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 … - Adrienne Rich

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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)

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About Adrienne Rich

Adrienne Rich (16 May 1929 - 27 March 2012) was an American feminist, poet, teacher, and writer.

Also Known As

Alternative Names: Adrienne Cecile Rich Adrienne Cécile Rich Adrienne Riche Adrienne C. Rich
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Additional quotes by Adrienne Rich

("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.

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.

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