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There is something about seeing real people on a stage that makes a bad play more intimately, more personally offensive than any other art form.
Anatole Broyard
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Anatole Broyard
Age: 70 †
Born: 1920
Born: July 16
Died: 1990
Died: October 11
Author
Journalist
Literary Critic
Writer
New Orleans
Louisiana
People
Vision
Seeing
Makes
Art
Form
Intimately
Play
Offensive
Real
Personally
Something
Stage
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Paranoids are the only ones who notice things anymore.
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The more I like a book, the more slowly I read. this spontaneous talking back to a book is one of the things that makes reading so valuable.
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Ruefulness is one of the classical tones of American fiction. It fosters a native, deglamorized form of anxiety.
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The moment a book is lent I begin to miss it.
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Either a writer doesn't want to talk about his work, or he talks about it more than you want.
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If a book is really good, it deserves to be read again, and if it's great, it should be read at least three times.
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There are few things more subtly distressing than an inappropriate gift from someone close to you.
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It is one of the paradoxes of American literature that our writers are forever looking back with love and nostalgia at lives they couldn't wait to leave.
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We are all tourists in history, and irony is what we win in wars.
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Aphorisms are bad for novels. They stick in the reader's teeth.
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In an age like ours, which is not given to letter-writing, we forget what an important part it used to play in people's lives.
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We don't simply read books. We become them.
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The contents of someone's bookcase are part of his history, like an ancestral portrait.
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An aphorism is a generalization of sorts, and our present-day writers seem more at home with the particular.
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Sometimes it seems that we might have been happier if we had once had an aristocracy to blame everything on.
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Two people making love, she once said, are like one drowned person resuscitating the other.
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A book is meant not only to be read, but to haunt you, to importune you like a lover or a parent, to be in your teeth like a piece of gristle.
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The first divorce in the world may have been a tragedy, but the hundred-millionth is not necessarily one.
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For years they have been using the role of 'sex object' as a cover while they spied out the land.
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The tension between 'yes' and no', between 'I can' and 'I cannot,' makes us feel that, in so many instances, human life is an interminable debate with one's self.
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