“A culture is no better than its woods,” Auden writes. Fortunately for him, a book of poetry can be better than its poems. Two-thirds of The Shield of Achilles is non-Euclidean needlepoint, a man sitting on a chaise longue juggling four cups, four saucers, four sugar lumps, and the round-square: this is what great and good poets do when they don’t even bother to write great and good poems, now that they’ve learned that—it’s Auden’s leitmotif, these days—art is essentially frivolous. But a little of the time Auden is essentially serious, and the rest of the time he’s so witty, intelligent, and individual, so angelically skillful, that one reads with despairing enthusiasm, and enjoys Auden’s most complacently self-indulgent idiosyncrasy almost as one enjoys Sherlock Holmes’s writing Victoria Rex on the wall in bullet holes.”

Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

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Randall Jarrell215

poet, critic, novelist, essayist 1914–1965

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“Poetry in a Dry Season”, p. 37
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“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 (1914–1965) poet, critic, novelist, essayist

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

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

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

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

“There are some good things and some fantastic ones in Auden’s early attitude; if the reader calls it a muddle I shall acquiesce, with the remark that the later position might be considered a more rarefied muddle. But poets rather specialize in muddles—and I have no doubt which of the muddles was better for Auden’s poetry: one was fertile and usable, the other decidedly is not. Auden sometimes seems to be saying with Henry Clay, “I had rather be right than poetry”; but I am not sure, then, that he is either.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“Changes of Attitude and Rhetoric in Auden’s Poetry”, p. 131
The Third Book of Criticism (1969)

“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 (1914–1965) poet, critic, novelist, essayist

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

“No verse is free for the man who wants to do a good job…. Poetry.. remains one person talking to another…. no poet can write a poem of amplitude unless he is the master of the prosaic.”

T.S. Eliot (1888–1965) 20th century English author

The Music of Poetry (24 February 1942) the third W. P. Ker memorial lecture delivered in the University of Glasgow

“Good authors, too, who once knew better words
Now only use four-letter words
Writing prose —
Anything goes.”

Cole Porter (1891–1964) American composer and songwriter

"Anything Goes"
Anything Goes (1934)

“…good American poets are surprisingly individual and independent; they have little of the member-of-the-Academy, official man-of-letters feel that English or continental poets often have. When American poets join literary political parties, doctrinaire groups with immutable principles, whose poems themselves are manifestoes, the poets are ruined by it. We see this in the beatniks, with their official theory that you write a poem by putting down anything that happens to come into your head; this iron spontaneity of theirs makes it impossible for even a talented beatnik to write a good poem except by accident, since it eliminates the selection, exclusion, and concentration that are an essential part of writing a poem. Besides, their poems are as direct as true works of art are indirect: ironically, these conscious social manifestoes of theirs, these bohemian public speeches, make it impossible for the artist’s unconscious to operate as it normally does in the process of producing a work of art.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“Fifty Years of American Poetry”, pp. 327–328
The Third Book of Criticism (1969)

“Four legs good, two legs better! All Animals Are Equal. But Some Animals Are More Equal Than Others.”

George Orwell book Animal Farm

Variant: All animals are equal, but some animals are more equal than others.
Source: Animal Farm

“The beautiful feeling after writing a poem is on the whole better even than after sex, and that's saying a lot.”

Anne Sexton (1928–1974) poet from the United States

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