Novelists From The United States

"The time comes in the life of each of us when we realize that death awaits us as it awaits others, that we will receive at the end neither preference nor exemption. It is then, in that disturbed moment, that we know life is an adventure with an ending, not a succession of bright days that go on forever. Sometimes the knowledge comes with the repudiation and quick revolt that such injustice awaits us, sometimes with fear that dries the mouth and closes the eyes for an instant, sometimes with servile weariness, an acquiescence more dreadful than fear. The knowledge that my own end was near came with pain, and afterwards astonishment, with the conventional heart attack, from which, I've been told, I've made an excellent recovery."

"It's queer about this book — it suddenly made me wonder whether any other book about the War has been written in this country. It's a book of extra-ordinary courage — not the courage of hope but the quiet courage of despair. It will make patriots and romanticists angry — yet it is the kind of patriotism that is hardest and toughest. It ranks at once with the few great cries of protest. It is a selected, partial, bitter picture, but a picture we need. It will live. None of the acts of bravery for which the author was decorated during the War was as brave as this anthology of dismay."

"His book has the force of a mob-protest; an outcry from anonymous throats. The wheel turns and turns and it does not matter, one hardly notices that the captain of the company, killed on page 159, is alive again a hundred pages later. It does not matter that every stock situation of the war, suicide, the murder of an officer, the slaughter of prisoners, a vision of Christ, is apportioned to Company K, because the book is not written in any realistic convention. It is the only War-book I have read which has found a new form to fit the novelty of the protest. The prose is bare, lucid, without literary echoes, not an imitation but a development of eighteenth-century prose."

"The unrecognized genius of our time."

"The most underrated of all contemporary American writers of fiction."

"Everybody must seem crazy if you see deep enough into their minds."

"In the sight of my beloved, I am like iron that the smith has heated at his furnace: iron whose surface gives heat. I am a bar that is rigid and will not bend."

"People are born in sorrow and move about the earth in patterns of sorrow without sense and without plan. Why should I take myself so seriously? I am no more important to the Creator than the trees or the vegetation which live with me on His earth. There is no eye to watch over me nor a hand to direct me, and there will be no preferred fate for me at the end, no matter what I am, or what I do with my life."

"I saw much during my thirty years as a professional soldier, and I have watched the reactions of many men to pain, hunger and death, but all I have learned is that no two men react alike, and that no one man comes through the experience unchanged. I have never ceased to wonder at the thing we call human nature, with its times of beauty and its times of filthiness, or at the level of calm stupidity that lies in between the two. I have no theories and no remedies to offer."

"All we know is that life is sweet and that it does not last long. Why should people be envious of each other? Why do we hate each other? Why can't we live at peace in a world that is so beautiful and so wide?"

"If the common soldiers of each army could just get together by a river bank and talk things over calmly, no war could possibly last as long as a week."

"You can always tell an old battlefield where many men have lost their lives. The next Spring the grass comes up greener and more luxuriant than on the surrounding countryside; the poppies are redder, the corn-flowers more blue. They grow over the field and down the sides of the shell holes and lean, almost touching, across the abandoned trenches in a mass of color that ripples all day in the direction that the wind blows. They take the pits and scars out of the torn land and make it a sweet, sloping surface again. Take a wood, now, or a ravine: In a year's time you could never guess the things which had taken place there. I repeated my thoughts to my wife, but she said it was not difficult to understand about battlefields: The blood of the men killed on the field, and the bodies buried there, fertilize the ground and stimulate the growth of vegetation. That was all quite natural she said. But I could not agree with this, too-simple, explanation: To me it has always seemed that God is so sickened with men, and their unending cruelty to each other, that he covers the places where they have been as quickly as possible."

"...man...is a frail, lost creature, too weak to walk unaided."

"Steph thinks you can wear makeup and still find Narnia. Well, so do I, but why make things harder?"

"As if a wind that had been blowing hard against her had suddenly fallen silent, her ears roared with silence. ("What the Arbor Said")"

"Love, we soon come to understand, too often provides the occasion for the misuses and abuse of power."

"With this recitation of paraphernalia and detritus, O'Brien manages to encapsulate the experience of an army and of a particular war, of a mined and booby-trapped landscape, of cold nights and hot days, of soaking monsoons and rice paddies, and of the possibility of being shot, like Ted Lavender, suddenly and out of nowhere: not only in the middle of a sentence but in the midst of a subordinate clause."

"You can assume that if a writer's work has survived for centuries, there are reasons why this is so, explanations that have nothing to do with a conspiracy of academics plotting to resuscitate a zombie army of dead white males."

"Piercy writes with high intelligence, love for the world, ethical passion and innate feminism."

"A lot of the young women in the peace movement were really just pushed around by SDS (the student organization). That is, Meredith Tax or Marge Piercy were pushed around by these guys, these young fellows in these student movements, who were really not shallow because they were very smart, but callow and full of male beans and ambition and so forth. And accustomed to or forced to play a certain role. I think the women's movement has done a lot for men, a tremendous lot for them. For men who paid attention it has taken some of the burden of machoism off their backs, which is a terrible burden to bear. If you think about it, it's horrible. It's horrible to have to be that kind of person in order to be a person."

"I remember Marge Piercy saying at the Aspen Conference that she had "an aesthetics of clarity." And I thought, hmm, that's not bad."

"Marge Piercy is very dear to me-a person who puts her life where her mouth is...I'm always interested in what Marge [Piercy] does. I mean we have our differences about several things, and approaches to writing-what and who and how-but she's an amazing woman and a true writer, and she does a tremendous amount of work and is very particular about what she's doing. She's doing a certain kind of chronicling of our time. She has a book called The High Cost of Living. I think it's really a wonderful book. It's not well-known. And it's one of her shortest things. I think she thinks she just tossed it off."

"one of our finest novelists and poets"

"Some critics may wince at her politics, but no one can doubt whose voice is speaking, or that the language comes from a fully engaged life. Not that politics is her only subject. She writes about planting tomatoes, making love, remodeling the kitchen, and dying. Her avid followers know that she can be just as tough about herself and as humorous-as about the world's absurdities. At heart, Marge Piercy is a utopian, possessing what Margaret Atwood describes as "a view of human possibility-harmony between the sexes, among races, and between humankind and nature-that makes the present state of affairs clearly unacceptable by comparison.""

"In the women's consciousness-raising groups I belonged to in the early 1970s, we shared personal and very emotional stories of what it had really been like for us to live as women, examining our experiences with men and with other women in our families, sexual relationships, workplaces and schools, in the health care system and in surviving the general societal contempt and violence toward women. As we told our stories we found validation that our experiences and our reactions to them were common to many women, that our perceptions, thoughts, and feelings made sense to other women. We then used that shared experience as a source of authority. Where our lives did not match official knowledge, we trusted our lives and used the collective and mutually validated body of stories to critique those official versions of reality. This was theory born of an activist need, and the feminist literature we read, from articles like "The Politics of Housework" and "The Myth of the Vaginal Orgasm" to the poetry of Susan Griffin, Marge Piercy, Alta, Judy Grahn, and others, rose out of the same mass phenomenon of truth-telling from personal knowledge."

"(her poems) are Marge Piercy at her most telling. The author is a fearless and exciting woman"

"Marge Piercy is a literary icon-novelist, poet, social activist."

"Marge Piercy is shameless; that is, she is that rarity, a free person. Her freedom enables her to write about her brilliant, fascinating life with honesty and gusto. She is magnificent on the subject of cats."

"Her work has always had the courage both of her convictions and of its own (the difference between the two has occasionally been one of her problems), and the present books are no exception. She is a serious writer who deserves the sort of considered attention which, too often, she does not get... out of all the surge and flux, the sometimes dutiful rhetoric, Piercy can build moments and sometimes whole poems that she would not have achieved with careful elegance. “People of the Shell,” for instance, is superb, and it is not alone. Lines and aphorisms surface, flash and sink, poems transform themselves, words swirl. The literary ancestor here is not Dickinson but Whitman, and the vision is finally, despite the small ironies, a romantic one. Like Whitman, Piercy must be read in chunks, not sips, and appreciated for her courage, gut energy and verbal fecundity, not for laconic polish. Dancing is hard and you may fall down, her poetry implies, but she is going to dance anyway. She rams on, and the reader can only applaud."

"Remember to weave real connections, wrote Marge Piercy: “create real nodes, build real houses/Live a life you can endure; make love that is loving/Connections are made slowly, sometimes they grow underground/You cannot tell always by looking what is happening/More than half a tree is spread out in the soil under your feet.”"

"Jewish women in second-wave feminism helped to provide the theoretical underpinnings and models for radical action that were seized on and imitated throughout the United States and abroad. Their articles and books became classics of the movement and led the way into new arenas of cultural and political understanding in academe, politics, and grassroots organizing. Even a partial honor roll of Jewish women's liberation pioneers must include such figures as Shulamith Firestone, Ellen Willis, Robin Morgan, Alix Kates Shulman, Naomi Weisstein, Heather Booth, Susan Brownmiller, Marilyn Webb, Meredith Tax, Andrea Dworkin, Linda Gordon, Ellen DuBois, Ann Snitow, Marge Piercy, Letty Cottin Pogrebin, and Vivian Gornick. Despite historians' acknowledgment of the salience of Jewish women in earlier social movements, their prominence within radical feminism failed to attract much attention."

"Often I imagine in different and better times not have to be political. I can even imagine, when I am at the bottom of a long uphill grade, doing something besides writing novels, although I doubt it. But I never imagine living without poetry."

"just as politically when there is no vocabulary for discussing your situation, when you're a woman before there is language of feminism, trying to understand what it's like to be a woman, you have no concepts, no vocabulary for even understanding your own situation."

"What is honor from a woman's point of view? Honor has been defined from a male point of view. What does it mean to choose not to endure having been raped?"

"Friendship is my paradigm for the good relationship. If you like someone, you will also love them better. If you love without liking, there's a chill at the core of it that easily turns into possessiveness, jealousy, competition."

"I am very interested in the voluntary families that people create; not just the communes but the informal social webs by which a great many people survive and flourish. A lot of my adult life I have been trying in one form or another to create alternatives to the nuclear family."

"I'm a pluralist in sexuality as in most things. I want people to make many different choices and flourish in them, and to respect the choices they don't make in their own lives as well as those they do."

"Unlike some separatists I don't view men as biologically impaired. I believe sexism is culturally conditioned and that if you change the culture, you will change the kind of behavior which people with the various sorts of genitalia will consider appropriate. What I hate in men is what I consider ugly, brutal, violent, mean behavior - behavior damaging to women, to men they consider inferior, to children, to other living creatures with whom we share our biosphere."

"I don't tend to smile a lot in situations where I feel on display - public situations. I speak directly and straightforwardly and bluntly, and that lack of subterfuge and lack of middle-class women's mannerisms is perceived by some men as hostile, just as Black behavior which is simply straightforward is perceived by some whites as hostile."

"I think that there is in any of us numerous other people that we never live out, and our opposites are as fascinating as what we are. In fiction you get to live out all those little pieces of you, that never really come into your life at all."

"The reason I am political is because I want there to be a juster apportionment of the world's pleasure and less unjust apportionment of the world's pain. Power per se is fairly uninteresting to me, except as I observe it distorting peoples' characters."

"I like sex because it's one of the ways that people leave off operating so much with forebrain. If I like poetry because it ties all the different ways of knowing and being together, sex does the same thing."

"We have to know how connected we are. It's quite remarkable, the very strange notion of the self today. We think the self stops right here. But my self doesn't stop here. It flows out into the people I love, into the people I have loved, the people I come from, the people I speak to. Sometimes, in dream or in vision, we encounter each other without boundaries. Being strong means being strong together."

"If you're female in this society, culture tells you that you've had it if you're not twenty-two, blond, and weigh about ninety-two pounds. Then, even if you are twenty-two, blond, and weigh ninety-two pounds, you're still going to fail because you're going to get old. Women are destined to age into failure even if when they're young they are what society defines as perfect. Poems about women who are not twenty-two, blond, and ninety-two pounds can remind us of reality."

"Poems told me there were other people who felt the way I felt. That was validation for the person I was. Poems can mean survival."

"The farther you are from the centers of power in this society, the less likely you are to find validation of your experiences, your insights and ideas, your life. It is more important to you to find in art that validation, that respect for your experiences that no minority except the thin, white, and wealthy can count on."

"I want my poems to give voice to something in the experience of a life. To find ourselves spoken for in art gives dignity to our pain, our anger, our losses."

"Lots of people are angry and just can't figure out where to aim their anger. We forget how to do anything political. Every generation has to start all over again-people have to figure out what's happened, but you have to start with two, three at a time, and organize. In the meantime, we need the poems-if not for the politicians then for the people the politicians ignore."

"From the third grade on, women are trained to mistrust their natural bodies and to try to make them conform with body types belonging to two percent of the population."

"To be a poet is to open your eyes to everything around you. I love the beauty of the world, but I get angry at the cruelty in the world. How can we not get angry at the tremendous cruelty that is built into our system?"