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.

Adrienne Rich: The “Newsworthy” Element of My Refusal of the National Medal for the Arts

“The invitation from the White House came by telephone on July 3 [1997]. After several years’ erosion of arts funding and hostile propaganda from the religious right and the Republican Congress, the House vote to end the National Endowment for the Arts was looming. That vote would break as news on July 10; my refusal of the National Medal for the Arts would run as a sidebar story alongside in the New York Times and San Francisco Chronicle.

In fact, I was unaware of the timing. My refusal came directly out of my work as a poet and essayist and citizen drawn to the interfold of personal and public experience. I had recently been thinking and writing about the shrinking of the social compact, of whatever it was this country had ever meant when it called itself a democracy: the shredding of the vision of government of the people, by the people, for the people.

‘We the people–still an excellent phrase,’ said the playwright Lorraine Hansberry in 1962, well aware who had been excluded, yet believing the phrase might someday come to embrace us all. And I had for years been feeling both personal and public grief, fear, hunger, and the need to render this, my time, in the language of my art.

Whatever was ‘newsworthy’ about my refusal was not about a single individual–not myself, not President Clinton. Nor was it about a single political party. Both parties have displayed a crude affinity for the interests of corporate power, while deserting the majority of the people, especially are most vulnerable. Like so many others, I’ve watched the dismantling of our public education, the steep rise in our incarceration rates, the demonization of our young black men, the accusation against our teen-age mothers, the selling of health care–public and private–to the highest bidders, the export of subsistence-level jobs in the United States to even lower-wage countries, the use of below-minimum-wage prison labor to break strikes and raise profits, the scapegoating of immigrants, the denial of dignity and minimal security to working and poor people. At the same time, we’ve witnessed the acquisition of publishing houses, once risk-taking conduits of creativity, by conglomerates driven single-mindedly to fast profits, the acquisition of major communications and media by those same interests, the sacrifice of the arts and public libraries in stripped-down school and civic budgets, and, most recently, the evisceration of the National Endowment for the Arts. Piece by piece the democratic process has been losing ground to the accumulation of private wealth.”

Excerpted from: Hunter, J, Paul, Alison Booth, and Kelly J. Mays. The Norton Introduction to Poetry, Ninth Edition. New York: Norton, 2007.

Adrienne Rich: Why I Refused the National Medal for The Arts

[This is the letter poet and essayist Adrienne Rich sent  on July 3, 1997, to then director of the National Endowment for the Arts, actor Jane Alexander. In it, Ms. Rich explains why her conscience forbids her to accept the National Medal for the Arts that year. Incidentally, this wasn’t the first time Adrienne Rich took a principled stand in refusing an award.]

“Dear Jane Alexander,

I just spoke with a young man from your office, who informed me that I had been chosen to be one of twelve recipients of the National Medal for the Arts at a ceremony at the White House in the fall. I told him at once that I could not accept such an award from President Clinton or this White House because the very meaning of art, as I understand it, is incompatible with the cynical politics of this administration. I want to clarify to you what I meant by my refusal.

Anyone familiar with my work from the early sixties on knows that I believe in art’s social presence–as a breaker of official silences, as a voice for those whose voices are disregarded, and as a human birthright. In my lifetime I have seen the space for the arts opened by movements for social justice, the power of art to break despair. Over the past two decades I have witnessed the increasingly brutal impact of racial and economic injustice in our country.

There is no simple formula for the relationship of art to justice. But I do know that art–in my own case the art of poetry–means nothing if it simply decorates the dinner table of power that holds it hostage. The radical disparities of wealth and power in America are widening at a devastating rate. A president cannot meaningfully honor certain token artists while the people at large are so dishonored.

I know you have been engaged in a serious and disheartening struggle to save government funding for the arts, against those whose fear and suspicion of art is nakedly repressive. In the end, I don’t think we can separate art from overall human dignity and hope. My concern for my country is inextricable from my concerns as an artist. I could not participate in a ritual that would feel so hypocritical to me.

Sincerely.

Adrienne Rich

cc: President Clinton”

Excerpted from: Hunter, J, Paul, Alison Booth, and Kelly J. Mays. The Norton Introduction to Poetry, Ninth Edition. New York: Norton, 2007.

Adrienne Rich on the Needs of Art

“Art can never be totally legislated to any system, even those that reward obedience and send dissidents to hard labor and death; not can it, in our specifically compromised system, be really free. It may push up through cracked macadam, by the merest means, but it needs breathing space, cultivation, protection to fulfill itself, Just as people do. New artists, young or old, need education in their art, the tools of their craft, chances to study examples from the past and meet practitioners in the present, get the criticism and encouragement of mentors, learn that they are not alone. As the social compact withers, fewer and fewer people will be told Yes, you can do this; this also belongs to you. Like government, art needs the participation of the many in order not to become the property of a powerful and narrowly self-interested few.”

Excerpted from: Hunter, J, Paul, Alison Booth, and Kelly J. Mays. The Norton Introduction to Poetry, Ninth Edition. New York: Norton, 2007.

Negritude

Negritude: An attitude and aesthetic maintained by certain 20-century French-speaking African authors, which upholds traditional African culture and values. The concept originated in reaction to the stereotyping of black Africans by European colonials, and it implies a total acceptance of pride in black heritage. The term was coined by Aime Cesaire and popularized by L.S. Senghor and Leon Damas.

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

African Languages

“African languages: Languages indigenous to sub-Saharan Africa that belongs to the Niger-Congo, Nilo-Saharan, Khoisan, and Afroasiatic language phyla. Africa is the most polyglot continent; estimates of the number of African languages range from 1,000 to 1,200. Many have numerous dialects. Distinctions in tone play a significant role in nearly all sub-Saharan languages. Contact between people who do not speak that same language has necessitated the development of lingua francas such as Swahili in eastern Africa, Lingala in the Congo River basin (see Bantu languages), Sango in the Central African Republic (see Adamawa-Ubangi languages), and Arabic across much of the Sahel.”

Excerpted/Adapted from: Stevens, Mark A., Ed. Merriam Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

Bernard Coard on How the System Works

How the System Works: The Black child’s true identity is denied daily in the classroom. In so far as he is given an identity, it is a false one. He is made to feel inferior in every way. In addition to being told he is dirty and ugly and ‘sexually unreliable’, he is told by a variety of means that he is intellectually inferior. When he prepares to leave school, and even before, he is made to realise that he and ‘his kind’ are only fit for manual, menial jobs.

The West Indian child is told on first entering the school that his language is second rate, to say the least. Namely, the only way he knows how to speak, the way he has always communicated with his parents and family and friends; the language in which he has expressed all his emotions, from joy to sorrow; the language of his innermost thoughts and ideas, is ‘the wrong way to speak’.

A man’s language is part of him. It is his only vehicle for expressing his thoughts and feelings. To say that his language and that of his entire family and culture is second rate, is to accuse him of being second rate. But this is what the West Indian child is told in one manner or another on his first day in an English school.

As the weeks and months progress, the Black child discovers that all the great men of history were white—at least, those are the only ones he has been told about. His reading books show him white children and white adults exclusively. He discovers that white horses, white rocks and white unicorns are beautiful and good; but the word ‘Black’ is reserved for describing the pirates, the thieves, the ugly, the witches, etcetera. This is the conditioning effect of what psychologists call word association on people’s minds. If every reference on TV, radio, newspapers, reading books and story books in school shows ‘Black’ as being horrible and ugly, and everything ‘white’ as being pure, clean and beautiful, then people begin to think this way on racial matters.”

Excerpted from: Coard, Bernard. How the West Indian Child Is Made Educationally Sub-Normal in the British School System: 50th Anniversary Expanded Fifth Edition. Kingston, Jamaica: McDermott Publishing, 2021.

Claude McKay

“Claude McKay: (1889-1948) Jamaican-born poet and novelist. McKay, a major figure in the Harlem Renaissance of the 1920s, became the first black best-selling author with his Home to Harlem (1928), the story of a black soldier returning home after World War I. Among his other novels are Banjo (1929), dealing with an international company of drifters on the waterfront in Marseilles, and Banana Bottom (1933), one of the great early Caribbean novels celebrating Caribbean popular culture from the point of view of a female protagonist. His verse was published in the collections Songs of Jamaica (1912), Constab Ballads (1912), Spring in New Hampshire and Other Poems (1920), and Harlem Shadows (1922). His autobiography, A Long Way from Home (1937), presents the odyssey of the black intellectual journeying from the Caribbean to America, Europe, and North Africa, and back to the U.S.”

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

Barbara C. Jordan on the Constitution of the United States in the Context of Impeaching a Criminal President

“My faith in the Constitution is whole, it is complete, it is total. I am not going to sit here and be an idle spectator to the diminution, the subversion, the destruction of the Constitution.”

Barbara C. Jordan, Statement before House Judiciary Committee considering impeachment of Richard Nixon, 25 July 1974

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

Bernard Coard on Prejudice Toward and Patronisation of the West Indian Child in British Schools

“Prejudice and Patronisation: There are three main ways in which a teacher can seriously affect the performance of a Black child: by being openly prejudiced; by being patronizing; and by having low expectations of the child’s abilities. All three attitudes can be found among teachers in this country. Indeed, these attitudes are widespread. Their effect on the Black child is enormous and devastating.

That there are many openly prejudiced teachers in Britain is not in doubt in my mind. I have experienced them personally. I have also consulted many black teachers whose experience with some white teachers are horrifying. Two West Indian teachers in South London have reported to me cases of white teachers who sit smoking in the staff-room, and refuse to teach a class of nearly-all-Black children, When on occasion they state to their refusal to teach ‘those [plural form of the n-word]’. These incidents were reported to the head teachers of the schools, who took no action against the teachers concerned. In fact, the heads of these schools had been trying to persuade the children to leave the school when they reached school-leaving age, even though their parents wished them to continue in their education, in some cases in order to obtain CSEs and ‘O’ Levels, and in other cases because they thought the children could benefit from another year’s general education. Therefore, the teachers in this case conspired to prevent these Black children from furthering their education by simply refusing to teach them.

There are many more teachers who are patronising or condescending towards Black children. These are the sort who treat a Black child as a favourite pet animal. I have often overheard teachers saying: ‘I really like that coloured child. He is quite bright for a coloured child.’ One teacher actually said to me one day, in a sincere and well-meaning type of voice: ‘Gary is really quite a nice boy considering he is Black’. There are other teachers who will not press the Black too hard academically, as ‘he isn’t really up to it, poor chap’. Children can see through these hypocritical and degrading statements and attitudes more often than adults realise, and they feel deeply aggrieved when anyone treats them as being inferior, which is what patronisation is all about. They build up resentment, and develop emotional blocks to learning.”

Excerpted from: Coard, Bernard. How the West Indian Child Is Made Educationally Sub-Normal in the British School System: 50th Anniversary Expanded Fifth Edition. Kingston, Jamaica: McDermott Publishing, 2021.

William Wells Brown

“William Wells Brown: (1816?-1884) American writer, lecturer, and historian, As black America’s first man of letters and a dedicated champion of abolition, Brown devoted himself to the freedom and dignity of his people. A versatile author who wrote in almost every genre, his first publication was Narrative of William Wells Brown, a Fugitive Slave, Written by Himself (1847), which was followed by The Anti-Slavery Harp: A Collection of Songs for Anti-Slavery Meetings  (1848). Brown’s other works include Three Years in Europe; or Places I have Seen and People I have Met (1852), a travel account; Clotel; or, The President’s Daughter: A Narrative of Slave Life in the United States (1853), a novel which depicts the horror of a system that would allow the daughter of a president to be sold into bondage; and The Escape; or, A Leap for Freedom (1858), a five-act drama. The Negro in the American Rebellion: His Heroism and His Fidelity (1867), is the first history of the black soldier. Among Brown’s other autobiographical and historical books are The Black Man: His Antecedents, His Genius, and His Achievements (1863), The Rising Son, or, The Antecedents and Advancements of the Colored Race (1874), and My Southern Home; or, The South and Its People (1880).”

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