Famous quotes

Quotes by famous people, credited to who said them. Your own quotes must not match any of these. More are added all the time. 1,158,269 quotes Who coined it · How we decide

English Italiano Polski עברית Français Português فارسی Español 中文 Русский Deutsch العربية हिन्दी 日本語 Ελληνικά Latina

Adrienne Rich

152 quotes

“from a very young age poetry was always a sustenance for me. It was a way of going deeper into things, it was never escapism. It was a way, as a very young child, of finding out about life...(it told me) many things. And they contradicted each other, of course, but it was a way of reflecting on and maybe testing out emotions and feelings that I had no words for myself.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“I intend to go on making poetry. I intend to go on trying to be part of what I think of as an underground stream-of voices resisting the voices that tell us we are nothing, that we are worthless, or that we all hate each other, or should hate each other. I think that there is a real culture of resistance here-of artists' and of other kinds of voices-that will continue, however bad things get in this country. I want to make myself part of that and do my work as well as I can. I want to love those I love as well as I can, and I want to love life as well as I can.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“I have been exceptionally privileged to be able to think of myself as a creative person. There is so much creativity I believe in every infant born and yet so few of us get to develop it, so few of us even get to think about having an audience for our words. So, with the kind of audience that I now have, I want to speak responsibly and for that I need teachers.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“I think poets should work in the non-literary, non-academic world, get to know more than a workshop or a university.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“I am a citizen of a country that has just undergone a thieved election, a country deeply and dangerously divided between rich and poor, but also between rich and middle class. What I believe in and what my government represents are not the same thing.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“One of the insidious rhetorical devices of the U.S. Right has been to claim (for example) that empathy with others is merely “liberal guilt” or “political correctness,” that compassion is merely sentimental or even hypocritical. I see it as an entirely cynical view that underscores the profit motive as the only real basis for human relationships.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“women cannot become liberated one by one. But individual revolt is not simply futile.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“Dark Fields of the Republic and Midnight Salvage were written during the final decade of the twentieth century and against the grain of their society. The economic and technological expansion, with the terrible human and environmental prices paid, were (and are) accelerating, while at the same time language itself, the medium of my art, was deteriorating.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“For myself it is an ever-present challenge to draw lines of connection between personal feelings and their social dimensions, “the body’s pain and the pain on the streets” to recognize that an economic system can impact on human sensibility—Marx’s idea that exploitative relations of production end by affecting all human relations, the most private and intimate included. These are finally not just ideas, they become our feelings. And it’s in feelings that poetry is rooted.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“The music, the sound of words working together, has always mattered to me.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“Our ears, like it or not, take in so much in a day. Maybe some North American ears have trouble with poetry because of the noise from an aggressively voiced ruling ethos—its terminology of war, success, national security, winning and losing, ownership, merchandising, canned information, canned laughter. Poetry can be direct, it can be colloquial, it can be abrupt or angry, but it’s not that vacuous noise; it wants to unseat that kind of language, play other kinds of sound tracks.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“Relations of power, as I began to decipher them, have infused a great deal of my work over time—both poetry and prose. But poetry was where I could confront, perhaps transform, what I was experiencing and learning about the world.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“There’s a poem from the mid-1950s in Snapshots of a Daughter-in-Law, “From Morning Glory to Petersburg”—titles from an encyclopedia volume—that suggests the effort to ask, as a conscious strategy, how do you make livable meaning out of separate bits of classified information? How to live with “facts” you can’t integrate? Well, one way was to integrate them is through poetry.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“The split in our language between “political” and “personal” has, I think, been a trap.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“to be “against war” has come to seem too easy a stance. War exists in a texture of possession and deprivation, economic and religious dogmas, racism, colonialist exploitation, nationalism, unequal power. Who decides to make war? Who is destroyed in it? Who creates the rhetoric of “terror” and “democracy”?”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“We tried in the early years of the feminist movement to look under and behind the myths, the legends that always depicted the stepmother as cruel, the bad mother, the myths in popular psychology of the evil mother, the evil mother-daughter bond. We tried to correct those, and in so doing, I think we unearthed a great deal that was real and important and useful. To idealize, to sentimentalize, to mythologize that — those powers, those strengths, those teachers — takes us into yet another place where I think we are disempowered.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“Essentially poetry, if it is poetry, does not lend itself to simple readings, to oversimplifications — though people may try to read it that way. It seems to me that the essential nature of a poem is that there is ambivalence and ambiguity quivering underneath.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“A long-lived relationship is about so many things. It is such a dense and complex process — always a process — and it's not to be summed up. It's not to be turned into some kind of vignette. If we are serious, we also have to recognize that even the longest and richest and densest relationship must end, and we see it around us. We see it in that inevitability of time's power, if you will.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“There is no simple formula for the relationship of art to justice. But I do know that art means nothing if it simply decorates the dinner table of power which holds it hostage. The radical disparities of wealth and power in America are widening at a devastating rate. A President cannot meaningfully honor certain token artists while the people at large are so dishonored. I know you have been engaged in a serious and disheartening struggle to save government funding for the arts, against those whose fear and suspicion of art is nakedly repressive. 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. I could not participate in a ritual which would feel so hypocritical to me.”
Adrienne Rich (1929–2012) first seen 1997 wikiquote, CC BY-SA 4.0 source
Recorded in: from her letter to the chair of the National Endowment for the Arts, Jane Alexander (July 3 1997)
“I'm both a poet and one of the "everybodies" of my country. I live with manipulated fear, ignorance, cultural confusion and social antagonism huddling together on the faultline of an empire. I hope never to idealise poetry — it has suffered enough from that. Poetry is not a healing lotion, an emotional massage, a kind of linguistic aromatherapy. Neither is it a blueprint, nor an instruction manual, nor a billboard. There is no universal Poetry, anyway, only poetries and poetics, and the streaming, intertwining histories to which they belong. There is room, indeed necessity, for both Neruda and César Valléjo, for Pier Paolo Pasolini and Alfonsina Storni, for both Ezra Pound and Nelly Sachs. Poetries are no more pure and simple than human histories are pure and simple. And there are colonised poetics and resilient poetics, transmissions across frontiers not easily traced.”
Adrienne Rich (1929–2012) first seen 2006 wikiquote, CC BY-SA 4.0 source
Recorded in: Legislators of the world" in The Guardian (18 November 2006)
“Of course, like the consciousness behind it, behind any art, a poem can be deep or shallow, glib or visionary, prescient or stuck in an already lagging trendiness. What's pushing the grammar and syntax, the sounds, the images — is it the constriction of literalism, fundamentalism, professionalism — a stunted language? Or is it the great muscle of metaphor, drawing strength from resemblance in difference? Poetry has the capacity to remind us of something we are forbidden to see. A forgotten future: a still uncreated site whose moral architecture is founded not on ownership and dispossession, the subjection of women, outcast and tribe, but on the continuous redefining of freedom — that word now held under house arrest by the rhetoric of the "free" market. This on-going future, written-off over and over, is still within view. All over the world its paths are being rediscovered and reinvented. There is always that in poetry which will not be grasped, which cannot be described, which survives our ardent attention, our critical theories, our late-night arguments. There is always (I am quoting the poet/translator Américo Ferrari) "an unspeakable where, perhaps, the nucleus of the living relation between the poem and the world resides".”
Adrienne Rich (1929–2012) first seen 2006 wikiquote, CC BY-SA 4.0 source
Recorded in: Legislators of the world" in The Guardian (18 November 2006)
“my personal world view at sixteen, as at twenty-six, was itself being created by political conditions. I was not a man; I was white in a white-supremacist society; I was being educated from the perspective of a particular class; my father was an "assimilated" Jew in an anti-Semitic world, my mother a white southern Protestant; there were particular historical currents on which my consciousness would come together, piece by piece. My personal world view was shaped in part by the poetry I had read, a poetry written almost entirely by white Anglo-Saxon men, a few women, Celts and Frenchmen notwithstanding. Thus, no poetry in the Spanish language or from Africa or China or the Middle East. My personal world view, which like so many young people I carried as a conviction of my own uniqueness, was not original with me, but was, rather, my untutored and half-conscious rendering of the facts of blood and bread, the social and political forces of my time and place. ("Blood, Bread, and Poetry: the Location of the Poet")”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“Learn to be worthy of the women of every class, culture, and historical age who did otherwise, who spoke boldly when women were jeered and physically harassed for speaking in public, who-like Anne Hutchinson, Mary Wollstonecraft, the Grimké sisters, Abby Kelley, [[Ida B. Wells-Barnett, [[Susan B. Anthony, Lillian Smith, Fannie Lou Hamer-broke taboos, who resisted slavery-their own and other people's. 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 indeed, since men are loyal at least to their own world view, their laws of brotherhood and male self-interest. I am not suggesting that you imitate male loyalties; with the philosopher Mary Daly, I believe that the bonding of women must be utterly different and for an utterly different end: not the misering of resources and power, but the release, in each other, of the yet unexplored resources and transformative power of women, so long despised, confined, and wasted. (p9)”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“In the permissive liberalism of academic Cambridge, you could raise your children to be as vaguely or distinctly Jewish as you would, but Christian myth and calendar organized the year. My sons grew up knowing far more about the existence and concrete meaning of Jewish culture than I had. But I don't recall sitting down with them and telling them that millions of people like themselves, many of them children, had been rounded up and murdered in Europe in their parents' lifetime. Nor was I able to tell them that they came in part out of the rich, thousand-year-old Ashkenazic culture of eastern Europe, which the Holocaust destroyed; or that they came from a people whose traditions, religious and secular, included a hatred of oppression and an imperative to pursue justice and care for the stranger-an anti-racist, a socialist, and even sometimes a feminist vision. I could not tell them these things because these things were still too indistinct in my own mind.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“The emergence of the Civil Rights movement in the sixties I remember as lifting me out of a sense of personal frustration and hopelessness. Reading James Baldwin's early essays in the fifties had stirred me with a sense that apparently "given" situations like racism could be analyzed and described and that this could lead to action, to change. Racism had been so utter and implicit a fact of my childhood and adolescence, had felt so central among the silences, negations, cruelties, fears, superstitions of my early life, that somewhere among my feelings must have been the hope that if Black people could become free of the immense political and social burdens they were forced to bear, I, too, could become free of all the ghosts and shadows of my childhood, named and unnamed. When "the movement" began, it felt extremely personal to me. And it was often Jews who spoke up for the justice of the cause, Jewish students and civil rights lawyers who travelled South; it was two young Jews who were found murdered with a young Black man in Mississippi: Schwerner, Goodman, Chaney.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“By the time I left my marriage, after seventeen years and three children, I had become identified with the Women's Liberation movement. It was an astonishing time to be a woman of my age. In the 1950s, seeking a way to grasp the pain I seemed to be feeling most of the time, to set it in some larger context, I had read all kinds of things; but it was James Baldwin and Simone de Beauvoir who had described the world-though differently in terms that made the most sense to me. By the end of the sixties there were two political movements-one already meeting severe repression, one just emerging-which addressed those descriptions of the world. And there was, of course, a third movement, or a movement-within-a-movement: the early lesbian manifestoes, the new visibility and activism of lesbians everywhere.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“I know that in the rest of my life, the next half century or so, every aspect of my identity will have to be engaged. The middle-class white girl taught to trade obedience for privilege. The Jewish lesbian raised to be a heterosexual gentile. The woman who first heard oppression named and analyzed in the Black Civil Rights struggle. The woman with three sons, the feminist who hates male violence. The woman limping with a cane, the woman who has stopped bleeding are also accountable. The poet who knows that beautiful language can lie, that the oppressor's language sometimes sounds beautiful. The woman trying, as part of her resistance, to clean up her act.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“Historical amnesia is starvation of the imagination; nostalgia is the imagination's sugar rush, leaving depression and emptiness in its wake. Breaking silences, telling our tales, is not enough. We can value that process-and the courage it may require-without believing that it is an end in itself. Historical responsibility has, after all, to do with action-where we place the weight of our existences on the line, cast our lot with others, move from an individual consciousness to a collective one. But we all need to begin with the individual consciousness: How did we come to be where we are and not elsewhere?”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“Those of us who came into activism in the sixties and before, who have continued as engaged citizens through the seventies into the nineties-as welfare rights organizers, as feminists, as members of a critical and oppositional press, as community organizers, as lesbian and gay activists, as anti-racism educators, as new and challenging voices in the labor movement, as builders of battered women's shelters and rape crisis centers, as coalition builders among racial and ethnic communities, as creators of socially responsive art-we did not intend for you or any young people to face at your coming-of-age so manipulated and demoralized a society, at once so fearful and so complacement, as this one. But it's not commiseration I feel for you, standing here, but hope. You have had not just educational privilege of a high order, but the privilege of having a time of youth, when you could try on different selves, without fear of being locked into any one of them. Most people your age in this country don't have a time of youth. And for those young men and women, who will not stand today or any day soon in academic robes under a threatening or a clear blue sky, who were early locked by racism and poverty into manhoods and womanhoods they had no time to choose, I also feel, not despair, but hope.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“I believe in the potential, both tapped and blocked, within each one of you. I believe that the responses to the Simi Valley verdict where hundreds of white youth have joined in demonstrations and uprisings in city after city, where citizens of conscience, whatever their, our origins, are being compelled to consider their, our place in all this-I believe that the civil and moral unrest now moving through the inner nervous system of our country, has a chance of catalyzing one of the great shifts in our history. A chance of building not into some hierarchic, monolithic movement, but into many streams of movement, always in touch with and interrogating each other: African American, Arab American, Asian American, Jewish, Latino, white, lesbian, gay and straight: women and men, old and young. My hope, for you and for us all, is that you refuse docility and shallowness and lend your gifts and intelligence to a rising democracy movement here in the United States, sharing power with sisters and brothers at whose expense that power was acquired: learning what can only be taught by those who are not here today.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“I look everywhere for signs of that fusion I have glimpsed in the women's movement, and most recently in Nicaragua. I turn to Toni Cade Bambara's The Salt Eaters or Ama Ata Aidoo's Our Sister Killjoy or James Baldwin's Just above My Head; to paintings by Frida Kahlo or Jacob Lawrence; to poems by Dionne Brand or Judy Grahn or Audre Lorde or Nancy Morejón; to the music of Nina Simone or Mary Watkins. This kind of art-like the art of so many others uncanonized in the dominant culture-is not produced as a commodity, but as part of a long conversation with the elders and with the future. (And, yes, I do live and work believing in a future.) Such artists draw on a tradition in which political struggle and spiritual continuity are meshed. Nothing need be lost, no beauty sacrificed. The heart does not turn to a stone. ("Blood, Bread, and Poetry: The Location of the Poet" 1983)”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“But Sisyphus is not, finally, a useful image. You don't roll some unitary boulder of language or justice uphill; you try with others to assist in cutting and laying many stones, designing a foundation. One of the stonecutter-architects I met was Muriel Rukeyser, whose work I had begun reading in depth in the 1980s. Through her prose Rukeyser had engaged me intellectually; her poetry, however, in its range and daring, held me first and last. "Her Vision" is a tribute to the mentorship of her work. Another was Raya Dunayevskaya, who wrote vividly and trenchantly of the concrete revolutionary lives of women, and whose fusion of Marx's humanism with contemporary feminisms expanded my sense of the possibilities of both.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“At times in the past decade and a half I have felt like a stranger in my own country. I seem not to speak the official language. I believe many others feel like this, not just as poets or intellectuals but as citizens-accountable yet excluded from power. I began as an American optimist, albeit a critical one, formed by our racial legacy and by the Vietnam War. In both these cases it was necessary to look hard truths in the face in order to change horrible realities. I believed, with many others, that my country's historical aquifers were flowing in that direction of democratic change. I became an American skeptic, not as to the long search for justice and dignity, which is part of all human history, but in the light of my nation's leading role in demoralizing and destabilizing that search, here at home and around the world. Perhaps just such a passionate skepticism, neither cynical nor nihilistic, is the ground for continuing.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“I've been thinking how behind every shelf of publications on gender and sexuality, every course offered in queer or gender studies, lie thousands of ghostly sheaves: leaflets, letters, pamphlets, mimeographed bibliographies, little magazines, posters, movement anthologies, some now preserved in archives, others reduced to landfill. Behind every academic program or lectureship under the rubric of queer studies stand lives that were participant in radical ideas about freedom and justice-movements that moved, in nonlinear ways, into and out of each other. In those movements, queer women and men, unknown at first unless to each other, invisible to their otherwise-comrades, emerged to declare a gay and lesbian politics, because the idea of inclusive justice is - was then -contagious and irresistible. The names Bayard Rustin, Barbara Deming, Lorraine Hansberry, Harry Hay, Martin Duberman, Audre Lorde, Joan Nestle are a few that flash immediately to mind. And, of course, I think of the queer pioneers, Del Martin and Phyllis Lyon, The Ladder, Daughters of Bilitis, the Mattachine Society, the early queer underground; the publicly gay, anarchist, antiwar poets Paul Goodman and Robert Duncan. I think, in short, of many lives of defiance and creation. ("'Candidates for My Love': Three Gay and Lesbian Poets" 2006)”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“the freedom of that library-whatever its limitations-let me know that it's possible and necessary to be interested in everything: Hindu mythology, the mud-blotted villages of Chekhov's peasants in Czarist Russia, the sound of an eighteenth-century English poem ("I wander through each charter'd street / Near where the charter'd Thames doth flow") or Bible cadences ("Would God I had died for thee, O Absalom, my son, my son"); and the French Revolution. To assume that philosophy, history, foreign literatures in translation, novels, plays, poetry of many kinds belonged together in one room of the mind.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“it’s not even an ad hominem thing about President Clinton, although I find him cowardly and spineless. I am concerned about what it means when we have two parties which are so close together in their collaboration with the wealthiest interests in the country and who are so alike in their disregard for the majority of people in this country. And I feel as if the relative creative freedom of artists and intellectuals ultimately depends on the conditions everywhere and the conditions of human labor everywhere. We’re all working. We’re all trying to do our work. And the circumstances, the conditions under which working people exist in the society are not something that can be separated and left aside from the position of the artist. I just don’t see how you can do that. (1997)”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“I've written a great deal about that whole issue of dead language, the oppressor's language, a language that is no longer useful, and the need to try to find a new language, a common language, if you will. It's the question of associations with words and of the history of words, and how they come down to us and how we go on with them. But I'm beginning to think and talk a lot more again about that which goes along with language and poetry-which is music, the vibration of a voice. I see that intonation, that vocal quality, as something that is very personal, out of the self, and then combines with the many traditions, the many histories that we've been exposed to, that we come out of.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“this is an ignorance that is damaging both to women and to men. Ignorance of the history of more than half the human species. And therefore the history of the entire species is distorted. In some ways we have come a long way; in other ways, I think, not at all. And then outside of the sphere of the kind of education where you would expect to find a certain liberal stance toward feminism, the issue becomes what women have any education available to them at all. Thinking on a global level, how early do women leave school, if they've gone to school at all? The illiteracy rate among women overall is rapidly on the increase. And so it's not just a question of, do we know our history, but do we know how to read, how to write? Do we know that there is such a thing as history, that we can be part of it, makers of it?”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“I grew up in a social and familial world in which there was a great deal of splitting. I've written an essay called "Split at the Root" which actually speaks about my own family roots: Jewish and Gentile. But it was also a world very split by segregation. Baltimore in the thirties and forties was a deeply segregated city. There weren't back-of-the-bus rules, but Black people did not shop in the same department stores as white people, there was the interracial eating taboo, and so on. That kind of thing a child grows up acutely aware of, even if it's never talked about, and of course there was a great deal of pressure not to talk about it. It was a given. And it was a given that, needless to say, white people were extremely tense about. But we learned not to ask questions about it or to discuss it. We did not go to school with Black children. The Black people that I grew up knowing all worked for white people as domestic workers. So that left a profound impact, in the sense that it was a situation which, I think from a very young age, I felt was so-uncomfortable is hardly the word-almost intolerable. There was so much that wasn't explained, there were codes of behavior that you couldn't question but that you couldn't figure out...When the Civil Rights movement came long in the late fifties, early sixties, and I began to hear Black voices describing and analyzing what were the concrete issues for Black people, like segregation, like racism, it came to me as a great relief. It was like finding language for something that I'd needed a language for all along. That was the first place where I heard a language to name oppression. And it was an enormous relief, even as it threw up a lot of questions for me as to where I stood with all this.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“(“Do you think there has been a regression during the past ten years from the progress made by the women's movement? Has its momentum slowed, and, if so, will the movement pick up its pace again to what it was in the 1970s? Is there now a sense of exhaustion?”) Well, it very much depends on how you look at the contours of the landscape. An astonishing number of feminist institutions were founded in the seventies. And a lot of movement was going on in existing institutions like universities. But the kind of political retrenchment that began, I think, before Reagan was elected, and in fact led up to his election, inevitably was accompanied by the reassertion of old conservative values about women, and about sexuality. And those attitudes have come down hard.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“An enormous amount is happening globally-different kinds of struggle in different countries, in different societies. When you look at South Africa, there's enormous leadership by women. Black women in South Africa are maintaining and creating a structure. In that violence-ridden society, in the midst of revolution, they are creating childcare centers, soup kitchens, planting gardens, keeping things going on that human level. Now I don't think that's just women doing the service work of the world; those women are also leaders of their communities. We could talk about feminism in the Philippines, in Latin America, in the Caribbean, not a monolithic global movement but many movements, all over the world, contending within and against many different cultures. The United States movement is only a small part of the picture.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“For a very long time, poems were a way of talking about what I couldn't talk about any other way. And why is it that you're not able to talk about certain things? It's because they are the points of danger, you feel that in the social fabric, you feel there are people who don't want you to raise this question, or if you're a child-to ask this question. That is the threatening place, and of course it becomes a place of great fascination too. I was equipped from a very young age to use language in this way because of how I was brought up, and by whom I was brought up, and the fact that poetry was available to me as a choice, when it might not have been for another seven or ten years if I'd been another child.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“(What do you think when you look around this festival and you see Japanese American poets, Chinese American poets, Puerto Rican poets, poets from the white working class?) I feel enormous joy and exhilaration. This is so different from the poetry world into which I was growing up in the 1940s and 1950s. That was a world dominated by a few major figures, mostly from a certain class and of course male: Pound, Williams, Eliot, Stevens. I was saying to a young man, a poet working here, "Your generation doesn't have to look at the field of poetry as a hierarchy. You can draw from this enormously rich cluster of poetries, and you can enrich yourself from so many kinds that this is a wholly different situation than we had in the 1940s and 1950s.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“I think politics can seem a burden when we feel alone and powerless against enormous and impersonal forces out there in the public realm. The late years of the Vietnam War when a lot of poets were giving antiwar readings was a very crucial time for me. In the 1960s, when poetry was very much part of public life, I began trying to make connections for myself between the havoc being wreaked by my government on a small country thousands of miles away, which I and so many of my friend were protesting, and the relations between human beings within my country, especially the relations between women and men. That kind of synthesis really wasn't happening yet in the public sphere, but I was trying to make that synthesis in my poetry-which was the only way I knew how to do it.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“("What do you get from those people listening to you here? What happens between you and the audience at a reading?") I have to say again that the kinds of support and the kinds of challenge that I receive from the lives of others around me-poets, non-poets, other kinds of artists, and activists-carries me. I don't feel like a solitary person in my lonely room at all, even though I have to spend hours alone in a room to do what I do. I believe that a poem isn't completed until there's a reader at the other end of it. It can't just be produced, it also has to be received. And so, yes, I feel that the poems are being completed in so many different ways by so many different minds and consciousnesses.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“A series of poems by a lot of poets have been up in the New York subway. The head of the Transit Authority is a lover of poetry and he decided he wanted "poetry in motion." I was very happy to see that. The same thing has been done in the bus system in San Diego, California, and I think it should be happening everywhere. I think the question of "how do we get people to read poetry?" might be to some extent resolved if people saw more poetry out in the world, places where they go, in just the ordinary public places where everybody has to stand on line, or hang from the strap, waiting, because people would be reading poetry. They would find themselves reading it and absorbing it...I hope many people who saw that poem ("Delta") in the subway thought, "Yes-you can't wrap me up in the story of my life. I am more complicated than you can know.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“I define “politics” in this sense as the on-going collective struggle for liberation and for the power to create—not only works of art, but also just and nonviolent social institutions. There is no way I can see that the poet can stand outside all that...when you ask, “Do you write political poetry?” I say yes, I have done so since the mid-sixties and the artists’ protests against the Vietnam War. As a very young poet, I had been brought up on that dogma that politics was bad for poetry. What I search for continuously in my art is adequate language, language I hope can stand beyond any particular occasion. What I’m finding is that in our increasingly dysfunctional U.S. society, marvelous poetry is being written—out of and amid the dysfunction.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“I began as a formalist because that was the poetic tradition—Anglo-European—that I first knew. Walt Whitman and Emily Dickinson were there of course, but Dickinson’s work was edited into a prim textual conformity until 1960 when the poems in their original form exploded my ideas of poetry. Also, my own life pushed me beyond the conventions of formalism—along with reading my direct contemporaries who were exploring open forms, like Denise Levertov, W.S. Merwin, and Galway Kinnell. All this was in the Sixties when the most intense life was lived around politics—the Black Civil Rights movement, the anti-Vietnam War movement, very large moral questions were in the air, along with a great deal of hope, and the revolutions in Africa and Central America were part of that consciousness. That period has been trashed by the Right as mere posturing, violence and drug abuse. But it was in many ways both a practical and a visionary time.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“Over many years (I am almost 72) so many poets have touched my imagination and opened paths for me—it hardly makes sense to list them. I have always read a great deal of poetry. Some poets—like Robert Lowell, Denise Levertov, Randall Jarrell, Jean Valentine, Audre Lorde, Hayden Carruth, Jane Cooper, June Jordan, Joy Harjo, Clayton Eshelman—have been my friends, we’ve been comrades in exchanging work and encouraging each other… But I’ve also been powerfully affected by Wallace Stevens, Hart Crane, Muriel Rukeyser, Aimé Césaire, Robert Duncan—poets I met briefly if at all. Baudelaire, Sachs, Celan, Ghalib, Mandelstam…all in translation. This kind of influence isn’t textual, exactly—it’s like having windows open on “what is possible.” And this kind of intensive reading of many poets, and dialogues with a few, seems to me more fertilizing to a poet’s life than immersion in workshops.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source
“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? The philosopher Hannah Arendt writes about the concept of “public happiness”—the sense of being a participant, a citizen, of sharing the power to create collectively. She says that’s what the framers of the U.S. constitution really intended in saying that “men” are endowed with the inalienable right to the “pursuit of happiness.” The idea becomes more tantalizing in a society where most citizens feel individually and collectively disempowered—as just now in the U.S. But the issue of happiness turns up also in the poetry of Charles Olson, and in my poem, “Camino Real,” I have a dialogue with both Olson and Oppen, in which I say, “Why measure? It’s itself the measure.” It occurs to me now that Whitman was not simply inventing an ideal United States; he was trying to show what public happiness would feel like, along with public grief and mourning as in his Civil War poems.”
Adrienne Rich (1929–2012) said by 2012 at the latest wikiquote, CC BY-SA 4.0 source