Sexist grammar burns into the brains of little girls and young women a message that the male is the norm, the standard, the central figure beside which we are all deviants, the marginal, the dependent variables. It lays the foundation for androcentric thinking, and leaves men safe in their solipsistic tunnel-vision.
In the States, there has been, compared to the Sixties and Seventies, a huge retrenchment - not just in poetry - into the personal. A withdrawal from thinking in terms of social and collective values, needs and solutions. The consciousness-raising groups of the women's movement, for instance, becoming "support-groups" or therapy groups.
Women's Studies can amount simply to compensatory history; too often they fail to challenge the intellectual and political structures that must be challenged if women as a group are ever to come into collective, nonexclusionary freedom.
We've learned a lot from the great psychologists. Wilhelm Reich wrote about the relationship between fascism and sexual repression. Freud rediscovered the underworld of consciousness that European rationalism had denied. But when you have a nation of people in therapy and counselling, "support" groups for every kind of human condition, where, in the clichés of that milieu, people "share" and "heal," the question, "What for?", "What now?" is no longer asked.
I have an inward treasure born with me, which can keep me alive if all the extraneous delights should be withheld or offered only at a price I cannot afford to give.
Responsibility to yourself means that you don't fall for shallow and easy solutions-it means that you refuse to sell your talents and aspirations short.
I think my work comes out of both an intense desire for connection and what it means to feel isolated. There's always going to be a kind of tidal movement back and forth between the two.
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.
The impulse to create begins - often terribly and fearfully - in a tunnel of silence. 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?
I am an instrument in the shape/ of a woman trying to translate pulsations/ into images for the relief of the body/ and the reconstruction of the mind.