p. 14
If one can stomach a good dose of simplification, though, there can be seen one deep feature shared by all the cutting-edge fiction that resonates with the post-Hiroshima revolution. That is its fall into time, a loss of innocence about the language that is its breath and bread. Its unblinking recognition of the fact that the relations between literary artist, literary language, and literary artifact are vastly more complex and powerful than has been realized hitherto. And the insight that is courage’s reward—that it is precisely in those tangled relations that a forward-looking, fertile literary value may well reside.
("Futuristic Fiction and the Conspicuously Young" dans Review of Contemporary Fiction, 1988 - theknowe.net)
dimanche 7 février 2010
mardi 3 novembre 2009
McINERNEY, Jay
p. 22 :
The people in the Verification Department tend to look down on fiction, in which words masquerade as flesh without the backbone of fact. There is a general sense that if fiction isn't dead, it is at least beside the point.
Bright Lights, Big City, 1984.
The people in the Verification Department tend to look down on fiction, in which words masquerade as flesh without the backbone of fact. There is a general sense that if fiction isn't dead, it is at least beside the point.
Bright Lights, Big City, 1984.
dimanche 1 novembre 2009
PALAHNIUK, Chuck
p. 117 :
Just for the record, being smeared with shit and naked in the wilderness, spattered with pink vomit, this does not necessarily make you a real artist.
Diary, 2003.
Just for the record, being smeared with shit and naked in the wilderness, spattered with pink vomit, this does not necessarily make you a real artist.
Diary, 2003.
PALAHNIUK, Chuck
p. 27 :
He leans into the wall, his face twisting hard against the hole, and says, "This handwriting is so compelling. The way he writes the letter f in 'set foot' and 'fat fucking slob,' the top line is so long it overhangs the rest of the word. That means he's actually a very loving, protective man." He says, "See the k in 'kill you'? The way the front leg is extralong shows he's worried about something."
p. 45 :
Watching any woman talk to Peter Wilmot, you could see her frontalis muscle lifted her forehead into wrinkles, proof she was scared. Peter's top eyelids would be half shut, more like someone angry than looking to fall in love.
Diary, 2003.
He leans into the wall, his face twisting hard against the hole, and says, "This handwriting is so compelling. The way he writes the letter f in 'set foot' and 'fat fucking slob,' the top line is so long it overhangs the rest of the word. That means he's actually a very loving, protective man." He says, "See the k in 'kill you'? The way the front leg is extralong shows he's worried about something."
p. 45 :
Watching any woman talk to Peter Wilmot, you could see her frontalis muscle lifted her forehead into wrinkles, proof she was scared. Peter's top eyelids would be half shut, more like someone angry than looking to fall in love.
Diary, 2003.
McCAFFERY, Larry
p. xxv :
The ultimate goal, of course, is to be able one day to record - thus capturing it, making it susceptible to human reason and control - everything.
After Yesterday's Crash: The Avant-Pop Anthology, 1995.
The ultimate goal, of course, is to be able one day to record - thus capturing it, making it susceptible to human reason and control - everything.
After Yesterday's Crash: The Avant-Pop Anthology, 1995.
McCAFFERY, Larry
p. xix :
Like the avant-garde, Avant-Pop often relies on the use of radical aesthetic methods to confuse, confound, bewilder, piss off, and generally blow the fuses of ordinary citizens exposed to it (a "deconstructive strategy") - but just as frequently it does so with the intention of creating a sense of delight, amazement, and amusement ("reconstructive").
After Yesterday's Crash: The Avant-Pop Anthology, 1995.
Like the avant-garde, Avant-Pop often relies on the use of radical aesthetic methods to confuse, confound, bewilder, piss off, and generally blow the fuses of ordinary citizens exposed to it (a "deconstructive strategy") - but just as frequently it does so with the intention of creating a sense of delight, amazement, and amusement ("reconstructive").
After Yesterday's Crash: The Avant-Pop Anthology, 1995.
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