A Quote by Edward Hirsch
In American tradition a certain kind of, I would say, desperate American friendliness in which the poet tries to reach out through the page to make a connection by the side of the road with some other person.
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Whenever I hear an American say Aussies drive on the 'wrong side of the road,' I just lose it. You ever think about how those people grew up driving on the 'wrong side of the road,' watched a lot of people get hurt on the 'wrong side of the road,' die on the 'wrong side of the road,' while other people cheered from the 'right side of the road'? Australia has a thing called Highway Fights, so it's touchy.
The American Dream has really good PR. It's kind of difficult to live in the United States and not on some level be pulled into the allure of the American Dream. It's in the DNA of the country. So, for a population coming out of slavery, desperate to become part of the full life of the United States, it only makes sense that they would embrace this route to the American Dream.
An interesting difference between African-American humor and Jewish humor, in it's kind of basic or maybe most austere type form is, African-American humor, some of it comes out of playing the dozens in which you insult the other person or insult the other person's mother, and so much of Jewish humor is like, you're insulting yourself. It's totally self-deprecating.
All roads lead to 'American Pie.' 'As American as apple pie' was the saying. It was some kind of a big American song that I wanted to write, which would be a conclusion for my show and bring all the songs home, which it still does. I can go anywhere I want with American music and come home to that. And it all makes sense.
I love a certain kind of acting style that I would call non-American, which tends to be more detail-oriented and less externalized. There's a kind of naturalism that I often find in non-American actors. I also find that quality in the American actors I work with, but I like to bring in those influences creatively.
You can either be in the Ron Paul tradition and say there's nothing wrong with heroin and cocaine, or you can be in the tradition that says, 'These kind of addictive drugs are terrible; they deprive you of full citizenship, and they lead you to a dependency which is antithetical to being an American.'
I've never felt more American than I did when I moved to England. It becomes a real kind of part of your identity: "Oh, Ben. He's the American guy." I think when you say you're from New York you get a different reception then if you just say, "I'm American." So I'd always kind of make sure I was a New Yorker first.
Every time I make an American film I just trust the American director and American writer. Myself, I would never make this kind of film. For me, those kinds of films are ridiculous. They don't make sense.
But someone like Claude Chabrol tries to make a connection between the society in which we live and the social reasons which make monsters out of some people
But someone like Claude Chabrol tries to make a connection between the society in which we live and the social reasons which make monsters out of some people.
When we look at the arts and letters in America, especially if we look at poetry, and poetry set to music, this dialogue, we have this very powerful beautiful, eclectic, diary, or narration of being in America, being American, participating in America, becoming more of America and also as an American, the American creative spirit, which is quite interesting. Our composers and poets have spent more time writing and thinking and speaking out of what it means to be a composer or poet as well as to be an American, or a composer or poet In America; both relationships.
... the connection between imperial politics and culture is astonishingly direct. American attitudes to American "greatness", to hierarchies of race, to the perils of "other" revolutions (the American revolution being considered unique and somehow unrepeatable anywhere else in the world) have remained constant, have dictated, have obscured, the realities of empire, while apologists for overseas American interests have insisted on American innocence, doing good, fighting for freedom.
I think that Hillary Clinton has an appreciation that American power needs to be put in the service of American values, which is an American tradition and a pretty good one, and I think she was willing to do that.
An auctioneer is such a uniquely American thing. I keep thinking in my head, perhaps it's not as American as I think, but it feels so Southern. It feels so American. Like, hundreds of years of American tradition is involved in it.
The American people are extraordinarily comfortable, affluent, and secure. It's easy for us to make the argument that God's purpose is being fulfilled through history and through the rise of American power. And to some degree, it probably is.
I think New York is working its way into my poems. It takes a while for a place to filter its way onto the page, but I've been reading more and more American poetry and I certainly feel it as quite a freeing force. Coming from the formally ordered tradition of poetry in Ireland, I find the expansiveness of American literature freeing in some sense.
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