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1 " What is wonderful about great literature is that it transforms the man who reads it towards the condition of the man who wrote. "
― E.M. Forster , Two Cheers for Democracy
2 " The man who is contented to be only himself, and therefore less a self, is in prison. My own eyes are not enough for me, I will see through those of others. Reality, even seen through the eyes of many, is not enough. I will see what others have invented. Even the eyes of all humanity are not enough. I regret that the brutes connot write books. Very gladly would I learn what face things present to a mouse or a bee; more gladly still would I perceive the olfactory world charged with all the information and emotion it carries for a dog. Literary experience heals the wound, without undermining the privilege, of individuality... in reading great literature I become a thousand men and yet remain myself. Like the night sky in the Greek poem, I see with a myriad of eyes, but it is still I who see. Here, as in worship, in love, in moral action, and in knowing, I transcend myself; and am never more myself than when I do. "
― C.S. Lewis , An Experiment in Criticism
3 " If you read great literature every day, you will uplift your spirit, soul and self. "
4 " ...what distinguishes pulp fiction from great literature is how emphatically the work challenges us to interpret it. "
5 " I was working in silence seeking no appreciation or respect from any one. And it is always the silence from which great literature is born. "
― Abhijit Naskar , Love, God & Neurons: Memoir of a Scientist Who Found Himself by Getting Lost
6 " Great language and great literature do not survive long without each other "
― Lance Conrad , The Price of Creation (The Historian Tales, #1)
7 " Real literature is something much better than a harmless instrument for getting through idle hours. The purpose of great literature is to help us to develop into full human beings. "
― Russell Kirk
8 " After moving his family from Yakima to Paradise, California, in 1958, he enrolled at Chico State College. There, he began an apprenticeship under the soon-to-be-famous John Gardner, the first " real writer" he had ever met. " He offered me the key to his office," Carver recalled in his preface to Gardner’s On Becoming a Novelist (1983). " I see that gift now as a turning point." In addition, Gardner gave his student " close, line-by-line criticism" and taught him a set of values that was " not negotiable." Among these values were convictions that Carver held until his death. Like Gardner, whose On Moral Fiction (1978) decried the " nihilism" of postmodern formalism, Carver maintained that great literature is life-connected, life-affirming, and life-changing. " In the best fiction," he wrote " the central character, the hero or heroine, is also the ‘moved’ character, the one to whom something happens in the story that makes a difference. Something happens that changes the way that character looks at himself and hence the world." Through the 1960s and 1970s he steered wide of the metafictional " funhouse" erected by Barth, Barthelme and Company, concentrating instead on what he called " those basics of old-fashioned storytelling: plot, character, and action." Like Gardner and Chekhov, Carver declared himself a humanist. " Art is not self-expression," he insisted, " it’s communication. "