Terry Teachout quotes
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“I know that luck has a way of happening to people who shoot high, who never sell themselves short.”
-- Terry Teachout -
“EXTREMELY FUNNY! A SUPER-VIRTUOSO! I expected to enjoy 'The Two and Only,' but I didn't expect to be touched, much less to find my eyes growing moist.”
-- Terry Teachout -
“The best of Donald Westlake's pseudonymous thrillers about Parker, the toughest burglar who ever lived. . . .Out of print for years and years, Butcher's Moon is the ultimate Parker novel, best read as an installment in the series as a whole but comprehensible and wholly satisfying on its own.”
-- Terry Teachout -
“I wouldn't care to speculate about what it is in Westlake's psyche that makes him so good at writing about Parker, much less what it is that makes me like the Parker novels so much. Suffice it to say that Stark/Westlake is the cleanest of all noir novelists, a styleless stylist who gets to the point with stupendous economy, hustling you down the path of plot so briskly that you have to read his books a second time to appreciate the elegance and sober wit with which they are written.”
-- Terry Teachout -
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“Whether early or late, the Parker novels are all superlative literary entertainments.”
-- Terry Teachout -
“This impeccably researched study of the classic black insult game may be the funniest work of serious scholarship ever published.”
-- Terry Teachout -
“We are born into a vast room whose walls consist of a thousand doors of possibility. Each door is flung open to the world outside, and the room is filled with light and noise. We close some of the doors deliberately, sometimes with fear, sometimes with calm certainty. Others seem to close by themselves, some so quietly that we do not even notice.”
-- Terry Teachout -
“(R)eality TV (is) a medium dedicated to the proposition that with the help of judicious editing, carefully chosen half-wits can hold the attention of millions of their fellow half-wits for weeks on end.”
-- Terry Teachout -
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“If I ever see another Shakespeare production where somebody drives a Jeep on stage, I'm going to run screaming up the aisle. These tend to be matters of design. I mean, we're seeing a lot of - it's very common to see Shakespeare with automatic weapons, things like that. They are clichés. They're new clichés, but they are clichés. And they're provincial. It's not clever to do Henry V, and have everybody dressed in United Nations soldier's costumes anymore. I've seen that one too. That kind of thing irritates me.”
-- Terry TeachoutSource : Source: bigthink.com
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“I should also mention that the Neue Galerie is piping music into the galleries where "Klee and America" is hanging, a practice for which vulgar is not even close to the word. Yes, I like Schumann's Carnaval, but I'm damned if I know why anybody thinks the paintings of Paul Klee profit from being viewed with Carnaval playing in the background.”
-- Terry Teachout -
“A critic should always strive to recapture the sense of wonder and surprise with which he first beheld a now-familiar work of art.”
-- Terry Teachout -
“I was interested in Armstrong to begin with because he is the most important figure in Jazz in the 20th Century. There's simply no question about it. I mean, if you're going to compare him to somebody, it's Shakespeare in terms of centrality of the tradition, in being at the beginning of it.”
-- Terry TeachoutSource : Source: bigthink.com
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“I'm especially interested in what I call practitioner criticism, which is when people who practice an art form start writing about it on blogs. I think that's an immensely important development. I want to see much, much more of that. People who make music who are verbally articulate. And not all musicians are verbally articulate. But those who are should be encouraged to write about what they do and their perception of what other people do. It makes the discourse smarter.”
-- Terry TeachoutSource : Source: bigthink.com
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“The Armstrong record that I personally like the most, is a recording of a song by Harold Arlen called, "I Got a Right to Sing the Blues" . Most of Armstrong's solos tended to stick pretty close to the melody. But for some reason, it's like he let go of the tether and suddenly he's playing this beautiful high, almost abstract line that's floating above the beat. I compare it to the way that a 19th century operatic tenor might have sang an Aria because he's just completely let loose of the background and he's making this magic sort of flying above the staff.”
-- Terry TeachoutSource : Source: bigthink.com
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“Your regional newspaper, and I like to use this example, in your local museum buys a Picasso, that's news especially if they've spent $10 million for it. But if you don't have a credit on your staff then you don't have anybody who's confident to say whether or not it was a good Picasso, might even be aware of the fact that there are bad Picassos. Arts journalists who don't have the experience of criticism, the skill of criticism, don't think in terms of critical evaluation are not going to be as good a journalist as they might be.”
-- Terry TeachoutSource : Source: bigthink.com
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“I had a checklist in my mind of the things that make a biography practical. Is the source material centralized? Is it easy to find? Are there new primary sources that no one has ever had access to? Are all the sources in English? If they're not, are they in a language that you speak? And I realized that not only is Armstrong the most important figure of Jazz in the 20th Century, but he's a perfect subject for a biography for all of these reasons. I had always loved his music and I had been fascinated in him as a personality. And that's really the key to writing a biography.”
-- Terry TeachoutSource : Source: bigthink.com
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“That's something you can't get off the wires in New York is people providing intelligent coverage of what your theater company in Podunk is up to. Many of the people who write what we call amateur criticism are professionals in anything other than name and receiving a paycheck. Very often, they know more than the professional critic who might be writing for their local newspaper. So, really, I'm all for it. It's changing the playing field, it's shaking things up, it's going to make the critical environment a healthier environment.”
-- Terry TeachoutSource : Source: bigthink.com
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“Virgil Thomson, the great classical music critic, who was also a composer, but said that criticism was the only antidote he knew to pay publicity. Critics at their best are independent voices people take seriously their responsibility to see as many things as they can see, put them in the widest possible perspective, educate their readers, I really do think of myself as a teacher. Newspapers that don't carry arts criticism at all while not fulfill this function. And probably their arts journalism will be deprived as a result.”
-- Terry TeachoutSource : Source: bigthink.com
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“There will be this mix of people like me who write for major national newspapers and amateur critics, practitioner critics, whose primary way of distributing what they talk about is through blogs and on the web. The line between professional and amateur criticism will become increasingly blurred. The problem here is that if you want to do this for a living, you have to be able to earn a living doing it.”
-- Terry TeachoutSource : Source: bigthink.com
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“The papers that flourish will be papers that serve a national audience. Papers that have figured out how to make the transition to the electronic platform that aren't simply providing a duplicate experience of the words on paper experience, but are doing something that arises organically from the new electronic medium. It's really just a matter of finding the right platforms for the way people want to read newspapers. I mean, maybe it will be the iPhone. But one way or another, newspapers on paper are just not really going to exist to any significant degree within a decade.”
-- Terry TeachoutSource : Source: bigthink.com
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“And Paul Moravec, not being a theater person, would always trust me when I said things that I am like, "you're going to need another 10 seconds of music year to get them across the stage." But I always knew that the people were going to be coming to hear his music of which my words are going to be a part. It was clear that he wanted to go and direction A., and I wanted to go and direction B. We would've gone and direction A. That's the most important piece of advice I can give to anybody who finds themselves in an opera, or musical comedy situation like that.”
-- Terry TeachoutSource : Source: bigthink.com
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“Direction is the most invisible part of the theatrical art. It's not like the conductor in the symphony orchestra performance because he's standing in front of you waiving his arms. You now what he's doing. You don't know what the director is doing unless you know a lot about theater and even then you can only deduce it. You know it when you go to rehearsal. You really know it when they are rehearsing something of yours. I learned more in the rehearsals for The Letter than I have ever dreamed of know in the theater as a critic. If it doesn't make me a better critic, I'm an idiot.”
-- Terry TeachoutSource : Source: bigthink.com
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“I've always loved opera; it never occurred to me that I would write a proper libretto. One of my closest friends is a composer, Paul Moravec, and a few years ago, Paul and I were at lunch, and I said to him, "you really have to write an opera." So, he says very casually to me, "I'll do it if you write the libretto." Well, little did I know that the within a couple of years we would end up getting a commission from the Santa Fe Opera to write an opera together, "The Letter," which turned out to be the most successful commissioned opera in the history of the Santa Fe Opera.”
-- Terry TeachoutSource : Source: bigthink.com
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“The wonderful thing about theater is that anything, no matter how tendentious, no matter how stupid it sounds at first glance, can be made to work if it is charged with freshness and originality. You can have an entirely political Shakespeare production and I'll be sitting on the edge of my seat as long as it's surprising, as long as it's not just the standard, "out of the box" pseudo-transgressive production that we just see too much of nowadays.”
-- Terry TeachoutSource : Source: bigthink.com
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