Poets From The United States

"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."

"...we like somebody who succeeds with such bad conscience, and who seems to wish that he had the nerve to be a failure or, better still, something to which the terms success and failure don’t apply — as when Mallory said, about Everest: “Success is meaningless here.”"

"Most of us know, now, that Rousseau was wrong: that man, when you knock his chains off, sets up the death camps. Soon we shall know everything the eighteenth century didn't know, and nothing it did, and it will be hard to live with us."

"What to leave out is the first thing the artist has to decide; a painter who “held the mirror up to nature” would spend his life on the leaves of one landscape. The work of art’s fluctuating and idiosyncratic threshold of attention — the great things disregarded, the small things seized and dwelt on — is as much of a signature as anything in it."

"...there is in this world no line so bad that someone won’t someday copy it."

"Goethe said that the worst thing in art is technical facility accompanied by triteness. Many an artist, like God, has never needed to think twice about anything. His works are the mad scene from Giselle, on ice skates: he weeps, pulls out his hair — holding his wrists like Lifar — and tells you what Life is, all at a gliding forty miles an hour."

"We know from many experiences that this is what the work of art does: its life — in which we have shared the alien existences both of this world and of that different world to which the work of art alone gives us access — unwillingly accuses our lives."

"One is forced to remember how far from "self-expression" great poems are — what a strange compromise between the demands of the self, the world, and Poetry they actually represent."

"First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation, a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the (literary) time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on."

"Jarrell was a lovable person. He was a very pleasant experience... the weekend that I was at Women's College; but I couldn't exactly call him an influence. It was a very, very intense four days during which I learned much about myself... less so about him. But there's a great deal about him that I respect and much for which I felt sorry. He had the flavor of someone who had retreated, who had performed a final action."

"Compare the saint who, asked what he would do if he had only an hour to live, replied that he would go on with his game of chess, since it was as much worship as anything else he had ever done."

"...most of the people in a war never fight for even a minute — though they bear for years and die forever. They do not fight, but only starve, only suffer, only die: the sum of all this passive misery is that great activity, War."

"Anyone who has read Yeats’s wonderful Autobiography will remember his Sligo — shabby, shadowed, half country and half sea, full of confused romance, superstition, poverty, eccentricity, unrecognized anachronism, passion and ignorance and the little boy’s misery. Yeats was treated well but was bitterly unhappy; he prayed that he would die, and used often to say to himself: “When you are grown up, never talk as grown-up people do of the happiness of childhood.”"

"Since Pharaoh’s bits were pushed into the jaws of kings, these dyings — patient or impatient, but dyings — have happened, by the hundreds of millions; they were all wasted. They taught us to kill others and to die ourselves, but never how to live. Who is “taught to live” by cruelty, suffering, stupidity, and that occupational disease of soldiers, death?"

"...“originality” is everyone’s aim, and novel techniques are as much prized as new scientific discoveries. [T.S.] Eliot states it with surprising naïveté: “It is exactly as wasteful for a poet to do what has been done already as for a biologist to rediscover Mendel’s discoveries.”"

"Individualism, isolation, alienation. The poet is not only different from society, he is as different as possible from other poets; all this differentness is exploited to the limit — is used as subject matter, even. Each poet develops an elaborate, “personalized”, bureaucratized machinery of effect; refine your singularities is everybody’s maxim."

"The real war poets are always war poets, peace or any time."

"New Directions is a reviewer’s nightmare; it’s enough punishment to read it all, without writing about it too."

"Our universities should produce good criticism; they do not — or, at best, they do so only as federal prisons produce counterfeit money: a few hardened prisoners are more or less surreptitiously continuing their real vocations."

"...the work of a poet who has a real talent, but not for words."

"Carl Becker has defined a professor as a man who thinks otherwise; a scholar is a man who otherwise thinks."

"Marx said that he had stood Hegel on his head; often Mr. [Horace] Gregory has simply stood Pollyana on her head."

"The poets of the last generation were extremely erudite, but their erudition was of the rather specialized type that passed as currency of the realm in a somewhat literary realm. About Darwin, Marx, Freud and Co., about all characteristically “scientific” or “modern” thinkers most of them concluded regretfully: “If they had not existed, it would not have been necessary to ignore them.” (Or deplore them.)"

"Some of Mr. Gregory’s poems have merely appeared in The New Yorker; others are New Yorker poems: the inclusive topicality, the informed and casual smartness, the flat fashionable irony, meaningless because it proceeds from a frame of reference whose amorphous superiority is the most definite thing about it — they are the trademark not simply of a magazine but of a class."

"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."

"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."

"Early in his life Mr. [Ezra] Pound met with strong, continued, and unintelligent opposition. If people keep opposing you when you are right, you think them fools; and after a time, right or wrong, you think them fools simply because they oppose you. Similarly, you write true things or good things, and end by thinking things true or good simply because you write them"

"...I simply don’t want the poems mixed up with my life or opinions or picture or any other regrettable concomitants. I look like a bear and live in a cave; but you should worry."

"The characteristic poetic strategy of our time — refine your singularities — is something Auden has not learned; so his best poems are very peculiarly good, nearly the most interesting poems of our time. When he writes badly, we can afford to be angry at him, and he can afford to laugh at us."

"“Modern” poetry is, essentially, an extension of romanticism; it is what romantic poetry wishes or finds it necessary to become. It is the end product of romanticism, all past and no future; it is impossible to go further by any extrapolation of the process by which we have arrived, and certainly it is impossible to remain where we are — who could endure a century of transition?"

"[Kenneth Patchen] has a real, but disorganized, self-indulgent, but rather commonplace talent. This is not Mr. Patchen’s opinion of himself. (Nor is it that of William Carlos Williams, who almost invents a new language, a kind of system of emotional nonsense syllables, in his effort to praise Mr. Patchen properly. For instance, Mr. Patchen is “a hawk on the grave of John Donne.” I should have called him a parrot on the stones of half a cemetery.)"

"If poetry were nothing but texture, [Dylan] Thomas would be as good as any poet alive. The what of his poems is hardly essential to their success, and the best and most brilliantly written pieces usually say less than the worst."

"Consider some of the qualities of typical modernistic poetry: very interesting language, a great emphasis on connotation, "texture"; extreme intensity, forced emotion — violence; a good deal of obscurity; emphasis on sensation, perceptual nuances; emphasis on details, on the part rather than on the whole; experimental or novel qualities of some sort; a tendency toward external formlessness and internal disorganization — these are justified, generally, as the disorganization required to express a disorganized age, or, alternatively, as newly discovered and more complex types of organization; an extremely personal style — refine your singularities; lack of restraint — all tendencies are forced to their limits; there is a good deal of emphasis on the unconscious, dream structure, the thoroughly subjective; the poet's attitudes are usually anti-scientific, anti-common-sense, anti-public — he is, essentially, removed; poetry is primarily lyric, intensive — the few long poems are aggregations of lyric details; poems usually have, not a logical, but the more or less associational style of dramatic monologue; and so on and so on. This complex of qualities is essentially romantic; and the poetry that exhibits it represents the culminating point of romanticism."

"[W.H.] Auden has gone in the right direction, and a great deal too far."

"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."

"Once man was tossed about helplessly and incessantly by the wind that blew through him — now the toughest of all plants is more sensitive, more easily moved than he. In other words, death is better than life, nothing is better than anything. Nor is this a silly adolescent pessimism peculiar to Housman, as so many critics assure you. It is better to be dead than alive, best of all never to have been born — said a poet approvingly advertised as seeing life steadily and seeing it whole; and if I began an anthology of such quotations there it would take me a long time to finish. The attitude is obviously inadequate and just as obviously important."

"[Alexander North] Whitehead is supposed to have said of, Bertrand] Russell: “Bertie thinks me muddleheaded and I think Bertie simple-minded.”"

"...“progress”, in poetry at least, comes not so much from digesting the last age as from rejecting it altogether (or, rather, from eating a little and leaving a lot), and...the world’s dialectic is a sort of neo-Hegelian one in which one progresses not by resolving contradictions but by ignoring them."

"...one straggles gracelessly through a wilderness of common sense. It is an experience for which the reader of modern criticism is unprepared: in that jungle through which one wanders, with its misshapen and extravagant and cannibalistic growths, bent double with fruit and tentacles, disquieting with their rank eccentric life, one comes surprisingly on something so palely healthy: a decorous plant, without thorns or flowers, rootless in the thin sand of the drawing room."

"Imagism was a reductio ad absurdum of one or two tendencies of romanticism, such a beautifully and finally absurd one that it is hard to believe it existed as anything but a logical construction; and what imagist found it possible to go on writing imagist poetry? A number of poets have stopped writing entirely; others, like recurring decimals, repeat the novelties they commeced with, each time less valuably than before. And there are surrealist poetry, and political poetry, and all the othe refuges of the indigent."

"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."

"An author frequently chooses solemn or overwhelming subjects to write about; he is so impressed at writing about Life and Death that he does not notice that he is saying nothing of the slightest importance about either."

"...good American poets are surprisingly individual and independent; they have little of the member-of-the-Academy, official man-of-letters feel that English or continental poets often have. When American poets join literary political parties, doctrinaire groups with immutable principles, whose poems themselves are manifestoes, the poets are ruined by it. We see this in the beatniks, with their official theory that you write a poem by putting down anything that happens to come into your head; this iron spontaneity of theirs makes it impossible for even a talented beatnik to write a good poem except by accident, since it eliminates the selection, exclusion, and concentration that are an essential part of writing a poem. Besides, their poems are as direct as true works of art are indirect: ironically, these conscious social manifestoes of theirs, these bohemian public speeches, make it impossible for the artist’s unconscious to operate as it normally does in the process of producing a work of art."

"One thinks with awe and longing of this real and extraordinary popularity of hers [Edna St. Vincent Millay’s]: if there were some poet — Frost, Stevens, Eliot — whom people still read in canoes!"

"...if sometimes we are bogged down in lines full of “corybulous”, “hypogeum”, “plangent”, “irrefragably”, “glozening”, “tellurian”, “conclamant”, sometimes we are caught up in the soaring rapture of something unprecedented, absolutely individual."

"Both in verse and in prose [Karl] Shapiro loves, partly out of indignation and partly out of sheer mischievousness, to tell the naked truths or half-truths or quarter-truths that will make anybody’s hair stand on end; he is always crying: “But he hasn’t any clothes on!” about an emperor who is half the time surprisingly well-dressed."

"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?"

"The round-square may be impossible, but we believe in it because it is impossible. [E.E.] Cummings is a very great expert in all these, so to speak, illegal syntactical devices: his misuse of parts of speech, his use of negative prefixes, his word-coining, his systematic relation of words that grammar and syntax don’t permit us to relate — all this makes him a magical bootlegger or moonshiner of language, one who intoxicates us on a clear liquor no government has legalized with its stamp."

"Most poets, most good poets even, no longer have the heart to write about what is most terrible in the world of the present: the bombs waiting beside the rockets, the hundreds of millions staring into the temporary shelter of their television sets, the decline of the West that seems less a decline than the fall preceding an explosion."

"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.”"