John DAgata Quotes

Inclusiveness isn't what I want to push back against. The obsession with facts is.

The whole movement of an essay is propelled by a fundamentally human impulse to want to figure things out.

An essay is something that tracks the evolution of a human mind. It tracks the evolution of a single consciousness in order to give us an experience - an experience of looking for something and then finding ourselves in a different place by the time we've finished our journey.

Sometimes the essay is where we end up when everything that we know must change.

Of course it's possible for political essays to be artful. I just want to call into question the dominance of content over form in the history of the essay. I want us to recognize that there's art involved in making this stuff, because we still don't approach the constructed nature of the essay with the same appreciation that we do poetry or fiction.

Pedagogically, we need definitions and borders. They help us get our heads around what we're talking about.

I never really understood the idea that nonfiction ought to be this dispensary of data that we have at the moment. Also, roughly around the time we were doing this fact-checking. And I never really understood why people think what nonfiction's job is to give them information as opposed to something else.

In some ways we want definitions that can help protect our own interpretations of the genre.

I think that in a lot of readers' minds the essay is a lot more utilitarian than it is art.

An essay is something that tracks the evolution of a human mind.

What I didn't realize when I was in school and what I suspect a lot of young writers today don't get either is that you have to create the world that you want to exist in as an artist.

When you're a young writer and you look at people praising a big hefty anthology that has uncovered a long lost genre, it can be disorienting to look inside it and think, "But what it's uncovered still isn't me. What does this mean? Do I not belong in this genre, or is there more of the genre yet to find?"

The best stuff that Cicero wrote, in the first century in Rome, were the Philippics, a series of speeches that he delivered against Marc Antony, whom he thought was irreparably dismantling the Republic of Rome. Those speeches are powerful because they're not only really pointed but they're thrillingly beautiful - and that's precisely what made them dangerous: the fact that people wanted to read them.

You move your life across the country and make a commitment to a place, and to a genre, and then you realize that neither the place nor the genre might be what you thought they were going to be, or that the world you thought you were going to find in school doesn't actually exist.

I thought that I wasn't an essayist because I just didn't see myself in a lot of the essays that were popular at the time. That's why I joined the poetry program in grad school.

And Lopate's anthology helped a lot too. It came out the same year I started grad school, and I remember the book's publication feeling eventful and celebratory. It got a ton of attention for giving voice to this form that had sort of slipped between the cracks. That was exciting to see.

I felt a little lost as a student. At Iowa, I felt as if I had gotten into this program that was going to save me, and so I moved myself across the country for grad school and yet still didn't have a home. It was upsetting. And I know that's a common feeling.

If there's a poster boy for the fact that all essays are written through personae, it's Crèvecoeur.

We approach nonfiction at a much different level than we approach fiction or poetry or drama: that there's almost no room for metaphor. We expect the "I" in any nonfiction text to be an autobiographical "I" when there is a history in the essay of the "I" being a persona.

If Plutarch is the essayist I want to believe he is, he would want us all to sit in his chair.

I know it sounds silly, but disrespecting a dead writer by sitting in a chair that probably never belonged to him still felt like a risk to me. So I chickened out.

Even if it's a definition that feels oppressive to us, that oppression can be inspiring because it helps us push up against something while we're writing. Or if it's a definition that we want to defend and uphold, we are given a sense of the boundaries within which we can work.

When I'm teaching, I'm not really doing my job if the student who's always comfortable doing wacko stuff all over the page keeps getting gold stars from me for doing wacko stuff all over the page. A riskier assignment for that student, who might be used to hiding behind a lot of formal armor, would be to try to do something straightforward, traditionally, in which they are much more directly laid bare for the reader.

I wanted to create an environment in which more than just personal essays could be represented, and in which stranger approaches to making essays could be celebrated.

The essay community should have hundreds of anthologies from hundreds of different perspectives that are constantly introducing us to new writers, new work, and new visions for our genre. The whole spirit of these anthologies is that there should never be a last word in how essays are interpreted or what they can be.