Paris Review interview (1986)
Karl Shapiro: 15 quotes0 likes
Famous Karl Shapiro Quotes
"Interludes" III, in From Darkness To Light : A Confession of Faith in the form of an Anthology (1956) edited by Victor Gollancz
Paris Review interview (1986)
“The public has an unusual relationship to the poet: It doesn't even know that he is there.”
"Poets, Critics, and Readers" (1959)
“It was a mite that held itself most dear,
So small I could have drowned it with a tear.”
"Interludes" III, in From Darkness To Light : A Confession of Faith in the form of an Anthology (1956) edited by Victor Gollancz
Context: Then in my heart a fear
Cried out, "A life — why, beautiful, why dead!" It was a mite that held itself most dear,
So small I could have drowned it with a tear.
“Writing, I crushed an insect with my nail
And thought nothing at all.”
"Interludes" III, in From Darkness To Light : A Confession of Faith in the form of an Anthology (1956) edited by Victor Gollancz
Context: Writing, I crushed an insect with my nail
And thought nothing at all. A bit of wing
Caught my eye then, a gossamer so frail And exquisite, I saw in it a thing
That scorned the grossness of the thing I wrote.
It hung upon my finger like a sting.
Karl Shapiro Quotes
“The poet is in exile whether he is or he is not.”
Paris Review interview (1986)
Context: I always had this feeling — I’ve heard other Jews say — that when you can’t find any other explanation for Jews, you say, “Well, they are poets.” There are a great many similarities. This is a theme running all through my stuff from the very beginning. The poet is in exile whether he is or he is not. Because of what everybody knows about society’s idea of the artist as a peripheral character and a potential bum. Or troublemaker. Well, the Jews began their career of troublemaking by inventing the God whom Wallace Stevens considers the ultimate poetic idea. And so I always thought of myself as being both in and out of society at the same time. Like the way most artists probably feel in order to survive — you have to at least pretend that you are “seriously” in the world. Or actually perform in it while you know that in your own soul you are not in it at all. You are outside observing it.
Paris Review interview (1986)
Context: Whitman to me is the most fascinating of American poets. Whitman started to write the great poetry from scratch after he had written all that junk for newspapers, the sentimental lyrical poems. All of a sudden he wrote Leaves of Grass. When I was teaching at the University of Nebraska, my friend James Miller was chairman of the English Department. He wrote the first book attempting to make a parallel between the structure of Leaves of Grass and the steps of the mystical experience as in St. John of the Cross. I was completely bowled over by this, not having been able to explain how Whitman came to write “Song of Myself,” which is unlike anything not only in American literature, but unique in all the world. The parallels to it are mystical literature. Miller tried to show that there was actual evidence for this kind of experience, which evidently happens at a particular moment in someone’s life. … When I saw the negative reaction to Whitman with the great ruling critics of the time, I couldn’t believe it. Eliot never really gave up hammering away on Whitman, neither did Pound. Although Pound makes little concessions. Whitman, you know, didn’t have any influence in this country until Allen Ginsberg came along.
“I feel that after working a long time, I’ve really learned how to do what I do. I enjoy it.”
Paris Review interview (1986)
Context: I feel that after working a long time, I’ve really learned how to do what I do. I enjoy it. I don’t think there’s anything more satisfying than turning out a good stanza or a good piece of prose. And when you’re satisfied enough, you want to show it to other people. That’s called publication.
"Interludes" III, in From Darkness To Light : A Confession of Faith in the form of an Anthology (1956) edited by Victor Gollancz
Context: Writing, I crushed an insect with my nail
And thought nothing at all. A bit of wing
Caught my eye then, a gossamer so frail And exquisite, I saw in it a thing
That scorned the grossness of the thing I wrote.
It hung upon my finger like a sting.
Paris Review interview (1986)
Context: I always had this feeling — I’ve heard other Jews say — that when you can’t find any other explanation for Jews, you say, “Well, they are poets.” There are a great many similarities. This is a theme running all through my stuff from the very beginning. The poet is in exile whether he is or he is not. Because of what everybody knows about society’s idea of the artist as a peripheral character and a potential bum. Or troublemaker. Well, the Jews began their career of troublemaking by inventing the God whom Wallace Stevens considers the ultimate poetic idea. And so I always thought of myself as being both in and out of society at the same time. Like the way most artists probably feel in order to survive — you have to at least pretend that you are “seriously” in the world. Or actually perform in it while you know that in your own soul you are not in it at all. You are outside observing it.
“Whitman to me is the most fascinating of American poets.”
Paris Review interview (1986)
Context: Whitman to me is the most fascinating of American poets. Whitman started to write the great poetry from scratch after he had written all that junk for newspapers, the sentimental lyrical poems. All of a sudden he wrote Leaves of Grass. When I was teaching at the University of Nebraska, my friend James Miller was chairman of the English Department. He wrote the first book attempting to make a parallel between the structure of Leaves of Grass and the steps of the mystical experience as in St. John of the Cross. I was completely bowled over by this, not having been able to explain how Whitman came to write “Song of Myself,” which is unlike anything not only in American literature, but unique in all the world. The parallels to it are mystical literature. Miller tried to show that there was actual evidence for this kind of experience, which evidently happens at a particular moment in someone’s life. … When I saw the negative reaction to Whitman with the great ruling critics of the time, I couldn’t believe it. Eliot never really gave up hammering away on Whitman, neither did Pound. Although Pound makes little concessions. Whitman, you know, didn’t have any influence in this country until Allen Ginsberg came along.
“Words like “spokesman” and “touchstone” took me completely by surprise.”
Paris Review interview (1986)
Context: Words like “spokesman” and “touchstone” took me completely by surprise. For very real reasons. Not only had I been out of the country when my first two books were published, but I have always been “out of the country” in the sense that I never had what ordinarily is thought of as a literary life, or been part of a literary group. What psychiatrists nowadays call a support system. I never had any of that and still don’t.
Paris Review interview (1986)
