Louis Menand quotes:

Never be afraid to try something new. Remember, amateurs built the ark; professionals built the Titanic. Never, btw, ask that androgynous paper clip anything. S/he is just a stooge for management, leading you down more rabbit holes of options for things called Wizards, Macros, Templates, and Cascading Style Sheets.

I don't think people believe that any more, I don't think people think that it really matters whether you appreciate Henry James more than Theodore Dreiser.

I do worry a lot about the time it takes for people to get a PhD, about the difficulty of finding employment, about the difficulty of getting tenure, and generally about the perception that undergraduates have, that this is a very high-risk career to get started.

Quotable quotes are coins rubbed smooth by circulation.

Basically what you want in any profession - I would say the same thing if I were a lawyer or a doctor - is you want bright undergraduates to look at your profession as something they would be interested in getting into.

Diminished circumstances had no effect on his sense of what was honorable: after The Spectator sent him a check for a piece it had accepted but was unable to run for a lack of space, he refused to write for the magazine again.

If you write for the New Yorker, you always get people critiquing your grammar, you can count on it. So, because a lot of New Yorker readers are kind of, you know, amateur grammarians and so you do get a lot of that.

If time is a staircase, reality is a Slinky.

The short story is not as restrictive as the sonnet, but, of all the literary forms, it is possibly the most single-minded. ...at the end there has to be the literary equivalent of the magician's puff of smoke, an outcome that is both startling and anticipated.

Cognitive science is a rapidly developing area, so it could be that there are some surprises around the corner. That does seem to be kind of where the trend line is leading.

Harvard has something that manages, I think, to provide a lot of options for students, but still fairly prescriptive about the kinds of subjects that the courses ought to cover.

I think in general there's no point in going into a field like English literature if you're not going to have fun with it.

Just in higher education alone, more people go to college now, by enormous amounts, than went to college in the '50's and '60's. So that represents a whole new literate public that's a consumer of literature, of news, of print, of, you know, opinion. And that's a bigger audience and much more diverse audience than it used to be.

A person whose financial requirements are modest and whose curiosity, skepticism and indifference to reputation are outsized is a person at risk of becoming a journalist.

For the kind of places I've written for and the kind of writing that I've done, the general way to think about your audience is to think about somebody who's like yourself, but in a completely different discipline.

Getting faculties to come to a consensus about something that they've never really thought about or had to worry about in their careers before can be a rather slow process and a long process, it certainly was the case at Harvard, and it's the case with most of the general education curricula that I know of, it takes four or five years just to get everybody on board with one idea.

I don't really usually push an agenda, and I don't feel that my main job is to persuade people of something. My main job is to help them think about something.

I don't think that taste should be the decider of moral issues.

I don't think that you want to see universities in any way trying to have any kind of quota system about political views, or views in general. You want the market to work in the way the market works.

I don't think the same curriculum fits every student body.

I suppose everybody does get attached to characters whether in movies or in stories, but I think that's part of the reason you get involved with literature is because there's somebody that grabs you about it and then you want to figure out why.

I think at a place like Harvard, our experience, I was involved with, at various stages, in trying to implement a new general education curriculum, our experience was that Harvard's all about specialization, that's not just true of the professori, it's also true of a lot of the undergraduates, too, and they come, they kind of know what they want to do, they select it because they have a strong aptitude for something in particular.

I think our sensibility is not modernist anymore, that is, sensibility of people who are interested in art and literature.

I think that the idea that there's such a thing as a national literature that's somehow uniquely expressive of a national soul or culture or mentality is probably also something that nobody really believes in anymore.

I'm not one of the people who has a kind of scholarly hat and writes in a certain way for an academic audience and then puts on a public intellectual hat and writes a different way for a different kind of readership. I generally write the way I write, no matter what and it seems to have worked for me.

It's difficult to get a job and people stay in school longer because they're employed as teaching assistants or instructors by their schools, by their schools where they're graduate students, and that does become exploitative eventually because they're very cheap labor and there's a way in which in it's not in the institution's interest to give them a degree if they can continue to employ them, I don't think anybody thinks that way, but effectively that's the way the system is starting to work.

It's generally sort of sociologically observed that the better educated people are, the more liberal they tend to be, which would suggest that professors are going to be more liberal than the general public.

It's very hard to know who your readers are, but that's who I'm... if I have somebody in my head, that's probably who it is.

Literature is being taught as though it were only political medicine or political poison-a view that is not only illiberal but illiterate.

My own view is that the general education curriculum that a college picks has to be appropriate for the kind of student body that it has.

Obviously input is helpful to faculty in trying to come up with a curriculum, but ultimately it's the faculty's job to know what students need to know. Make a decision about it and present it.

One of the functions of literary criticism, or reviewing, generally - and I, most of my reviews actually are not about literature - but one of the functions of that is basically the sort of Consumer Reports function of letting readers know whether this is something they want to read.

One of the good things about the profession of being a professor, is that you also have time to do what interests you and what you care about or what you're good at.

One of the oddities about responses that you get to what you write, if you get a fair number of them, is that people have very different ideas of what you said.

Public circulation is what renders something a quotation. It's quotable because it's been quoted, and its having been quoted gives it authority.

The difficulty with coming up with a curriculum is mainly that faculty aren't trained to think in terms of general education. They're trained to think in terms of their own discipline, or their specialty.

The job of the critic, as it might have been conceived in the 1950's or 1960's, was some kind of role of moral arbiter for people, not a huge number of people, but people who were, you know, fairly educated, well-placed people.

The time between Bachelor's degree and a PhD, the median time is over 11 years. So then you're still only on a tenure ladder, you're not tenured. So it generally takes 6 to 8 years after that to get tenure. So that's a very long period of what's essentially apprenticeship, of insecurity.

The way universities operate is the decision about what students need for the degree are... is the decision made by the faculty.

There are limits, after all, to the idea of limits.

Universities are set up to get people to work together by having them disagree with each other.

We have much wisdom to gain by learning to understand other people's cultures and permitting ourselves to accept that there is more than one version of reality.

When I was young, I went to college, had a teacher who was, had been a student of Trilling's at Columbia, this was in California. And he, I started reading him around that time, and then I went to Columbia as well, Trilling was still teaching there, I took a course with him. He was not a great teacher, but he was, when I was younger, he was a good model for the kind of criticism I wanted to do, because he thought very dialectically.

Writers are not mere copyists of language; they are polishers, embellishers, perfecters. They spend hours getting the timing right so that what they write sounds completely unrehearsed.

You have to have students wanting to take the courses, otherwise you're not going, they're not going to be very effective.

You want diversity in any intellectual organization. I mean, that's how good ideas arise.

Sometimes people won't even finish a piece that you wrote, because they've already decided what it is that you want to say, and generally I, whatever I say in the first half of the piece, you should not assume I'm going to end up with, but they don't finish reading them. So, and people read fast and stuff.