12 Dana Gioia Quotes on Culture

Dana Gioia quotes on culture

14. What does an instinctively popular poet do in contemporary America, where serious poetry is no longer a popular art? The public whose values and sensibility he celebrates is unaware of his existence. Indeed, even if they were aware of his poetry, they would feel no need to approach it. Cut off from his proper audience, this poet feels little sympathy with the specialized minority readership that now sustains poetry either as a highly sophisticated verbal game or secular religion. His sensibility shows little similarity to theirs except for the common interest in poetry. And so the popular poet usually leads a marginal existence in literary life. His fellow poets look on him as an anomaly or an anachronism. Reviewers find him eminently unnewsworthy. Publishers see little prestige attached to printing his work. Critics, who have been trained to celebrate complexity, consider him an amiable simpleton.

18. Being so deeply rooted in one place and culture allows a genuine writer to experiment wildly with the material without ever losing touch with its essence.

20. America's first great surrealist artists were named Walt Disney, Max Fleischer, and Tex Avery. Their artistic medium was cartoon animation, though we must remember that cartoons of this era were seen not only by children but by a mixed audience, consisting mainly of adults. These men took - quite literally - the principles of surrealism and turned them into mass entertainment. As Fleischer's scantily clad Betty Boop ran through a phantasmagoric underground landscape to the driving beat of Cab Calloway's 'Minnie the Moocher,' moviegoers of the Thirties saw surrealist dream-logic unfold more powerfully than in any experimental poem created in Greenwich Village. To this day the greatest moment of North American surrealism is probably Dumbo's drunken nightmare choreographed to the demonic oom-pah-pah of 'Pink Elephants on Parade' from Walt Disney's 1941 movie. When the surrealist style was so quickly assimilated into mass-media comedy, what avant-garde poet could consider it sufficiently chic?

21. Raw artistic talent is abundant. What is truly rare are the cultural circumstances, attitudes, and institutions to develop and perfect it. Few American cities have ever managed to foster a vibrant literary milieu of international significance - perhaps only Boston, New York, Chicago, and San Francisco. American literature has most often been an affair of isolated genius or small coterie.

25. Like gladiator games and pyramid building, opera has always been a gloriously money-losing proposition. It is the most extravagant of arts, requiring the constant support of kings, dictators, plutocrats, and town councils. Box-office success is no solution. San Francisco Opera loses money at every sold-out performance. Sane business practices simply don't suffice. Composer Richard Wagner's patron, King Ludwig II of Bavaria, was the ideal operatic angel - very rich and certifiably insane. Mel Brooks' shyster producer Max Bialystock need not have mounted Springtime for Hitler to score a surefire loss. Aida would have done just fine.

27. The engines that have driven poetry's institutional success - the explosion of academic writing programs, the proliferation of subsidized magazines and presses, the emergence of a creative-writing career track, and the migration of American literary culture to the university - have unwittingly contributed to its disappearance from public view.

29. Even if great poetry continues to be written, it has retreated from the center of literary life. Though supported by a loyal coterie, poetry has lost the confidence that it speaks to and for the general culture.

33. As long as poets belonged to a broader class of artists and intellectuals, they centered their lives in urban bohemias, where they maintained a distrustful independence from institutions. Once poets began moving into universities, they abandoned the working-class heterogeneity of Greenwich Village and North Beach for the professional homogeneity of academia.

34. In social terms the identification of poet with teacher is now complete. The first question one poet now asks another upon being introduced is 'Where do you teach?' The problem is not that poets teach. The campus is not a bad place for a poet to work. It's just a bad place for all poets to work. Society suffers by losing the imagination and vitality that poets brought to public culture. Poetry suffers when literary standards are forced to conform with institutional ones.

44. I want a poetry that can learn as much from popular culture as from serious culture. A poetry that seeks the pleasure and emotionality of the popular arts without losing the precision, concentration, and depth that characterize high art. I want a literature that addresses a diverse audience distinguished for its intelligence, curiosity, and imagination rather than its professional credentials. I want a poetry that risks speaking to the fullness of our humanity, to our emotions as well as to our intellect, to our senses as well as our imagination and intuition. Finally I hope for a more sensual and physical art - closer to music, film, and painting than to philosophy or literary theory. Contemporary American literary culture has privileged the mind over the body. The soul has become embarrassed by the senses. Responding to poetry has become an exercise mainly in interpretation and analysis. Although poetry contains some of the most complex and sophisticated perceptions ever written down, it remains an essentially physical art tied to our senses of sound and sight. Yet, contemporary literary criticism consistently ignores the sheer sensuality of poetry and devotes its considerable energy to abstracting it into pure intellectualization. Intelligence is an irreplaceable element of poetry, but it needs to be vividly embodied in the physicality of language. We must - as artists, critics, and teachers - reclaim the essential sensuality of poetry. The art does not belong to apes or angels, but to us. We deserve art that speaks to us as complete human beings. Why settle for anything less?

47. The marketplace does only one thing - it puts a price on everything. The role of culture, however, must go beyond economics. It is not focused on the price of things, but on their value. And, above all, culture should tell us what is beyond price, including what does not belong in the marketplace. A culture should also provide some cogent view of the good life beyond mass accumulation. In this respect, our culture is failing us.

49. What is the defining difference between passive and active citizens? Curiously, it isn't income, geography, or even education. It depends on whether or not they read for pleasure and participate in the arts. These cultural activities seem to awaken a heightened sense of individual awareness and social responsibility.