“Poetry is not like reasoning, a power to be exerted according to the determination of the will. A man cannot say, ‘I will compose poetry.’ The greatest poet even cannot say it; for the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness; this power arises from within, like the color of a flower which fades and changes as it is developed, and the conscious portions of our natures are unprophetic either of its approach or its departure. Could this influence be durable in its original purity and force, it is impossible to predict the greatness of the results; but when composition begins, inspiration is already on the decline, and the most glorious poetry that has ever been communicated to the world is probably a feeble shadow of the original conceptions of the poet.” – Percy Bysshe Shelley, “A Defence of Poetry”
Author: Tetman Callis
“We have more moral, political, and historical wisdom than we know how to reduce into practice; we have more scientific and economical knowledge than can be accommodated to the just distribution of the produce which it multiplies. The poetry in these systems of thought is concealed by the accumulation of facts and calculating processes. There is no want of knowledge respecting what is wisest and best in morals, government, and political economy, or at least, what is wiser and better than what men now practise and endure. But we let ‘I dare not’ wait upon ‘I would’, like the poor cat in the adage. We want the creative faculty to imagine that which we know; we want the generous impulse to act that which we imagine; we want the poetry of life; our calculations have outrun conception; we have eaten more than we can digest.” – Percy Bysshe Shelley, “A Defence of Poetry” (emphases in original)
“All high poetry is infinite; it is as the first acorn, which contained all oaks potentially. Veil after veil may be undrawn, and the inmost naked beauty of the meaning never exposed. A great poem is a fountain forever overflowing with the waters of wisdom and delight; and after one person and one age has exhausted all its divine effluence which their peculiar relations enable them to share, another and yet another succeeds, and new relations are ever developed, the source of an unforeseen and an unconceived delight.” – Percy Bysshe Shelley, “A Defence of Poetry”
“Implacable hate, patient cunning, and a sleepless refinement of device to inflict the extremist anguish on an enemy, these things are evil; and, although venial in a slave, are not to be forgiven in a tyrant; although redeemed by much that ennobles his defeat in one subdued, are marked by all that dishonors his conquest in the victor.” – Percy Bysshe Shelley, “A Defence of Poetry”
“In a drama of the highest order there is little food for censure or hatred; it teaches rather self-knowledge and self-respect. Neither the eye nor the mind can see itself, unless reflected upon that which it resembles.” – Percy Bysshe Shelley, “A Defence of Poetry”
“The great secret of morals is love; or a going out of our nature, and an identification of ourselves with the beautiful which exists in thought, action, or person, not our own. A man, to be greatly good, must imagine intensely and comprehensively; he must put himself in the place of another and of many others; the pains and pleasure of his species must become his own. The great instrument of moral good is the imagination; and poetry administers to the effect by acting upon the cause.” – Percy Bysshe Shelley, “A Defence of Poetry”
“Truth is not a propositional statement; it is a performance.” – William Irwin Thompson, Darkness and Scattered Light
“History, by definition, is a civilized, literate record of events; it is a conscious self-image of a society projected by an elite. In a sense, history is the self-image of a culture, the ego of a culture. History is controlled through education and tradition, and is monitored, if not manipulated, by elitist institutions, whether these are temples, academies, or universities. History is the story told by the elite in power and is a way of articulating human time so that it reinforces the institutional power of the elite.” – William Irwin Thompson, Darkness and Scattered Light
“A story or a sketch about happiness must not be about what actually happens.” – Jane Bowles, “East Side: North Africa”
“I believe that maturity is not an outgrowing, but a growing up; that an adult is not a dead child, but a child who survived. I believe that all the best faculties of a mature human being exist in the child, and that if these faculties are encouraged in youth they will act well and wisely in the adult, but if they are repressed and denied in the child they will stunt and cripple the adult personality. And finally, I believe that one of the most deeply human, and humane, of these faculties is the power of imagination: so that it is our pleasant duty, as librarians, or teachers, or parents, or writers, or simply as grownups, to encourage that faculty of imagination in our children, to encourage it to grow freely, to flourish like the green bay tree, by giving it the best, absolutely the best and purest, nourishment that it can absorb. And never, under any circumstances, to squelch it, or sneer at it, or imply that it is childish, or unmanly, or untrue.” – Ursula Le Guin, “Why Are Americans Afraid of Dragons?”
“Trees die, and from their wood human beings build homes and furniture, statues and Stradivariuses. If humans died in a healthy culture, they would not lock out the earth in metal coffins and carve their names on stone monuments, but would instead place the naked body in the earth and plant a tree above the silent heart.” – William Irwin Thompson, Darkness and Scattered Light
“Everyone knows of the talking artists. Throughout all of the known history of the world they have gathered in rooms and talked. They talk of art and are passionately, almost feverishly, in earnest about it.” – Sherwood Anderson, “Loneliness”
“I write because it sustains me in a way that nothing else can. I write because it’s integral to my being present and conscientious in this life. I write because I have something to say and the written word is the medium with which I best express myself. I write because I love it. I write because I’d be a grouchy, depressed wreck of a person if I didn’t. “ – Michelle Ross, Fiction Editor, Atticus Review
“Bad stories often are raw biography. Literary art consists in transforming one kind of reality, that of physical experience, into another kind of reality, that of literary experience. Imagining, the process of transforming, is illuminated dimly, if at all, only by the magic of criticism. Writers are often complex people and fascinating subjects for psychological analysis, but a writer is a person to whom writing happens.” – Karl Kroeber, “Sisters and Science Fiction”
“The culture of fossil fuels literally feeds off the past, of the world of the dinosaurs, but the culture of solar energy feeds off light, and so the shift from the subterranean world of coal mine and oil well to the open horizons of wind and sun is really a shift in archetypes which will have profound repercussions in the collective unconscious.” – William Irwin Thompson, Darkness and Scattered Light
“A deep and affirming consciousness of death indicates a deep and affirming consciousness of life. In the shift from community to consumption, we became what we owned, and so alone with all our purchases, we became frightened and death became a hysterical obsession. Disconnected from nature and the human community, the isolated ego became terrified of its aloneness and sought a denial of death in massive collectivization in monstrous institutions. In gigantic and impersonal hospitals, the isolated ego looked to technology to deliver it from pain and death; and in the usual twist of opposites in life, the ego’s very fear of pain and death put it in the hands of techniques of impersonal medical engineering, for which it paid dearly.” – William Irwin Thompson, Darkness and Scattered Light
“Within these days past, I have marched by 18 or 20 Negroes that lay dead by the way-side, putrifying with the small pox. How such a thing came about, appears to be thus: The Negroes here being much disaffected (arising from their harsh treatment), flock’d in great numbers to [British General Lord] Cornwallis, as soon as he came into these parts. The artful general takes a number of them (several hundreds), innoculates them, & just as they all are growing sick, he sends them out into the country where our troops had to pass & repass. These poor creatures, having no care taken of them, many crawl’d into the bushes about & died, where they lay infecting the air around with intolerable stench & great danger. This is a piece of Cornwallisean cruelty. He is not backward to own that he has inoculated 4 or 500 in order to spread smallpox thro’ the country, & sent them out for that purpose.” – Josiah Atkins, “Diary, June 24th, 1781,” (from The American Revolution: Writings from the War on Independence, ed. John Rhodehamel; emphases in original)
“Some men in these parts, they tell me, own 30,000 acres of land for their patrimony, & many have two or 300 Negroes to work on it as slaves. Alas! That persons who pretend to stand for the rights of mankind for the liberties of society, can delight in oppression, & that even of the worst kind! These poor creatures are enslav’d: not only so, but likewise deprived of that which nature affords even to the beasts. Many are almost without provision, having very little for support of nature; & many are as naked as they came into the world. What pray is this but the strikingly inconsistent character pointed out by the apostle, While they promise them liberty, they themselves are the servants of corruption!” – Josiah Atkins, “Diary, June 6th, 1781,” (from The American Revolution: Writings from the War on Independence, ed. John Rhodehamel; emphases in original)
“We have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain.” – Ursula Le Guin, “The Ones Who Walk away from Omelas”
“The poetry that ends up mattering speaks to things we half-know but are inarticulate about. It gives us language and the music of language for what we didn’t know we knew.” – Stephen Dunn (interviewed by Timothy Green in Rattle 60, Summer 2018)
“Writing is drawing what exists out of the shadows of what we know. That is what writing is about. Not what happens there, not what actions are played out there, but the there itself. There, that is writing’s location and aim.” – Karl Ove Knausgaard, My Struggle (trans. Don Bartlett; emphasis in original)
“How can I get lost? There are no paths.” – Joy Williams, “The Retreat”
“Dogs, children, and soldiers all learn the same way. Through pain, humiliation, and repetition.” – Eric McMillan, “Havoc”
“There’s two roads to take, and they’re both bad.” – Bob Dylan, Nobel Lecture
“The task involved in bringing together the petrified remnants of yesterday and the life of today provides a vivid illustration of what tradition always means: not just the careful preservation of monuments, but the constant interaction between our aims in the present and the past to which we still belong.” – Hans-Georg Gadamer, “The Relevance of the Beautiful”
“The question posed by contemporary art imposes from the outset the task of bringing together what threatens to fall apart into two antagonistic poles: on the one hand, the art that appears historical, and on the other, the art that seems progressive. The appearance of art as something historical can be described as the delusion of a culture that holds that only what is already familiar to us from our cultural tradition is significant. The appearance of art as something progressive, on the other hand, is sustained by the delusion of the critique of ideology. It claims that history should now begin anew, since we are already thoroughly familiar with the tradition in which we stand and can safely leave it behind. But the riddle that the problem of art sets us is precisely that of the contemporaneity of past and present. There is no question here of anticipation or of degeneration. On the contrary, we have to ask ourselves what it is that maintains the continuity of art and in what sense art represents an overcoming of time.” – Hans-Georg Gadamer, “The Relevance of the Beautiful”
“All artistic creation challenges each of us to listen to the language in which the work of art speaks and to make it our own. It remains true in every case that a shared or potentially shared achievement is at issue. This is true irrespective of whether the formation of a work of art is supported in advance by a shared view of the world that can be taken for granted, or whether we must first learn to ‘read’ the script and language of the one who speaks in the creation before us.” – Hans-Georg Gadamer, “The Relevance of the Beautiful”
“The symbolic representation accomplished in art does not have to depend directly on what is already given. On the contrary, it is characteristic of art that what is represented, whether it is rich or poor in connotations or has none whatsoever, calls us to dwell upon it and give our assent in an act of recognition.” – Hans-Georg Gadamer, “The Relevance of the Beautiful”
“The contempt we have been taught to entertain for the blacks, makes us fancy many things that are founded neither in reason nor experience . . . the dictates of humanity and true policy equally interest me in favour of this unfortunate class of men.” – Alexander Hamilton to John Jay, March 14th, 1779 (from The American Revolution: Writings from the War on Independence, ed. John Rhodehamel)
“It is a maxim with some great military judges, that with sensible officers soldiers can hardly be too stupid; and on this principle it is thought that the Russians would make the best troops in the world, if they were under other officers than their own. . . . I frequently hear it objected to the scheme of embodying negroes that they are too stupid to make soldiers. This is so far from appearing to me a valid objection that I think their want of cultivation (for their natural faculties are probably as good as ours) joined to that habit of subordination which they acquire from a life of servitude, will make them sooner become soldiers than our White inhabitants. Let officers be men of sense and sentiment, and the nearer the soldiers approach to machines perhaps the better.” – Alexander Hamilton to John Jay, March 14th, 1779 (from The American Revolution: Writings from the War on Independence, ed. John Rhodehamel)