Dana Gioia: Poet

Dana Gioia is American writer. Explore interesting quotes on poet.

Dana Gioia: 160 quotes0 likes

“As long as poets belonged to a broader class of artists and intellectuals, they centered their lives in urban bohemias, where they maintained a distrustful independence from institutions. Once poets began moving into universities, they abandoned the working-class heterogeneity of Greenwich Village and North Beach for the professional homogeneity of academia.”

Dana Gioia

Essays, Can Poetry Matter? (1991)

“Old empires always appeal to modern poets more than new ones.”

Dana Gioia

"The Rise of James Fenton," http://www.danagioia.net/essays/efenton.htm published in The Dark Horse (Autumn 1999 and Summer 2000) <br class="br">Essays

“"Between 1945 and 1965 Catholic novelists and poets received 11 Pulitzer Prizes and 5 National Book Awards (6 NBAs if one counts O'Connor's posthumously published Complete Stories in 1972)" (18).”

Dana Gioia

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

“Forty years ago, when Dylan Thomas read, he spent half the program reciting other poets' work. Hardly a self-effacing man, he was nevertheless humble before his art. Today most readings are celebrations less of poetry than of the author's ego. No wonder the audience for such events usually consists entirely of poets, would-be poets, and friends of the author.”

Dana Gioia

Essays, Can Poetry Matter? (1991)

“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)

“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

“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)

“What does an instinctively popular poet do in contemporary America, where serious poetry is no longer a popular art? The public whose values and sensibility he celebrates is unaware of his existence. Indeed, even if they were aware of his poetry, they would feel no need to approach it. Cut off from his proper audience, this poet feels little sympathy with the specialized minority readership that now sustains poetry either as a highly sophisticated verbal game or secular religion. His sensibility shows little similarity to theirs except for the common interest in poetry. And so the popular poet usually leads a marginal existence in literary life. His fellow poets look on him as an anomaly or an anachronism. Reviewers find him eminently unnewsworthy. Publishers see little prestige attached to printing his work. Critics, who have been trained to celebrate complexity, consider him an amiable simpleton.”

Dana Gioia

"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) <br class="br">Essays

“"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)

“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) <br class="br">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)

“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)

“Two great poets are stronger than two thousand mediocrities”

Dana Gioia

31
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“Once an author finishes a poem, he becomes merely another reader. I may remember what I intended to put into a text, but what matters is what a reader actually finds there — which is usually something both more and less than the poet planned.”

Dana Gioia

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