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If you never look just wrong to your contemporaries you will never look just right to posterity — every writer has to try to be, to some extent, sometimes, a law unto himself.
Randall Jarrell
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... a novel is a prose narrative of some length that has something wrong with it...
Randall Jarrell
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... the work of a poet who has a real talent, but not for words.
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A few weeks ago I read, in Sacheverell Sitwell, two impressives sentences: It is my belief that I have informed myself of nearly all works of art in the known world.... I have heard most of the music of the world, and seen nearly all the paintings. It was hard for me to believe these sentences, but I wanted Sitwell to be able to say them, liked him for having said them—I believed.
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A good religious poem, today, is ambergris, and it is hard to enjoy it for thinking of all those suffering whales; but martyrs are born, not made.
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All his tunk-a-tunks, his hoo-goo-boos — those mannered, manufactured, individual, uninteresting little sound-inventions — how typical they are of the lecture-style of the English philosopher, who makes grunts or odd noises, uses homely illustrations, and quotes day in and day out from Alice, in order to give what he says some appearance of that raw reality it so plainly and essentially lacks. These tootings at the wedding of the soul are fun for the tooter, but get as dreary for the reader as do all the foreign words — a few of these are brilliant, a few more pleasant, and the rest a disaster: one cannot help deploring his too extensive acquaintance with the foreign languages, as Henry James said, of Walt Whitman, to Edith Wharton.
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If you look at the world with parted lips and a pure heart, and will the good, won't that make a true and beautiful poem? One's heart tells one that it will; and one's heart is wrong. There is no direct road to Parnassus.
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The motto of his [Robinson Jeffers's] work is More! More! —but as Tolstoy says, A wee bit omitted, overemphasized, or exaggerated in poetry, and there is no contagion ; and Frost, bearing him out, says magnificently: A very little of anything goes a long way in a work of art.
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Oscar Williams's new book is pleasanter and a little quieter than his old, which gave the impression of having been written on a typewriter by a typewriter.
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One of our universities recently made a survey of the reading habits of the American public; it decided that forty-eight percent of all Americans read, during a year, no book at all. I picture to myself that reader — that non-reader, rather; one man out of every two — and I reflect, with shame: "Our poems are too hard for him." But so, too, are Treasure Island, Peter Rabbit, pornographic novels — any book whatsoever.
Randall Jarrell
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... just as great men are great disasters, overwhelmingly good poets are overwhelmingly bad influences.
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... to Americans English manners are far more frightening than none at all...
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Most people don't listen to classical music at all, but to rock-and-roll or hillbilly songs or some album named Music To Listen To Music By...
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We always tend to distrust geniuses about genius, as if what they say didn't arouse much empathy in us, or as if we were waiting till some more reliable source of information came along...
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We were given drinks, and drank them, and talked while we drank them. But talked, here, is a euphemism: we had that conversation about how you make a Martini. The people in Hell, Dr. Rosenbaum had told me once, say nothing but What? Americans in Hell tell each other how to make Martinis.
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... in this world, often, there is nothing to praise but no one to blame...
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Poets are in the beginning hypotheses, in the middle facts, and in the end values.
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But there is a Pope in the breast of each of us whom is hard to silence. Long ago a lady said to me, when I asked her the composers she liked: Dvorak. I said before I could stop myself: Dvorak! How many times, and with what shame, I've remembered it. And now I like Dvorak...
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Many a writer has spent his life putting his favorite words in all the places they belong; but how many, like [E. E.] Cummings, have spent their lives putting their favorite words in all the places they don't belong, thus discovering many effects that no one had even realized were possible?
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The greatest American industry—why has no one ever said so?—is the industry of using words. We pay tens of millions of people to spend their lives lying to us, or telling us the truth, or supplying us with a nourishing medicinal compound of the two. All of us are living in the middle of a dark wood—a bright Technicolored forest—of words, words, words. It is a forest in which the wind is never still: there isn't a tree in the forest that is not, for every moment of its life and our lives, persuading or ordering or seducing or overawing us into buying this, believing that, voting for the other.
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A poem is sort of an onion of contexts, and you can no more locate any of the important meanings exclusively in a part than you can locate a relation in one of its terms. The significance of a part may be greatly modified or even in extreme cases completely reversed by later and larger parts and by the whole.
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You often feel about something in Shakespeare or Dostoevsky that nobody ever said such a thing, but it's just the sort of thing people would say if they could — is more real, in some sense, than what people do say. If you have given your imagination free rein, let things go as far as they want to go, the world they made for themselves while you watched can have, for you and later watchers, a spontaneous finality.
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A successful poem says what a poet wants to say, and more, with particular finality. The remarks he makes about his poems are incidental when the poem is good, or embarrassing or absurd when it is bad — and he is not permitted to say how the good poem is good, and may never know how the bad poem is bad. It is better to write about other people's poetry.
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What we are most anxious about is our anxiety itself: the greatest of all sins, Auden learns from Kafka, is impatience—and he decides that the hero is, in fact, one who is not anxious. But it was inevitable that Auden should arrive at this point. His anxiety is fundamental; and the one thing that anxiety cannot do is to accept itself, to do nothing about itself—consequently it admires more than anything else in the world doing nothing, sitting still, waiting.
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For this last savior, man,
I have lied as I lie now. But what is lying?
Men wash their hands in blood, as best they can:
I find no fault in this just man.
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The Southern past, the Southern present, the Southern future, concentrated into Gertrude's voice, became one of red clay pine-barrens, of chain-gang camps, of housewives dressed in flour sacks who stare all day dully down into dirty sinks.
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We live in an age which eschews sentimentality as if it were a good deal more than the devil. (Actually, of course, a writer may be just as sentimental in laying undue emphasis on sexual crimes as on dying mothers: sentimental, like scientific, is an adjective that relates to method, not to matter.)
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If there were only some mechanism (like Seurat's proposed system of painting, or the projected Universal Algebra that Gödel believes Leibnitz to have perfected and mislaid) for reasonably and systematically converting into poetry what we see and feel and are! When one reads the verse of people who cannot write poems — people who sometimes have more intelligence, sensibility, and moral discrimination than most of the poets — it is hard not to regard the Muse as a sort of fairy godmother who says to the poet, after her colleagues have showered on him the most disconcerting and ambiguous gifts, "Well, never mind. You're still the only one that can write poetry."
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It is odd how pleasant and sympathetic her poems are, in these days when many a poet had rather walk down children like Mr. Hyde than weep over them like Swinburne, and when many a poem is gruesome occupational therapy for a poet who stays legally innocuous by means of it.
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In Heaven all reviews will be favorable; here on earth, the publisher realizes, plausibility demands an occasional bad one, some convincing lump in all that leaven, and he accepts it somewhat as a theologian accepts Evil.
Randall Jarrell
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Quote of the day
A child educated only at school is an uneducated child.
George Santayana
Randall Jarrell
Born:
May 6, 1914
Died:
October 14, 1965
(aged 51)
Bio:
Randall Jarrell was an American poet, literary critic, children's author, essayist, novelist, and the 11th Consultant in Poetry to the Library of Congress, a position that now bears the title Poet Laureate.
Known for:
The Bat-Poet (1964)
Pictures from an Institution (1954)
The Animal Family (1965)
Poetry and the age (1953)
No Other Book: Selected Essays
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