There's a paradox in rereading. You read the first time for rediscovery: an encounter with the confirming emotions. But you reread for discovery: you go to the known to figure out the workings of the unknown, the why of the familiar how.
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APACynthia Ozick Quotes. (n.d.). Jar of Quotes. Retrieved , from JarofQuotes.com Web site: https://www.jarofquotes.com/view.php?id=theres-paradox-in-rereading-you-read-first-time-for-rediscovery-encounter-with-confirming-emotions-but-you-reread-for-discovery-you-go-to-known-cynthia-ozick
ChicagoCynthia Ozick Quotes. Jar of Quotes, 2019. https://www.jarofquotes.com/view.php?id=theres-paradox-in-rereading-you-read-first-time-for-rediscovery-encounter-with-confirming-emotions-but-you-reread-for-discovery-you-go-to-known-cynthia-ozick, accessed .
MLA"Cynthia Ozick Quotes." Jar of Quotes, 2019. . https://www.jarofquotes.com/view.php?id=theres-paradox-in-rereading-you-read-first-time-for-rediscovery-encounter-with-confirming-emotions-but-you-reread-for-discovery-you-go-to-known-cynthia-ozick
We are so placid that the smallest tremor of objection to anything at all is taken as a full-scale revolution. Should any soul speak up in favor of the obvious, it is taken as a symptom of the influence of the left, the right, the pink, the black, the dangerous. An idea for its own sake - especially an obvious idea - has no respectability.
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Cultivation, old civilization, beauty, history! Surprising turnings of streets, shapes of venerable cottages, lovely aged eaves, unexpected and gossamer turrets, steeples, the gloss, the antiquity! Gardens. Whoever speaks of Paris has never seen Warsaw. [... ] Whoever yearns for an aristocratic sensibility, let him switch on the great light of Warsaw.
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What does the novel know? It has no practical or educational aim; yet it knows what ordinary knowledge cannot seize. The novel's intricate tangle of character-and-incident alights on the senses with a hundred cobwebby knowings fanning their tiny threads, stirring up nuances and disclosures. The arcane designs and driftings of metaphor - what James called the figure in the carpet, what Keats called negative capability, what Kafka called explaining the inexplicable - are that the novel knows.
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An author's extraliterary utterance (blunt information), prenovel or postnovel, may infiltrate journalism; it cannot touch the novel itself. Fiction does not invent out of a vacuum, but it invents; and what it invents is, first, the fabric and cadence of language, and then a slant of idea that sails out of these as a fin lifts from the sea. The art of the novel (worn yet opulent phrase) is in the mix of idiosyncratic language - language imprinted in the writer, like the whorl of a fingertip - and an unduplicable design inscribed on the mind by character and image. Invention has little capacity for the true-to-life snapshot. It is true to its own stirrings.
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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?
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... woman is frequently praised as the more "creative" sex. She does not need to make poems, it is argued; she has no drive to make poems, because she is privileged to make babies. A pregnancy is as fulfilling as, say, Yeats' Sailing to Byzantium.... To call a child a poem may be a pretty metaphor, but it is a slur on the labor of art.
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