"Fanfare", in H. L. Mencken (1920)
Context: American literature has been, and is, singularly deficient in established critics who have anything like a rational conception of their jobs. The majority, initiate in a few of the patent rituals of Aristotle and Quintilian, don the forbidding robes of high priests to Sweetness and Light, and go about their business much as if the idea were to keep all they know to themselves.
Source: 1960s, Management misinformation systems, 1967, p. 149.
..The term “anti-American” is usually used by the American establishment to discredit...its critics. Once someone is branded anti-American, the chances are that he or she will be judged before they are heard, and the argument will be lost in the welter of bruised national pride.<BR>But what does the term “anti-American” mean? Does it mean you are anti-jazz? Or... opposed to freedom of speech?...That you have a quarrel with giant sequoias? Does it mean that you don’t admire the hundreds of thousands of American citizens who marched against nuclear weapons, or the thousands... who forced their government to withdraw from Vietnam? Does it mean that you hate all Americans?<BR> This sly conflation of America’s culture, music, literature, the breathtaking physical beauty of the land, the ordinary pleasures of ordinary people with criticism of the U.S. government’s foreign policy (about which, thanks to America’s “free press”, sadly most Americans know very little) is... extremely effective strategy.<BR>To call someone “anti-American”, indeed to be anti-American, (or for that matter, anti-Indian or anti-Timbuktuan) is not just racist, it’s a failure of the imagination. An inability to see the world in terms other than those the establishment has set out for you... If you don’t love us, you hate us... If you’re not with us, you’re with the terrorists.
Come September, given at the Lensic Performing Arts Center, Santa Fe, NM, USA http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf (29 Sep 2002).
Speeches
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.
“You know who critics are?— the men who have failed in literature and art.”
Source: Books, Coningsby (1844), Lothair (1870), Ch. 35. Compare: "Reviewers are usually people who would have been poets, historians, biographers, if they could; they have tried their talents at one or the other, and have failed; therefore they turn critics", Samuel Taylor Coleridge, Lectures on Shakespeare and Milton, p. 36. Delivered 1811–1812; "Reviewers, with some rare exceptions, are a most stupid and malignant race. As a bankrupt thief turns thief-taker in despair, so an unsuccessful author turns critic", Percy Bysshe Shelley, Fragments of Adonais.
“American critics are like American universities. They both have dull and half-dead faculties.”
Address to New York Cultural League (6 May 1969)
"Rational expectations and the dynamics of hyperinflation." 1973
Conversations with History interview (1999)
Context: Literature must be written from the periphery toward the center, and we can criticize the center. Our credo, our theme, or our imagination is that of the peripheral human being. The man who is in the center does not have anything to write. From the periphery, we can write the story of the human being and this story can express the humanity of the center, so when I say the word periphery, this is a most important creed of mine.
On "The Diamond As Big As The Ritz"
Quoted, Tales of the Jazz Age (1922)
Source: 1970s, Organizational Analysis: A Sociological View, 1970, p. 133
"China and the Federal Union" an address at the Federal Union organization, New York City (April 1942) http://www.english.upenn.edu/Projects/Buck/excerpt-fu.html
