The danger lies in forgetting what we had. The flow between generations becomes a trickle, grandchildren tape-recording grandparents' memories on special occasions perhaps-no casual storytelling jogged by daily life, there being no shared daily life what with migrations, exiles, diasporas, rendings, the search for work. Or there is a shared daily life riddled with holes of silence.
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.
We see daily that our lives are terrible and little, without continuity, buyable and salable at any moment, mere blips on a screen, that this is the way we live now. Memory marketed as nostalgia; terror reduced to mere suspense, to melodrama.
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.
I don't want to succumb to the idea that for the generation, or generations, raised on television, the text is irrelevant or so intimidating that they won't deal with it. If you teach, you see this is not true. It may be that newer generations do not worship the text as some of their elders do.
In [family snapshots] the flow of profane time has been stopped and a sacred interval of self-conscious revelation has been cut from it by the edge of the picture frame and the light of the sun or the flash.
Each feminist work has tended to be received as if it emerged from nowhere; as if each one of us had lived, thought, and worked without any historical past or contextual present. This is one of the ways in which women's work and thinking has been made to seem sporadic, errant, orphaned of any tradition of its own.
We might possess every technological resource... but if our language is inadequate, our vision remains formless, our thinking and feeling are still running in the old cycles, our process may be 'revolutionary' but not transformative.
They can rule the world while they can persuade us our pain belongs in some order is death by famine worse than death by suicide, than a life of famine and suicide...?
The dialectic between change and continuity is a painful but deeply instructive one, in personal life as in the life of a people.To "see the light" too often has meant rejecting the treasures found in darkness.
I guess what concerns me always is the need for a field, a rich compost, for any art to flourish. But however isolate or unheard you may feel, if you have the need to write poetry, are compelled to write it, you go on, whether there is resonance or not.
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.