Randall Jarrell Quotes (215 quotes) | Quotes of famous people

Works

The Death of the Ball Turret Gunner

Randall Jarrell

Randall Jarrell: 215 quotes 1 like

Famous Randall Jarrell Quotes

“…our quarrels with the world are like our quarrels with God: no matter how right we are, we are wrong.”

Randall Jarrell

“The Taste of the Age”, p. 40
A Sad Heart at the Supermarket: Essays & Fables (1962)

“A good poet is someone who manages, in a lifetime of standing out in thunderstorms, to be struck by lightning five or six times; a dozen or two dozen times and he is great.”

Randall Jarrell

“Reflections on Wallace Stevens”, p. 134; conclusion
Poetry and the Age (1953)
Context: How necessary it is to think of the poet as somebody who has prepared himself to be visited by a dæmon, as a sort of accident-prone worker to whom poems happen — for otherwise we expect him to go on writing good poems, better poems, and this is the one thing you cannot expect even of good poets, much less of anybody else. Good painters in their sixties may produce good pictures as regularly as an orchard produces apples; but Planck is a great scientist because he made one discovery as a young man — and I can remember reading in a mathematician’s memoirs a sentence composedly recognizing the fact that, since the writer was now past forty, he was unlikely ever again to do any important creative work in mathematics. A man who is a good poet at forty may turn out to be a good poet at sixty; but he is more likely to have stopped writing poems, to be doing exercises in his own manner, or to have reverted to whatever commonplaces were popular when he was young. A good poet is someone who manages, in a lifetime of standing out in thunderstorms, to be struck by lightning five or six times; a dozen or two dozen times and he is great.

“Consider some of the qualities of typical modernistic poetry: very interesting language, a great emphasis on connotation, "texture"; extreme intensity, forced emotion — violence; a good deal of obscurity; emphasis on sensation, perceptual nuances; emphasis on details, on the part rather than on the whole; experimental or novel qualities of some sort; a tendency toward external formlessness and internal disorganization — these are justified, generally, as the disorganization required to express a disorganized age, or, alternatively, as newly discovered and more complex types of organization; an extremely personal style — refine your singularities; lack of restraint — all tendencies are forced to their limits; there is a good deal of emphasis on the unconscious, dream structure, the thoroughly subjective; the poet's attitudes are usually anti-scientific, anti-common-sense, anti-public — he is, essentially, removed; poetry is primarily lyric, intensive — the few long poems are aggregations of lyric details; poems usually have, not a logical, but the more or less associational style of dramatic monologue; and so on and so on. This complex of qualities is essentially romantic; and the poetry that exhibits it represents the culminating point of romanticism.”

Randall Jarrell book Five Young American Poets

"A Note on Poetry," preface to The Rage for the Lost Penny: Five Young American Poets (New Directions, 1940) [p. 49]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“[IRENE ROSENBAUM:] …“you Americans do not rear children, you incite them; you give them food and shelter and applause”…”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 4, p. 180

“This poet is now, most of the time, an elder statesman like Baruch or Smuts, full of complacent wisdom and cast-iron whimsy. But of course there was always a good deal of this in the official rôle that Frost created for himself; one imagines Yeats saying about Frost, as Sarah Bernhardt said about Nijinsky: “I fear, I greatly fear, that I have just seen the greatest actor in the world.”
Sometimes it is this public figure, this official rôle — the Only Genuine Robert Frost in Captivity — that writes the poems, and not the poet himself; and then one gets a self-made man’s political editorials, full of cracker-box philosophizing, almanac joke-cracking — of a snake-oil salesman’s mysticism; one gets the public figure’s relishing consciousness of himself, an astonishing constriction of imagination and sympathy; one gets sentimentality and whimsicality; an arch complacency, a complacent archness; and one gets Homely Wisdom till the cows come home.”

Randall Jarrell

“The Other Frost”, pp. 30–31
Poetry and the Age (1953)

“I don’t need to praise anything so justly famous as Frost’s observation of and empathy with everything in Nature from a hornet to a hillside; and he has observed his own nature, one person’s random or consequential chains of thoughts and feelings and perceptions, quite as well. (And this person, in the poems, is not the “alienated artist” cut off from everybody who isn’t, yum-yum, another alienated artist; he is someone like normal people only more so — a normal person in the less common and more important sense of normal.)”

Randall Jarrell

“The Other Frost”, p. 29
Poetry and the Age (1953)

Randall Jarrell Quotes about the world

“Everybody must have wished at some time that poetry were written by nice ordinary people instead of poets—and, in a better world, it may be; but in this world writers like Constance Carrier are the well oysters that don’t have the pearls.”

Randall Jarrell

“Recent Poetry”, p. 225
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“The Author to the Reader
I’ve read that Luther said (it’s come to me
So often that I’ve made it into meter):
And even if the world should end tomorrow
I still would plant my little apple-tree.
Here, reader, is my little apple-tree.”

Randall Jarrell

epigraph, p. vi
A Sad Heart at the Supermarket: Essays & Fables (1962)

“A few weeks ago I read, in Sacheverell Sitwell, two impressives sentences: “It is my belief that I have informed myself of nearly all works of art in the known world…. I have heard most of the music of the world, and seen nearly all the paintings.” It was hard for me to believe these sentences, but I wanted Sitwell to be able to say them, liked him for having said them—I believed.”

Randall Jarrell

“The Collected Poems of Wallace Stevens”, p. 71
The Third Book of Criticism (1969)

“Animals, these beings trapped
As I am trapped but not, themselves, the trap,
Aging, but without knowledge of their age,
Kept safe here, knowing not of death, for death
— Oh, bars of my own body, open, open!The world goes by my cage and never sees me.”

Randall Jarrell

"The Woman at the Washington Zoo," lines 14-19
The Woman at the Washington Zoo (1960)

“…there is in this world no line so bad that someone won’t someday copy it.”

Randall Jarrell

“The Profession of Poetry”, p. 165
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“Goethe said, “The author whom a lexicon can keep up with is worth nothing”; Somerset Maugham says that the finest compliment he ever received was a letter in which one of his readers said: “I read your novel without having to look up a single word in the dictionary.””

Randall Jarrell

These writers, plainly, lived in different worlds.
"The Obscurity of the Poet", p. 13
No Other Book: Selected Essays (1999)

Randall Jarrell Quotes about people

“If there were only some mechanism (like Seurat's proposed system of painting, or the projected Universal Algebra that Gödel believes Leibnitz to have perfected and mislaid) for reasonably and systematically converting into poetry what we see and feel and are! When one reads the verse of people who cannot write poems — people who sometimes have more intelligence, sensibility, and moral discrimination than most of the poets — it is hard not to regard the Muse as a sort of fairy godmother who says to the poet, after her colleagues have showered on him the most disconcerting and ambiguous gifts, "Well, never mind. You're still the only one that can write poetry."”

Randall Jarrell

"Verse Chronicle," The Nation (23 February 1946); reprinted as "Bad Poets" in Poetry and the Age (1953)
General sources

“The people who live in a Golden Age usually go around complaining how yellow everything looks.”

Randall Jarrell

"The Taste of the Age," The Saturday Evening Post (1958-07-26) [p. 290]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“Early in his life Mr. [Ezra] Pound met with strong, continued, and unintelligent opposition. If people keep opposing you when you are right, you think them fools; and after a time, right or wrong, you think them fools simply because they oppose you. Similarly, you write true things or good things, and end by thinking things true or good simply because you write them”

Randall Jarrell

“Poets: Old, New, and Aging”, p. 44
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“The poet needs to be deluded about his poems—for who can be sure that it is delusion? In his strongest hours the public hardly exists for the writer; he does what he ought to do, has to do, and if afterwards some Public wishes to come and crown him with laurel crowns, well, let it! if critics wish to tell people all that he isn’t, well, let them—he knows what he is. But at night when he can’t get to sleep it seems to him that it is what he is, his own particular personal quality, that he is being disliked for. It is this that the future will like him for, if it likes him for anything; but will it like him for anything? The poet’s hope is in posterity, but it is a pale hope; and now that posterity itself has become a pale hope…”

Randall Jarrell

“Poets, Critics, and Readers”, p. 109
No Other Book: Selected Essays (1999)

“A successful poem says what a poet wants to say, and more, with particular finality. The remarks he makes about his poems are incidental when the poem is good, or embarrassing or absurd when it is bad — and he is not permitted to say how the good poem is good, and may never know how the bad poem is bad. It is better to write about other people's poetry.”

Randall Jarrell

"Answers to Questions," from Mid-Century American Poets, edited by John Ciardi, 1950 [p. 171]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“One thinks with awe and longing of this real and extraordinary popularity of hers [Edna St. Vincent Millay’s]: if there were some poet—Frost, Stevens, Eliot—whom people still read in canoes!”

Randall Jarrell

“Fifty Years of American Poetry”, p. 329
The Third Book of Criticism (1969)

Randall Jarrell: Trending quotes

“You had our wit, our heart was sealed to you:
Man is the judgment of the world.”

Randall Jarrell

"Variations," lines 40-44
Blood for a Stranger (1942)
Context: And the world said, Child, you will not be missed.
You are cheaper than a wrench, your back is a road;
Your death is a table in a book.
You had our wit, our heart was sealed to you:
Man is the judgment of the world.

World , Heart

“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.”

Randall Jarrell

"Verse Chronicle," The Nation (23 February 1946); reprinted as "Bad Poets" in Poetry and the Age (1953)
General sources
Context: 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.

Game

“In bombers named for girls, we burned
The cities we had learned about in school —
Till our lives wore out; our bodies lay among
The people we had killed and never seen.”

Randall Jarrell

Losses (1948)
Context: We read our mail and counted up our missions —
In bombers named for girls, we burned
The cities we had learned about in school —
Till our lives wore out; our bodies lay among
The people we had killed and never seen.
When we lasted long enough they gave us medals;
When we died they said, "Our casualties were low."
They said, "Here are the maps"; we burned the cities.

"Losses," lines 21-28

People , School , Girl , Learning

Randall Jarrell Quotes

“When I was asked to talk about the Obscurity of the Modern Poet I was delighted, for I have suffered from this obscurity all my life. But then I realized that I was being asked to talk not about the fact that people don’t read poetry, but about the fact that most of them wouldn’t understand it if they did: about the difficulty, not the neglect, of contemporary poetry.”

Randall Jarrell

“The Obscurity of the Poet”, p. 3
Poetry and the Age (1953)
Context: When I was asked to talk about the Obscurity of the Modern Poet I was delighted, for I have suffered from this obscurity all my life. But then I realized that I was being asked to talk not about the fact that people don’t read poetry, but about the fact that most of them wouldn’t understand it if they did: about the difficulty, not the neglect, of contemporary poetry. And yet it is not just modern poetry, but poetry, that is today obscure. Paradise Lost is what it was; but the ordinary reader no longer makes the mistake of trying to read it — instead he glances at it, weighs it in his hand, shudders, and suddenly, his eyes shining, puts it on his list of the ten dullest books he has ever read, along with Moby-Dick, War and Peace, Faust, and Boswell’s Life of Johnson. But I am doing this ordinary reader an injustice: it was not the Public, nodding over its lunch-pail, but the educated reader, the reader the universities have trained, who a few weeks ago, to the Public’s sympathetic delight, put together this list of the world’s dullest books.
Since most people know about the modern poet only that he is obscure—i. e., that he is difficult, i. e., that he is neglected — they naturally make a causal connection between the two meanings of the word, and decide that he is unread because he is difficult. Some of the time this is true: the poet seems difficult because he is not read, because the reader is not accustomed to reading his or any other poetry.

Life , People , Understanding , Suffering

“The face is its own fate — a man does what he must —
And the body underneath it says: I am.”

Randall Jarrell

"The Knight, Death and the Devil," lines 34-39
The Seven-League Crutches (1951)
Context: Death and the devil, what are these to him?
His being accuses him — and yet his face is firm
In resolution, in absolute persistence;
The folds of smiling do for steadiness;
The face is its own fate — a man does what he must —
And the body underneath it says: I am.

Fate

“The author whom a lexicon can keep up with is worth nothing”

Randall Jarrell

“The Obscurity of the Poet”, p. 17
Poetry and the Age (1953)
Context: Goethe said, “The author whom a lexicon can keep up with is worth nothing”; Somerset Maugham says that the finest compliment he ever received was a letter in which one of his readers said: “I read your novel without having to look up a single word in the dictionary.” These writers, plainly, lived in different worlds.

“The nurse is the night
To wake to, to die in: and the day I live,
The world and its life are her dreams.”

Randall Jarrell

"Variations," lines 31-33
Blood for a Stranger (1942)

Life , World , Dreams

“Men wash their hands in blood, as best they can:
I find no fault in this just man.”

Randall Jarrell

"Eighth Air Force," lines 16-20
Losses (1948)
Context: For this last savior, man,
I have lied as I lie now. But what is lying?
Men wash their hands in blood, as best they can:
I find no fault in this just man.

Men

“These writers, plainly, lived in different worlds.”

Randall Jarrell

World

“I see at last that all the knowledgeI wrung from the darkness — that the darkness flung me —
Is worthless as ignorance: nothing comes from nothing,
The darkness from the darkness.”

Randall Jarrell

"90 North," lines 28-32
Blood for a Stranger (1942)
Context: I see at last that all the knowledgeI wrung from the darkness — that the darkness flung me —
Is worthless as ignorance: nothing comes from nothing,
The darkness from the darkness. Pain comes from the darkness
And we call it wisdom. It is pain.

Knowledge

“Poetry is a bad medium for philosophy.”

Randall Jarrell

“Reflections on Wallace Stevens”, p. 127, originally in Partisan Review, Vol. 18, (May/June 1951)
Poetry and the Age (1953)
Context: Poetry is a bad medium for philosophy. Everything in the philosophical poem has to satisfy irreconcilable requirements: for instance, the last demand that we should make of philosophy (that it be interesting) is the first we make of a poem; the philosophical poet has an elevated and methodical, but forlorn and absurd air as he works away at his flying tank, his sewing-machine that also plays the piano.

“This is the devil. Flesh to flesh, he bleats
The herd back to the pit of being.”

Randall Jarrell

"The Knight, Death and the Devil," lines 17-20
The Seven-League Crutches (1951)
Context: His eye a ring inside a ring inside a ring
That leers up, joyless, vile, in meek obscenity —
This is the devil. Flesh to flesh, he bleats
The herd back to the pit of being.

“The soul has no assignments, neither cooks
Nor referees: it wastes its time.”

Randall Jarrell

"A Girl in a Library," lines 32-29
The Seven-League Crutches (1951)
Context: The soul has no assignments, neither cooks
Nor referees: it wastes its time. It wastes its time.
Here in this enclave there are centuries
For you to waste: the short and narrow stream
Of life meanders into a thousand valleys
Of all that was, or might have been, or is to be.
The books, just leafed through, whisper endlessly.

Soul , Time , Cooking

“Sometimes it is hard to criticize, one wants only to chronicle.”

Randall Jarrell

“A Little Treasury of Modern Poetry is a standard Oscar Williams production… …the book has the merit of containing a considerably larger selection of Oscar Williams’s poems than I have seen in any other anthology. There are nine of his poems — and five of Hardy’s. It takes a lot of courage to like your own poetry almost twice as well as Hardy’s.”

Randall Jarrell

“A Verse Chronicle”, pp. 157–158
Poetry and the Age (1953)

Books , Courage

“In Heaven all reviews will be favorable; here on earth, the publisher realizes, plausibility demands an occasional bad one, some convincing lump in all that leaven, and he accepts it somewhat as a theologian accepts Evil.”

Randall Jarrell

“Contemporary Poetry Criticism”, p. 140
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Evil

“The poet writes his poem for its own sake, for the sake of that order of things in which the poem takes the place that has awaited it.”

Randall Jarrell

“The Obscurity of the Poet”, p. 24
Poetry and the Age (1953)
Context: People always ask: For whom does the poet write? He needs only to answer, For whom do you do good? Are you kind to your daughter because in the end someone will pay you for being?... The poet writes his poem for its own sake, for the sake of that order of things in which the poem takes the place that has awaited it.

“…modern poetry is necessarily obscure; if the reader can’t get it, let him eat Browning…”

Randall Jarrell

“Changes of Attitude and Rhetoric in Auden’s Poetry”, p. 149
The Third Book of Criticism (1969)

“The poets of the last generation were extremely erudite, but their erudition was of the rather specialized type that passed as currency of the realm in a somewhat literary realm. About Darwin, Marx, Freud and Co., about all characteristically “scientific” or “modern” thinkers most of them concluded regretfully: “If they had not existed, it would not have been necessary to ignore them.””

Randall Jarrell

Or deplore them.
“New Year Letter”, p. 56
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“…when General Eisenhower defined an intellectual as “a man who takes more words than is necessary to tell more than he knows”, he was speaking not as a Republican but as an American.”

Randall Jarrell

“The Intellectual in America”, p. 5
A Sad Heart at the Supermarket: Essays & Fables (1962)

“The real war poets are always war poets, peace or any time.”

Randall Jarrell

"Poetry in War and Peace," Partisan Review (Winter 1945) [p. 129]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

War , Peace , Time

“One of the most obvious facts about grown-ups to a child is that they have forgotten what it is like to be a child.”

Randall Jarrell

"An Unread Book," introduction to The Man Who Loved Children by Christina Stead (Holt, Rinehart, 1965 edition)
General sources

“Be, as you have been, my happiness;
Let me sleep beside you, each night, like a spoon.”

Randall Jarrell

"Woman," lines 170-171
The Lost World (1965)

Sleep , Night , Happiness

“We are all—so to speak—intellectuals about something.”

Randall Jarrell

“The Intellectual in America”, p. 11
A Sad Heart at the Supermarket: Essays & Fables (1962)

“An author frequently chooses solemn or overwhelming subjects to write about; he is so impressed at writing about Life and Death that he does not notice that he is saying nothing of the slightest importance about either.”

Randall Jarrell

"Ten Books," The Southern Review (Autumn 1935) [p. 9]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Life , Death

“Her point of view about student work was that of a social worker teaching finger-painting to children or the insane.
I was impressed with how common such an attitude was at Benton: the faculty—insofar as they were real Benton faculty, and not just nomadic barbarians—reasoned with the students, “appreciated their point of view”, used Socratic methods on them, made allowances for them, kept looking into the oven to see if they were done; but there was one allowance they never under any circumstances made—that the students might be right about something, and they wrong. Education, to them, was a psychiatric process: the sign under which they conquered had embroidered at the bottom, in small letters, Canst thou not minister to a mind diseased?—and half of them gave it its Babu paraphrase of Can you wait upon a lunatic? One expected them to refer to former students as psychonanalysts do: “Oh, she’s an old analysand of mine.” They felt that the mind was a delicate plant which, carefully nurtured, judiciously left alone, must inevitably adopt for itself even the slightest of their own beliefs.
One Benton student, a girl noted for her beadth of reading and absence of coöperation, described things in a queer, exaggerated, plausible way. According to her, a professor at an ordinary school tells you “what’s so”, you admit that it is on examination, and what you really believe or come to believe has “that obscurity which is the privilege of young things”. But at Benton, where education was as democratic as in “that book about America by that French writer—de, de—you know the one I mean”; she meant de Tocqueville; there at Benton they wanted you really to believe everything they did, especially if they hadn’t told you what it was. You gave them the facts, the opinions of authorities, what you hoped was their own opinion; but they replied, “That’s not the point. What do you yourself really believe?” If it wasn’t what your professors believed, you and they could go on searching for your real belief forever—unless you stumbled at last upon that primal scene which is, by definition, at the root of anything….
When she said primal scene there was so much youth and knowledge in her face, so much of our first joy in created things, that I could not think of Benton for thinking of life. I suppose she was right: it is as hard to satisfy our elders’ demands of Independence as of Dependence. Harder: how much more complicated and indefinite a rationalization the first usually is!—and in both cases, it is their demands that must be satisfied, not our own. The faculty of Benton had for their students great expectations, and the students shook, sometimes gave, beneath the weight of them. If the intellectual demands were not so great as they might have been, the emotional demands made up for it. Many a girl, about to deliver to one of her teachers a final report on a year’s not-quite-completed project, had wanted to cry out like a child, “Whip me, whip me, Mother, just don’t be Reasonable!””

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 3, pp. 81–83

Life , Children , Books , Youth

“The ways we miss our lives are life.”

Randall Jarrell

"A Girl in a Library," line 92
The Seven-League Crutches (1951)

Life , Way

“…whether they write poems or don’t write poems, poets are best.”

Randall Jarrell

“Recent Poetry”, p. 227
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“… man is the animal that moralizes. Man is also the animal that complains about being one, and says that there is an animal, a beast inside him—that he is brother to dragons. (He is certainly a brother to wolves, and to pandas too, but he is father to dragons, not brother: they, like many gods and devils, are inventions of his.)”

Randall Jarrell

“On the Underside of the Stone”, p. 177
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

God , Animals

“A person is a process, one that leads to death…”

Randall Jarrell

“An Unread Book”, p. 40
The Third Book of Criticism (1969)

Death , Personality

“…in this world, often, there is nothing to praise but no one to blame…”

Randall Jarrell

“On Preparing to Read Kipling”, p. 135
A Sad Heart at the Supermarket: Essays & Fables (1962)

World

“Let’s say this together: “Great me no greats”, and leave this grading to posterity.”

Randall Jarrell

“A Poet’s Own Way”, p. 202
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“What Miss Moore’s best poetry does, I can say best in her words: it “comes into and steadies the soul,” so that the reader feels himself “a life prisoner, but reconciled.””

Randall Jarrell

“Her Shield”, p. 187
Poetry and the Age (1953)

Life , Feeling , Soul

“The Southern past, the Southern present, the Southern future, concentrated into Gertrude's voice, became one of red clay pine-barrens, of chain-gang camps, of housewives dressed in flour sacks who stare all day dully down into dirty sinks.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Ch. 2, p. 66

Past , Future

“Nowadays when a poet with one privately printed book can have his next three years taken care of by a Guggenheim fellowship, a Kenyon Review fellowship, and the Prix de Rome, it is hard to remember what chances the poet took in that small-town world, how precariously hand-to-mouth his existence was. And yet in one way the old days were better; [Vachel] Lindsay after a while, by luck and skill, got far more readers than any poet could get today.”

Randall Jarrell

“Fifty Years of American Poetry”, p. 299
The Third Book of Criticism (1969)

Books , World , Way , Chance

“Imagism was a reductio ad absurdum of one or two tendencies of romanticism, such a beautifully and finally absurd one that it is hard to believe it existed as anything but a logical construction; and what imagist found it possible to go on writing imagist poetry? A number of poets have stopped writing entirely; others, like recurring decimals, repeat the novelties they commeced with, each time less valuably than before. And there are surrealist poetry, and political poetry, and all the othe refuges of the indigent.”

Randall Jarrell

“A Note on Poetry”, p. 50
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Time

“…and then President Robbins began to speak.
After two sentences one realized once more that President Robbins was an extraordinary speaker, a speaker of a—one says an almost extinct school, but how does one say the opposite? a not-yet-evolved school? He did something so logical that it is impossibe that no one else should have thought of it, yet no one has. President Robbins crooned his speeches.
His voice not only took you into his confidence, it laid a fire for you and put your slippers by it and then went into the other room to get into something more comfortable. It was a Compromising voice.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 1, p. 25

School , Confidence

“We live in an age which eschews sentimentality as if it were a good deal more than the devil. (Actually, of course, a writer may be just as sentimental in laying undue emphasis on sexual crimes as on dying mothers: sentimental, like scientific, is an adjective that relates to method, not to matter.)”

Randall Jarrell

"Ten Books," The Southern Review (Autumn 1935) [p. 8]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Age

“[Robert] Frost says in a piece of homely doggerel that he has hoped wisdom could be not only Attic but Laconic, Boeotian even—“at least not systematic”; but how systematically Frostian the worst of his later poems are! His good poems are the best refutation of, the most damning comment on, his bad: his Complete Poems have the air of being able to educate any faithful reader into tearing out a third of the pages, reading a third, and practically wearing out the rest.”

Randall Jarrell

“To the Laodiceans”, p. 21
No Other Book: Selected Essays (1999)
Variant: [Robert] Frost says in a piece of homely doggerel that he has hoped wisdom could be not only Attic but Laconic, Boeotian even—“at least not systematic”; but how systematically Frostian the worst of his later poems are! His good poems are the best refutation of, the most damning comment on, his bad: his Complete Poems have the air of being able to educate any faithful reader into tearing out a third of the pages, reading a third, and practically wearing out the rest.

Wisdom , Education , Faith , Hope

““Modern” poetry is, essentially, an extension of romanticism; it is what romantic poetry wishes or finds it necessary to become. It is the end product of romanticism, all past and no future; it is impossible to go further by any extrapolation of the process by which we have arrived, and certainly it is impossible to remain where we are—who could endure a century of transition?”

Randall Jarrell

transition [sic] was the avant-garde English-language magazine published in Paris 1927–1938; “A Note on Poetry”, p. 48
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Past , Future

“In Stage II guilt is first of all social, liberal, moral guilt—a guilt so general as to seem almost formal. It is we who are responsible, either by commission or—more generally—by omission, for everything from killing off the Tasmanians to burning the books at Alexandria. (You didn’t do it? Then you should have stopped them from doing it. You never heard of it? Ignorant as well as evil, eh? You weren’t born? You’re guilty, I tell you—guilty.)”

Randall Jarrell

“Freud to Paul: The Stages of Auden’s Ideology”, p. 169
The Third Book of Criticism (1969)

Books , Evil

“Who would be such a fool as to make advances to his reader, advances which might end in rejection or, worse still, in acceptance?”

Randall Jarrell

“Her Shield”. p. 181
Poetry and the Age (1953)

Fools

“Critics disagree about almost every quality of a writer’s work; and when some agree about a quality, they disagree about whether it is to be praised or blamed, nurtured or rooted out. After enough criticism the writer is covered with lipstick and bruises, and the two are surprisingly evenly distributed.”

Randall Jarrell

“Poets, Critics, and Readers”, p. 99
No Other Book: Selected Essays (1999)