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However novel it may appear, I shall venture the assertion that until women assume the place in society which good sense and good feeling alike assign to them, human improvement must advance but feebly. It is in vain that we would circumscribe the power of one half of our race, and that half by far the most important and influential. If they exert it not for good they will for evil, if they advance not knowledge they will perpetuate ignorance. Let women stand where they may in the scale of improvement, their position decides that of the race.
An ancient author tells us somewhere, with the tone of a pedagogue, if you have not done anything worthy of being recorded, at least write something worthy of being read. It is a precept as beautiful as a diamond of the first water cut in England, but it cannot be applied to me, because I have not written either a novel, or the life of an illustrious character. Worthy or not, my life is my subject, and my subject is my life. I have lived without dreaming that I should ever take a fancy to write the history of my life, and, for that very reason, my Memoirs may claim from the reader an interest and a sympathy which they would not have obtained, had I always entertained the design to write them in my old age, and, still more, to publish them.
A certain critic—for such men, I regret to say, do exist—made the nasty remark about my last novel that it contained 'all the old Wodehouse characters under different names'. He has probably now been eaten by bears, like the children who made mock of the prophet Elisha: but if he still survives he will not be able to make a similar charge against Summer Lightning. With my superior intelligence, I have outgeneralled this man by putting in all the old Wodehouse characters under the same names. Pretty silly it will make him feel, I rather fancy.
Art must take reality by surprise. It takes those moments which are for us merely a moment, plus a moment, plus another moment, and arbitrarily transforms them into a special series of moments held together by a major emotion. Art should not, it seems to me, pose the real as a preoccupation. Nothing is more unreal than certain so-called realist novels — they're nightmares. It is possible to achieve in a novel a certain sensory truth — the true feeling of a character — that is all.
We live in a world ruled by fictions of every kind — mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality.