Laura Riding Jackson: Making

“What second love could she [Olympias] make out of her ruined first love? The second love that most women make out of their first love for husbands grows from a mutual and tacit sadness in both husband and wife that he is only in rare moments the man both would like him to be.”

Laura Riding Jackson

Lives of Wives (London: Cassell, 1939)

Love , Women , Sadness

“Much of the magical effect that poetry gives of rendering everything it touches pellucid comes from the necessity of compression that it imposes. The impossibility of pausing in poetry as long as may be needed to make sense clear causes many a set of words actually deficient in linguistic workmanship to pass for an eloquent brevity.”

Laura Riding Jackson

"The Promise of Words" in London Review of Books, Vol. 17, No. 17, p. 23

Sense

“I would then say that there are two kinds of feeling. The first is to feel in the sense of concentrating your emotions on something immediately available for your understanding: you make your understanding out of the emotions you have about it. The second is to feel in the sense of being affected without trying to understand: something is felt, you do not know what, and it is more important to feel it than to try to understand it, since once you try to understand it you no longer feel it.”

Laura Riding Jackson

"The Idea of God" from Essays from Epilogue (Manchester: Carcanet, 2001)

Feeling , Understanding , Sense

“… poets are sensitive to the challenge 'What is the moral justification of poetry?' because they are conscious of the intrinsic goodness of poetry. Goody-goody humanitarian causes draw them easily into membership by making them wince at the notion of all the injustices prevalent in the world of physical consciousness. Let it be declared as clearly as possible that the goodness of poetry is not moral goodness, the goodness of temporal action, but the goodness of thought, the loving exercise of the will in the pursuit of truth.”

Laura Riding Jackson

Laura Riding and Robert Graves from "Poetry and Politics", reprinted in The Common Asphodel (London: Hamish Hamilton, 1949)

Love , Truth , World , Exercises

“The object of all religious activity is to mingle the human and the non-human, and the lower gods represent that which is cast back to the human from the non-human – human gods merely, practice-gods who embody the errors which man makes in first conceiving the non-human.”

Laura Riding Jackson

"The Bull-Fight" from Essays from Epilogue (Manchester: Carcanet, 2001)

God , Error

“Euripides seems to have felt that the dignified perfection of Sophocles could be challenged only by novelty and irresponsibility. The religious conditions of the Dionysian festival kept him within certain bounds… But within the imposed limits Euripides was as profane as he dared to be, making melodrama of the divine realities which his predecessors accepted religiously, using the stage merely as a convenience for popularizing his own eccentric values.”

Laura Riding Jackson

Laura Riding and Robert Graves from "Poetic Drama", reprinted in The Common Asphodel (London: Hamish Hamilton, 1949)

Reality , Perfection

“Because most people are not sufficiently employed in themselves, they run about loose, hungering for employment, and satisfy themselves in various supererogatory occupations. The easiest of these occupations, which have all to do with making things already made, is the making of people: it is called the art of friendship.”

Laura Riding Jackson

"The Myth" from Anarchism Is Not Enough (London: Jonathan Cape, 1928)

Hunger , Friendship , People , Art

“Pseudo-modernists pursue individual style because they know they cannot make a name without it; but if they had lived in the eighteenth century their sole object would have been to write correctly, to conform to the manner of the period. In practice, their conforming individualism means an imitation, studiously concealed, of the eccentricities of poems which really are individual.”

Laura Riding Jackson

Laura Riding and Robert Graves from A Survey of Modernist Poetry (London: Heinemann, 1927)

“Yet what representative trio do not make a mad trio? Blake, Mrs. Aphra Behn, Zeno - not a typical but a representative threesome… Things do not go in simple pairs. Poetry is not a case of Shakespeare and Marlowe, Shelley and Keats, Wordsworth and Coleridge, Bridges and Masefield, Emily Dickinson and T. S. Eliot. Poetry is some awkward trio - like Caedmon, Oliver Goldsmith, Edna St. Vincent Millay. So with the novel.”

Laura Riding Jackson

Description of Life (Targ Editions, 1980)

Madness

“You know the story of the famous seer Phineus whom the Argonauts consulted when they stopped in Salmydessos in Thrace on their way to Colchis to get the golden fleece. He was blind, but not entirely blind - he could see just enough to see that he could not see. And the little flickering spots of light that forced themselves on him were wind-harpies trying to steal from him his prophetic power. So he would beg everyone to make him blind, to rid him of the harpies. But people laughed at him because, so far as they could tell, he was as blind as any man needed to be. Only Hercules understood, because his spirit extended into the divine shadows. Only Hercules had the courage to make the blind Phineus blind.”

Laura Riding Jackson

Cassandra in A Trojan Ending (London: Constable, 1937)

People , Way , Courage , Light

“What is science? yard-measure and scale to philosophy, expert-accountant, bank clerk. What is poetry? miserable, ill-fed, underpaid, unionized labourer, pleased to oblige, grateful for work, flattering himself that poverty makes him an aristocrat.”

Laura Riding Jackson

"This Philosophy" from Anarchism Is Not Enough (London: Jonathan Cape, 1928)

Science

“Daisy was a consciously happy young woman without any of the usual endowments that make for conscious happiness, money apart. She was not pretty, she was not clever, she had no friends, no talents, nor even an imagination to make her think she was happy when she was really miserable. As she was never miserable, she had no need of an imagination.”

Laura Riding Jackson

"Daisy and Venison" from Progress of Stories (Deya, Majorca: Seizin Press; London, Constable, 1935)

Money , Imagination , Thinking , Happiness

“If I had my choice to make again - and again and again - it would be Paris, and Paris, and still Paris. And not because I thought him 'the right man', but because I felt him to be my life's task - even if I knew beforehand that this task was doomed to failure. It isn't patience and sweetness of character that does it, but love, and obstinacy - not minding how it turns out. When a woman in love thinks a lot about her future happiness, you can be sure she's not very much in love.”

Laura Riding Jackson

Helen in A Trojan Ending (London: Constable, 1937)

Love , Life , Failure , Thinking