American poet and scholar
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I became a feminist through poetry. It was instantly clear to me-the more I read the more clear it was, that women's poetry was as revolutionary as anything that had come up the turnpike since early modernism, and that it was a collective noise, sound, chorale of voices that I was hearing. And simultaneously, my critical head was asking: What is happening? What is that collective voice saying that has never been said in the history of poetry? I mean that was very clear. Something's happening here, and you don't know what it is, do you, Honey? But we're all hearing it. It's in the bloodstream, it's in the air. What is it? And that was what produced Stealing the Language.
What I try to do in all of my work, in my poetry, in my prose, in my teaching, is try insofar as I can, to operate on the principle of killing the censor and bringing what's supposed to be kept unconscious into consciousness. Discover what is supposed to be silenced and bring it out into the open, into language.
"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.
all art is political. Either it is politicial or it is wallpaper. I like to say that poetry which takes no risk is like wallpaper. It makes a pleasant background...Homer is political. Dante is political. Shakespeare is political. Milton is political. But it is usually only the art that comes from dissenting or revolutionary movements that gets called political...Of course, art is not merely political-it is many other things too. That's what makes the difference between art and propaganda. Propaganda is good for the moment, but art stays good, stays fresh, when the moment has passed. Tsvetayeva is a beautiful example. So is Akhmatova.
Poetry gives you permission to put into language what your reality is without sounding like an op-ed. I don’t think I ever get very far from politics; sometimes what I write is overtly political, sometimes it isn’t, but it’s always there. Just like being a Jew is always there. The difference between writing prose and writing poetry for me is that when I’m writing prose I know what I think before I start to write and when I’m writing poetry I’m just crawling into the dark. If something doesn’t surprise me I know it’s not a good poem. Poetry is very often problem solving for me, like there’s something I don’t understand and the only way I have of untangling it is by writing.
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.
The greatest writers in the world are always approaching genderlessness, because there is no nook or cranny of their natures, their experiences, their dream lives, that does not get swept into their art. They do not arrive at genderlessness. Virginia Woolf, who said Shakespeare did, was thinking wishfully. Even Whitman, though he is "of the female as well as the male," is discernably closer to being a gent than a lady. For men and women in the world are socially assigned such very different degrees of power, such very different behavior, and artists must hold a mirror to the world as well as their own souls. (Afterward)
I wrote my first poems on pregnancy and childbirth in 1964–’65, based on my first two pregnancies. I was living in Cambridge, United Kingdom, and I found myself thinking, why don’t I have any models, where are the poems about pregnancy and childbirth? I realized finally that it was taboo, and that you’re not aware that your taboos are taboos until they’re broken.
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.
For me the idea of an "Écriture feminine" is nonsense. It's true that the various discourses of high culture have indeed more or less thoroughly excluded female participation, for at least two thousand years. But I think it is completely absurd to reduce language-human language, which is like God, with its center everywhere and its circumference nowhere to the tiny orderly emissions of academic men. Nonsense! Language is generated everywhere. In the kitchen, the butcher shop, the factory, the prison, it sprouts and flourishes. Language is our birthright: we find the loopholes in authoritative systems, we twist the lion's tail, we drill down to the water table, we steal and mask, we transform and morph the tradition. Every creative person does that. Women as a class do it too. Yes, of course, every marginalized group comes up against an "oppressor's language." The language of authority, whose main message for us is "thou shalt not." We need to recognize that. But we also need to see how full of complication language is, how full of potential for us. Language is not a brick wall. It's a swamp of unpredictable new growths, it's a stew, it's an ocean.