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I am amazed that this remarkable and original talent has been at America's service for nearly twenty years, its patient waiting entirely unrewarded whether by the public or the critics or even the superior cranks.
Let it be said at once that Cabell's art will always be a sign for hostilities. Not only will he remain, in all probability, forever alien to the general public, but he will also, I suspect, be to the end of time a cause for division among cultivated and experienced readers. His style is also at once a battleground. It is the easiest thing in the world to denounce it as affected, perverse, unnatural, and forced. It would be at once an artificial style were it not entirely natural to the man.
--
Hugh Walpole, in The Art of James Branch Cabell (1920)

 

James Branch Cabell

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In The Hidden-Hand Presidency : Eisenhower as Leader, Greenstein attributed part of the public's discontent with presidential performance to the conflict built into the Constitution between the president's apolitical and unifying role as chief of state and his partisan and divisive role as head of government. … Eisenhower was able to bridge the built-in contradictions of the office and provide an effective leadership style. In his analysis of Eisenhower, Greenstein focused on three classes of variables: the personal properties of the man, his leadership strategies, and his organizational style. Eisenhower's political psychology exhibited antithetical qualities in public and private, a duality well suited for adapting to contradictory public expectations. His leadership strategies involved making his job as chief of state readily visible while covertly exercising much of his public leadership. In parallel fashion, his organizational style focused public attention on the formal machinery but left unpublicized his use of informal organization.

 

Dwight D. Eisenhower

 

Except in the rare cases of great dynamic thinkers whose thoughts are as turning-points in the history of our race, it is by Style that writers gain distinction, by Style they secure their immortality. In a lower sphere many are remarked as writers although they may lay no claim to distinction as thinkers, if they have the faculty of felicitously expressing the ideas of others; and many who are really remarkable as thinkers gain but slight recognition from the public, simply because in them the faculty of expression is feeble. In proportion as the work passes from the sphere of passionless intelligence to that of impassioned intelligence, from the region of demonstration to the region of emotion, the art of Style becomes more complex, its necessity more imperious.

 

George Henry Lewes

 

I have a talent for silence and brevity. I can keep silent when it seems best to do so, and when I speak I can, and do usually, quit when I am done. This talent, or these two talents, I have cultivated. Silence and concise, brief speaking have got me some laurels, and, I suspect, lost me some. No odds. Do what is natural to you, and you are sure to get all the recognition you are entitled to.

 

Rutherford B. Hayes

 

A cultivated style would be like a mask. Everybody knows it's a mask, and sooner or later you must show yourself — or at least, you show yourself as someone who could not afford to show himself, and so created something to hide behind... You do not create a style. You work, and develop yourself; your style is an emanation from your own being.

 

Katherine Anne Porter

 

The chief trouble with the official style is that it spreads far beyond the formal contexts to which it is suited. Most civil servants, having learned to write in this way, cannot throw off the habit. The obscurity of their public announcements largely accounts for the disrepute into which Departmental activities have fallen: for the public naturally supposes that Departments are as muddled and stodgy as their announcements.
The habit of obscurity is partly caused by a settled disinclination among public servants to give a definite refusal even where assent is out of the question; or to convey a vigorous rebuke even where, in private correspondence, any person with self-respect would feel bound to do so. The mood is conveyed by a polite and emasculated style — polite because, when writing to a member of the public, the public servant is, in theory at least, addressing one of his collective employers; emasculated because, as a cog in the Government machine, he must make his phrases look as mechanical as possible by stripping them of all personal feeling and opinion.

 

Robert Graves