A Quorum of Quotes

1) Q & A with one of Diesel's favorites, George Saunders. (via BuzzFeed)

"I’ve sometimes felt, because of my background, a little under-informed about and under-engaged with contemporary political and intellectual issues. When I was young I didn’t live anywhere that had any real artistic life going on, and I’ve always regretted that, sort of — like, “I was never part of a movement.” And I think great works of art often come out of the sort of pressure-cooker environment that Miller describes NYC as being in the 1930s and 1940s. That’s where a person gets the deep immersion in certain ideas and artistic assumptions and then — if he’s lucky — he pushes those ideas and approaches forward, just a bit closer to the goal line. That’s called artistic progress. I’ve often felt a little vacant vis-à-vis the artistic movements of my time, and like the ideas that underlie my work are primarily emotional — they come out of my direct experience, but maybe not informed enough by bigger theoretical and political and critical ideas."


2) Orhan Pamuk writes beautifully about the poet C. P. Cavafy. (via the New York Times)

"There are some poets whose work we read with their lives in mind, and what we know of those lives ensures that their poetry leaves a more enduring impression. C. P. Cavafy is, for me, just such a poet. Like Edgar Allan Poe, like Franz Kafka, Cavafy makes no explicit reference to himself in his best and most stirring work; and yet, with every poem we read, we cannot help thinking of him. "


3) Michael Greenberg encourages you to read the lectures of Jorge Luis Borges (via the New YorK Review of Books)

"Professor Borges is an important addition to his work. These are not academic lectures but spoken essays. Borges’s students didn’t record these classes out of reverence for their teacher, but because it would help them prepare for exams. This messy, casual approach is one of the book’s great strengths. The editors have expertly tidied up the text, hunting down nearly indecipherable references that the students had phonetically transcribed—“Wado Thoube” was the poet Robert Southey, for instance, and “Bartle” was the philosopher George Berkeley. What we end up with is the flavor of Borges’s voice, with its spontaneous digressions and self-entertained ease—his deepest literary influences and concerns, unmediated by the polished and revised nature of the written word. "