“When American life is most American it is apt to be most theatrical.”

Sergei Eisenstein (1957) Film form [and]: The film sense; two complete and unabridged works. p. 196

Source: From remarks recorded for the "Back to God" Program http://www.presidency.ucsb.edu/ws/?pid=10414 of the American Legion, which was broadcast over radio and television from 8:00 – 8:30 PM on 20 February 1955

Preface
The Great Rehearsal (1948)
Context: The most momentous chapter in American history is the story of the making and ratifying of the Constitution of the United States. The Constitution has so long been rooted so deeply in American life — or American life rooted so deeply in it — that the drama of its origins is often overlooked. Even historical novelists, who hunt everywhere for memorable events to celebrate, have hardly touched the event without which there would have been a United States very different from the one that now exists; or might have been no United States at all.
The prevailing conceptions of those origins have varied with the times. In the early days of the Republic it was held, by devout friends of the Constitution, that its makers had received it somewhat as Moses received the Tables of the Law on Sinai. During the years of conflict which led to the Civil War the Constitution was regarded, by one party or the other, as the rule of order or the misrule of tyranny. In still later generations the Federal Convention of 1787 has been accused of evolving a scheme for the support of special economic interests, or even a conspiracy for depriving the majority of the people of their liberties. Opinion has swung back and forth, while the Constitution itself has grown into a strong yet flexible organism, generally, if now and then slowly, responsive to the national circumstances and necessities.

Hawthorne, ch. VI: England and Italy.

Source: Tropic of Cancer

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.

Who is Loyal to America? (1947)

"Dawn Powell: The American Writer" (1987)
1980s, At Home (1988)

Interview https://www.youtube.com/watch?v=VIsdCfmkEho with Dennis Hunt in Las Vegas, c. 1982