Critics From The United States

"She never liked the constant presence of her husbands or lovers and did not like, she soon found out, to be alone — a dilemma in one shape or another common to most of mankind."

"How certain human beings are able to create works of art is a mystery, and why they should wish to do so, at a great cost to themselves usually, is another mystery. Works are not created by one's life; every life is rich in material."

"Sex, without society as its landscape, has never been of much interest to fiction."

"Writing is not "the establishment of a professional reputation" as if one were a doctor or lawyer; it is not properly in the sentence with creation of a family and the purchase of a home."

"Biographers, the quick in pursuit of the dead, research, organize, fill in, contradict, and make in this way a sort of completed picture puzzle with all the scramble turned into a blue eye and the parts of the right leg fitted together."

"Gertrude Stein, all courage and will, is a soldier of minimalism. Her work, unlike the resonating silences in the art of Samuel Beckett, embodies in its loquacity and verbosity the curious paradox of the minimalist form. This art of the nuance in repetition and placement she shares with the orchestral compositions of Philip Glass."

"Letters are above all useful as a means of expressing the ideal self; and no other method of communication is quite so good for this purpose. In conversation, those uneasy eyes upon you, those lips ready with an emendation before you have begun to speak, are a powerful deterrent to unreality, even to hope. In art it is not often possible to make direct use of your dreams of tomorrow and your excuses for yesterday.In letters we can reform without practice, beg without humiliation, snip and shape embarrassing experiences to the measure of our own desires — this is a benevolent form. The ideal self expressed in letters is not a crudely sugary affair except in dreary personalities; in any case the ideal is very much a part of the character, having its twenty-four hours a day to get through, and being no less unique in its combinations than one's fingerprints."

"There's a leveling homogeneity in America today created by television. Each day it passes over the vast land mass, over the states nudging each other like the sovereignties of the Balkans, creating a unifying cloud of aesthetic properties and experience. East and West, North and South are wrapped in a sort of over-soul of images, facts, happenings, celebrities. This debris is as sacred to our current fiction as gossip about the new vicar was to Trollope. And there it is on the page, informing the domestically restless households, father off somewhere, mother chagrined. Sons and daughters writing the books."

"The private and serious drama of guilt is not often a useful one for fiction today and its disappearance, following perhaps the disappearance from life, appears as a natural, almost unnoticed relief, like some of the challenging illnesses wiped out by drug and vaccines."

"Manhattan is not altogether felicitous for fiction. It is not a city of memory, not a family city, not the capital of America so much as the iconic capital of this century. It is grand and grandiose with its two rivers acting as a border to contain the restless. Its skyscrapers and bleak, rotting tenements are a gift for photographic consumption, but for the fictional imagination the city's inchoate density is a special challenge."

"My object to venture the suggestion that an important application of phonetics to metrical problems lies in the study of phonetic word-structure."

"The old Old winds that blew When chaos was, what do They tell the clattered trees that I Should weep?"

"These be Three silent things: The falling snow...the hour Before the dawn...the mouth of one Just dead."

"Listen. With faint dry sound, Like steps of passing ghosts, The leaves, frost-crisp'd, break from the trees And fall."

"I know Not these my hands And yet I think there was A woman like me once had hands Like these."

"It is because these characters depend to such a high degree on their own sense of integrity that for them, victory has nothing to do with happiness. It has more to do with a settling within oneself, a movement inward that makes them whole. Their reward is not happiness — a word that is central in Austen's novels but is seldom used in James's universe. What James's characters gain is self-respect."

"This, I believe, is how the villain in modern fiction is born: a creature without compassion, without empathy."

"What we in Iran had in common with Fitzgerald was this dream that became our obsession and took over our reality, this terrible, beautiful dream, impossible in its actualization, for which any amount of violence might be justified or forgiven."

"Dreams, Mr. Nyazi, are perfect ideals, complete in themselves. How can you impose them on a constantly changing, imperfect, incomplete reality? You would become a Humbert, destroying the object of your dream; or a Gatsby, destroying yourself."

"Yes, the novel is about concrete living relationships, a man's love for a woman, a woman's betrayal of that love. But it is also about wealth, its great attraction as well as its destructive power, the carelessness that comes with it, and, yes, it is about the American dream, a dream of power and wealth, the beguiling light of Daisy's house and the port of entry to America. It is also about loss, about the perishability of dreams once they are transformed into hard reality. It is the longing, its immateriality, that makes the dream pure."

"A novel is not an allegory ... It is the sensual experience of another world. If you don't enter that world, hold your breath with the characters and become involved in their destiny, you won't be able to empathize, and empathy is at the heart of the novel. This is how you read a novel: you inhale the experience. So start breathing."

"A good novel is one that shows the complexity of individuals, and creates enough space for all these characters to have a voice; in this way a novel is called democratic — not that it advocates democracy but that by nature it is so."

"Do not, under any circumstances belittle a works of fiction by trying to turn it into a carbon copy of real life; what we search for in fiction is not so much reality but the epiphany of truth."

"Empathy lies at the heart of Gatsby, like so many other great novels — the biggest sin is to be blind to others' problems and pains. Not seeing them means denying their existence."

"I explained that most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed too immutable. I told my students I wanted them in their readings to consider in what ways these works unsettled them, made them a little uneasy, made them look around and consider the world, like Alice in Wonderland, through different eyes."

"A great novel heightens your senses and sensitivity to the complexities of life and of individuals, and prevents you from the self-righteousness that sees morality in fixed formulas about good and evil."

"Azin has bent forward, her long earings playing hide-and-seek in the ringlets of her hair. "We need to be honest with ourselves," she said. I mean, that is the first condition. As women, do we have the same rights as men to enjoy sex? How many of us would say yes, we do have a right, we have an equal right to enjoy sex, and if our husbands don't satisfy us, then we have a right to seek satisfaction elsewhere." p. 52."

"On the one hand, the ruling Islamic regime has succeeded in completely repressing Iranian women. Women are forbidden to go out in public unless they are covered by clothing that conceals everything but their hands and faces. At all government institutions, universities, and airports, there are separate entrances for women, where they are searched for lipstick and other weapons of mass destruction. ... Yet, while these measures are meant to render women invisible and powerless, they are paradoxically making women tremendously visible and powerful."

"Khatami is a symptom and not the cause of change in Iran."

"I think some of the greatest writing has been also about writers like Conrad or Nabokov, who have illuminated and given us fresh views about the new countries they adopted...So it is not just that other country that comes to us. This new country is also nourished because language is also a home. And when you change that home and come to a new thing, you'd love to play with it. And that's what I love about English, I can play with it."

"Every great work of art ... is a celebration, an act of insubordination against the betrayals, horrors and infidelities of life."

"As I trace the route to his apartment, the twists and turns, and pass once more the old tree opposite his house, I am struck by a sudden thought: memories have ways of becoming independent of the reality they evoke. They can soften us against those we were deeply hurt by or they can make us resent those we once accepted and loved unconditionally."

"Fascists were not conservative in any very meaningful sense... in a meaningful sense, were revolutionaries."

"With the slow and halting development, in late years, of what is styled "social history," male scholars, and occasionally a female scholar, have gradually manifested more consciousness that women had been in history and had done something, whatever it was, in the making of history. As to the state of things before this movement for the writing of social history was well launched, Arthur Meier Schlesinger, one of the pioneers in it, appropriately commented in his New Viewpoints in American History (1922): "An examination of the standard histories of the United States and of the history textbooks in use in our schools raises the pertinent question whether women have ever made a contribution to American national progress that is worthy of record. If the silence of the historians is taken to mean anything, it would appear that one-half of our population have been negligible factors in our country's history"...At all events Professor Schlesinger's appeal of 1922 for some consideration of women's contributions to the making of history effected no immediate revolution in the thinking of his guild. How completely it could be ignored was illustrated in 1940, nearly twenty years later, in The Course of American Democratic Thought: An Intellectual History since 1815, by Ralph H. Gabriel."

"The use of history as therapy means the corruption of history as history."

"Let us by all means teach black history, African history, women’s history, Hispanic history, Asian history. But let us teach them as history, not as filiopietistic commemoration. The purpose of history is to promote not group self-esteem, but understanding of the world and the past, dispassionate analysis, judgment, and perspective, respect for divergent cultures and traditions, and unflinching protection for those unifying ideas of tolerance, democracy, and human rights that make free historical inquiry possible."

"Arthur Schlesinger, Jr., in a mordant protest written soon after the election, found the intellectual “in a situation he has not known for a generation.” After twenty years of Democratic rule, during which the intellectual had been in the main understood and respected, business had come back into power, bringing with it “the vulgarization which has been the almost invariable consequence of business supremacy.”"

"[F]ascism and communism are clearly more like each other than they are like anything in between."

"Santayana's aphorism must be reversed: too often it is those who can remember the past who are condemned to repeat it."

"The purpose of democratic statecraft is, or should be, to find the means of ordered liberty in a world condemned to everlasting change."

"Ellen Willis, who died in November at the age of 64, was such a unique and wonderful set of contradictions—or seeming contradictions. She was a staunchly radical feminist who believed in pleasure, happiness, and freedom. She was a fierce polemicist on the page who, in person, was often painfully shy. She loved long nineteenth-century novels, but was an ardent reader of the tabloids. She was one of the most instinctively ethical people I have ever known, and yet she hated any hint of sanctimony or self-righteousness. She was a dyed-in-the-wool bohemian who was obsessed with real estate—which is to say, she was a true New Yorker. And for me, part of the fun, and the adventure, of being Ellen’s friend and colleague was discovering that these disparate characteristics weren’t really contradictions at all: that somehow, in her inimitable way, she had put all the pieces together…Much has been written about the merging of high and low culture, but Ellen really lived that mix. She approached just about everything—George Eliot and The Sopranos, Herbert Marcuse and Lou Reed—with equal thoughtfulness, seriousness, dignity, and care. Ellen lacked both pretense and condescension. Her writings on pop culture weren’t a form of slumming; she genuinely—though not naively—believed in the emancipatory possibilities of the demotic, because she had experienced them herself. And though Ellen, like so many of us, was increasingly alienated from the culture in which she lived, she never became a mandarin. (In a 2005 piece, she chided Susan Sontag as a “curmudgeon” with a “free-floating animus” toward pop.) Up until almost the moment of Ellen’s death, the world, and its possibilities, held her interest…"

"Ellen Willis has always been one of the sharpest political writers on the left...one of the most profound as well."

"The name Ellen Willis is synonymous with political intelligence. Her cultural criticism is lucid, unerring, and important. The down-to-earth logic with which she argues a left-libertarian position is, in the final analysis, something visionary."

"Through brilliant, often polemical, writings, the feminist and educator Ellen Willis, who has died of lung cancer aged 64, was central to the cultural debates and political controversies of the United States over nearly four decades...Willis brought lucidity and style to the most controversial and baffling cultural issues—her thought was a beacon of clarity. For those of us fortunate enough to have been her comrades, anticipating her insights was part of what kept us returning to meetings month after month, year after year."

"Ellen Willis is the single most important exponent of cultural radicalism in America today. I agree with her; I disagree with her; I am always stimulated."

"One of the last times I saw Ellen, she gave me a copy of Beginning to See the Light, with an inscription on the title page. It reads “To sex, hope, and rock and roll and whatever that means today.” The modesty of this simple quote is indicative of the breadth of her influence as a writer. She knew what sex, hope and rock and roll was today, but she wanted me to find out for myself."

"Like other eminent polemical writers, Willis has always had the knack of turning radical ideas into common sense."

"Her essays combine passion and moral clarity, anger and a steady commitment to having fun. Best of all, she channels the secret ecstatic undercurrents of late twentieth century American popular culture, which we need now more than ever."

"What can "American democracy" mean when no one even bothers to hide the fact that economic policy is made, not by elected officials accountable to their constituencies, but by the croupiers of global capital's floating crap game?"

"On a world scale, militant nationalism has followed economic globalism as surely as it once followed colonialism; but while it has served as an outlet for strong and deadly emotions, it has never solved the economic and social problems that provoked it."