Writers matter in a society to the extent that we can help that society hear its unvoiced longing, encounter its erased and disregarded selves, break with complacency, numbness, despair.
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.
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.
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.
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.
One of the great functions of art is to help us imagine what it is like to be not ourselves, what it is like to be someone or something else, what it is like to live in another skin, what it is like to live in another body, and in that sense to surpass ourselves, to go out beyond ourselves.
Language is as real, as tangible, in our lives as streets, pipelines, telephone switchboards, microwaves, radioactivity, cloning laboratories, nuclear power stations.
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, 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.
The word revolution itself has become not only a dead relic of Leftism, but a key to the deadendedness of male politics: the revolution of a wheel which returns in the end to the same place; the revolving door of a politics which has liberated women only to use them, and only within the limits of male tolerance.