Margo Jefferson Quotes

A few of Ellison's short stories from the 1940s and 1950s were widely anthologized over the years. After a while, it became generally known that he was at work on another novel. Though he remained aware ever afterward of the authority 'Invisible Man' gave to him, no second novel followed his brilliant debut in 1952.

Few books today are forgivable.

Only in comedy, by the way, does an obedient white girl from the suburbs count as diversity.

One of my great surprises when I was in America was about twenty-five years ago in Harvard, hearing Randall Jarrell deliver a bitter attack on the way poets were neglected. Yet there were about two thousand people present, and he was being paid five hundred dollars for delivering this attack.

I no longer gave a sick dog's drop for the wisdom, the reliability and the authority of the public's literary mind, those creeps and old ladies of vested reviewing.

I think, something that you might be able to locate in the work that I'm creating today: the ability to look at a black America as something that not only can be mined in a very sort of cynical, cold way, but also embraced in a very personal, love-driven way; but also sort of critiqued.

The average English critic is a don manqué, hopelessly parochial when not exaggeratedly teutonophile, over whose desk must surely hang the motto (presumably in Gothic lettering) "Above all no enthusiasm".

Ralph Ellison is a classic work of erudition, grace, and elegance. Rampersad offers us an Ellison whose gifts and warts orbit the same universe of creative genius. Like Ellison's work, Rampersad's text wrestles eloquently with difficult truths about race, politics, and American life.

I cherish the review-as-literature; as lapidary journalism in the eighteenth-century mode, the last hard sparkling diamond in theessayists's tarnished crown. To me, writing a good review is not just a way to make extra money, but a sacred duty.

The novels that get praised in the NY Review of Books aren't worth reading. Ninety-seven percent of science fiction is adolescent rubbish, but good science fiction is the best and only literature of our times.

All critics have the responsibility to tease out the social ideas and social problems in a movie. I don't feel an obligation to do that because I'm black.

I've never thought of myself as a hoity-toity cultural critic.

Susan Bordo’s Unbearable Weight is a masterpiece of complex an nuanced thinking not only about a significant problem that faces women but about our culture. A very valuable book.

There is a true weakness in American thought today: their incapacity to be interested in the intelligence of evil.

James Baldwin is one of the greatest, North American writers of the second half of the Twentieth Century. A prolific writer and a brilliant social critic, he foreshadowed the destructive trends happening now in the whole Western world and beyond, while always maintaining a sense of humanistic hope and dignity. He explored palpable, yet unspoken, intricacies of racial, sexual, and class distinctions in Western societies and the inevitable, if unnameable, tensions with personal identity, assumptions, uncertainties, yearning, and questing.

Like Richard Ellmann on James Joyce, Arnold Rampersad on Ralph Ellison is in a class of its own. His masterful and magisterial book is the most powerful and profound treatment of Ellison's undeniable artistic genius, deep personal flaws, and controversial political evolution. And he reveals an Ellison unbeknownst to all of us. From now on, all serious scholarship on Ellison must begin with Rampersad's instant and inimitable classic in literary biography.

To assault the total culture totally is to be free to use all the fruits of mankind's wisdom and experience without the rotten structure in which these glories are encased and encrusted.

I am intelligent enough to be critical towards the West and take what I need and reject what is bad for me.

As a piece of writing, The Elementary Particles feels like a bad, self-conscious pastiche of Camus, Foucault and Bret Easton Ellis. And as a philosophical tract, it evinces a fiercely nihilistic, anti-humanistic vision built upon gross generalizations and ridiculously phony logic. It is a deeply repugnant read.

If I had any doubts at all about the justice of my dislike for Shakespeare, that doubt vanished completely. What a crude, immoral,vulgar, and senseless work Hamlet is. The whole thing is based on pagan vengeance; the only aim is to gather together as many effects as possible; there is no rhyme or reason about it.

You can't ever approach a book as a complete virgin, certainly not if you're a critic. There is a lot of bad faith out there. That's why I finally trained myself not to look at this stuff anymore, because it doesn't do me any good to see myself either praised or attacked.

Buddhism ... is not a culture but a critique of culture, an enduring nonviolent revolution or "loyal opposition" to the culture in which it is involved.

French rhetorical models are too narrow for the English tradition. Most pernicious of French imports is the notion that there is no person behind a text. Is there anything more affected, aggressive, and relentlessly concrete than a Parisan intellectual behind his/her turgid text? The Parisian is a provincial when he pretends to speak for the universe.

The English and Americans dislike only some Irish--the same Irish that the Irish themselves detest, Irish writers--the ones that think.

Great critics, of whom there are piteously few, build a home for the truth.