So far as supply and demand are concerned, books in general and works of fiction in particular are commodities and subject to the same laws, statutor… - Francis Marion Crawford

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So far as supply and demand are concerned, books in general and works of fiction in particular are commodities and subject to the same laws, statutory and traditional, as other articles of manufacture. A toy-dealer would not venture to sell real pistols to little boys as pop-guns, and a gun-maker who should try to sell the latter for army revolvers would get into trouble, even though he were able to prove that the toy was as expensive to manufacture as the real article, or more so, silver-mounted, chiselled, and lying in a Russia-leather case. I am not sure that the law might not support the purchaser in an action for damages if he discovered at a critical moment that his revolver was a plaything. It seems to me that there is a similar case in the matter of novels. A man buys what purports to be a work of fiction, a romance, a novel, a story of adventure, pays his money, takes his book home, prepares to enjoy it at his ease, and discovers that he has paid a dollar for somebody’s views on socialism, religion, or the divorce laws.

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About Francis Marion Crawford

Francis Marion Crawford (August 2, 1854 – April 9, 1909) was an American writer noted for his many novels, especially those set in Italy, and for his classic weird and fantastic stories.

Also Known As

Alternative Names: F. Marion Crawford Marion Crawford
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Additional quotes by Francis Marion Crawford

Modern civilisation has created modern vices, modern crimes, modern virtues, austerities, and generosities. The crimes of to-day were not dreamed of a hundred years ago, any more than the sublimity of the good deeds done in our time to remedy our time’s mistakes. And between the angel and the beast of this ending century lie great multitudes of ever-shifting, ever-changing lives, neither very bad nor very good, but in all cases very different from what lives used to be in the good old days when time meant time and not money.

Why must a novel-writer be either a “realist” or a “romantist”? And, if the latter, why “romanticist” any more than “realisticist”? Why should a good novel not combine romance and reality in just proportions? Is there any reason to suppose that the one element must necessarily shut out the other?

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