I actually did a quick survey of how caste plays out in contemporary India. The idea that democracy and development have in some ways eroded caste turned out not to be the case, that it has in fact been entrenched and modernised.
The U.S. corporate media, otherwise known as the "free press," is that hollow pillar on which contemporary American democracy rests.
I'm about fifty years behind as far as my preferences go and I must say that the poets who excite me most are the Americans. There are very few contemporary English poets that I admire.
There's nothing easy or simple or even entertaining (in our contemporary American sense of that word) in disciplining our minds to "see" reality through biblical lenses; it takes effort and time. But Christians who don't take that effort and time will inevitably succumb to some of the anti-biblical and anti-Christian messages that bombard us every day through advertising, entertainment, etc.
Contemporary nations such as Sweden, Norway, and Finland, where women are half of the national legislatures, have more caring policies, less violence, and more environmentally sustainable policies. These are connections we must pay attention to if we are to build a better future for us all.
Younger people who are being indoctrinated into the contemporary system of falsification - they really have to do some research to find out what is the truth. In the general population, people forget or don't care that much. And gradually what you hear drilled into your head everyday comes to be believed. People don't understand what you're talking about any more if you discuss the American war on South Vietnam.
The possibility of interpersonal communication has increased substantially with contemporary technology. But as compared with the major changes, which were long ago, these are not huge.
Contemporary culture in Pakistan, just like in America, is continuously hitting us with scary stuff. And so we are utterly anxious. I think that it's very important to resist that anxiety, to think of ways of resisting the constant inflow of negative feelings, not to become depoliticized as a result but to actually work actively to bring into being an optimistic future.
I read a lot by female psychoanalyst Lou Andreas-Salomé, who wrote prominent biographies of Nietzsche, Rilke, and Freud because she studied with all of them. She had this unbelievable insight into contemporary psychoanalysis. What is so interesting is that she wrote her life, and she knew that her life would be about these men, and it didn't stop her from leading an incredibly successful academic career. But her strange self-awareness that she was going to bookmark these men's lives is really interesting to me.
I do like the idea of the novel of repressed college students being a contemporary novel of courtship! I guess what I would say to that is, we tend to think of historical periods and historical mores as ending a lot more concretely than they do. Like, in an Austen novel, there are lots of reasons - cultural, moral, religious - why the characters don't have sex during courtship. Maybe, even though those reasons have kind of expired, historically, they're still around in some sense.
We were living with Bernard [Leach] in his home. He had a fantastic collection of early English and Japanese and Chinese and Korean pots and German pots, contemporary English work as well. And we had access to this collection.
I first wrote down all the phenomena that have emerged in contemporary society that I thought were related to this theme ["sea of oblivion"], and then sorted them out by grouping them into islands of ideas.
When we talk about contemporary art and contemporary artists, we usually imagine artists who are alive. But I feel very uncomfortable about placing a border between living artists and dead artists.
The artists could be dead, but some of them are not so distant from us, and make us feel as if they are alive with us. Such artists are worth calling "contemporary artists".
Leonard de Vinci, for example, is a great artist, but he is living in the past. However, I don't feel John Cage and Matsuzawa Yutaka as artists who live in the past. Their ideas are still alive in our world because they express the very important concerns of our age. That is why I could trust them as "contemporary artists".
I'm educating myself more about world poetry. I know a lot about contemporary American poetry, so I felt I needed to learn more about figures like Borges, Akhmatova, Neruda, etc. I felt I needed a bigger lens to see poetry through. It really helps to see poetry as a world language, and not just something American.
If you know anything about Islamic civilization, or about the contemporary Middle East, about the sociology and the anthropology of the people who live there, and their recent history, and their religion, and their motivation and everything, then you realize that changing Iraq into a democracy is not going to happen. It's just not going to happen.
If you read many contemporary literary novels today, you may notice that regardless of the subject matter there's a 'sameness' about them, the way in which thoughts are expressed and ideas, conveyed, the sometimes dogmatic application of what are, at best, useful maxims such as, 'less is more', the narrative techniques utilised, even the same, irritating, stylistic devices scattered like pepper all over the pages.
Ultimately, I want a peak experience in reading, and that is sometimes difficult to find in contemporary fiction. I'm not interested in books that are just clever and well executed; polish doesn't impress me, and I don't care about a merely capable sentence. Life is short; I want a confrontation with high art. I want soul.
Most contemporary artists are behind the bubble in time. They're making videos that are so incredibly boring compared to a good movie. Or they're making work where I say, "You realize minimal art is 50 or 60 years old?" That's what I tell people to shock them. They just blanch.
One of the biggest problems of our contemporary civilization is that there's been an interruption of transmission. People have no past in their present.
Populism in contemporary art can become a dirty word. There is this notion that to not be understood is a reflection of depth. I'm sure this is true in some cases, but on the whole I can't accept this as a vision of art. There's something so cynical about assuming your audience is unintelligent or that artists shouldn't care about their viewers.
Sometimes you get lit students that know a lot about the canon but virtually nothing about contemporary poetry and vice versa. I like to mix things up.
The formal stuff feels old and windy. Not to say you shouldn't know prosody. But it's a wonderful time for exploratory poetics. Contemporary poets are inventing all kinds of wild, complex shapes for poetry, as we see. It's a wonderful time, less ego-centered.
I hope I'm not implying role of contemporary poet for myself, although there's a kind of resonant paradigm. It's traditionally a difficult role.
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