I don't agree with the sentiment 'write what you know.'... I think one should write what one doesn't know. The world is bigger and wider and more complex than our small subjective selves. One should prod, goad the imagination.
Cynthia OzickRead
Whoever utters 'Kafkaesque' has neither fathomed nor intuited nor felt the impress of Kafka's devisings. If there is one imperative that ought to accompany any biographical or critical approach, it is that Kafka is not to be mistaken for the Kafkaesque.
Interpretation
The quote emphasizes the distinction between Franz Kafka's life and writings versus the broader interpretation of 'Kafkaesque'.
Cynthia Ozick conveys that to truly understand Kafka and his works, one must go beyond the superficial application of the term 'Kafkaesque', which often simplifies or misrepresents the complexity of his literary contributions. She argues for a deeper engagement with Kafka's ideas rather than merely labeling situations or narratives as 'Kafkaesque' without appreciating the profound nuances of his actual writings.
In practice
In a literary discussion focusing on the works of Kafka.
I don't agree with the sentiment 'write what you know.'... I think one should write what one doesn't know. The world is bigger and wider and more complex than our small subjective selves. One should prod, goad the imagination.
I'm not afraid of facts, I welcome facts but a congeries of facts is not equivalent to an idea. This is the essential fallacy of the so-called "scientific" mind. People who mistake facts for ideas are incomplete thinkers; they are gossips.
Above all, a book is a riverbank for the river of language. Language without the riverbank is only television talk - a free fall, a loose splash, a spill.
An article can be timely, topical, engaged in the issues and personalities of the moment; it is likely to be stale within the month. In five years, it may have acquired the quaint aura of a rotary phone. An article is usually Siamese-twinned to its date of birth.
A writer is dreamed and transfigured into being by spells, wishes, goldfish, silhouettes of trees, boxes of fairy tales dropped in the mud, uncles' and cousins' books, tablets and capsules and powders...and then one day you find yourself leaning here, writing on that round glass table salvaged from the Park View Pharmacy--writing this, an impossibility, a summary of who you came to be where you are now, and where, God knows, is that?
No one can teach writing, but classes may stimulate the urge to write. If you are born a writer, you will inevitably and helplessly write. A born writer has self-knowledge. Read, read, read. And if you are a fiction writer, don't confine yourself to reading fiction. Every writer is first a wide reader.
The shapes arranged themselves into words, and the words spelled out a delicious and wonderful phrase: Once upon a time.
I think the job of writing and literature is to encourage each one of us to believe that we're living in a story.
Literature exists at the same time in the modes of error and truth; it both betrays and obeys its own mode of being.
For me alone Don Quixote was born and I for him. His was the power of action, mine of writing.
Belief in one's identity as a poet or writer prior to the acid test of publication is as naive and harmless as the youthful belief in one's immortality... and the inevitable disillusionment is just as painful.
Sartre said that wars were acts and that, with literature, you could produce changes in history. Now, I don't think literature doesn't produce changes, but I think the social and political effect of literature is much less controllable than I thought.
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