Джон Роберт Фаулз цитаты
8 4Джон Роберт Фаулз
Дата рождения: 31. Март 1926
Дата смерти: 5. Ноябрь 2005
Другие имена: جان فاولز
Джон Ро́берт Фа́улз — английский писатель, романист и эссеист. Один из выдающихся представителей постмодернизма в литературе.
Подобные авторы
Джеральд Даррелл4
английский натуралист, зоолог, писатель
Ивлин Во43
английский писатель
Антуан де Сент-Экзюпери200
русский поэт, сатирик, мемуарист, адвокат
Томас Манн39
немецкий писатель, эссеист, лауреат Нобелевской премии
Иосиф Александрович Бродский185
российский и американский поэт, лауреат Нобелевской премии …
Марсель Пруст49
французский писатель, новеллист и критикЦитаты Джон Роберт Фаулз
„I'm not really sorry. But I'm not absolutely unsorry.“
— John Fowles, книга The Collector
„I don’t think the Campaign for Nuclear Disarmament has much chance of actually affecting the government. It’s one of the first things you have to face up to. But we do it to keep our self-respect to show to ourselves, each one to himself or herself, that we care.“
— John Fowles, книга The Collector
The Collector (1963), Context: I don’t think the Campaign for Nuclear Disarmament has much chance of actually affecting the government. It’s one of the first things you have to face up to. But we do it to keep our self-respect to show to ourselves, each one to himself or herself, that we care. And to let other people, all the lazy, sulky, hopeless ones like you, know that someone cares. We’re trying to shame you into thinking about it, about acting.
„I know what I am to him. A butterfly he has always wanted to catch.“
— John Fowles, книга The Collector
The Collector (1963), Context: I know what I am to him. A butterfly he has always wanted to catch. I remember (the very first time I met him) G. P. saying that collectors were the worst animals of all. He meant art collectors, of course. I didn’t really understand, I thought he was just trying to shock Caroline — and me. But of course, he is right. They’re anti-life, anti-art, anti-everything.
„The genius, of course, is largely indifferent to contemporary success; and his commitment to his ideals, both artistic and political, is profoundly, Byronically, indifferent to their contemporary popularity.“
— John Fowles, книга The Aristos
The Aristos (1964), Context: The artefacts of a genius are distinguished by rich human content, for which he forges new images and new techniques, creates new styles. He sees himself as a unique eruption in the desert of the banal. He feels himself mysteriously inspired or possessed. The craftsman, on the other hand, is content to use the traditional materials and techniques. The more self-possessed he is, the better craftsman he will be. What pleases him is skill of execution. He is very concerned with his contemporary success, his market value. If a certain kind of political commitment is fashionable, he may be committed; but out of fashion, not conviction. The genius, of course, is largely indifferent to contemporary success; and his commitment to his ideals, both artistic and political, is profoundly, Byronically, indifferent to their contemporary popularity. <!-- no. 61
„The artefacts of a genius are distinguished by rich human content, for which he forges new images and new techniques, creates new styles. He sees himself as a unique eruption in the desert of the banal.“
— John Fowles, книга The Aristos
The Aristos (1964), Context: The artefacts of a genius are distinguished by rich human content, for which he forges new images and new techniques, creates new styles. He sees himself as a unique eruption in the desert of the banal. He feels himself mysteriously inspired or possessed. The craftsman, on the other hand, is content to use the traditional materials and techniques. The more self-possessed he is, the better craftsman he will be. What pleases him is skill of execution. He is very concerned with his contemporary success, his market value. If a certain kind of political commitment is fashionable, he may be committed; but out of fashion, not conviction. The genius, of course, is largely indifferent to contemporary success; and his commitment to his ideals, both artistic and political, is profoundly, Byronically, indifferent to their contemporary popularity. <!-- no. 61
