Alicia Ostriker Quotes

Acts of violence enter my poems because we live in a violent world.

Ezra Pound in ABC of Reading remarks that when poetry and music move too far from their origins in music and dance, they atrophy and need renewal. We should add that when poetry and the poet move too far from their origins in communal expression-too far from participatory performance and the expectation of shared human feeling, too far into a regulated and predictable literacy bound up in academic role playing, where the reader is either passive appreciator-student or judgmental critic-professor-they are again in need of reinvigoration. Today our schools for the most part train poets and critics into postures of detachment and impersonality, as if our encounters with the life of poetry ought to resemble our encounters with law and bureaucracy. We dread, it seems, the embarrassment and pain of personal and poetic self-disclosure. We have forgotten that "subjectivity" may be as severe and demanding a discipline as "objectivity." If poetry written by women today demands that we read as participants-identifying, gratified, terrified, irritated, disagreeing, even repelled-it may help us "discover self' and may also help us discover wider perspectives for art. I have stressed throughout this book the adversary relation between the women's poetry movement and the "larger" culture, derived from women's cultural marginality. In our own time, a gynocentric poetics is necessarily adversarial. Yet in another sense it may be that women's poetry is simply a vehicle through which, at the present moment, the ongoing life of poetry is being preserved and extended. We must remember that all poetry is marginal in relation to the material preoccupations of society; that all poetry is potentially disruptive to rulers and institutions; and that all poetry depends for its survival not on literary fashions but on the interior needs of readers who for their own reasons respond with pleasure to it. When Whitman in Song of Myself wrote "Camerado, this is no book. Who touches this touches a man, and "What I assume you shall assume," he articulated an abiding impulse latent within all poetry. The women's poetry movement today is a carrier of that same impulse and makes it possible for us to "assume" more than we did before.

No writer should be without writing cohorts. You go mad. Even Emily Dickinson, famous for weaving a web of solitude round herself, had numerous literary friendships.

Much more killing has been done by people who believed in heaven than by those who didn’t.

I grew up as a third-generation atheist-socialist Jew. My religious training consisted of being told that religion was the opiate of the masses.

only in our own time do we see many women poets having careers in the same sense that men always have, which involves solving problems and moving on to other problems...It is a joy, reading through a woman's work, to watch her grow too large for herself, shed her skin and emerge new.

the silence of women was, for better or worse, built into the culture of Hebrew as a sacred language. Talmudic study was not for women, nor was the language of liturgy; women's worship was separated from men's; tkhines, special prayers for women, were usually written in Yiddish, the "mother tongue." Thus the sacred linguistic soil from which Hebrew poetry-sacred and secular-sprang for nearly two millennia, was off-limits for most women.

I’d like to see new codes of morals that have less to do with respecting authority and berating sin, and more to do with human kindness and the celebration of both love and sexuality. I’d like to see the end of dualism. I’d like to forget about heaven and hell and concentrate on trying to improve life for everyone on this earth. I’d like everyone to recognize that worshiping a God in man’s image is idolatry. I would like every feminist to see herself as a midwife engaged in the task of re-birthing God the Mother who was swallowed by God the Father in pre-history.

I came of age, metaphorically, in the '60's, and have tried to retain the ideals of that period: the hope that we could have a more loving, wise and compassionate world if we would work at it. My feminism, like many others', was born in this period.

"Poetry makes nothing happen," said W. H. Auden, but there are those of us who disagree. Poetry can tear at the heart with its claws, make the neural nets shiver, flood us with hope, despair, longing, ecstasy, love, anger, terror. It can help us think more lucidly. It can force us to laugh. Poetry can, as Conrad puts it, make us see. It can also, like Rilke's torso of Apollo, tell us that we must change our lives. From time to time, some of us believe, poetry changes the world.

The whole point is that the mind-body dichotomy is stupid. It's old, it's philosophically enshrined, but it's stupid. Mind and reason aren't superior to emotion and the body. Read Blake, who was the first poet in the English language able to say this in poetic form. Read Whitman. And men are not in fact particularly rational, nor are women in fact particularly emotional. These are myths. Self-fulfilling myths which need a little alteration. I seek to be a rational and spiritual and emotional and physical creature. So do you, I hope. I'd rather not have someone tell me I'm forbidden to be cerebral because I'm a woman, and I'd rather you didn't think you're forbidden to experience deep feeling because you're a man.

“I am and am not a Jew." That is the opening sentence of The Nakedness of the Fathers. I love that sentence. I think it grabs people, and it should. I want my readers to feel the kick of contradiction, the torsion of tension. Not only in myself but in themselves. Contradiction and tension are part of life. Where would poetry be without tension? There is tension even in the music, the rhythms of poetry, between the pull of traditional meter and the urge toward open form. And what's wrong with contradiction? You don't hear Whitman saying he wants to resolve his contradictions. Not at all. "Do I contradict myself? Very well then, I contradict myself. I am large, I contain multitudes." Life is like that. Face it. Denial is death.

I love the idea that I write poems that are porous. That have openings and loopholes and...invite people in rather than telling them something.

The idea that eroticism and spirituality should be separated is a travesty of both. Read the Song of Songs, a poem which is utterly erotic and utterly spiritual. Or read the great Persian poet Rumi. Or the Hindu Mirabai. All mystical poetry is erotic, uses erotic language, because it desires fusion with God. This is true of Christian, Jewish, Muslim, and Hindu devotional writing. And all lovers see the beloved’s face and body as divine.

Anger has always played a role in poetry. Without anger there would be no Dante, no John Milton, no Jonathan Swift, no Ezra Pound or William Carlos Williams]]—to name a few large examples. All satire derives from anger. Most of the poetry written in Eastern Europe in the postwar period is charged with anger...What is relatively new for poetry is women expressing anger, which horrifies many readers because it is such an unfeminine thing for women to do. Women are supposed to be nice and courteous, and leave the violence to men...The anger in twentieth-century women’s poetry, beginning with Plath and continuing with Adrienne Rich and many others, especially Black women, has been thrillingly salutary, cleansing the air.