Frases de Wilfrid Sheed
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Wilfrid Sheed era novelista estadounidense.

✵ 27. diciembre 1930 – 19. enero 2011

Wilfrid Sheed: 50 citas0 Me gusta

Wilfrid Sheed: Frases en inglés

“What he feared most was the blind spot between us and the future, the space between identities where we could get lost forever.”

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"George Orwell, Artist" (1972), p. 46
The Good Word & Other Words (1978)

“The worse we treat people in this country, the more delicately we talk about them.”

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"Men's Women, Women's Men" (1971), p. 137
The Good Word & Other Words (1978)

“When a reviewer says that Malamud is second only to Bellow, it means he really isn't thinking about either of them. When he's reading Malamud he's thinking about Bellow, and when he's reading Bellow he's thinking about Roth. This is the essence of the ratings game: distraction. Children play it all the time. "Is this the biggest bridge in the world?" "No, it's the third biggest." "Oh."”

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They lose all interest in the bridge.
"The Art of Reviewing" (1973), p. 10
The Good Word & Other Words (1978)

“Carmichael was, like many Americans, a divided soul, part nomad and part homebody, who seemed a little bit at home everywhere, but was probably more so someplace else, if he could just find it.”

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The House That George Built (2007)

“Mankind has always made too much of its saints and heroes, and how the latter handle the fuss might be called their final test.”

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"Baseball Was Very, Very Good to Him," The New York Times (2000-10-29)

“The one kind of society that the Church cannot adjust to is no society at all, i. e., a setup where community has become so fragmented that a communal religion is a fiction, sustained only by talk and make-news items in the press and television.”

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"Church," p. 120
Essays in Disguise (1990)

“It had always been a notion of mine that sanity is like a clearing in the jungle where the humans agree to meet from time to time and behave in certain fixed ways that even a baboon could master, like Englishmen dressing for dinner in the tropics.”

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In Love with Daylight (1995)

“It is a fallacy to think that carping is the strongest form of criticism: the important work begins after the artist's mistakes have been pointed out, and the reviewer can't put it off indefinitely with sneers, although some neophytes might be tempted to try: "When in doubt, stick out your tongue" is a safe rule that never cost one any readers. But there's nothing strong about it, and it has nothing to do with the real business of criticism, which is to do justice to the best work of one's time, so that nothing gets lost.”

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"Program Notes," pp. xvi-xvii
Essays in Disguise (1990)

“The best comedy is always heartless, an alternative to rational emotion.”

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"The Wit of George S. Kaufman and Dorothy Parker," p. 162
The Good Word & Other Words (1978)

“The desire not to destroy the palace but to move into it oneself has always been the occupational curse of revolutionaries.”

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"Writers' Politics" (1971), p. 66
The Good Word & Other Words (1978)

“He was truly after an art in which the creator could be as intelligent as he liked, but in which intelligence must be transmuted entirely into form, so that no lumps of thinking are left showing.”

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"Ernest Hemingway" (1977), p. 240
The Good Word & Other Words (1978)

“Saloons provide moments of genuine ecstasy — but only if your soul is at peace and the rest of your life bears contemplating. Otherwise, they are palaces of misery.”

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"Now That Men Can Cry...," p. 299
The Good Word & Other Words (1978)

“Of course, history is only a muddle of facts and a fuddle of professors, and anyone who thinks it is one clear voice saying "Arise, sir Knight" deserves a life sentence in Camelot.”

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"The Aesthetics of Politics," p. 156
Essays in Disguise (1990)

“This country is merciless to good small talents. A writer who doesn't take chances and swing for the fences (whether or not he has a prayer of reaching them) is less than a man.”

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"Letters of E. B. White" (1976), p. 251
The Good Word & Other Words (1978)

“Beware the fictionist writing his own life. Even candor becomes a strategy.”

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"V. S. Pritchett: Midnight Oil" (1972), p. 223
The Good Word & Other Words (1978)

“Off she'd go to the hospital, a place I believe she secretly liked because they treat you like a child there.”

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"Miss Jean Stafford," p. 71
Essays in Disguise (1990)

“Standing still as a statue in the October shadows, he looked, grotesquely, more like a patriot than anything usually seen on a baseball field. A trick of light perhaps. Yet what famous athlete last died for a cause bigger than himself? Clemente could sometimes seem like a pest, a nagging narcissist, with only his burningly serious play to deny it. Yet when that plane crashed carrying relief supplies to Nicaragua we saw what he had meant all along. It was like the old Clemente crashing into the right field wall in a losing game: the act of a totally serious man.
By chance I met Clemente once, in the humble role of autograph-seeker. He was doing wind sprints down at the Pirate training camp in Bradenton, Florida. And although I claimed I was getting an autograph for my son (true, for a change), he looked at me with a hidalgo’s contempt – at a grown man simpering over a blunt pencil; he turned his back abruptly and did another wind sprint, then slashed his name onto my scorecard and sauntered away. To hell with you, Clemente, I thought. But on the way out, I saw him funning with three old ladies from Allentown, Pennsylvania, and I have never seen sweeter courtesy.”

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From the foreword to Clemente! (1973) by Kal Wagenheim

“A deadly streak of passivity of a kind that sometimes goes with perfectionism.”

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"Miss Jean Stafford," p. 71
Essays in Disguise (1990)

“Censors will try to censor a little bit more each year (because, like editors and other officious people, censors don't feel they are getting anywhere unless they are up and doing).”

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"Dirty Business" (1973), p. 83
The Good Word & Other Words (1978)

“Censors will try to censor a little bit more each year”

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because, like editors and other officious people, censors don't feel they are getting anywhere unless they are up and doing
"Dirty Business" (1973), p. 83
The Good Word & Other Words (1978)

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