Educators From The United States

"(Why didn't you stick with poetry?) GP: I write a lot of poetry. I just never get good. Poetry is too literary a thing which comes from my love of literature rather than from my love of people, my feeling for people. (1980)"

"all the arts feed each other (1980)"

"People's imagination has been changed a lot by television. (1980)"

"I don't see television the way most people do. I see it as a destroyer of concentration rather than of language. There's dead language everywhere. We're cut off from the truth of our tongues. (1980)"

"("Do you write when you have to? Or when do you write?") GP: I write all the time, in a way. I'm not a very disciplined person. I write. I wrote yesterday, a little. Writing is a habit, among other things, and if you're a writer you'd better get into the habit. A lot of people don't realize that. When I'm writing a story then I'm really writing all the time, wholly involved in it. When I'm not writing a story, I'm still thinking....Susan Sontag once said that she can't wait to get to a typewriter so she'll know what she thinks! And that's true for most writers, that you really have gotten this habit of thinking on paper. Until you do that all you have is a lot of junk in your head, a lot of stuff swirling around, and the paper is the place where you really begin to think. (1979)"

"Writing poetry, which for me was then saying how I felt about this and that, didn't help me to understand the world I lived in. I developed a definition-which I think becomes less and less accurate as poetry moves into the world-that poetry was a way of speaking to the world, but fiction was a way to get the world to speak to me. (1978 interview)"

"The best training is to read and write, no matter what. Don’t live with a lover or roommate who doesn’t respect your work. Don’t lie, buy time, borrow to buy time. Write what will stop your breath if you don’t write."

"I always say that racism is like pneumonia and anti-Semitism is like the common cold—everybody has it."

"It’s a different life (being a parent). Another creature is really dependent on you. I think it’s good for a writer, though. I know some people say women writers should not have children. Of course, it was worse for them back then. Years ago just to do the kids’ wash could take the whole day, so if you were poor it was impossible to write. If you were rich, you could hire a maid; it was possible if you were George Sand. But even now we need help. My kids were in day care from the time they were three years old."

"art comes from constant mental harassment."

"I hate the American expectation of violence. I’m not going to play into any of that. When I must write about violence, I will, but I’ll do it straight, not add and add because the level is higher every year."

"You can’t write without a lot of pressure. Sometimes the pressure comes from anger, which then changes into a pressure to write...The pressure from anger is an energy that can be violent or useful or useless. Also the pressure doesn’t have to be anger. It could be love. One could be overcome with feelings of lifetime love or justice."

"a lot more women are writing. A lot of people who wouldn’t have written are writing. When a couple of black women speak, the throats of many are opened. Somehow or other they give courage and sound to their sisters."

"In 1959 it was absolutely insane for Ken McCormick to say, yes, he was going to publish a book of short stories. Now everybody in the writing world is reading and writing short stories."

"the outside world will trivialize you for almost anything if it wants to. You may as well be who you are."

"There’s hardly a woman writer who doesn’t receive some kind of support from the women’s movement. We’re very lucky to be living and writing now."

"I will say I knew I wanted to write about women and children, but I put it off for a couple of years because I thought, People will think this is trivial, nothing. Then I thought, It’s what I have to write. It’s what I want to read. And I don’t see it out there. Meanwhile, the women’s movement had begun to gather force. It needed to become the second wave. It turned out that we were some of the drops in the wave. Tillie Olsen was more like a cupful."

"I’ve been surrounded by music for most of my life. Always classical. But I think the most powerful sounds are those voices, those childhood voices. The tune of those voices. Other languages, Russian and Yiddish, coming up smack against the English. I think you hear that a lot in American literature."

"Fiction for me is a way of "writing what you don’t know about what you know," to quote Grace Paley."

"Grace Paley...is funny and poignant, a writer of great power and great delicacy. She is one of our finest-and most original-poets."

"Grace Paley makes me weep and laugh-and admire. She is that rare kind of writer, a natural, with a voice like no one else's: funny, sad, lean, modest, energetic, acute."

"she tells her sad/funny stories and wry parables, in a wisecracking, ironic New York voice that sounds like no other-except, amazingly, Isaac Babel...Paley can do for time what astrophysicists do for space: whether stretching or shrinking it, they deepen the mystery with every advance in describing it...With its vision of universal reconciliation, Paley's sensibility simply cannot be restricted by the ordinary boundaries of space or time. Paley has sometimes been criticized for allowing her passionate commitment to politics to "interfere" with her art, but the two feed each other, are in fact one. Paley is as political as García Marquez or Camus. In story after story she demonstrates the inseparability of "private" and "public" passions-especially the passion to save the children, which she implicitly equates with saving the world. In Paley's universe children ("babies, those round, staring, day-in-day-out companions of her youth"), the ever-precarious next generation, are the raison d'être of political action. When Faith asks herself, recalling the PTA struggles of a bygone time, "Now what did we learn that year?" her answer is "The following: Though the world cannot be changed by talking to one child at a time, it may at least be known.""

"What I love most in Grace Paley's poetry is her unquenchable sense that the artist's life is not somewhere at the margins of community, that a dialogue is necessary between the poet and her people. The North American enterprise has injured this dialogue. Paley's exuberant, heartbreaking, committed poems call it back to health."

"At the age of 62, Grace Paley has published just three collections of stories, a total of 45 tales. But nearly all of them are remarkable for their clarity, their sense of place, their sympathies. As Philip Roth has said, Paley's stories display "an understanding of loneliness, lust, selfishness, and fatigue that is splendidly comic and unladylike"...Paley is a genuine article, unpretentious, funny, and wise. In the words of her neighbor and colleague in fiction, Donald Barthelme, she is a "wonderful writer and troublemaker." Paley's second-floor living room is vintage Village. Bookshelves crammed with Babel and Chekhov and Marx, records piled into a Hellman's mayonnaise box, a sad rag rug, artifacts of politics, woolly pillows strewn on the floor, three empty light sockets in the ceiling. The lived-in look."

"Russian is very dear to me because it’s a family language, but I am Jewish-Russian, which is a little different from Russian-Russian. My family ran away in 1905 from the Russian-Russians."

"I read poetry all the time. Probably the poets everybody read then. Very catholic taste. I even loved Eliot then whom I later grew not to love. I knew lots of poems by memory and walked around mumbling them. Yeats, Rilke, Keats, Coleridge. I liked Milton a lot, for some reason. And then there were the Oscar Williams anthologies of 1942 and 1943 with those pictures of the beautiful young poets."

"(Are there any men you think write particularly well about women?) I liked Norman Rush’s last book, Mating. The main character is a very smart woman, very intellectual, very interesting, and very unlike many of the women many women write about."

"what’s a writer for? The whole point is to put yourself into other lives, other heads—writers have always done that. If you screw up, so someone will tell you, that’s all. I think men can write about women and women can write about men. The whole point is to know the facts. Men have so often written about women without knowing the reality of their lives, and worse, without being interested in that daily reality."

"A lot of them (my stories) begin with a sentence—they all begin with language...Very often one sentence is absolutely resonant...The sound of the story comes first."

"there’s always that first storytelling impulse: I want to tell you something..."

"Writers often write about what they want to read or haven’t seen written."

"it was kind of exhausting running after two babies. Still, looking back I see the pleasure of it. That’s when I began to know women very well—as co-workers, really...If I hadn’t spent that time in the playground, I wouldn’t have written a lot of those stories."

"we had our normal family life—struggles and hard times. That takes up a lot of time, hard times. Uses up whole days."

"That word identity has been hard for many women who live secular lives and maybe harder for religious women and also feminists. But the women's movement has made a big difference. I don't know who it hasn't helped in this world. It's given a lot of Jewish women courage to stay Jewish and fight."

"You can't talk about anything without bringing in the world. It's out there."

"If you I live long enough you really become patient. People improve. If they're already wonderful, they become slowly more wonderful."

"You know in my lifetime, Jews have been very close to Blacks, really have had very close relations, and I just happen to be reading this book When and Where I Enter (by Paula Giddings)."

"(A lot of people we've talked to said that Israel's invasion of Lebanon in '82 was a real jolt. People who for years hadn't thought about their Jewishness were sort of forced to start thinking about it in relationship to Israel. Did that have an effect on you?) GP: Well, since I think a lot about politics, it had an effect on me. But it didn't have a jolting or a changing effect. It wasn't so much a surprise as a new reason for sorrow and disgust. I was pleased at the services that year that this young fellow really spoke out very strongly. Sometimes I think that the Left has really made some terrible mistakes. I was talking about it the other day-the way the people in Nicaragua can separate the people of this US from the government. And that is partly a result of a decision by the Left. It's not just a strategy decision, it's true. It's a decision which the Left made in Vietnam, which was to divide the country. A very sensible, simple thing to do, to see us as opposed to the government. True too. It did not weaken the people of Nicaragua or Vietnam. So, I've never understood why my sisters and brothers on the Left haven't been able to do the same in relation to Israel. And if they'd done it a long time ago, I think things could have been different. If they had pointed out again and again: the people and the government, I mean, the difference at that time. A big majority of the American people were not yet against the war in Vietnam when the Vietnamese said, "We know you're not the government." There were maybe nine people on assorted street corners in '62, '63, '64 and the Vietnamese were already talking like that, right? So it's not as if you would have had to say the majority of the people in Israel are against this. Enough of them were in opposition. Why it wasn't done I-I know why it wasn't done. (Why?) Anti-Semitism. (Has that changed at all with the Left? Gotten worse? Or do you think it's the same?) No, I think in some ways it's better. In the women's movement press, too. You were really both very useful and really strong and influential. And I think a lot of women began to think seriously about anti-Semitism. Just because women started to stand up, others suddenly realized they had legs."

"(What was your sense of what it meant to be Jewish when you were growing up?) Well, it meant to be a socialist. Well, not really. But it meant to have social consciousness. It also meant that we were related to those generations of the Jewish Bible. We had common history. Our neighborhood was solidly Jewish. Next door there could be somebody who wasn't. That would be a very exotic person. The whole block didn't have more than two people who weren't Jewish. So my idea of the world was that it was totally Jewish. And the people to be worried about and pitied are the ones outside. So there is a sense that the stranger is the one to be remembered. The reason that it's repeated in the Bible so many times that we were strangers in Egypt is really to make us behave decently. This seemed to me very much a part of being Jewish. And it wasn't a matter of hospitality, which is as American as apple pie, so to speak. It wasn't hospitality; it was a normal sense of outrage when others were treated badly, and along with that the idea that injustice not be allowed to continue."

"if you don’t think history, you’re not thinking. You’re just not thinking if you cannot see a generation back. And if you do not think about the circumstances in their lives, then you don’t know what you’re thinking about. There’s no truth in the present moment. Now simply doesn’t exist without then at all."

"I think the women’s movement is wonderful, a great thing. I hate to see some of the mean struggles within it, but I don’t see how it could exist without it. Everybody should try to be as honorable and truthful and fierce as they can be."

"Even as a kid, it wasn’t to big stories of heroism that I listened but to the everyday people on my block more than anything else. Since I thought of my father and mother as somewhat heroic in their early years, what interested me tremendously was how this whole other world of people living every day, how they lived their lives. I think most people are heroic to a degree, they’re heroic in caring for the lives of the people around them and not dumping each other or dumping on each other."

"children’s writing is so often so beautiful, because it’s so close to their own true tongues. On the other hand, it’s very boring because they have no experience in life."

"I think all art, all these stories that people write, happen when two amazing facts come together in some way, or two amazing events, or two amazing winds, or whatever it is, come and the surprise of this meeting is the story."

"I write about things I don’t know all that well just to try and understand them. The act of writing is an investigative, learning act."

"you can only teach learners. You can’t teach any subject to anybody who isn’t there to want to know."

"For me, somehow, the short story is very close to the poem in feeling and not so close in feeling to the novel, although it’s about the same people that a novel would be about."

"things that concern me very much still . . . first of all, I still think a lot about Vietnam. I was there in ’69, in Hanoi, and also I traveled through all of the North from the DMZ, and so I saw an awful lot of it and I felt the people very much. I was at that time very involved in dealing with American POWs. I don’t think in my life I’ll ever get over those concerns and the injustice of the United States not simply acting out its responsibilities to Vietnam. Those things are not over for me. And the question of amnesty . . . they’re related. But I’m not as active. I act when I’m called upon. I guess I began to think of myself as more of a pacifist, which is sort of funny when you think that I was very strongly on the side of the really very fierce North Vietnamese and Vietcong. But still, I think disarmament is a tremendously important issue. So I’m really responding in many ways. I still work with the War Resisters’ League and with Resist."

"I think that any life that’s interesting, lived, has a lot of pulls in it."

"That’s the thing about writing. You can bring a lot of stuff together. (2003)"