Critics From The United States

"There is no such thing as an "atrocity" in warfare that is greater than the atrocity of warfare itself."

"Self-discipline without talent can often achieve astounding results, whereas talent without self-discipline inevitably dooms itself to failure."

"Agnosticism is a perfectly respectable and tenable philosophical position; it is not dogmatic and makes no pronouncements about the ultimate truths of the universe. It remains open to evidence and persuasion; lacking faith, it nevertheless does not deride faith. Atheism, on the other hand, is as unyielding and dogmatic about religious belief as true believers are about heathens. It tries to use reason to demolish a structure that is not built upon reason; because, though rational argument may take us to the edge of belief, we require a "leap of faith" to jump the chasm."

"We have not passed that subtle line between childhood and adulthood until we move from the passive voice to the active voice — that is, until we have stopped saying “It got lost,” and say, “I lost it.”"

"People who think they’re generous to a fault usually think that’s their only fault."

"A cynic is not merely one who reads bitter lessons from the past; he is one who is prematurely disappointed in the future."

"Everyone admits that "the truth hurts" but no one applies this adage to himself — and as soon as it begins to hurt us, we quickly repudiate it and call it a lie. It is this tendency toward self-deception (more than any active sin) that makes human progress slow and almost imperceptible."

"A person who is going to commit an inhuman act invariably excuses himself to himself by saying, "I'm only human, after all.""

"When I hear somebody sigh that "Life is hard," I am always tempted to ask, "Compared to what?""

"Usually, if we hate, it is the shadow of the person that we hate, rather than the substance. We may hate a person because he reminds us of someone we feared and disliked when younger; or because we see in him some gross caricature of what we find repugnant in ourself; or because he symbolizes an attitude that seems to threaten us."

"Nobody can be so amusingly arrogant as a young man who has just discovered an old idea and thinks it is his own."

"Every morning I take out my bankbook, stare at it, shudder — and turn quickly to my typewriter."

"The principal difference between love and hate is that love is an irradiation, and hate is a concentration. Love makes everything lovely; hate concentrates itself on the object of its hatred. All the fearful counterfeits of love — possessiveness, lust, vanity, jealousy — are closer to hate: they concentrate on the object, guard it, suck it dry."

"An idealist believes the short run doesn’t count. A cynic believes the long run doesn’t matter. A realist believes that what is done or left undone in the short run determines the long run."

"The difference between faith and superstition is that the first uses reason to go as far as it can, and then makes the jump; the second shuns reason entirely — which is why superstition is not the ally, but the enemy, of true religion."

"The difference between patriotism and nationalism is that the patriot is proud of his country for what it does, and the nationalist is proud of his country no matter what it does; the first attitude creates a feeling of responsibility, but the second a feeling of blind arrogance that leads to war."

"Young people know less than we do, but they understand more; their perception has not yet been blunted by compromise, fatigue, rationalization, and the mistaking of mere respectability for morality."

"The beauty of “spacing” children many years apart lies in the fact that parents have time to learn the mistakes that were made with the older ones — which permits them to make exactly the opposite mistakes with the younger ones."

"In shape, it is perfectly elliptical. In texture, it is smooth and lustrous. In color, it ranges from pale alabaster to warm terra cotta. And in taste, it outstrips all the lush pomegranates that Swinburne was so fond of sinking his lyrical teeth into."

"Nothing is as easy to make as a promise this winter to do something next summer; this is how commencement speakers are caught."

"The public examination of homosexuality in our contemporary life is still so coated with distasteful moral connotations that even a reviewer is bound to wonder uneasily why he was selected to evaluate a book on the subject, and to assert defensively at the outset that he is happily married, the father of four children and the one-time adornment of his college boxing, track and tennis teams."

"Intellectuals are too sentimental for me."

"The quality in the anarchists that Anderson found most appealing was their explosive individualism, a trait she shared. Deliberately, provokingly, and often charmingly outrageous, Anderson never concerned herself with public opinion. Her unconventionality in this regard endeared her to Emma Goldman, who had begun to enjoy the attention and homage of the young middle-class rebels who formed the core of the new bohemia. Anderson's anarchism in fact stemmed directly from her friendship with Goldman. Anderson remained an anarchist for three years. Her drift away from the movement was actuated by her realization that Goldman and Alexander Berkman were human beings with frailties as well as strengths, not superbeings whom she could worship uncritically … Anderson never entered the mainstream of the movement. Despite her later assertion that during her years as an anarchist she found "people in clean collars uninteresting" and that she "even accepted smells, personal as well as official," since "everyone who came to the studio smelled of machine oil or herring." Anderson actually spent most of her time with the movement's leaders." An elitist, she was simply drawn to people who emanated powerful individual strength or who seemed to her unique. Further, anarchism for her had all the romanticism of a lost cause. Involved with the movement between 1914 and 1917, during its decline, Anderson believed herself a member of an elite community, not a participant in a rebellion of the masses. In one sense, Margaret Anderson can be viewed as the personification of the alienated artist or intellectual attracted to radical causes as a by-product of her aesthetic rebellion. While others who had a greater sense of social purpose turned to socialism, her wildly emotional individualism led her directly to the anarchists. As long as the anarchists as individuals retained their fascination for her, she immersed herself in their cause; when they exhibited human weakness, she became disillusioned. Needing to worship, she was not content merely to participate."

"How can anyone be interested in war? — that glorious pursuit of annihilation with its ceremonious bellowings and trumpetings over the mangling of human bones and muscles and organs and eyes, its inconceivable agonies which could have been prevented by a few well-chosen, reasonable words. How, why, did this unnecessary business begin? Why does anyone want to read about it — this redundant human madness which men accept as inevitable? If you're involved in it, you die; if you read about it, you can't sleep."

"Margaret Anderson, when she explained the raison d'être for her new magazine, expressed a typical viewpoint: "The Little Review is a magazine that believes in life for Art's sake, in the Individual rather than incomplete people, ... a magazine written for Intelligent people who can feel; whose philosophy is Applied Anarchism, whose policy is a Will to Splendor..., and whose function is to express itself.""

"People with heavy physical vibrations rule the world."

"It has been years since I have seen anyone who could even look as if he were in love. No one's face lights up any more except for political conversation."

"Life seems to be an experience in ascending and descending. You think you're beginning to live for a single aim — for self-development, or the discovery of cosmic truths — when all you're really doing is to move from place to place as if devoted primarily to real estate."

"I created a "dream world" that I tried grounding absolutely and solidly in a real place, the Napa Valley, which I know stone by stone. Marianne Moore said real toads in imaginary gardens is what poetry is about. Well, what I did was create imaginary toads in a real garden. I tried working out in that book the world that I think I would like best to live in. Although this one will do."

"Until recently this female anger and this furious awareness of the Man's power over her were not available materials to the female poet, who tended to write of Love as the source of her suffering, and to view that victimization by Love as an almost inevitable fate. Or, like Marianne Moore and Elizabeth Bishop, she kept sexuality at a measured and chiseled distance in her poems."

"Although Le Guin tended to discount the distinction between dream-world and "real" world, she made a sharp distinction between the real world and the world of science fiction. When asked if there is really a difference between what we call reality and science fiction, she retorted decisively: "You bet you there is. You keep that firmly in mind. It's a fiction. You know what Marianne Moore said about imaginary gardens with real toads-sometimes there are real gardens with imaginary toads in them. But it's a mixture. Fiction writers write fiction, particularly in science fiction. People forget this and say they are describing reality or they are predicting reality. But the very most that a fiction writer can do is offer an option.""

"I discovered that the woman poet most admired at the time (by men) was Marianne Moore, who was maidenly, elegant, intellectual, discreet."

"We are what we were at birth, and each trait has remained in conformity with earth's and with heaven's logic: Be the devil's tool, resort to black magic, None can diverge from the ends which Heaven foreordained."

"I was born to be an editor, I always edit everything. I edit my room at least once a week. Hotels are made for me. I can change a hotel room so thoroughly that even its proprietor doesn't recognize it... I edit people's clothes, dressing them infallibly in the right lines... I change everyone's coiffure — except those that please me — and these I gaze at with such satisfaction that I become suspect, I edit people's tones of voice, their laughter, their words. I change their gestures, their photographs. I change the books I read, the music I hear... It's this incessant, unavoidable observation, this need to distinguish and impose, that has made me an editor. I can't make things. I can only revise what has been made."

"Marianne Moore is fundamental, and not only for having published poets of great intensity, such as Hart Crane, in the Dial, her splendid poetry review. It is difficult to define her contribution, so decisive it appears to me, but I am certain that she is our most original poetess, the one who has brought a brilliant precision to poetic language by means of a meticulous conservatism. Her extremely personalized style is at this moment influencing the young poets of the United States. She has succeeded in introducing a great variety of poetic motives, maintaining the ancestral, 'out-of-date' virtues of American culture-such as irony, a subtle sense of humor, understatement-while keeping herself at the same time within the creative vanguard of poetry in the English language."

"Maine should be pleased that its animal is not a waverer, and rather than fight, lets the primed quill fall. Shallow oppressor, intruder, insister, you have found a resister."

"A symbol from the first, of mastery, experiments such as Hippocrates made and substituted for vague speculation stayed the ravages of plague."

"What of it? We call them brave perhaps? Yes; what if the time should come when no one will fight for anything and there's nothing of worth to save."

"Staff and effigy of the animal which by shedding its skin is a sign of renewal — the symbol of medicine."

"Beauty is everlasting and dust is for a time."

"Some speak of things we know, as new; And you, of things unknown as things forgot."

"The problems is mastered — insupportably tiring when it was impending. Deliverance accounts for what sounds like axiom. The Gordian knot need not be cut."

"We Call Them the Brave who likely were reluctant to be brave."

"This is a strange fraternity — these sea lions and land lions, land unicorns and sea unicorns; the lion civilly rampant, tame and concessive like the long-tailed bear of Ecuador — the lion standing up against this screen of woven air which is the forest: the unicorn also, on its hind legs in reciprocity."

"So wary as to disappear for centuries and reappear but never caught, the unicorn has been preserved by an unmatched device wrought like the work of expert blacksmiths ..."

"He's not out seeing a sight but the rock crystal thing to see — the startling El Greco brimming with inner light — that covets nothing that it has let go. This then you may know as the hero."

"What is our innocence, what is our guilt? All are naked, none is safe."

"Love, ah Love, when your slipknot's drawn, One can but say, "Farewell, good sense.""

"You are not male nor female, but a plan deep-set within the heart of man."

"Consume hostility; employ your weapon in this meeting-place of surging enmity! Insurgent feet shall not outrun multiplied flames, O Sun."