If, as women, we accept a philosophy of history that asserts that women are by definition assimilated into the male universal,that we can understand our past through a male lens.
ADRIENNE RICHI am always interested in the ways of scoring the sound of the poem, especially a poem with long lines.
More Adrienne Rich Quotes
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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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Behind all art is an element of desire…Love of life, of existence, love of another human being, love of human beings is in some way behind all art.
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I touch you knowing we weren’t born tomorrow, and somehow, each of us will help the other live, and somewhere, each of us must help the other die.
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Re-vision — the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction – is for women more than a chapter in cultural history: it is an act of survival.
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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. the pattern of the carpet is a surface.
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The moment when a feeling enters the body/ is political. This touch is political
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Lying is done with words and also with silence.
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Young people know they are being betrayed by he mass electronic media. It caricatures them, caricatures others.
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The beauty of darkness is how it lets you see.
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It is as though the risks of the poet’s existence can be put to some use beyond her own survival.
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There is, clearly, both enormous hunger for the work thus being diffused, and an explosion of creative energy, bursting through the coercive choicelessness of the system on whose boundaries we are working.
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I wanted him [my father] to cherish and approve of me, not as he had when I was a child, but as the woman I was, who had her own mind and had made her own choices.
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Since men are loyal at least to their own world-view, their laws of brotherhood and self-interest.
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Every real poem is the breaking of an existing silence, and the first question we might ask any poem is, What kind of voice is breaking silence, and what kind of silence is being broken?
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If you think you can grasp me, think again: my story flows in more than one direction, a delta springing from the river bed with its five fingers spread.
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I believe that words can help us move or keep us paralysed, and that our choices of language and verbal tone have something – a great deal – to do with how we live our lives and whom we end up speaking with and hearing.
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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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It can speak to people who have themselves felt like monsters and say: you are not alone, this is not monstrous. It can disturb and enrapture.
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A language is a map of our failures.
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I long to create something that can’t be used to keep us passive: I want to write a script about plumbing, how every pipe is joined to every other.
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What we see, we see and seeing is changing
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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.
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The will to change begins in the body, not in the mind.
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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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The moment of change is the only poem.
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We’ve learned a lot from the great psychologists. Wilhelm Reich wrote about the relationship between fascism and sexual repression.
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