One thing I really admire about women is that we’re able to put up with a lot of shit while still smiling. That takes a lot of discipline and strength. But we all have our limits, and sometimes we have to learn how to tell the shit to fuck off. Tillie Olsen’s 1978 book on Silences keeps coming up in conversation lately. The chapters explore various kinds of silences in literature, with references to Rebecca Harding Davis, Thomas Hardy, Willa Cather, Jean Toomer, Charles Baudelaire. Olsen’s book argues how a writer’s circumstances, as produced by society’s delineations of race, class and gender, can stifle creative expression.
One thing I really admire about women is that we’re able to put up with a lot of shit while still smiling. That takes a lot of discipline and strength. But we all have our limits, and sometimes we have to learn how to tell the shit to fuck off.
Tillie Olsen’s 1978 book on Silences keeps coming up in conversation lately. The chapters explore various kinds of silences in literature, with references to Rebecca Harding Davis, Thomas Hardy, Willa Cather, Jean Toomer, Charles Baudelaire. Olsen’s book argues how a writer’s circumstances, as produced by society’s delineations of race, class and gender, can stifle creative expression. Silences is best-known for its attention to gender. A consecutive sequence of chapters bear the titles: “The Damnation of Women,” “The Angel in the House,” “Freeing the Essential Angel,” and “Wives Mothers Enablers.”
Are you a mother? Do you know a mother? Are you the child of a mother? Then you should probably read this book.
Three times a year Abigail Lang, Olivier Brossard and Vincent Broqua organize a two-day "Poets & Critics" symposium in Paris – during which they welcome a multinational and multilingual group of writers, scholars and artists to discuss the work of one English-language poet. The terrifying but exhilarating condition: the poet will also be there. The poet will talk back to you. You will talk back to the poet. Hopefully you will begin talking together.
Gertrude Stein wrote at night; Alice Toklas transcribed during the day. In The Autobiography of Alice B. Toklas, Stein has Toklas observe: “As a matter of fact her handwriting has always been illegible and I am very often able to read it when she is not.”
Some Stein scholars might tell you that several of her manuscripts appear to be written in both Stein’s and Toklas’ handwriting, which has led to even greater contention and consternation about authorship. But I think I might tell you that just writing something down doesn’t make you the text’s author. I also might tell you that I’ve never understood the bother around whether or not Alice meddled with Gertrude’s work. Stein’s is a writing that delights in its reading, and Toklas was her most engaged, and most welcomed, reader.
“Disembodiment is a kind of terrorism, and the threat of it alters the orbit of all our lives and, like terrorism, this distortion is intentional,” writes Ta-Nehisi Coates. In Between the World and Me, Coates illustrates how disembodiment is both the catalyst and conclusion of racist acts; he writes to his son that America’s history of racism against its black citizens, including the figuring of these citizens as black in opposition to a white ruling class, means “first and foremost, to deny you and me the right to secure and govern our own bodies.”
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One of the most powerful poems I read last year is Rickey Laurentiis’s “I Saw I Dreamt Two Men,” and after having it running in the back of my head for months, I think I am starting to see how the poem responds to the terrorism of disembodiment, and how it asks its reader: And you? How does your body belong to, or participate in,this body politic?
Audre Lorde’s essay “The Uses of the Erotic: The Erotic as Power” constitutes pages 53-59 in my edition of Sister Outsider. The paperback is a distinctive blue; it’s the kind of bright, medium blue you see in kindergarten posters or picture books about colors. It’s a color that always gestures: this is “Blue.” This is the color of instruction. I can always immediately locate my Sister Outsider, whether on my bookshelf or among the Jenga-like stacks of books on my floor, because of its blue.
Audre Lorde’s essay “The Uses of the Erotic: The Erotic as Power” constitutes pages 53-59 in my edition of Sister Outsider. The paperback is a distinctive blue; it’s the kind of bright, medium blue you see in kindergarten posters or picture books about colors. It’s a color that always gestures: this is “Blue.” This is the color of instruction. I can always immediately locate my Sister Outsider, whether on my bookshelf or among the Jenga-like stacks of books on my floor, because of its blue.
The Uses of the erotic