Columbia University Alumni

"... Natural science is not occult but accessible to any normal mind, and it generates real, not imaginary power—which confronts us as an alien force, which may even destroy us all. Nuclear bombs are the appropriate symbol, not only in their literal capacity to destroy us all, but also in the universal irresponsibility that they embody. Scientific inventors created them as an unrestricted gift to military and political leaders, who keep insisting in advance that “the adversary” will be responsible if “we” are “obliged” to initiate some “nuclear exchange.”"

"[[Allen Ginsberg|[Allen] Ginsberg]] turned out to be depressingly prescient when, after a heated argument with Norman Podhoretz in 1958, he yelled, "We'll get you through your children!" For countless American families, that turned out to be only too true."

"Our culture is ill-equipped to assert the bourgeois values which would be the salvation of the under-class, because we have lost those values ourselves."

"Like the medieval heretics that Norm Cohn wrote about in The Pursuit of the Millennium, the Beats cultivated an extreme narcissism that bordered on self-deification and that "liberated them from all restraints" and allowed them to experience every impulse as a "divine command". What Norman Podhoretz observed of Ginsberg was also true of the Beats generally: they "conjured up a world of complete freedom from the limits imposed by [bourgeois] responsibilities". Podhoretz added, "It was a world that promised endless erotic possibility together with the excitements of an expanded consciousness constantly open to new dimensions of being: more adventure, more sex, more intensity, more life". Alas, the promise was illusory. Instead of an "expanded consciousness", the Beats purchased madness, ruination, and, for many, an early death. Their attack on bourgeois responsibility led not to greater freedom but to greater chaos. The erotic paradise they envisioned turned out to be rife with misery."

"Legitimacy involves the capacity of a political system to engender and maintain the belief that existing political institutions are the most appropriate or proper ones for the society."

"Paradoxical as it may seem, collective bargaining is not losing ground in the United States because unions are less attractive, but unions are less attractive because collective bargaining is losing ground."

"This book will have an appreciable influence on our thinking both now and after the war... Terse, pungent and eloquent, trenchant and persuasive... It will attract wide attention."

"Written with great penetration and of special interest to our time."

"A good book with a special interest for English readers... I hope it will have the widest possible circulation."

"A book which had a particular influence on me was the American Herbert Agar's A Time for Greatness, which appeared in 1944. This was a strangely powerful analysis of how the West's moral failure allowed the rise of Hitler and the war which had followed. It urged a return to Western liberal democratic values and – though I liked this less – a fair amount of left-wing social engineering. For me the important message of Agar's book was that the fight against Hitler had a significance for civilization and human destiny which exceeded the clash of national interests or spheres of influence or access to resources or any of the other – doubtless important – stuff of power politics."

"We are not the arsenal of democracy. We are still in the position of regarding the war as a combination of a major charity and a small boom. Another danger story, which Wheeler and Lindbergh are fostering is that this is just another of the old wars, and that it is only necessary to get rid of a few Germans and everything will be all right. That is a story which should be kept out of the public mind because it is a lie, and because it tends to keep America out of the war. We have to realize, and make all the American people understand, that this is a definitive revolution on a world scale against civilization as it exists. It aims to kill everything that stands for freedom; and there is no hope unless we think in terms like these."

"Our religious heritage, as we have said, requires of us a belief in the dignity and worth of the common man. Our political institutions have been formed to protect this belief and to give it chance for expression. If we neglect those institutions or misunderstand them, if we neglect our religious heritage or forget what it demands of us, we expose ourselves to the danger that there may appear in our midst men willing to seize absolute power and to bring back that ancient curse, the sovereign state. There can be no Christianity in such a state, no honor for the common man. Our fathers knew this in theory, which is why they labored to build a constitutional government and not an irresponsible "state." We have learned the lesson pragmatically, watching with astonished eyes while all the theories of our fathers are proved by the most ruthless of teachers. This is why we must labor not only to destroy the Axis but to remove the sovereign state, the Moloch state, from the face of the earth."

"The truth which makes men free is for the most part the truth which men prefer not to hear. If a paper consults only the wishes of its readers, it may never print a lie but it may also never print a word that justifies its freedom. The divorce news, the crime news, the sports news, the women’s-page news, the news of great disasters or great battles — this is sure to be popular. But if this were all that a newspaper printed, there would be no need to give it special protection under the Constitution. The protection is needed for the printing of news that someone would prefer not to hear, or that someone else would prefer not to have told."

"[T]he extraordinary skill and judgement with which Mr. Agar brings back the "feeling" of those years, so near in time, so hard to recapture in spirit, that followed the ending of the Second World War... Mr. Agar is masterly."

"A serious and searching book... Illuminating interpretations... Often we have been reminded by it of the writings of C. E. Montague after the last war. We cannot give it higher praise."

"I hope that many people will read it and find it stimulating."

"A discrepancy of this order of magnitude, by a real estate developer sizing up his own living space of decades, can only be considered fraud."

"Because you live in two or three worlds doesn't mean you don't live in any of them."

"In Mexico, I was a Jew. In the U.S., I became a Mexican, but all these dichotomies helped me to see that you can be an outsider and an insider simultaneously. You become a member of another minority, but not fully. Here I'm a Mexican in the U.S. I'm a Latino. I'm a Jew. I'm an American."

"pioneer in the validation of Jewish writings from Latin America"

"A life in two languages is a life experienced twice."

"I hardly remember reading the Torah in school. On the rare occasion we did, it was always as a series of mythical stories: a plotline with characters, good and evil, who behave all the time like the rest of us, trying to find meaning in life when none is available. Years later, when I was already an adult, I remember feeling struck by the religious emphasis in just about every episode. How could I have missed it? My gut feeling is that our teachers were ambivalent about it, too. They liked storytelling, and that's what they stressed. Today I'm grateful to them for introducing me to the Bible not as a Halakhic (legal) manual but as a depository of collective memory. For that reason, my relationship with it isn't tyrannical."

"I don't think Latinos are a separate nation in the U.S. 'We are entering, belonging and sharing that melting pot with many other minority groups."

"My advice to young writers of personal essays is made of three steps: read, read, and read. Read what the classics have left for us: Montaigne, Sor Juana, Edmund Wilson, James Baldwin, Borges. Don’t only read them but read against them. Disagree and debate them. It is untrue that we write along with our contemporaries. Truth is, there is no present tense in literature: in the library, all books are together. I don’t write only for today’s readers. I write for the writers and readers of the past and of the future."

"The best conditions for fine criticism to emerge are rather simple: an atmosphere where ideas and stories aren’t in opposition but in partnership, where the act and art of thinking becomes a compelling narrative not about a particular point but about life itself."

"It was only when I was a newly arrived Mexican immigrant in New York that I came to terms with Yiddish. It happened in a rather unexpected way, as I became exposed to the mixing of Spanish and English (called Spanglish today) in the subway and on the street, on TV, and on the radio. At first that barbaric hybrid, neither here nor there, made me cringe. My beloved Spanish language was being contaminated by an onslaught of Anglicisms. Should I do something to stop the pollution? However, I soon came to recognize that "a new Yiddish" was emerging in the United States, this time among Latinos, a vehicle of communication that depended on jazzy, never-ending code switching, just as Yiddish had done between Hebrew and German plus a variety of Slavic tongues. Yiddish automatically regained a dominant place for me. I not only wanted to reclaim its status, for me and others, but also to study its history, its evolution, in order to measure the potential of Spanglish."

"There has been for many years resentment of Spain as the conqueror, but a lot of things about modern Spain have changed, he said. We should talk about the Hispanic world as a much more dynamic body made up of Spain, Latin America, the Spanish-speaking Caribbean and Latinos in the U.S."

"narrative is narrative: it needs to entertain, to illustrate, to enlighten. We live by and through narratives because we have an insatiable desire to comprehend our circumstances, to share its basic tenets with others, and to appreciate how others tell their own tales. I don’t like the abyss our civilization has built between fiction and criticism. In my view, they are sides of the same phenomenon. I live, I let myself live, in the connection between these sides. All essays are personal — either we recognize it or not — just as all fiction is autobiographical (and all autobiography is fiction). I love the personal essay. It triggers something instinctual in me: to use the “I” as a Virgil, to elucidate what I see, what I think, what I conceive in ways that aren’t for me alone but for everyone."

"we need otherness to be less alien."

"Unfortunately, criticism has been kidnapped by the academy, which has overwhelmed with rubbish. The academic essay — e.g., the tenure-track essay — is written for an audience of three or four lonely readers — for whom literature long ago ceased to be about pleasure — in order to become part of a profession. Yes, the worse that might happen to literature is institutionalization. For literature is free: free to make up things, free to associate, free to rebel."

"It is crucial that, as culture seeks to represent nonwhite voices, our conception of perennial literature undergoes an expansion. We need to make classics from Asia, Africa, and Latin America available to underrepresented readerships. That means recalibrating our definition of a literary classic and explicitly reaching out to translators for new, undiscovered classics."

"Translators have always been agents of change. The Muslim translators of the School in Toledo, in the twelfth century, for example, and later on under Alfonso El Sabio, brought Aristotle, Ptolemy, and Hippocrates into Europe. Or Lucretius’s De rerum natura. Without these translators, there would not be a connection with the classical past."

"we are currently in the midst of reimagining the classics, making the canon more expansive, less white and Eurocentric. Some titles fall off the shelf as others arrive. Harriet Beecher Stowe’s Uncle Tom’s Cabin, for instance, is, it appears to me, less current than it was a few decades ago. I taught it a couple of years ago, and students found plenty to fault and that is difficult to justify these days. At the same time, the work of immigrant writers—I love the novels by Viet Thanh Nguyen, for instance—is opening new vistas. This is as it should be. Literature, at first sight, might feel static, but it is just the opposite: an organic expression of a particular time and place."

"I tell my students that education isn’t about facts. It isn’t about theories, either. It is about tracking your thoughts, about witnessing how stories are formed in your mind. It is about allowing the mind not to be clogged, about letting it see not what it does but how it does it. The rules of criticism are the same as the rules of other types of literature. These rules boil down to one: finding the right words to tell the right narrative at the right time. Nothing else matters."

"It's a significant fact that upon arriving to Ellis Island, the first thing supposedly immigrants or future immigrants see is that sonnet engraved in the pedestal of the Statue of Liberty by Emma Lazarus. That includes the line, Give me your poor, your tired, your huddled masses. These are the rejects. This is the refuge of the other nations that have been coming here. And yet it is in English that that sonnet receives those newcomers, a language many of them not yet know."

"sometimes American-Jewish life is too monolingual...But for me Jewish life is multilingual. We don’t experience that in the United States, but if you’re in Israel or in other Diasporas, you hear that a lot."

"Immigrant life in general is miserable, as one sees in the literature produced by those who experienced the journey."

"What I want people to engage in, and people already do so, is not only in what others are telling us and what we're telling the others, but in the music that we engage in when we speak. And where that music comes from, language is character, is individual character, is collective character. Language is history too...When we're listening to somebody who doesn't speak exactly like us, it's easy to demonize them, to think that they are less worthy than us. But in the end, we come from that background. We come from others that didn't have the language that we have today. And if we can see the versions, the iterations of the past, in those words, in that music, I think we're going to be more sensitive, compassionate and humble."

"no translator is godlike; on the contrary, all are miserably human, meaning imperfect in their quest. Therefore, the practice of translation exists, as it should, in a state of constant renewal."

"The relationship we develop with a classic is like a lifelong friendship: it goes through ups and downs. Whenever we reopen the book, we are different, and, as a result, what we read is too. This, I think, is another definition of a literary classic: like a mirror, it reflects what is in front of it."

"I feel Noah’s ark, the Tower of Babel, the story of Abraham’s calling, Isaac’s Akedah, and Jacob’s ordeal and Moses’ liberation odyssey are imprinted in my DNA. I come from a Jewish-Mexican family in which culture was a form of religion. If pressed, I confess not to remember a specific moment during which I read Genesis. But that’s what the classics are: we get them not through reading but by osmosis."

"An accessible language is a language that is beautiful. It is a language of understanding, not of pretension. To be accessible is to write not from Mount Sinai but from below, where the people are. The critic has the exact same words (in English, there are close to a million, according to the editors of the OED) available to write poetry, fiction, theater, autobiography, et cetera."

"The moment I entered a subway car in New York City, I realized that there wasn't one English language but a multiplicity of them, or that the English language was devouring all sorts of sounds that were coming from different regions in the world, and that some of those sounds could be mine. I could be devoured by the English language, or I could adapt myself, figure out what this language is and try to push it in, rearrange it from within. I think that is the journey that many immigrants feel. We come to the language. The language welcomes us. But we also realize at some point that if we abandon our own immigrant language and we just surrender, fully immerse ourselves in English, we will give up an essential part of who we are. And so it's a negotiation, a give and take. Either way, I feel enormously grateful to this beautiful, magnificent polyphonic language for its openness, its embrace, its capacity to recognize that the homogeneity is boring and that there are all sorts of ways of embracing it."

"it is essential that we recognize that in the conquering efforts of the American English language, there is also a cemetery, a series of silences of other languages that have succumbed in the process."

"Isn’t that the dream of democracy, to allow its dwellers to have a voice? The only way to achieve that is to allow them to appreciate the voices of the past."

"Du Bois, in The Souls of Black Folk, argued that the theme of the twentieth century was the color line. In my view, the theme of the twenty-first century is immigration. Everything rotates around it: climate change, Covid-19, populism from Trump to other “aspirational” dictators, global finance, etc."

"What I look for in the classics is a message that is reinvented every time a new reader opens it. Along with the author, it is the role of the introducer and artist to make a case for that fresh take."

"Reading a classic, I believe, ought to entail an element of foreignness...Classics are windows into an epoch, not only in content but in form."

"Translators open the window to the past to welcome fresh air. They are surveyors of what is significant somewhere else and want to bring that significance home. As we make room for new voices from the world, we must diversify the database of translators."

"Without the classics, we are a tabula rasa: we have no memory. We not only open the classics to re-create the past; we also use them to calibrate the present."