Salient Quotes

Authors: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Categories: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
When you start searching for 'pure elements' in literature you will find that literature has been created by the following classes of persons: Inventors. Men who found a new process, or whose extant work gives us the first known example of a process. The masters. Men who combined a number of such processes, and who used them as well as or better than the inventors. The diluters. Men who came after the first two kinds of writer, and couldn't do the job quite as well. Good writers without salient qualities. Men who are fortunate enough to be born when the literature of a given country is in good working order, or when some particular branch of writing is 'healthy'. For example, men who wrote sonnets in Dante's time, men who wrote short lyrics in Shakespeare's time or for several decades thereafter, or who wrote French novels and stories after Flaubert had shown them how. Writers of belles-lettres. That is, men who didn't really invent anything, but who specialized in some particular part of writing, who couldn't be considered as 'great men' or as authors who were trying to give a complete presentation of life, or of their epoch. The starters of crazes. Until the reader knows the first two categories he will never be able 'to see the wood for the trees'. He may know what he 'likes'. He may be a 'compleat book-lover', with a large library of beautifully printed books, bound in the most luxurious bindings, but he will never be able to sort out what he knows to estimate the value of one book in relation to others, and he will be more confused and even less able to make up his mind about a book where a new author is 'breaking with convention' than to form an opinion about a book eighty or a hundred years old. He will never understand why a specialist is annoyed with him for trotting out a second- or third-hand opinion about the merits of his favourite bad writer.

Ezra Pound
Pakistan were still just one major hurdle from victory, however, and Wasim thought he had vaulted it with Australia 132 runs short. There was a wooden, clicking noise as the ball passed Langer's bat on its way through to Moin Khan. It registered at precisely the right moment on the snickometer; there was even a small deflection, visible from the reverse-angle replay. (The reader is directed to YouTube.) But home umpire Peter Parker was having none of it. He shook his head, and Wasim was livid: 'I can't believe you didn't hear it!' 'Come on!' moaned Moin. 'Parker had earlier apologised to Langer for a poor first-innings decision-'a silly thing to do, ' in the view of his colleague Peter Willey. When the fact was publicised, the suspicion naturally arose that Pakistan had been hard done by. The umpire, it seemed, had attempted to make amends. 'I honestly believe I didn't hit it, ' Langer claimed afterwards. He was lying through his teeth, and he would lie a decade more, attributing the sound, whenever he was asked about it, to 'a clicky bat handle.' He even kept this up with his father. It is a wonder anyone believed it. 'Truth is, ' he admitted ten years later, when it no longer mattered, 'I absolutely smashed it.' 'But Langer's mendacity, and Parker's possible cowardice, is less interesting and salient for our purposes than the question of whether or not Gilchrist, too, was lying: 'I didn't hear anything-absolutely nothing.' These were his words to a press conference later that day. But many spectators heard it; Roebuck heard it; Langer's own team-mates heard it; even his father heard it. The claim is also crucially at odds with Gilchrist's own memoir, in which he affirms that 'there was a noise, but it was inconclusive.' It is difficult to say what he could mean by this. The bat had been nowhere near either pad or turf; it could only have been leather. As a 'walker' himself, Gilchrist is acclaimed for his probity. Someone ought to ask him about this episode.

Rodney Ulyate
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