How shall we ever make the world intelligent of our movement? I do not think that the answer lies in trying to render feminism easy, popular, and instantly gratifying. To conjure with the passive culture and adapt to its rules is to degrade and deny the fullness of our meaning and intention.
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.
An honorable human relationship ... is a process, delicate, violent, often terrifying to both persons involved, a process of refining the truths they can tell each other.
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.
There is no simple formula for the relationship of art to justice...In the end, I don’t think we can separate art from overall human dignity and hope. My concern for my country is inextricable from my concerns as an artist.
If the imagination is to transcend and transform experience it has to question, to challenge, to conceive of alternatives, perhaps to the very life you are living at the moment.
... how have I used rivers, how have I used wars
to escape writing of the worst thing of all--
not the crimes of other, not even our own death,
but the failure to want our freedom passionately enough
so that blighted elms, sick rivers, massacres would seem
mere emblems of that desecration of ourselves?
As a society in turmoil, we are going to see more, and more various, attempts to simulate order through repression; and art is a historical target for such efforts.
In 1945, just at the end of World War II, the American poet Muriel Rukeyser wrote a remarkable book called The Life of Poetry. In it she says that on any particular day in the world, if poetry ceased to exist, it would immediately be reinvented on that same day.