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“The weight and concentration of the poems fall upon things (and those great things, animals and people), in their tough, laconic, un-get-pastable plainness: they have kept the stolid and dangerous inertia of the objects of the sagas—the sword that snaps, the man looking at his lopped-off leg and saying, “That was a good stroke.””

Randall Jarrell

“Freud to Paul: The Stages of Auden’s Ideology”, p. 155
The Third Book of Criticism (1969)

People , Animals

“Some of Mr. Gregory’s poems have merely appeared in The New Yorker; others are New Yorker poems: the inclusive topicality, the informed and casual smartness, the flat fashionable irony, meaningless because it proceeds from a frame of reference whose amorphous superiority is the most definite thing about it—they are the trademark not simply of a magazine but of a class.”

Randall Jarrell

“Town Mouse, Country Mouse”, p. 70
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Fashion , Appearance

“Delmore carries such a petty, personally involved, New Yorkish atmosphere around with him it's almost unpleasant for me to see him. He thinks that Schiller and St Paul were just two Partisan Review editors.”

Randall Jarrell

Quoted in Christopher Lehmann-Haupt, "Books of the Times," The New York Times (6 May 1985) http://query.nytimes.com/gst/fullpage.html?res=9D00E0D7173BF935A35756C0A963948260&sec=&spon=&pagewanted=all. The quote is cited from a 1952 letter in Randall Jarrell's Letters: An Autobiographical and Literary Selection, ed. Mary Jarrell, assisted by Stuart Wright (Houghton Mifflin, 1985).
General sources

Thinking , Personality

“[Kenneth Patchen] has a real, but disorganized, self-indulgent, but rather commonplace talent.
This is not Mr. Patchen’s opinion of himself. (Nor is it that of William Carlos Williams, who almost invents a new language, a kind of system of emotional nonsense syllables, in his effort to praise Mr. Patchen properly. For instance, Mr. Patchen is “a hawk on the grave of John Donne.” I should have called him a parrot on the stones of half a cemetery.)”

Randall Jarrell

“Poetry in a Dry Season”, p. 35
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Effort

“A few months ago I read an interview with a critic; a well-known critic; an unusually humane and intelligent critic. The interviewer had just said that the critic “sounded like a happy man”, and the interview was drawing to a close; the critic said, ending it all: “I read, but I don’t get any time to read at whim. All the reading I do is in order to write or teach, and I resent it. We have no TV, and I don’t listen to the radio or records, or go to art galleries or the theater. I’m a completely negative personality.”
As I thought of that busy, artless life—no records, no paintings, no plays, no books except those you lecture on or write articles about—I was so depressed that I went back over the interview looking for some bright spot, and I found it, one beautiful sentence: for a moment I had left the gray, dutiful world of the professional critic, and was back in the sunlight and shadow, the unconsidered joys, the unreasoned sorrows, of ordinary readers and writers, amateurishly reading and writing “at whim”. The critic said that once a year he read Kim, it was plain, at whim: not to teach, not to criticize, just for love—he read it, as Kipling wrote it, just because he liked to, wanted to, couldn’t help himself. To him it wasn’t a means to a lecture or an article, it was an end; he read it not for anything he could get out of it, but for itself. And isn’t this what the work of art demands of us? The work of art, Rilke said, says to us always: You must change your life. It demands of us that we too see things as ends, not as means—that we too know them and love them for their own sake. This change is beyond us, perhaps, during the active, greedy, and powerful hours of our lives, but during the contemplative and sympathetic hours of our reading, our listening, our looking, it is surely within our power, if we choose to make it so, if we choose to let one part of our nature follow its natural desires. So I say to you, for a closing sentence: Read at whim! read at whim!”

Randall Jarrell

“Poets, Critics, and Readers”, pp. 112–113
A Sad Heart at the Supermarket: Essays & Fables (1962)

Love , Life , Books , World

“Stevens’s poetry makes one understand how valuable it can be for a poet to write a great deal. Not too much of that great deal, ever, is good poetry; but out of quantity can come practice, naturalness, accustomed mastery, adaptations and elaborations and reversals of old ways, new ways, even—so that the poet can put into the poems, at the end of a lifetime, what the end of a lifetime brings him. Stevens has learned to write at will, for pleasure; his methods of writing, his ways of imagining, have made this possible for him as it is impossible for many living poets—Eliot, for instance. Anything can be looked at, felt about, meditated upon, so Stevens can write about anything; he does not demand of his poems the greatest concentration, intensity, dramatic immediacy, the shattering and inexplicable rightness the poet calls inspiration.”

Randall Jarrell

“The Collected Poems of Wallace Stevens”, p. 65
The Third Book of Criticism (1969)

Pleasure , Way , Imagination , Understanding

“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)

People , Success

“When you’re young you try to be methodical and philosophical, but reality keeps breaking in.”

Randall Jarrell

“Reflections on Wallace Stevens”, p. 129
Poetry and the Age (1953)

Reality

“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)

People , Age

“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)

World , Reading

“…a [literary] style can be a whole way of existing, so that you exist, for the moment, in perfect sympathy with it: you don’t read it so much as listen to it as it sweeps you along—fast enough, often, to make you feel a blurred pleasure in your own speed. Often a phrase or sentence has the uncaring unconscious authority—how else could you say it?—that only a real style has.”

Randall Jarrell

“An Unread Book”, p. 36
The Third Book of Criticism (1969)

Pleasure , Way , Feeling , Reading

“Individualism, isolation, alienation. The poet is not only different from society, he is as different as possible from other poets; all this differentness is exploited to the limit—is used as subject matter, even. Each poet develops an elaborate, “personalized”, bureaucratized machinery of effect; refine your singularities is everybody’s maxim.”

Randall Jarrell

of modernism; “The End of the Line”, p. 81
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Personality

“Such cultural homosexuality is an alienation more or less forced upon certain groups of Auden’s society by the form of their education and the nature of their social and financial conditions. Where the members of a class and a sex are taught, in a prolonged narcissistic isolation, to hero-worship themselves—class and sex; where—to a different class—unemployment is normal, where one’s pay is inadequate or impossible for more than one; where children are expensive liabilities instead of assets; where women are business competitors; where most social relationships have become as abstract, individualistic, and mobile as the relations of the labor market, homosexuality is a welcome asset to the state, one of the cheapest and least dangerous forms of revolution.”

Randall Jarrell

“Changes of Attitude and Rhetoric in Auden’s Poetry”, pp. 127–128
The Third Book of Criticism (1969)

Women , Children , Education , Sex

“But there is a Pope in the breast of each of us whom is hard to silence. Long ago a lady said to me, when I asked her the composers she liked: “Dvorak.” I said before I could stop myself: “Dvorak!” How many times, and with what shame, I’ve remembered it. And now I like Dvorak…”

Randall Jarrell

“Speaking of Books”, p. 220
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Silence , Time

“If we judge by wealth and power, our times are the best of times; if the times have made us willing to judge by wealth and power, they are the worst of times.”

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)

Time , Wealth

“Art matters not merely because it is the most magnificent ornament and the most nearly unfailing occupation of our lives, but because it is life itself.”

Randall Jarrell

"The Obscurity of the Poet", p. 15
Poetry and the Age (1953)

Life , Art

“Many young poets, nowadays, are insured against everything. For them poetry is a game like court tennis or squash racquets — one they learned at college — and they play it with propriety, as part of their social and academic existence; their poems are occasional verse for which life itself is only one more occasion.”

Randall Jarrell

"Recent Poetry," The Yale Review (Autumn 1955) [p. 231]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Life , Game , Learning , Parting

“If wishes were stories, beggars would read…”

Randall Jarrell

“Stories”, p. 141
A Sad Heart at the Supermarket: Essays & Fables (1962)

Reading

“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)

People , Thinking , Reading

“The usual criticism of a novel about an artist is that, no matter how real he is as a man, he is not real to us as an artist, since we have to take on trust the works of art he produces.”

Randall Jarrell

“An Unread Book”, p. 20
The Third Book of Criticism (1969)

Art