, the exciting trip to a foreign country, the cafes, the politics, the literature, the revolution that would soon arrive, even though the working class was becoming integrated. And him. His room at night. His body. All finished. I tossed nervously in my bed unable to sleep. I’m lying to myself , I thought. Had it really been so wonderful ? I knew very well that at that time, too, there had been shame. And uneasiness, and humiliation, and disgust: accept, submit force yourself. Is it possible that even happy moments of pleasure never stand up to rigorous examination

The great self-limitation practiced by man for ten centuries yielded, between the fourteenth and seventeenth centuries, the whole flower of the so-called "Renaissance." The root, usually, does not resemble the fruit in appearance, but there is an undeniable connection between the root's strength and juiciness and the beauty and taste of the fruit. The Middle Ages, it seems, have nothing in common with the Renaissance and are opposite to it in every way; nonetheless, all the abundance and ebullience of human energies during the Renaissance were based not at all on the supposedly "renascent" classical world, nor on the imitated Plato and Virgil, nor on manuscripts torn from the basements of old monasteries, but precisely on those monasteries, on those stern Franciscians and cruel Dominicans, on Saints Bonaventure, Anselm of Canterbury, and Bernard of Clairvaux. The Middle Ages were a great repository of human energies: in the medieval man's asceticism, self-abnegation, and contempt for his own beauty, his own energies, and his own mind, these energies, this heart, and this mind were stored up until the right time. The Renaissance was the epoch of the discovery of this trove: the thin layer of soil covering it was suddenly thrown aside, and to the amazement of following centuries dazzling, incalculable treasures glittered there; yesterday's pauper and wretched beggar, who only knew how to stand on crossroads and bellow psalms in an inharmonious voice, suddenly started to bloom with poetry, strength, beauty, and intelligence. Whence came all this? From the ancient world, which had exhausted its vital powers? From moldy parchments? But did Plato really write his dialogues with the same keen enjoyment with which Marsilio Ficino annotated them? And did the Romans, when reading the Greeks, really experience the same emotions as Petrarch, when, for ignorance of Greek, he could only move his precious manuscripts from place to place, kiss them now and then, and gaze sadly at their incomprehensible text? All these manuscripts, in convenient and accurate editions, lie before us too: why don't they lead us to a "renascence" among us? Why didn't the Greeks bring about a "renascence" in Rome? And why didn't Greco-Roman literature produce anything similar to the Italian Renaissance in Gaul and Africa from the second to the fourth century? The secret of the Renaissance of the fourteenth-fifteenth centuries does not lie in ancient literature: this literature was only the spade that threw the soil off the treasures buried underneath; the secret lies in the treasures themselves; in the fact that between the fourth and fourteenth centuries, under the influence of the strict ascetic ideal of mortifying the flesh and restraining the impulses of his spirit, man only stored up his energies and expended nothing. During this great thousand-year silence his soul matured for The Divine Comedy; during this forced closing of eyes to the world - an interesting, albeit sinful world-Galileo was maturing, Copernicus, and the school of careful experimentation founded by Bacon; during the struggle with the Moors the talents of Velasquez and Murillo were forged; and in the prayers of the thousand years leading up to the sixteenth century the Madonna images of that century were drawn, images to which we are able to pray but which no one is able to imitate. ("On Symbolists And Decadents")

Say you've just read Faulkner's 'Barn Burning'. Like the son in the story, you've sensed the faults in your father's character. Thinking about them makes you uncomfortable, left alone you'd probably close the book and move on to other thoughts. But instead you are taken in hand by a tall, brooding man with a distinguished limp who involves you and a roomful of other boys in the consideration of what it means to be a son. The loyalty that is your duty and your worth and your problem. The goodness of loyalty and its difficulties and snares, how loyalty might also become betrayal - of the self and the world outside the circle of blood. You've never had this conversation before, not with anyone. And even as its happening you understand that just as your father's troubles with the world - emotional frailty, self-doubt, incomplete honesty - will not lead him to set it on fire, your own loyalty will never be the stuff of tragedy. You will not turn bravely and painfully from your father, as the boy in the story does, but foresake him, without regret. And as you accept that separation, it seems to happen; your father's sad, fleshy face grows vague, and you blink it away and look up to where your teachers leans against his desk, one hand in a coat pocket, the other rubbing his bum knee as he listens desolately to the clever bore behind you saying something about bird imagery.

Do those things, god damnit, because nothing sucks worse than a girl who reads. Do it, I say, because a life in purgatory is better than a life in hell. Do it, because a girl who reads possesses a vocabulary that can describe that amorphous discontent as a life unfulfilled—a vocabulary that parses the innate beauty of the world and makes it an accessible necessity instead of an alien wonder. A girl who reads lays claim to a vocabulary that distinguishes between the specious and soulless rhetoric of someone who cannot love her, and the inarticulate desperation of someone who loves her too much. A vocabulary, god damnit, that makes my vacuous sophistry a cheap trick. Do it, because a girl who reads understands syntax. Literature has taught her that moments of tenderness come in sporadic but knowable intervals. A girl who reads knows that life is not planar; she knows, and rightly demands, that the ebb comes along with the flow of disappointment. A girl who has read up on her syntax senses the irregular pauses—the hesitation of breath—endemic to a lie. A girl who reads perceives the difference between a parenthetical moment of anger and the entrenched habits of someone whose bitter cynicism will run on, run on well past any point of reason, or purpose, run on far after she has packed a suitcase and said a reluctant goodbye and she has decided that I am an ellipsis and not a period and run on and run on. Syntax that knows the rhythm and cadence of a life well lived. Date a girl who doesn’t read because the girl who reads knows the importance of plot. She can trace out the demarcations of a prologue and the sharp ridges of a climax. She feels them in her skin. The girl who reads will be patient with an intermission and expedite a denouement. But of all things, the girl who reads knows most the ineluctable significance of an end. She is comfortable with them. She has bid farewell to a thousand heroes with only a twinge of sadness. Don’t date a girl who reads because girls who read are the storytellers. You with the Joyce, you with the Nabokov, you with the Woolf. You there in the library, on the platform of the metro, you in the corner of the café, you in the window of your room. You, who make my life so god damned difficult. The girl who reads has spun out the account of her life and it is bursting with meaning. She insists that her narratives are rich, her supporting cast colorful, and her typeface bold. You, the girl who reads, make me want to be everything that I am not. But I am weak and I will fail you, because you have dreamed, properly, of someone who is better than I am. You will not accept the life that I told of at the beginning of this piece. You will accept nothing less than passion, and perfection, and a life worthy of being storied. So out with you, girl who reads. Take the next southbound train and take your Hemingway with you. I hate you. I really, really, really hate you.