The ocean, whose tides respond, like women's menses, to the pull of the moon, the ocean which corresponds to the amniotic fluid in which human life begins, the ocean on whose surface vessels (personified as female) can ride but in whose depth sailors meet their death and monsters conceal themselves... it is unstable and threatening as the earth is not; it spawns new life daily, yet swallows up lives; it is changeable like the moon, unregulated, yet indestructible and eternal.
To become a token woman - whether you win the Nobel Prize or merely get tenure at the cost of denying your sisters - is to become something less than a man... since men are loyal at least to their own world-view, their laws of brotherhood and self-interest.
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.
It iscrucial that we understand lesbian/feminism in the deepest, most radical sense: as that love for ourselves and other women, that commitment to the freedom of all of us, which transcends the category of "sexual preference" and the issue of civil rights, to become a politics of asking women's questions, demanding a world in which the integrity of all women--not a chosen few--shall be honored and validated in every respect of culture.
I think many poets, including myself, write both for the voice and for the page. I certainly write for the person alone in the library, who pulls down a book and it opens to a poem. I am also very conscious of what it means to read these poems aloud.
"Global culture" is of course not a culture: it's the global marketing and imposing of commodities and images for the interests of the few at the expense of the many.
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.
No one ever told us we had to study our lives,make of our lives a study, as if learning natural historyor music, that we should beginwith the simple exercises firstand slowly go on tryingthe hard ones, practicing till strengthand accuracy became one with the daringto leap into transcendence, take the chance of breaking down in the wild arpeggioor faulting the full sentence of the fugue.
An honorable human relationship- that is, one in which two people have the right to use the word "love"- is a process, delicate, violent, often terrifying to both persons involved, a process of refining the truths they can tell each other.
It is important to do this because it breaks down human self-delusion and isolation.
It is important to do this because in doing so we do justice to our own complexity.
It is important to do this because we can count on so few people to go that hard way with us.
... 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--if we are unaware that women even have a history--we live our lives similarly unanchored, drifting in response to a veering wind of myth and bias.
I've known great happiness in my life along with great darkness, and a question that has repeatedly entered my poetry has been, how do we use the direct experience of happiness that may be given us, whether of love and sexuality or creativity or the sense of connectedness with other beings, human and otherwise?
I soon began to sense a fundamental perceptual difficulty among male scholars (and some female ones) for which 'sexism' is too facile a term. It is really an intellectual defect, which might be termed 'patrivincialism' or patrochialism': the assumption that women are a subgroup, that men's culture is the 'real' world, that patriarchy is equivalent to culture and culture to patriarchy, that the 'great' or 'liberalizing' periods of history have been the same for women as for men.