I am naive enough to read incessantly because I cannot, on my own, get to know enough people profoundly enough.
Harold BloomRead
We all fear loneliness, madness, dying. Shakespeare and Walt Whitman, Leopardi and Hart Crane will not cure those fears. And yet these poets bring us fire and light.
Interpretation
The quote acknowledges our common fears while highlighting the illuminating power of poetry.
Harold Bloom reflects on the universal fears of loneliness, madness, and death that plague humanity. He suggests that while even the greatest poets like Shakespeare and Whitman cannot eradicate these fears, their works provide a profound source of inspiration and enlightenment, offering 'fire and light' in the darkness of our existential concerns.
In practice
In a speech about the importance of art, one could reference Bloom's quote to illustrate how poetry addresses deep human fears.
I am naive enough to read incessantly because I cannot, on my own, get to know enough people profoundly enough.
Reading well is one of the greatest pleasures that solitude can afford you.
Socrates, in Plato, formulates ideas of order: the Iliad, like Shakespeare, knows that a violent disorder is a great order.
Reading the very best writers—let us say Homer, Dante, Shakespeare, Tolstoy—is not going to make us better citizens. Art is perfectly useless, according to the sublime Oscar Wilde, who was right about everything. He also told us that all bad poetry is sincere. Had I the power to do so, I would command that these words be engraved above every gate at every university, so that each student might ponder the splendor of the insight.
I have never believed that the critic is the rival of the poet, but I do believe that criticism is a genre of literature or it does not exist.
Everyone wants a prodigy to fail; it makes our mediocrity more bearable.
However much, as readers, we lose ourselves in a novel or story, fiction itself is an experience on the order of memory -not on the order of actual occurrence.
It is not the voice that commands the story: it is the ear.
The love of literature, of language, of the mystery of the mind and heart showing themselves in the minute, strange, and unexpected combinations of letters and words, in the blackest and coldest print—the love which he had hidden as if it were illicit and dangerous, he began to display, tentatively at first, and then boldly, and then proudly.
What I try to do is write a story about a detective rather than a detective story. Keeping the reader fooled until the last, possible moment is a good trick and I usually try to play it, but I can't attach more than secondary importance to it. The puzzle isn't so interesting to me as the behavior of the detective attacking it.
People apparently only read mystery stories of any length. With mysteries, the longer the better, and people will read any damn thing. But the indulgent, 800-page books that were written a hundred years ago are just not going to be written anymore, and people need to get used to that.
All novels are about certain minorities: the individual is a minority. The universal in the novel-and isn't that what we're all clamoring for these days?-is reached only through the depiction of the specific man in a specific circumstance.
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