No one has imagined us. We want to live like trees,sycamores blazing through the sulfuric air,dappled with scars, still exuberantly budding,our animal passion rooted in the city.

There must be those among whom we can sit down and weep and still be counted as warriors.

Responsibility to yourself means refusing to let others do your thinking, talking, and naming for you...it means that you do not treat your body as a commodity with which to purchase superficial intimacy or economic security; for our bodies to be treated as objects, our minds are in mortal danger. It means insisting that those to whom you give your friendship and love are able to respect your mind. It means being able to say, with Charlotte Bronte's Jane Eyre: "I have an inward treasure born with me, which can keep me alive if all the extraneous delights should be withheld or offered only at a price I cannot afford to give.Responsibility to yourself means that you don't fall for shallow and easy solutions--predigested books and ideas...marrying early as an escape from real decisions, getting pregnant as an evasion of already existing problems. It means that you refuse to sell your talents and aspirations short...and this, in turn, means resisting the forces in society which say that women should be nice, play safe, have low professional expectations, drown in love and forget about work, live through others, and stay in the places assigned to us. It means that we insist on a life of meaningful work, insist that work be as meaningful as love and friendship in our lives. It means, therefore, the courage to be "different"...The difference between a life lived actively, and a life of passive drifting and dispersal of energies, is an immense difference. Once we begin to feel committed to our lives, responsible to ourselves, we can never again be satisfied with the old, passive way.

There is no 'the truth,' 'a truth'--truth is not one thing, or even a system. It is an increasing complexity.

Truthfulness, honor, is not something which springs ablaze of itself; it has to be created between people. This is true in political situations. The quality and depth of the politics evolving from a group depends in large part on their understanding of honor. Much of what is narrowly termed "politics" seems to rest on a longing for certainty even at the cost of honesty, for an analysis which, once given, need not be re-examined…It isn't that to have an honorable relationship with you, I have to understand everything, or tell you everything at once, or that I can know, beforehand, everything I need to tell you. It means that most of the time I am eager, longing for the possibility of telling you. That these possibilities may seem frightening, but not destructive to me. That I feel strong enough to hear your tentative and groping words. That we both know we are trying, all the time, to extend the possibilities of truth between us.

[Poetry] is the liquid voice that can wear through stone.

...you look at me like an emergency

I choose to love this time for oncewith all my intelligence-from "Splittings

and I ask myself and you, which of our visions will claim uswhich will we claimhow will we go on livinghow will we touch, what will we knowwhat will we say to each other.

the phantom of the man-who-would-understand,the lost brother, the twin ---for him did we leave our mothers,deny our sisters, over and over?did we invent him, conjure himover the charring log,nights, late, in the snowbound cabindid we dream or scry his facein the liquid embers,the man-who-would-dare-to-know-us?It was never the rapist:it was the brother, lost,the comrade/twin whose palmwould bear a lifeline like our own:decisive, arrowy,forked-lightning of insatiate desireIt was never the crude pestle, the blindramrod we were after:merely a fellow-creaturewith natural resources equal to our own.

Love, our subject:we've trained it like ivy to our walls.

For now, poetry has the capacity - in its own ways and by its own means - to remind us of something we are forbidden to see.

I touch you knowing we weren't born tomorrow,and somehow, each of us will help the other live,and somewhere, each of us must help the other die.

We may feel bitterly how little our poems can do in the face of seemingly out of control technological power and seemingly limitless corporate greed, yet it has always been true that poetry can break isolation, show us to ourselves when we are outlawed or made invisible, remind us of beauty where no beauty seems possible, remind us kinship where all is represented as separation.", The Nation, October 7, 1996)

To write as if your life depended on it; to write across the chalkboard, putting up there in public the words you have dredged; sieved up in dreams, from behind screen memories, out of silence-- words you have dreaded and needed in order to know you exist.

An honorable human relationship – that is, one in which two people have the right to use the word "love" – is a process, delicate, violent, often terrifying to both persons involved, a process of refining the truths they can tell each other.It is important to do this because it breaks down human self-delusion and isolation.It is important to do this because in doing so we do justice to our own complexity.It is important to do this because we can count on so few people to go that hard way with us.

Responsibility to yourself means refusing to let others do your thinking, talking, and naming for you; it means learning to respect and use your own brains and instincts; hence, grappling with hard work.

All human life on the planet is born of woman. The one unifying, incontrovertible experience shared by all women and men is that months-long period we spent unfolding inside a woman’s body. Because young humans remain dependent upon nurture for a much longer period than other mammals, and because of the division of labor long established in human groups, where women not only bear and suckle but are assigned almost total responsibility for children, most of us first know both love and disappointment, power and tenderness, in the person of a woman.

We may feel bitterly how little our poems can do in the face of seemingly out of control technological power and seemingly limitless corporate greed, yet it has always been true that poetry can break isolation, show us to ourselves when we are outlawed or made invisible, remind us of beauty where no beauty seems possible, remind us kinship where all is represented as separa

You must write, and read, as if your life depended on it.

Storm WarningsThe glass has been falling all the afternoon, And knowing better than the instrument What winds are walking overhead, what zone Of grey unrest is moving across the land, I leave the book upon a pillowed chair And walk from window to closed window, watching Boughs strain against the skyAnd think again, as often when the air Moves inward toward a silent core of waiting, How with a single purpose time has traveled By secret currents of the undiscerned Into this polar realm. Weather abroad And weather in the heart alike come on Regardless of prediction.Between foreseeing and averting change Lies all the mastery of elements Which clocks and weatherglasses cannot alter. Time in the hand is not control of time, Nor shattered fragments of an instrument A proof against the wind; the wind will rise, We can only close the shutters.I draw the curtains as the sky goes black And set a match to candles sheathed in glass Against the keyhole draught, the insistent whine Of weather through the unsealed aperture. This is our sole defense against the season; These are the things we have learned to do Who live in troubled regions.

And yet, protest it if we will,Some corner of the mind retainsThe medieval man, who stillKeeps watch upon those starry skeinsAnd drives us out of doors at nightTo gaze at anagrams of light.

We lie under the sheetafter making love, speakingof lonelinessrelieved in a bookrelived in a bookso on that pagethe clot and fissureof it appearswords of a manin paina naked wordentering the clota hand graspingthrough bars:deliveranceWhat happens between ushas happened for centurieswe know it from literaturestill it happenssexual jealousyoutflung handbeating beddryness of mouth after pantingthere are books that describe all thisand they are useless

Vous travaillez pour l'armee, madame?' (You are working for the army?), a Frenchwoman said to me early in the Vietnam war, on hearing I had three sons.

As a woman I have a country; as a woman I cannot divest myself of that country merely bu condemning its government or by saying three times "As a woman my country is the whole world." -Notes Towards a Politics of Location.

The lie [of compulsory female heterosexuality] is many-layered. In Western tradition, one layer—the romantic—asserts that women are inevitably, even if rashly and tragically, drawn to men; that even when that attraction is suicidal (e. g, Tristan and Isolde, Kate Chopin’s ‘The Awakening’) it is still an organic imperative. In the tradition of the social sciences it asserts that primary love between the sexes is ‘normal,’ that women need men as social and economic protectors, for adult sexuality, and for psychological completion; that the heterosexually constituted family is the basic social unit; that women who do not attach their primary intensity to men must be, in functional terms, condemned to an even more devastating outsiderhood than their outsiderhood as women.

Woman-identification is a source of energy, a potential springhead of female power, violently curtailed and wasted under the institution of heterosexuality. The denial of reality and visibility to women’s passion for women, women’s choice of women as allies, life companions, and community; the forcing of such relationships into dissimulation and their disintegration under intense pressure, have meant an incalculable loss to the power of all women to change the social relations of the sexes to liberate ourselves and each other. The lie of compulsory female heterosexuality today admits not just feminist scholarship, but every profession, every reference work, every curriculum, every organizing attempt, every relationship or conversation over which it hovers. It creates, specifically, a profound falseness, hypocrisy, and hysteria in the heterosexual dialogue, for every heterosexual relationship is lived in the queasy strobe-light of that lie. However we choose to identify ourselves, however we find ourselves labeled, it flickers across and distorts our lives.

Women have been driven mad, "gaslighted," for centuries by the refutation of our experience and our instincts in a culture which validates only male experience. The truth of our bodies and our minds has been mystified to us. We therefore have a primary obligation to each other: not to undermine each others' sense of reality for the sake of expediency; not to gaslight each other.Women have often felt insane when cleaving to the truth of our experience. Our future depends on the sanity of each of us, and we have a profound stake, beyond the personal, in the project of describing our reality as candidly and fully as we can to each other.

In a world where language and naming are power, silence is oppression, is violence.

Sexist grammar burns into the brains of little girls and young women a message that the male is the norm, the standard, the central figure beside which we are all deviants, the marginal, the dependent variables. It lays the foundation for androcentric thinking, and leaves men safe in their solipsistic tunnel-vision.

Feminism means finally that we renounce our obedience to the fathers and recognise that the world they have described is not the whole world. Masculine ideologies are the creation of masculine subjectivity; they are neither objective, nor value-free, nor inclusively "human." Feminism implies that we recognise for us, the distortion, of male-created ideologies, and that we proceed to think, and act, out of that recognition.

In a world dominated by violent and passive-aggressive men, and by male institutions dispensing violence, it is extraordinary to note how often women are represented as the perpetrators of violence, most of all when we are simply fighting in self-defense or for our children, or when we collectively attempt to change the institutions that are making war on us and our children.

if you unquestioningly accept one piece of the culture that despises and fears you, you are vulnerable to other pieces.

Re-vision--the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction--is for women more than a chapter in cultural history: it is an act of survival. Until we can understand the assumptions in which we are drenched we cannot know ourselves. And this drive to self-knowledge, for women, is more than a search for identity: it is part of our refusal of the self-destructiveness of male-dominated society. A radical critique of literature, feminist in its impulse, would take the work first of all as a clue to how we live, how we have been living, how we have been led to imagine ourselves, how our language has trapped as well as liberated us, how the very act of naming has been till now a male prerogative, and how we can begin to see and name--and therefore live--afresh. A change in the concept of sexual identity is essential if we are not going to see the old political order reassert itself in every new revolution. We need to know the writing of the past, and know it differently than we have ever known it; not to pass on a tradition but to break its hold over us.

In all societies, women are in double jeopardy; on the one hand we are expected to conform to certain emotional standards in our relationships with others at the penalty of being declared insane; on the other, our political perceptions are labeled "irrational" and "hysterical.

I have chosen to use the terms lesbian existence and lesbian continuum because the word lesbianism has a clinical and limiting ring Lesbian existence suggests both the fact of the historical presence of lesbians and our continuing creation of the meaning of that existence I mean the term lesbian continuum to include a range—through each woman’s life and throughout history—of woman-identified experience; not simply the fact that a woman has had or consciously desired genital sexual experience with another woman. If we expand it to embrace many more forms of primary intensity between and among women, including the sharing of a rich inner life, the bonding against male tyranny, the giving and receiving of practical and political support; if we can also hear in it such associations as marriage resistance and the ‘haggard’ behavior identified by Mary Daly (obsolete meanings ‘intractable,’ ‘willful,’ ‘wanton,’ and ‘unchaste’ a woman reluctant to yield to wooing’)—we begin to grasp breadths of female history and psychology that have lain out of reach as a consequence of limited, mostly clinical, definitions of ‘lesbianism.’Lesbian existence comprises both the breaking of a taboo and the rejection of a compulsory way of life It is also a direct or indirect attack on male right of access to women But it is more than these, although we may first begin to perceive it as a form of nay-saying to patriarchy, an act or resistance It has of course included role playing, self-hatred, breakdown, alcoholism, suicide, and intrawoman violence; we romanticize at our peril what it means to love and act against the grain, and under heavy penalties; and lesbian existence has been lived (unlike, say, Jewish or Catholic existence) without access to any knowledge of a tradition, a continuity, a social underpinning The destruction of records and memorabilia and letters documenting the realities of lesbian existence must be taken very seriously as a means of keeping heterosexuality compulsory for women, since what has been kept from our knowledge is joy, sensuality, courage, and community, as well as guilt, self-betrayal, and pain.

The effect of male-identification means ‘internalizing the values of the colonizer and actively participating in carrying out the colonization of one’s self and one’s sex… Male identification is the act whereby women place men above women, including themselves, in credibility, status, and importance in most situations, regardless of the comparative quality the women may bring to the situation…. Interaction with women is seen as a lesser form of relating on every level.

Theory-the seeing of patterns, showing the forest as well as the trees

Was it worth while to lay— with infinite exertion—a roof I can't live under? —All those blueprints, closings of gaps,measurings, calculations? A life I didn't choose chose me: even my tools are the wrong ones for what I have to do. I'm naked, ignorant, a naked man fleeing across the roofs who could with a shade of difference be sitting in the lamplight against the cream wallpaper reading—not with indifference—about a naked man fleeing across the roofs.

No one’s fated or doomed to love anyone.The accidents happen, we’re not heroines,they happen in our lives like car crashes,books that change us, neighborhoodswe move into and come to love.Tristan and Isolde is scarcely the story,women at least should know the differencebetween love and death. No poison cup,no penance. Merely a notion that the tape-recordershould have caught some ghost of us: that tape-recordernot merely played but should have listened to us,and could instruct those after us:this we were, this is how we tried to love,and these are the forces they had ranged against us,and these are the forces we had ranged within us,within us and against us, against us and within us.

Lying is done with words, and also with silence.

Tongue on your words to taste you thereCouldn’t   read what youhad never written therePlayed your message overfeeling badPlayed your message over it was all I hadTo tell me what and whereforethis is what it said:I’m tired of you asking me whyI’m tired of words like the chatter of birdsGive me a pass, let me just get by

I keep coming back to you in my head, but you couldn't know that, and I have no carbons

I don't trust them but I'm learning to use them.

But nothing less than the most radical imagination will carry us beyond this place, beyond the mere struggle for survival, to that lucid recognition of our possibilities which will keep us impatient, and unresigned to mere survival.

No person, trying to take responsibility for her or his identity, should have to be so alone. There must be those among whom we can sit down and weep, and still be counted as warriors.

The problem, unstated until now, is how to live in a damaged body in a world where pain is meant to be gagged uncured ungrieved over. The problem is to connect, without hysteria, the pain of anyone's body with the pain of the world's body.

A poem can't free us from the struggle for existence, but it can uncover desires and appetites buried under the accumulating emergencies of our lives, the fabricated wants and needs we have had urged on us, have accepted as our own. It's not a philosophical or psychological blueprint; it's an instrument for embodied experience.

Silence can be a planrigorously executedthe blueprint to a lifeIt is a presenceit has a history a formDo not confuse itwith any kind of absence

Behind all art is an element of desire...Love of life, of existence, love of another human being, love of human beings is in some way behind all art — even the most angry, even the darkest, even the most grief-stricken, and even the most embittered art has that element somewhere behind it. Because how could you be so despairing, so embittered, if you had not had something you loved that you lost?

Poetry is, among other things, a criticism of language.

Probably there is nothing in human nature more resonant with charges than the flow of energy between two biologically alike bodies, one of which has lain in amniotic bliss inside the other, one of which has labored to give birth to the other. The materials are here for the deepest mutuality and the most painful estrangement.

The I you know isn’t me, you said, truthtelling liarMy roots are not my chainsAnd I to you:   Whose hands have grownthrough mine?   Owl-voiced I cried then:   Who?But yours was the one, the only eye assumedDid we turn each other into liars?holding hands with each others’ chains?

But it is the subjects, the conversations, the facts we shy away from, which claim us in the form of writer's block, as mere rhetoric, as hysteria, insomnia, and constriction of the throat.

Those who speak largely of the human condition are usually those most exempt from its oppressions - whether of sex, race, or servitude.

The StrangerLooking as I’ve looked before, straight down the heartof the street to the riverwalking the rivers of the avenuesfeeling the shudder of the caves beneath the asphaltwatching the lights turn on in the towerswalking as I’ve walked beforelike a man, like a woman, in the citymy visionary anger cleansing my sightand the detailed perceptions of mercyflowering from that angerif I come into a room out of the sharp misty lightand hear them talking a dead languageif they ask me my identitywhat can I say butI am the androgyneI am the living mind you fail to describein your dead languagethe lost noun, the verb survivingonly in the infinitivethe letters of my name are written under the lidsof the newborn child

When I talk of taking a trip I mean forever.

To do something very common, in my own way.

I came to explore the wreck. / The words are purposes. / The words are maps. / I came to see the damage that was done / and the treasures that prevail.

A language is a map of our failures

There is nothing revolutionary whatsoever about the control of women's bodies by men. The woman's body is the terrain on which patriarchy is erected.

I question the more or less psychoanalytic perspective that the male need to control women sexually results from some primal male "fear of women" and of women's sexual insatiability. It seems more probable that men really fear, not that they will have women's sexual appetites forced on them, or that women want to smother and devour them, but that women could be indifferent to them altogether, that men could be allowed sexual and emotional-therefore economic-access to women only on women's terms, otherwise being left on the periphery of the matrix.

The friend I can trust is the one who will let me have my death.The rest are actors who want me to stay and further the plot.

The dead” we say   as if speakingof “the people” whogave up on making historysimply to get throughSomething dense and null   groanwithout echo   undergroundand owl-voiced I cry Whoare these dead people theselovers who if ever didlisten no longer answer: We :

Victories turned inside outBut no surrenderCemeteries of remorseThe beaten champion sobbingGhosts move in to shield his tears

Poems are like dreams: in them you put what you don't know you know.

Birds and periodic blood.Old recapitulations.The fox, panting, fire-eyed,gone to earth in my chest.How beautiful we are,he and I, with our auburnpelts, our trails of blood,our miracle escapes,our whiplash panic flogging us onto new miracles!They’ve supplied us with pillsfor bleeding, pills for panic.Wash them down the sink.This is truth, then:dull needle groping for the spinal fluid,weak acid in the bottom of the cup,foreboding, foreboding.No one tells the truth about truth,that it’s what the fox sees from his scuffled burrow:dull-jawed, onrushingkiller, being thatinanely single-mindedwill have our skins at last.

There is a cop who is both prowler and father:he comes from your block, grew up with your brothers,had certain ideals.You hardly know him in his boots and silver badge,on horseback, one hand touching his gun.You hardly know him but you have to get to know him:he has access to machinery that could kill you.He and his stallion clop like warlords among the trash,his ideals stand in the air, a frozen cloudfrom between his unsmiling lips.And so, when the time comes, you have to turn to him,the maniac’s sperm still greasing your thighs,your mind whirling like crazy. You have to confessto him, you are guilty of the crimeof having been forced.And you see his blue eyes, the blue eyes of all the familywhom you used to know, grow narrow and glisten,his hand types out the detailsand he wants them allbut the hysteria in your voice pleases him best.You hardly know him but now he thinks he knows you:he has taken down you worst momenton a machine and filed it in a file.He knows, or thinks he knows, how much you imagined;he knows, or thinks he knows, what you secretly wanted.He has access to machinery that could get you put away;and if, in the sickening light of the precinct,and if, in the sickening light of the precinct,your details sound like a portrait of your confessor,will you swallow, will you deny them, will you lie your way home?

Theory -the seeing of patterns, showing the forest as well as the trees- theory can be a dew that rises from earth and collects in the rain cloud and returns to earth over and over. But if it doesn't smell of the earth, it isn't good for earth. -Notes Toward a Politics of Location

The moment of change is the only poem.

The most notable fact that culture imprints on women is the sense of our limits. The most important thing one woman can do for another is to illuminate and expand her sense of actual possibilities.

Until we can understand the assumptions in which we are drenched we cannot know ourselves.

We must use what we have to invent what we desire.

The moment of change is the only poem.

Women's art though created in solitude wells up out of community. There is clearly both enormous hunger for the work thus being diffused and an explosion of creative energy bursting through the coercive choicelessness of the system on whose boundaries we are working.