Quotes of All Topics . Occasions . Authors
It seems to me that one ought to rejoice in the fact of death-- ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life. One is responsible to life: It is the small beacon in that terrifying darkness from which we come and to which we shall return. One must negotiate this passage as nobly as possible, for the sake of those who are coming after us.
The American ideal of sexuality appears to be rooted in the American ideal of masculinity. This idea has created cowboys and Indians, good guys and bad guys, punks and studs, tough guys and softies, butch and faggot, black and white. It is an ideal so paralytically infantile that it is virtually forbidden - as an unpatriotic act - that the American boy evolve into the complexity of manhood
He leaned up a little and watched her face. Her face would now be, forever, more mysterious and impenetrable than the face of any stranger. Strangers' faces hold no secrets because the imagination does not invest them with any. But the face of a lover is an unknown precisely because it is invested with so much of oneself. It is a mystery, containing, like all mysteries, the possibility of torment.
Even the most incorrigible maverick has to be born somewhere. He may leave the group that produced him-he may be forced to-but nothing will efface his origins, the marks of which he carries with him everywhere. I think it is important to know this and even find it a matter for rejoicing, as the strongest people do, regardless of their station. On this acceptance, literally, the life of a writer depends.
I love America more than any other country in the world, and, exactly for this reason, I insist on the right to criticize her perpetually. I think all theories are suspect, that the finest principles may have to be modified, or may even be pulverized by the demands of life, and that one must find, therefore, one's own moral center and move through the world hoping that this center will guide one aright.
Well,’ I said, ‘Paris is old, is many centuries. You feel, in Paris, all the time gone by. That isn’t what you feel in New York — ’He was smiling. I stopped. ‘What do you feel in New York?’ he asked. ‘Perhaps you feel,’ I told him, ‘all the time to come. There’s such power there, everything is in such movement. You can’t help wondering—I can’t help wondering—what it will all be like— many years from now.
Years ago, when he was around fourteen, he'd been all hipped on the idea of going to India. He read books about people sitting on rocks, naked, in all kinds of weather, but mostly bad, naturally, and walking barefoot through hot coals and arriving at wisdom. I used to say that it sounded to me as though they were getting away from wisdom as fast as they could. I think he sort of looked down on me for that.
But to look back from the stony plain along the road which led one to that place is not at all the same thing as walking on the road; the perspective to say the very least, changes only with the journey; only when the road has, all abruptly and treacherously, and with an absoluteness that permits no argument, turned or dropped or risen is one able to see all that one could not have seen from any other place.
The moral authority in the Western world is gone. And it is gone forever. It is gone, not because of the criminal record--everybody's record is criminal. It is gone because you cannot do one thing and pretend you're doing another! None of us, who are sitting around in some of the true limbo out-of-space, which we call "now," waiting to be saved, civilized, or discovered, have the moral authority to say anything.
I'm not interested in anybody's guilt. Guilt is a luxury that we can no longer afford. I know you didn't do it, and I didn't do it either, but I am responsible for it because I am a man and a citizen of this country and you are responsible for it, too, for the very same reason... Anyone who is trying to be conscious must begin to dismiss the vocabulary which we've used so long to cover it up, to lie about the way things are.
Most of us, no matter what we say, are walking in the dark, whistling in the dark. Nobody knows what is going to happen to him from one moment to the next, or how one will bear it. This is irreducible. And it's true of everybody. Now, it is true that the nature of society is to create, among its citizens, an illusion of safety; but it is also absolutely true that the safety is always necessarily an illusion. Artists are here to disturb the peace.
Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, the only fact we have. It seems to me that one ought to rejoice in the fact of death - ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life.
Perhaps, as we say in America, I wanted to find myself. This is an interesting phrase, not current as far as I know in the language of any other people, which certainly does not mean what it says but betrays a nagging suspicion that something has been misplaced. I think now that if I had any intimation that the self I was going to find would turn out to be only the same self from which I had spent so much time in flight, I would have stayed at home.
I had never before thought of how awful the relationship must be between the musician and his instrument. He has to fill it, this instrument, with the breath of life, his own. He has to make it do what he wants it to do. And a piano is just a piano. It's made out of so much wood and wires and little hammers and big ones, and ivory. While there's only so much you can do with it, the only way to find this out is to try; to try and make it do everything.
In overlooking, denying, evading this complexity--which is nothing more than the disquieting complexity of ourselves--we are diminished and we perish; only within this web of ambiguity, paradox, this hunger, danger, darkness, can we find at once ourselves and the power that will free us from ourselves. It is this power of revelation that is the business of the novelist, this journey toward a more vast reality which must take precedence over other claims.
The civilized have created the wretched, quite coldly and deliberately, and do not intend to change the status quo; are responsible for their slaughter and enslavement; rain down bombs on defenseless children whenever and wherever they decide that their "vital interests" are menaced, and think nothing of torturing a man to death: these people are not to be taken seriously when they speak of the "sanctity" of human life, or the "conscience" of the civilized world.
The occurrence of an event is not the same thing as knowing what it is that one has lived through. Most people had not lived -- nor could it, for that matter, be said that they had died-- through any of their terrible events. They had simply been stunned by the hammer. They passed their lives thereafter in a kind of limbo of denied and unexamined pain. The great question that faced him this morning was whether or not had had ever, really, been present at his life.
Fonny and I just sat there... while the voices of the congregation rose and rose around us, without mercy... Teddy had the tambourine, and gave the cue to the piano player-I never got to know him: a long dark, evil-looking brother, with hands made for strangling; and with these hands he attacked the keyboard like he was beating the brains out of someone he remembered. No doubt the congregation had their memories, too, and they went to pieces. The church began to rock.
There are, forever, swamps to be drained, cities to be created, mines to be exploited, children to be fed ... But the conquest of the physical world is not man’s only duty. He is also enjoined to conquer the great wilderness of himself. The precise role of the artist, then, is to illuminate that darkness, blaze roads through vast forests, so that we will not, in all our doing, lose sight of its purpose, which is, after all, to make the world a more human dwelling place.
People are continually pointing out to me the wretchedness of white people in order to console me for the wretchedness of blacks. But an itemized account of the American failure does not console me and it should not console anyone else. That hundreds of thousands of white people are living, in effect, no better than the "niggers" is not a fact to be regarded with complacency. The social and moral bankruptcy suggested by this fact is of the bitterest, most terrifying kind.
For nothing is fixed, forever and forever, it is not fixed; the earth is always shifting, the light is always changing, the sea does not cease to grind down rock. Generations do not cease to be born, and we are responsible to them because we are the only witnesses they have. The sea rises, the light fails, lovers cling to each other and children cling to us. The moment we cease to hold each other, the moment we break faith with one another, the sea engulfs us and the light goes out.
These boys, now, were living as we'd been living then, they were growing up with a rush and their heads bumped abruptly against the low ceiling of their actual possibilities. They were filled with rage. All they really knew were two darknesses, the darkness of their lives, which were now closing in on them, and the darkness of the movies, which had blinded them to that other darkness, and in which they now, vindictively, dreamed, at once more together than they were at any other time, and more alone.
The poet or the revolutionary is there to articulate the necessity, but until the people themselves apprehend it, nothing can happen ... Perhaps it can't be done without the poet, but it certainly can't be done without the people. The poet and the people get on generally very badly, and yet they need each other. The poet knows it sooner than the people do. The people usually know it after the poet is dead; but that's all right. The point is to get your work done, and your work is to change the world.
I remember standing on a street corner with the black painter Beauford Delaney down in the Village, waiting for the light to change, and he pointed down and said, 'Look.' I looked and all I saw was water. And he said, 'Look again,' which I did, and I saw oil on the water and the city reflected in the puddle. It was a great revelation to me. I can't explain it. He taught me how to see, and how to trust what I saw. Painters have often taught writers how to see. And once you've had that experience, you see differently.
Any real change implies the breakup of the world as one has always known it, the loss of all that gave one an identity, the end of safety. And at such a moment, unable to see and not daring to imagine what the future will now bring forth, one clings to what one knew, or dreamed that one possessed. Yet, it is only when a man is able, without bitterness or self-pity, to surrender a dream he has long cherished or a privilege he has long possessed that he is set free - he has set himself free - for higher dreams, for greater privileges.
It must be remembered that in those great days I was considered to be an "integrationist" - this was never, quite, my own idea of myself - and Malcolm was considered to be a "racist in reverse." This formulation, in terms of power - and power is the arena in which racism is acted out - means absolutely nothing: it may even be described as a cowardly formulation. The powerless, by definition, can never be "racists," for they can never make the world pay for what they feel or fear except by the suicidal endeavor which makes them fanatics or revolutionaries, or both.
It will be hard James but you come from sturdy peasant stock men who picked cotton and dammed rivers and built railroads and in the teeth of the most terrifying odds achieved an unassailable and monumental dignity You come from a long line of great poets some of the greatest poets since Homer. One of them said "The very time I thought I was lost My dungeon shook and my chains fell off." You know and I know that the country is celebrating one hundred years of freedom one hundred years too soon. We cannot be free until they are free. God bless you James and Godspeed.
All I know about music is that not many people ever really hear it. And even then, on the rare occasions when something opens within, and the music enters, what we mainly hear, or hear corroborated, are personal, private, vanishing evocations. But the man who creates the music is hearing something else, is dealing with the roar rising from the void and imposing order on it as it hits the air. What is evoked in him, then, is of another order, more terrible because it has no words, and triumphant, too, for that same reason. And his triumph, when he triumphs, is ours.
What passes for identity in America is a series of myths about one's heroic ancestors. It's astounding to me, for example, that so many people really appear to believe that the country was founded by a band of heroes who wanted to be free. That happens not to be true. What happened was that some people left Europe because they couldn't stay there any longer and had to go somewhere else to make it. That's all. They were hungry, they were poor, they were convicts. Those who were making it in England, for example, did not get on the Mayflower. That's how the country was settled.
Whoever is born in New York is ill-equipped to deal with any other city: all other cities seem, at best, a mistake, and, at worst, a fraud. No other city is so spitefully incoherent. Whereas other cities flaunt there history - their presumed glory - in vividly placed monuments, squares, parks, plaques, and boulevards, such history as New York has been unable entirely to obliterate is to be found, mainly, in the backwaters of Wall Street, in the goat tracks of Old and West Broadway, in and around Washington Square, and, for the relentless searcher, in grimly inaccessible regions of The Bronx.