On Moral Fiction Quotes

“We need to stop excusing mediocre and downright pernicious art, stop 'taking it for what it’s worth' as we take our fast foods, our overpriced cars that are no good, the overpriced houses we spend all our lives fixing, our television programs, our schools thrown up like barricades in the way of young minds, our brainless fat religions, our poisonous air, our incredible cult of sports, and our ritual of fornicating with all pretty or even horse-faced strangers. We would not put up with a debauched king, but in a democracy all of us are kings, and we praise debauchery as pluralism. This book is of course no condemnation of pluralism; but it is true that art is in one sense fascistic: it claims, on good authority, that some things are healthy for individuals and society and some things are not.”
― John Champlin Gardner, On Moral Fiction

“It was said in the old days that every year Thor made a circle around Middle-earth, beating back the enemies of order. Thor got older every year, and the circle occupied by gods and men grew smaller. The wisdom god, Woden, went out to the king of the trolls, got him in an armlock, and demanded to know of him how order might triumph over chaos.
"Give me your left eye," said the king of the trolls, "and I'll tell you."
Without hesitation, Woden gave up his left eye. "Now tell me."
The troll said, "The secret is, Watch with both eyes!”
― John Gardner, On Moral Fiction

“In a world where nearly everything that passes for art is tinny and commercial and often, in addition, hollow and academic, I argue--by reason and by banging the table--for an old-fashioned view of what art is and does and what the fundamental business of critics ought therefore to be. Not that I want joy taken out of the arts; but even frothy entertainment is not harmed by a touch of moral responsibility, at least an evasion of too fashionable simplifications.”
― John Champlin Gardner Jr., On Moral Fiction

“True criticism praises true art for what it does-praises as plainly and comprehensively as possible-and denounces false art for its failure to do art's proper work. No easy task, the task of the critic, since the trolls are masters of disguise.”
― John Gardner, On Moral Fiction

“True art is too complex to reflect the party line.”
― John Gardner, On Moral Fiction

“The critic's proper business is explanation and evaluation, which means he must make use of his analytic powers to translate the concrete to the abstract.”
― John Gardner, On Moral Fiction

“Art begins in a wound, an imperfection--a wound inherent in the nature of life itself--and is an attempt either to live with the wound or heal it. It is the pain of the wound which impels the artist to do his work, and the universality of woundedness in the human condition which makes the work of art significant as medicine or distraction.”
― John Gardner, On Moral Fiction

“As a general rule, the artist who begins with a doctrine to promulgate, instead of a rabble multitude of ideas and emotions, is beaten before he starts.”
― John Gardner, On Moral Fiction

“True art, by specific technical means now commonly forgotten, clarifies life, establishes models of human action, casts nets toward the future, carefully judges our right and wrong directions, celebrates and mourns. It does not rant. It does not sneer or giggle in the face of death, it invents prayers and weapons. It designs visions worth trying to make fact. It does not whimper or cower or throw up its hands and bat its lashes. It does not make hope contingent on acceptance of some religious theory. It strikes like lightening, or is lightning; whichever.”
― John Gardner, On Moral Fiction

“Structuralists, formalists, linguistic philosophers who tell us that works of art are like trees-simply objects for perception-all avoid on principle the humanistic questions: who will this work of art help? what baby is it squashing? The business of criticism has become definition, morality reduced to the positivist ideal of clarity. The trouble is that clarity on the wrong subject can be dangerously misleading, as when we define Count Fosco's crocodile as a smiling animal weighing four hundred pounds.”
― John Gardner, On Moral Fiction

“We are rich in schools which speak of how art 'works' and avoid the whole subject of what work it ought to do.”
― John Gardner, On Moral Fiction

“Most art these days is either trivial or false. There has always been bad art, but only when a culture's general world view and aesthetic theory have gone awry is bad art what most artists strive for, mistaking bad for good. In Plato's Athens or Shakespeare's London, who would have clapped for the merdistes? For the most part our artists do not struggle-as artists have traditionally struggled-toward a vision of how things out to be or what has gone wrong; they do not provide us with the flicker of lightning that shows us where we are. Either they pointlessly waste our time, saying and doing nothing, or they celebrate ugliness and futility, scoffing at good. Every new novelist, composer,and painter-or so we're told-is more 'distrubing' than the last. The good of humanity is left in the hands of politicians.”
― John Gardner, On Moral Fiction

“Only in lament does the artist cry out, 'Birds build but not I build," and the lament points to how things out to be: art builds; it never stands pat; it destroys only evil. If art destroys good, mistaking it for evil, then that art is false, an error; it requires denunciation. This, I have claimed, is what true art is about-preservation of the world of gods and men.”
― John Gardner, On Moral Fiction

“True art imitates nature's total process: endless blind experiment (fish that climb tress, hands with nine fingers, shifts in and out of tonality) and then ruthless selectivity-the artist's sober judgements, like a lion's, of what can be killed, what is better left alone, such as (for the lion) rhinos and certain nasty snakes. Art, in sworn opposition to chaos, discovers by its process what it can say. That is art's morality.”
― John Gardner, On Moral Fiction

“Art combines fancy and judgement.”
― John Gardner, On Moral Fiction

“The artist composes, writes, or paints just as he dreams, seizing whatever swims close to his net. This, not the world seen directly, is his raw material.”
― John Gardner, On Moral Fiction

“...art deals, at its best, with what has never been observed, or observed only peripherally-darts from what is to what might have been-asking with total interest and sobriety such questions as 'what if apple trees could talk?' or 'what if the haughty old woman next door should fall in love with Mr. Powers, our mailman?' The artist's imagination, or the world it builds, is the laboratory of the unexperienced, both the heroic and the unspeakable.”
― John Gardner, On Moral Fiction

“Art gropes. It stalks like a hunter lost in the woods, listening to itself and to everything around it, unsure of itself, waiting to pounce.”
― John Gardner, On Moral Fiction

“Art is essentially serious and beneficial, a game played against chaos and death, against entropy. It is a tragic game, for those who have the wit to take it seriously, because our side must lose; a comic game-or so a troll might say-because only a clown with sawdust brains would take our side and eagerly join in.”
― John Gardner, On Moral Fiction

“The immorality of an inept poet is like that of a sleeping guard or a drunken bus driver.”
― John Gardner, On Moral Fiction

“Art deals at its best, with what has never been observed, or observed only peripherally--darts from what is to what might have been--asking with total interest and sobriety such questions as "What if apple trees could talk?" or "What if the haughty old woman next door should fall in love with Mr. Powers, our mailman?" The artist's imagination, or the world it builds, is the laboratory of the unexperienced, both the heroic and the unspeakable.”
― John Gardner, On Moral Fiction

“Only in lament does the artist cry out, 'Birds build but not I build," and the lament points to how things ought to be: art builds; it never stands pat; it destroys only evil. If art destroys good, mistaking it for evil, then that art is false, an error; it requires denunciation. This, I have claimed, is what true art is about-preservation of the world of gods and men.”
― John Gardner, On Moral Fiction

“True art is a conduit between body and soul, between feeling unabstracted and abstraction unfelt.”
― John Gardner, On Moral Fiction

“It is one thing be be infuriated by a huge, square, uncut block of steel, another to be consternated by a stuffed ram with a tire around it. Neither frustration has anything to do with that which comes from looking at a dead human hand with an ornamental hat pin sticking through it. Before such monstrosities, criticism flies. How can one say that they are good or not good? Yet one does. One can blindly intuit what the artist feels, and one can cry out -if only to see that it is true- "You fool! Fool! The pin should be longer!”
― John Gardner, On Moral Fiction

“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

“Moral action is action which affirms life. In this wide sense there is no inherent contradiction between looking with sympathetic curiosity at the unique and looking for general rules that promote human happiness.”
― John Gardner, On Moral Fiction