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After "Jammin' In New York", I went from a comedian who wrote his own material to a writer who performed his own material... I became socially conscious, and found I had something to say that wasn't too common.
--
New York Times Interview, 1995

 

George Carlin

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Strangely enough, there were certain scholars who envied the freedom of obscurity, and who, burdened with certain private sorrows which they dared not tell anyone, or who perhaps wanting only a holiday from the weariness of the sort of art they had themselves created, wrote novels too, under assumed and humble names. And when they did so they put aside pedantry and wrote as simply and naturally as any common novelist.
For the novelist believed that he should not be conscious of techniques. He should write as his material demanded.

 

Pearl Buck

 

I discovered soon that teaching has the handicap of retrospection. And that I don't believe in. So I started instead a method of handling material with the material itself. So that was my main change. Whereas Itten before (Itten left the Bauhaus in 1923 and Albers followed him as art teacher) had only spoken about the appearance, "matiere" - (the French word) and I said I would turn from "matiere" - the outside - to the inside, to the capacity of the material, before the appearance. And that changed the attitude basically I think.

 

Joseph Albers

 

There is a popular superstition that "realism" asserts itself in the cataloguing of a great number of material objects, in explaining mechanical processes, the methods of operating manufactories and trades, and in minutely and unsparingly describing physical sensations. But is not realism, more than it is anything else, an attitude of mind on the part of the writer toward his material, a vague indication of the sympathy and candour with which he accepts, rather than chooses, his theme?

 

Willa Cather

 

That there is a common cause, an that it is either what we call material progress or something closely connected with material progress, becomes more than an inference when it is noted that the phenomena we class together and speak of as industrial depression are but intensifications of phenomena which always accompany material progress, and which show themselves more clearly and strongly as material progress goes on. Where the conditions to which material progress everywhere tends are the most fully realized—that is to say, where population is densest, wealth greatest, and the machinery of production and exchange most highly developed — we find the deepest poverty, the sharpest struggle for existence, and the most of enforced idleness.

 

Henry George

 

In return for the costliness and inconvenience, the squalor and discomfort of our lives, we get to participate in whatever is the latest. We are never left out of anything: we know what's happening, especially since so many of us practice what Paul Valéry called the "delirious professions." As Valéry wrote, "This is the name I give to all those trades whose main tool is one's opinion of oneself, and whose raw material is the opinion others have of you." Although Valéry was writing eighty years ago of Paris, he anticipated the excruciating position of those gay (and straight) New York "creative people" who must be perpetually original in a "population of uniques." The cruel contradiction of such a position is that the creative "live for nothing but to have, and make durable, the illusion of being the only one — for superiority is only a solitude situated at the present limits of a species." The exigencies of the drive to originality can, as Valéry understood, promote a deep uncertainty about one's personal value. If one is a product, is it new enough? Perfect? One of a kind?

 

Edmund White