Laura Riding Jackson quote: “When modernist poetry, or what not so long ago passed for modernist poetry, can reach the stage where the following pie…”

“The Modernist’s command was Pound’s “Make it New.” The postmodern imperative is “Get it Used.” The more used the better.”

Andrei Codrescu (1946) American writer

“The Shipwreck of Dada and Surrealism,” The Disappearance of the Outside: A Manifesto for Escape (1990).

“The so-called obscurity of modernist literature has, of course, a lot to do with the new stress on exegesis. When the overt meaning of a work can no longer be taken for granted, criticism is forced — or seems forced — to undertake the explication of the text of the work before doing anything else. But experience has shown us by now that the drift and shape of an "obscure" poem or novel can be grasped for the purposes of art without being "worked out." Part of the triumph of modernist poetry is, indeed, to have demonstrated the great extent to which verse can do without explicit meaning and yet not sacrifice anything essential to its effect as art. Here, as before, successful art can be depended upon to explain itself.”

Clement Greenberg (1909–1994) American writer and artist

"T.S. Eliot: A Book Review" (1950/1956), p. 244
1960s, Art and Culture: Critical Essays, (1961)

“It belongs to journalism — and to the millennial complex from which so many journalists and journalist intellectuals suffer in our day — that each new phase of Modernist art should be hailed as the start of a whole new epoch in art, marking a decisive break with all the customs and conventions of the past. Each time, a kind of art is expected so unlike all previous kinds of art, and so free from norms of practice or taste, that everybody, regardless of how informed or uninformed he happens to be, can have his say about it. And each time, this expectation has been disappointed, as the phase of Modernist art in question finally takes its place in the intelligible continuity of taste and tradition.Nothing could be further from the authentic art of our time than the idea of a rupture of continuity. Art is — among other things — continuity, and unthinkable without it. Lacking the past of art, and the need and compulsion to maintain its standards of excellence, Modernist art would lack both substance and justification.”

Clement Greenberg (1909–1994) American writer and artist

1960s, Modernist Painting (1960)

“The pure modernist is merely a snob; he cannot bear to be a month behind the fashion.”

G. K. Chesterton book All Things Considered

"The Case for the Ephemeral"
All Things Considered (1908)
Context: It is incomprehensible to me that any thinker can calmly call himself a modernist; he might as well call himself a Thursdayite. … The real objection to modernism is simply that it is a form of snobbishness. It is an attempt to crush a rational opponent not by reason, but by some mystery of superiority, by hinting that one is specially up to date or particularly "in the know." To flaunt the fact that we have had all the last books from Germany is simply vulgar; like flaunting the fact that we have had all the last bonnets from Paris. To introduce into philosophical discussions a sneer at a creed’s antiquity is like introducing a sneer at a lady’s age. It is caddish because it is irrelevant. The pure modernist is merely a snob; he cannot bear to be a month behind the fashion.

“Modernistic-Abstractionist-Art… consists of 75% explanation and 25% God knows what!”

Maxfield Parrish (1870–1966) American painter and illustrator

Statement to William O. Chessman (27 March 1936); as quoted in Maxfield Parrish by Coy Ludwig (1997)

“It is incomprehensible to me that any thinker can calmly call himself a modernist; he might as well call himself a Thursdayite.”

G. K. Chesterton book All Things Considered

"The Case for the Ephemeral"
All Things Considered (1908)
Context: It is incomprehensible to me that any thinker can calmly call himself a modernist; he might as well call himself a Thursdayite. … The real objection to modernism is simply that it is a form of snobbishness. It is an attempt to crush a rational opponent not by reason, but by some mystery of superiority, by hinting that one is specially up to date or particularly "in the know." To flaunt the fact that we have had all the last books from Germany is simply vulgar; like flaunting the fact that we have had all the last bonnets from Paris. To introduce into philosophical discussions a sneer at a creed’s antiquity is like introducing a sneer at a lady’s age. It is caddish because it is irrelevant. The pure modernist is merely a snob; he cannot bear to be a month behind the fashion.

“The modernist object does not possess inner life; only internal conflicts.”

Nicolás Gómez Dávila (1913–1994) Colombian writer and philosopher

Sucesivos Escolios a un Texto Implícito (1992)

“Many modern poets seem to think that poetry should be sensual. It should not—it should be sensuous.”

Florence Earle Coates (1850–1927) American writer and poet

On poetry

“[T]he project of the modernist visionary: the search for individual and collective empowerment through the dissolution of the prewritten social script.”

Roberto Mangabeira Unger (1947) Brazilian philosopher and politician

Source: False Necessityː Anti-Necessitarian Social Theory in the Service of Radical Democracy (1987), p. 22

“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)

Help us to complete the source, original and additional information

Laura Riding Jackson 42

Related quotes

Related topics