Zelkami

“This notion of the artist as better than other people is irritating, I admit. I remember how annoyed I was with myself, as a young man, when I first came across it, I think in connection with pronouncements by and about Goethe, Proust, and Ezra Pound. I felt, I think rightly that the people I know -my parents and friends- were as high-minded and decent as any poet. The poet's business, it seemed to me, is to celebrate or at least understand those people, not arrogantly raise himself above them, pompously proclaim himself the Romantic "great man" who imposes on the rest of poor miserable humanity the duty of groping through darkness, hunting out his footsteps. I would not now take that opinion back, but I might temper it a little. A thousand times since then I've been in conversations where no one seemed to care about the truth, where people argued merely to win, refused to listen or try to understand, threw in irrelevancies -some anecdote without conceivable bearing, some mere ego-flower. A thousand times I have heard some person -some casual acquaintance about whom I had no strong feeling- cruelly vilified, and have found that to rise in defense of mere fairness is to become, suddenly, the enemy. I have witnessed repeatedly, university battles in which no one on any side would stoop to plain truth. I have seen repeatedly, how positions which at first glance seem stirringly noble and idealistic, for example, the battle led by Cesar Chavez in California -can in an instant turn cunning and dishonest, seizing whatever means seem necessary, imagining the hoped-for end can remained untainted. I need not speak of the Republican and Democratic parties, mockers of the ordinary citizen's ideal, of America's support of tyranny and corruption, or of the astonishing greed and moral indifference of both public officials and some members of public, whether the payoff be bribery and preferment or those welfare checks drawn by the affluent in Florida on vacation. And sitting in rooms with other artists -sculptors, painters, composers, writers, people whose work I believe to be serious and authentic- I have noticed how frequently, if not infallibly, they react to all these varieties of falsity with stammering, fist-banging rage. In the redness of their faces, the pitch of their voices (not all, of course, shout; some speak quietly, a few make bitter jokes), these artists are not different from the typical Milwaukee banker speaking angrily of the Jews, or the racial fanatic speaking angrily of niggers or honkies; but what these artists care about -what they rave or mourn or bitterly joke about- is the forms of truth: justice, fairness, accuracy.”
― John Gardner, On Moral Fiction

“Why do we conceive the desire to give expression to things that cannot be said—and sometimes succeed? Such success is a phenomenon that occurs when a subtle arrangement of words excites the reader’s imagination to an extreme degree; at that moment, author and reader become accomplices in a crime of the imagination. And when their complicity gives rise to a work of literature—that “thing that is not a thing”— people call it “creation” and inquire no further.”
― Yukio Mishima, Sun & Steel

“Mexico,” I said. I couldn’t believe I was hearing my own voice. I felt I had either surprised myself or betrayed myself.”
― Percival Everett, Telephone

“Not beautiful photography, not beautiful images, but necessary images and photography.”
― Robert Bresson, Notes on the Cinematographer