Category Archives: Quotes

As every second post on this site is a quote. You’ll find a deep and broad variety of quotes under this category, which overlap with several other tags and categories. Many of the quotes are larded with links for deeper reading on the subject of the quote, or connections between the subject of the quotes and other people, things, or ideas. See the Taxonomies page for more about this category.

The Fire Next Time (1963)

“A two-part essay by American writer James Baldwin. Variously employing biblical allusions, the rhapsodic rhetorical style of the black pulpit, as well as his own personal ‘witness’ Baldwin admonishes America to ‘end the racial nightmare.’ The first essay, ‘My Dungeon Shook,’ is a letter to his nephew James, on the one hundredth anniversary of the Emancipation Proclamation. In ‘Down at the Cross,’ Baldwin describes growing up in Harlem, his experiences with the Nation of Islam, and offers a warning and a plea for white and black American to work together.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

James Baldwin on the Shock of Recognition

“Around the age of 5, 6, or 7…. It comes off as a great shock to see Gary Cooper killing Indians and, although you are rooting for Gary Cooper, that the Indians are you.”

James Baldwin, Speech at Cambridge Union, Cambridge, England, 17 February 1965

Excerpted from: Shapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

Ralph Ellison on Alienation

“I am an invisible man…. I am a man of substance, of flesh and bone, fiber and liquids—and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me.”

Ralph Ellison, Invisible Man prologue (1952)

Excerpted from: Shapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

Ishmael Reed (1938-)

American novelist and poet. Reed’s writing reflects his belief that the black American writer should function as a kind of conjurer of what Reed calls ‘neo-hoodoo,’ an attempt to pry the distinct qualities of Afro-American culture loose from Euro-American culture. In a language composed of black dialects, standard English, and hip jargon, he writes angry satires on an American society corrupted by racism and uncontrolled technology. Among his novels are The Free-Lance Pallbearers (1967), Mumbo Jumbo (1972), Flight to Canada (1976), The Terrible Twos (1982), and Japanese by Spring (1993). His verse collections include Conjure (1972) and Secretary to the Spirits (1975). Other works include Shrovetide in Old New Orleans (1978), occasional writings; Hell Hath No Fury (1980), a play; The Terrible Threes (1990), a collection of short stories; and Airing Dirty Laundry (1993), containing memoirs.

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

[Addendum: Ishmael Reed entered my cultural cosmology when I heard the the percussionist and producer Kip Hanrahan’s projects to set Mr. Reed’s poetry to music,  the first of which, Conjure (named for one of Mr. Reed’s books of verse) appeared in 1983. I continue to listen to that record regularly, now 35 years later. Two more records from Conjure have appearedCab Calloway Stands in for the Moon (1988) and a two-disc set, Bad Mouth, released in 2006.]

Paul Laurence Dunbar Knows…

“I know why the caged bird sings!”

“Sympathy” 1. 21 (1899)

Paul Laurence Dunbar

Excerpted from: Shapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

Thurgood Marshall on the Promise of the Constitution

“We will see that the true miracle was not the birth of the Constitution, but its life, a life nurtured through two turbulent centuries of our own making, and a life embodying much good fortune that was not. Thus, in this bicentennial year, we may not all participate in the festivities with flag-waving fervor. Some may more quietly commemorate the suffering, struggle, and sacrifice that has triumphed over much of what was wrong with the original document, and observe the anniversary with hopes not realized and promises not fulfilled.”

Thurgood Marshall, Speech, Maui, Hawaii, 6 May 1987

Excerpted from: Shapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

Cane (1923)

Classic ‘novel’ of Jean Toomer (1894-1967). Cane was immediately hailed as one of the foremost pieces of the Harlem Renaissance of the twenties. A collection of poems, sketches, stories, and a novella (‘Kabnis’) built around dialogue, the book was inspired by Toomer’s visit to rural Georgia to teach. There he ‘heard the folk-songs come from the lips of Negro peasants’ and ‘saw the rich dusk beauty of the poor black South.’ The title refers to one of the book’s foci, the cane fields. Cane is divided into three parts: it begins in the cane fields, moves to the harsh streets of the North, and then back to the South. The black South is seen as a link to Africa and as a sensuous, soulful place of hardship, for example dealing with such themes as miscegenation, lynching, and the efficacy of the old Negro spirituals. The second section takes place mainly in Washington, D.C., Toomer’s birthplace, where blacks are estranged from their spiritual home. Though on the surface a potpourri, Cane as whole achieves a tonal and thematic unity through its recurring images and symbols, which suggest the beauty, vitality, and pain that Toomer saw in the agrarian South, a way of life he felt was passing and for which Cane is his lament.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Duke Ellington on Fidelity

“Music is my mistress, and she plays second fiddle to no one.”

Duke EllingtonMusic is My Mistress act 8 “Pedestrian Minstrel” (1973)

Excerpted from: Shapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

Brewer’s Curious Titles: All’s Well that Ends Well

“One of the ‘dark’ comedies (c. 1604) of William Shakespeare (1564-1616). The plot is based on a traditional folk tale found in Boccaccio’s The Decameron. Helena, enamored of Bertram, count of Rousillon, is given to him in marriage by the king of France, whose life she has saved. However, Bertram spurns her (‘A poor physician’s daughter my wife?’) and leaves for the Italian wars. From there he writes to her:

‘When thou canst get the ring upon my finger, which never shall come off, and show me a child begotten of thy body that I am father

to then call me husband, but in such a then, I write a never.’ III. iii

However, in disguise, Helena follows him to Italy, where she finds he is in love with a Florentine maid, whose place she takes in the dark, gets the ring, and conceives his child. In the end, she wins his love, after he has believed her dead.

The title All’s Well that Ends Well is from an old English proverb, known from the mid-13th century. It is somewhat ironic given the dark mood of the play, although it also has the suggestion of the ends justifying the means. At the end of the play the king, after all has been resolved, says:

‘All seems well; and if it end so meet,

The bitter past more welcome the sweet.” V. iii

He then adopts the role of epilogue, and, in accordance with theatrical convention, begs the audience’s indulgence for the play:

‘The king’s a beggar, now the play is done.

All is well ended if this suit be won,

That you express content; which we will pay

With strife to please you, day exceeding day.

Ours be your patience then, and yours our parts;

Your gentle hands lead us, and take our hearts.’”       V. iii, Epilogue

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Rotten Rejections: Ironweed

[As this blog probably indicates, or more accurately belabors, I find the folklore of books and publishing endlessly fascinating. I think the choices publishers make, based as often as not on their assessment of the market for a book, says a lot–and much of it not good–about a culture and a society. One of the most famous rejections in publishing history concerns William Kennedy’s magisterial novel Ironweedwhich broke down the barrier to publication of the remainder of his distinguished oeuvre. The serial rejection of Ironweed so exercised Saul Bellow that the Nobel Laureate famously said to Cork Smith, an editor at Viking, that “the author of Billy Phelan should have a manuscript kicking around looking for a publisher is disgraceful.” In the end, Bellow intervened on Kennedy’s behalf at Viking. The rest, of course, is publishing history, as The Albany Cycle as the novels that accompany Ironweed are known, joined the ranks of great American literature.]

“There is much about the novel that is very good and much that I did not like. When I throw in the balance of the book’s unrelenting lack of commerciality, I am afraid I just have to pass.”

“I like William Kennedy but not enough. He’s a very good writer, something no one needs to tell you or him, and his characters are terrific. I cannot explain turning this down.”

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.