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Джек Бёрден
Вся королевская рать (роман, 1946 год)

Джек Бёрден
Вся королевская рать (роман, 1946 год)

Источник: сон

Ведь если подумать, весь наш зелёный шарик состоит из грязи, кроме тех мест, которые под водой и опять же состоят из грязи. Трава — и та растёт из грязи. А что такое бриллиант, как не кусок грязи, которому однажды стало жарко? А что сделал Господь Бог? Взял пригоршню грязи, подул на неё и сделал вас и меня, Джорджа Вашингтона и весь человеческий род, благословенный мудростью и прочими добродеятелями. Так или нет? (Вилли Старк)
Вся королевская рать (роман, 1946 год)

Джек Бёрден
Вся королевская рать (роман, 1946 год)

Гилберт Мастерн
Вся королевская рать (роман, 1946 год)

Вилли Старк
Вся королевская рать (роман, 1946 год)

Вилли Старк
Вся королевская рать (роман, 1946 год)

Вилли Старк
Вся королевская рать (роман, 1946 год)

Адам Стентон
Вся королевская рать (роман, 1946 год)

Джек Бёрден
Вся королевская рать (роман, 1946 год)

Джек Бёрден
Вся королевская рать (роман, 1946 год)

Вся королевская рать (роман, 1946 год)

Вилли Старк
Вся королевская рать (роман, 1946 год)

All the King's Men (1946)

Acceptance speech for the 1970 National Medal for Literature, New York, New York (2 December 1970)
Контексте: If, in the middle of World War II, a general could be writing a poem, then maybe I was not so irrelevant after all. Maybe the general was doing more for victory by writing a poem than he would be by commanding an army. At least, he might be doing less harm. By applying the same logic to my own condition, I decided that I might be relevant in what I called a negative way. I have clung to this concept ever since — negative relevance. In moments of vain-glory I even entertain the possibility that if my concept were more widely accepted, the world might be a better place to live in. There are a lot of people who would make better citizens if they were content to be just negatively relevant.

The Legacy of the Civil War (1961), pp. 49–50
Контексте: We are right to see power prestige and confidence as conditioned by the Civil War. But it is a very easy step to regard the War, therefore, as a jolly piece of luck only slightly disguised, part of our divinely instituted success story, and to think, in some shadowy corner of our mind, of the dead at Gettysburg as a small price to pay for the development of a really satisfactory and cheap compact car with decent pick-up and road-holding capability. It is to our credit that we survived the War and tempered our national fiber in the processs, but human decency and the future security of our country demand that we look at the costs. What are some of the costs?
Blood is the first cost. History is not melodrama, even if it usually reads like that. It was real blood, not tomato catsup or the pale ectoplasm of statistics, that wet the ground at Bloody Angle and darkened the waters of Bloody Pond. It modifies our complacency to look at the blurred and harrowing old photographs — the body of the dead sharpshooter in the Devil's Den at Gettysburg or the tangled mass in the Bloody Lane at Antietam.

Источник: All the King's Men

Источник: All the King's Men

As quoted in Vision and Leadership in Sustainable Development (1999) by Chris Maser.

Источник: All the King's Men

Lecture, "The Themes of Robert Frost" (1947)

"A Way to Love God", New and Selected Poems 1923–1985 (1985)

Newsweek (25 August 1980)

Acceptance speech for the 1970 National Medal for Literature, New York, New York (2 December 1970)
Контексте: If, in the middle of World War II, a general could be writing a poem, then maybe I was not so irrelevant after all. Maybe the general was doing more for victory by writing a poem than he would be by commanding an army. At least, he might be doing less harm. By applying the same logic to my own condition, I decided that I might be relevant in what I called a negative way. I have clung to this concept ever since — negative relevance. In moments of vain-glory I even entertain the possibility that if my concept were more widely accepted, the world might be a better place to live in. There are a lot of people who would make better citizens if they were content to be just negatively relevant.

"A Way to Love God", New and Selected Poems 1923–1985 (1985)
Контексте: I cannot recall what I started to tell you, but at least
I can say how night-long I have lain under the stars and
Heard mountains moan in their sleep. By daylight,
They remember nothing, and go about their lawful occasions
Of not going anywhere except in slow disintegration. At night
They remember, however, that there is something they cannot remember.
So moan. Their's is the perfected pain of conscience that
Of forgetting the crime, and I hope you have not suffered it. I have.

"True Love"
Контексте: In silence the heart raves. It utters words
Meaningless, that never had
A meaning. I was ten, skinny, red-headed,
Freckled. In a big black Buick,
Driven by a big grown boy, with a necktie, she sat
In front of the drugstore, sipping something
Through a straw. There is nothing like
Beauty. It stops your heart. It
Thickens your blood. It stops your breath. It
Makes you feel dirty. You need a hot bath.
I leaned against a telephone pole, and watched.
I thought I would die if she saw me.

Interview with Richard B. Sale (1969)
Контексте: But to poetry — You have to be willing to waste time. When you start a poem, stay with it and suffer through it and just think about nothing, not even the poem. Just be there. It's more of a prayerful state than writing the novels is. A lot of the novel is in doing good works, as it were, not praying. And the prayerful state is just being passive with it, mumbling, being around there, lying on the grass, going swimming, you see. Even getting drunk. Get drunk prayerfully, though.

Interview with Richard B. Sale (1969)
Контексте: If anybody's going to be a writer, he's got to be able to say, "This has got to come first, to write has to come first." That is, if you have a job, you have to scant your job a little bit. You can't be an industrious apprentice if you're going to be a poet. You've got to pretend to be an industrious apprentice but really steal time from the boss. Or from your wife, or somebody, you see. The time's got to come from somewhere. And also this passivity, this "waitingness," has to be achieved some way. It can't be treated as a job. It's got to be treated as a non-job or an anti-job.

National Observer (6 February 1967)

Love's Voice (c.1935–1939)
Контексте: Such fable ours! However sweet,
That earlier hope had, if fulfilled,
Been but child's pap and toothless meat
— And meaning blunt and deed unwilled,
And we but motes that dance in light
And in such light gleam like the core
Of light, but lightless, are in right
Blind dust that fouls the unswept floor

For, no: not faith by fable lives,
But from the faith the fable springs
— It never is the song that gives
Tongue life, it is the tongue that sings;
And sings the song. Then, let the act
Speak, it is the unbetrayable
Command, if music, let the fact
Make music's motion; us, the fable.

"A Way to Love God", New and Selected Poems 1923–1985 (1985)
Контексте: I cannot recall what I started to tell you, but at least
I can say how night-long I have lain under the stars and
Heard mountains moan in their sleep. By daylight,
They remember nothing, and go about their lawful occasions
Of not going anywhere except in slow disintegration. At night
They remember, however, that there is something they cannot remember.
So moan. Their's is the perfected pain of conscience that
Of forgetting the crime, and I hope you have not suffered it. I have.

"Tell me A Story"

Источник: All the King's Men

Источник: All the King's Men

All the King's Men (1946)

Источник: All the King's Men

Now and Then: Poems, 1978–1979 (1979)

National Observer (12 March 1977)