Sunday Book-Thought 134

One such structure is the machinery of publishing and reviewing by means of which an author is brought to the attention of his audience. The social and economic processes that govern the dissemination of a literary work are no more accidental to its reputation, and indeed to its very nature (as that will be perceived by an audience), than are the cultural conceptions (of the nature of poetry, of morality, of the human soul) within which the work is read. The conditions of dissemination interpret the work for its readers in exactly the same way as definitions of poetry, in that they flow from the support widely held – if unspoken – assumptions about the methods of distribution proper to a serious (or nonserious) work. The fact that an author makes his or her appearance in the context of a particular publishing practice rather than some other is a fact about the kind of claim he or she is making on an audience’s attention and is crucial to the success of the claim.
Jane Tompkins, ‘Masterpiece Theater: The Politics of Hawthorne’s Literary Reputation’, Reception Study: From Literary Theory to Cultural Studies, ed. by James L. Machor and Philip Goldstein (London: Routledge, 2001), pp. 133-154 (p. 143).

Sunday Book-Thought 121

Writing, when properly managed, (as you may be sure I think mine is) is but a different name for conversation: As no one, who knows what he is about in good company, would venture to talk all; – so not author, who understands the just boundaries of decorum and good breeding, would presume to think all: The truest respect which you can pay to the reader’s understanding, is to halve this matter amicably, and leave him something to imagine, in his turn, as well as yourself.
For my own part, I am eternally paying him compliments of this kind, and do all that lies in my power to keep his imagination as busy as my own.
Laurence Sterne, The Life and Opinions of Tristram Shandy, Gentleman, ed. by Melvyn New and Joan New (London: Penguin Books, 1997), p. 88.