A Quote by James Fenton
What happened to poetry in the twentieth century was that it began to be written for the page.
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Lyric poetry is, of course, musical in origin. I do know that what happened to poetry in the twentieth century was that it began to be written for the page. When it's a question of typography, why not? Poets have done beautiful things with typography - Apollinaire's 'Calligrammes,' that sort of thing.
The humanities and science are not in inherent conflict but have become separated in the twentieth century. Now their essential unity must be re-emphasized, so that twentieth-century multiplicity may become twentieth-century unity.
I'll say that this is probably the best time for poetry since the T'ang dynasty. All the rest of the world is going to school on American poetry in the twentieth century, from Ezra Pound to W. S. Merwin, and for very good reason. We have soaked up influence in the last century like a sponge. It's cross-pollination, first law of biology, that the more variety you have the more health you have.
The thriller is the cardinal twentieth-century form. All it, like the twentieth century, wants to know is: Who's Guilty?
The nineteenth century planted the words which the twentieth century ripened into the atrocities of Stalin and Hitler. There is hardly an atrocity committed in the twentieth century that was not foreshadowed or even advocated by some noble man of words in the nineteenth.
I don't know how it could be more stark or clear: this entire society is being dominated by corporate power in a way that may exceed what happened in the late nineteenth century, early twentieth century.
Twentieth-century American poetry has been one of the glories of modern literature.
As the twentieth century began, science equaled a materialistic worldview. As the twenty-first century began, the worldview of science, at least of physics and astronomy, may have traded place with that of religion. Consider Einstein's famous equation E = mc2. Nothing of matter dies but continues on in another form, elsewhere. The church divines and theologians for two thousand years have devised arguments and "proofs" of immortality but nothing equal to this.
Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film. You have to ask yourself if there's anything about us more important than the fact that we're constantly on film, constantly watching ourselves.
I find it strange that - at least in my take on it - the people who are the most alarmed about the dire times we live in are the ones who seem to be humorless, in their taste for poetry anyway. Humor is just an ingredient. It's always been in poetry. It kind of dropped out of poetry I think during the 19th and up to the mid-twentieth century. But it's found its way back. And it's simply an ingredient.
Modernism really started with people getting infatuated with the idea of "it's the twentieth century, is this suitable for the twentieth century." This happened before the First World War and it wasn't just the soldiers. You can see it happening if you read the Bloomsbury biographies. It was a reaction to a great extent against Victorianism. There was so much that was repressive and stuffy. Victorian buildings were associated with it, and they were regarded as very ugly. Even when they weren't ugly, people made them ugly. They were painted hideously.
The twentieth century had produced a literature in Ireland that kept a tense distance from the sources of faith - and for good reason. Irish writing had suffered a terrible censorship in the twentieth century.
Especially once those poetry events began, because, yeah, the stuff was still on the page, but the page was starting to spill into real space, spill into air, once you could hear it, once there was a typewriter, once there was a body of a typist, it was getting rid of the confines of the page.
It has become part of the accepted wisdom to say that the twentieth century was the century of physics and the twenty-first century will be the century of biology.
The twentieth century may well find historical status as the epoch in which man began to study himself as a scientific phenomenon.
At some unnoticed moment, I began to understand that a life is written in indelible ink. What I've chosen, what's happened unchosen, can't be unmade or redone. Poetry, though, is a door that only continues to open. Even the unchangeable past changes inside a poem. Not the facts, but the feeling, the comprehension.
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