False history gets made all day, any day, the truth of the new is never on the news False history gets written every day … the lesbian archaeologist watches herself sifting her own life out from the shards she’s piecing, asking the clay all questions but her own.
ADRIENNE RICHIf I cling to circumstances I could feel not responsible. Only she who says she did not choose, is the loser in the end.
More Adrienne Rich Quotes
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The dialectic between change and continuity is a painful but deeply instructive one, in personal life as in the life of a people.
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The connections between and among women are the most feared, the most problematic, and the most potentially transforming force on the planet.
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The decision to feed the world is the real decision. No revolution has chosen it. For that choice requires that women shall be free.
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It is important to do this because it breaks down human self-delusion and isolation. It is important to do this because in doing so we do justice to our own complexity.
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We move but our words stand become responsible for more than we intended and this is verbal privilege
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Practicing till strengthand accuracy became one with the daringto leap into transcendence, take the chance of breaking down in the wild arpeggioor faulting the full sentence of the fugue.
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Passion for survival is the great theme of women’s poetry.
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False history gets made all day, any day, the truth of the new is never on the news.
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The difficulty of saying I-a phrase from the East German novelist Christa Wolf. But once having said it, as we realize the necessity to go further, isn’t there a difficulty of saying ‘we’? You cannot speak for me.
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Until we know the assumptions in which we are drenched, we cannot know ourselves.
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When I talk of taking a trip I mean forever.
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No one has imagined us. We want to live like trees, sycamores blazing through the sulfuric air, dappled with scars, still exuberantly budding, our animal passion rooted in the city.
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I’ve known great happiness in my life along with great darkness, and a question that has repeatedly entered my poetry has been, how do we use the direct experience of happiness that may be given us.
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There is the falsely mystical view of art that assumes a kind of supernatural inspiration, a possession by universal forces unrelated to questions of power and privilege or the artist’s relation to bread and blood. In this view.
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The longer I live the more I mistrust theatricality, the false glamour cast by performance, the more I know its poverty beside the truths we are salvaging from the splitting-open of our lives. -from “Transcendental Etude
ADRIENNE RICH