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Michael Dana Gioia ist ein US-amerikanischer Lyriker, Essayist und Literaturkritiker.

Gioia studierte Literatur an der Stanford University und bis 1975 vergleichende Literaturwissenschaft bei Robert Fitzgerald und Elizabeth Bishop an der Harvard University 1977 erwarb er an der Stanford University den Grad eines Master of Business Administration. Danach begann er bei General Foods in White Plains zu arbeiten und stieg dort bis zum Vizepräsidenten auf.

Bereits in dieser Zeit veröffentlichte er Gedichte und Essays in Zeitschriften, insbesondere im The New Yorker und in der The Hudson Review. Sein erster Gedichtband Daily Horoscope erschien 1986. 1991 erschien im The Atlantic Monthley sein Essay Can Poetry Matter. Dieser war titelgebend für seine erste Essaysammlung Can Poetry Matter?: Essays on Poetry and American Culture, die 1992 unter den Finalisten des National Book Critics Award für Kritiken war. Ebenfalls 1991 erschien sein zweiter Gedichtband The Gods of Winter,

1992 gab er seine Arbeit bei General Foods auf, um sich ganz der Literatur zu widmen. Es entstanden weitere Lyrik- und Essaybände. Außerdem schrieb Gioia zwei Opernlibretti , übersetzte Eugenio Montales Mottetti , war Mitherausgeber von zwei Anthologien italienischer Lyrik und Herausgeber von vier Textbüchern für den Literaturunterricht. Mit Interrogations at Noon gewann er 2002 den American Book Award.

2001 organisierte Gioa in Santa Rosa die Konferenz Teaching Poetry, die der Förderung des Hochschulunterrichts für Lyrik gewidmet war. Daneben unterrichtete er als Gastautor u. a. am Colorado College, der Johns Hopkins University, am Sarah Lawrence College, der Mercer University und der Wesleyan University. Von 2003 bis 2009 leitete er das National Endowment for the Arts. 2011 wurde er Judge Widney Professor of Poetry and Public Culture an der University of Southern California. Im Jahr 2015 wurde er als Poet Laureate des Staates Kalifornien geehrt. Wikipedia  

✵ 24. Dezember 1950
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Dana Gioia: Zitate auf Englisch

“Literature has many uses, not all of which occur in a classroom”

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Dana Gioia

20
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

“The writer needs good works—good literary ones”

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Dana Gioia

33
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“We lived in places that we never knew.
We could not name the birds perched on our sill,
Or see the trees we cut down for our view.
What we possessed we always chose to kill."We claimed the earth but did not hear her claim,
And when we died, they laid us on her breast,
But she refuses us — until we earn
Forgiveness from the lives we dispossessed.”

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Dana Gioia

"A California Requiem"
Poetry, Interrogations at Noon (2001)

“But the amateur who reads poetry from love or curiosity does have at least one advantage over the trained specialist who reads it from professional obligation. Amateurs have not learned to shut off parts of their consciousness to focus on only the appropriate elements of a literary text. They respond to poems in the sloppy fullness of their humanity”

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19
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

“What we conceal
Is always more than what we dare confide.
Think of the letters that we write our dead.”

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Dana Gioia

"Unsaid" http://www.danagioia.net/poems/unsaid.htm
Poetry, Interrogations at Noon (2001)

“Two great poets are stronger than two thousand mediocrities”

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Dana Gioia

31
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“Twisting through the thorn-thick underbrush,
scratched and exhausted, one turns suddenly
to find an unexpected waterfall,
not half a mile from the nearest road,
a spot so hard to reach that no one comes —
a hiding place, a shrine for dragonflies
and nesting jays, a sign that there is still
one piece of property that won't be owned.”

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Dana Gioia

"Rough Country" http://www.danagioia.net/poems/roughcountry.htm
Poetry, The Gods of Winter (1991)

“I did not want my son remembered by uncontrolled howls of pain. My wife and I suffered more than I can express, but to make poems merely out of the agony would have been self-pitying and dishonest. My son had been my greatest joy. His birth had left me awe-struck and humble before life. He turned me from a son into a father — and allowed me to understand my own father clearly for the first time. If I mourned him, I also wanted to preserve the joyful mystery of his existence. The sorrow could not be adequately appreciated without also expressing the joy and wonder.”

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"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

“The Catholic writer really needs only three things to succeed: faith, hope and ingenuity”

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31
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“Being so deeply rooted in one place and culture allows a genuine writer to experiment wildly with the material without ever losing touch with its essence.”

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"The Most Unfashionable Poet Now Alive: Charles Causley," http://www.danagioia.net/essays/ecausley.htm published in The Dark Horse (Summer 1997 and Spring 1998)
Essays

“Like the intricately rational web of theology woven around the irrational mysteries of faith, the sober explanations of institutions for hoarding literary relics seem like elegant post-factum justifications for what is essentially a sense of sacred awe. An institution of learning seeks significant manuscripts because they possess qualities that scholarship cannot entirely reproduce — an authentic, holistic connection with the great writers of the past. It is not the intellectual content of the manuscript that is important but its material presence — ink spots, tobacco stains, pinworm holes, and foxing included.”

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"The Magical Value of Manuscripts," http://www.danagioia.net/essays/ehop.htm The Hudson Review (Spring 1996); later published as an introduction to The Hand of the Poet: Poems and Papers in Manuscript, ed. Rodney Phillips (1997)
Essays

“For thousands of years, poetry was taught badly, and consequently it was immensely popular”

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24
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

“The marketplace does only one thing — it puts a price on everything.The role of culture, however, must go beyond economics. It is not focused on the price of things, but on their value. And, above all, culture should tell us what is beyond price, including what does not belong in the marketplace. A culture should also provide some cogent view of the good life beyond mass accumulation. In this respect, our culture is failing us.”

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Commencement speech http://news-service.stanford.edu/news/2007/june20/gradtrans-062007.html, Stanford University (2007-06-17)
Speeches and lectures

“Once an author finishes a poem, he becomes merely another reader. I may remember what I intended to put into a text, but what matters is what a reader actually finds there — which is usually something both more and less than the poet planned.”

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"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

“Even if great poetry continues to be written, it has retreated from the center of literary life. Though supported by a loyal coterie, poetry has lost the confidence that it speaks to and for the general culture.”

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Essays, Can Poetry Matter? (1991)

“Paradoxically, the simpler poetry is, the more difficult it becomes for a critic to discuss intelligently. Trained to explicate, the critic often loses the ability to evaluate literature outside the critical act. A work is good only in proportion to the richness and complexity of interpretations it provokes.”

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"The Anonymity of the Regional Poet: Ted Kooser," from Can Poetry Matter? Essays on Poetry and American Culture (1992)
Essays

“Like gladiator games and pyramid building, opera has always been a gloriously money-losing proposition. It is the most extravagant of arts, requiring the constant support of kings, dictators, plutocrats, and town councils. Box-office success is no solution. San Francisco Opera loses money at every sold-out performance. Sane business practices simply don’t suffice. Composer Richard Wagner’s patron, King Ludwig II of Bavaria, was the ideal operatic angel — very rich and certifiably insane. Mel Brooks’ shyster producer Max Bialystock need not have mounted Springtime for Hitler to score a surefire loss. Aida would have done just fine.”

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"Drama at the Opera House," http://www.danagioia.net/essays/eoperahouse.htm San Francisco Magazine (September 2001)
Essays

“Pop music provides useful perspective on Plato’s association of poetry with madness. There was something dangerously irrational in poetry that worried the philosopher. It wasn’t the semantic content but the visceral power of the sound and rhythm. Poetry compellingly communicates feelings that lie beyond or beneath rational discourse. The physicality of poetic speech separates it from the conceptual language of philosophy”

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12
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

“Poetry is not a branch of analytical philosophy. It is a primal, holistic kind of human communication. A poet needs innocence as much as knowledge, emotion as much as intelligence, vulnerability as much as rigor. A poet can become too smart for his or her own good and forget the childlike pleasures of sound and story, sense, and sensuality that poetry should provide. The challenge for a writer is to master the medium of poetry without losing that inner innocence.”

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"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

“Money. You don't know where it's been,
but you put it where your mouth is.
And it talks.”

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"Money" http://www.danagioia.net/poems/money.htm
Poetry, The Gods of Winter (1991)