Symbol and Metaphor Theme Analysis

The professor, as the slightly more experienced reader, has acquired over the years the use of a certain "language of reading," something to which the students are only beginning to be introduced. What I'm talking about is a grammar of literature, a set of conventions and patterns, codes and rules, that we learn to employ in dealing with a piece of writing.

Memory. Symbol. Pattern. These are the three items that, more than any other, separate the professorial reader from the rest of the crowd.

Because there was so much the Victorians couldn't write about directly, chiefly sex and sexuality, they found ways of transforming those taboo subjects and issues into other forms. The Victorians were masters of sublimation.

There is only one story. Ever. One. It's always been going on and it's everywhere around us and every story you've ever read or heard or watched is part of it.

We want [a symbol] to mean something, one thing for all of us and for all time. That would be easy, convenient, manageable for us. But that handiness would result in a net loss: the novel would cease to be what it is, a network of meanings and significations that permits a nearly limitless range of possible interpretations.

The more you exercise the symbolic imagination, the better and quicker it works. We tend to give writers all the credit, but reading is also an event of the imagination; our creativity, our inventiveness, encounters those of the writer, and in that meeting we puzzle out what she means, what we understand her to mean, what uses we can put her writing to.

Fiction and poetry and drama are not necessarily playgrounds for the overly literal. Many times I'll point out that a character is Christlike because he does X and Y and you might come back with, "But Christ did A and Z and his X wasn't like that, and besides, this character listens to AC/DC."

Literary geography is primarily about humans inhabiting spaces, and at the same time the spaces inhabiting humans.

We—as readers or writers, tellers or listeners—understand each other, we share knowledge of the structures of our myths, we comprehend the logic of symbols, largely because we have access to the same swirl of story.

The primary meaning of the text is the story it is telling, the surface discussion (landscape description, action, argument, and so on). There comes a point in our literary development when we nearly all lose sight of that fact.

What is a sign? It's something that signifies a message. The thing that's doing the signifying, call it the signifier, that's stable. The message, on the other hand, the thing being signified (and we'll call that the signified), that's up for grabs. The signified in other words, while being fairly stable itself, doesn't have to be used in the planned way. Its meaning can be deflected from the expected meaning.

There, just inside the door, stood a wide, shallow tray full of pots of pink lilies. No other kind. Nothing but lilies—canna lilies, big pink flowers, wide open, radiant, almost frighteningly alive on bright crimson stems.

A reader’s only obligation, it seems to me, is to the text. We can’t interrogate the writer as to intentions, so the only basis of authority must reside in the text itself.