The vixen I met at twilight on Route 5 south of Willoughby: long dead. She was an omen to me, surviving, herding her cubs in the silvery bend of the road in nineteen sixty-five.
ADRIENNE RICHThe most notable fact that our culture imprints on women is a sense of our limits.
More Adrienne Rich Quotes
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We are, none of us, ‘either’ mothers or daughters; to our amazement, confusion, and greater complexity, we are both.
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We who were loved will never unlive that crippling fever.
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the channel of art can only become clogged and misdirected by the artist’s concern with merely temporary and local disturbances. The song is higher than the struggle.
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Reality, the oppressor’s tongue.
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I am a woman in the prime of my life, with certain powers and those powers severely limited by authorities whose faces I rarely see.
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Lying is done with words and also with silence.
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A revolutionary poem will not tell you who or when to kill, what and when to burn, or even how to theorize. It reminds you… where and when and how you are living and might live, it is a wick of desire.
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There must be those among whom we can sit down and weep, and still be counted as warriors. (I make up this strange, angry packet for you, threaded with love.) I think you thought there was no such place for you, and perhaps there was none then.
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It’s exhilarating to be alive in a time of awakening consciousness; it can also be confusing, disorienting, and painful.
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But before we were mothers, we have been, first of all, women, with actual bodies and actual minds.
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Art means nothing if it simply decorates the dinner table of power which holds it hostage.
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I am a citizen of a country that has just undergone a thieved election, a country deeply and dangerously divided between rich and poor, but also between rich and middle class.
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We must use what we have to invent what we desire.
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The truth of our bodies and our minds has been mystified to us. We therefore have primary obligation to each other: not to undermine each other’s sense of reality for the sake of expediency; not to gaslight each other.
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Even the most angry, even the darkest, even the most grief-stricken, and even the most embittered art has that element somewhere behind it. Because how could you be so despairing, so embittered, if you had not had something you loved that you lost?
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When my dreams showed signs of becoming politically correct no unruly images escaping beyond borders … then I began to wonder
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if we are unaware that women even have a history–we live our lives similarly unanchored, drifting in response to a veering wind of myth and bias.
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We have seen over and over that white male historians in general have tended to dismiss any history they didn’t themselves write,on the grounds that it is unserious, unscholarly, a fad, too “political,” “merely” oral and thus unreliable.
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A book of poems doesn’t just come out by chance, an editor has to select it, a publisher has to distribute it or you will never see it.
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We might possess every technological resource… but if our language is inadequate, our vision remains formless.
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When we look closely, or when we become weavers, we learn of the tiny multiple threads unseen in the overall pattern, the knots on the underside of the carpet
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Show us to ourselves when we are outlawed or made invisible, remind us of beauty where no beauty seems possible, remind us of kinship where all is represented as separation.
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Strangers are an endangered species.
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It is unstable and threatening as the earth is not; it spawns new life daily, yet swallows up lives; it is changeable like the moon, unregulated, yet indestructible and eternal.
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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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A decade of cutting away dead flesh, cauterizing old scars ripped open over and over and still it is not enough.
ADRIENNE RICH