Motherhood is the great mesh in which all human relations are entangled, in which lurk our most elemental assumptions about love and power.
ADRIENNE RICHI feel more helpless with you than without you.
More Adrienne Rich Quotes
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For now, poetry has the capacity – in its own ways and by its own means – to remind us of something we are forbidden to see.
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Heterosexuality has been forcibly and subliminally imposed on women. Yet everywhere women have resisted it, often at the cost of physical torture, imprisonment, psychosurgery, social ostracism, and extreme poverty.
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Women’s art, though created in solitude, wells up out of community.
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One line typed twenty years ago can be blazed on a wall in spraypaint to glorify art as detachment or torture of those we did not love but also did not want to kill.
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It’s as if, in the mother’s eyes, her smile, her stroking touch, the child first reads the message:’You are there!’
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I’d call it love if love didn’t take so many years but lust too is a jewel.
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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.
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Can individual psychic wounds really heal in an abusive and fragmented society? Audre Lorde has a poem which begins,
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The beauty of darkness is how it lets you see.
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[The poet] is endowed to speak for those who do not have the gift of language, or to see for those who – for whatever reasons – are less conscious of what they are living through.
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We may feel bitterly how little our poems can do in the face of seemingly out-of-control technological power and seemingly limitless corporate greed, yet it has always been true that poetry can break isolation.
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There is no ‘the truth,’ ‘a truth’–truth is not one thing, or even a system. It is an increasing complexity.
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The serious revolutionary, like the serious artist, can’t afford to lead a sentimental or self-deceiving life.
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he ocean on whose surface vessels (personified as female) can ride but in whose depth sailors meet their death and monsters conceal themselves.
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And perhaps there is none now; but we will have to make it, we who want an end to suffering, who want to change the laws of history, if we are not to give ourselves away.
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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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I am a feminist because I feel endangered, psychically and physically, by this society and because I believe that the women’s movement is saying that we have come to an edge of history.
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Increasingly I think of poetry as a theatre of voices, not as coming from a single “I” or from any one position. I want to imagine voices different from my own.
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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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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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You must write, and read, as if your life depended on it.
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We can count on so few people to go that hard way with us.
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In America we have only the present tense. I am in danger. You are in danger.
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I cannot speak for you. Two thoughts: there is no liberation that only knows how to say ‘I’; there is no collective movement that speaks for each of us all the way through.
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Our personalities seem dangerously to blur and overlap with our mother’s; and, in a desperate attempt to know where mother ends and daughter begins, we perform radical surgery.
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The women’s movement appeared at a very crucial moment in my life. There was a whole political movement asking such questions and others I had never asked.
ADRIENNE RICH