Educators From The United States

"I must gratefully acknowledge that the second wave of the feminist movement liberated my writing and was a liberating influence upon my whole life. How? Not by supplying me with dogma, but by making it easier for me to look into myself and assume that what I felt as a woman was also shared by other women (and men). For one of the most positive by-products of the so-called second wave of the feminist movement was its discovery of a new audience of readers-readers both female and male-who came to realize that literary history as we previously knew it was the history of the literature of the white, the affluent, the male, and that the female side of experience had been almost completely omitted (except as seen through the eyes of the traditional victors in the war between the sexes-men)."

"Righteousness has no place in literature. Of course the keen observer of her culture will feel deeply about the oppression she sees around her, the inhumanity of man to man, of man to woman, but her vision of it must be essentially personal, not abstractly political."

"The human need for companionship and sexuality is far stronger than any intellectual theory"

"I would like to see a world in which male writers wrote without masculinist bias, in which for example Hemingway's masculinist mythology (and that of many other contemporary American male writers) was perceived as quite as bizarre and hysterical as the most absurd excesses of militant feminist fiction, and in which consciousness had become so truly androgynous that the adjective itself would be puzzlingly obsolete."

"As a writer, I feel that the very source of my inspiration lies in my never forgetting how much I have in common with other women, how many ways in which we are all-successful or not-similarly shackled. I do not write about superwomen who have transcended all conflict; I write about women who are torn, as most of us are torn, between the past and the future, between our mothers' frustrations and the extravagant hopes we have for our daughters. I do not know what a writer would write about if all her characters were superwomen, cleansed of conflict. Conflict is the soul of literature."

"Every poem, every page of fiction I have written, has been written with anxiety, occasionally panic, always uncertainty about its reception."

"when I look back on the years since I left college, and I try to sum up what I have learned, it is precisely that: not to fear change, not to expect my life to be immutable."

"The myths about women were mostly ways of keeping us out of touch with our own strength, and this confused many generations of women."

"Christmas and Easter can be subjects for poetry, but Good Friday, like Auschwitz, cannot. The reality is so horrible, it is not surprising that people should have found it a stumbling block to faith."

"The countenances of children, like those of animals, are masks, not faces, for they have not yet developed a significant profile of their own."

"Of course, Behaviorism "works." So does torture. Give me a no-nonsense, down-to-earth behaviorist, a few drugs, and simple electrical appliances, and in six months I will have him reciting the Athanasian Creed in public."

"Can sixty make sense to sixteen-Plus? What has my camp in common with theirs, With buttons and beards and Be-Ins? Much, I hope. In Acts it is written Taste was no problem at Pentecost."

"The Ogre does what ogres can, Deeds quite impossible for Man, But one prize is beyond his reach, The Ogre cannot master Speech: About a subjugated plain, Among its desperate and slain, The Ogre stalks with hands on hips, While drivel gushes from his lips."

"Thoughts of his own death, like the distant roll of thunder at a picnic."

"Americans—like omelets: there is no such thing as a pretty good one."

"Marriage is rarely bliss But, surely it would be worse As particles to pelt At thousands of miles per sec About a universe In which a lover's kiss Would either not be felt Or break the loved one's neck."

"When a just man dies, Lamentation and praise, Sorrow and joy, are one."

"God bless the U.S.A., so large, So friendly, and so rich."

"Some perks belong, though to all unwilling celibates: our rooms are seldom battlefields, we enjoy the pleasure of reading in bed (as we grow older, it's true, we may find it prudent to get nodding drunk first), we retain the light to choose our sacred image."

"Don Juan needs no bed, being far too impatient to undress, nor do Tristan and Isolde, much too in love to care for so mundane a matter, but unmythical mortals require one, and prefer to take their clothes off, if only to sleep"

"Brains evolved after bowels, therefore, Great assets as fine raiment and good looks can be on festive occasions, they are not essential like artful cooks and stalwart digestions."

"Lifted off the potty, Infants from their mothers Hear their first impartial Words of wordly praise: Hence, to start the morning With a satisfactory Dump is a good omen All our adult days."

"Some thirty inches from my nose The frontier of my Person goes, And all the untilled air between Is private pagus or demesne. Stranger, unless with bedroom eyes I beckon you to fraternize, Beware of rudely crossing it: I have no gun, but I can spit."

"Any one who attempts to translate from one tongue into another will know moods of despair when he feels he is wasting his time upon an impossible task. But, irrespective of success or failure, the mere attempt can teach a writer much about his own language which he would find it hard to learn elsewhere."

"If the most significant characteristic of man is the complex of biological needs he shares with all members of his species, then the best lives for the writer to observe are those in which the role of natural necessity is clearest, namely, the lives of the very poor."

"Drama is based on the Mistake. I think someone is my friend when he really is my enemy, that I am free to marry a woman when in fact she is my mother, that this person is a chambermaid when it is a young nobleman in disguise, that this well-dressed young man is rich when he is really a penniless adventurer, or that if I do this such and such a result will follow when in fact it results in something very different. All good drama has two movements, first the making of the mistake, then the discovery that it was a mistake."

"No opera plot can be sensible, for people do not sing when they are feeling sensible."

"Auden was a religious poet in the nature of Herbert-is of this guy shambling along somewhere down lower Manhattan, almost looking like a bum in the way that he's going by, but containing within him a tremendous concern for others. All those big words. Auden could write them because he was a great poet. He could write Pity with a capital "P," and he could write Justice, and the Just. Maybe the authority to write of such emotions and qualities with a capital letter is gone now. But Auden was entitled to do it, and he believed in doing it."

"I sometimes think of Auden's poetry as a hygiene, a knowledge and practice, based on a brilliantly prejudiced analysis of contemporary disorders, relating to the preservation and promotion of health, a sanitary science and a flusher of melancholies. I sometimes think of his poetry as a great war, admire intensely the mature, religious, and logical fighter, and deprecate the boy bushranger."

"In terms of English and American poets, it would be quite just to call this The Age of Auden. Not only because Auden was such a dominant and successful poet, but because he went through all the contradictory ideological phases, from Marx to God. He really is representative in that sense."

"He proclaimed so diminished a scope for poetry, including mine. I had little use for his beginnings and middles. Yet he was one of the masters."

"I really wrote in his (Auden's) style. I was crazy about him. I loved his poems so much that I was using this British language all the time—I was saying trousers and subaltern and things like that. You understand I was a Bronx kid. We went through a few poems, and he kept asking me, do you really talk like that? And I kept saying, Oh yeah, well, sometimes. That was the great thing I learned from Auden: that you’d better talk your own language. Then I asked him what young writers now ask me—and I always tell them this story—I said to Auden, Well, do you think I should keep writing? He laughed and then became very solemn. If you’re a writer, he said, you’ll keep writing no matter what. That’s not a question a writer should ask. Something like that, not exactly, but close."

"Wystan Auden read us some of his new poem in the evening...I follow Auden in his derision of patriotism, class distinctions, comfort, and all the ineptitudes of the middle-classes. But when he also derides the other soft little harmless things which make my life comfortable, I feel a chill autumn wind. I feel that were I a communist the type of person whom I should most wish to attack would not be the millionaire or the imperialist, but the soft, reasonable, tolerant, secure, self-satisfied intellectuals like Vita and myself. A man like Auden with his fierce repudiation of half-way houses and his gentle integrity makes one feel terribly discontented with one’s own smug successfulness. I go to bed feeling terribly Edwardian and back-number, and yet, thank God, delighted that people like Wystan Auden should actually exist."

"He is all ice and woodenfaced acrobatics."

"His satire has been criticized at times as irresponsible : this is to misunderstand its motive and aim: in so far as it proceeds from the life of one social class, a class which has lost its responsibility and civilizing impetus, the terms of this satire are bound to be superficially irresponsible. But no contemporary writing shows so clearly the revulsion of the artist from a society which can no longer support him, his need to identify himself with a class that can provide for his imagination."

"As the poet W. H. Auden wrote: "Truth, like love and sleep, resents/Approaches that are too intense." I call this Auden's rule."

"W. H. Auden's poem, Spain, is fit to stand beside great predecessors in its moving, yet serene expression of contemporary feeling towards the heart-rending events of the political world. The theme of the poem lies in the comparison between the secular achievements of the past and the hope which is possible for the future with the horrors of the present and the sacrifices which perhaps it demands from those of this generation who think and feel rightly."

"Auden is something of an intellectual jackdaw, picking up bright pebbles of ideas so as to fit them into exciting conceptual patterns."

"The poet Auden said, "Thousands have lived without love; none without water." Ninety-seven percent of Earth's water is ocean. No blue, no green. If you think the ocean isn't important, imagine Earth without it. Mars comes to mind. No ocean, no life support system."

"We have one poet of genius in Auden who is able to write prolifically, carelessly and exquisitely, nor does he seem to have to pay any price for his inspiration. It is as if he worked under the influence of some mysterious drug, which presents him with a private vision, a mastery of form and vocabulary."

"Spain is a hundred line poem from Auden; it is good medium Auden in a good cause — the Spanish Medical Aid. The Marxian theory of history does not go very happily into verse, but the conclusion is very fine."

"In a century of the symbolist, surreal, and absurd, W. H. Auden is essentially a poet of the reasonable."

"Water is the soul of the earth."

"No person can be a great leader unless he takes genuine joy in the successes of those under him."

"Death is the sound of distant thunder at a picnic."

"Music is the best means we have of digesting time."

"Minus times minus equals plus, The reason for this we need not discuss."

"A professor is one who talks in someone else's sleep."

"We are all on earth to help others. What on earth the others are here for, I can't imagine."

"Now is the age of anxiety."