Top 15 Dana Gioia Quotes

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.

The purpose of arts education is not to produce more artists, though that is a byproduct. The real purpose of arts education is to create complete human beings capable of leading successful and productive lives in a free society.

The marketplace does only one thing — it puts a price on everything.<p>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.

Once an author finishes a poem, he becomes merely another reader. I may remember what I intended to put into a text, but what matters is what a reader actually finds there — which is usually something both more and less than the poet planned.

I did not want my son remembered by uncontrolled howls of pain. My wife and I suffered more than I can express, but to make poems merely out of the agony would have been self-pitying and dishonest. My son had been my greatest joy. His birth had left me awe-struck and humble before life. He turned me from a son into a father — and allowed me to understand my own father clearly for the first time. If I mourned him, I also wanted to preserve the joyful mystery of his existence. The sorrow could not be adequately appreciated without also expressing the joy and wonder.

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?

Poetry is an art form that demands heightened attention and retention. It both invites and rewards more intense involvement than we normally give to other kinds of speech. Poetic technique, therefore, is never esoteric but eminently practical. It serves at least two purposes. First, it announces that a poem differs from other kinds of speech, that it requires the audience's special attention. A poem begins by attracting our attention through its sound, shape, typography, syntax, texture, or tone. Second, the technique maintains the audience's involvement. All poetic form is a way of keeping the audience's attention beyond what ordinary language requires. Meter, for example, creates a gentle trance state in the auditor. Since poetry is more intense, condensed, and expressive than ordinary language, it needs these techniques to carry the burden of its message.

Tradition is not, as post-modernists maintain, a library or museum the artist plunders. It is the endless conversation between the living and the dead. Young artists enter into this conversation passionately — not merely intellectually, though study and analysis play a part. They live and breathe it. Tradition is not a public building. It is a love affair.

Poetry is not a branch of analytical philosophy. It is a primal, holistic kind of human communication. A poet needs innocence as much as knowledge, emotion as much as intelligence, vulnerability as much as rigor. A poet can become too smart for his or her own good and forget the childlike pleasures of sound and story, sense, and sensuality that poetry should provide. The challenge for a writer is to master the medium of poetry without losing that inner innocence.

Poetry is not a creed or dogma. It is a special way of speaking and listening.

I personally regret the shift in literary study from reading primary texts to reading critical and theoretical texts. The major problem today among students is that they simply have not read enough literature. Consequently they do not have the necessary background to take a critical attitude towards literary theory. One needs to test every abstraction against experience.

"Teachers and writers share a responsibility to create the next generation of readers. We need to create and cultivate in our classrooms a dialectic of intellect and intuition, of mental attention and sensory engagement. In poetry, intellectual-ity without physicality becomes dull and barren, just as intuition untethered by intellect quickly becomes sloppy and subjective. We need to augment methodology with magic." (36).

"For thousands of years, poetry was taught badly, and consequently it was immensely popular" (24).

"Until quite recently poetry was taught badly—at least according to current academic standards. Poetry was used to teach grammar, elocution, and rhetoric. It was employed to convey history, both secular and sacred, often to instill patriotic sentiment and religious morality. Poetry was chanted in chorus at female academies. It was copied to teach cursive handwriting and calligraphy. It was memorized by wayward schoolboys as punishment. It was recited by children at public events and family gatherings. Being able to write verse was considered a social grace in both domestic and public life. Going to school meant becoming well versed." (24).

"The aim of poetry—in this primal and primary sense as enchantment—is to awaken us to a fuller sense of our own humanity in both its social and individual aspects. Poetry offers a way of understanding and expressing existence that is fundamentally different from conceptual thought" (22).