Educators From The United States

"I still believe what I wrote in 1971: A change in the of sexual identity is essential if we are not to see the old political order reassert itself in every new revolution."

"Malcolm X and Martin Luther King, Jr.-both leaders with large constituencies-had been murdered just as each was unscrolling a map on which race and class intersected in a shared landscape."

"one period's necessary strategies can mutate into the monsters of a later time."

"The impulse to create begins - often terribly and fearfully - in a tunnel of silence. Every real poem is the breaking of an existing silence, and the first question we might ask any poem is, What kind of voice is breaking silence, and what kind of silence is being broken? (p150)"

"I think I've brought figures of resistance into my poetry for quite a while-going back to the voice of Mary Wollstonecraft in "Snapshots of a Daughter-in-Law" (1960). History has always felt to me an immense resource for art, and poetry as a place where history can be kept alive-not grand master narratives, but otherwise forgotten or erased people and actions. In the 1970s we were rediscovering women whose lives had been dropped out of history or distorted, like Susan B. Anthony, Harriet Tubman, Emily Dickinson, Marie Curie, Ida B. Wells-Barnett, Hannah Senesch, Ethel Rosenberg. (p141)"

"Most biographers of women still fail to recognize that a woman's central relationship can be to her work, even as lovers come and go. ("Raya Dunayevskaya's Marx")"

"I look everywhere for signs of that fusion I have glimpsed in the women's movement, and most recently in Nicaragua. I turn to Toni Cade Bambara's The Salt Eaters or Ama Ata Aidoo's Our Sister Killjoy or James Baldwin's Just above My Head; to paintings by Frida Kahlo or Jacob Lawrence; to poems by Dionne Brand or Judy Grahn or Audre Lorde or Nancy Morejón; to the music of Nina Simone or Mary Watkins. This kind of art-like the art of so many others uncanonized in the dominant culture-is not produced as a commodity, but as part of a long conversation with the elders and with the future. (And, yes, I do live and work believing in a future.) Such artists draw on a tradition in which political struggle and spiritual continuity are meshed. Nothing need be lost, no beauty sacrificed. The heart does not turn to a stone. ("Blood, Bread, and Poetry: The Location of the Poet" 1983)"

"Lies are usually attempts to make everything simpler - for the liar - than it really is, or ought to be. (from "Women and Honor: Some Notes on Lying")"

"If the imagination is to transcend and transform experience it has to question, to challenge, to conceive of alternatives, perhaps to the very life you are living at the moment. You have to be free to play around with the notion that day might be night, love might be hate; nothing can be too sacred for the imagination to turn into its opposite or to call experimentally by another name. For writing is re-naming. ("When We Dead Awaken: Writing as Re-Vision")"

"Any truly revolutionary art is an alchemy through which waste, greed, brutality, frozen indifference, blind sorrow and anger are transmuted into some drenching recognition of the What if?-the possible...Revolutionary art dwells, by its nature, on edges. This is its power: the tension between subject and means, between the is and what can be. (XXVIII: "What if")"

"A revolutionary poem will not tell you who or when to kill, what and when to burn, or even how to theorize. It reminds you... where and when and how you are living and might live, it is a wick of desire. (XXVIII: "What if")"

"It's Black History Month. But this is white history. White hate crimes, white hate speech. I still try to claim I wasn't brought up to hate. But hate isn't the half of it. I grew up in the vast encircling presumption of whiteness-that primary quality of being which knows itself, its passions, only against an otherness that has to be dehumanized. I grew up in white silence that was utterly obsessional. Race was the theme whatever the topic. (XXI: "The distance between language and violence" p 181)"

"The danger lies in forgetting what we had. The flow between generations becomes a trickle, grandchildren tape-recording grandparents' memories on special occasions perhaps—no casual storytelling jogged by daily life, there being no shared daily life what with migrations, exiles, diasporas, readings, the search for work. Or there is a shared daily life riddled with holes of silence. (XI: "A Leak in History")"

"As a society in turmoil, we are going to see more, and more various, attempts to simulate order through repression; and art is a historical target for such efforts. A distaste for the political dimensions of art, in this time and place, is a dangerous luxury. (p161, XIX: "The transgressor mother")"

"Despair, when not the response to absolute physical and moral defeat is, like war, the failure of imagination. (p17, III: "What would we create?")"

"poetry is always being created anew, in new places, by unforetold hands and voices. In this, it is like the many movements against demoralizing power. We don't know where either will come from. This is a story without an end. (Preface)"

"Where every public decision has to be justified in the scales of corporate profits, poetry unsettles these apparently self-evident propositions-not through ideology, but by its very presence and ways of being, its embodiment of states of longing and desire. (Preface)"

"Children learn early in life that they cannot always count on their parents’ attention much less their smiles, a lesson in human unpredictability that has to be learned over and over again."

"Unlike a small village, the city speaks loud and clear of history, of being the terminus of a long, cumulative process."

"...the Oxford system, which did not require students to take set courses or be tested except at the end of three years, encouraged them to read widely, attend public lectures on all sorts of subjects, and above all, talk to one another in small gatherings until dawn breaks or until they ran out of shillings to put in the gas meter. Without knowing it I acquired a well-rounded, if undisciplined, liberal arts education."

"Young children distinguish between good people and bad people, but, unless explicitly taught, they do not distinguish between foreigner and native."

"America is a much newer experiment in human living, one with moral concerns at its core. In this respect it differs from Europe, which has preferred sophistication and worldly wisdom to "righteousness," and resembles China, which saw the universe itself as essentially a moral order. However materialistic Americans may be in their economic pursuits, their ceremonies emphasize the material far less than European societies have. America has imposing official architecture. Washington, D.C., boasts a radial baroque stateliness. Yet one of its most important buildings, the White House, is a modest dwelling, its scale far smaller than that of the palaces of Europe and Asia."

"In contrast to the flux and muddle of life, art is clarity and enduring presence. In the stream of life, few things are perceived clearly because few things stay put. Every mood or emotion is mixed or diluted by contrary and extraneous elements. The clarity of art—the precise evocation of mood in the novel, or of summer twilight in a painting—is like waking to a bright landscape after a long fitful slumber, or the fragrance of chicken soup after a week of head cold."

"A special target of examination ought to be how societies differ in making room for pauses in the midst of life, for it is during such pauses that individuals are able to appraise the meaning of what they have undergone."

"When a man paints a naked woman he gives her less than poor Nature did. I can conceive of few circumstances wherein I would have to paint a woman naked, but if I did I would not mutilate her for double the money. She is the most beautiful thing there is — except a naked man, but I never saw a study of one exhibited."

"We appreciate politeness when we are far from home. We may have different ideas of the word. An incivility or supposed incivility in a strange land cuts very deep and even a great or unlooked for kindness almost brings tears for one is apt to say to himself you are very good but maybe its because I'm a stranger, and he is forcibly reminded of home where kindness is taken thoughtlessly as a matter of course. Impressions are stronger away from home as you have discerned. If by politeness then is meant goodness, it is appreciated by me as I trust it always has been, but if it is to mean the string of ceremonies generally used for concealing ill nature, and which have been found necessary to the existence of every society whose members are wanting in self respect and morality, I detest it more than ever. I have often used the word in both these acceptations, but I don't like it. My prominent idea of a polite man is one who is nothing but polish. It is an unenviable reputation. If there was anything else in him the polish would never be noticed. He is a bad drawing finely worked up, and Gérôme says that every attempt at finish on a bad design serves only to make the work more contemptible."

"The word routine suggests the humdrum and the inconsequential; however, unlike the routines of workplace and office, those of home are not inconsequential for they're dictated by the cyclical requirements of biological life."

"Freedom implies space; it means having the power and enough room in which to act."

"The world feels spacious and friendly when it accommodates our desires, and cramped when it frustrates them."

"We think of the house as home and place, but enchanted images of the past are evoked not so much by the entire building, which can only be seen, as by its components and furnishings, which can be touched and smelled as well: the attic and the cellar, the fireplace and the bay window, the hidden corners, a stool, a gilded mirror, a chipped shelf."

"Experience takes time and calls for patience."

"If each person can achieve greatness, so can each fall into baseness."

"People who have ‘music’ in their souls are fun to be with."

"We have no trouble naming the basic physical needs of food, shelter, and sex, nor the basic social needs of care, respect, and love. Can there also be a spiritual need that goes beyond even love as it is commonly understood to something for which the words that most readily come to mind are goodness, the Good, or God? Absent food, shelter, and sex, we die. Absent care, respect, and love, we live--barely. Absent that deep and insatiable spiritual yearning for the Good that certain stories and fables prefigure? We live, and indeed we may live well, in full, societal approbation and self-congratulatory glow, except, perhaps, in those uncanny moments--the sudden chill in the air, a pinched feeling in the heart, or even a stumble over the curb that reminds us of the abyss beneath the pavement on which we so unconcernedly walk."

"To forgive is to erase a past, depriving it of its power to stain the present."

"We may speak loosely of a ‘sense of time,’ but there is no such sensory organ. Time is something we experience and construct. Time is experienced--is felt--when we wait, expect, or hope."

"Words designate, but they also evoke a sense of something, and, when they do, they function as metaphors. ...Metaphors enrich life, making it more vivid."

"Stars define civilization, as no single natural feature on Earth--tree, rock, stream, or mountain--can be said to define cultures."

"At the highest level of achievement, classical music has the feel of an intimate conversation between two individuals and a mass celebration of our common humanity."

"Ideally, society is a dance, and every society has its own choreography that is passed down the generations."

"Only God creates ex nihilo. Humans can only create out of something that already exists, which means there has to be an earlier destruction phase."

"The ease with which a man can lose his sense of self-worth and fall into the pit of self-abasement is a deeply disturbing psychological fact. Asymmetry of power doesn’t have to be extreme for it to happen. All that is required is for it to seem implacable."

"for humans, no matter what the warmth and duration of human contact and what the size of the group, a periodic sense of isolation is inescapable; it is no less than the human condition."

"He was never interested in conventional beauty. Sober, pinched, reflective, lined and melancholy, his portraits remind us of that. But how many American artists said more about the sense of being in the world? Eakins was that extreme rarity, an artist who refused to tell a lie even in the service of his own imagination."

"Thomas Eakins was a man of great character. He was a man of iron will and his will to paint and to carry out his life as he thought it should go. This he did. It cost him heavily but in his works we have the precious result of his independence, his generous heart and his big mind. Eakins was a deep student of life, and with a great love he studied humanity frankly. He was not afraid of what his study revealed to him."

"I never knew of but one artist, and that's Tom Eakins, who could resist the temptation to see what they think ought to be rather than what is."

"Whitman: And Eakins - What of Tom Eakins. He is here. Haven't you something to say to us Eakins? Eakins: I am not a speaker. Whitman: So much the better — you are more likely to say something."

"I want to see the gardens and palace of the Alcazar where the Moorish Kings used to live. It is as perfect an architecture as the Egyptian, Greek or Gothic and just as beautiful, maybe more beautiful and it is well built for it looks as new as if it had just been done. We have to thanks these Moors for our greatest sciences, they did the big work for us, they started them, Algebra, Chemistry, Astronomy. They are our masters."

"If America is to produce great painters and if young artists wish to assume a place in the history of the art of their country, their first desire should be to remain in America to peer deeper into the heart of American life, rather than spend their time abroad obtaining a superficial view of the art of the Old World. In the days when I studied abroad conditions were entirely different. The facilities for study in this country were meagre. There were even no life classes in our art schools and schools of painting. Naturally one had to seek instruction elsewhere, abroad. Today we need not do that."

"Strain your brain more than your eye... You can copy a thing to a certain limit. Then you must use intellect."