Essayists From The United States

"I dare aver He is a brave discoverer Of climes his elders do not know. He has more learning than appears On the scroll of twice three thousand years."

"When summer gathers up her robes of glory, And, like a dream of beauty, glides away."

"Warm lights are on the sleepy uplands waning Beneath dark clouds along the horizon rolled, Till the slant sunbeams, through the fringes raining, Bathe all the hills in melancholy gold."

"The attempt to better one's condition is always praiseworthy; but it is only base and ignoble to attempt to cover one's condition with an idle smack of something larger."

"But wealth is a great means of refinement; and it is a security for gentleness, since it removes disturbing anxieties; and it is a pretty promoter of intelligence, since it multiplies the avenues for its reception; and it is a good basis for a generous habit of life; it even equips beauty, neither hardening its hand with toil, nor tempting the wrinkles to come early."

"Hard, withering toil only can achieve a name; and long days, and months, and years, must be passed in the chase of that bubble—reputation; which once grasped, breaks in your eager clutch, into a hundred lesser bubbles, that soar above you still!"

"I have no faith in cats: they are a cold-blooded race; they are the politicians among domestic animals; they care little who is master, or what are the over-turnings, so their pickings are secure; and what are their midnight caucuses but primary meetings?"

"Coquetry whets the appetite; flirtation depraves it. Coquetry is the thorn that guards the rose—easily trimmed off when once plucked. Flirtation is like the slime on water-plants, making them hard to handle, and when caught, only to be cherished in slimy waters."

"But courage, and patience, and faith, and hope have their limit. Blessed be the man who escapes such trial as will determine limit! To a lone man it comes not near; for how can trial take hold where there is nothing by which to try? A funeral? You reason with philosophy. A grave yard? You read Hervey and muse upon the wall. A friend dies? You sigh, you pat your dog,—it is over. Losses? You retrench—you light your pipe—it is forgotten. Calumny? You laugh—you sleep. But with that childless wife clinging to you in love and sorrow—what then? Can you take down now, and coolly blow the dust from the leaf-tops? Can you crimp your lip with ? Can you smoke idly, your feet dangling with the ivies, your thoughts all waving fancies upon a church-yard wall—a wall that borders the grave of your boy? Can you amuse yourself by turning stinging into rhyme? Can you pat your dog, and seeing him wakeful and kind, say, "it is enough?" Can you sneer at calumny, and sit by your fire dozing?"

"I find no man so disagreeable to meet with, as one who knows everything. Of course we expect it in newspaper editors, and allow for it. But, to meet a man engaged in innocent occupations—over your fence, who is armed cap-a-pie against all new ideas,—who 'knew it afore,' or 'has heerd so,' or doubts it, or replies to your most truthful sally 't'ain't so, nuther,' is aggravating in the extreme."

"It is certain that by a special dispensation of Providence in favor of those who make up the bulk of the human family, a man may secure a simple livelihood in agricultural pursuits, with less of energy, less of promptitude, less of calculation, and greater unthrift generally, than would be compatible with even this scanty aim, in any other calling of life."

"What is the defining difference between passive and active citizens? Curiously, it isn't income, geography, or even education. It depends on whether or not they read for pleasure and participate in the arts. These cultural activities seem to awaken a heightened sense of individual awareness and social responsibility."

"Once an author finishes a poem, he becomes merely another reader. I may remember what I intended to put into a text, but what matters is what a reader actually finds there — which is usually something both more and less than the poet planned."

"I did not want my son remembered by uncontrolled howls of pain. My wife and I suffered more than I can express, but to make poems merely out of the agony would have been self-pitying and dishonest. My son had been my greatest joy. His birth had left me awe-struck and humble before life. He turned me from a son into a father — and allowed me to understand my own father clearly for the first time. If I mourned him, I also wanted to preserve the joyful mystery of his existence. The sorrow could not be adequately appreciated without also expressing the joy and wonder."

"The marketplace does only one thing — it puts a price on everything.The role of culture, however, must go beyond economics. It is not focused on the price of things, but on their value. And, above all, culture should tell us what is beyond price, including what does not belong in the marketplace. A culture should also provide some cogent view of the good life beyond mass accumulation. In this respect, our culture is failing us."

"Tradition is not, as post-modernists maintain, a library or museum the artist plunders. It is the endless conversation between the living and the dead. Young artists enter into this conversation passionately — not merely intellectually, though study and analysis play a part. They live and breathe it. Tradition is not a public building. It is a love affair."

"Poetry is an art form that demands heightened attention and retention. It both invites and rewards more intense involvement than we normally give to other kinds of speech. Poetic technique, therefore, is never esoteric but eminently practical. It serves at least two purposes. First, it announces that a poem differs from other kinds of speech, that it requires the audience's special attention. A poem begins by attracting our attention through its sound, shape, typography, syntax, texture, or tone. Second, the technique maintains the audience's involvement. All poetic form is a way of keeping the audience's attention beyond what ordinary language requires. Meter, for example, creates a gentle trance state in the auditor. Since poetry is more intense, condensed, and expressive than ordinary language, it needs these techniques to carry the burden of its message."

"The purpose of arts education is not to produce more artists, though that is a byproduct. The real purpose of arts education is to create complete human beings capable of leading successful and productive lives in a free society."

"I want a poetry that can learn as much from popular culture as from serious culture. A poetry that seeks the pleasure and emotionality of the popular arts without losing the precision, concentration, and depth that characterize high art. I want a literature that addresses a diverse audience distinguished for its intelligence, curiosity, and imagination rather than its professional credentials. I want a poetry that risks speaking to the fullness of our humanity, to our emotions as well as to our intellect, to our senses as well as our imagination and intuition. Finally I hope for a more sensual and physical art — closer to music, film, and painting than to philosophy or literary theory. Contemporary American literary culture has privileged the mind over the body. The soul has become embarrassed by the senses. Responding to poetry has become an exercise mainly in interpretation and analysis. Although poetry contains some of the most complex and sophisticated perceptions ever written down, it remains an essentially physical art tied to our senses of sound and sight. Yet, contemporary literary criticism consistently ignores the sheer sensuality of poetry and devotes its considerable energy to abstracting it into pure intellectualization. Intelligence is an irreplaceable element of poetry, but it needs to be vividly embodied in the physicality of language. We must — as artists, critics, and teachers — reclaim the essential sensuality of poetry. The art does not belong to apes or angels, but to us. We deserve art that speaks to us as complete human beings. Why settle for anything less?"

""Until quite recently poetry was taught badly—at least according to current academic standards. Poetry was used to teach grammar, elocution, and rhetoric. It was employed to convey history, both secular and sacred, often to instill patriotic sentiment and religious morality. Poetry was chanted in chorus at female academies. It was copied to teach cursive handwriting and calligraphy. It was memorized by wayward schoolboys as punishment. It was recited by children at public events and family gatherings. Being able to write verse was considered a social grace in both domestic and public life. Going to school meant becoming well versed." (24)."

""The aim of poetry—in this primal and primary sense as enchantment—is to awaken us to a fuller sense of our own humanity in both its social and individual aspects. Poetry offers a way of understanding and expressing existence that is fundamentally different from conceptual thought" (22)."

""For thousands of years, poetry was taught badly, and consequently it was immensely popular" (24)."

""Life is experienced holistically with sensations pouring in through every physical and mental organ of perception. Art exists embodied in physical elements—especially meticulously calibrated aspects of sight and sound—which scholarly explication can illuminate but never fully replace. However conceptually incoherent and subjectively emotional, the amateur response to poetry comes closer to the larger human purposes of the art—which is to awaken, amplify, and refine the sense of being alive—than does critical commentary" (19)."

""Literature has many uses, not all of which occur in a classroom" (20)."

""Teachers and writers share a responsibility to create the next generation of readers. We need to create and cultivate in our classrooms a dialectic of intellect and intuition, of mental attention and sensory engagement. In poetry, intellectual-ity without physicality becomes dull and barren, just as intuition untethered by intellect quickly becomes sloppy and subjective. We need to augment methodology with magic." (36)."

""But the amateur who reads poetry from love or curiosity does have at least one advantage over the trained specialist who reads it from professional obligation. Amateurs have not learned to shut off parts of their consciousness to focus on only the appropriate elements of a literary text. They respond to poems in the sloppy fullness of their humanity" (19)."

""Third and finally, poetry originated as a form of vocal music. It began as a performative and auditory medium, linked to music and dance and associated with civic ceremony, religious ritual, and magic. (The earliest poetry almost certainly served a shamanistic function.) Most aboriginal cultures did not distinguish poetry from song because the arts were so interrelated as to be porous. Nor did the classical Greek or Chinese cultures two or three millennia ago differentiate poetry from song" (10)."

""The second observation is that poetry is a universal human art. Despite post-modern theories of cultural relativism that assert there are no human universals, there exists a massive and compelling body of empirical data, collected and documented by anthropologists, linguists, and archeologists that demonstrates there is no human society, however isolated, that has not developed and employed poetry as a cultural practice. Most of this poetry, of course, has been oral poetry. Many of these cultures never developed writing. But the fact remains—and it is a demonstrable fact, not mere opinion—that every society has developed a special class of speech, shaped by apprehensible patterns of sound, namely, poetry" (9-10)."

""In oral culture, there is no separation between the poet and the poem. The author is a performer who vocalizes the words. Creation and performance are inseparably linked. Without writing, a ‘text’ has no existence outside the auditory performance" (10)."

"“The writer needs good works—good literary ones” (33)."

""It is time to renovate and reoccupy our own tradition" (35)."

""When poetry loses its ability to enchant, it shrinks into what is just an elaborate form of argumentation. When verse casts its particular spell, it becomes the most evocative form of language"."

""Pop music provides useful perspective on Plato’s association of poetry with madness. There was something dangerously irrational in poetry that worried the philosopher. It wasn’t the semantic content but the visceral power of the sound and rhythm. Poetry compellingly communicates feelings that lie beyond or beneath rational discourse. The physicality of poetic speech separates it from the conceptual language of philosophy" (12)."

"I personally regret the shift in literary study from reading primary texts to reading critical and theoretical texts. The major problem today among students is that they simply have not read enough literature. Consequently they do not have the necessary background to take a critical attitude towards literary theory. One needs to test every abstraction against experience."

"“Current Catholic worship often ignores the essential connection between truth and beauty, body and soul, at the center of the Catholic worldview. The Church requires that we be faithful, but must we also be deaf, dumb, and blind? I deserve to suffer for my sins, but must so much of that punishment take place in church?” (30)."

"“We necessarily bring the whole of our hairy and heavy humanity to worship” (29)."

"“Two great poets are stronger than two thousand mediocrities” (31)."

""The retreat of the nation's largest cultural minority from literary discourse does not make art healthier. Instead, it weakens the dialectic of cultural development. It makes American literature less diverse, less vital, and less representative" (28)."

"“Dante and Hopkins, Mozart and Palestrina, Michelangelo and El Greco, Bramante and Gaudi, have brought more souls to God than all the preachers of Texas” (29)."

""The Catholic writer really needs only three things to succeed: faith, hope and ingenuity" (31)."

""The great and present danger to American literature is the growing homogeneity of our writers, especially the younger generation. Often raised in several places in no specific cultural or religious community, educated with no deep connection to a region, history, or tradition, and now employed mostly in academia, the American writer is becoming as standardized as the American car--functional, streamlined, and increasingly interchangeable" (27)."

""If the soul of Roman Catholicism is to be found in partisan politics, then it's probably time to shutter up the chapel" (24)."

""A New York leftist and an Alabama Pentecostal may not agree on much, but too often they share a dislike of Catholics" (22)."

"“If Catholic Christianity does not offer a vision of existence that transcends the election cycle, if our redemption is social and our resurrection economic, then it’s time render everything up to Caesar.”"

""If Catholic literature has a central theme, it is the difficult journey of the sinner toward redemption" (14)."

""Sixty years ago Catholics played a prominent, prestigious, and irreplaceable part in American literary culture...They included established fiction writers--Flannery O'Connor, Katherine Anne Porter, Walker Percy, J.F. Powers, Ernest Hemingway, Paul Horgan, Jack Kerouac, Julien Green, Pietro di Donato, Hisaye Yamamoto, Edwin O'Connor, Henry Morton Robinson, and Caroline Gordon. (Sociologist Father Andrew Greeley had yet to try his formidable hand at fiction.)...also science fiction and detective writers such as Anthony Boucher, Donald Westlake, August Delerth, and Walter Miller, Jr."...in American poetry...Allen Tate, Robert Lowell, Robert Fitzgerald, Kenneth Rexroth, John Berryman, Isabella Gardner, Phyllis McGinley, Claude McKay, Dunstan Thompson, John Frederick Nims, Brother Antoninus (William Everson), Thomas Merton, Josephine Jacobsen, and the Berrigan brothers, Ted and Daniel....There were even Catholic haiku poets, notably Raymond Roseliep and Nick Virgilio" (15-16)."

""The schism between Christianity and the arts has had two profound consequences, two vast impoverishments--one for the arts world, the other for the Church. First, for the arts world, the loss of a transcendent religious vision, a refined and rigorous sense of the sacred, the breaking and discarding of the two thousand years of Christian mythos, symbolism, and tradition has left contemporary American art spiritually diminished. The shallow novelty, the low-cost nihilism, and the vague and sentimental spiritual pretensions of so much contemporary art—in every medium—are the legacy of this schism, as well as the cynicism that pervades the arts world” (26)."

""The Catholic writer understands the necessary relationship between truth and beauty, which is not mere social convention or cultural accident but an essential form of human knowledge--intuitive, holistic, and experiential. Art is a form of knowing--distinct and legitimate--rooted in feeling and delight--that discovers, in the words of Jacques Maritain, "The splendor of the secrets of being radiating into intelligence." (34)."

""Between 1945 and 1965 Catholic novelists and poets received 11 Pulitzer Prizes and 5 National Book Awards (6 NBAs if one counts O'Connor's posthumously published Complete Stories in 1972)" (18)."

"Poetry is not a creed or dogma. It is a special way of speaking and listening."