Terry Gross on Fresh Air

Please listen to Terry Gross' interview with singer Tom Petty by following the link below:
http://www.npr.org/templates/dmg/dmg_wmref.php?prgCode=FA&showDate=27-Jul-2006&segNum=1&mediaPref=WM&sauid=U801244061175217712515&getUnderwriting=1

You will need to use Windows Media Player to listen to the program.

"Fast Car" (Wed. class)

By Tracy Chapman

You got a fast car
I want a ticket to anywhere
Maybe we make a deal
Maybe together we can get somewhere

Anyplace is better
Starting from zero got nothing to lose
Maybe we'll make something
But me myself I got nothing to prove

You got a fast car
And I got a plan to get us out of here
I been working at the convenience store
Managed to save just a little bit of money
We won't have to drive too far
Just 'cross the border and into the city
You and I can both get jobs
And finally see what it means to be living

You see my old man's got a problem
He live with the bottle that's the way it is
He says his body's too old for working
I say his body's too young to look like his
My mama went off and left him
She wanted more from life than he could give
I said somebody's got to take care of him
So I quit school and that's what I did

You got a fast car
But is it fast enough so we can fly away
We gotta make a decision
We leave tonight or live and die this way

I remember we were driving driving in your car
The speed so fast I felt like I was drunk
City lights lay out before us
And your arm felt nice wrapped 'round my shoulder
And I had a feeling that I belonged
And I had a feeling I could be someone, be someone, be someone

You got a fast car
And we go cruising to entertain ourselves
You still ain't got a job
And I work in a market as a checkout girl
I know things will get better
You'll find work and I'll get promoted
We'll move out of the shelter
Buy a big house and live in the suburbs
You got a fast car
And I got a job that pays all our bills
You stay out drinking late at the bar
See more of your friends than you do of your kids
I'd always hoped for better
Thought maybe together you and me would find it
I got no plans I ain't going nowhere
So take your fast car and keep on driving

You got a fast car
But is it fast enough so you can fly away
You gotta make a decision
You leave tonight or live and die this way

A Report for an Academy (Thurs class)

By Franz Kafka

<>Esteemed Gentlemen of the Academy!

You show me the honour of calling upon me to submit a report to the Academy concerning my previous life as an ape.

<>In this sense, unfortunately, I cannot comply with your request. Almost five years separate me from my existence as an ape, a short time perhaps when measured by the calendar, but endlessly long to gallop through, as I have done, at times accompanied by splendid men, advice, applause, and orchestral music, but basically alone, since all those accompanying me held themselves back a long way from the barrier, in order to preserve the image. This achievement would have been impossible if I had stubbornly wished to hold onto my origin, onto the memories of my youth.

<>Giving up that obstinacy was, in fact, the highest command that I gave myself. I, a free ape, submitted myself to this yoke. In so doing, however, my memories for their part constantly closed themselves off against me. If people had wanted it, my journey back at first would have been possible through the entire gateway which heaven builds over the earth, but as my development was whipped onwards, the gate simultaneously grew lower and narrower all the time. I felt myself more comfortable and more enclosed in the world of human beings. The storm which blew me out of my past eased off. Today it is only a gentle breeze which cools my heels. And the distant hole through which it comes and through which I once came has become so small that, even if I had sufficient power and will to run back there, I would have to scrape the fur off my body in order to get through. Speaking frankly, as much as I like choosing metaphors for these things—speaking frankly: your experience as apes, gentlemen—to the extent that you have something of that sort behind you—cannot be more distant from you than mine is from me. But it tickles at the heels of everyone who walks here on earth, the small chimpanzee as well as the great Achilles.

In the narrowest sense, however, I can perhaps answer your question, nonetheless, and indeed I do so with great pleasure.

The first thing I learned was to give a handshake. The handshake displays candour. Today, when I stand at the highpoint of my career, may I add to that first handshake also my candid words. For the Academy it will not provide anything essentially new and will fall far short of what people have asked of me and what with the best will I cannot speak about—but nonetheless it should demonstrate the line by which someone who was an ape was forced into the world of men and which he has continued there. Yet I would certainly not permit myself to say even the trivial things which follow if I were not completely sure of myself and if my position on all the great music hall stages of the civilized world had not established itself unassailably.

I come from the Gold Coast. For an account of how I was captured I rely on the reports of strangers. A hunting expedition from the firm of Hagenback—incidentally, since then I have already emptied a number of bottles of good red wine with the leader of that expedition—lay hidden in the bushes by the shore when I ran down in the evening in the middle of a band of apes for a drink. Someone fired a shot. I was the only one struck. I received two hits.

One was in the cheek—that was superficial. But it left behind a large hairless red scar which earned me the name Red Peter—a revolting name, completely inappropriate, presumably something invented by an ape, as if the only difference between me and the recently deceased trained ape Peter, who was well known here and there, was the red patch on my cheek. But this is only by the way.

The second shot hit me below the hip. It was serious. It’s the reason that today I still limp a little. Recently I read in an article by one of the ten thousand gossipers who vent their opinions about me in the newspapers that my ape nature is not yet entirely repressed. The proof is that when visitors come I take pleasure in pulling off my trousers to show the entry wound caused by this shot. That fellow should have each finger of his writing hand shot off one by one. So far as I am concerned, I may pull my trousers down in front of anyone I like. People will not find there anything other than well cared for fur and the scar from—let us select here a precise word for a precise purpose, something that will not be misunderstood—the scar from a wicked shot. Everything is perfectly open; there is nothing to hide. When it comes to a question of the truth, every great mind discards the most subtle refinements of manners. However, if that writer were to pull down his trousers when he gets a visitor, that would certainly produce a different sight, and I’ll take it as a sign of reason that he does not do that. But then he should not bother me with his delicate sensibilities.

After those shots I woke up—and here my own memory gradually begins—in a cage between decks on the Hagenbeck steamship. It was no four-sided cage with bars, but only three walls fixed to a crate, so that the crate constituted the fourth wall. The whole thing was too low to stand upright and too narrow for sitting down. So I crouched with bent knees, which shook all the time, and since at first I probably did not wish to see anyone and to remain constantly in the darkness, I turned towards the crate, while the bars of the cage cut into the flesh on my back. People consider such confinement of wild animals beneficial in the very first period of time, and today I cannot deny, on the basis of my own experience, that in a human sense that is, in fact, the case.

But at that time I didn’t think about it. For the first time in my life I was without a way out—at least there was no direct way out. Right in front of me was the crate, its boards fitted closely together. Well, there was a hole running right through the boards. When I first discovered it, I welcomed it with a blissfully happy howl of ignorance. But this hole was not nearly big enough to stick my tail through, and all the power of an ape could not make it any bigger.

According to what I was told later, I am supposed to have made remarkably little noise. From that people concluded that either I must soon die or, if I succeeded in surviving the first critical period, I would be very capable of being trained. I survived this period. Muffled sobbing, painfully searching out fleas, wearily licking a coconut, banging my skull against the wall of the crate, sticking out my tongue when anyone came near—these were the first occupations in my new life. In all of them, however, there was only one feeling: no way out. Nowadays, of course, I can portray those ape-like feelings only with human words and, as a result, I misrepresent them. But even if I can no longer attain the old truth of the ape, at least it lies in the direction I have described—of that there is no doubt.

Up until then I had had so many ways out, and now I no longer had one. I was tied down. If they had nailed me down, my freedom to move would not have been any less. And why? If you scratch raw the flesh between your toes, you won’t find the reason. If you press your back against the bars of the cage until it almost slices you in two, you won’t find the answer. I had no way out, but I had to come up with one for myself. For without that I could not live. Always in front of that crate wall—I would inevitably have died a miserable death. But according to Hagenbeck, apes belong at the crate wall—well, that meant I had to cease being an ape. A clear and beautiful train of thought, which I must have planned somehow with my belly, since apes think with their bellies.

I’m worried that people do not understand precisely what I mean by a way out. I use the word in its most common and fullest sense. I am deliberately not saying freedom. I do not mean this great feeling of freedom on all sides. As an ape, I perhaps recognized it, and I have met human beings who yearn for it. But as far as I am concerned, I did not demand freedom either then or today. Incidentally, among human beings people all too often are deceived by freedom. And since freedom is reckoned among the most sublime feelings, the corresponding disappointment is also among the most sublime. In the variety shows, before my entrance, I have often watched a pair of artists busy on trapezes high up in the roof. They swung themselves, they rocked back and forth, they jumped, they hung in each other’s arms, one held the other by clenching the hair with his teeth. “That, too, is human freedom,” I thought, “self-controlled movement.” What a mockery of sacred nature! At such a sight, no structure would stand up to the laughter of the apes.

No, I didn’t want freedom. Only a way out—to the right or left or anywhere at all. I made no other demands, even if the way out should be only an illusion. The demand was small; the disappointment would not be any greater—to move on further, to move on further! Only not to stand still with arms raised, pressed again a crate wall.

Today I see clearly that without the greatest inner calm I would never have been able to get out. And in fact I probably owe everything that I have become to the calmness which came over me after the first days there on the ship. And, in turn, I owe that calmness to the people on the ship.

They are good people, in spite of everything. Today I still enjoy remembering the clang of their heavy steps, which used to echo then in my half sleep. They had the habit of tackling everything extremely slowly. If one of them wanted to rub his eyes, he raised his hand as if it were a hanging weight. Their jokes were gross but hearty. Their laughter was always mixed with a rasp which sounded dangerous but meant nothing. They always had something in their mouths to spit out, and they didn’t care where they spat. They always complained that my fleas sprung over onto them, but they were never seriously angry at me because of it. They even knew that fleas liked being in my fur and that fleas are jumpers. They learned to live with that. When they had no duties, sometimes a few of them sat down in a semi-circle around me. They didn’t speak much, but only made noises to each other and smoked their pipes, stretched out on the crates. They slapped their knees as soon as I made the slightest movement, and from time to time one of them would pick up a stick and tickle me where I liked it. If I were invited today to make a journey on that ship, I’d certainly decline the invitation, but it’s equally certain that the memories I could dwell on of the time there between the decks would not be totally hateful.

The calmness which I acquired in this circle of people prevented me above all from any attempt to escape. Looking at it nowadays, it seems to me as if I had at least sensed that I had to find a way out if I wanted to live, but that this way out could not be reached by escaping. I no longer know if escape was possible, but I think it was: for an ape it should always be possible to flee. With my present teeth I have to be careful even with the ordinary task of cracking a nut, but then I must have been able, over time, to succeed in chewing through the lock on the door. I didn’t do that. What would I have achieved by doing that? No sooner would I have stuck my head out, than they would have captured me again and locked me up in an even worse cage. Or I could have taken refuge unnoticed among the other animals—say, the boa constrictors opposite me—and breathed my last in their embraces. Or I could have managed to steal way up to the deck and jumped overboard. Then I’d have tossed back and forth for a while on the ocean and drowned. Acts of despair. I did not think things through in such a human way, but under the influence of my surroundings conducted myself as if I had worked things out.

I did not work things out, but I observed well in complete tranquility. I saw these men going back and forth, always the same faces, the same movements. Often it seemed to me as if there was only one man. So the man or these men went undisturbed. A lofty purpose dawned on me. No one promised me that if I could become like them the cage would be removed. Such promises, apparently impossible to fulfill, were not made. But if one makes the fulfillment good, then later the promises appear precisely there where one had looked for them earlier without success. Now, these men in themselves were nothing which attracted me very much. If I had been a follower of that freedom I just mentioned, I would certainly have preferred the ocean to the way out displayed in the dull gaze of these men. But in any case, I observed them for a long time before I even thought about such things—in fact, the accumulated observations first pushed me in the proper direction.

It was so easy to imitate these people. I could already spit on the first day. We used to spit in each other’s faces. The only difference was that I licked my face clean afterwards. They did not. Soon I was smoking a pipe, like an old man, and if I then pressed my thumb down into the bowl of the pipe, the entire area between decks cheered. Still, for a long time I did not understand the difference between an empty and a full pipe.

I had the greatest difficulty with the bottle of alcohol. The smell was torture to me. I forced myself with all my power, but weeks went by before I could overcome my reaction. Curiously enough, the people took this inner struggle more seriously than anything else about me. In my memories I don’t distinguish the people, but there was one who always came back, alone or with comrades, day and night, at different times. He’d stand with a bottle in front of me and give me instructions. He did not understand me. He wanted to solve the riddle of my being. He used to uncork the bottle slowly and then look at me, in order to test if I had understood. I confess that I always looked at him with wildly over-eager attentiveness. No human teacher has ever found in the entire world such a student of human beings.

After he’d uncorked the bottle, he’d raise it to his mouth. I’d gaze at him, right at his throat. He would nod, pleased with me, and set the bottle to his lips. Delighted with my gradual understanding, I’d squeal and scratch myself all over, wherever it was convenient. He was happy. He’d set the bottle to his mouth and take a swallow. Impatient and desperate to emulate him, I would defecate over myself in my cage—and that again gave him great satisfaction. Then, holding the bottle at arm’s length and bringing it up again with a swing, he’d drink it down with one gulp, exaggerating his backward bending as a way of instructing me. Exhausted with so much great effort, I could no longer follow and hung weakly onto the bars, while he ended the theoretical lesson by rubbing his belly and grinning.

Now the practical exercises first began. Was I not already too tired out by the theoretical part? Yes, indeed, far too weary. That’s part of my fate. Nonetheless, I’d grab the proffered bottle as well as I could and uncork it trembling. Once I’d managed to do that, new forces gradually take over. I lift the bottle—with hardly any difference between me and the original—put it to my lips—and throw it away in disgust, in disgust, although it is empty and filled only with the smell, throw it with disgust onto the floor. To the sorrow of my teacher, to my own greater sorrow. And I still do not console him or myself when, after throwing away the bottle, I do not forget to give my belly a splendid rub and to grin as I do so.

All too often, the lesson went that way. And to my teacher’s credit, he was not angry with me. Well, sometimes he held his burning pipe against my fur in some place or other which I could reach only with difficulty, until it began to burn. But then he would put it out himself with his huge good hand. He wasn’t angry with me. He realized that we were fighting on the same side against ape nature and that I had the more difficult part.

What a victory it was for him and for me, however, when one evening in front of a large circle of onlookers—perhaps it was a celebration, a gramophone was playing, and officer was wandering around among the people—when on this evening, at a moment when no one was watching, I grabbed a bottle of alcohol which had been inadvertently left standing in front of my cage, uncorked it just as I had been taught, amid the rising attention of the group, set it against my mouth and, without hesitating, with my mouth making no grimace, like an expert drinker, with my eyes rolling around, splashing the liquid in my throat, I really and truly drank the bottle empty, and then threw it away, no longer in despair, but like an artist. Well, I did forget to scratch my belly. But instead of that, because I couldn’t do anything else, because I had to, because my senses were roaring, I cried out a short and good “Hello!” breaking out into human sounds. And with this cry I sprang into the community of human beings, and I felt its echo—“Just listen. He’s talking!”—like a kiss on my entire sweat-soaked body.

I’ll say it again: imitating human beings was not something which pleased me. I imitated them because I was looking for a way out, for no other reason. And even in that victory little was achieved. My voice immediately failed me again. It first came back months later. My distaste for the bottle of alcohol became even stronger. But at least my direction was given to me once and for all.

When I was handed over in Hamburg to my first trainer, I soon realized the two possibilities open to me: the Zoological Garden or the Music Hall. I did not hesitate. I said to myself: use all your energy to get into the Music Hall. That is the way out. The Zoological Garden is only a new barred cage. If you go there, you’re lost.

And I learned, gentlemen. Alas, one learns when one has to. Once learns when one wants a way out. One learns ruthlessly. One supervises oneself with a whip and tears oneself apart at the slightest resistance. My ape nature ran off, head over heels, out of me, so that in the process my first teacher himself almost became an ape and soon had to give up training and be carried off to a mental hospital. Fortunately he was soon discharged again.

But I went through many teachers—indeed, even several teachers at once. As I became more confident of my abilities and the general public followed my progress and my future began to brighten, I took on teachers myself, let them sit down in five interconnected rooms, and studied with them all simultaneously, by constantly leaping from one room into another.

And such progress! The penetrating effects of the rays of knowledge from all sides on my awaking brain! I don’t deny the fact—I was delighted with it. But I also confess that I did not overestimate it, not even then, even less today. With an effort which up to this point has never been repeated on earth, I have attained the average education of a European. That would perhaps not amount to much, but it is something insofar as it helped me out of the cage and created this special way out for me—the way out of human beings. There is an excellent German expression: to beat one’s way through the bushes. That I have done. I have beaten my way through the bushes. I had no other way, always assuming that freedom was not a choice.

If I review my development and its goal up to this point, I do not complain. I am even satisfied. With my hands in my trouser pockets, the bottle of wine on the table, I half lie and half sit in my rocking chair and gaze out the window. If I have a visitor, I welcome him as is appropriate. My impresario sits in the parlour. If I ring, he comes and listens to what I have to say. In the evening I almost always have a performance, and my success could hardly rise any higher. When I come home late from banquets, from scientific societies, or from social gatherings in someone’s home, a small half-trained female chimpanzee is waiting for me, and I take my pleasure with her the way apes do. During the day I don’t want to see her. For she has in her gaze the madness of a bewildered trained animal. I’m the only one who recognizes that, and I cannot bear it.

On the whole, at any rate, I have achieved what I wished to achieve. You shouldn’t say it wasn’t worth the effort. In any case, I don’t want any man’s judgment. I only want to expand knowledge. I simply report. Even to you, esteemed gentlemen of the Academy, I have only made a report.

(Translation by Ian Johnston, http://www.mala.bc.ca/~Johnstoi/kafka/reportforacademy.htm)

Sample TOEFL Essay #1 (all)

Obviously, the first teachers we have in our lives in most cases are our parents. They teach us to walk, to speak, and to have good manners before we reach "the real world." More than even the professional teachers that we have in school, parents are generally the most involved in the development and education of children.

Almost for sure our parents are the best teachers at the beginning of our lives, which actually corresponds to the parents' role in nature. Parents are most committed and involved in teaching their children; they have a kind of instinct to sacrifice a part of themselves for the betterment of their children. They love us and have great patience while passing down their knowledge to us. They wish us a success and thus will not teach us bad things. And of course, implicit learning occurs when children unconsciously copy some of their parents' habits and styles of behavior.

During the second stage of child development, adolescence, parents can still be in the best position to offer advice even though the children might not accept it. In this case, perhaps the child's friends would be the best teachers. Adolescents are notoriously rebellious in many cultures and may automatically reject any advice from their parents. My first marriage for instance, was solely a matter of doing the opposite when my parents tried to intrude in offering their advice. So in such matters, parents should be much more flexible and be rather the partners with their children. So we can see that being a teacher of growing child become more and more complicated case as the time passes and many parents are simply not able to meet the increased demands.

On the other hand, I would say that parents are not professional teachers and they tend to be very biased by their love of their children. So wishing good things and an easy life may prevent children from maturation. In any case, parents usually can present only one viewpoint of the world, while good teaching should be based on different attitudes. Thus, when children go to school and have a great diversity of teachers, they learn much more than their parents could probably give them. Furthermore, once our parents get older, they become more conservative and cannot always be objective in regard to modern trends and fashions. Thus we need to take their advice with caution during that period. However, some kind of intuition which I believe shared between relatives about what everybody needs and great love which exists in a families still makes our parents very good teachers and advisers at any time.

In conclusion, while parents are not the ideal teachers, and well-rounded children will generally need a great diversity of teachers in their lives in order to have a more accurate view of the world, parents are generally the most committed of all teachers and have the greatest emotional investment in their children and their future.

College dorms house more than students (all)

By BRIAN WESTLEY, Associated Press WriterMon Mar 5, 4:14 AM ET

When John Richardson wanted to avoid a lengthy commute to American University's campus, renting a nearby apartment just wouldn't do.

Instead, the easygoing 68-year-old professor decided to settle into a sprawling dormitory teeming with hundreds of students. It's not as unusual as it sounds: These days, catching sight of your professor on the way to the shower happens all the time.

Educators say a growing number of faculty are moving into dorms as colleges seek to revitalize campus life and shift away from the utilitarian, high-rise halls that sprouted when enrollment soared in the 1960s.

"There's been a separation between the culture of academic life and the culture of campus life," said Richardson, who suggested moving into a dorm after students complained that interaction with faculty was lacking outside the classroom.

There wasn't much structure to Richardson's living arrangement when he first moved into his one-bedroom suite in Anderson Hall about four years ago, said Gail Hanson, the university's vice president of campus life. The plan was to have him take it all in and see what happened.

Today, Richardson can be found handing out candy from a giant plastic bowl with a blinking red light attached as he greets bleary-eyed students during dozens of middle-of-the-night fire alarms. The well-traveled culinary enthusiast also prepares a buffet-style dinner for students a couple of nights each month, serving up Peking duck, Sri Lankan curry and Moroccan lamb.

"It kind of feels like you have a grandfather or an uncle living with you," said Aimee Malin, 20, a senior.

Having professors live among students is not a new idea, said Robert O'Hara, a higher education consultant who has written a book and created a Web site on the subject. The tradition stretches back hundreds of years to colleges in Great Britain and was adopted in the United States in the 1930s by Harvard and Yale.

The concept was largely ignored, however, as colleges ballooned in size when the baby boom generation began coming of age. In many cases, O'Hara said, students were housed in what he calls "cinderblock student ghettos," where they were robbed of important relationships with faculty.

"There's been a real sense that 'Boy, what we tried in the late '60s has been really a flop so we'd better try something different,'" said O'Hara. The more recent faculty live-in arrangements, he said, came partly in response to a party culture and rampant alcohol abuse on many campuses.

Research shows that increased attention from faculty leads to higher academic achievement among students and a greater sense of belonging, said Karen Inkelas, a University of Maryland professor who studies programs that seek to integrate the in- and out-of-classroom experience. In return, more contact with students energizes faculty, she said.

Education officials say the popularity of faculty-in-residence programs took off in the past decade, though programs vary from school to school.

O'Hara said about two dozen schools nationwide now have Residential Colleges — small, decentralized, faculty-led communities within a university that generally include a mix of students from various years and backgrounds. Prior to the 1990s, there were fewer than 10 of these college systems in the United States, he said.

At the University of Virginia, there are three Residential Colleges with about 300 students in each, said commerce professor Brad Brown, who leads one of the colleges. Students participate in myriad activities, ranging from field trips to theme food nights.

"There are a lot of people who kind of get lost in the shuffle," Brown said. "With Residential Colleges, they have their own little group — kind of like the 'Cheers' bar, where everybody knows their name."

The structure is more informal at American University, where Richardson lives in a typical dorm with roughly 800 students, mostly freshman. He escapes on weekends to Virginia, where he lives with his wife.

"I Don't Wanna Grow Up" (for Thursday classes)

"I Don't Wanna Grow Up,"

by Tom Waits and Kathleen Brennan

When I'm lyin' in my bed at night
I don't wanna grow up
Nothin' ever seems to turn out right
I don't wanna grow up
How do you move in a world of fog
That's always changing things
Makes me wish that I could be a dog
When I see the price that you pay
I don't wanna grow up
I don't ever wanna be that way
I don't wanna grow up

Seems like folks turn into things
That they'd never want
The only thing to live for
Is today...
I'm gonna put a hole in my TV set
I don't wanna grow up
Open up the medicine chest
And I don't wanna grow up
I don't wanna have to shout it out
I don't want my hair to fall out
I don't wanna be filled with doubt
I don't wanna be a good boy scout
I don't wanna have to learn to count
I don't wanna have the biggest amount
I don't wanna grow up

Well when I see my parents fight
I don't wanna grow up
They all go out and drinking all night
And I don't wanna grow up
I'd rather stay here in my room
Nothin' out there but sad and gloom
I don't wanna live in a big old Tomb
On Grand Street

When I see the 5 o'clock news
I don't wanna grow up
Comb their hair and shine their shoes
I don't wanna grow up
Stay around in my old hometown
I don't wanna put no money down
I don't wanna get me a big old loan
Work them fingers to the bone
I don't wanna float a broom
Fall in love and get married then boom
How the hell did I get here so soon
I don't wanna grow up

Albert Camus: Nobel Prize acceptance speech (all)

In receiving the distinction with which your free Academy has so generously honoured me, my gratitude has been profound, particularly when I consider the extent to which this recompense has surpassed my personal merits. Every man, and for stronger reasons, every artist, wants to be recognized. So do I. But I have not been able to learn of your decision without comparing its repercussions to what I really am. A man almost young, rich only in his doubts and with his work still in progress, accustomed to living in the solitude of work or in the retreats of friendship: how would he not feel a kind of panic at hearing the decree that transports him all of a sudden, alone and reduced to himself, to the centre of a glaring light? And with what feelings could he accept this honour at a time when other writers in Europe, among them the very greatest, are condemned to silence, and even at a time when the country of his birth is going through unending misery?

I felt that shock and inner turmoil. In order to regain peace I have had, in short, to come to terms with a too generous fortune. And since I cannot live up to it by merely resting on my achievement, I have found nothing to support me but what has supported me through all my life, even in the most contrary circumstances: the idea that I have of my art and of the role of the writer. Let me only tell you, in a spirit of gratitude and friendship, as simply as I can, what this idea is.

For myself, I cannot live without my art. But I have never placed it above everything. If, on the other hand, I need it, it is because it cannot be separated from my fellow men, and it allows me to live, such as I am, on one level with them. It is a means of stirring the greatest number of people by offering them a privileged picture of common joys and sufferings. It obliges the artist not to keep himself apart; it subjects him to the most humble and the most universal truth. And often he who has chosen the fate of the artist because he felt himself to be different soon realizes that he can maintain neither his art nor his difference unless he admits that he is like the others. The artist forges himself to the others, midway between the beauty he cannot do without and the community he cannot tear himself away from. That is why true artists scorn nothing: they are obliged to understand rather than to judge. And if they have to take sides in this world, they can perhaps side only with that society in which, according to Nietzsche's great words, not the judge but the creator will rule, whether he be a worker or an intellectual.

By the same token, the writer's role is not free from difficult duties. By definition he cannot put himself today in the service of those who make history; he is at the service of those who suffer it. Otherwise, he will be alone and deprived of his art. Not all the armies of tyranny with their millions of men will free him from his isolation, even and particularly if he falls into step with them. But the silence of an unknown prisoner, abandoned to humiliations at the other end of the world, is enough to draw the writer out of his exile, at least whenever, in the midst of the privileges of freedom, he manages not to forget that silence, and to transmit it in order to make it resound by means of his art.

None of us is great enough for such a task. But in all circumstances of life, in obscurity or temporary fame, cast in the irons of tyranny or for a time free to express himself, the writer can win the heart of a living community that will justify him, on the one condition that he will accept to the limit of his abilities the two tasks that constitute the greatness of his craft: the service of truth and the service of liberty. Because his task is to unite the greatest possible number of people, his art must not compromise with lies and servitude which, wherever they rule, breed solitude. Whatever our personal weaknesses may be, the nobility of our craft will always be rooted in two commitments, difficult to maintain: the refusal to lie about what one knows and the resistance to oppression.

For more than twenty years of an insane history, hopelessly lost like all the men of my generation in the convulsions of time, I have been supported by one thing: by the hidden feeling that to write today was an honour because this activity was a commitment - and a commitment not only to write. Specifically, in view of my powers and my state of being, it was a commitment to bear, together with all those who were living through the same history, the misery and the hope we shared. These men, who were born at the beginning of the First World War, who were twenty when Hitler came to power and the first revolutionary trials were beginning, who were then confronted as a completion of their education with the Spanish Civil War, the Second World War, the world of concentration camps, a Europe of torture and prisons - these men must today rear their sons and create their works in a world threatened by nuclear destruction. Nobody, I think, can ask them to be optimists. And I even think that we should understand - without ceasing to fight it - the error of those who in an excess of despair have asserted their right to dishonour and have rushed into the nihilism of the era. But the fact remains that most of us, in my country and in Europe, have refused this nihilism and have engaged upon a quest for legitimacy. They have had to forge for themselves an art of living in times of catastrophe in order to be born a second time and to fight openly against the instinct of death at work in our history.

Each generation doubtless feels called upon to reform the world. Mine knows that it will not reform it, but its task is perhaps even greater. It consists in preventing the world from destroying itself. Heir to a corrupt history, in which are mingled fallen revolutions, technology gone mad, dead gods, and worn-out ideologies, where mediocre powers can destroy all yet no longer know how to convince, where intelligence has debased itself to become the servant of hatred and oppression, this generation starting from its own negations has had to re-establish, both within and without, a little of that which constitutes the dignity of life and death. In a world threatened by disintegration, in which our grand inquisitors run the risk of establishing forever the kingdom of death, it knows that it should, in an insane race against the clock, restore among the nations a peace that is not servitude, reconcile anew labour and culture, and remake with all men the Ark of the Covenant. It is not certain that this generation will ever be able to accomplish this immense task, but already it is rising everywhere in the world to the double challenge of truth and liberty and, if necessary, knows how to die for it without hate. Wherever it is found, it deserves to be saluted and encouraged, particularly where it is sacrificing itself. In any event, certain of your complete approval, it is to this generation that I should like to pass on the honour that you have just given me.

At the same time, after having outlined the nobility of the writer's craft, I should have put him in his proper place. He has no other claims but those which he shares with his comrades in arms: vulnerable but obstinate, unjust but impassioned for justice, doing his work without shame or pride in view of everybody, not ceasing to be divided between sorrow and beauty, and devoted finally to drawing from his double existence the creations that he obstinately tries to erect in the destructive movement of history. Who after all this can expect from him complete solutions and high morals? Truth is mysterious, elusive, always to be conquered. Liberty is dangerous, as hard to live with as it is elating. We must march toward these two goals, painfully but resolutely, certain in advance of our failings on so long a road. What writer would from now on in good conscience dare set himself up as a preacher of virture? For myself, I must state once more that I am not of this kind. I have never been able to renounce the light, the pleasure of being, and the freedom in which I grew up. But although this nostalgia explains many of my errors and my faults, it has doubtless helped me toward a better understanding of my craft. It is helping me still to support unquestioningly all those silent men who sustain the life made for them in the world only through memory of the return of brief and free happiness.

Thus reduced to what I really am, to my limits and debts as well as to my difficult creed, I feel freer, in concluding, to comment upon the extent and the generosity of the honour you have just bestowed upon me, freer also to tell you that I would receive it as an homage rendered to all those who, sharing in the same fight, have not received any privilege, but have on the contrary known misery and persecution. It remains for me to thank you from the bottom of my heart and to make before you publicly, as a personal sign of my gratitude, the same and ancient promise of faithfulness which every true artist repeats to himself in silence every day.

(December 10, 1957; translated from the French)

Ralph Waldo Emerson (all)

From "Self-Reliance" by Ralph Waldo Emerson:

"I read the other day some verses written by an eminent painter which were original and not conventional. The soul always hears an admonition in such lines, let the subject be what it may. The sentiment they instil is of more value than any thought they may contain. To believe your own thought, to believe that what is true for you in your private heart is true for all men, — that is genius. Speak your latent conviction, and it shall be the universal sense; for the inmost in due time becomes the outmost,—— and our first thought is rendered back to us by the trumpets of the Last Judgment. Familiar as the voice of the mind is to each, the highest merit we ascribe to Moses, Plato, and Milton is, that they set at naught books and traditions, and spoke not what men but what they thought. A man should learn to detect and watch that gleam of light which flashes across his mind from within, more than the lustre of the firmament of bards and sages. Yet he dismisses without notice his thought, because it is his. In every work of genius we recognize our own rejected thoughts: they come back to us with a certain alienated majesty. Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on the other side. Else, to-morrow a stranger will say with masterly good sense precisely what we have thought and felt all the time, and we shall be forced to take with shame our own opinion from another.

There is a time in every man's education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better, for worse, as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given to him to till. The power which resides in him is new in nature, and none but he knows what that is which he can do, nor does he know until he has tried. Not for nothing one face, one character, one fact, makes much impression on him, and another none. This sculpture in the memory is not without preestablished harmony. The eye was placed where one ray should fall, that it might testify of that particular ray. We but half express ourselves, and are ashamed of that divine idea which each of us represents. It may be safely trusted as proportionate and of good issues, so it be faithfully imparted, but God will not have his work made manifest by cowards. A man is relieved and gay when he has put his heart into his work and done his best; but what he has said or done otherwise, shall give him no peace. It is a deliverance which does not deliver. In the attempt his genius deserts him; no muse befriends; no invention, no hope.

Trust thyself: every heart vibrates to that iron string. Accept the place the divine providence has found for you, the society of your contemporaries, the connection of events. Great men have always done so, and confided themselves childlike to the genius of their age, betraying their perception that the absolutely trustworthy was seated at their heart, working through their hands, predominating in all their being..."

(full text of the essay is available at http://www.emersoncentral.com/selfreliance.htm).

Welcome

Welcome Qiaotou First-Years. This will be our class website for the semester. You can find information about homework and upcoming exams here.