Educators From The United States

"Some people are your relatives but others are your ancestors, and you choose the ones you want to have as ancestors. You create yourself out of those values."

"Injustice wears ever the same harsh face wherever it shows itself."

"The act of writing requires a constant plunging back into the shadow of the past where time hovers ghostlike."

"Good fiction is made of that which is real, and reality is difficult to come by."

"If you can show me how I can cling to that which is real to me, while teaching me a way into the larger society, then I will not only drop my defenses and my hostility, but I will sing your praises and help you to make the desert bear fruit."

"Let's not play these kids cheap; let's find out what they have that is a strength. What do they have that you can approach and build a bridge upon? Education is all a matter of building bridges, it seems to me."

"At best Americans give but limited attention to history. Too much happens too rapidly, and before we can evaluate it, or exhaust its meaning or pleasure, there is something new to concern us. Ours is the tempo of the motion picture, not that of the still camera, and we waste experience as we wasted the forest."

"Commercial rock ’n’ roll music is a brutalization of the stream of contemporary Negro church music … an obscene looting of a cultural expression."

"The blues is an art of ambiguity, an assertion of the irrepressibly human over all circumstances, whether created by others or by one's own human failing."

"When American life is most American it is apt to be most theatrical."

"Deep at the dark bottom of the melting pot, where the private is public and the public private, where black is white and white black, where the immoral becomes moral and the moral is anything that makes one feel good (or that one has the power to sustain), the white man's relish is apt to be the black man's gall."

"Closed societies are now the flimsiest of illusions, for all the outsiders are demanding in."

"Perhaps the novel evolved in order to deal with man's growing awareness that behind the facade of social organisations, manners, customs, myths, rituals and religions of the post-Christian era lies chaos. Man knows, despite the certainties which it is the psychological function of his social institutions to give him, that he did not create the universe, and that the universe is not at all concerned with human values. Man knows that even in this day of marvelous technology and the tenuous subjugation of the atom, that nature can crush him, and that at the boundaries of human order the arts and the instruments of technology are hardly more than magic objects which serve to aid us in our ceaseless quest for certainty. We cannot live, as someone has said, in the contemplation of chaos, but neither can we live without an awareness of chaos, and the means through which we achieve that awareness, and through which we assert our humanity most significantly against it, is in great art. In our time the most articulate art form for defining ourselves and for asserting our humanity is the novel. Certainly it is our most rational art form for dealing with the irrational."

"Every serious novel is, beyond its immediate thematic preoccupations, a discussion of the craft, a conquest of the form, a conflict with its difficulties and a pursuit of its felicities and beauty."

"By and large, the critics and readers gave me an affirmed sense of my identity as a writer. You might know this within yourself, but to have it affirmed by others is of utmost importance. Writing is, after all, a form of communication."

"The understanding of art depends finally upon one's willingness to extend one's humanity and one's knowledge of human life."

"All novels are about certain minorities: the individual is a minority. The universal in the novel—and isn't that what we're all clamoring for these days?—is reached only through the depiction of the specific man in a specific circumstance."

"Our task then is always to challenge the apparent forms of reality—that is, the fixed meaning and values of the few—and to struggle with it until it reveals its mad, vari-implicated chaos, its false faces, and on until it surrenders its insight, its truth."

"[T]here must be possible a fiction which, leaving sociology and case histories to the scientist, can arrive at the truth about the human condition, here and now, with all the bright magic of the fairy tale."

"Perhaps the most insidious and least understood form of segregation is that of the word.[…] For if the word has the potency to revive and make us free, it has also the power to blind, imprison and destroy."

"Life is as the sea, art a ship in which man conquers life's crushing formlessness, reducing it to a course, a series of swells, tides and wind currents inscribed on a chart."

"[T]he painful details and episodes of a brutal experience alive in one's aching consciousness, to finger its jagged grain, and to transcend it, not by the consolation of philosophy, but by squeezing from it a near-tragic, near-comic lyricism. As a form the blues is an autobiographical chronicle of personal catastrophe expressed lyrically."

"We don't torture people. Let me say that again to you. We don't torture people, OK."

"As if he needed me to say "Slam Dunk" to go to war with Iraq."

"We must not, then, as Christians, assume an attitude of antagonism toward the truths of reason, or the truths of philosophy, or the truths of science, or the truths of history, or the truths of criticism. As children of the light, we must be careful to keep ourselves open to every ray of light. Let us, then, cultivate an attitude of courage as over against the investigations of the day. None should be more zealous in them than we. None should be more quick to discern truth in every field, more hospitable to receive it, more loyal to follow it, whither soever it leads."

"From the empty grave of Jesus the enemies of the cross turn away in unconcealable dismay. Christ has risen from the dead! After two thousand years of the most determined assault upon the evidence which establishes it, that fact stands. And so long as it stands, Christianity too must stand as the one supernatural religion. The resurrection of Christ is the fundamental apologetical fact of Christianity."

"If we do not add something to the knowledge of cosmic rays by our trip to the stratosphere this summer, we had better not go. We had better stay on the ground, be hewers of wood and drawers of water."

"There are many reasons, some of them so deep-seated emotionally as to be very difficult of expression. Possibly the simplest explanation is that we started along this road … and I cannot stop until I have won."

"When you fly a balloon you don’t file a flight plan; you go where the wind goes. You feel like part of the air. You almost feel like part of eternity, and you just float along."

"Sonny, I'm old enough to have changed your nappies."

"The artist is obliged to invent the self who will paint his pictures."

"The struggle to make an absolute statement in an individually conceived vocabulary accounts for the profound tensions inherent in the best modern work."

"Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist."

"For the artist, fulfillment of self consists not in marching in the ranks of the liberators but in being entered in the roll of the Masters. The artist tends to find himself in the position of a deserter from his social group — or, at best, one who collaborates, with secret reservations."

"Not only were the minds of artists formed by the university; in the same mold were formed those of the art historians, the critics, the curators, and the collectors by whom their work was evaluated. With the rise of Conceptual art, the classroom announced its final triumph over the studio."

"Not only the artist but everyone "becomes someone else" in becoming someone. One is thought about, thus invented. Or as Steinberg put it with memorable succinctness in his Cogito drawings, "I think, therefore Descartes is." One creates not oneself but another. Being is in the act."

"Both art and the artist lack identity and define themselves only through their encounter with each other."

"How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members."

"The skills of the modern artist are the opposite of those of the craftsman: instead of acquiring techniques for producing classes of objects, the artist today perfects the means suited to his particular work."

"It is not logical for art to be logical. Art goes against the grain of the times as readily as it goes with it and at the very same moment. Instead of seeking the nearest exit, art responds to a new situation by uncovering a labyrinth of problems."

"The current demoralization of the art world is attributable at least in part to museum interference, ideological and practical, with ongoing creation in art."

"If being an anti-art artist is difficult, being an anti-art art historian is a hard position indeed. His doctrinal revolutionism brings forth nothing new in art but reenacts upheavals on the symbolic plane of language. It provides the consoling belief that overthrows are occurring as in the past, that barriers to creation are being surmounted, and that art is pursuing a radical purpose, even if it is only the purpose of doing away with itself."

"In the United States, revolts tends to be directed against specific situations, rarely against the social structure as a whole."

"Art has arrived at the paradox that tradition itself requires the occurrence of radical attacks on tradition."

"The new attitude of the critic toward the artist has been rationalized for me by a leading European art historian who is also an influential critic of current art. It is based on a theory of division of labor in making art history. The historian, he contends, knows art history and, in fact, creates it; the artist knows only how to do things. Left to himself, the artist is almost certain to do the wrong thing — to deviate from the line of art history and thus to plunge into oblivion. The critic's role is to steer him in the proper direction and advise changes in his technique and subject matter that will coordinate his efforts with the forces of development. Better still, critics should formulate historically valid projects for artists to carry out. That not all critics have the same expectations of the future of art does not, I realize, weaken the cogency of my colleague's argument. The surviving artist would be one who has been lucky enough to pick the winning critic. My own view that art should be left to artists seemed to my mentor both out-of-date and irresponsible."

"Illusionistic art appeals to what the public knows not about art but about things. This ability to brush art aside is the secret of the popularity of illusionism. Ever since the Greeks told of painted grapes being pecked by real birds, wonder at skill in deceiving the eye has moved more people than appreciation of aesthetic quality. But for art to depend exclusively upon reproducing appearances has the disadvantage of requiring that the painting or sculpture conform to the common perception of things."

"The interval during which a painting is mistaken for the real thing, or a real thing for a painting, is the triumphant moment of trompe l'oeil art. The artist appears to be potent as nature, if not superior to it. Almost immediately, though, the spectator's uncertainty is eliminated by his recognition that the counterfeit is counterfeit. Once the illusion is dissolved, what is left is an object that is interesting not as a work of art but as a successful simulation of something that is not art. The major response to it is curiosity: "How did he do it?""

"Greatness in art is always a by-product."

"An art mode, new or old, is for the creative mind essentially a point of beginning. Content is brought into being by the activity through which the artist translates the movement into himself. In such an appropriation, there is no difference between an ongoing movement and one that is finished. During the reign of Minimalism, a painter might realize the new through Impressionism. That art history has a schedule of continuous advances en masse is a fantasy of the historian. The shared syntax of art movements is constantly replaced by the sensibility and practice of individuals. The avant-garde art of yesterday is the only modern equivalent of an aesthetic tradition. The fading of the ideas of a movement does not mean that it can no longer be a stimulus to creation. At the very dawn of a movement, the work of its artists commences to replace the concept; instead of Cubism there appear Picasso, Braque, Gris. Compared to the activities to which they give rise, ideas in art have a brief life. In the last analysis, the vitality of art in our time depends on works produced by movements after they have died."

"The mingling of object and image in collage, of given fact and conscious artifice, corresponds to the illusion-producing processes of contemporary civilization. In advertisements, news stories, films, and political campaigns, lumps of unassailable data are implanted in preconceived formats in order to make the entire fabrication credible. Documents waved at hearings by Joseph McCarthy to substantiate his fictive accusations were a version of collage, as is the corpse of Lenin, inserted by Stalin into the Moscow mausoleum to authenticate his own contrived ideology. Twentieth-century fictions are rarely made up of the whole cloth, perhaps because the public has been trained to have faith in "information." Collage is the primary formula of the aesthetics of mystification developed in our time."