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?
We assume that politicians are without honor. We read their statements trying to crack the code. The scandals of their politics: not so much that men in high places lie, only that they do so with such indifference, so endlessly, still expecting to be believed. We are accustomed to the contempt inherent in the political lie.
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; and that we can deflect words by trivialization, of course, but also by ritualized respect, or we can let them enter our souls and mix with the juices of our minds.
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.
When someone with the authority of a teacher, say, describes the world and you are not in it, there is a moment of psychic disequilibrium, as if you looked into a mirror and saw nothing. Yet you know you exist and others like you, that this is a game with mirrors. It takes some strength of soul--and not just individual strength, but collective understanding--to resist this void, this nonbeing, into which are thrust, and to stand up, demanding to be seen and heard.
In order to live a fully human life we require not only control of our bodies (though control is a prerequisite); we must touch the unity and resonance of our physicality, our bond with the natural order, the corporeal grounds of our intelligence.
Women have always been seen as waiting: waited to be asked, waiting for our menses, in fear lest they do or do not come, waiting for men to come home from wars, or from work, waiting for children to grow up, or for the birth of a new child, or for menopause.
... 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?
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.
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.
White hate crimes, white hate speech. I still try to claim I wasn't brought up to hate. But hate isn't the half of it. I grew up in the vast encircling presumption of whiteness - that primary quality of being which knows itself, its passions, only against an otherness that has to be dehumanized. I grew up in white silence that was utterly obsessional. Race was the theme whatever the topic.
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.
The worker can unionize, go out on strike; mothers are divided from each other in homes, tied to their children by compassionate bonds; our wildcat strikes have most often taken the form of physical or mental breakdown.