She was helping them assume their humanity

Why do we have to read poetry? Why "Il Penseroso"? Read it and you'll know why. If you still don't know, read it again. And again. Some of them took the things she said to heart, as she had done once when they were said to her. She was helping them assume their humanity. People have always made poetry, she told them. Trust that it will matter to you. The pompous clatter of "The Charge of the Light Brigade" moved some of them to tears, and then she had talked to them about bad poetry. Who gets to say what's god and what's bad? I do, she said. For the moment. You don't have to agree, but listen. Some of them did listen. This seemed to her to be perfectly miraculous. No wonder she dreamed at night that she had lost any claim to their attention. What claim did she have? Could it be that certain of them lifted their faces to her so credulously because what she told them was true, that they were human beings, keepers of lore, makers of it? That it was really they who made demands of her? Her father taught his children, never doubting, that there was a single path from antiquity to eternity. Learn the psalms and ponder the ways of the early church. Know what must be known. Ancient father taught their ancient children, who taught their ancient children, these very things. Puritan Milton with his pagan muses. It is like a voice heard from another room, singing for the pleasure of the song, and then you know it, too, and through you it moves by accident and necessity down generations. Then, why singing? Why pleasure in it? And why the blessing of the moment when another voice is heard, dreaming to itself?That was her father humming "Old Hundred" while he shaved. It was John Keats in Cheapside traveling his realms of gold. No need to be a minister. To be a teacher was an excellent thing. Those vacant looks might be inwardness. The young might have been restless around any primal fire where an elder was saying, Know this. Certainly they would have been restless. Their bodies were consumed with the business of lengthening limbs, sprouting hair, fitting themselves for procreation. Even so, sometimes she felt a silence in the room deeper than ordinary silence. How could she have abandoned that life? For what had she abandoned it?

--Marilynne Robinson, Home (2008)

The Unionization of Failure

R.G.: Yet even in literary criticism there is nothing more banal and mystifying, finally, than the obsessive emphasis on the infinite diversity of literary works, on their ineffable and inexhaustible character, on the impossibility of repeating the same interpretation—on the negation of any definite statement, in other words. I cannot see in this anything more than a huge unionization of failure. We must perpetuate at any cost the interminable discourse that earns us a living.

G. L.: A harsh judgment.

R. G.: It is certainly too harsh, but we live in an intellectual universe that is all the more conformist for its belief in possessing a monopoly on nonconformist views and methods. That much obviates any genuine self-criticism. Time is spent breaking down doors that have been wide open for centuries. This is still the modern war on prohibitions that rages on all fronts, whereas it was already ridiculous during the surrealist period. As in the Greek Buphonia, we keep stuffing the old and dried sacrificial skins with straw and standing them up in order to beat them down for the thousandth time.

—René Girard, Things Hidden Since the Foundation of the World (1978)

What is Good in Itself

St. Thomas Aquinas says that art does not require rectitude of the appetite, that it is wholly concerned with the good of that which is made. He says that a work of art is a good in itself, and this is a truth that the modern world has largely forgotten. We are not content to stay within our limitations and make something that is simply a good in and by itself. Now we want to make something that will have some utilitarian value. Yet what is good in itself glorifies God because it reflects God. The artist has his hands full and does his duty if he attends to his art. He can safely leave evangelizing to the evangelists. He must first of all be aware of his limitations as an artist—for art transcends its limitations only by staying within them.

—Flannery O'Connor, "Catholic Novelists and Their Readers" (1969)

'the incomparably rich experience we ask and expect of all true art'

The business of education is to give the student both useful information and life-enhancing experience, one largely measurable, the other not; and since the life-enhancing value of a course in literature is difficult to measure—since, moreover, many people in a position to put pressure on educational programs have no real experience in or feeling for the arts—it is often tempting to treat life-enhancement courses as courses in useful information, putting them on the same “objective” level as courses in civics, geometry, or elementary physics. So it comes about that books are taught (officially, at least) not because they give joy, the incomparably rich experience we ask and expect of all true art, but because, as a curriculum committee might put it, they “illustrate major themes in American literature,” or “present a clearly stated point of view and can thus serve as a vehicle for such curriculum objectives as (1) demonstrating an awareness of the author’s purpose, (2) reading critically, and (3) identifying organizational patterns in literary selections used to support a point of view.” One cannot exactly say that such teaching is pernicious, but to treat great works of literature in this way seems a little like arguing for preservation of dolphins, whales, chimps, and gorillas solely on the grounds of ecological balance.

—John Gardner, The Art of Fiction (1983)