A Quote by Robert Hass
Fiction writers have their own world, and poets have their own world, and literary criticism has sort of passed over into cultural studies in the university, and so on. They seem more disconnected from each other than they did when I first began to write.
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I did not always know I would be a writer. Until I had a room of my own, I did not write much at all - no more than any other child who read a lot of books. I began to write fiction and poetry when I first had a room that was truly my own with a door that shut and some measure, however fragile, of privacy.
Poets seem to write more easily about love than prose writers. For a start, they own that flexible ‘I’…. Then again, poets seem able to turn bad love – selfish, shitty love – into good love poetry. Prose writers lack this power of admirable, dishonest transformation. We can only turn bad love into prose about bad love. So we are envious (and slightly distrustful) when poets talk to us of love.
I think poets should work in the non-literary, non-academic world, get to know more than a workshop or a university.
If you're, like, a PhD student in English, and you look at each instance that Richard Yates is mentioned in the book...it has sort of it's own narrative that one could analyze and write literary criticism about.
We writers - we're the snowflakes of the literary world. We each have our own shape.
The world gets older, without getting either better or worse and so does literature. But I do think that the drab current phenomenon that passes for literary studies in the university will finally provide its own corrective.
I don't know that I had a sense that there was such a thing as "the poetry world" in the 1960s and early 70s. Maybe poets did, but for me as an onlooker and reader of poetry, poetry felt like it was part of a larger literary world. I mean, even the phrase "the poetry world" reflects a sort of balkanization of American literary and artistic life that has to some extent happened since then.
In truth, even if they have an imperfect insight into their own methods, I still slightly mistrust writers of fiction who are assured literary critics; it makes me suspect that they favour the word over the world it should describe. Such scribes fall victim too easily to the solecism of equating style with morality.
You go out into the world, you read everything you can read, you imitate the things you love, and you learn how hard it is to do. Eventually, you learn your own vision of the world, you learn your own voice and how to hear it, and you learn to write your own work. Writers today have as many opportunities as my generation did, but they don't see the examples as clearly as we did.
We're trying to make something that lasts in language and there's no question that many fiction writers began as poets and it's hard for me to think of any good fiction writers who don't also read poetry.
Though Israel may often be deserving of criticism, what is missing is the comparable criticism of equal or greater violations by other countries and other groups. This constant, often legitimate criticism of Israel for every one of its deviations, when coupled with the absence of legitimate criticism of others, creates the impression currently prevalent on university campuses and in the press that Israel is among the worst human rights violators in the world....it is not true, but if it is repeated often enough, it takes on a reality of its own.
I don't have a very high opinion, actually, of the world of criticism - or the practice of criticism. I think I admire art criticism, criticism of painting and sculpture, far more than I do that of say films and books, literary or film criticism. But I don't much like the practice. I think there are an awful lot of bad people in it.
I didn't abandon my studies. Because I was, through no - clarify this. Through no particular genius of my own, I was the first person from Libertyville Public High School to attend Harvard, not because I was smarter than anyone or better than anyone, but no one had ever applied before. It was like University of Illinois, a fine institution, was the sort of the upper echelon of places where kids went from that school. And so I felt sort of a duty to myself and my peers to continue with those studies, and to continue to, intellectually arm myself for my coming struggles.
In the world of poetry there are would-be poets, workshop poets, promising poets, lovesick poets, university poets, and a few real poets.
First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation , a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the (literary) time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on.
. . . you did not seem to me over-fond of money. And this is the way in general with those who have not made it themselves, while those who have are twice as fond of it as anyone else. For just as poets are fond of their own poems, and fathers of their own children, so money-makers become devoted to money, not only because, like other people, they find it useful, but because it's their own creation.
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