language

let us start by picturing the Japan archipelago lying in the sea by the Chinese mainland. If its proximity allowed it to become part of the Sinosphere and acquire a written culture, its distance benefited the development of indigenous writing. The Dover Strait, separating England and France, is only 34 kilometers (21 miles) wide. A fine swimmer can swim across it. In contrast, the shortest distance between Japan and the Korean Peninsula is five or six times greater, and between Japan and the Chinese mainland, twenty-five times greater. The current, moreover, is deadly. . . . Japan's distance from China gave it political and cultural freedom and made possible the flowering of its own writing.

He loved words, and he would admit that he was playing with them all the time. He was obsessive about the rhythm of the sentence, and would add a word, subtract a word. [about Truman Capote]

If Bengali is my mother, then English is my father and friend.

A stubborn refusal of the conditions of 20th Century 'reality', surrealism has denied intransigently and consistently that modern man can live without a sense of wonder at the world that was once embodied in myth. In approaching literature, it has aimed at restoring to the word its magical qualities. And at giving back to language the elemental power it once had within society. This determinism lies at the heart of the surrealist attitude and distinguishes it radically from the modernism which took shape contemporaneously with it.

In the wildlife sanctuaries of literature, we study the species of speech, the flight patterns of individual words, the herd behavior of words together, and we learn what language does and why it matters. this is excellent training for going out into the world and looking at all the unhallowed speech of political statements and news headlines and CDC instructions and seeing how it makes the word or in this case, makes a mess of it. It is the truest, highest purpose of language to make things clear and help us see; when words are used to do the opposite you know you're in trouble and maybe that there's a cover-up.

Nor is the limitation of what is sayable a limit to the doable: this last is the possibility of literature.

I wrote when I did not know life;now that I know life, I have no more to say.

Howard adores Sam's looks. He loves the strong cut of jaw made satin with thickening peach fuzz, loses himself in the green eyes. Howard stares at them like a lover, but always obliquely. (Sometimes we watch our son from a distance. "I wonder what he's thinking," Howard will say.)

The conventional use of words and of narrative structure is deliberately subverted in decadent fiction; language deviates from the established norms in an attempt to reproduce pathology on a textual level. With its emphasis on aberration and artifice, the decadents' approach to the language of fiction frequently leans towards the baroque and the obscure.

The incapacity to name is a good symptom of disturbance.

Adornment, exoticism, affectation are all willed decadent strategies meant to pervert the texts they made. Decadent texts often live in their descriptive excursions, in their evocation of dreams, mysterious places and states of mind, in their excess of words, not events. The surface of the texts, the sound of the words, point to themselves as manufactured, as illusion. The decadents attempted to create texts that announced themselves as artifice.

Language is the medium of literature, and the state of the language at any time can hardly fail to carry literary consequences.

The text is a tissue of quotations drawn from the innumerable centres of culture.

It is precisely, if paradoxically, because reversal is in the service of repetition (so as to ensure, alongside its companion strategies, a dizzying proliferation of citations) that it gains a subversive power rather than remain a mere dependent (and thus conservative) form of social discourse. Reversal plays a double role in this novel (MONSIEUR VENUS), for it is not only a formal strategy bearing on citation, but itself a citation as well; one more cliché mobilized from the fin-de-siecle reserve.

When I read Shakespeare I am struck with wonder that such trivial people should muse and thunder in such lovely language.

In the contexts of religion and politics, words are not regarded as standing, rather inadequately, for things and events; on the contrary, things and events are regarded as particular illustrations of words.

A man can control only what he comprehends, and comprehend only what he is able to put into words. The inexpressible therefore is unknowable. By examining future stages in the evolution of language we come to learn what discoveries, changes and social revolutions the language will be capable, some day, of reflecting.

There were seven men, but just one language. They also moved as one and ate one meal a day and slept in the same bed and knew the same women with whom they'd made the same child. They worked for the same firm as the father. They were the future.