Educators From The United States

"The moral ambivalence of the great mother goddesses has been conveniently forgotten by those American feminists who have resurrected them. We cannot grasp nature's bare blade without shedding our own blood."

"Our focus on the pretty is an Apollonian strategy. The leaves and flowers, the birds, the hills are a patchwork pattern by which we map the known. What the West represses in its view of nature is the chthonian, which means "of the earth"—but earth's bowels, not its surface. Jane Harrison uses the term for pre-Olympian Greek religion, and I adopt it as a substitute for Dionysian, which has become contaminated with vulgar pleasantries. The Dionysian is no picnic. It is the chthonian realities which Apollo evades, the blind grinding of subterranean force..., the dehumanizing brutality of biology and geology, the Darwinian waste and bloodshed, the squalor and rot we must block from consciousness to retain our Apollonian integrity as persons. Western science and aesthetics are attempts to revise this horror into imaginatively palatable form."

"Sex cannot be understood because nature cannot be understood. Science is a method of logical analysis of nature’s operations. It has lessened human anxiety about the cosmos by demonstrating the materiality of nature’s forces, and their frequent predictability. But science is always playing catch-up ball. Nature breaks its own rules whenever it wants. Science cannot avert a single thunderbolt. Western science is a product of the Apollonian mind: its hope is that by naming and classification, by the cold light of intellect, archaic night can be pushed back and defeated."

"The search for freedom through sex is doomed to failure."

"Modern liberalism suffers unresolved contradictions. It exalts individualism and freedom and, on its radical wing, condemns social orders as oppressive. On the other hand, it expects governments to provide materially for all, a feat manageable only by an expansion of authority and a swollen bureaucracy. In other words, liberalism defines government as tyrant father but demands it behave as nurturant mother. Feminism has inherited these contradictions."

"Sexual freedom, sexual liberation. A modern delusion. We are hierarchical animals. Sweep one hierarchy away, and another will take its place, perhaps less palatable than the first."

"Feminism has exceeded its proper mission of seeking political equality for women and has ended by rejecting contingency, that is, human limitation by nature or fate."

"Society is not the criminal but the force which keeps crime in check. When social controls weaken, man’s innate cruelty bursts forth. The rapist is created not by bad social conditioning influences but by a failure of social conditioning. Feminists, seeking to drive power relations out of sex, have set themselves against nature. In western culture, there are no nonexploitative relationships. Everyone has killed in order to live. Nature’s universal law of creation from destruction operates in mind as in matter. As Freud, Nietzsche’s heir, asserts, identity is conflict. Each generation drives its plow over the bones of the dead."

"Sexuality and eroticism are the intricate intersection of nature and culture. Feminists grossly oversimplify the problem of sex when they reduce it a matter of social convention: readjust society, eliminate sexual inequality, purify sex roles, and happiness and harmony will reign. Here feminism, like all liberal movements of the past two hundred years, is heir to Rousseau."

"Human life began in flight and fear. Religion rose from rituals of propitiation, spells to lull the punishing elements."

"Society is a system of inherited forms reducing our humiliating passivity to nature. We may alter these forms, slowly or suddenly, but no change in society will change nature."

"In the beginning was nature. The background from which and against our ideas of God were formed, nature remains the supreme moral problem. We cannot hope to understand sex and gender until we clarify our attitude toward nature. Sex is a subset to nature. Sex is the natural in man."

"My stress on the truth in sexual stereotypes and on the biologic basis of sex differences is sure to cause controversy."

"Sexual Personae seeks to demonstrate the unity and continuity of western culture — something that has inspired little belief since the period before World War I."

"Popular culture is the new Babylon, into which so much art and intellect now flow. It is our imperial sex theater, supreme temple of the western eye. We live in the age of idols. The pagan past, never dead, flames again in our mystic hierarchies of stardom."

"I plan to vote for Barack Obama in the Pennsylvania primary because he is a rational, centered personality who speaks the language of idealism and national unity. Obama has served longer as an elected official than Hillary. He has had experience as a grass-roots activist, and he is also a highly educated lawyer who will be a quick learner in office. His international parentage and childhood, as well as his knowledge of both Christianity and Islam, would make him the right leader at the right time. And his wife Michelle is a powerhouse. The Obamas represent the future, not the past."

"She is a brittle, relentless manipulator with few stable core values who shuffles through useful personalities like a card shark ("Cue the tears!"). Forget all her little gold crosses: Hillary's real god is political expediency. Do Americans truly want this hard-bitten Machiavellian back in the White House? Day one will just be more of the same."

"Let's get rid of Infirmary Feminism, with its bedlam of bellyachers, anorexics, bulimics, depressives, rape victims, and incest survivors. Feminism has become a catch-all vegetable drawer where bunches of clingy sob sisters can store their moldy neuroses."

"Leaving sex to the feminists is like letting your dog vacation at the taxidermist."

"As texting has become the default discourse for an entire generation, the ability to read real-life facial expressions and body language is alarmingly atrophying."

"The only antidote to the magic of images is the magic of words."

"The feminist line is, strippers and topless dancers are degraded, subordinated, and enslaved; they are victims, turned into objects by the display of their anatomy. But women are far from being victims — women rule; they are in total control … the feminist analysis of prostitution says that men are using money as power over women. I'd say, yes, that's all that men have. The money is a confession of weakness. They have to buy women's attention. It's not a sign of power; it's a sign of weakness."

"Men are run ragged by female sexuality all their lives. From the beginning of his life to the end, no man ever fully commands any woman. It's an illusion. Men are pussy-whipped. And they know it. That's what the strip clubs are about; not woman as victim, not woman as slave, but woman as goddess."

"I have been studying it [sexuality] since before it became fashionable. At the Yale Grad School, for example, where I was from 1968 to 1972, I was literally the only person in the humanities departments doing a dissertation on sex — hard to believe now, but I was a real pioneer and I took the career hit for it. It was considered tacky, low, not serious — my dears, I was absolutely scouring the Yale archives for every bit of dirt on homosexuality, sadomasochism, transvestism — you name it. That is the basis of the research for my first book, Sexual Personae, which was my dissertation."

"It was intended to please no one and to offend everyone. The entire process of the book was to discover the repressed elements of contemporary culture, whatever they are, and palpate them. One of the main premises was to demonstrate that pornography is everywhere in major art. Art history as written is completely sex free, repressive and puritanical. I want precision and historical knowledge, but at the same time, I try to zap it with pornographic intensity."

"The left constantly identifies the pro-life advocates as misogynists and fanatics, but that doesn't represent most of those people. They are deeply religious and they truly believe that taking a life is wrong. If the left were to show respect for that position and acknowledge the moral conundrum of unwanted pregnancy, the opposition to abortion would lessen. We must acknowledge that people should be a little troubled by abortion. Not to acknowledge that this is a difficult decision is wrong. The procedure snuffs out a potential personality. … You have a stronger case if you give due respect to the other side. An abortion should be something that is wrestled with. And herein is the point. Though most people agree that abortion should be an option, there is something attractive about the deeply moral position of those against abortion, particularly when the other side is in a spiritual vacuum. There is nothing in kids' education anymore that tells them to revere anything. Traditional religions, with all their moral codes, are becoming increasingly attractive in light of the alternatives: the Prozac nation, or heroin, which has come back with a vengeance."

"The Democratic Party has to return to its populist base, to rediscover the party of FDR, the one that appealed to my grandfather and the factory workers and others. To do this, there must be a period of self-criticism. We must face this head-on or continue to be governed by the Republicans. We must examine how we set up the rise of Republicans on campuses, where the dissent should be coming from. It is explained by the lack of energy; and ideas from the other side. As a result, campuses are the most depressing places, devoid of passion."

"Clinton is in trouble and she (Joycelyn Elders) opens her mouth about masturbation. Can't she control herself? She was in the wrong job. In some ways she's like me — she says what she thinks. But then you shouldn't be part of politics. I would like Joycelyn Elders to be in a position to speak her mind and not worry about political consequences. You cannot have a nondiplomatic figure in a political appointment."

"It's true that, in my books, monsters are always important. People are monsters, people are called monsters by other characters, and so on. Really, there are three kinds of things that are important in my things, I think. One is monsters, another is clowns, and another is human beings, and of course, they keep shapeshifting. One turns into the other. Clowns are always trying to be human beings. What I mean by clowns is this: Human beings do things and clowns desperately try to imitate human beings, so the acrobat gets up on the wire, and then the clown wants to be an acrobat and he tries, but he's a straw man and he can't be. He's always acting. He's always pretending. He's always faking and mimicking. Many of us feel that about ourselves all the time. That is to say, we put on masks and never find out who we really are. And one of the things that happens in a novel is characters who start out as clowns try to earn the grade as human beings, and sometimes they turn into monsters instead. Monsters are those things that I used to go to Saturday afternoon movies and see. I mean by monsters, "walking dead". I mean nihilists. People who really have given up on all faith and so on, and act as if the world were evil, and as if all people were either stupid or malicious. They're creatures who have given in to the emotional war that's in everybody. Sometimes, I use, for instance, in Henry Soames in Nickel Mountain, a monstrous kind of body which contains monstrous emotions, but he's holding it in, and the thing of course, finally, is that he really is a monster and he's holding it in and that makes him human, that constantly he does what he knows is right, whatever the power of his emotions. So, your monsters are everywhere."

"I remember John’s hands wrapped around his pipe. His scent. I remember descending into the basement of the English Department building at S.U.N.Y.-Binghamton and thinking this is the home of John, Grendel’s dragon. Smoking. I can’t imagine John in a smokeless building. Knowing John, he’d burn such buildings to the ground. Return such an idea to some level of Dante’s Hell. Why should buildings be kept so innocent of a man’s presence? John’s steaming pipe was a part of his signature. I am thankful that I studied with him before the panics of second hand smoke. Of course, John was not much for obeying signs. And he belonged in that basement, or, more aptly, the basement belonged to John. He was “of” the basement. Soiled man of mud. The earth. Other professors seemed out of place down there. Almost frightened by the cold, damp, crusty hallway. All of them seemed to be struggling to get better offices, offices on the first floor among the living. Not John. This was John’s lair. He once told me that the walls of the school would fall down if he ever left. Now, when I return to Binghamton, more than anything else I feel John’s absence. The halls no longer seem to be on fire."

"As my teacher, John C. Gardner did not so much bring me to the word, as he carried me home once again to the flesh of the words that so much of my academic background had year after bloody year destroyed. He returned the eye that the king of trolls had stolen from Woden, my eye that too many literary critics had forced to become blind to listening. John made reading–in place of mere meaning-scavenging–possible once again. The boundless page of schizophrenic resistance. He put me in a position to begin forgetting in order to remember, not with some sort of Garden of Eden innocence, but with voices, echoes, and uncertainty. John blew off the institutional dust that had, because of the desire of the academic industries to explain away beauty, accumulated over William Faulkner’s breathing and returned me to the dizzy breathlessness of Faulkner’s writing. Faulkner’s words, John reminded me, are made from blood, are marked in blood; they are not simply palaces of meaning, convoluted places where dead or dying scholars meet to whisper over the runes in secretive hermeneutic struggles. Read Faulkner’s sentences aloud. Feel them move, not from the page, but from inside the depths of your own body. It was with the recovery of this listening eye that I was finally able to burst into writing. John taught me to hear in physical ways the rhythm of my lips forming words. The touching of two lips, of lips to tongue, each-to-each. The ineluctable modality of the visible. Closed eyes on a beach."

"I don't know how Gardner might have been with other students when it came time to have conferences with them about their work. I suspect he gave everybody a good amount of attention. But it was and still is my impression that during that period he took my stories more seriously, read them closer and more carefully, than I had any right to expect. I was completely unprepared for the kind of criticism I received from him. Before our conference he would have marked up my story, crossing out unacceptable sentences, phrases, individual words, even some of the punctuation; and he gave me to understand that these deletions were not negotiable. In other cases he would bracket sentences, phrases, or individual words, and these were items we'd talk about, these cases were negotiable. And he wouldn't hesitate to add something to what I'd written—a word here and there, or else a few words, maybe a sentence that would make clear what I was trying to say. We'd discuss commas in my story as if nothing else in the world mattered more at that moment—and, indeed, it did not. He was always looking to find something to praise. When there was a sentence, a line of dialogue, or a narrative passage that he liked, something that he thought "worked" and moved the story along in some pleasant or unexpected way, he'd write "Nice" in the margin, or else "Good!" And seeing these comments, my heart would lift. It was close, line-by-line criticism he was giving me, and the reasons behind the criticism, why something ought to be this way instead of that; and it was invaluable to me in my development as a writer. After this kind of detailed talk about the text, we'd talk about the larger concerns of the story, the "problem" it was trying to throw light on, the conflict it was trying to grapple with, and how the story might or might not fit into the grand scheme of story writing. It was his conviction that if the words in the story were blurred because of the author's insensitivity, carelessness, or sentimentality, then the story suffered a tremendous handicap. But there was something even worse and something that must be avoided at all costs: if the words and the sentiment were dishonest, the author was faking it, writing about things he didn't care about or believe in, then nobody could ever care anything about it. A writer's value and craft. This is what the man taught and what he stood for, and this is what I've kept by me in the years since that brief but all-important time."

"[John Gardner would] take one of my early efforts at a story and go over it with me. I remember him as being very patient, wanting me to understand what he was trying to show me, telling me over and over how important it was to have the right words saying what I wanted them to say. Nothing vague or blurred, no smoked-glass prose. And he kept drumming at me the importance of using—I don't know how else to say it—common language, the language of normal discourse, the language we speak to each other in. [...] All I know is that the advice he was handing out in those days was just what I needed at that time. He was a wonderful teacher. It was a great thing to have happen to me at that period of my life, to have someone who took me seriously enough to sit down and go over a manuscript with me. I knew something crucial was happening to me, something that mattered. He helped me to see how important it was to say exactly what I wanted to say and nothing else; not to use "literary" words or "pseudo-poetic" language. He taught me to use contractions in my writing. He helped show me how to say what I wanted to say and to use the minimum number of words to do so. He made me see that absolutely everything was important in a short story. It was of consequence where the commas and periods went."

"True art is by its nature moral. We recognize true art by its careful, thoroughly honest search for and analysis of values."

"Technically our novelists (for instance) are shrewd enough, and publishers and reviewers seem, as never before, eager to be of use. Nevertheless, wherever we look it's the same: commercial slickness, misplaced cleverness, posturing, wild floundering -- dullness. Though not widely advertised, this is general knowledge. When one talks with editors of serious fiction, they all sound the same: they speak of their pleasure and satisfaction in their work, but more often than not the editor cannot think, under the moment's pressure, of a single contemporary writer he really enjoys reading. Some deny, even publicly, that any first-rate American novelists now exist. The ordinary reader has been saying that for years..."

"Why does a dog lick his dick? Because he can. Why does Congress spend money like that? Because it can."

"When your opponent is drowning, throw the son of a bitch an anvil."

"At the beginning of the Clinton administration in the early 1990s, adviser James Carville was stunned at the power the bond market had over the government. If he came back, Carville said: I used to think if there was reincarnation, I wanted to come back as the president or the pope or a .400 baseball hitter. But now I want to come back as the bond market. You can intimidate everybody."

"Elections are about fucking your enemies. Winning is about fucking your friends."

"Drag a hundred-dollar bill through a trailer park, you never know what you'll find."

"What I'm suggesting is, stand for yourself, be for something, and the hell with it. Because the hand-wringers and the editorialists and the sigh-and-pontificate crowd will be against you, whatever you do."

"Look, if George W. Bush and his Republican cronies walked on water, I'd be the guy out there yelling that they couldn't swim. But don't take it from me: we've now heard it from the military commanders and our intelligence community: George Bush's actions in Iraq have not made us safer. They've done the opposite."

"Between Paoli and Penn Hills, Pennsylvania is Alabama without the blacks. They didn't film The Deer Hunter there for nothing -- the state has the second-highest concentration of NRA members, behind Texas."

"Republicans want smaller government for the same reason crooks want fewer cops: it's easier to get away with murder."

"Back in 2000 a Republican friend warned me that if I voted for Al Gore and he won, the stock market would tank, we'd lose millions of jobs, and our military would be totally overstretched. You know what? I did vote for Al Gore, he did win, and I'll be damned if all those things didn't come true!"

"Yeah, I graduated with a 4.0... blood alcohol level."

"I didn’t just experiment with marijuana — if you know what I mean."

"Hurricane [Katrina] hit the Gulf Coast and destroyed much of the Gulf Coast — that was an act of God … Now what happened to New Orleans, that was a complete failure of the federal government. Complete negligence by the feds."

"Washington is a dirty diaper. It's time for a change."

"Who cares? Sometimes you need rebirth. (On the destruction of America)"