Marilynn Robinson: Paris Review interview, quotes

I read “Housekeeping” years ago, and knew I was in the hands of a great writer.  Since I’ve learned you can be a great artist yet an execrable person, in my cynicism I didn’t form an interest in her on account of just one brilliant book.

Now comes this interview, with the comment in the preface that she is a “Christian”.  In this day and age that tells us little about her actual dogmatics,  and the interview doesn’t help us much on that score, but she is a factory of contemplation-inducing quotes.

The Paris Review – The Art of Fiction No. 198

I  don’t like categories like religious and not religious. As soon as religion draws a line around itself it becomes falsified. It seems to me that anything that is written compassionately and perceptively probably satisfies every definition of religious whether a writer intends it to be religious or not.

You have to have a certain detachment in order to see beauty for yourself rather than something that has been put in quotation marks to be understood as “beauty.” Think about Dutch painting, where sunlight is falling on a basin of water and a woman is standing there in the clothes that she would wear when she wakes up in the morning—that beauty is a casual glimpse of something very ordinary. Or a painting like Rembrandt’s Carcass of Beef, where a simple piece of meat caught his eye because there was something mysterious about it. You also get that in Edward Hopper: Look at the sunlight! or Look at the human being! These are instances of genius. Cultures cherish artists because they are people who can say, Look at that. And it’s not Versailles. It’s a brick wall with a ray of sunlight falling on it.

 

There was a time when people felt as if structure in most forms were a constraint and they attacked it, which in a culture is like an autoimmune problem: the organism is not allowing itself the conditions of its own existence. We’re cultural creatures and meaning doesn’t simply generate itself out of thin air; it’s sustained by a cultural framework. It’s like deciding how much more interesting it would be if you had no skeleton: you could just slide under the door.

The New Atheist types, like Dawkins, act as if science had revealed the world as a closed system. That simply is not what contemporary science is about. A lot of scientists are atheists, but they don’t talk about reality in the same way that Dawkins does. And they would not assume that there is a simple-as-that kind of response to everything in question. Certainly not on the grounds of anything that science has discovered in the last hundred years.

As an achievement, science is itself a spectacular argument for the singularity of human beings among all things that exist. It has a prestige that comes with unambiguous changes in people’s experience—space travel, immunizations. It has an authority that’s based on its demonstrable power. But in discussions of human beings it tends to compare downwards: we’re intelligent because hyenas are intelligent and we just took a few more leaps.

The first obligation of religion is to maintain the sense of the value of human beings. If you had to summarize the Old Testament, the summary would be: stop doing this to yourselves. But it is not in our nature to stop harming ourselves. We don’t behave consistently with our own dignity or with the dignity of other people. The Bible reiterates this endlessly.

…a mystical experience would be wasted on me. Ordinary things have always seemed numinous to me. One Calvinist notion deeply implanted in me is that there are two sides to your encounter with the world. You don’t simply perceive something that is statically present, but in fact there is a visionary quality to all experience. It means something because it is addressed to you. This is the individualism that you find in Walt Whitman and Emily Dickinson. You can draw from perception the same way a mystic would draw from a vision.

I don’t try to teach technique, because frankly most technical problems go away when a writer realizes where the life of a story lies. I don’t see any reason in fine-tuning something that’s essentially not going anywhere anyway. What they have to do first is interact in a serious way with what they’re putting on a page. When people are fully engaged with what they’re writing, a striking change occurs, a discipline of language and imagination.

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