Dana Gioia Quotes (80 quotes) | Quotes of famous people

"The Anonymity of the Regional Poet: Ted Kooser" http://www.danagioia.net/essays/ekooser.htm, from Can Poetry Matter? Essays on Poetry and American Culture (1992) Essays

“I can’t think of better ways to learn than through pleasure and curiosity. I guess the reason these two qualities play so small a role in formal education is that they are so subjective and individual. Curiosity and delight can’t be institutionalized.Childhood and adolescence form our sensibilities. By the time I arrived in college, I had already developed a deep suspicion of all theories of art that did not originate in pleasure.”

Dana Gioia

"Lonely Impulse of Delight: One Reader's Childhood," http://www.danagioia.net/essays/elonely.htm The Southern Review (Winter 2005) Essays

“The schism between Christianity and the arts has had two profound consequences, two vast impoverishments--one for the arts world, the other for the Church. First, for the arts world, the loss of a transcendent religious vision, a refined and rigorous sense of the sacred, the breaking and discarding of the two thousand years of Christian mythos, symbolism, and tradition has left contemporary American art spiritually diminished. The shallow novelty, the low-cost nihilism, and the vague and sentimental spiritual pretensions of so much contemporary art—in every medium—are the legacy of this schism, as well as the cynicism that pervades the arts world”

Dana Gioia

26
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

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“We are not as we were. Death has been our pentecost.”

Dana Gioia

"Pentecost"
Poetry, Interrogations at Noon (2001)

“Poets serious about making careers in institutions understand that the criteria for success are primarily quantitative. They must publish as much as possible as quickly as possible. The slow maturation of genuine creativity looks like laziness to a committee. Wallace Stevens was forty-three when his first book appeared. Robert Frost was thirty-nine. Today these sluggards would be unemployable.”

Dana Gioia

Essays, Can Poetry Matter? (1991)

“My blessed California, you are so wise.
You render death abstract, efficient, clean.
Your afterlife is only real estate,
And in his kingdom Death must stay unseen.”

Dana Gioia

"A California Requiem"
Poetry, Interrogations at Noon (2001)

Dana Gioia Quotes

“Until quite recently poetry was taught badly—at least according to current academic standards. Poetry was used to teach grammar, elocution, and rhetoric. It was employed to convey history, both secular and sacred, often to instill patriotic sentiment and religious morality. Poetry was chanted in chorus at female academies. It was copied to teach cursive handwriting and calligraphy. It was memorized by wayward schoolboys as punishment. It was recited by children at public events and family gatherings. Being able to write verse was considered a social grace in both domestic and public life. Going to school meant becoming well versed.”

Dana Gioia

24
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

“To speak from a particular place and time is not provincialism but part of a writer’s identity.”

Dana Gioia

"Being a California Poet" http://www.danagioia.net/essays/ecalifornia.htm (1999) , from My California: Journeys by Great Writers, ed. Donna Wares (2004) Essays

“It is time to renovate and reoccupy our own tradition”

Dana Gioia

35
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“Catholic writers tend to see humanity struggling in a fallen world. They combine a longing for grace and redemption with a deep sense of human imperfection and sin. Evil exists, but the physical world is not evil. Nature is sacramental, shimmering with signs of sacred things…. Catholicism is also intrinsically communal, a notion that goes far beyond sitting at Mass with the local congregation, extending to a mystical sense of continuity between the living and the dead. Finally, there is a habit of spiritual self-scrutiny and moral examination of conscience”

Dana Gioia

10
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“Tradition is not, as post-modernists maintain, a library or museum the artist plunders. It is the endless conversation between the living and the dead. Young artists enter into this conversation passionately — not merely intellectually, though study and analysis play a part. They live and breathe it. Tradition is not a public building. It is a love affair.”

Dana Gioia

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

“America's first great surrealist artists were named Walt Disney, Max Fleischer, and Tex Avery. Their artistic medium was cartoon animation, though we must remember that cartoons of this era were seen not only by children but by a mixed audience, consisting mainly of adults. These men took — quite literally — the principles of surrealism and turned them into mass entertainment. As Fleischer's scantily clad Betty Boop ran through a phantasmagoric underground landscape to the driving beat of Cab Calloway's "Minnie the Moocher," moviegoers of the Thirties saw surrealist dream-logic unfold more powerfully than in any experimental poem created in Greenwich Village. To this day the greatest moment of North American surrealism is probably Dumbo's drunken nightmare choreographed to the demonic oom-pah-pah of "Pink Elephants on Parade" from Walt Disney's 1941 movie. When the surrealist style was so quickly assimilated into mass-media comedy, what avant-garde poet could consider it sufficiently chic?”

Dana Gioia

"James Tate and American Surrealism," BBC Radio 3, published in Denver Quarterly (Fall 1998)
Essays

“Audiences and critics acknowledge that a play or concerto gains force in great rendition. A good play may overcome bad staging. A great concerto may survive a poor soloist. But it is naturally assumed that a more accomplished performance intensifies the impact of the work. The play's text or concerto's score does not change, but the right actors and musicians help realize its full potential. Among contemporary literary critics, however, one never encounters this notion in regard to books and printing. To recognize the sensual contributions of the physical elements of a book is somehow assumed to demean the spiritual purity of the text. To notice the book itself smacks of philistinism, and to make distinctions based on paper, binding, and typography brings accusations of elitism or decadence.”

Dana Gioia

"Designing Literature: Creative Collaboration" http://www.danagioia.net/essays/ecreative.htm (1992) Essays

“In social terms the identification of poet with teacher is now complete. The first question one poet now asks another upon being introduced is "Where do you teach?" The problem is not that poets teach. The campus is not a bad place for a poet to work. It's just a bad place for all poets to work. Society suffers by losing the imagination and vitality that poets brought to public culture. Poetry suffers when literary standards are forced to conform with institutional ones.”

Dana Gioia

Essays, Can Poetry Matter? (1991)

“If Catholic literature has a central theme, it is the difficult journey of the sinner toward redemption”

Dana Gioia

14
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“Most editors run poems and poetry reviews the way a prosperous Montana rancher might keep a few buffalo around — not to eat the endangered creatures but to display them for tradition's sake.”

Dana Gioia

Essays, Can Poetry Matter? (1991)

“"Sixty years ago Catholics played a prominent, prestigious, and irreplaceable part in American literary culture…They included established fiction writers--Flannery O'Connor, Katherine Anne Porter, Walker Percy, J. F. Powers, Ernest Hemingway, Paul Horgan, Jack Kerouac, Julien Green, Pietro di Donato, Hisaye Yamamoto, Edwin O'Connor, Henry Morton Robinson, and Caroline Gordon. (Sociologist Father Andrew Greeley had yet to try his formidable hand at fiction.)…also science fiction and detective writers such as Anthony Boucher, Donald Westlake, August Delerth, and Walter Miller, Jr."…in American poetry…Allen Tate, Robert Lowell, Robert Fitzgerald, Kenneth Rexroth, John Berryman, Isabella Gardner, Phyllis McGinley, Claude McKay, Dunstan Thompson, John Frederick Nims, Brother Antoninus (William Everson), Thomas Merton, Josephine Jacobsen, and the Berrigan brothers, Ted and Daniel…. There were even Catholic haiku poets, notably Raymond Roseliep and Nick Virgilio" (15-16).”

Dana Gioia

Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“This is a prayer, inchoate and unfinished,
for you, my love, my loss, my lesion,
a rosary of words to count out time's
illusions, all the minutes, hours, days
the calendar compounds as if the past
existed somewhere — like an inheritance
still waiting to be claimed.”

Dana Gioia

"The Litany" http://www.danagioia.net/poems/litany.htm Poetry, Interrogations at Noon (2001)

“I want a poetry that can learn as much from popular culture as from serious culture. A poetry that seeks the pleasure and emotionality of the popular arts without losing the precision, concentration, and depth that characterize high art. I want a literature that addresses a diverse audience distinguished for its intelligence, curiosity, and imagination rather than its professional credentials. I want a poetry that risks speaking to the fullness of our humanity, to our emotions as well as to our intellect, to our senses as well as our imagination and intuition. Finally I hope for a more sensual and physical art — closer to music, film, and painting than to philosophy or literary theory. Contemporary American literary culture has privileged the mind over the body. The soul has become embarrassed by the senses. Responding to poetry has become an exercise mainly in interpretation and analysis. Although poetry contains some of the most complex and sophisticated perceptions ever written down, it remains an essentially physical art tied to our senses of sound and sight. Yet, contemporary literary criticism consistently ignores the sheer sensuality of poetry and devotes its considerable energy to abstracting it into pure intellectualization. Intelligence is an irreplaceable element of poetry, but it needs to be vividly embodied in the physicality of language. We must — as artists, critics, and teachers — reclaim the essential sensuality of poetry. The art does not belong to apes or angels, but to us. We deserve art that speaks to us as complete human beings. Why settle for anything less?”

Dana Gioia

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

“How many voices have escaped you until now,
the venting furnace, the floorboards underfoot,
the steady accusations of the clock
numbering the minutes no one will mark.
The terrible clarity this moment brings,
the useless insight, the unbroken dark.”

Dana Gioia

"Insomnia" http://www.danagioia.net/poems/insomnia.htm Poetry, The Daily Horoscope (1986)

“Teachers and writers share a responsibility to create the next generation of readers. We need to create and cultivate in our classrooms a dialectic of intellect and intuition, of mental attention and sensory engagement. In poetry, intellectual-ity without physicality becomes dull and barren, just as intuition untethered by intellect quickly becomes sloppy and subjective. We need to augment methodology with magic”

Dana Gioia

36
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

“Teach us the names of what we have destroyed.”

Dana Gioia

"A California Requiem"
Poetry, Interrogations at Noon (2001)

“When poetry loses its ability to enchant, it shrinks into what is just an elaborate form of argumentation. When verse casts its particular spell, it becomes the most evocative form of language.”

Dana Gioia

Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

“Current Catholic worship often ignores the essential connection between truth and beauty, body and soul, at the center of the Catholic worldview. The Church requires that we be faithful, but must we also be deaf, dumb, and blind? I deserve to suffer for my sins, but must so much of that punishment take place in church?”

Dana Gioia

30
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“Raw artistic talent is abundant. What is truly rare are the cultural circumstances, attitudes, and institutions to develop and perfect it. Few American cities have ever managed to foster a vibrant literary milieu of international significance — perhaps only Boston, New York, Chicago, and San Francisco. American literature has most often been an affair of isolated genius or small coterie.”

Dana Gioia

"Fallen Western Star," http://www.danagioia.net/essays/ewestern.htm Denver Quarterly (Fall 1998) Essays

“If the soul of Roman Catholicism is to be found in partisan politics, then it's probably time to shutter up the chapel”

Dana Gioia

24
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“In America, the term younger poet is applied with chivalric liberality. It can be used to describe anyone not yet collecting a Social Security pension.”

Dana Gioia

"James Tate and American Surrealism," http://www.danagioia.net/essays/etate.htm BBC Radio 3, published in Denver Quarterly (Fall 1998) Essays

“In oral culture, there is no separation between the poet and the poem. The author is a performer who vocalizes the words. Creation and performance are inseparably linked. Without writing, a ‘text’ has no existence outside the auditory performance”

Dana Gioia

10
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

“This is not work
but a kind of workmanship.
First out of paper, then from the body.
To provoke thought into form,
molded according to a measure.
I think of a tailor
who is his own fabric.”

Dana Gioia

"Homage to Valerio Magrelli" (After the Italian of Valerio Magrelli), vi
Poetry, Interrogations at Noon (2001)

“Several dozen journals now exist that print only verse. They don't publish literary reviews, just page after page of freshly minted poems. The heart sinks to see so many poems crammed so tightly together, like downcast immigrants in steerage. One can easily miss a radiant poem amid the many lackluster ones. It takes tremendous effort to read these small magazines with openness and attention. Few people bother, generally not even the magazines' contributors. The indifference to poetry in the mass media has created a monster of the opposite kind — journals that love poetry not wisely but too well.”

Dana Gioia

Essays, Can Poetry Matter? (1991)

“Poetry is the art of using words charged with their utmost meaning. A society whose intellectual leaders lose the skill to shape, appreciate, and understand the power of language will become the slaves of those who retain it — be they politicians, preachers, copywriters, or newscasters.”

Dana Gioia

Essays, Can Poetry Matter? (1991)

“The great and present danger to American literature is the growing homogeneity of our writers, especially the younger generation. Often raised in several places in no specific cultural or religious community, educated with no deep connection to a region, history, or tradition, and now employed mostly in academia, the American writer is becoming as standardized as the American car--functional, streamlined, and increasingly interchangeable”

Dana Gioia

27
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“The music that of common speech
but slanted so that each detail
sounds unexpected as a sharp
inserted in a simple scale.”

Dana Gioia

"The Next Poem" http://www.danagioia.net/poems/thenextpoem.htm Poetry, The Gods of Winter (1991)

“Yet the stones remain less real to those who cannot
name them, or read the mute syllables graven in silica.
To see a red stone is less than seeing it as jasper —
metamorphic quartz, cousin to the flint the Kiowa
carved as arrowheads. To name is to know and remember.”

Dana Gioia

"Words" http://www.danagioia.net/poems/words.htm Poetry, Interrogations at Noon (2001)

“Poetry is not a creed or dogma. It is a special way of speaking and listening.”

Dana Gioia

"Paradigms Lost," interview with Gloria Brame http://www.danagioia.net/about/brame.htm, ELF: Eclectic Literary Forum (Spring 1995) Interviews

“"A New York leftist and an Alabama Pentecostal may not agree on much, but too often they share a dislike of Catholics" (22).”

Dana Gioia

Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“In an age of global standardization, regional voices also remind both writer and reader that no life is lived generically. If the purpose of literature is truly, as the ancients insisted, to instruct and delight, then what better to understand and enjoy than the here and the now?”

Dana Gioia

"Fallen Western Star," Denver Quarterly (Fall 1998)
Essays

“Life is experienced holistically with sensations pouring in through every physical and mental organ of perception. Art exists embodied in physical elements—especially meticulously calibrated aspects of sight and sound—which scholarly explication can illuminate but never fully replace. However conceptually incoherent and subjectively emotional, the amateur response to poetry comes closer to the larger human purposes of the art—which is to awaken, amplify, and refine the sense of being alive—than does critical commentary”

Dana Gioia

19
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

“Society has already told us that poetry is dead. Let's build a funeral pyre out of the desiccated conventions piled around us and watch the ancient, spangle-feathered, unkillable phoenix rise from the ashes.”

Dana Gioia

Essays, Can Poetry Matter? (1991)

“I personally regret the shift in literary study from reading primary texts to reading critical and theoretical texts. The major problem today among students is that they simply have not read enough literature. Consequently they do not have the necessary background to take a critical attitude towards literary theory. One needs to test every abstraction against experience.”

Dana Gioia

Interview with Robert McPhillips http://www.danagioia.net/about/mcphillips.htm (December 1991), published in Verse (Summer 1992) Interviews

“Poetry is an art form that demands heightened attention and retention. It both invites and rewards more intense involvement than we normally give to other kinds of speech. Poetic technique, therefore, is never esoteric but eminently practical. It serves at least two purposes. First, it announces that a poem differs from other kinds of speech, that it requires the audience's special attention. A poem begins by attracting our attention through its sound, shape, typography, syntax, texture, or tone. Second, the technique maintains the audience's involvement. All poetic form is a way of keeping the audience's attention beyond what ordinary language requires. Meter, for example, creates a gentle trance state in the auditor. Since poetry is more intense, condensed, and expressive than ordinary language, it needs these techniques to carry the burden of its message.”

Dana Gioia

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

“We necessarily bring the whole of our hairy and heavy humanity to worship”

Dana Gioia

29
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“The retreat of the nation's largest cultural minority from literary discourse does not make art healthier. Instead, it weakens the dialectic of cultural development. It makes American literature less diverse, less vital, and less representative”

Dana Gioia

28
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“Poems should be memorized, recited, and performed. The sheer joy of the art must be emphasized. The pleasure of performance is what first attracts children to poetry, the sensual excitement of speaking and hearing the words of the poem. Performance was also the teaching technique that kept poetry vital for centuries. Maybe it also holds the key to poetry's future.”

Dana Gioia

Essays, Can Poetry Matter? (1991)

“The reviewers of fifty years ago knew that their primary loyalty must lie not with their fellow poets or publishers but with the reader. Consequently they reported their reactions with scrupulous honesty even when their opinions might lose them literary allies and writing assignments. In discussing new poetry they addressed a wide community of educated readers. Without talking down to their audience, they cultivated a public idiom. Prizing clarity and accessibility they avoided specialist jargon and pedantic displays of scholarship. They also tried, as serious intellectuals should but specialists often do not, to relate what was happening in poetry to social, political, and artistic trends. They charged modern poetry with cultural importance and made it the focal point of their intellectual discourse.”

Dana Gioia

Essays, Can Poetry Matter? (1991)

“The engines that have driven poetry's institutional success — the explosion of academic writing programs, the proliferation of subsidized magazines and presses, the emergence of a creative-writing career track, and the migration of American literary culture to the university — have unwittingly contributed to its disappearance from public view.”

Dana Gioia

Essays, Can Poetry Matter? (1991)

“The Catholic writer understands the necessary relationship between truth and beauty, which is not mere social convention or cultural accident but an essential form of human knowledge--intuitive, holistic, and experiential. Art is a form of knowing--distinct and legitimate--rooted in feeling and delight--that discovers, in the words of Jacques Maritain, "The splendor of the secrets of being radiating into intelligence.”

Dana Gioia

34
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“The time has probably come to admit that the notion of an avant-garde is no longer useful in discussing contemporary literature. How can there be an avant-garde without a mainstream? Avant-garde de quoi? one must ask. Establishment institutions — universities, museums, foundations, commercial galleries, even the state — have embraced the idea of experimental art for so long that the avant-garde is now a safely domesticated concept, just another traditional style.”

Dana Gioia

"Notes Toward a New Bohemia," http://www.danagioia.net/essays/ebohemia.htm transcript of a 1993 talk at the Poet's House, New York City, published in Poetry Flash (November/December 1993) and revised for publication in Grantmakers in the Arts (Spring 1994) Essays

“The aim of poetry—in this primal and primary sense as enchantment—is to awaken us to a fuller sense of our own humanity in both its social and individual aspects. Poetry offers a way of understanding and expressing existence that is fundamentally different from conceptual thought”

Dana Gioia

22
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

“There is a special irony that this disappearance [of Catholic artists visibility despite Catholics constituting one-quarter of the US population] has occurred during a period when celebrating cultural diversity has become an explicit goal across the American arts. Some kinds of diversity are evidently more equal than others.”

Dana Gioia

Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“What is the defining difference between passive and active citizens? Curiously, it isn't income, geography, or even education. It depends on whether or not they read for pleasure and participate in the arts. These cultural activities seem to awaken a heightened sense of individual awareness and social responsibility.”

Dana Gioia

Commencement speech, Stanford University (2007-06-17)
Speeches and lectures

“Literature has many uses, not all of which occur in a classroom”

Dana Gioia

20
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)