Quotes from book
Pictures from an Institution

Pictures from an Institution
Randall Jarrell

Pictures from an Institution is a 1954 novel by American poet Randall Jarrell. It is an academic satire, focusing on the oddities of academic life, in particular the interpersonal relationships among the characters and their private lives. The nameless narrator, a Jarrell-like figure who teaches at a women's college called Benton, makes humorous observations about his students and, especially, his fellow academics, in particular the offensively tactless novelist Gertrude, modeled on Mary McCarthy.

“[IRENE ROSENBAUM:] …“you Americans do not rear children, you incite them; you give them food and shelter and applause”…”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 4, p. 180

“Her point of view about student work was that of a social worker teaching finger-painting to children or the insane.
I was impressed with how common such an attitude was at Benton: the faculty—insofar as they were real Benton faculty, and not just nomadic barbarians—reasoned with the students, “appreciated their point of view”, used Socratic methods on them, made allowances for them, kept looking into the oven to see if they were done; but there was one allowance they never under any circumstances made—that the students might be right about something, and they wrong. Education, to them, was a psychiatric process: the sign under which they conquered had embroidered at the bottom, in small letters, Canst thou not minister to a mind diseased?—and half of them gave it its Babu paraphrase of Can you wait upon a lunatic? One expected them to refer to former students as psychonanalysts do: “Oh, she’s an old analysand of mine.” They felt that the mind was a delicate plant which, carefully nurtured, judiciously left alone, must inevitably adopt for itself even the slightest of their own beliefs.
One Benton student, a girl noted for her beadth of reading and absence of coöperation, described things in a queer, exaggerated, plausible way. According to her, a professor at an ordinary school tells you “what’s so”, you admit that it is on examination, and what you really believe or come to believe has “that obscurity which is the privilege of young things”. But at Benton, where education was as democratic as in “that book about America by that French writer—de, de—you know the one I mean”; she meant de Tocqueville; there at Benton they wanted you really to believe everything they did, especially if they hadn’t told you what it was. You gave them the facts, the opinions of authorities, what you hoped was their own opinion; but they replied, “That’s not the point. What do you yourself really believe?” If it wasn’t what your professors believed, you and they could go on searching for your real belief forever—unless you stumbled at last upon that primal scene which is, by definition, at the root of anything….
When she said primal scene there was so much youth and knowledge in her face, so much of our first joy in created things, that I could not think of Benton for thinking of life. I suppose she was right: it is as hard to satisfy our elders’ demands of Independence as of Dependence. Harder: how much more complicated and indefinite a rationalization the first usually is!—and in both cases, it is their demands that must be satisfied, not our own. The faculty of Benton had for their students great expectations, and the students shook, sometimes gave, beneath the weight of them. If the intellectual demands were not so great as they might have been, the emotional demands made up for it. Many a girl, about to deliver to one of her teachers a final report on a year’s not-quite-completed project, had wanted to cry out like a child, “Whip me, whip me, Mother, just don’t be Reasonable!””

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 3, pp. 81–83

“The Southern past, the Southern present, the Southern future, concentrated into Gertrude's voice, became one of red clay pine-barrens, of chain-gang camps, of housewives dressed in flour sacks who stare all day dully down into dirty sinks.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Ch. 2, p. 66

“…and then President Robbins began to speak.
After two sentences one realized once more that President Robbins was an extraordinary speaker, a speaker of a—one says an almost extinct school, but how does one say the opposite? a not-yet-evolved school? He did something so logical that it is impossibe that no one else should have thought of it, yet no one has. President Robbins crooned his speeches.
His voice not only took you into his confidence, it laid a fire for you and put your slippers by it and then went into the other room to get into something more comfortable. It was a Compromising voice.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 1, p. 25

“Mrs. Robbins asked: “If I am not for myself, who then is for me?”—and she was for herself so passionately that the other people in the world decided that they were not going to let Pamela Robbins beat them at her own game, and stopped playing.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 1, p. 12

“She said to Constance, parodying a line of poetry that attracted her, "In the United States, there one feels free." But she spoiled it by continuing, "Except from the Americans—but every pearl has its oyster."”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Ch. 4, p. 181

“President Robbins was so well adjusted to his environment that sometimes you could not tell which was the environment and which was President Robbins.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Ch. 1, p. 11

“…girls who had read Wittgenstein as high school baby-sitters were rejected because the school’s quota of abnormally intelligent students had already been filled that year.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 3: “Miss Batterson and Benton”, p. 80

“Once, along with The Transfigured Night, he played a class Rachmaninoff’s Isle of the Dead. Most of the class had not seen the painting, so he went to the library and returned with a reproduction of it. Then he pointed, with a sober smile, to a painting which hung on the wall of the classroom (A Representation of Several Areas, Some of Them Grey, one might have called it; yet this would have been unjust to it—it was non-representational) and played for the class, on the piano, a composition which he said was an interpretation of the painting: he played very slowly and very calmly, with his elbows, so that it sounded like blocks falling downstairs, but in slow motion. But half his class took this as seriously as they took everything else, and asked him for weeks afterward about prepared pianos, tone-clusters, and the compositions of John Cage and Henry Cowell; one girl finally brought him a lovely silk-screen reproduction of a painting by Jackson Pollock, and was just opening her mouth to—
He interrupted, bewilderingly, by asking the Lord what land He had brought him into. The girl stared at him open-mouthed, and he at once said apologetically that he was only quoting Mahler, who had also diedt from America; then he gave her such a winning smile that she said to her roommate that night, forgivingly: “He really is a nice old guy. You never would know he’s famous.””

Randall Jarrell book Pictures from an Institution

“Is he really famous?” her roommate asked. “I never heard of him before I got here. ...”
Source: Pictures from an Institution (1954) [novel], Chapter 4, pp. 138–139

“Half the campus was designed by Bottom the Weaver, half by Ludwig Mies van der Rohe; Benton had been endowed with one to begin with, and had smiled and sweated and and spoken for the other. A visitor looked under black beams, through leaded casements (past apple boughs, past box, past chairs like bath-tubs on broomsticks) to a lawn ornamented with one of the statues of David Smith; in the months since the figure had been put in its place a shrike had deserted for it a neighboring thorn tree, and an archer had skinned her leg against its farthest spike. On the table in the President’s waiting-room there were copies of Town and Country, the Journal of the History of Ideas, and a small magazine—a little magazine—that had no name. One walked by a mahogany hat-rack, glanced at the coat of arms on an umbrella-stand, and brushed with one’s sleeve something that gave a ghostly tinkle—four or five black and orange ellipsoids, set on grey wires, trembled in the faint breeze of the air-conditioning unit: a mobile. A cloud passed over the sun, and there came trailing from the gymnasium, in maillots and blue jeans, a melancholy procession, four dancers helping to the infirmary a friend who had dislocated her shoulder in the final variation of The Eye of Anguish.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 1: “The President, Mrs., and Derek Robbins”, p. 3; opening paragraph of novel

““My destiny is accomplished and I die content.” How often she made such quotations as these, said or felt or was them! For just as many Americans want art to be Life, so this American novelist wanted life to be Art, not seeing that many of the values—though not, perhaps, the final ones—of life and art are irreconcilable; so that her life looked coldly into the mirror that it held up to itself, and saw that it was full of quotations, of data and analysis and epigrams, of naked and shameful truths, of facts: it saw that it was a novel by Gertrude Johnson.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 5: “Gertrude and Sidney”, p. 214

“Gertrude Johnson could feel no real respect for, no real interest in, anybody who wasn't a writer. For her there were two species: writers and people; and the writers were really people, and the people weren't.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 1, p. 22

“He loved hitherto-unthought-of, thereafter-unthinkable combinations of instruments. When some extraordinary array of players filed half-proudly, half-sheepishly on to the stage, looking like the Bremen Town Musicians—if those were, as I think they were, a rooster, a cat, a dog, and a donkey—you could guess beforehand that it was to be one of Gottfried’s compositions. His Joyous Celebration of the Memory of the Master Johann Sebastian Bach had a tone-row composed of the notes B, A, C, and H (in the German notation), of these inverted, and of these transposed; and there were four movements, the first played on instruments beginning with the letter b, the second on instruments beginning with the letter a, and so on. After the magnificent group that ushered in the piece (bugle, bass-viol, bassoon, basset-horn, bombardon, bass-drum, baritone, and a violinist with only his bow) it was sad to see an Alp horn and an accordion come in to play the second movement. Gottfriend himself said about the first group: “Vot a bunch!””

Randall Jarrell book Pictures from an Institution

When I asked him how he had thought of it he said placidly: “De devil soldt me his soul.”
Source: Pictures from an Institution (1954) [novel], Chapter 4: “Constance and the Rosenbaums”, p. 136

“Miss Rasmussen made a welded sculpture. Her statues were—as she would say, smiling—untouched by human hands; and they looked it. You could tell one from another, if you wanted to, but it was hard to want to. You felt, yawning: It’s ugly, but is it Art?
Miss Rasmussen also designed furniture, but people persisted in sitting down in her sculpture, and in asking “What is that named?” of her chairs. This showed how advanced her work was, and pleased her; yet when she laughed to show her pleasure, her laugh sounded thin and strained.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 6: “Art Night”, p. 228

“…to Americans English manners are far more frightening than none at all…”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 1, p. 12

“…it is better to entertain an idea than to take it home to live with you for the rest of your life.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Ch. 4, p. 173

“A correct answer is like an affectionate kiss, Goethe said; a correct answer, Gertrude would have said, is like a slap in the face.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 2, p. 68

“Gertrude knew better than this, of course, but we all know better than we know better, or act as if we did.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 3, p. 100

“Age could not wither nor custom stale her infinite monotony: in fact, neither Age nor Custom could do anything (as they said, their voices rising) with the American novelist Gertrude Johnson.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 1, p. 9

“…the really damned not only like Hell, they feel loyal to it…”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 1, p. 28

Similar authors

Randall Jarrell photo
Randall Jarrell 215
poet, critic, novelist, essayist 1914–1965
Marcel Proust photo
Marcel Proust 41
French novelist, critic, and essayist
Christopher Morley photo
Christopher Morley 30
American journalist, novelist, essayist and poet
Cesare Pavese photo
Cesare Pavese 137
Italian poet, novelist, literary critic, and translator
Herta Müller photo
Herta Müller 28
German-Romanian novelist, poet and essayist
Paul Valéry photo
Paul Valéry 89
French poet, essayist, and philosopher
Maurice Maeterlinck photo
Maurice Maeterlinck 21
Belgian playwright, poet, and essayist
Umberto Eco photo
Umberto Eco 120
Italian semiotician, essayist, philosopher, literary critic…
Mario Vargas Llosa photo
Mario Vargas Llosa 30
Peruvian writer, politician, journalist, and essayist
Jorge Luis Borges photo
Jorge Luis Borges 213
Argentine short-story writer, essayist, poet and translator…