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Elwyn Brooks White
: All poets who, when reading from their own works, experience a choked feeling, are major. For that matter, all poets who read from their own works are major, whether they choke or not.
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Elwyn Brooks White quote-All poets who, when reading from their own works, experience a choked feeling,...
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21
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Joseph Brodsky :
"
If a poet has any obligation toward society, it is to write well. Being in the minority, he has no other choice. Failing this duty, he sinks into oblivion. Society, on the other hand, has no obligation toward the poet. A majority by definition, society thinks of itself as having other options than reading verses, no matter how well written. Its failure to do so results in its sinking to that level of locution at which society falls easy prey to a demagogue or a tyrant. This is society's own equivalent of oblivion.
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Eric Hoffer :
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A dissenting minority feels free only when it can impose its will on the majority: what it abominates most is the dissent of the majority.
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Walter Lippmann :
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In making the great experiment of governing people by consent rather than by coercion, it is not sufficient that the party in power should have a majority. It is just as necessary that the party in power should never outrage the minority.
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Czesław Miłosz :
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Every poet depends upon generations who wrote in his native tongue; he inherits styles and forms elaborated by those who lived before him. At the same time, though, he feels that those old means of expression are not adequate to his own experience.
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Joseph Brodsky :
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In the works of the better poets you get the sensation that they're not talking to people any more, or to some seraphical creature. What they're doing is simply talking back to the language itself --as beauty, sensuality, wisdom, irony --those aspects of language of which the poet is a clear mirror. Poetry is not an art or a branch of art, it's something more. If what distinguishes us from other species is speech, then poetry, which is the supreme linguistic operation, is our anthropological, indeed genetic, goal. Anyone who regards poetry as an entertainment, as a read, commits an anthropological crime, in the first place, against himself.
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Randall Jarrell :
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Sometimes it is hard to criticize, one wants only to chronicle. The good and mediocre books come in from week to week, and I put them aside and read them and think of what to say; but the "worthless" books come in day after day, like the cries and truck sounds from the street, and there is nothing that anyone could think of that is good enough for them. In the bad type of thin pamphlets, in hand-set lines on imported paper, people's hard lives and hopeless ambitions have expressed themselves more directly and heartbreakingly than they have ever expressed in any work of art: it is as if the writers had sent you their ripped-out arms and legs, with "This is a poem" scrawled on them in lipstick. After a while one is embarrassed not so much for them as for poetry, which is for these poor poets one more of the openings against which everyone in the end beats his brains out; and one finds it unbearable that poetry should be so hard to write — a game of Pin the Tail on the Donkey in which there is for most of the players no tail, no donkey, not even a booby prize.
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Edmund White :
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It seemed strange to me that someone who painted big, scary abstractions should have been so commonsensical in her literary tastes, though later I would discover that twelve-tone composers read Keats just as experimental poets listened to Glenn Miller — few people are avant-garde outside their own domain. I suppose that as Midwesterners, the children of chemical engineers and homemakers, we experienced the arts as so foreign, even so preposterously unreasonable, that once we’d decided to embrace them we did so with lots of conviction and little discrimination. Surely it was no accident that T.S. Eliot and Ezra Pound, the two great poetic synthesists of our day, the very men who had ransacked all of world culture and could refer in the same poem to the Buddha and to Sophocles or to Confucius and to Jefferson — it was no accident that they were both from the heartland. Public-library intellectuals, magpies of knowledge, like most autodidacts we were incapable of evaluating our sources. As a teen-ager, I tried to write verse like Milton’s; later, I wanted to write novels like Nabokov’s. In a novel I wrote in college, I imitated Evelyn Waugh. If someone had said to me, "But do you, the graceless son of a Cincinnati broker of chemical equipment, do you seriously imagine that you can just write a Renaissance Christian epic or something in the style of a Cambridge-educated Russian aristocrat or of the spokesman of the Bright Young Things of London circa 1925?" — if someone had spoken like this to me, I wouldn’t even have understood his point.
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John Steinbeck :
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The new American finds his challenge and his love in the traffic-choked streets, skies nested in smog, choking with the acids of industry, the screech of rubber and houses leashed in against one another while the town lets wither a time and die.
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Virginia Woolf :
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My belief is that if we live another century or so — I am talking of the common life which is the real life and not of the little separate lives which we live as individuals — and have five hundred a year each of us and rooms of our own; if we have the habit of freedom and the courage to write exactly what we think; if we escape a little from the common sitting-room and see human beings not always in their relation to each other but in relation to reality; and the sky, too, and the trees or whatever it may be in themselves; if we look past Milton's bogey, for no human being should shut out the view; if we face the fact, for it is a fact, that there is no arm to cling to, but that we go alone and that our relation is to the world of reality and not only to the world of men and women, then the opportunity will come and the dead poet who was Shakespeare's sister will put on the body which she has so often laid down. Drawing her life from the lives of the unknown who were her forerunners, as her brother did before her, she will be born. As for her coming without that preparation, without that effort on our part, without that determination that when she is born again she shall find it possible to live and write her poetry, that we cannot expect, for that would be impossible. But I maintain that she would come if we worked for her, and that so to work, even in poverty and obscurity, is worth while.
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Henry Ford :
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The object of living is work, experience, and happiness. There is joy in work. All that money can do is buy us someone else's work in exchange for our own. There is no happiness except in the realization that we have accomplished something.
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Elwyn Brooks White Wisdom feed
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Elwyn Brooks White:
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Democracy is the recurrent suspicion that more than half of the people are right more than half of the time.
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Elwyn Brooks White:
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Everything in life is somewhere else, and you get there in a car.
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Elwyn Brooks White:
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One of the most time-consuming things is to have an enemy.
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Elwyn Brooks White:
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The liberal holds that he is true to the republic when he is true to himself. (It may not be as cozy an attitude as it sounds.) He greets with enthusiasm the fact of the journey, as a dog greets a man's invitation to take a walk. And he acts in the dog's way too, swinging wide, racing ahead, doubling back, covering many miles of territory that the man never traverses, all in the spirit of inquiry and the zest for truth. He leaves a crazy trail, but he ranges far beyond the genteel old party he walks with and he is usually in a better position to discover a skunk.
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Elwyn Brooks White:
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The rules of The Elements of Style were as simple to state — "Omit needless words" — as they were difficult to obey.
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Elwyn Brooks White:
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The future, wave or no wave, seems to me no unified dream but a mince pie, long in the baking, never quite done.
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Elwyn Brooks White:
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Americans are willing to go to enormous trouble and expense defending their principles with arms, very little trouble and expense advocating them with words. Temperamentally we are ready to die for certain principles (or, in the case of overripe adults, send youngsters to die), but we show little inclination to advertise the reasons for dying.
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Elwyn Brooks White:
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We received a letter from the Writers' War Board the other day asking for a statement on "The Meaning of Democracy." It is presumably our duty to comply with such a request, and it is certainly our pleasure. Surely the Board knows what democracy is. It is the line that forms on the right. It is the don't in don't shove. It is the hole in the stuffed shirt through which the sawdust slowly trickles, the dent in the high hat. Democracy is the recurrent suspicion that more than half of the people are right more than half of the time. It is the feeling of privacy in the voting booths, the feeling of communion in the libraries, the feeling of vitality everywhere. Democracy is the letter to the editor. Democracy is the score at the beginning of the ninth. It is an idea which hasn't been disproved yet, a song the words of which have not gone bad. It's the mustard on the hot dog and the cream in the rationed coffee. Democracy is a request from a War Board, in the middle of the morning in the middle of a war, wanting to know what democracy is.
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Elwyn Brooks White:
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New York is part of the natural world. I love the city, I love the country, and for the same reasons. The city is part of the country. When I had an apartment on East Forty-Eighth Street, my backyard during the migratory season yielded more birds than I ever saw in Maine.
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Elwyn Brooks White:
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Advertisers are the interpreters of our dreams -- Joseph interpreting for Pharaoh. Like the movies, they infect the routine futility of our days with purposeful adventure. Their weapons are our weaknesses: fear, ambition, illness, pride, selfishness, desire, ignorance. And these weapons must be kept as bright as a sword.
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