I think my work comes out of both an intense desire for connection and what it means to feel isolated. There's always going to be a kind of tidal movement back and forth between the two.
The belief that established science and scholarship--which have so relentlessly excluded women from their making--are "objective"and "value-free" and that feminist studies are "unscholarly," "biased," and "ideological" dies hard. Yet the fact is that all science, and all scholarship, and all art are ideological; there is no neutrality in culture!
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.
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.
Lesbian existence comprises both the breaking of a taboo and the rejection of a compulsory way of life. It is also a direct or indirect attack on the male right of access to women.
A revolutionary poem will not tell you who or when to kill, what and when to burn, or even how to theorize. It reminds you... where and when and how you are living and might live, it is a wick of desire.
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.
Probably there is nothing in human nature more resonant with charges than the flow of energy between two biologically alike bodies, one of which has lain in amniotic bliss inside the other, one of which has labored to give birth to the other. The materials are here for the deepest mutuality and the most painful estrangement.
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.
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.
To seek visions, to dream dreams, is essential, and it is also essential to try new ways of living, to make room for serious experimentation, to respect the effort even where it fails.
Can individual psychic wounds really heal in an abusive and fragmented society? Audre Lorde has a poem which begins, "What do we want from each other/ after we have told our stories?" Where do we go to explore our stake with others in such a society?
War is an absolute failure of imagination, scientific and political. That a war can be represented as helping a people to 'feel good' about themselves, or their country, is a measure of that failure.