University Of Chicago Alumni

"I feel that poetry is mystery, an intangible magic that I approach again and again in the hopes that I might be able to learn some of its lessons well. (2006)"

"What I am most moved by about poetry through all these years, is how it works in this ineffable register—how it’s really something (in the way that we would say, isn’t that something? meaning, how amazing is it!) to note that we often don’t even know what it is that’s seized us by the hair-roots, or caught us in the gut. For me it’s a process that very much begins with intuition—in the gut, or in the heart. The “head” or thinking part of it starts to get involved as we follow the lure, whatever it was to begin with, and try to figure out what shape and structure to house it in. (2009)"

"(LR: Do you have any advice for young poets just out of, or in the midst of, writing programs?) LI: Don’t lose whatever fuels your passion for life and for language. Don’t lose the fire in your gut. (2009)"

"Writing poetry is always a little archaeological—we dig and sift not only through our fund of experiences and memories, but also through a variety of textual fragments. As a writer in the diaspora, I am always reminded that the past, history, is a hallucinatory presence right here with us; that our life in the contemporary moment is marked by the displacements that time is eternally enacting."

"If you're a writer, you do get pulled toward that, attracted toward that idea of duality, because it is what attracts you to language. The idea of language as not just attentive to the surface matter of experience, but to the other things that might lie underneath, is why we write. (2006)"

"I think what I was trying to say in Trill & Mordent (2005) is that we are all affected by this climate of anxiety; we're living in an age of terror. People are getting deployed; there's the fear of avian flu, and those riots in Paris. What do you do in the face of anxiety? Do you go into a hole and shut yourself up in a safe place and not come out again? I've heard people say how hard it was for them to do the normal things they enjoyed after 9/11, or after those sniper shootings, or after every event tinged with tragedy or trauma. But you need to find a way back to the experience of beauty and release, and I think that's what I was trying to say in this book. (2006)"

"I believe that art does not arise out of a void, and that it is effective when it makes heartfelt human connections, and even more so when it enables a sense of agency (the belief that there is something we can do in the world so that change might be effected). There is power in its ability to engage memory and intellect, compress and distill emotion, idea, and experience—and it is this power which poets and writers seek to harness when speaking to others through their art. Why does one have to sing, when there is suffering? Why is beauty necessary, when there is so much poverty or violence or depravity in the world? (2009)"

"Written in an English of singular resonance, of lyric richness informed by history, by legend, by political awareness, and everywhere by a deep perception, the poems of this and her other books bring her background of Philippine culture, its past and present, into the larger world of late 20th Century concerns. This is a poetry outside of schools, of fads and fashion, highly accomplished and deserving of wide, enthusiastic readership."

"Every poem carries the seed of a story. And like music, it’s able to get to the emotional heart of an experience, sometimes even before we grasp the idea of it. It’s that capacity for opening up and listening more deeply to the world around us that poetry offers. Poetry is powerful this way because it asks us to really pay attention to the world. I think poems can convey some of our deepest feelings in images, in language that shows rather than masks. The sense of communing with others, which is at the root of the idea of community, is when we feel we can talk to each other about our joys, our doubts, our fears, our hopes—in the same way, perhaps, in which a poem talks to us and invites us in. (2022)"

"...what we love most fiercely, the joys that deliver the keenest edge -- are the way they are because we understand their perishability. (2014)"

"One cannot expect to be a writer without being a reader!…I often draw from contemporary works, but I remind my students that radical progression does not only mean looking for the newest thing: it also comes from a reinvigorated understanding of how works that have come before us -- including the classics -- can instruct us in new ways. I like to remind my students too that we may be heir to certain cultural histories and traditions, ways of doing things with language -- but that there are other global traditions of literature and we have really only just skimmed the surface in our understanding of these riches. (2014)"

"History is a field at once very large and very intimate. But I like to think of the past as not completely done, of history’s archives as not static; we can enter the archive, we can reconstruct and re-imagine events, we can insert ourselves as figures or characters into its landscapes."

"Science is our century’s art."

"All the best moments in life are simple. Sitting in the grass on a sunny day. A dinner with old friends. Listening to a cassette tape. Recently, a friend I hadn't seen in many years stopped by for dinner. He lamented where we were as a country, and said he wasn't sure that he would bring kids into this modern world. I told him what I tell everyone: that those thoughts are a mental illness, and should be purged. He was brainwashed by the brainwashed people who write for the news. He cared too much about politics that was more ambiguous than he would like to admit. I gave him some advice. I told him he already didn't use social media, all that was left was for him to stop reading the news. He was so close to having perfect days. He just couldn't see it. But neither can so many of us. It's right there."

"[Structure does not] just sit there, constrain­ing actors by its formal characteristics, but recurrently poses problems to the actors, to which they must respond”. [At the same time, structure also provides a range of problem solving options for actors that will] generate both personal satisfaction and social respect."

"A hundred years ago our view of space and time was dramatically changed by the introduction of special relativity. Ten years after that, Einstein made spacetime dynamical in his general theory of relativity. It has long been expected that quantum gravity will require an even more radical change in our view of spacetime. String theory is a promising approach to a consistent quantum theory of gravity. In the past few decades a new picture of spacetime has been emerging from this theory. While this picture is far from complete, it is already clear that spacetime has many different features than it does in relativity."

"At first sight, the problem of constructing a quantum theory of gravity sounds easy since there are no experimental constraints! The task is simply to find any theory which unifies general relativity and quantum theory. However, on second thought, the problem sounds extremely difficult. General relativity teaches us that gravity is just a manifestation of the curvature of space and time. So quantum gravity must involve the quantization of space and time, something we have no previous experience with. Surprisingly, even though there are no experimental constraints, this is a constraint on quantum gravity which was found in the early 1970’s by studying black holes. Motivated by the close analogy between the laws of black hole mechanics and ordinary thermodynamics, Bekenstein proposed that ..."

"Ten years ago, it was common (and correct) to distinguish the two main approaches to by saying that string theory ... was perturbative, and background dependent while the other approach ... was non-perturbative and background independent. In light of this, it is not surprising that most relativists were not interested in string theory. … One of the main things that has changed over the past decade is that we now know that string theory does not just involve strings. Higher (and lower) dimensional objects (called s) play an equally fundamental role. Using these branes, convincing evidence has been accumulated that all five of the perturbative string theories are just different limits of the same theory, called . (There is no agreement about what the M stands for.) There is yet another limit in which M theory reduces to eleven dimensional ."

"In the final stages of ennui, we may not even be disappointed to hear jarringly wrong notes or wayward interpretations at recitals, because the more disastrous the mishaps the simpler the reviewing task."

"It might be argued that genuine spontaneity is not really possible or desirable so long as printed scores of great works exist. True. All modern musicians are, for better or worse, prisoners of Gutenberg."

"The sad truth is that the human brain can soften as a result of incessant listening to music with an intent to commit prose."

"Next to the writer of real estate advertisements, the autobiographer is the most suspect of prose artists."

"On the subject of wild mushrooms it is easy to tell who is an expert and who is not: The expert is the one who is still alive."

"Bartók's vision of a modern music "rejuvenated under the influence of a kind of peasant music that has remained untouched by the musical creations of the last centuries" appears now as an idea whose time came and went while the recording machines were running. ... In this country, at any rate, real folk music long ago went to Nashville to die and left no known survivors."

"Christina Petrowska ... has fingers that work like chrome‐plated pistons, and her highseated position, with elbows well above the keyboard level, let her bring pulverizing power to bear."

"We all invent ourselves as we go along, and a great man's myths about himself merely tend to stick better than most."

"Christianity, as we came to know it, is Paul and Paul is Christianity."

"There is no evidence that James worshipped his brother or considered him divine. His emphasis in his letter was not upon the person of Jesus but upon what Jesus taught."

"People are desperate for high quality analysis, especially of complex current events."

"The internet has created incentives for warring factions to frame their struggle in global terms in order to attract the widest audience of supporters. This creates greater opportunities for outside states to become involved in the war to try to influence the outcome."

"Scholars know where civil wars break out and who tends to start them: downgraded groups in anocracies dominated by ethnic factions. But what triggers them? What finally tips a country into conflict? Citizens can absorb a lot of pain. They will accept years of discrimination and poverty and remain quiet, enduring the ache of slow decline. What they can’t take is the loss of hope. It’s when a group looks into the future and sees nothing but additional pain that they start to see violence as their only path to progress."

"What I like about mathematics is the interplay with other people. And that generates extra energy — because it really helps you think."

"That geometric considerations enter in a decisive way in many questions of harmonic analysis is by now a well-known fact. In explicit form such ideas arose first in the estimation of the of surface-carried measure; they have since played a key role in averages over lower-dimensional varieties, restriction theorems, in connection with the study of s and Fourier integral operators, and in application to linear and non-linear s."

"(edited by Noga Alon, Jean Bourgain, Alain Connes, Misha Gromov, and Vital D. Milman; quote from p. 434)"

"Working with Eli Stein is amazing. There are good teachers and there are great teachers — and then there is Eli. He was simply the best teacher, I believe, of advanced math, I believe, in the whole world, by far. ... he conveyed a spirit of optimism. ... He has a wonderful style of explaining math — in which almost all of the effort of explanation goes into finding the right point of view and getting the essence of the problem."

"Objectivity has been the lodestar for journalism for a long time, and there’s a lot of legitimate reasons that people wanted to have a feeling of fairness and neutrality in the journalism that they’re reading."

"The debate around AI is too focused on whether AI is going to kill us or not. It’s like talking about flying cars and how we're going to regulate them when we haven't regulated the cars that are on the roads."

"In some respects, modern-day behavioural science can be construed as a derivative of the psychological school of behaviourism that gained prominence over a century ago with the work of American psychologist, John B. Watson. A rejection of the previously dominant introspectionist movement (whose focus was subjectivity and inner consciousness), Watson viewed the main goal of psychology to be the ‘prediction and control of behaviour.’ The paradigm of behaviourism concentrated exclusively on observables: the environmental stimuli that make a particular behaviour more or less likely, the overt behaviour itself, and the consequences of that behaviour (referred to as ‘reinforcement’ or ‘punishment’)."

"‘Watson’s Utopia, the implied authority of experts was institutionalised in the form of a technocracy managed by behavioural scientists’. Watson wanted religion, the antithesis of science, to be ‘outlawed”. When conditioning failed to cure what Watson termed the ‘hopelessly insane, or incurably diseased’, the physician ‘would not hesitate to put them to death’. According to Buckley, ‘there would also be no mercy’. This has echoes of the Nazi Goebbels. Watson’s ideal community would not recognize words like, ‘right, wrong or punishment.'"

"Let me grow lovely, growing old— So many fine things do: Laces, and ivory, and gold, And silks need not be new;And there is healing in old trees. Old streets a glamour hold: Why may not I, as well as these, Grow lovely, growing old?"

"Some days my thoughts are just cocoons—all cold, and dull, and blind, They hang from dripping branches in the gray woods of my mind;And other days they drift and shine—such free and flying things! I find the gold-dust in my hair, left by their brushing wings."

"Many interpretations of the archaeology of the Eurasian steppes suffer from anachronistic reasoning or what might be termed the Genghis Khan syndrome (even though the Great Khan came from the wrong ethnic group!). That is to say, current reconstruction of the subsistence economies on the western steppes during Bronze Age times unequivocally demonstrates that the classic mixed-herd mounted pastoral nomadism that characterized the steppes during historic times and that has been amply documented by ethnographers was not yet in place. Aside from the question as to when horses were first domesticated and ridden, peoples were dominantly herding cattle, not tending flocks of sheep and goats (with an occasional Bactrian camel tossed in). Rather than noble conquering warriors capable of devastating anything in their path, the Bronze Age peoples of the western Eurasian steppes were impoverished cowboys in ponderous ox-drawn carts seeking richer pasture and escape from the severity of the climate, particularly the increasingly harsh winters they experienced as they moved eastwards across the rapidly filling steppe. This story cannot be followed in detail here, but it is relevant to the northern component of the Bactrian Margiana archaeological complex that is discussed by Lamberg-Karlovsky. He has reason to suggest that the “origins” of this complex may ultimately be documented in southern Afghanistan or Pakistani Baluchistan, as opposed, say, to the western origins favored by Sarianidi or the northern origins favored by Kuzmina."

"The art of propaganda had taken great strides forward during the First World War, when popular fervour against “the Hun” was whipped up in the United States to support an unprecedentedly destructive war, the point of which nobody could say. Edward Bernays, one of the architects of the wartime propaganda effort, turned to advertising after the war as the logical venue for his craft (he would later put his talents in the service of the CIA). A nephew of Sigmund Freud, with whom he was intellectually close, Bernays developed his art on the premise that human beings are irrational, subject to subconscious drives that swamp any capacity for reflective deliberation."

"Reich called himself a Freudo-Marxist. The term announced a political program that would require nothing less than a moral revolution, working at the deepest level of the individual. For society is not only unjust, it is sick. His project might reasonably be compared with that of Rousseau, whose popular works of sentimental reeducation supplied (however wittingly) the emotional idiom of the French Revolution, and the character ideal its enthusiasts sought to realise through that cataclysm."

"Walter Lippmann and H.L. Mencken were influential among liberals in their embittered view of the public as unreliable partners in the democratic project. What was wanted was democracy without a demos. This becomes less paradoxical once you understand that the term “democracy” was serving then, as it does now, as a term of approbation naming something in no way dependent upon the procedures of representative government, and a character ideal defined in explicit opposition to the deplorable masses. The mantle of “democracy” was the homespun worn by liberalism when it went about in public, seeking a wider political legitimacy than would otherwise be extended to the preoccupations of a civilised minority pursuing “experiments in living”, to use J.S. Mill’s formula."

"[W]e can speculate as to why the no-fapping movement could cause alarm. Keeping the appetites at a high pitch of activity, stimulating desire and then satisfying it, can serve as a political soporific. Porn may function as a soma of the masses and in particular of the male— that toxic element in society that has lately attracted special interest from the organs of political therapy. Untoward eruptions of ascetic self-command are inconvenient to the governing anthropology; they would seem to cast doubt on both the need for, and the means of, social management. Reciprocally, for men and women both, the experience of self-command can create a taste for more, and possibly even lead to curiosity about a corresponding political possibility long thought obsolete — that of self-government."

"Over the course of the third and second millennia, the Sarasvati dried up."

"It seems that during the Indus Age the Sarasvati was a large river and that water that now flows in the Yamuna and/or Sutlej Rivers made it so. Over time these waters were withdrawn and the Sarasvati became smaller, eventually dry. The agency for these changes was the tectonic reshaping of the doab [interfluve] separating the Yamuna from the rivers of the Punjab."

"At the end of the third millennium the strong flow from the Sarasvatī dried up... This [the drying up of the Sarasvatī towards the end of the third millennium] carries with it an interesting chronological implication: the composers of the Rgveda were in the Sarasvatī region prior to the drying up of the river and this would be closer to 2000 BC than it is to 1000 BC, somewhat earlier than most of the conventional chronologies for the presence of the Vedic Aryans in the Punjab."

"Race as it was used in the nineteenth and early twentieth centuries has been totally discredited os a useful concept in human biology…. There is no reason to believe today that there ever was an Aryan race that spoke Indo-European languages and was possessed with a coherent and well-defined set of Aryan or Indo-European cultural features."