They are all alike you know. They hold their tongues for years and you think you're safe, but when the opportunity comes they remember everything.
Edith WhartonRead
I have never known a novel that was good enough to be good in spite of its being adapted to the author's political views.
Interpretation
The quote suggests that a novel's quality can be compromised by the author's political agenda.
Edith Wharton's quote reflects the idea that when an author's political views dominate a narrative, it can detract from the overall quality of the novel. She implies that a truly great story should transcend the author's biases and resonate with readers on a more universal level, highlighting the potential conflict between art and ideology in literature.
In practice
During a book club discussion about the impact of an author's beliefs on their work.
They are all alike you know. They hold their tongues for years and you think you're safe, but when the opportunity comes they remember everything.
They seemed to come suddenly upon happiness as if they had surprised a butterfly in the winter woods
Set wide the window. Let me drink the day.
And I wonder, among all the tangles of this mortal coil, which one contains tighter knots to undo, & consequently suggests more tugging, & pain, & diversified elements of misery, than the marriage tie.
As he paid the hansom and followed his wife's long train into the house he took refuge in the comforting platitude that the first six months were always the most difficult in marriage. 'After that I suppose we shall have pretty nearly finished rubbing off each otherβs angles,' he reflected; but the worst of it was that May's pressure was already bearing on the very angles whose sharpness he most wanted to keep
There are two ways to spread happiness; either be the light who shines it or be the mirror who reflects it.
I think that when memoir goes wrong, it goes wrong from too much memory, too much detail. It's about clearing all that away and just getting to the story.
The short story is still like the novel's wayward younger brother, we know that it's not respectable - but I think that can also add to the glory of it.
I am still bowled over by this great young adult novel by David Levithan called 'Every Day,' which is about a character with no gender or body who wakes up every day in the body of a different person. It's a really impressive execution of a really great premise.
Of course, the fact that Dostoevsky can tell a juicy story isn't enough to make him great. If it were, Judith Krantz and John Grisham would be great fiction writers, and by any but the most commercial standards they're not even very good.
To say that such-and-such a circumstance is 'Kafkaesque' is to admit to the denigration of an imagination that has burned a hole in what we take to be modernism - even in what we take to be the ordinary fabric and intent of language. Nothing is like 'The Hunger Artist.' Nothing is like 'The Metamorphosis.'
I can think of no other writer who so thoroughly embodies the Jamesian spirit as Alison Lurie. Like him she can excavate all the possibilities of a theme. Like his, her books seem long, unbroken threads, seamless progressions of effects.
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