20th-century poets from the United States

"Excuse my dust."

"And she had It. It, hell; she had Those."

"Salary is no object: I want only enough to keep body and soul apart."

"Well, Aimee Semple McPherson has written a book. And were you to call it a little peach, you would not be so much as scratching its surface. It is the story of her life, and it is called In the Service of the King, which title is perhaps a bit dangerously suggestive of a romantic novel. It may be that this autobiography is set down in sincerity, frankness and simple effort. It may be, too, that the Statue of Liberty is situated in Lake Ontario."

"And it is that word 'hummy,' my darlings, that marks the first place in The House at Pooh Corner at which Tonstant Weader fwowed up."

"That would be a good thing for them to cut on my tombstone: Wherever she went, including here, it was against her better judgment."

"A lady ... with all the poise of the Sphinx though but little of her mystery."

"The House Beautiful is, for me, the play lousy."

"Drink and dance and laugh and lie, Love, the reeling midnight through, For tomorrow we shall die! (But, alas, we never do.)"

"The ones I like ... are "cheque" and "enclosed.""

"And I'll stay away from Verlaine too; he was always chasing Rimbauds."

"I might repeat to myself, slowly and soothingly, a list of quotations beautiful from minds profound; if I can remember any of the damn things."

"I'm never going to accomplish anything; that's perfectly clear to me. I'm never going to be famous. My name will never be writ large on the roster of Those Who Do Things. I don't do anything. Not one single thing. I used to bite my nails, but I don't even do that any more."

"One more drink and I'd have been under the host."

"It takes me six months to do a story. I think it out and then write it sentence by sentence—no first draft. I can't write five words but that I change seven."

"There's a hell of a distance between wise-cracking and wit. Wit has truth in it; wise-cracking is simply calisthenics with words."

"It's not the tragedies that kill us; it's the messes."

"All those writers who write about their own childhood! Gentle God, if I wrote about mine you wouldn't sit in the same room with me."

"[On being told of Calvin Coolidge's death] How do they know? (Coolidge was known as a man who said very few words.)"

"There is no such hour on the present clock as 6:30, New York time. Yet, as only New Yorkers know, if you can get through the twilight, you'll live through the night."

"Too fucking busy, and vice versa."

"It serves me right for putting all my eggs in one bastard."

"You can lead a horticulture, but you can't make her think."

"What fresh hell can this be?"

"If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style. The first greatest, of course, is to shoot them now, while they're happy."

"That woman speaks eighteen languages, and can't say No in any of them."

"And there was that wholesale libel on a Yale prom. If all the girls attending it were laid end to end, Mrs Parker said, she wouldn't be at all surprised."

"Brevity is the soul of lingerie."

"Katharine Hepburn delivered a striking performance that ran the gamut of emotions, from A to B."

"Dotty had Great Big Visions of Quietude. Dotty saw an Ad, and it Left her Flat. Dotty had a Great Big Snifter of Cyanide. And that (said Dotty) Is that."

"Almost overnight, Dorothy Parker was transformed from a woman of letters into a gin-soaked quote machine, with a martini in one hand and a dagger in the other. p. xiii"

"Sinbad is produced in accordance with the fine old Shubert precept that nothing succeeds like undress. p. 6"

"Anyone can do that—the stunt lies in not doing it. p. 8"

"I thought that was going to be a good song, too, and then they went and rhymed “time” and “Rhine,” and spoiled everything. p. 24"

"They exude an atmosphere of The New Republic—a sort of Crolier-than-thou air. p. 36"

"There is one thing about Fiddlers Three, though, that held my attention all through the evening: Try as I might I could only discern two fiddlers. p. 42"

"To quote the only line of Gertrude Stein's which I have ever been able to understand, "It is wonderful how I am not interested." p. 64"

"You know how a play in dialect is. At the first act, you think, "How quaint!"; at the second act, you wish they would either stop using dialect or keep quiet; and at the third act, you wish you hadn't come. And Tillie, may I mention in passing, has four acts. p. 64"

"If the English version is in what, in our youth, we used to speak of affectionately as dear old iambic pentameter, the actors mercifully abstain from reciting it that way; they speak their lines as good, hardy prose. p. 76"

"The musical comedies of the month are She’s a Good Fellow and The Lady in Red, both of which owe their book and lyrics to Anne Caldwell—evidently a native of New York, judged by the casualness with which she rhymes “teacher” and “reach a.” p. 82"

"And you remember, Rabbi Wise has declared, in a heated moment, that our plays seem to be written for the hosiery buyers. If Dr. Wise had only witnessed our new summer reviews, he doubtless would have amended his statement to “read by the hosiery buyers.” p.89"

"This use of soldiers to make a play popular seems too much like taking an unfair advantage of the uniform—hitting below the Sam Browne belt, as it were. p. 93"

"In short, there is everything about this season's entertainment to make the Hippodrome what it always is—a Temple of the Arts to all those who hang pennants on their automobiles, use “Shake hands with my friend” as a formula for introduction, and sprinkle powdered sugar on their sliced tomatoes. p. 106"

"The play holds the season's record, thus far, with a run of four evening performances and one matinée. By an odd coincidence, it ran just five performances too many. p. 121"

"Writing a book for the Follies seems to be about as profitable an occupation as furnishing flannel petticoats for the showgirls. p. 151"

"The management's method of procedure is evidently to hire some well-known man to write the book, and then, as soon as it is written, to give it away to some deserving family, and go out and engage an assortment of specialty acts. p. 151"

"Van and Schenck put their songs over so skillfully that it isn't until their act is all done that you realize what extremely indifferent songs they are. Now, when John Steel is singing, on the other hand, you are never fooled for a moment. p.153"

"Mr. Hodge plays with his accustomed ease, even carrying the thing so far as to repeat many of his lines with his eyes shut; and in a pretty spirit of reciprocity, many members of the audience sit through the play with their eyes shut. p. 175"

"Of course, there are many things to be said for the afternoon performance, chief among them being that it cuts in so generously on one's work. p. 201"

"Naturally, you know how you would feel on setting out to see a performance of Aucassin and Nicolette done by a company of little ones; you would strive to hurl yourself beneath the wheels of a friendly truck, on your way to the theatre. p. 233"

"Bringing in a wounded soldier is getting to be rather like waving an American flag at the end of an act. One cannot harbor feelings of unmixed admiration for the playwright who will hide behind either of them. p. 250"

"So seeing that there is nothing further to say, I shall go right on talking about The Circle, thus proving that I am a born reviewer of plays. p. 256"

"Rockliffe Fellowes gives a likable performance of the secondary crook's rôle, and there are some decidedly agreeable-looking doughnuts consumed in the first act. And that is about all one can say for Pot Luck. p. 260"

"If you arrive late, you won't know what anything is about, and if you are there all the way from the beginning, you won't care. p. 277"

"There is one thing that appreciably eases the strain for the plays that arrive at this time of year, and that is that practically nothing is expected of them. p. 306"

"The murdered man meets his death in an intriguing and novel manner, which the management asks its customers, as a personal favor, not to reveal to possible future audiences. It remains a secret, chummily shared by those that have seen the play and the four or five million who read it in its original form as a Saturday Evening Post story a year or so ago. p. 320"

"It is advertised as “a seagoin’ comedy,” and anytime they go leaving off the final g that way, you know what to expect. p. 324"

"Two things made The Dice of the Gods, another play about drugs, seem much better than it had any real right to seem. One was that Morphia had come first, and once you had seen Morphia, nothing seemd so very terrible to you. p. 375"

"The cure for boredom is curiosity. There is no cure for curiosity."

"Age Before Beauty." "Pearls Before Swine."

"If you want to know what the Lord God thinks of money, just look at those to whom he gives it."

"Upon my honor I saw a Madonna Standing in a niche Over the door Of the glamorous whore Of a prominent son of a bitch."

"How odd Of God To choose The Jews"

"I like to have a martini, Two at the very most. After three I'm under the table, After four I'm under my host."

"This is not a novel to be tossed aside lightly. It should be thrown with great force."

"72 suburbs in search of a city"

"You can't teach an old dogma new tricks."

"It was easy to get a crush on Dottie Parker as she sent you flattering telegrams on your birthday, your show opening and whenever she thought you were slipping from her grasp. Her equipment was witty telegrams, vers de société and kisses on the lips when you aimed for her cheek. [...] One time Dottie and I decided to go to the Royalton to see Mister Benchley who was the most individual character I ever met. Benchley was half undressed and went on undressing to go to bed. Dottie said she was sleepy too, took off her hat and dress, and got into an enormous waste basket that looked like a giant's cradle made of leather. Dottie curled up. I said I was sleepy too, and, shedding my clothes, was starting to climb in with Dottie when Mr. Benchley's wife Gertrude made an unexpected appearance. "Hello, Gertrude," said Dottie. "Howard and I decided to drop in.""

"Dorothy Parker arrived at the Island one day with a huge suitcase which, when opened, contained only a large picture hat. She spent a week at Lake Bomoseen practically naked. Her figure was as eloquent as her verses."

"Everything I've ever said will be credited to Dorothy Parker."

"She is a combination of Little Nell and Lady Macbeth."

"[In the aftermath of the death of Parker's husband Alan] A woman who had been fond of Alan and who had always pretended to like her, although Dorothy doubted it, came over to offer condolences and assistance, as had many people that evening. How could she help? she asked. "Get me a new husband," Dorothy replied without a flicker of emotion."

"I myself hate that old Hemingwayesque paradigm of the writer as prizefighter and I have tried hard to create an alternate one for myself. When Anne Sexton admonished me, "We are all writing God's poem," I took it to mean there should be no competition between writers because we are all involved in a common project, a common prayer. But to Gore's and Norman's generation, particularly those male writers who served in the second world war, the prizefighter paradigm remains."

"I have had the experience of having my sister get up at a meeting at Columbia University, where these scholars from all over the world were anointing Fear of Flying as a classic. And my sister got up and said, "Erica Jong has ruined my life — with her books.""

"My advice to a young writer: Never give up. Read everything you can read — particularly the writers who move you deeply. Study how they do what they do. Read and read and read ... and write and write and write."

"Underneath it all, you longed to be annihilated by love..."

"Each one an antidote to the one that went before. Each one a reaction, an about-face, a rebound."

"The zipless fuck is absolutely pure. It is free of ulterior motives. There is no power game. The man is not "taking" and the woman is not "giving." No one is attempting to cuckold a husband or humiliate a wife. No one is trying to prove anything or get anything out of anyone. The zipless fuck is the purest thing there is. And it is rarer than the unicorn. And I have never had one."

"Pregnancy seemed like a tremendous abdication of control. Something growing inside you which would eventually usurp your life."

"I'm just trying to lead my own fucking life if I can manage to find it in all this confusion."

"Dancing is like fucking... it doesn't matter how you look - just concentrate on how you feel."

"I want you. I want you. I want you. Anything to avoid saying: I love you."

"The ultimate sexist put-down: the prick which lies down on the job."

"Silence is the bluntest of blunt instruments."

"I'm very dependant. I fall apart regularly."

"Sheer bitchiness can be a sort of style."

"It's only when you're forbidden to talk about the future that you suddenly realize how much the future normally occupies the present."

"Exceptional people are often called crazy by the ordinary world."

"Everyone's a little crazy when you get inside their head... it's only a matter of degree."

"I convinced myself that sadness and compromise were the ways of the world..."

"Having a baby with him meant marrying that face forever."

"All people believe their suffering is greater than others."

"Humor is a survival tool."

"How could one create life with someone who represented death?"

"Inevitably, I drank too much, talked too much, smiled too hard, swallowed back too much bile."

"My body was flesh, which was only one step removed from shit, from clay, from dust."

"Keeping a journal implies hope."

"The worst thing about jealousy is how low it makes you reach."

"And what if I don't want forgiveness?"

"Advice is what we ask for when we already know the answer but wish we didn't..."

"Friends love misery... our misery is what endears us to our friends."

"It takes a spasm of love to write a poem."

"They all cheat sooner or later. You might as well have one who isn't a bore the rest of the time."

"...jealousy makes the prick grow harder. And the cunt wetter."

"Love is love, but marriage is an investment."

"Unhappiness is our element. We come to believe we can't function without it."

"Without sex it would be so easy to choose appropriate people to live with. Sex was the joker in an otherwise rational deck."

"Loving someone is a loss of freedom -- but one doesn't think of it as loss because one gains so much else."

"There is a rhythm to the ending..."

"Many people today believe that cynicism requires courage. Actually, cynicism is the height of cowardice. It is innocence and open-heartedness that requires the true courage -- however often we are hurt as a result of it."

"If you apologize for something that isn't your fault in the first place, you, in effect, confirm their belief that it is your fault."

"Is perception equivalent to existence?"

"Photographs... are the most curious indicators of reality."

"...the ocean kept falling into itself, gathering itself up, and falling into itself again."

"The future is merely a shadow which blocks out the joys of the present and emphasizes the miseries of the past."

"What was the point of spending your life with someone you were always looking for ways to deceive?"

"I only know that in our choice of friends and lovers and teachers who will change our lives, we are guided by forces which have nothing to do with the rationalizations we give."

"Jealousy is all the fun you think they had."

"Pain is not love. Love flowers; love gives without taking; love is serene and calm."

"Driving me away is easier than saying goodbye..."

"Betrayal does that -- betrays the betrayer."

"It is our old love I love."

"I look forward and see myself look back."

"In loving life you love what can't survive..."

"Why does life need evidence of life?"

"I am not sure if love is a salve or just a deeper kind of wound."

"...I am sure that when we love we are better than ourselves and when we hate, worse."

"The best slave does not need to be beaten. She beats herself."

"Birth is the start of loneliness and loneliness the start of poetry..."

"Since flesh can't stay, we pass the words along."

"Hate generalizes; love is particular."

"Because I loved myself, I was loved."

"...if you don't risk anything, you risk even more."

"For women writers the systematic discouragement even to attempt to become writers has been so constant and pervasive a force that we cannot consider their literary productions without somehow assessing the effects of that barrage of discouragement."

"For women writers the systematic discouragement even to attempt to become writers has been so constant and pervasive a force that we cannot consider their literary productions without somehow assessing the effects of that barrage of discouragement. Often discouraged in the home, often at school, often by families and spouses, the rare woman writer who does not lose her determination along the way is already a survivor. That one should next have to face the systematic discouragement of a male-oriented literary establishment is absurd and sad but nonetheless a real fact of life for many women writers.* (No one has chronicled this repression better than Tillie Olsen in her splendid book Silences (1978).) The truth is that many of us are doomed to do our best work in an atmosphere of condescension and loneliness. Yet perhaps there is some sense in which that lack of establishment approval is a blessing, for an artist must learn (the sooner the better) that he or she works for the work itself, not for approval, and it is easier to establish that sense of creative independence when approval is lacking than when one is seduced by it."

"school is a microcosm of our society's values."

"Sexism is somewhat better hidden now-though it is far from eradicated."

"when I go to read my work at colleges, I find the students reading and discussing contemporary writing by women as if there never had been a time when a Distinguished Critic could say "Women can't be writers"-even in jest. I am grateful and glad for that change, but it has not been won without pain."

"Nothing is more destructive of the spirit and ultimately of creativity than false meekness, anger that does not know its own name. And nothing is more freeing for a woman (or for a woman writer) than giving up the pleasures of masochism and beginning to fight. But we must always remember that fighting is only a first step. As Virginia Woolf points out in A Room of One's Own, many women's books have been destroyed by the rage and bitterness at their own centers. Rage opens the doors into the spirit, but then the spirit must be nurtureed."

"The myths about women were mostly ways of keeping us out of touch with our own strength, and this confused many generations of women."

"when I look back on the years since I left college, and I try to sum up what I have learned, it is precisely that: not to fear change, not to expect my life to be immutable."

"Every poem, every page of fiction I have written, has been written with anxiety, occasionally panic, always uncertainty about its reception."

"As a writer, I feel that the very source of my inspiration lies in my never forgetting how much I have in common with other women, how many ways in which we are all-successful or not-similarly shackled. I do not write about superwomen who have transcended all conflict; I write about women who are torn, as most of us are torn, between the past and the future, between our mothers' frustrations and the extravagant hopes we have for our daughters. I do not know what a writer would write about if all her characters were superwomen, cleansed of conflict. Conflict is the soul of literature."

"I would like to see a world in which male writers wrote without masculinist bias, in which for example Hemingway's masculinist mythology (and that of many other contemporary American male writers) was perceived as quite as bizarre and hysterical as the most absurd excesses of militant feminist fiction, and in which consciousness had become so truly androgynous that the adjective itself would be puzzlingly obsolete."

"The human need for companionship and sexuality is far stronger than any intellectual theory"

"Righteousness has no place in literature. Of course the keen observer of her culture will feel deeply about the oppression she sees around her, the inhumanity of man to man, of man to woman, but her vision of it must be essentially personal, not abstractly political."

"I must gratefully acknowledge that the second wave of the feminist movement liberated my writing and was a liberating influence upon my whole life. How? Not by supplying me with dogma, but by making it easier for me to look into myself and assume that what I felt as a woman was also shared by other women (and men). For one of the most positive by-products of the so-called second wave of the feminist movement was its discovery of a new audience of readers-readers both female and male-who came to realize that literary history as we previously knew it was the history of the literature of the white, the affluent, the male, and that the female side of experience had been almost completely omitted (except as seen through the eyes of the traditional victors in the war between the sexes-men)."

"My job is not to paralyze myself by anticipating judgment but to do the best I can and let the judgment fall where it may."

"No one ever found wisdom without also being a fool."

"It seems to me that having now created an entire literature of female rage, an entire literature of female introspection, women writers are ready to enter the next phase-the phase of empathy. Without forgetting how hard-won our rage was, without forgetting how many puritanical voices would still like to censor our sexuality, I think we must consider ourselves free to explore the whole world of feeling in our writings-and not to be trapped forever in the phase of discovering buried anger...The time has come to let go of that rage; the time has come to realize that curiosity is braver than rage, that exploration is a nobler calling than war."

"Never follow a dog act. You know you're on the skids when you play yourself in the movie version of your life."

"Many contemporary women writers and artists have attempted to work with new images drawn from an explicitly feminist consciousness or from a female sensibility pulled from the experiences of daily life and made explicit in the context of the women's liberation movement. The struggle to do this requires both the break-up of the interior colonization and the actualization of a women-centered reality. Erica Jong described this process in her own work as she came of age as a writer in the 1970s: "I spent my whole bookish life identifying with writers and nearly all the writers who mattered were men. Even though there were women writers and even though I read them and loved them, they did not seem to matter. If they were good, they were good in spite of being women. If they were bad, it was because they were women. I had, in short, internalized all the dominant cultural stereotypes, and the result was that I could scarcely even imagine a woman as an author." Once Jong could name the problem, however, and see herself as a writer, the content of her work changed: "I stopped writing about ruins and nightingales. I was able to make poetry out of the everyday activities of my life: peeling onions, a trip to the gynecologist, a student demonstration, my own midnight terrors and dreams-all things I would have previously dismissed as trivial.""

"(Did you every read Fear of Flying?) G.P.: Well, that's another book that I really read part of several times and couldn't really finish. I thought it could have been done a lot faster and shorter…But again, that book was very important to a lot of women. I respect those facts, when people feel like that. I don't think it's just pure popularity; I don't think it's just that they were sold…But those books, those two books [The Women's Room and Fear of Flying], really were very important for lots of women."

"Erica Jong's Fanny is a marvelous, robust, funny book."

"... Jong presented millions of women readers with the possibility of — the great joys of — agency in place of soporific and joyless passivity in life and, of course, sex."

"(Which subjects do you wish more authors would write about?) Money. White authors often write about money (or don’t) in a way that disregards the realities of most people. It’s as if they assume that everyone simply has it. Or at least their readers. I remember reading “Fear of Flying,” by Erica Jong, many years ago, for instance, and getting very angry when the protagonist went to Europe for months with no concern for money or a job. I assumed she was relying on family money, but it was never explained. It took me out of the text because I couldn’t get over it. Maybe it’s because I grew up working class and money was a factor in everything we did. Marginalized people could never in their wildest dreams make these kinds of choices."

"Old man, forswear that dogged rumba Go home and yield to Christian slumba."

"Fashion makes the fur fly."

"... and the wolf chewed up the children and spit out their bones ... But those were Foreign Children and it really didn't matter ..."

"You make 'em, I amuse 'em."

"Nonsense wakes up the brain cells. And it helps develop a sense of humor, which is awfully important in this day and age. Humor has a tremendous place in this sordid world. It's more than just a matter of laughing. If you can see things out of whack, then you can see how things can be in whack."

"When at last we are sure You've been properly pilled, Then a few paper forms Must be properly filled So that you and your heirs May be properly billed."

"You can get help from teachers, but you are going to have to learn a lot by yourself, sitting alone in a room."

"Adults are just obsolete children and the hell with them."

"And that is a story that no one can beat, When I say that I saw it on Mulberry Street."

"I meant what I said, and I said what I meant An elephant's faithful, One hundred percent."

"On the 15th of May, in the Jungle of Nool, In the heat of the day, in the cool of the pool, He was splashing... enjoying the jungle's great joys... When Horton the elephant heard a small noise."

"A person's a person, no matter how small."

"My friends!", cried the elephant. "Tell me! Do tell! Are you safe? Are you sound? Are you whole? Are you well?"

"You're going to be roped! And you're going to be caged! And, as for your dust speck – hah! That we shall boil in a hot steaming kettle of Beezle-Nut Oil!"

"Don't give up! I believe in you all. A person's a person, no matter how small! And you very small persons will not have to die If you make yourselves heard! So come on, now, and TRY!"

"This", cried the Mayor, "is your town's darkest hour! The time for all Whos who have blood that is red To come to the aid of their country!", he said. "We've GOT to make noises in greater amounts! So, open your mouth, lad! For every voice counts!"

"Oh the things you can find If you don't stay behind!"

"In the places I go there are things that I see That I never could spell if I stopped with the Z. I'm telling you this 'cause you're one of my friends. My alphabet starts where your alphabet ends!"

"So, on beyond Z! It's high time you were shown That you really don't know All there is to be known."

"The sun did not shine. It was too wet to play. So we sat in the house All that cold, cold, wet day."

"We looked! Then we saw him Step in on the mat! We looked! And we saw him! The Cat in the Hat!"

"Maybe Christmas...", he thought, "...Doesn't come from a store." "Maybe Christmas... perhaps... means a little bit more!"

"Well, in Who-ville they say That the Grinch's small heart Grew 3 sizes that day."

"And today the great Yertle, that Marvelous he, Is King of the Mud. That is all he can see. And the turtles, of course... all the turtles are free As turtles and, maybe, all creatures should be."

"I know up on top you are seeing great sights, But down here on the bottom, We too should have rights."

"From there to here, from here to there, funny things are everywhere."

"If you never did You should. These things are fun. and Fun is good.'"

"I am Sam. Sam-I-Am."

"That Sam-I-Am! That Sam-I-Am! I do not like that Sam-I-Am!"

"I would not like them here or there. I would not like them anywhere. I do not like green eggs and ham. I do not like them, Sam-I-Am."

"Say! I like green eggs and ham! I do! I like them, Sam-I-Am!"

"I pulled, pulled, and pulled. And the next thing I knew, I was pulling the camel and Wubble-Chap too! "Now really," I thought, "this is rather unfair!" But he said, "Don't you stew. I am doing my share. "This is called teamwork. I furnish the brains. You furnish the muscles, the aches and the pains. I'll pick the best roads, tell you just where to go, And we'll find a good doctor more quickly, you know." Then he sat and he worked with his brains and his tongue And he bossed me around just because I was young. He told me go left. Then he told me go right. And that's what he told me all day and all night."

"A big man on a horse scared me out of my wits. He bellowed, "I'm General Genghis Kahn Schmitz. There's a war going on! And it's time that you knew Every lad in this land has his duty to do. We're marching to battle. We need you, my boy! We're about to attack. We're about to destroy The Perilous Poozer of Pompelmoose Pass! So get into line. You're a Private, First Class.""

"I'd have no more troubles... That's what the man said. So I started to go. But I didn't. Instead .... I did some quick thinking Inside of my head. Then I started back home To the Valley of Vung.I know I'll have troubles. I'll maybe get stung. I'll always have troubles. I'll maybe get bit By that Green-Headed Quail On the place where I sit. But I've bought a big bat. I'm all ready, you see. Now my troubles are going To have troubles with me!"

"Mister!" he said with a sawdusty sneeze. "I am the Lorax. I speak for the trees. I speak for the trees, for the trees have no tongues. And I'm asking you, sir, at the top of my lungs" – He was very upset as he shouted and puffed – "What's that THING you've made out of my Truffula tuft?"

"I am the Lorax who speaks for the trees, Which you seem to be chopping as fast as you please! But I'm also in charge of the brown Bar-ba-loots, Who played in the shade in their Bar-ba-loot suits, And happily lived, eating Truffula fruits. Now, thanks to your hacking my trees to the ground, There's not enough Truffula fruit to go 'round! And my poor Bar-ba-loots are all getting the crummies Because they have gas, and no food, in their tummies!"

"UNLESS someone like you cares a whole awful lot, nothing is going to get better. It's not."

"So . . . Catch!" calls the Once-ler. He lets something fall. "It's a Truffula Seed. It's the last one of all! You're in charge of the last of the Truffula Seeds. And Truffula Trees are what everyone needs. Plant a new Truffula. Treat it with care. Give it clean water. And feed it fresh air. Grow a forest. Protect it from axes that hack. Then the Lorax and all of his friends may come back."

"Now all that was left 'neath the bad-smelling sky was my big empty factory... the Lorax... and I. The Lorax said nothing. Just gave me a glance, just gave me a very sad, sad backward glance, as he lifted himself by the seat of his pants. And I'll never forget the grim look on his face when he heisted himself and took leave of this place, through a hole in the smog, without leaving a trace. And all that the Lorax left here in this mess was a small pile of rocks with the one word: UNLESS. Whatever that meant . . . well, I just couldn't guess."

"It's a troublesome world. All the people who're in it are troubled with troubles almost every minute. You oughta be thankful, a whole heaping lot, For the places and people you're lucky you're not!"

"And suppose that you lived in that forest in France Where the average young person just hasn't a chance To escape from the perilous pants-eating plants! But your pants are safe! You're a fortunate guy. And you ought to be shouting, "How lucky am I!""

"Thank goodness for all the things you are not! Thank goodness you're not something someone forgot, and left all alone in some punkerish place like a rusty tin coat hanger hanging in space."

"That's why I say, "Duckie! Don’t grumble! Don’t stew! Some critters are much-much, oh, ever so much-much, so muchly much-much more unlucky than you!""

"The more that you read, The more things you will know. The more that you learn, The more places you'll go."

"Young cat! If you keep Your eyes open enough, Oh, the stuff you will learn! The most wonderful stuff!"

"you'll miss the best things if you keep your eyes shut"

"You have brains in your head. You have feet in your shoes. You can steer yourself any direction you choose."

"With your head full of brains, and your shoes full of feet, You're too smart to go down any not-so-good-street."

"Out there things can happen, and frequently do, To people as brainy and footsy as you. And when things start to happen, don't worry, don't stew. Just go right along, you'll start happening too!"

"You're off to great places. Today is your day! Your mountain is waiting. So... get on your way."

"[...] right now, when the Japs are planting their hatchets in our skulls, it seems like a hell of a time for us to smile and warble: “Brothers!” It is a rather flabby battle cry. If we want to win, we've got to kill Japs, whether it depresses John Haynes Holmes or not. We can get palsy-walsy afterward with those that are left."

"Don't cry because it's over. Smile because it happened."

"Sometimes you will never know the value of a moment until it becomes a memory."

"Those who mind don't matter, and those who matter don't mind."

"You know you're in love when you can't fall asleep because reality is finally better than your dreams."

"You want my opinion? We're all a little weird. And life is a little weird. And when we find someone whose weirdness is compatible with ours, we join up with them and fall into mutually satisfying weirdness — and call it love — true love."

"I long for poems of an inner harmony in utter contrast to the chaos in which they exist. Insofar as poetry has a social function it is to awaken sleepers by other means than shock."

"To leave the open fields and enter the forest,that was the rite. Knowing there was mystery, they could go. Go back now! And he receded among the multitude of forms, the twists and shadows they saw now, listening to the hum of the world's wood."

"I’ve always hated artificial flowers unless they were just flagrantly and beautifully, sort of brassily, artificial. But the good imitations, the ones that you think are real until you get up to them, and then there’s that awful dead plastic, are really vile. And the reason why I think they’re so vile is because so much of the beauty of a flower is in its very perishableness. One doesn’t want it to last forever, and accumulate dust."

"Praise the invisible sun burning beyond the white cold sky, giving us light and the chimney's shadow."

"Acknowledgement, and celebration, of mystery probably constitutes the most consistent theme of my poetry from its very beginnings. Because it is a matter of which I am conscious, it is possible, however imprecisely, to call it an intellectual position; but it is one which emphasizes the incapacity of reason alone (much though I delight in elegant logic) to comprehend experience, and considers Imagination the chief of human faculties. It must therefore be by the exercise of that faculty that one moves toward faith, and possibly by its failure that one rejects it as delusion. Poems present their testimony as circumstantial evidences, not as closing argument. Where Wallace Stevens says, "God and the imagination are one," I would say that the imagination, which synergizes intellect, emotion and instinct, is the perceptive organ through which it is possible, though not inevitable, to experience God."

"I like to find what's not found at once, but lieswithin something of another nature, in repose, distinct."

"I like the juicy stem of grass that grows within the coarser leaf folded round, and the butteryellow glowin the narrow flute from which the morning-glory opens blue and cool on a hot morning."

"The world is not with us enough. O taste and see."

"Two girls discover the secret of life in a sudden line of poetry.I who don't know the secret wrote the line."

"I love them for finding what I can't find,and for loving me for the line I wrote, and for forgetting it so that a thousand times, till death finds them, they may discover it again, in other lines in other happenings. And for wanting to know it, forassuming there is such a secret, yes, for that most of all."

"I was the first to see him, for I grew out on the pasture slope, beyond the forest. He was a man, it seemed. . ."

"Then as he sang it was no longer sounds only that made the music: he spoke, and as no tree listens I listened, and language came into my roots out of the earth, into my bark out of the air, into the pores of my greenest shoots gently as dew and there was no word he sang but I knew its meaning."

"He told of journeys, of where sun and moon go while we stand in dark, of an earth-journey he dreamed he would take some day deeper than roots ... He told of the dreams of man, wars, passions, griefs, and I, a tree, understood words – ah, it seemed my thick bark would split like a sapling's that grew too fast in the spring when a late frost wounds it."

"Fire he sang, that trees fear, and I, a tree, rejoiced in its flames. New buds broke forth from me though it was full summer. As though his lyre (now I knew its name) were both frost and fire, its chords flamed up to the crown of me. I was seed again. I was fern in the swamp. I was coal."

"And I in terror but not in doubt of what I must do in anguish, in haste, wrenched from the earth root after root, the soil heaving and cracking, the moss tearing asunder — and behind me the others: my brothers forgotten since dawn. In the forest they too had heard, and were pulling their roots in pain out of a thousand years' layers of dead leaves, rolling the rocks away, breaking themselves out of their depths."

"The music reached us. Clumsily, stumbling over our own roots, rustling our leaves in answer, we moved, we followed."

"By dawn he was gone. We have stood here since, in our new life. We have waited. He does not return."

"It is said he made his earth-journey, and lost what he sought. It is said they felled him and cut up his limbs for firewood. And it is said his head still sang and was swept out to sea singing."

"Perhaps he will not return. But what we have lived comes back to us. We see more. We feel, as our rings increase, something that lifts our branches, that stretches our furthest leaf-tips further."

"The wind, the birds, do not sound poorer but clearer, recalling our agony, and the way we danced."

"There is a fence around the garden but the gate stands open."

"To me it seems perhaps Kropotkin understood half of what we need to know, and Lenin perhaps knew half, and true revolution … true revolution must put these two halves together?"

"To serve the people, one must write for the ideal reader. Only for the ideal reader. And who or what is that ideal reader? God. One must imagine, One must deeply imagine"

"I am not joking. I'm speaking of spirit. Not dogma but spirit. The Way."

"The poet never must lose despair."

"all of us know he means we mustn't, any of us, lose touch with the source, pretend it's not there, cover over the mineshaft of passion"

"Leaps of nerve, heart — cries of communion: if there is bliss, it has been already and will be; out- reaching, utterly. Blind to itself, flooded with otherness."

"Let Ariel learn a blessing for Caliban and Caliban drink dew from the lotus open upon the waters."

"pure dust that is all in all. Bless, weightless Spirit. Drink Caliban, push your tongue heavy into the calyx."

"I am tired of 'the fine art of unhappiness'."

"Delivered out of raw continual pain, smell of darkness, groans of those others to whom he was chained — unchained, and led past the sleepers, door after door silently opening — out!"

"And not till he saw the angel had left him, alone and free to resume the ecstatic, dangerous, wearisome roads of what he had still to do, not till then did he recognize this was no dream."

"He himself must be the key, now, to the next door, the next terrors of freedom and joy."

"Lord, not you, it is I who am absent."

"Not for one second will my self hold still, but wanders anywhere, everywhere it can turn. Not you, it is I am absent."

"You are the stream, the fish, the light, the pulsing shadow. You the unchanging presence, in whom all moves and changes. How can I focus my flickering, perceive at the fountain's heart the sapphire I know is there?"

"Down through the tomb's inward arch He has shouldered out into Limbo to gather them, dazed, from dreamless slumber..."

"Didmas, neighbor in death, Golgotha dust still streaked on the dried sweat of his body no one had washed and anointed, is here, for sequence is not known in Limbo; the promise, given from cross to cross at noon, arches beyond sunset and dawn."

"All these He will swiftly lead to the Paradise road: they are safe. That done, there must take place that struggle no human presumes to picture: living, dying, descending to rescue the just from shadow, were lesser travails than this: to break through earth and stone of the faithless world back to the cold sepulcher, tearstained stifling shroud; to break from them back into breath and heartbeat, and walk the world again, closed into days and weeks again, wounds of His anguish open, and Spirit streaming through every cell of flesh so that if mortal sight could bear to perceive it, it would be seen His mortal flesh was lit from within, now, and aching for home. He must return, first, in Divine patience, and know hunger again, and give to humble friends the joy of giving Him food — fish and a honeycomb."

"Rain-diamonds, this winter morning, embellish the tangle of unpruned pear-tree twigs; each solitaire, placed, it appearrs, with considered judgement, bears the light beneath the rifted clouds — the indivisible shared out in endless abundance."

"the real plague...the Nestle's executives and Nixons of the world; if you're looking for evil, that's where to look. (1983)"

"Poetry is and should be part of resistance movements, including the anti-nuclear movement. (1984)"

"I still hope for change, and believe work and prayer can produce results. I have a button that says Picket and Pray. There's still a chance to turn things around. Glasnost and Perestroika are what we need in the USA, just as much as in the Soviet Union-especially Perestroika! (1988)"

"Levertov was the first poet I ever saw read, and that was actually over twenty years ago. She was very important to me. Partly as a model, as a woman up there reading, partly because she knows how to end the poem more effectively than anybody I know."

"Over many years (I am almost 72) so many poets have touched my imagination and opened paths for me—it hardly makes sense to list them. I have always read a great deal of poetry. Some poets—like Robert Lowell, Denise Levertov, Randall Jarrell, Jean Valentine, Audre Lorde, Hayden Carruth, Jane Cooper, June Jordan, Joy Harjo, Clayton Eshelman—have been my friends, we’ve been comrades in exchanging work and encouraging each other"

"No one can build his security upon the nobleness of another person. Two people, when they love each other, grow alike in their tastes and habits and pride, but their moral natures (whatever we may mean by that canting expression) are never welded. The base one goes on being base, and the noble one noble, to the end."

"There's nothing so dangerous as sitting still. You've only got one life, one youth, and you can let it slip through your fingers if you want to; nothing easier. Most people do that."

"It does not matter much whom we live with in this world, but it matters a great deal whom we dream of."

"The world there was the flat world of the ancients; to the east, a cornfield that stretched to daybreak; to the west, a corral that reached to the sunset; between, the conquests of peace, dearer-bought than those of war."

"The dead might as well try to speak to the living as the old to the young."

"The sun was like a great visiting presence that stimulated and took its due from all animal energy. When it flung wide its cloak and stepped down over the edge of the fields at evening, it left behind it a spent and exhausted world."

"Beautiful women, whose beauty meant more than it said... was their brilliancy always fed by something coarse and concealed? Was that their secret?"

"He had seen the end of an era, the sunset of the pioneer. He had come upon it when already its glory was nearly spent. So in the buffalo times a traveller used to come upon the embers of a hunter's fire on the prairies, after the hunter was up and gone; the coals would be trampled out, but the ground was warm, and the flattened grass where he had slept and where his pony had grazed, told the story. This was the very end of the road-making West; the men who had put plains and mountains under the iron harness were old; some were poor, and even the successful ones were hunting for rest and a brief reprieve from death. It was already gone, that age; nothing could ever bring it back. The taste and smell and song of it, the visions those men had seen in the air and followed, — these he had caught in a kind of afterglow in their own faces, — and this would always be his."

"My familiar spirit is like an old wild turkey that forsakes a feeding ground as soon as it sees tracks of people-especially if the people are readers, book-buyers. It's a crafty bird and it wants to go where there aint no readers That's the truth: they go and paw a place all up and spoil it for me. It isn't my secret anymore."

"Directly under his feet was the French stronghold, — scattered spires and slated roofs flashing in the rich, autumnal sunlight; the little capital which was just then the subject of so much discussion in Europe, and the goal of so many fantastic dreams."

"Only solitary men know the full joys of friendship. Others have their family — but to a solitary and an exile his friends are everything."

"Sometimes a neighbor whom we have disliked a lifetime for his arrogance and conceit lets fall a single commonplace remark that shows us another side, another man, really; a man uncertain, and puzzled, and in the dark like ourselves."

"The great fact was the land itself, which seemed to overwhelm the little beginnings of human society that struggled in its sombre wastes. It was from facing this vast hardness that the boy's mouth had become so bitter; because he felt that men were too weak to make any mark here, that the land wanted to be let alone, to preserve its own fierce strength, its peculiar, savage kind of beauty, its uninterrupted mournfulness."

"Of all the bewildering things about a new country, the absence of human landmarks is one of the most depressing and disheartening."

"The history of every country begins in the heart of a man or a woman."

"Alexandra drew her shawl closer about her and stood leaning against the frame of the mill, looking at the stars which glittered so keenly through the frosty autumn air. She always loved to watch them, to think of their vastness and distance, and of their ordered march. It fortified her to reflect upon the great operations of nature, and when she thought of the law that lay behind them, she felt a sense of personal security."

"She had never known before how much the country meant to her. The chirping of the insects in the long grass had been like the sweetest music. She had felt as if her heart were hiding down there, somewhere, with the quail and the plover and all the little wild things that crooned or buzzed in the sun. Under the long shaggy ridges, she felt the future stirring."

"Freedom so often means that one isn't needed anywhere. Here you are an individual, you have a background of your own, you would be missed. But off there in the cities there are thousands of rolling stones like me. We are all alike; we have no ties, we know nobody, we own nothing. When one of us dies, they scarcely know where to bury him... We have no house, no place, no people of our own. We live in the streets, in the parks, in the theatres. We sit in restaurants and concert halls and look about at the hundreds of our own kind and shudder."

"There are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before; like the larks in this country, that have been singing the same five notes over for thousands of years."

"Perhaps I am like Carrie Jensen, the sister of one of my hired men. She had never been out of the cornfields, and a few years ago she got despondent and said life was just the same thing over and over, and she didn't see the use of it. After she had tried to kill herself once or twice, her folks got worried and sent her over to Iowa to visit some relations. Ever since she's come back she's been perfectly cheerful, and she says she's contented to live and work in a world that's so big and interesting. She said that anything as big as the bridges over the Platte and the Missouri reconciled her. And it's what goes on in the world that reconciles me."

"I like trees because they seem more resigned to the way they have to live than other things do."

"There was about Alexandra something of the impervious calm of the fatalist, always disconcerting to very young people, who cannot feel that the heart lives at all unless it is still at the mercy of storms; unless its strings can scream to the touch of pain."

"The years seemed to stretch before her like the land: spring, summer, autumn, winter, spring; always the same patient fields, the patient little trees, the patient lives; always the same yearning; the same pulling at the chain — until the instinct to live had torn itself and bled and weakened for the last time, until the chain secured a dead woman, who might cautiously be released."

"We come and go, but the land is always here. And the people who love it and understand it are the people who own it — for a little while."

"I tell you there is no such thing as creative hate!"

"Nothing is far and nothing is near, if one desires. The world is little, people are little, human life is little. There is only one big thing — desire."

"Every artist makes himself born. It is very much harder than the other time, and longer."

"All the intelligence and talent in the world can't make a singer. The voice is a wild thing. It can't be bred in captivity. It is a sport, like the silver fox. It happens."

"The great pines stand at a considerable distance from each other. Each tree grows alone, murmurs alone, thinks alone. They do not intrude upon each other. The Navajos are not much in the habit of giving or of asking help. Their language is not a communicative one, and they never attempt an interchange of personality in speech. Over their forests there is the same inexorable reserve. Each tree has its exalted power to bear."

"What was any art but an effort to make a sheath, a mould in which to imprison for a moment the shining, elusive element which is life itself — life hurrying past us and running away, too strong to stop, too sweet to lose?"

"When we look back, the only things we cherish are those which in some way met our original want; the desire which formed in us in early youth, undirected, and of its own accord."

"I keep my mind on it. That's the whole trick, in so far as stage experience goes; keeping right there every second. If I think of anything else for a flash, I'm gone, done for. But at the same time, one can take things in — with another part of your brain, maybe. It's different from what you get in study, more practical and conclusive. There are some things you learn best in calm, and some in storm. You learn the delivery of a part only before an audience."

"If you love the good thing vitally, enough to give up for it all that one must give up, then you must hate the cheap thing just as hard. I tell you, there is such a thing as creative hate! A contempt that drives you through fire, makes you risk everything and lose everything, makes you a long sight better than you ever knew you could be."

"Artistic growth is, more than it is anything else, a refining of the sense of truthfulness. The stupid believe that to be truthful is easy; only the artist, the great artist, knows how difficult it is."

"There seemed to be nothing to see; no fences, no creeks or trees, no hills or fields. If there was a road, I could not make it out in the faint starlight. There was nothing but land: not a country at all, but the material out of which countries are made."

"I kept as still as I could. Nothing happened. I did not expect anything to happen. I was something that lay under the sun and felt it, like the pumpkins, and I did not want to be anything more. I was entirely happy. Perhaps we feel like that when we die and become a part of something entire, whether it is sun and air, or goodness and knowledge. At any rate, that is happiness; to be dissolved into something complete and great. When it comes to one, it comes as naturally as sleep."

"I ain't got time to learn. I can work like mans now."

"Winter lies too long in country towns; hangs on until it is stale and shabby, old and sullen. On the farm the weather was the great fact, and men's affairs went on underneath it, as the streams creep under the ice. But in Black Hawk the scene of human life was spread out shrunken and pinched, frozen down to the bare stalk."

"On starlight nights I used to pace up and down those long, cold streets, scowling at the little, sleeping houses on either side, with their storm-windows and covered back porches. They were flimsy shelters, most of them poorly built of light wood, with spindle porch-posts horribly mutilated by the turning-lathe. Yet for all their frailness, how much jealousy and envy and unhappiness some of them managed to contain! The life that went on in them seemed to me made up of evasions and negations; shifts to save cooking, to save washing and cleaning, devices to propitiate the tongue of gossip. This guarded mode of existence was like living under a tyranny. People's speech, their voices, their very glances, became furtive and repressed. Every individual taste, every natural appetite, was bridled by caution. The people asleep in those houses, I thought, tried to live like the mice in their own kitchens; to make no noise, to leave no trace, to slip over the surface of things in the dark."

"There were no clouds, the sun was going down in a limpid, gold-washed sky. Just as the lower edge of the red disk rested on the high fields against the horizon, a great black figure suddenly appeared on the face of the sun. We sprang to our feet, straining our eyes toward it. In a moment we realized what it was. On some upland farm, a plough had been left standing in the field. The sun was sinking just behind it. Magnified across the distance by the horizontal light, it stood out against the sun, was exactly contained within the circle of the disk; the handles, the tongue, the share — black against the molten red. There it was, heroic in size, a picture writing on the sun."

"Jim," she said earnestly, "if I was put down there in the middle of the night, I could find my way all over that little town; and along the river to the next town, where my grandmother lived. My feet remember all the little paths through the woods, and where the big roots stick out to trip you. I ain't never forgot my own country."

"Cleric said he thought Virgil, when he was dying at Brindisi, must have remembered that passage. After he had faced the bitter fact that he was to leave the 'Aeneid' unfinished, and had decreed that the great canvas, crowded with figures of gods and men, should be burned rather than survive him unperfected, then his mind must have gone back to the perfect utterance of the 'Georgics,' where the pen was fitted to the matter as the plough is to the furrow; and he must have said to himself, with the thankfulness of a good man, 'I was the first to bring the Muse into my country.'"

"Men are all right for friends, but as soon as you marry them they turn into cranky old fathers, even the wild ones. They begin to tell you what's sensible and what's foolish, and want you to stick at home all the time. I prefer to be foolish when I feel like it, and be accountable to nobody."

"She remembered home as a place where there were always too many children, a cross man and work piling up around a sick woman."

"The windy springs and the blazing summers, one after another, had enriched and mellowed that flat tableland; all the human effort that had gone into it was coming back in long, sweeping lines of fertility. The changes seemed beautiful and harmonious to me; it was like watching the growth of a great man or of a great idea. I recognized every tree and sandbank and rugged draw. I found that I remembered the conformation of the land as one remembers the modelling of human faces."

"I think of you more often than of anyone else in this part of the world. I'd have liked to have you for a sweetheart, or a wife, or my mother or my sister — anything that a woman can be to a man. The idea of you is a part of my mind; you influence my likes and dislikes, all my tastes, hundreds of times when I don't realize it. You really are a part of me."

"Ain't it wonderful, Jim, how much people can mean to each other?"

"As we walked homeward across the fields, the sun dropped and lay like a great golden globe in the low west. While it hung there, the moon rose in the east, as big as a cart-wheel, pale silver and streaked with rose colour, thin as a bubble or a ghost-moon. For five, perhaps ten minutes, the two luminaries confronted each other across the level land, resting on opposite edges of the world. In that singular light every little tree and shock of wheat, every sunflower stalk and clump of snow-on-the-mountain, drew itself up high and pointed; the very clods and furrows in the fields seemed to stand up sharply. I felt the old pull of the earth, the solemn magic that comes out of those fields at nightfall. I wished I could be a little boy again, and that my way could end there."

"In the course of twenty crowded years one parts with many illusions. I did not wish to lose the early ones. Some memories are realities, and are better than anything that can ever happen to one again."

"As I confronted her, the changes grew less apparent to me, her identity stronger. She was there, in the full vigour of her personality, battered but not diminished, looking at me, speaking to me in the husky, breathy voice I remembered so well."

"It was no wonder that her sons stood tall and straight. She was a rich mine of life, like the founders of early races."

"Whatever we had missed, we possessed together the precious, the incommunicable past."

"His misfortune was that he loved youth — he was weak to it, it kindled him. If there was one eager eye, one doubting, critical mind, one lively curiosity in a whole lecture-room full of commonplace boys and girls, he was its servant. That ardour could command him. It hadn't worn out with years, this responsiveness, any more than the magnetic currents wear out; it had nothing to do with Time."

"Desire is creation, is the magical element in that process. If there were an instrument by which to measure desire, one could foretell achievement."

"The great fact in life, the always possible escape from dullness, was the lake. The sun rose out of it, the day began there; it was like an open door that nobody could shut. The land and all its dreariness could never close in on you. You had only to look at the lake, and you knew you would soon be free."

"A work-room should be like an old shoe; no matter how shabby, it's better than a new one."

"Art and religion (they are the same thing, in the end, of course) have given man the only happiness he has ever had."

"The heart of another is a dark forest, always, no matter how close it has been to one's own."

"To people off alone, as we were, there is something stirring about finding evidences of human labour and care in the soil of an empty country. It comes to you as a sort of message, makes you feel differently about the ground you walk over every day."

"He had never learned to live without delight. And he would have to learn to, just as, in a Prohibition country, he supposed he would have to learn to live without sherry. Theoretically he knew that life is possible, maybe even pleasant, without joy, without passionate griefs. But it had never occurred to him that he might have to live like that."

""In great misfortunes," he told himself, "people want to be alone. They have a right to be. And the misfortunes that occur within one are the greatest. Surely the saddest thing in the world is falling out of love — if once one has ever fallen in." Falling out, for him, seemed to mean falling out of all domestic and social relations, out of his place in the human family, indeed."

"The qualities of a second-rate writer can easily be defined, but a first-rate writer can only be experienced. It is just the thing in him which escapes analysis that makes him first-rate."

"Even in harmonious families there is this double life: the group life, which is the one we can observe in our neighbour's household, and, underneath, another — secret and passionate and intense — which is the real life that stamps the faces and gives character to the voices of our friends. Always in his mind each member of these social units is escaping, running away, trying to break the net which circumstances and his own affections have woven about him."

"One realizes that human relationships are the tragic necessity of human life; that they can never be wholly satisfactory, that every ego is half the time greedily seeking them, and half the time pulling away from them. In those simple relationships of loving husband and wife, affectionate sisters, children and grandmother, there are innumerable shades of sweetness and anguish which make up the pattern of our lives day by day, though they are not down in the list of subjects from which the conventional novelist works."

"Now everything was in ruins. The air was still and cold like the air in a refrigerating-room. What I felt was fear; I was afraid to look or speak or move. Everything about me seemed evil. When kindness has left people, even for a few moments, we become afraid of them, as if their reason had left them. When it has left a place where we have always found it, it is like shipwreck; we drop from security into something malevolent and bottomless."

"Only the stupid and the phlegmatic should teach."

"People can be lovers and enemies at the same time, you know. We were... A man and woman draw apart from that long embrace, and see what they have done to each other... In age we lose everything; even the power to love."

"Religion is different from everything else; because in religion seeking is finding."

"In other searchings it might be the object of the quest that brought satisfaction, or it might be something incidental that one got on the way; but in religion, desire was fulfilment, it was the seeking itself that rewarded."

"I could bear to suffer... so many have suffered. But why must it be like this? I have not deserved it. I have been true in friendship; I have faithfully nursed others in sickness... Why must I die like this, alone with my mortal enemy?"

"That irregular and intimate quality of things made entirely by the human hand."

"Where there is great love there are always miracles."

"The Miracles of the Church seem to me to rest not so much upon faces or voices or healing power coming suddenly near to us from afar off, but upon our perceptions being made finer, so that for a moment our eyes can see and our ears can hear what is there about us always."

"The sky was as full of motion and change as the desert beneath it was monotonous and still, — and there was so much sky, more than at sea, more than anywhere else in the world. The plain was there, under one's feet, but what one saw when one looked about was that brilliant blue world of stinging air and moving cloud. Even the mountains were mere ant-hills under it. Elsewhere the sky is the roof of the world; but here the earth was the floor of the sky. The landscape one longed for when one was away, the thing all about one, the world one actually lived in, was the sky, the sky!"

"Father Latour judged that, just as it was the white man's way to assert himself in any landscape, to change it, make it over a little (at least to leave some mark of memorial of his sojourn), it was the Indian's way to pass through a country without disturbing anything; to pass and leave no trace, like fish through the water, or birds through the air. It was the Indian manner to vanish into the landscape, not to stand out against it. The Hopi villages that were set upon rock mesas were made to look like the rock on which they sat, were imperceptible at a distance."

"In New Mexico he always awoke a young man...Beautiful surroundings, the society of learned men, the charm of noble women, the graces of art, could not make up to him for the loss of those light-hearted mornings of the desert, for that wind that made one a boy again. He had noticed that this peculiar quality in the air of new countries vanished after they were tamed by man and made to bear harvests... That air would disappear from the whole earth in time, perhaps; but long after his day. He did not know just when it had become so necessary to him, but he had come back to die in exile for the sake of it. Something soft and wild and free, something that whispered to the ear on the pillow, lightened the heart, softly, softly picked the lock, slid the bolts, and released the prisoned spirit of man into the wind, into the blue and gold, into the morning, into the morning!"

"Whatever is felt upon the page without being specifically named there — that, one might say, is created. It is the inexplicable presence of the thing not named, of the overtone divined by the ear but not heard by it, the verbal mood, the emotional aura of the fact or the thing or the deed, that gives high quality to the novel or the drama, as well as to poetry itself."

"The higher processes are all processes of simplification. The novelist must learn to write, and then he must unlearn it; just as the modern painter learns to draw, and then learns when utterly to disregard his accomplishment, when to subordinate it to a higher and truer effect."

"There is a popular superstition that "realism" asserts itself in the cataloguing of a great number of material objects, in explaining mechanical processes, the methods of operating manufactories and trades, and in minutely and unsparingly describing physical sensations. But is not realism, more than it is anything else, an attitude of mind on the part of the writer toward his material, a vague indication of the sympathy and candour with which he accepts, rather than chooses, his theme?"

"To note an artist's limitations is but to define his talent. A reporter can write equally well about everything that is presented to his view, but a creative writer can do his best only with what lies within the range and character of his deepest sympathies."

"One might say that every fine story must leave in the mind of the sensitive reader an intangible residuum of pleasure; a cadence, a quality of voice that is exclusively the writer's own, individual, unique. A quality which one can remember without the volume at hand, can experience over and over again in the mind but can never absolutely define, as one can experience in memory a melody, or the summer perfume of a garden... It is a common fallacy that a writer, if he is talented enough, can achieve this poignant quality by improving upon his subject-matter, by using his "imagination" upon it and twisting it to suit his purpose. The truth is that by such a process (which is not imaginative at all!) he can at best produce only a brilliant sham, which, like a badly built and pretentious house, looks poor and shabby after a few years. If he achieves anything noble, anything enduring, it must be by giving himself absolutely to his material. And this gift of sympathy is his great gift; is the fine thing in him that alone can make his work fine. The artist spends a lifetime in pursuing the things that haunt him, in having his mind "teased" by them, in trying to get these conceptions down on paper exactly as they are to him and not in conventional poses supposed to reveal their character; trying this method and that, as a painter tries different lightings and different attitudes with his subject to catch the one that presents it more suggestively than any other. And at the end of a lifetime he emerges with much that is more or less happy experimenting, and comparatively little that is the very flower of himself and his genius."

"The "sayings" of a community, its proverbs, are its characteristic comment upon life; they imply its history, suggest its attitude toward the world and its way of accepting life. Such an idiom makes the finest language any writer can have; and he can never get it with a notebook. He himself must be able to think and feel in that speech — it is a gift from heart to heart."

"It is scarcely exaggeration to say that if one is not a little mad about Balzac at twenty, one will never live; and if at forty one can still take Rastignac and Lucien de Rubempre at Balzac's own estimate, one has lived in vain."

"The world is always full of brilliant youth which fades into grey and embittered middle age: the first flowering takes everything. The great men are those who have developed slowly, or who have been able to survive the glamour of their early florescence and to go on learning from life."

"Art, it seems to me, should simplify. That, indeed, is very nearly the whole of the higher artistic process; finding what conventions of form and what detail one can do without and yet preserve the spirit of the whole — so that all that one has suppressed and cut away is there to the reader's consciousness as much as if it were in type on the page."

"Writing ought either to be the manufacture of stories for which there is a market demand — a business as safe and commendable as making soap or breakfast foods — or it should be an art, which is always a search for something for which there is no market demand, something new and untried, where the values are intrinsic and have nothing to do with standardized values."

"Religion and art spring from the same root and are close kin. Economics and art are strangers."

"The condition every art requires is, not so much freedom from restriction, as freedom from adulteration and from the intrusion of foreign matter."

"Give the people a new word and they think they have a new fact."

"Nearly all the Escapists in the long past have managed their own budget and their social relations so unsuccessfully that I wouldn't want them for my landlords, or my bankers, or my neighbors. They were valuable, like powerful stimulants, only when they were left out of the social and industrial routine."

"Every artist knows that there is no such thing as "freedom" in art. The first thing an artist does when he begins a new work is to lay down the barriers and limitations; he decides upon a certain composition, a certain key, a certain relation of creatures or objects to each other. He is never free, and the more splendid his imagination, the more intense his feeling, the farther he goes from general truth and general emotion."

"Art is a concrete and personal and rather childish thing after all — no matter what people do to graft it into science and make it sociological and psychological; it is no good at all unless it is let alone to be itself — a game of make-believe, or re-production, very exciting and delightful to people who have an ear for it or an eye for it."

"Every American travelling in England gets his own individual sport out of the toy passenger and freight trains and the tiny locomotives, with their faint, indignant, tiny whistle. Especially in western England one wonders how the business of a nation can possibly be carried on by means so insufficient."

"If the street life, not the Whitechapel street life, but that of the common but so-called respectable part of town is in any city more gloomy, more ugly, more grimy, more cruel than in London, I certainly don't care to see it. Sometimes it occurs to one that possibly all the failures of this generation, the world over, have been suddenly swept into London, for the streets are a restless, breathing, malodorous pageant of the seedy of all nations."

"We were at last in Monte Cristo's country, fairly into the country of the fabulous, where extravagance ceases to exist because everything is extravagant, and where the wildest dreams come true."

"One cannot divine nor forecast the conditions that will make happiness; one only stumbles upon them by chance, in a lucky hour, at the world's end somewhere, and hold fast to the days, as to fortune or fame."

"What a thing it is to lie there all day in the fine breeze, with the pine needles dropping on one, only to return to the hotel at night so hungry that the dinner, however homely, is a fete, and the menu finer reading than the best poetry in the world! Yet we are to leave all this for the glare and blaze of Nice and Monte Carlo; which is proof enough that one cannot become really acclimated to happiness. (10 September 1902) in the village of Cavalaire, France."

"I am sure I do not know why the beauty of Monte Carlo should not satisfy more than it does. The bluest of all seas is nowhere bluer than when you see it between the marble balustrades of the long white terrace before the casino, palms are nowhere greener than in that high garden which the mountain screen from every unkind breath, no colours could be more rich and various than those of the red and purple Alps that tower up behind the town, on whose summit such violent thunderstorms gather and break. But for me, at least, there was not at all the pleasure I had anticipated in this dazzling white and blue, these feathery palms and ragged Alps. ...I had a continual restless feeling that there was nothing at all real about Monte Carlo; that the sea was too blue to be wet, the casino too white to be anything but pasteboard, and that from their very greenness the palms must be cotton. … in atmosphere and spirit the entire kingdom of Monaco is an extension of the casino."

"From the time the Englishman's bones harden into bones at all, he makes his skeleton a flagstaff, and he early plants his feet like one who is to walk the world and the decks of all the seas. (16 September 1902)"

"Jim Burden, the narrator of Willa Cather's My Ántonia, says of the Nebraska prairie to which he has moved from Virginia that "trees were so rare in that country, and they had to make such a hard fight to grow, that we used to feel anxious about them, and visit them as if they were persons." He adds, "It must have been the scarcity of detail in that tawny landscape that made detail so precious." Burden is speaking of the American frontier at the end of the nineteenth century, but his words ring true for a prairie dweller one hundred years later."

"The most sensuous of writers, Willa Cather builds her imagined world almost as solidly as our five senses build the universe around us."

"We delight in the beauty of butterfly, rarely admit the changes it has gone through to achieve that beauty*"

"I don't trust people who don't love themselves and tell me "I love you." … There is an African saying which is: "Be careful when a naked person offers you a shirt.""

"Self-pity in its early stages is as snug as a feather mattress. Only when it hardens does it become uncomfortable."

"A bizarre sensation pervades a relationship of pretense. No truth seems true. A simple morning's greeting and response appear loaded with innuendo and fraught with implications. ... Each nicety becomes more sterile and each withdrawal more permanent."

"Without courage we cannot practice any other virtue with consistency. We can't be kind, true, merciful, generous, or honest."

"Perhaps travel cannot prevent bigotry, but by demonstrating that all peoples cry, laugh, eat, worry, and die, it can introduce the idea that if we try and understand each other, we may even become friends."

"There is nothing so pitiful as a young cynic because he has gone from knowing nothing to believing nothing."

"I am capable of what every other human is capable of. This is one of the great lessons of war and life."

"Nothing can dim the light that shines from within"

"My life has been long, and believing that life loves the liver of it, I have dared to try many things, sometimes trembling, but daring, still…You may not control all the events that happen to you, but you can decide not to be reduced by them. Try to be a rainbow in someone's cloud. Do not complain. Make every effort to change things you do not like. If you cannot make a change, change the way you have been thinking. You might find a new solution. Never whine. Whining lets a brute know that a victim is in the neighborhood. Be certain that you do not die without having done something wonderful for humanity. I gave birth to one child, a son, but I have thousands of daughters. You are Black and White, Jewish and Muslim, Asian, Spanish-speaking, Native American and Aleut. You are fat and thin and pretty and plain, gay and straight, educated and unlettered, and I am speaking to you all. Here is my offering to you."

"There are certain artists who belong to all the people, everywhere, all the time. The list of singers, musicians, and poets must include David the harpist from the Old Testament, Aesop the Storyteller, Omar Khayyam the Tent Maker, Shakespeare the Bard of Avon, Louis Armstrong the genius of New Orleans, Om Kalsoum the soul of Egypt, Frank Sinatra, Mahalia Jackson, Dizzy Gillespie, Ray Charles...Celia Cruz...All great artists draw from the same resource: the human heart, which tells us all that we are more alike than we are unalike."

"When people show you who they are, believe them, the first time. Not the 29th time!"

"You did in your twenties what you knew how to do, and when you knew better you did better. And you should not be judged for the person that you were, but for the person that you're trying to be and the woman that you are now."

"All information belongs to everybody all the time. It should be available. It should be accessible to the child, to the woman, to the man, to the old person, to the semiliterate, to the presidents of universities, to everyone. It should be open."

"My mission in life is not merely to survive, but to thrive; and to do so with some passion, some compassion, some humor, and some style."

"How important it is to recognise and consider our heroes and she-roes."

"I'm an American, and most of the time proud of it. Even when I am displeased with what my country is doing, I am still an American who is displeased. And fortunately, being an American, I don't have to whimper, I don't have to whine, I have the right to protest, and I like that."

"You develop courage, the most important of all the virtues, because without courage, you can't practice any other virtue consistently. If you've seen another truth and had enough courage to change your way of thinking, to say "Hey everybody, you know what I said last week? I don't believe that anymore. A little child just straightened me out.""

"This a wonderful day. I've never seen this one before"

"Develop enough courage so that you can stand up for yourself and then stand up for somebody else."

"I want to write so that the reader in Des Moines, Iowa, in Kowloon, China, in Cape Town, South Africa, can say, "You know, that's the truth. I wasn't there, and wasn't a six-foot black girl, but that's the truth.""

"The needs of a society determine its ethics."

"You don't have to think about doing the right thing. If you're for the right thing, then you do it without thinking."

"At fifteen life had taught me undeniably that surrender, in its place, was as honorable as resistance, especially if one had no choice."

"I believe most plain girls are virtuous because of the scarcity of opportunity to be otherwise."

"Children's talent to endure stems from their ignorance of alternatives."

"Life is going to give you just what you put in it. Put your whole heart in everything you do, and pray, then you can wait."

"Many people wonder where my secret lies, I'm not cute or built to suit a fashion model size. When I try to show them they think I'm telling lies. I say, it's in the reach of my arms, the span of my hips, the stride of my step, the curl of my lips I'm Woman, Phenominally . I walk in a room just as cool as you please, And to a man the fellows stand, or fall down on their knees. And then they swarm around me; a hive of honey bees. I say, oh it's the fire in my eyes, the flash of my teeth, the swing in my waist, the joy in my feet. Men themselves have wondered what they see in me. They try so much but they can't touch my inner mystery. When I try to show them they say they still can't see. I say oh, it's in the arch of my back. And now you understand just why my head's not bowed. I don't shout or jump about, or have to talk too loud. When you see me walking out it ought to make you proud. I say it's in the click of my heels. The bend of my hair. The palm of my hands. The need for my care, because I'm a woman. Phenomenally. Phenomenal Woman. That's my mother, and all your mothers. And then my grandmothers. And all your grandmothers. And my great grandmothers, And all your great grandmothers. And my great great great, And all your great great... And all you women here, And me."

"You were a precious pearl How I loved to see you shine, You were the perfect girl. And you were mine. For a time. For a time. Just for a time."

"You may write me down in history With your bitter, twisted lies, You may trod me in the very dirt But still, like dust, I'll rise."

"You may shoot me with your words, You may cut me with your eyes, You may kill me with your hatefulness, But still, like air, I'll rise."

"Does my sexiness upset you? Does it come as a surprise That I dance like I've got diamonds At the meeting of my thighs?"

"Out of the huts of history's shame I rise Up from a past that's rooted in pain I rise I'm a black ocean, leaping and wide, Welling and swelling I bear in the tide."

"Leaving behind nights of terror and fear I rise Into a daybreak that's wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise."

"I went to sleep last night And I arose with the dawn, I know that there are others Who're still sleeping on, They've gone away, You've let me stay, I want to thank You."

"You can’t use up creativity. The more you use, the more you have. (1982; quoted in the Introduction by Jeffrey M. Elliot)"

"I asked if she had any hard feelings about life. "No, I don't. There are many things I wish were better for a number of people for all of us really. We could have such a great time, sharing, laughing, growing, teaching, learning, dying. Coretta King said the greatest violence is seeing a child go to bed hungry. These are the great violences: assaults on the body and soul. Hunger, poverty, fear, dirt, and guilt and I will not have it. That is what my life is about highlighting these things and, hopefully, encouraging others to help make things better. But bitterness about life, no. Life is like electricity; it's just there. You can plug into that electricity and light up a synagogue, or a church, or keep a heart machine going; or you can electrocute a man. Life is the same way. It says, 'Okay, I'm going to be in your unit for a bit. Want to use me? Want to walk around drugged or sick? All right. It's your business. No value judgments! I'm here for you to use.' Life! When it's through with me, I hope to be through with it. I'll tip my hat, and split." (1974)"

"I think there is always a need in any struggle for sensationalists. They get the headlines, they get the ear of the public, they take the race horse chances. Ofttimes they are the martyrs, but often they're not even right. You hear them speaking in your behalf and you say, "Yuch. You're not qualified. You know the rhetoric, but you're unprepared." But I don't put them down-except to their faces. If we meet somewhere quietly, say in this room, I'm ruthless. I'll say, "How dare you not take four hours to read up on W.E.B. Du Bois? What makes you talk such bullshit?" But that's privately. If I'm asked publicly, I'll say, "God bless them in their struggle." (1975)"

"I can become quite angry and burning in anger, but I have never been bitter. Bitterness is a corrosive, terrible acid. It just eats you and makes you sick. (1977)"

"I tell you one of the most aggravating things of all is to pick up a review of a work of mine and have a reviewer say, "She is a natural writer." That sometimes will make me so angry that I will cry, really, because my intent is to write so it seems to flow. I think it's Alexander Pope who says, "Easy writing is damn hard reading," and vice versa, easy reading is damn hard writing. Sometimes I will stay up in my room for a day trying to get two sentences that will flow, that will just seem as if they were always there. (1977)"

"There were two men who probably formed my writing ambition more than any others. They were Paul Laurence Dunbar and William Shakespeare. I love them. I love the rhythm and sweetness of Dunbar's dialect verse. I love "Candle Lighting Time" and "Little Brown Baby." I also love James Weldon Johnson's "Creation." I am also impressed by living writers. I'm impressed with James Baldwin. I continue to see not only his craftsmanship but his courage. That means a lot to me. Courage may be the most important of all the virtues because without it one cannot practice any other virtue with consistency. I'm impressed by Toni Morrison a great deal. I long for her new works. I'm impressed by the growth of Rosa Guy. I'm impressed by Ann Petry. I'm impressed by the work of Joan Didion ... I would walk fifty blocks in high heels to buy the works of any of these writers. I'm a country girl, so that means a lot. (1983)"

"There are some young Black women, however, that I particularly want to talk about, younger than I in any case, young Black women who are writing, who are inspirational to me. For example, a group of young women in Atlanta have a magazine called Sage. I'm impressed with Gloria Naylor's continuing to work. I'm impressed certainly with Alice Walker. I was hopeful and am still hopeful of Ellease Southerland who wrote a book many years ago called Let the Lion Eat Straw. A wonderful book. Lucille Clifton and Carolyn Rodgers and those younger Black women who have not become well known. That they continue to struggle and write is inspirational."

"I started writing when I was mute. I always thought I could write because I loved to read so much. I loved the melody of Poe and I loved Paul Laurence Dunbar. I had memorized so much of Dunbar, Poe, Shakespeare, James Weldon Johnson, Longfellow. When my son was able to be quiet enough to listen, I taught him those poets. A few years ago he gave a reading of his poetry and he started the reading by saying "First, let me recite to you some of the poets my mother raised me on . . ." In the contemporary world, I confess to having been impressed by Ann Petry. I had The Street in my hand, I used to carry it around… (1988)"

"I still feel you should rock the boat. And if you're not in it, you should turn it over. But not unthinkingly. Protest without serious consideration is dangerous. You have to back up what you say. But once you find the truth, you ought to be prepared to stand on the street corner and use all your gifts to right the wrong. (1986)"

"Glory falls around us as we sob a dirge of desolation on the Cross and hatred is the ballast of the rock"

"We grow despite the horror that we feed upon our own tomorrow. We grow."

"Petulant priests, greedy centurions, and one million incensed gestures stand between your love and me."

"Visit us again, Savior.Your children, burdened with disbelief, blinded by a patina of wisdom, carom down this vale of fear. We cry for you although we have lost your name."

"I have need of a friend.There is one and only one who will give the air from his failing lungs for my body's mend.And that one is my love."

"Nathaniel Hawthorne says, "Easy reading is damn hard writing." I try to pull the language into such a sharpness that it jumps off the page. It must look easy, but it takes me forever to get it to look so easy."

"I know when it's the best I can do. It may not be the best there is. Another writer may do it much better. But I know when it’s the best I can do. I know that one of the great arts that the writer develops is the art of saying, No. No, I’m finished. Bye. And leaving it alone. I will not write it into the ground. I will not write the life out of it. I won’t do that."

"Years ago I read a man named Machado de Assis who wrote a book called Dom Casmurro. Machado de Assis is a South American writer — black father, Portuguese mother — writing in 1865, say. I thought the book was very nice. Then I went back and read the book and said, Hmm. I didn’t realize all that was in that book. Then I read it again, and again, and I came to the conclusion that what Machado de Assis had done for me was almost a trick: he had beckoned me onto the beach to watch a sunset. And I had watched the sunset with pleasure. When I turned around to come back in I found that the tide had come in over my head. That’s when I decided to write."

"Yes. When I’m writing, I am trying to find out who I am, who we are, what we’re capable of, how we feel, how we lose and stand up, and go on from darkness into darkness."

"We, unaccustomed to courage exiles from delight live coiled in shells of loneliness until love leaves its high holy temple and comes into our sight to liberate us into life."

"If we are bold, love strikes away the chains of fear from our souls."

"Love costs all we are and will ever be. Yet it is only love which sets us free. A Brave and Startling Truth."

"It is possible and imperative that we discover A brave and startling truth."

"When we come to it We, this people, on this wayward, floating body Created on this earth, of this earth Have the power to fashion for this earth A climate where every man and every woman Can live freely without sanctimonious piety And without crippling fear When we come to it We must confess that we are the possible We are the miraculous, the true wonders of this world That is when, and only when We come to it."

"Though we are many, each of us is achingly alone, piercingly alone. Only when we confess our confusion can we remember that he was a gift to us and we did have him. He came to us from the creator, trailing creativity in abundance. Despite the anguish, his life was sheathed in mother love, family love, and survived and did more than that. He thrived with passion and compassion, humor and style. We had him whether we know who he was or did not know, he was ours and we were his."

"We are missing Michael. But we do know we had him, and we are the world."

"A bird doesn't sing because it has an answer, it sings because it has a song"

"There is no greater agony than bearing an untold story inside you."

"Hate, it has caused a lot of problems in the world, but has not solved one yet."

"People will forget what you said. People will forget what you did. But people will never forget how you made them feel."

"silence can also enrich you very much. Maya Angelou talks about a long period in her childhood when she was silent, and during those years she turned evil into action. All the evil that had happened to her she was raped-was turned into a positive strength, into energy, because of those years of silence. She reinterpreted the world, recreated reality. In a way, I think, that happened to me, too. Not as dramatically as it happened to her, but those years of silence were very necessary."

"I remember a kind of paraphrase, a quote from Maya Angelou; I don't recall the exact words, but paraphrased it kind of goes like this: if you have to hang by your feet and smear honey on your legs to get yourself writing, then do it. You know whatever works."

"Angelou as a child...She'd often quote Shakespeare or Langston Hughes and now adds Gwendolyn Brooks, Mark Twain and Edna St. Vincent Millay to that list. But those writers, those dreamers, gave her a chance to develop Maya Angelou from Marguerite Johnson."

"To me, the great writers who come from ethnic minorities writing in English come from America. I think the deep, the real deep thinkers now writing in the English language are the black women, such as Toni Morrison, Gloria Naylor, Alice Walker, etc. (F.J.: Where they are using black English in a certain kind of way to signify their difference?) Emecheta: Exactly...Or Maya Angelou-she's another good writer, isn't she? You can understand what she is saying."

"In remembering Maya Angelou, it is important to recall her commitment to the struggle for equality, not just for herself, or for women, or for African Americans. She was committed to peace and justice for all."

"While some schools and libraries still censor her work for unflinchingly depicting the life she led, it was through my hometown library, while in my early teens, that I first saw Maya Angelou. The library invited her to speak, and speak she did—and danced, and sang, in a display of talent that made us laugh, cry and gasp as she moved her black and white audience of hundreds…together."

"She has become, now a legend," he said...Miss Angelou has a presence that commands attention. Haley called it "Hollywood energy. "When she walks into the room, you know she's there," Haley said. "It's a palpable thing."

"This night she breathes life into works of Langston Hughes, June Jordan, Richard Wright and Paul Laurence Dunbar, as well as poems of her own. But it is her voice, as much as the words, that engages the crowd. Burnished and full, the voice is a theatrical blend of city sass and back-country molasses."

"Most great instigators of social change have intimate personal knowledge of trauma. Oprah Winfrey comes to mind, as do Maya Angelou, Nelson Mandela, and Elie Wiesel. Read the life history of any visionary, and you will find insights and passions that came from having dealt with devastation."

"The day I received a hand written note from Maya Angelou, stating that she had read The Margarita Poems and I should consider her another Margarita, was a private moment of recognition."

"Singer, teacher, dancer, poet, authoress, actress, editor, songwriter, playwright. Someone has said Maya Angelou's career has touched more bases than Henry Aaron. Yet all these categories fail to do justice to the scope of her life."

"It is such a profound honor — truly a profound honor — to be here today on behalf of myself and my husband as we celebrate one of the greatest spirits our world has ever known, our dear friend Dr. Maya Angelou. In the Book of Psalms it reads, “I praise you for I am fearfully and wonderfully made; wonderful are your works, my soul knows very well. My frame was not hidden from you when I was being made in secret, intricately woven in the depths of the earth.” What a perfect description of Maya Angelou and the gift she gave to her family and all who loved her. She taught us that we are each wonderfully made, intricately woven and put on this earth for purpose far greater than we could ever imagine. When I think about Maya Angelou I think about the affirming power of her words. The first time I read “Phenomenal Woman” I was struck by how she celebrated black women’s beauty like no one had ever dared to before. Our curves, our stride, our strength, our grace. Her words were clever, and sassy. They were powerful and sexual and boastful. And in that one singular poem, Maya Angelou spoke to the essence of black women but she also graced us with an anthem for all women, a call for all of us to embrace our God-given beauty. And oh, how desperately black girls needed that message. As a young woman I needed that message. As a child, my first doll was Malibu Barbie — that was the standard for perfection. That was what the world told me to aspire to. But then I discovered Maya Angelou, and her words lifted me right out of my own little head. Her message was very simple: She told us that our worth has nothing to do with what the world might say. Instead she said, “Each of us comes from the creator trailing wisps of glory.” She reminded us that we must each find our own voice, decide our own value, and then announce it to the world with all the pride and joy that is our birthright as members of the human race...at a time when there were such stifling constraints on how black women could exist in the world, she serenely disregarded all the rules with fiercely passionate, unapologetic self. She was comfortable in every inch of her glorious brown skin. But for Dr. Angelou her own transition was never enough. You see, she didn’t just want to be phenomenal herself. She wanted us all to be phenomenal right alongside her. So that’s what she did throughout her lifetime. She gathered so many of us under her wing...in so many ways Maya Angelou knew us. She knew our hope, our pain, our ambition, our fear, our anger, our shame. And she assured us that in spite of it all — in fact, because of it all — we were good. And in doing so, she paved the way for me, and Oprah and so many others just to be our good ol’ black women selves. She showed us that eventually, if we stayed true to who we are, then the world would embrace us. And she did this not just for black women but for all women. For all human beings. She taught us all that it is okay to be your regular old self, whatever that is. Your poor self, your broken self, your brilliant, bold, phenomenal self. That was Maya Angelou’s reach."

""Gratitude Pillow" ("Let gratitude be the pillow upon which you kneel" -Maya Angelou) ...if anyone told her they were going/to Gloomy Street,/she'd say, What? Lift those eyes. Take a look at the/sea to your right, buildings full of mysteries, schools/crackling with joy, open porches,/watch the world whirl by,/all we are given without having to own, and shake/that gloom right out of your system!"

"I am a woman phenomenally"

"Many people wonder where my secret lies, I'm not cute a bill to suit a fashion model size, when i tell them they think I'm telling lies"

"I walk into a room just as cool as you please, then to a man, they stand or fall on their knees, then they swam around me a hive of honey bees"

"We may encounter many defeats, but we must not be defeated."

"To not be reduced by the events of our lives means to rise above them"

""One isn't necessarily born with courage, but one is born with potential. Without courage, we cannot practice any other virtue with consistency. We can't be kind, true, merciful, generous, or honest"."

""I knew — because of my race, and my class, and rural geography ... all these forces that crush all sorts of American kids, crush their hopes and dreams — I knew I had no chance unless I left and went to a better school.”"

"My father was always depressed. When he was home and sober, he was mostly in his room…You always knew they were coming: he was never violent, but short-tempered. It wasn't a violent house, but a violent reservation."

"“…It wasn't just the influence of tribal cultures, it was the assimilation into fundamentalist Christianity, which is even more warrior culture, even more honor culture, and even more suspicious of difference. So I was getting bombarded not only by the more fundamentalist aspects of my tribe, but the more fundamentalist aspects of our assimilation into Christianity. So that was going on all around us, and, in fact, in second grade we had this ex-nun teacher who put us into stress positions as torture.”"

"It was arrogance…I had the feeling I was going to be successful, and I didn't want to be another disappointing Indian. The mess my father was, it broke my heart. I didn't want to break an Indian kid's heart."

"When a glass sits on a table here, people don't wonder if it's half filled or half empty. They just hope it's good beer."

"My 2017 is gonna be white liberals shocked about white racism & white conservatives denying white racism exists. Just like every other year."

"Thomas: Hey Victor! I'm sorry 'bout your dad. Victor: How'd you hear about it? Thomas: I heard it on the wind. I heard it from the birds. I felt it in the sunlight. And your mom was just in here cryin'."

"Victor: Get Stoic."

"Thomas: Sometimes it's a good day to die, and sometimes it's a good day to have breakfast."

"Nurse: You guys are like the Lone Ranger and Tonto. Thomas: We're more like Tonto and Tonto."

"Victor: White people won't respect you if you don't look mean. You have to look like a warrior, like you just got back from killing a buffalo. Thomas: But our tribe never hunted buffalo. We were fishermen. Victor: What, you want to look like you just caught a fish? This isn't Dances with Salmon, you know!"

"Randy Peone: It's a good day to be indigenous!"

"He hated to leave, but he loved his work. He was a man, and men needed to work. More sexism! More masculine tunnel vision! More need for gender-sensitivity workshops!"

"He wondered if she would dream about a man who never left her, about some unemployed agoraphobic Indian warrior who liked to wash dishes."

"I don't want long hair, I don't want short hair, I don't want hair at all, and I don't want to be a girl or a boy, I want to be a yellow-orange leaf some little kid picks up and pastes in his scrapbook."

"[Flying into Baltimore after 9/11] I didn't want to see some pacifist, vegan, whole-wheat, free-range, organic, progressive, gray-ponytail, communist, liberal, draft-dodging, NPR-listening wimp! What are they going to do if somebody tries to hijack the plane? Throw a Birkenstock at him? Offer him some pot?...I was hoping for about twenty-five NRA-loving, gun-nut, serial-killing, psychopathic, Ollie North, Norman Schwarzkopf, right-wing, Agent Orange, post-traumatic-stress-disorder, CIA, FBI, automatic-weapon, smart-bomb, laser-sighting bastards!"

"Oh, I'm sorry, sir, if I offended you. I am not anti-Semitic. I love all of my brothers and sisters. Jews, Catholics, Buddhists, even the atheists, I love them all. Like you Americans sing, 'Joy to the world and Jeremiah Bullfrog!"

"William always scanned the airports and airplanes for little brown guys who reeked of fundamentalism. That meant William was equally afraid of Osama bin Laden and Jerry Falwell wearing the last vestiges of a summer tan. William himself was a little brown guy, so the other travelers were always sniffing around him, but he smelled only of Dove soap, Mennen deoderant, and sarcasm."

"The Northwest is blessed with some of the best writers in the country, such as Charles Johnson, Colleen McElroy, and Sherman Alexie."

"Despite cycling and recycling the same old tropes told in the same voice, [a Sherman Alexie book] has received not one poor review. Is Alexie really such a flawless writer that critics cannot go beyond praise as repetitive as his oeuvre itself? Or are most reviewers seduced by the charming prose of an Indian who eases their guilty consciences? The latter seems much more likely…For both Vine Deloria and Alexie, humor is about survival. The difference however is that Deloria sees survival in asserting tribal Indian identity, Alexie sees it in chuckling distance.”"

"Time slippages in Sherman Alexie's Flight teach that you can outrun the monster of revenge, move beyond the anger that turns righteous justice into senseless violence, and forgive."

"Sherman Alexie's "Distances" directly invokes the Ghost Dance and subsequently mixes a sense of nostalgia with Indian trapdoor humor, suggesting that a bitterly satiric approach is the valid response to the traumatic impact of apocalyptic eschatology on First Nations peoples."

"By my count, there are now over 20 women who are accusing him of harassment"

"Americans just don't know what being a movie star's all about."

"Jesus died For somebody's sins But not mine."

"Look around you, all around you Riding on a copper wave Do you like the world around you? Are you ready to behave?"

"He spared the child and spoiled the rod I have not sold myself to God!"

"People have the power To redeem the work of fools Upon the meek the graces shower It's decreed the people rule."

"Life is filled with holes Johnny's laying there in his sperm coffin The angel looks down at him and says "Oh, pretty boy Can't you show me nothing but surrender?"

"The vital importance of Patti Smith in the history of rock and roll music cannot be overstated. An icon of the New York art scene, Smith was instrumental in the development of punk and alternative rock. From the floors of Max’s Kansas City and the CBGB club, Smith orchestrated a musical revolution that still maintains its relevance to this day, five decades later. Despite her undisputed position as the queen of punk rock, Smith’s cultural diet is incredibly broad, incorporating everything from Motown to noise rock."

"Patti Smith, the rock n roll legend...as Patti Smith sings famously, "People have the power.""

"Her writing is so brilliant and beautiful."

"She is a soldier. She will not be defeated."

"A writer must always try to have a philosophy and he should also have a psychology and a philology and many other things. Without a philosophy and a psychology and all these various other things he is not really worthy of being called a writer. I agree with Kant and Schopenhauer and Plato and Spinoza and that is quite enough to be called a philosophy. But then of course a philosophy is not the same thing as a style."

"From the very nature of progress, all ages must be transitional. If they were not, the world would be at a stand-still and death would speedily ensue. It is one of the tamest of platitudes but it is always introduced by a flourish of trumpets."

"Argument is to me the air I breathe. Given any proposition, I cannot help believing the other side and defending it."

"The whole duty of man consists in being reasonable and just... I am reasonable because I know the difference between understanding and not understanding and I am just because I have no opinion about things I don’t understand."

"A beauty is not suddenly in a circle. It comes with rapture. A great deal of beauty is rapture. A circle is a necessity. Otherwise you would see no one. We each have our circle."

"It is always a mistake to be plain-spoken."

"No sense in no sense innocence of what of not and what of delight. In no sense innocence in no sense and what in delight and not, in no sense innocence in no sense no sense what, in no sense and delight, and in no sense and delight and not in no sense and delight and not, no sense in no sense innocence and delight."

"Let me recite what history teaches. History teaches."

"One does not get better but different and older and that is always a pleasure."

"Before the flowers of friendship faded friendship faded."

"All of you young people who served in the war. You are a lost generation... You have no respect for anything. You drink yourselves to death."

"When I sleep I sleep and do not dream because it is as well that I am what I seem when I am in my bed and dream."

"Grammar little by little is not a thing. Which may gain. There. Make twenty-five be a woman. The meaning of that does not interest me. It is a complexion that interests that makes ridiculous because that does not make it something else. But it does make them which is again me. Make twenty-five be a woman. I do not lose it. The color is there. Do you see. Dependent entirely upon how one word follows another. Who knows how Howard likes hearing. I can do it so easily it always makes grammar but is it grammar. Forget grammar and think about potatoes. Grammar after all has to do with why they were presented."

"Let me listen to me and not to them May I be very well and happy May I be whichever they can thrive Or just may they not. They do not think not only only But always with prefer And therefore I like what is mine For which not only willing but willingly Because which it matters. They find it one in union. In union there is strength."

"It is awfully important to know what is and what is not your business."

"The deepest thing in any one is the conviction of the bad luck that follows boasting."

"All the world knows how to cry but not all the world knows how to sigh. Sighing is extra."

"I just tell you and though I dont sound like it I've got plenty of sense, there aint any answer, there aint going to be any answer, there never has been any answer, that’s the answer."

"Everybody gets so much information all day long that they lose their common sense."

"We are always the same age inside."

"Do you know because I tell you so, or do you know, do you know."

"Ladies there is no neutral position for us to assume."

"Communists are people who fancied that they had an unhappy childhood."

"What is the answer?" [ I was silent ] "In that case, what is the question?"

"It bothers a lot of people, but like you said, it's nobody's business, it came from the Judeo-Christian ethos, especially Saint Paul the bastard, but he was complaining about youngsters who were not really that way, they did it for money, everybody suspects us or knows but nobody says anything about it."

"Human nature, human nature acts as it acts when it is identified when there is an identity but it is not human nature that has anything to do with that it is that anybody is there where they are, it is that that has to do with identity, with government and propaganda with history with individualism and with communism but it has nothing nothing to do with the human mind … because the human mind writes what there is and what has identity go to do with that … nothing at all."

"I've been rich and I've been poor. It's better to be rich."

"When General Osborne came to see me just after the victory, he asked me what I thought should be done to educate the Germans. I said there is only one thing to be done and that is to teach them disobedience, as long as they are obedient so long sooner or later they will be ordered about by a bad man and there will be trouble. Teach them disobedience, I said, make every German child know that it is its duty at least once a day to do its good deed and not believe something its father or its teacher tells them, confuse their minds, get their minds confused and perhaps then they will be disobedient and the world will be at peace. The obedient peoples go to war, disobedient people like peace, that is the reason that Italy did not really become a good Axis, the people were not obedient enough, the Japs and the Germans are the only really obedient people on earth and see what happens, teach them disobedience, confuse their minds, teach them disobedience, and the world can be peaceful. General Osborne shook his head sadly, you'll never make the heads of an army understand that."

"They were regular in being gay, they learned little things that are things in being gay, they learned many little things that are things in being gay, they were gay every day, they were regular, they were gay, they were gay the same length of time every day, they were gay, they were quite regularly gay."

"Rose is a rose is a rose is a rose."

"I am writing for myself and strangers. This is the only way that I can do it. Everybody is a real one to me, everybody is like some one else too to me. No one of them that I know can want to know it and so I write for myself and strangers."

"There are many that I know and I know it. They are many that I know and they know it. They are all of them themselves and they repeat it and I hear it. Always I listen to it. Slowly I come to understand it. Many years I listened and did not know it. I heard it, I understood it some, I did not know I heard it. They repeat themselves now and I listen to it. Every way that they do it now I hear it. Now each time very slowly I come to understand it. Always it comes very slowly the completed understanding of it, the repeating each one does to tell it the whole history of the being in each one, always now I hear it. Always now slowly I understand it."

"Disillusionment in living is finding that no one can really ever be agreeing with you completely in anything."

"Repeating then is in every one, in every one their being and their feeling and their way of realizing everything and every one comes out of them in repeating. More and more then every one comes to be clear to some one."

"It is hard living down the tempers we are born with. We all begin well, for in our youth there is nothing we are more intolerant of than our own sins writ large in others and we fight them fiercely in ourselves; but we grow old and we see that these our sins are of all sins the really harmless ones to own, nay that they give a charm to any character, and so our struggle with them dies away."

"The creator of the new composition in the arts is an outlaw until he is a classic."

"No one is ahead of his time, it is only that the particular variety of creating his time is the one that his contemporaries who are also creating their own time refuse to accept... For a very long time everybody refuses and then almost without a pause almost everybody accepts. In the history of the refused in the arts and literature the rapidity of the change is always startling."

"Romance is everything."

"Suppose no one asked a question, what would be the answer."

"To know to know to love her so. Four saints prepare for saints."

"A saint is one to be for two when three and you make five and two and cover. A at most. Saint saint a saint."

"Pigeons on the grass alas. Pigeons on the grass alas. Short longer grass short longer longer shorter yellow grass. Pigeons large pigeons on the shorter longer yellow grass alas pigeons on the grass."

"Gertrude Stein, in her work, has always been possessed by the intellectual passion for exactitude in the description of the inner and outer reality. She has reproduced simplification by this concentration, and as a result the destruction of associational emotion in poetry and prose. She knows that beauty, music, decoration, the result of emotion should never be the cause, even events should never be the cause of emotion nor should they be the material of poetry or prose. Nor should emotion itself be the cause of poetry and prose. They should consist of an exact reproduction of either an outer or inner reality."

"I like a view but I like to sit with my back turned to it."

"Remarks are not literature."

"A real failure does not need an excuse. It is an end in itself."

"Clarity is of no importance because nobody listens and nobody knows what you mean no matter what you mean, nor how clearly you mean what you mean. But if you have vitality enough of knowing enough of what you mean, somebody and sometime and sometimes a great many will have to realize that you know what you mean and so they will agree that you mean what you know, what you know you mean, which is as near as anybody can come to understanding any one."

"Poetry is I say essentially a vocabulary just as prose is essentially not. And what is the vocabulary of which poetry absolutely is. It is a vocabulary based on the noun as prose is essentially and determinately and vigorously not based on the noun. Poetry is concerned with using with abusing, with losing with wanting with denying with avoiding with adoring with replacing the noun. It is doing that always doing that, doing that doing nothing but that. Poetry is doing nothing but using losing refusing and pleasing and betraying and caressing nouns. That is what poetry does, that is what poetry has to do no matter what kind of poetry it is. And there are a great many kinds of poetry. So that is poetry really loving the name of anything and that is not prose."

"When I said. "A rose is a rose is a rose." And then later made that into a ring I made poetry and what did I do? I caressed completely caressed and addressed a noun."

"A master-piece … may be unwelcome but it is never dull."

"If you do not remember while you are writing, it may seem confused to others but actually it is clear and eventually that clarity will be clear, that is what a master-piece is, but if you remember while you are writing it will seem clear at the time to any one but the clarity will go out of it that is what a master-piece is not."

"Nothing could bother me more than the way a thing goes dead once it has been said."

"Picasso once remarked I do not care who it is that has or does influence me as long as it is not myself."

"When you are writing before there is an audience anything written is as important as any other thing and you cherish anything and everything that you have written. After the audience begins, naturally they create something that is they create you, and so not everything is so important, something is more important than another thing."

"The difference between a thinker and a newspaperman is that a thinker enters right into things, a newspaperman is superficial."

"I like a thing simple but it must be simple through complication. Everything must come into your scheme, otherwise you cannot achieve real simplicity."

"Human beings are interested in two things. They are interested in the reality and interested in telling about it."

"A writer should write with his eyes and a painter paint with his ears."

"I have always noticed that in portraits of really great writers the mouth is always firmly closed."

"In the United States there is more space where nobody is than where anybody is. This is what makes America what it is."

"Growing has no connection with audience. Audience has no connection with identity. Identity has no connection with a universe. A universe has no connection with human nature."

"It is not what France gave you but what it did not take from you that was important."

"Adventure is making the distant approach nearer but romance is having what is where it is which is not where you are stay where it is."

"America is my country and Paris is my home town and it is as it has come to be."

"And so I am an American and I have lived half my life in Paris, not the half that made me but the half in which I made what I made."

"Everybody knows if you are too careful you are so occupied in being careful that you are sure to stumble over something."

"As there was never any question there was never any answer."

"Before one is successful that is before any one is ready to pay money for anything you do then you are certain that every word you have written is an important word to have written and that any word you have written is as important as any other word and you keep everything you have written with great care."

"If anything is a surprise then there is not much difference between older and younger because the only thing that does make anybody older is that they cannot be surprised."

"Suddenly it was all different, what I did had a value that made people ready to pay, up to that time everything I did had a value because nobody was ready to pay. It is funny about money. And it is funny about identity. You are you because your little dog knows you, but when your public knows you and does not want to pay for you and when your public knows you and does want to pay for you, you are not the same you."

"It always did bother me that the American public were more interested in me than in my work. And after all there is no sense in it because if it were not for my work they would not be interested in me so why should they not be more interested in my work than in me. That is one of the things one has to worry about in America."

"Anything scares me, anything scares anyone but really after all considering how dangerous everything is nothing is really very frightening."

"The earth is the earth as a peasant sees it, the world is the world as a duchess sees it, and anyway a duchess would be nothing if the earth was not there as the peasant tills it."

"The two things most men are proudest of is the thing that any man can do and doing does in the same way, that is being drunk and being the father of their son."

"And identity is funny being yourself is funny as you are never yourself to yourself except as you remember yourself and then of course you do not believe yourself."

"It takes a lot of time to be a genius, you have to sit around so much doing nothing, really doing nothing."

"Would I if I could by pushing a button would I kill five thousand Chinamen if I could save my brother from anything. Well I was very fond of my brother and I could completely imagine his suffering and I replied that five thousand Chinamen were something I could not imagine and so it was not interesting. One has to remember that about imagination, that is when the world gets dull when everybody does not know what they can or what they cannot really imagine."

"The minute you or anybody else knows what you are you are not it, you are what you or anybody else knows you are and as everything in living is made up of finding out what you are it is extraordinarily difficult really not to know what you are and yet to be that thing."

"Everybody thinks that this civilization has lasted a very long time but it really does take very few grandfathers’ granddaughters to take us back to the dark ages."

"I rarely believe anything, because at the time of believing I am not really there to believe."

"A saint a real saint never does anything, a martyr does something but a really good saint does nothing, and so I wanted to have Four Saints who did nothing and I wrote the Four Saints In Three Acts and they did nothing and that was everything. Generally speaking anybody is more interesting doing nothing than doing something."

"If the stars are suns and the earth is the earth and there are men only upon this earth and anything can put an end to anything and any dog does anything like anybody does it what is the difference between eternity and anything."

"I was talking like this to the Princeton professor and he said well if these are the facts there is no hope and I said well what is hope hope is just contact with the facts."

"Counting is the religion of this generation it is its hope and its salvation."

"I do want to get rich but I never want to do what there is to do to get rich."

"It is a difficult thing to like anybody else's ideas of being funny."

"Explanations are clear but since no one to whom a thing is explained can connect the explanations with what is really clear, therefore clear explanations are not clear. Now this is a simple thing that anybody who has ever argued or quarreled knows perfectly well is a simple thing, only when they read it they do not understand it because they do not see that understanding and believing are not the same thing."

"I dislike it when instead of saying Jew they say Hebrew or Israelite, or Semite, I do not like it and why should a Negro want to be called colored. Why should we want to lose being a Negro... I have stated that a noun to me is a stupid thing, if you know a thing and its name why bother about it but you have to know its name to talk about it. Well its name is Negro if it is a Negro and Jew if it is a Jew and both of them are nice strong names and so let us keep them."

"Since it could be done what was the use of doing it, and anyway you always have to stop doing something sometime."

"Alice Toklas' father had almost once had an oil well they dug and dug but naturally the oil did not gush, naturally not these things never do happen to any one one knows, if it could happen to them you would not be very likely to know them most naturally not."

"After all human beings have to live dogs too so as not to know that time is passing, that is the whole business of living to go on so they will not know that time is passing, that is why they get drunk that is why they like to go to war, during a war there is the most complete absence of the sense that time is passing a year of war lasts so much longer than any other year. After all that is what life is and that is the reason there is no Utopia, little or big young or old dog or man everybody wants every minute so filled that they are not conscious of that minute passing. It's just as well they do not think about it you have to be a genius to live in it and know it to exist in it and express it to accept it and deny it by creating it."

"They wanted to know how I succeeded in getting so much publicity, I said by having a small audience, I said if you have a big audience you have no publicity, this did seem to worry them and naturally it would worry them they wanted the publicity and the big audience, and really to have the biggest publicity you have to have a small one, yes all right the biggest publicity comes from the realest poetry and the realest poetry has a small audience not a big one, but it is really exciting and therefore it has the biggest publicity, all right that is it."

"She took us to see her granddaughter who was teaching in the Dominican convent in San Raphael, we went across the bay on a ferry, that had not changed but Goat Island might just as well not have been there, anyway what was the use of my having come from Oakland it was not natural to have come from there yes write about it if I like or anything if I like but not there, there is no there there."

"I was clear, Alice Toklas says and very often mistaken but anyway I am clear I am a good American, I am slow-minded and quickly clear in expression, I am certain that I see everything that is seen and in between I stand around but I do not wait, no American can wait he can stand around and do nothing but he cannot wait, that is why he is not like Milton who served by standing and waiting, Americans can neither serve nor wait, they can stand and sit down and get up and walk around but they can neither serve nor wait."

"The head-lines which do not head anything they simply replace something but they do not make anything."

"Perhaps I am not I even if my little dog knows me but anyway I like what I have and now it is today."

"A creator is not in advance of his generation but he is the first of his contemporaries to be conscious of what is happening to his generation. A creator who creates, who is not an academician, who is not someone who studies in a school where the rules are already known, and of course being known they no longer exist, a creator then who creates is necessarily of his generation. His generation lives in its contemporary way but they only live in it. In art, in literature, in the theatre, in short in everything that does not contribute to their immediate comfort they live in the preceding generation."

"The surrealists still see things as everyone sees them, they complicate them in a different way but the vision is that of everyone else, in short the complication is the complication of the twentieth century but the vision is that of the nineteenth century. Picasso only sees something else, another reality. Complications are always easy but another vision than that of all the world is very rare."

"After all, everybody, that is, everybody who writes is interested in living inside themselves in order to tell what is inside themselves. That is why writers have to have two countries, the one where they belong and the one in which they live really. The second one is romantic, it is separate from themselves, it is not real but it is really there."

"The reason why all of us naturally began to live in France is because France has scientific methods, machines and electricity, but does not really believe that these things have anything to do with the real business of living."

"There is no pulse so sure of the state of a nation as its characteristic art product which has nothing to do with its material life."

"But now well democracy has shown us that what is evil are the grosses têtes, the big heads, all big heads are greedy for money and power, they are ambitious that is the reason they are big heads and so they are at the head of the government and the result is misery for the people. They talk about cutting off the heads of the grosses têtes but now we know that there will be other grosses têtes and the will be all the same."

"Propaganda is not French, it is not civilized to want other people to believe what you believe because the essence of being civilised is to possess yourself as you are, and if you possess yourself as you are you of course cannot possess any one else, it is not your business."

"But as they all say if we sell our home what will we have for it, money, and what is the use of that money, money goes and after it is gone then where are we, beside we have all we want, what can we do with money except lose it, money to spend is not very welcome, if you have it and you try to spend it, well spending money is an anxiety, saving money is a comfort and a pleasure, economy is not a duty it is a comfort, avarice is an excitement, but spending money is nothing, money spent is money non-existent, money saved is money realised..."

"The family is always the family but during vacations it is an extended family and that is exhausting"

"After all, human beings are like that. When they are alone they want to be with others, and when they are with others they want to be alone."

"One of the pleasant things those of us who write or paint do is to have the daily miracle. It does come."

"Politeness does not interfere with facts, politeness is just another fact."

"It often makes me know that as a cousin of mine once said about money, money is always there but the pockets change; it is not in the same pockets after a change, and that is all there is to say about money."

"A nice war is a war where everybody who is heroic is a hero, and everybody more or less is a hero in a nice war. Now this war is not at all a nice war."

"Is it worse to be scared than to be bored, that is the question."

"It is the soothing thing about history that it does repeat itself."

"War is never fatal but always lost. Always lost."

"Even the propagandists on the radio find it very difficult to really say let alone believe that the world will be a happy place, of love and peace and plenty, and that the lion will lie down with the lamb and everybody will believe anybody."

"The idea of enemies is awful it makes one stop remembering eternity and the fear of death. That is what enemies are. Possessions are the same as enemies only less so, they too make one forget eternity and the fear of death."

"It is funny that men who are supposed to be scientific cannot get themselves to realize the basic principle of physics, that action and reaction are equal and opposite, that when you persecute people you always rouse them to be strong and stronger."

"The nineteenth century believed in science but the twentieth century does not."

"The thing that is most interesting about government servants is that they believe what they are supposed to believe, they really do believe what they are supposed to believe."

"Now they can do the radio in so many languages that nobody any longer dreams of a single language, and there should not any longer be dreams of conquest because the globe is all one, anybody can hear everything and everybody can hear the same thing, so what is the use of conquering."

"One of the things that is most striking about the young generation is that they never talk about their own futures, there are no futures for this generation, not any of them and so naturally they never think of them. It is very striking, they do not live in the present they just live, as well as they can, and they do not plan. It is extraordinary that whole populations have no projects for a future, none at all. It certainly is extraordinary, but it is certainly true."

"A vegetable garden in the beginning looks so promising and then after all little by little it grows nothing but vegetables, nothing, nothing but vegetables."

"I don’t envisage collectivism. There is no such animal, it is always individualism, sometimes the rest vote and sometimes they do not, and if they do they do and if they do not they do not."

"A novel is what you dream in your night sleep. A novel is not waking thoughts although it is written and thought with waking thoughts. But really a novel goes as dreams go in sleeping at night and some dreams are like anything and some dreams are like something and some dreams change and some dreams are quiet and some dreams are not. And some dreams are just what any one would do only a little different always just a little different and that is what a novel is."

"The contemporary thing in art and literature is the thing which doesn't make enough difference to the people of that generation so that they can accept it or reject it."

"Americans are very friendly and very suspicious, that is what Americans are and that is what always upsets the foreigner, who deals with them, they are so friendly how can they be so suspicious and they are so suspicious how can they be so friendly but they just are."

"Writers only think they are interested in politics, they are not really, it gives them a chance to talk and writers like to talk but really no real writer is really interested in politics."

"I fell in love with Gertrude Stein when I was in high school-ninth or tenth grade. My mother bought me everything she could find, everything that was available, and I read Stein and tried to copy her, tried to write like her. Then I gave up for a while. But the earliest work I ever wrote, which no one will ever see because I lost it, is noticeably Stein."

"Gertrude Stein, the mother of all queer wit"

"I'll always be Alice Toklas if you'll be Gertrude Stein."

"Gertrude Stein, all courage and will, is a soldier of minimalism. Her work, unlike the resonating silences in the art of Samuel Beckett, embodies in its loquacity and verbosity the curious paradox of the minimalist form. This art of the nuance in repetition and placement she shares with the orchestral compositions of Philip Glass."

"A rose is a rose is a rose is a rose said my old friend Gertrude Stein."

"I use the title, "The Making of More Americans," from Gertrude Stein, because when I read The Making of Americans, I thought, "Yes, she is creating a language that is the American language; and she is doing it sentence by sentence. I am trying to write an American language that has Chinese accents; I will write the American language as I speak it." So, in a way, I was creating something new, but at the same time, it's still the American language, pushed further."

"It will take her years to understand the things she's said tonight."

"Unsurprisingly, Gertrude Stein was not a fan of the question mark. Are you beginning to suspect—as I am—that there was something wrong at home?"

"The supreme egocentric of the most perfect clique of egocentrics."

"Miss Stein was a past master in making nothing happen very slowly."

"There's a wonderful family called Stein, There's Gert and there's Epp and there's Ein; Gert's poems are bunk, Epp's statues are junk, And no-one can understand Ein."

"I was interested in Gertrude Stein. I loved the stories. They had drama in them."

"I loved Three Lives. Those three things had a very strong sound for my ear."

"This book is in every way except actual authorship Alice Toklas's book; it reflects her mind, her language, her private view of Gertrude, also her unique narrative powers. Every story in it is told as Alice herself had always told it. … Every story that ever came into the house eventually got told in Alice's way, and this was its definitive version."

"American self-confidence, Emerson argued, should be grounded not in a narrow chauvinistic claim about the superiority of the American way but rather in a mature affirmation of America's gifts to the world as well as candid acknowledgment of the "most un-handsome part of our condition." Cheap American patriotism not only reflects an immaturity and insecurity, he warned, but also is an adolescent defense mechanism that reveals a fear to engage the world and learn from others. Narrow nationalism is a handmaiden of imperial rule, he argues-it keeps the populace deferential and complacent. Hence it abhors critics and dissenters like Emerson who unsettle and awaken the people. His shining example of democratic intellectual work is a challenge to us today. This challenge has been taken up through the years by a stream of Emersonian voices-from Walt Whitman to William James, Gertrude Stein. W. E. B. Du Bois, and Muriel Rukeyser...Gertrude Stein democratized her sentences in her conversational novels (like Tender Buttons) by putting a premium on verbs that dethrone the hierarchy of the conventional grammar and creating an interior monologue for her characters that got beneath superficial banter."

"Most of us balk at her soporific rigmaroles, her echolaliac incantations, her half-witted-sounding catalogues on numbers; most of us read her less and less. Yet, remembering especially her early work, we are still always aware of her presence in the background of contemporary literature— and we picture her as the great pyramidal Buddha of Jo Davidson's statue of her, eternally and placidly ruminating the gradual developments of the process of being, registering the vibrations of a psychological country like some august human seismograph whose charts we haven't the training to read."

"Then soon after my delight with Stein was jolted; a political critic of the reddest persuasion condemned Stein in a newspaper article, calling her decadent, implying that she reclined upon a silken couch in Paris smoking hashish day and night and was a hopeless prey to hallucinations. I asked myself if I were wrong or crazy or decadent. Being simple minded, I decided upon a very practical way of determining the worth of the prose of Stein, a prose I had accepted without qualms or distress. I gathered a group of semi-illiterate Negro workers into a Chicago basement and read them Melanctha aloud. They were enthralled, interrupting me constantly to tell where and when they had met such a strange and melancholy gal. I was convinced and Miss Stein's book never bothered or frightened me after that. If Negro stockyard workers could understand the stuff when it was read aloud to them, then surely anybody else could if they wanted to read with their ears as well as their eyes. For the prose of Stein is but the repetitive contemporaneousness of our living speech woven into a grammarless form of narrative..."

"As I read it, my ears opened up for the first time in my life and I began to hear Negroes... Above all, I began to hear for the first time the pure, deep dialect of my grandmother. And from that moment on, in all my attempts at writing I was able to tap that vast reservoir of living speech that went on about me."

"When this you see remember me."

"I love all those great 'f' words - feminism, folk music.."

"In any marginalized community, whether people identify themselves or not affects us all."

"I believe in that step of not just making revolutionary music but making it in a way that challenges the system, Especially in this day and age when the tools for producing and distributing are more and more accessible to the average Joe and Josephine. The possibility of emancipation and control and independence is so much greater now."

"I think I'm done gunnin to get closer. To some imagined bliss. I gotta knuckle down. And just be ok with this."

"There's this brutal imperial power, that my passport says I represent. But it will never represent where my heart lives, only vaguely where it went."

"I don't always feel lucky, but I'm smart enough to try."

"Every tool is a weapon - if you hold it right."

"They're gonna be mad at us. They're gonna be mad at me and you. They're gonna be mad at us and all the things we wanna do."

"I used to be a superhero. No one could touch me, not even myself. You are like a phone booth that I somehow stumbled into, And now look at me, I am just like everybody else."

"I am still praying for revolution."

"Some of life's best lessons are learned at the worst times."

"Because the world owes me nothing And we owe each other the world."

"I am writing graffiti on your body. I am drawing the story of how hard we tried."

"Somedays the line I walk turns out to be straight - Other days the line tends to deviate."

"And their eyes are all asking Are you in or are you out? And I think, oh man What is this about? Tonight you can't put me Up on any shelf Cuz I came here alone And I'm gonna leave by myself."

"They say that the truth will set you free But then again, so will a lie... It depends if you're trying to get to the promised land Or if you're just trying to get by."

"I’m going to go ahead and go boldly Cuz a little bird told me That jumping is easy That falling is fun Right up ‘til you hit the sidewalk Shivering and stunned."

"So we're led by denial like lambs to the slaughter Serving empires of style and carbonated sugar water And the old farm road's a four-lane that leads to the mall And our dreams are all guillotines waiting to fall."

"My distraction's my defense against this lack of inspiration Against this slow deflation Yeah the further the horizon The more it holds my gaze The foreground's out of focus but you know I kinda hope it's just a phase Just a phase."

"They can call me crazy if I fail All the chance that I need Is one in a million And they can call me brilliant If I succeed…"

"The windows of my soul are made of one way glass Don't bother looking into my eyes If there's something you want to know - just ask."

"Because I know the biggest crime Is just to throw up your hands And say "This has nothing to do with me, I just want to live as comfortably as I can."

"You've got your whole life to do something, And that's not very long. So why don't you give me a call When you're willing to fight For what you think is real, For what you think is right."

"Girl, next time he wants to know What your problem is Next time he wants to know Where the anger comes from Just tell him this time the problem's his Tell him the anger just comes It just comes."

"And God help you if you are a phoenix, and you dare to rise up from the ash. A thousand eyes will smolder with jealousy, while you're just flying past."

"Now let's get talking: reefer madness. Like some arrogant government can't, By any stretch of the imagination, outlaw a plant."

"So I walk like I'm on a mission cuz that's the way I groove. I got more and more to do, I got less and less to prove. It took me too long to realize that I don't take good pictures Cuz I have the kind of beauty that moves."

"And we hold these truths to be self-evident: Number one-- George W. Bush is not president. Number two-- America is not a true democracy. And, Number three-- the media is not fooling me."

"Now I wonder who is gonna be president: Tweedle Dumb, or Tweedle Dumber-- And who is gonna have the big block buster box office this summer."

"Maybe you don't like your job, maybe you didn't get enough sleep-- But nobody likes their job, nobody got enough sleep. Maybe you just had the worst day of your life; Well, you know, there's no escape. That's no excuse. Just suck up and be nice."

"My country tis of thee, To take swings at each other on talk-show TV."

"Art is why I get up in the morning; my definition ends there. You know it doesn't seem fair, That I'm living for something I can't even define. And there you are right there, in the mean time."

"My thighs have been involved in many accidents, And now I can't get insured, And I don't need to be lured by you. My cunt is built like a wound that won't heal, And now you don't have to ask Because you know how I feel."

"So my heart finally broke. It was so long bent. And it broke in three places when it finally went. It wanted only to say what it meant. So it suffered every punishment."

"'Course numb is an old hat, old as my oldest memories. See that one's my mother, and that one's my father, and that one in the hat, that's me. It's a skill I'd hoped to abandon, when I got out on the open road, But any more pent up emotion and I think I'm gonna explode."

"And I was shocked to see the mistakes of each generation will just fade like a radio station, if we drive out of range."

"If you're not angry, you're just stupid, or you don't care."

"There's a crowd of people harbored in every person, there are so many roles that we play. And you've decided to love me for eternity. I'm still deciding who I want to be today""

"Let's grow old and die together. Let's do it now."

"When I need to wipe my face, I use the back of my hand, And I like to take up space just because I can, And I use my dress to wipe up my drink. I care less and less what people think."

"So I’ll walk the plank and I’ll jump with a smile. If I’m gonna go down, I’m gonna do it with style, and you won't see me surrender, you won't hear me confess, 'Cuz you've left me with nothing, but i've worked with less."

"You know Taken out of context I must Seem so strange."

"And everything seems to have gone terribly wrong that can. But one breath at a time is an acceptable plan, She tells herself."

"My life may not be something special But it's never been lived before."

"We discovered we are both pleasantly furious half of the time, When we're not just toeing the line."

"I was blessed with a birth and a death, and I guess I just want some say in-between."

"Freedom and democracy, That's the word from Washington every day. Put America to sleep with warm milk and clichés, And people are expendable along the way."

"They put you in your place, and they tell you to behave But no one can be free until we're all on even grade."

"Life is a b movie. It's stupid and it's strange, A directionless story, And the dialogue is lame. But in the he said, she said, Sometimes there's some poetry, If you turn your back long enough, And let it happen naturally."

"I fight with love, and I laugh with rage. You've gotta live light enough to see the humor, And long enough to see some change."

"I remember now how our bright spring green deepened. With the years the seasons changed, And we were lush as the underside of August."

"Love sets fire to your schedule, And then calls an end to time."

"I still define myself by the places that I've been."

"I always wanted to be commander-in-chief of my one-woman army, But I can envision the mediocrity of my finest hour."

"I know there is strength in the differences between us, And I know there is comfort where we overlap."

"I think you're the least fucked-up person I've ever met, And that may be as close to the real thing as I'm ever gonna get."

"Sometimes the beauty is easy. Sometimes you don't have to try at all. Sometimes you can hear the wind blow in a handshake. Sometimes there's poetry written right on the bathroom wall."

"She says “Do I know you?” I say “Well, no, not biblically, But I've been waiting for you to come and talk to me. I have been playing too many of those boy-girl games.” She says, “Honey, you are safe here. This is a girl-girl thing.”"

"I am looking for the holes, The holes in your jeans Because I want to know: Are they worn out in the seat, Or are they worn out in the knees?"

"When we patch things up, They say a job well done. But when we ask the question why Where did the rips come from?, They say we are subversive, And extreme, of course. We are just trying to track a problem to its source."

"I always feel I have to take a stand, And there's always someone on hand To hate me for standing there. I always feel I have to open my mouth, And every time I do, I offend someone, somewhere."

"But what if no one's watching? What if when we're dead, we are just dead? What if there's no time to lose? What if there's things we gotta do, Things that need to be said?"

"We have to be able to criticize what we love, Say what we have to say, 'Cause if you're not trying to make something better, Then as far as I can tell, you are just in the way."

"People used to make records, as in the record of an event, the event of people playing music in a room, and now everything's cross-marketing, its about sunglasses and shoes, or guns and drugs that you choose.""

"“When I set a glass prism on a windowsill and allow the sun to flood through it, a spectrum of colors dances on the floor. What we call "white" is a rainbow of colored rays packed into a small space. The prism sets them free. Love is the white light of emotion.”"

"I don't want to be a passenger in my own life."

"I don't want to get to the end of my life and find that I just lived the length of it. I want to live the width of it as well."

"I plan my garden as I wish I could plan my life, with islands of surprise, color, and scent. A seductive aspect of gardening is how many rituals it requires."

"Human beings are sloshing sacks of chemicals on the move."

"... you don't have to be larger than life to come to the aid of somebody in trouble. All you need to be able to be compassionate, put your own troubles on hold while someone else's are taking the forefront, and, maybe the toughest part, you have to be wholly nonjudgemental."

"... extinction is happening very fast, because we've been destroying habitats — and polluting things. And there may come a time when we want to bring back animals, or we could use the just to the enrich the gene pool of animals that are very close to extinction."

"Why humans feel pain has been the subject of theological debate, philosophical schisms, psychoanalytical edicts, and mumbo jumbo for centuries. Pain was the punishment for wrongdoing in the Garden of Eden. Pain was the price one paid for not being morally perfect. Pain was a self-affliction brought about by sexual repression. Pain was dished out by vengeful gods, or was the result of falling out of harmony with nature…The purpose of pain is to warn the body about possible injury. Millions of free nerve endings alarm us; whenever they’re hit, we feel pain."

"What I’m really wondering is why notices were posted and invitations sent out at all: If it’s a psychics’ convention, shouldn’t everyone just know where and when to meet?"

"We tend to see our distant past through a reverse telescope that compresses it: a short time as hunter-gatherers, a long time as "civilized" people. But civilization is a recent stage of human life, and, for all we know, it may not be any great achievement. It may not even be the final stage. We have been alive on this planet as recognizable humans for about two million years, and for all but the last two or three thousand we’ve been hunter-gatherers. We may sing in choirs and park our rages behind a desk, but we patrol the world with many of a hunter-gatherer’s drives, motives, and skills. These aren’t knowable truths. Should an alien civilization ever contact us, the greatest gift they could give us would be a set of home movies: films of our species at each stage in our evolution."

"Consciousness, the great poem of matter, seems so unlikely, so impossible, and yet here we are with our loneliness and our giant dreams."

"But, as sages have long said, the sexiest part of the body and the best aphrodisiac in the world is the imagination."

"But we rarely taste the real thing. The vanilla flavoring we buy in the spice section of grocery stores, the vanilla we find in most of our ice creams, cakes, yogurts, and other foods, as well as in shampoos and perfumes, is an artificial flavor created in laboratories and mixed with alcohol and other ingredients. Marshall McLuhan once warned us that we were drifting so far away from the real taste of life that we had begun to prefer artificiality, and were becoming content with eating the menu descriptions rather than the food."

"The Dutch carried vanilla to Indonesia, and the British to India. “Tincture of vanilla” didn’t appear in the United States until the 1800s, but when it did, it appealed to the American impatience and aversion to fuss, that sprint through life whose byword is convenience. Europeans use the vanilla bean, luxuriating in its textures, tastes, and aromas, but we preferred it reduced and already bottled. By the nineteenth century, demand flourished, vanilla became synthesized, and the world floated on a mantle of cheap flavoring."

"Though it has a certain Russian-roulette quality to it, eating fugu is considered a highly aesthetic experience. That makes one wonder about the condition that we, in chauvinistic shorthand, referred to as “human.” Creatures who will one day vanish from the earth in the ultimate subtraction of sensuality that we call death, we spend our lives courting death, fomenting wars, watching sickening horror movies in which maniacs slash and torture their victims, hurrying our own deaths in fast cars, cigarette smoking, suicide. Death obsesses us, as well it might, but our response to it is so strange. Faced with tornadoes chewing up homes, with dust storms ruining crops, floods and earthquakes swallowing up whole cities, with ghostly diseases that gnaw at one’s bone marrow, cripple, or craze—rampant miseries that need no special bidding, but come freely, giving their horror like alms—you’d think human beings would hold out against the forces of Nature, combine their efforts and become allies, not create devastation of their own, not add to one another’s miseries. Death does such fine work without us. How strange that people, whole countries sometimes, wish to be its willing accomplices."

"We hallucinate sounds more often than sights. There are auditory mirages, which vanish without trace; auditory illusions that turn out to be something other than they seemed; and, of course, voices that speak to saints, seers, and psychotics, telling them how to act and what to believe."

"Look in the mirror. The face that pins you with its double gaze reveals a chastening secret: You are looking into a predator’s eyes. Most predators have eyes set right on the front of their heads, so they can use binocular vision to sight and track their prey."

"The color we see is always the one being reflected, the one that doesn’t stay put and get absorbed. We see the rejected color, and say “an apple is red.” But in truth an apple is everything but red."

"That evening, as I watched the sunset’s pinwheels of apricot and mauve slowly explode into red ribbons, I thought: The sensory misers will inherit the earth, but first they will make it not worth living on."

"We may pretend that beauty is only skin deep, but Aristotle was right when he observed that "beauty is a far greater recommendation than any letter of introduction.” The sad truth is that attractive people do better in school, where they receive more help, better grades, and less punishment; at work, where they are rewarded with higher pay, more prestigious jobs, and faster promotions; in finding mates, where they tend to be in control of the relationships and make most of the decisions; and among total strangers, who assume them to be interesting, honest, virtuous, and successful. After all, in fairy tales, the first stories most of us hear, the heroes are handsome, the heroines are beautiful, and the wicked sots are ugly. Children learn implicitly that good people are beautiful and bad people are ugly, and society restates that message in many subtle ways as they grow older. So perhaps it’s not surprising that handsome cadets at West Point achieve a higher rank by the time they graduate, or that a judge is more likely to give an attractive criminal a shorter sentence."

"For large minds, the Earth is a small place. Not small enough to exhaust in one lifetime, but a compact home, cozy, buoyant, a place to cherish, the spectral center of our life. But how could we stay at home forever?"

"Most of all, the twentieth century will be remembered as the time when we first began to understand what our address was. The “big, beautiful, blue, wet ball” of recent years is one way to say it. But a more profound way will speak of the orders of magnitude of that bigness, the shades of that blueness, the arbitrary delicacy of beauty itself, the ways in which water has made life possible, and the fragile euphoria of the complex ecosystem that is Earth, an Earth on which, from space, there are no visible fences, or military zones, or national borders."

"My muse is male, has the silvery complexion of the moon, and never speaks to me directly."

"Out-of-body experiences aim to shed the senses, but they cannot. One may see from a new perspective, but it’s still an experience of vision."

"In the Bible, God instructs Moses to burn incense sweet and to His liking. Does God have nostrils? How can a god prefer one smell of this earth to another? The rudiments of decay complete a cycle necessary for growth and deliverance. Carrion smells offensive to us, but delicious to those animals who rely on it for food. What they excrete will make the soil rich and the crops abundant. There is no need for divine election. Perception is itself a form of grace."

"Not everything we feel is felt powerfully enough to send a message to the brain; the rest of the sensations just wash over us, telling us nothing. Much is lost in translation, or is censored, and in any case our nerves don’t all fire at once. Some of them remain silent while others respond. This makes our version of the world somewhat simplistic, given how complex the world is. The body’s quest isn’t for truth, it’s for survival."

"So much of our life passes in a comfortable blur. Living on the senses requires an easily triggered sense of marvel, a little extra energy, and most people are lazy about life. Life is something that happens to them while they wait for death."

"It began in mystery, and it will end in mystery, but what a savage and beautiful country lies in between."

"When art separates this thick tangle of feelings, love bares its bones."

"We think of it as a sort of traffic accident of the heart. It is an emotion that scares us more than cruelty, more than violence, more than hatred. We allow ourselves to be foiled by the vagueness of the word. After all, love requires the utmost vulnerability. We equip someone with freshly sharpened knives; strip naked; then invite him to stand close. What could be scarier?"

"What would dawn have been like, had you awakened? It would have sung through your bones. All I can do this morning is let it sing through mine."

"There are well-dressed foolish ideas just as there are well-dressed fools."

"We read books to find out who we are."

"If you deny any affinity with another person or kind of person, if you declare it to be wholly different from yourself—as men have done to women, and class has done to class, and nation has done to nation—you may hate it, or deify it, but in either case you have denied its spiritual equality, and its human reality. You have made it into a thing, to which the only possible relationship is a power relationship. And thus you have fatally impoverished your own reality."

"True myth may serve for thousands of years as an inexhaustible source of intellectual speculation, religious joy, ethical inquiry, and artistic renewal. The real mystery is not destroyed by reason. The fake one is. You look at it and it vanishes. You look at the Blond Hero — really look — and he turns into a gerbil. But you look at Apollo, and he looks back at you. The poet Rilke looked at a statue of Apollo about fifty years ago, and Apollo spoke to him. “You must change your life,” he said. When true myth rises into consciousness, that is always its message. You must change your life."

"The artist deals in what cannot be said in words. The artist whose medium is fiction does this in words. The novelist says in words what cannot be said in words."

"I talk about the gods, I am an atheist. But I am an artist too, and therefore a liar. Distrust everything I say. I am telling the truth."

"I have never found anywhere, in the domain of art, that you don't have to walk to. (There is quite an array of jets, buses and hacks which you can ride to Success; but that is a different destination.) It is a pretty wild country. There are, of course, roads. Great artists make the roads; good teachers and good companions can point them out. But there ain't no free rides, baby. No hitchhiking. And if you want to strike out in any new direction — you go alone. With a machete in your hand and the fear of God in your heart."

"Belief in heaven and hell is a big deal in Judaism, Christianity, and Islam, and some forms of doctrinaire Buddhism. For the rest of us it’s simply meaningless. We don’t live in order to die, we live in order to live."

"My imagination makes me human and makes me a fool; it gives me all the world, and exiles me from it."

"All of us have to learn how to invent our lives, make them up, imagine them. We need to be taught these skills; we need guides to show us how. If we don't, our lives get made up for us by other people."

"To think that realistic fiction is by definition superior to imaginative fiction is to think imitation is superior to invention."

"What's to gain by silence?"

"Sometimes one’s very angry and preaches, but I know that to clinch a point is to close it. To leave the reader free to decide what your work means, that’s the real art; it makes the work inexhaustible."

"Whenever they tell me children want this sort of book and children need this sort of writing, I am going to smile politely and shut my earlids. I am a writer, not a caterer. There are plenty of caterers. But what children most want and need is what we and they don't know they want and don't think they need, and only writers can offer it to them."

"As a fiction writer, I don't speak message. I speak story. Sure, my story means something, but if you want to know what it means, you have to ask the question in terms appropriate to storytelling. Terms such as message are appropriate to expository writing, didactic writing, and sermons—different languages from fiction. The notion that a story has a message assumes that it can be reduced to a few abstract words, neatly summarized in a school or college examination paper or a brisk critical review."

"A writer is a person who cares what words mean, what they say, how they say it. Writers know words are their way towards truth and freedom, and so they use them with care, with thought, with fear, with delight. By using words well they strengthen their souls. Story-tellers and poets spend their lives learning that skill and art of using words well. And their words make the souls of their readers stronger, brighter, deeper."

"I think hard times are coming, when we will be wanting the voices of writers who can see alternatives to how we live now, and can see through our fear-stricken society and its obsessive technologies, to other ways of being. And even imagine some real grounds for hope. We will need writers who can remember freedom: poets, visionaries—the realists of a larger reality. Right now, I think we need writers who know the difference between production of a market commodity and the practice of an art. The profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable; so did the divine right of kings. … Power can be resisted and changed by human beings; resistance and change often begin in art, and very often in our art—the art of words. I’ve had a long career and a good one, in good company, and here, at the end of it, I really don’t want to watch American literature get sold down the river. ... The name of our beautiful reward is not profit. Its name is freedom."

"If you cannot or will not imagine the results of your actions, there's no way you can act morally or responsibly. Little kids can't do it; babies are morally monsters—completely greedy. Their imagination has to be trained into foresight and empathy."

"I believe that maturity is not an outgrowing, but a growing up: that an adult is not a dead child, but a child who survived. I believe that all the best faculties of a mature human being exist in the child, and that if these faculties are encouraged in youth they will act well and wisely in the adult, but that if they are repressed and denied in the child they will stunt and cripple the adult personality. And finally, I believe that one of the most deeply human, and humane, of these faculties is the power of imagination: so that it is our pleasant duty ... to encourage that faculty of imagination in our children, to encourage it to grow freely, to flourish like the green bay tree, by giving it the best, absolutely the best and purest, nourishment that it can absorb. And never under any circumstances, to squelch it, or sneer at it, or imply that it is childish, or unmanly, or untrue."

"The dance of renewal, the dance that made the world, was always danced here at the edge of things, on the brink, on the foggy coast."

"Morning comes whether you set the alarm or not."

"We are volcanoes. When we women offer our experience as our truth, as human truth, all the maps change. There are new mountains."

"“Mysticism,” she said, in the tone of voice of one warning a companion about dog-shit on the path."

"“Do you mean,” Lidi said in a tone of deep existential disgust, “that we have to believe in it to make it work?” “You have to believe in yourself in order to act, don’t you?” Tai said. “No,” the navigator said. “Absolutely not. I don’t believe in myself. I know some things. Enough to go on.”"

"Mede spoke with amused tolerance, as physicists generally speak of biologists."

"Many feminists have been grieved or aggrieved by The Left Hand of Darkness because the androgynes in it are called ‘he’ throughout. In the third person singular, the English generic pronoun is the same as the masculine pronoun. A fact worth reflecting upon. And it’s a trap, with no way out, because the exclusion of the feminine (she) and the neuter (it) from the generic/masculine (he) makes the use of either of them more specific, more unjust, as it were, than the use of ‘he.’ And I find made-up pronouns, ‘te’ and ‘heshe’ and so on, dreary and annoying."

"Unless physical action reflects psychic action, unless the deeds express the person, I get very bored with adventure stories; often it seems that the more action there is, the less happens."

"No granite is so hard as hatred and no clay so cold as cruelty."

"There is not much good spending twelve hours a day in a black hole in the ground all your life long if there’s nothing there, no secret, no treasure, nothing hidden."

"Shelley was kicked out of Oxford—I think the story is unauthenticated, but who cares—because he painted a sign on the end wall of a dead-end alley: THIS WAY TO HEAVEN. I feel that every now and then his sign needs repainting."

"Hughes, who had entered the space program from astrophysics, came with a very good record, in fact a brilliant one. This troubled many of his military superiors, to whom high intelligence was a code word for instability and insubordination."

"They can keep their God, they can keep their Light. I want the world back. I want questions, not the answer. I want my own life back, and my own death!"

"The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain. If you can’t lick ’em, join ’em. If it hurts, repeat it. But to praise despair is to condemn delight, to embrace violence is to lose hold of everything else."

"As we did without clergy, let us do without soldiers. The joy built upon successful slaughter is not the right kind of joy; it will not do; it is fearful and it is trivial. A boundless and generous contentment, a magnanimous triumph felt not against some outer enemy but in communion with the finest and fairest in the souls of all men everywhere and the splendor of the world’s summer: this is what swells the hearts of the people of Omelas, and the victory they celebrate is that of life."

"Favoritism, elitism, leader-worship, they crept back and cropped out everywhere. But she had never hoped to see them eradicated in her lifetime, in one generation; only Time works the great changes."

"After a lifetime of living on hope because there is nothing but hope, one loses the taste for victory."

"What was the good working for freedom all your life and ending up without any freedom at all?"

"What is an anarchist? One who, choosing, accepts the responsibility of choice."

"He had waked her; he had given her what she lacked, and what few men could have given her: the sense of peril, which is the root of love."

"I was afraid I’d fail. So I didn’t work."

"A man, he walked with men across a barren plain blue with flowers in brief April; they shared with him their anger, their barren helpless obduracy and the brief blue fire of their anger."

"What the devil do you come to me for? And burst into tears? And then tell me thanks very much for your suggestion but I shall continue to attempt the impossible? The arrogance, the unreasonableness—no, I can endure all that—but the stupidity, the absolute stupidity of artists, I cannot stand it any longer!"

"He sat still a long time. Music will not save us, Otto Egorin had said. Not you, or me, or her, the big golden-voiced woman who had no children and wanted none; not Lehmann who sang the song; not Schubert who had written it and was a hundred years dead. What good is music? None, Gaye thought, and that is the point. To the world and its states and armies and factories and Leaders, music says, “you are irrelevant”; and, arrogant and gentle as a god, to the suffering man it says only, “Listen.” For being saved is not the point. Music saves nothing. Merciful, uncaring, it denies and breaks down all the shelters, the houses men build for themselves, that they may see the sky."

"He had been a handsome man, when they married, fourteen years ago. A handsome, happy man, proud and kind, very good at his work. There had been a splendor to him, a wholeness. That was gone. There was no more room in the world for whole people, they took up too much space. What she had done to him was only a part of the general program for cutting him and people like him down to size, for chopping and paring and breaking up, so that in the texture of life nothing large, nothing hard, nothing grand should remain."

"For heroes do not make history—that is the historians’ job—but, passive, let themselves be borne along, swept up to the crest of the tide of change, of chance, of war."

"Josef liked to read books, not pack them."

"And fourteen—fourteen is such a fearful age, when you find out so fast what you’re capable of being, but also what a toll the world expects."

"The untold story mothers the lie."

"Airplanes are cramped, jammed, hectic, noisy, germy, alarming, and boring, and they serve unusually nasty food at utterly unreasonable intervals. Airports, though larger, share the crowding, vile air, noise, and relentless tension, while their food is often even nastier, consisting entirely of fried lumps of something; and the places one has to eat it in are suicidally depressing. On the airplane, everyone is locked into a seat with a belt and can move only during very short periods when they are allowed to stand in line waiting to empty their bladders until, just before they reach the toilet cubicle, a nagging loudspeaker harries them back to belted immobility. In the airport, luggage-laden people rush hither and yon through endless corridors, like souls to each of whom the devil has furnished a different, inaccurate map of the escape route from hell. These rushing people are watched by people who sit in plastic seats bolted to the floor and who might just as well be bolted to the seats. So far, then, the airport and the airplane are equal, in the way that the bottom of one septic tank is equal, all in all, to the bottom of the next septic tank."

"I expect people who don’t look like me not to be like me, a reasonable expectation, as expectations go; but it makes my mind slow to admit that people who look like me may not be like me."

"“And your soul is in your body.” “Such as tripe?”"

"In fact, the Veksi resolutely ignore visitors from other planes, considering them to be the impotent and evil-smelling ghosts of dead enemies who will go away if no attention at all is paid to them. This has generally proved to be true."

"The Veksi are an angry species. Their social life consists largely of arguments, recriminations, quarrels, fights, outbursts of fury, fits of the sulks, brawls, feuds, and impulsive acts of vengeance."

"Some dreams tell us what we wish to believe. Some dreams tell us what we fear. Some dreams are of what we know though we may not know we knew it. The rarest dream is the dream that tells us what we have not known."

"After hard fighting, when six or seven men had been wounded or killed, the war chiefs on both sides would simultaneously declare a victory."

"I have not tried to investigate it. It’s no use. There is no information about corporations. There is only disinformation. Even after they collapse, imploding into a cratered ruin stinking of burnt stockholder and surrounded by an impenetrable barrier formed by members of Congress and other government officials holding hands and wearing yellow tape marked Private Property, No Trespassing, Keep Out, No Hunting, Fishing, or Accounting—even then there is no truth in them."

"People who sleep only two or three hours in the twenty-four are always geniuses. The ones you hear about, anyway. Never mind if the ones you don’t hear about are dolts. Insomnia is genius. It must be. Think of all the work you could do, the thoughts you could think, the books you could read, the love you could make, while the dull clods lie snoring."

"Are you happy if you aren’t conscious of being happy? What is consciousness? Is consciousness the great boon we consider it? Which is better off, a lizard basking in the sun or a philosopher? Better off in what way and for what? There have been lizards for longer than there have been philosophers. Lizards do not bathe, do not bury their dead, and do not perform scientific experiments. There have been many more lizards than philosophers. Are lizards, then, a more successful species than philosophers? Does God love lizards better than he loves philosophers?"

"I am not comfortable with the phrase “specific obsession,” but “cultural instinct” is worse."

"It is sad that so lovely a plane must not be visited, fortunate that those who have glimpsed it have been able to describe it for us. Still, some people go there. Ordinarily selfish people justify their invasion of Zuehe by the familiar expedient of considering themselves as not like all those other people who go to Zuehe and spoil it. Extremely selfish people go to Zuehe to boast about it, precisely because it is fragile, destructible, therefore a trophy."

"I am no judge of danger. Only the brave can be that. Thrills and chills which to some people are the spice of life take the flavor right out of mine. When I’m frightened, food is sawdust—sex, with its vulnerability of body and soul, is the last thing I want—words are meaningless, thought incoherent, love paralysed. Cowardice of this degree is, I know, uncommon. Many people would have to hang by their teeth from a frayed cord suspended by a paper clip from a leaking hot air balloon over the Grand Canyon in order to feel what I feel standing on the third step of a stepladder trying to put millet in the bird feeder. And they’d find the terror exhilarating and take up skydiving as soon as their broken pelvis mended. Whereas I descend slowly from the stepladder, clutching at the porch rail, and swear I’ll never go above six inches again."

"In general I evade “virtual experiences,” which were always recorded in better weather than it is today and which take the novelty out of everything you’re about to see without giving any real information."

"“Long ago we parted,” said the slight, still man of the Fiia. “Longer ago we were one. What we are not, they are. What we are, they are not. Think of the sunlight and the grass and the trees that bear fruit, Semley; think that not all roads that lead down lead up as well.”"

"The High-Intelligence Life Forms of the planet, of which there were at least three species, all of low technological achievement, they would ignore or enslave or extirpate, whichever was most convenient. For to an aggressive people only technology mattered."

"It did not matter, after all. He was only one man. One man’s fate is not important. “If it is not, what is?” He could not endure those remembered words."

"All men were alien one to another, at times, not only aliens."

"Men who fight wars in Winter don’t live till Spring."

"He detested them for forcing helplessness upon him."

"Truth, as ever, avoids the stranger."

"We live well in the houses—well enough. But we are ruled utterly by fear. There was a time we sailed in ships between the stars, and now we dare not go a hundred miles from home. We keep a little knowledge, and do nothing with it. But once we used that knowledge to weave the pattern of life like a tapestry across night and chaos. We enlarged the chances of life. We did man’s work."

"Between thought and spoken word is a gap where intention can enter, the symbol twisted aside, and the lie come to be."

"He liked the vast openness of sky and prairie, and found loneliness a pleasure with so immense a domain to be alone in."

"The more defensive a society, the more conformist."

"The juniper-scented liquor had volatilized his thoughts; he should be thinking that madness caused this man to call himself a king, but was thinking rather that kingship had driven this man mad."

"The game must be played, and played their way, though they made all the rules and had all the skill. His ineptitude did not matter. His honesty did. He was staked now totally on one belief: that an honest man cannot be cheated, that truth, if the game be played through right to the end, will lead to truth."

"We of Es Toch tell a little myth, which says that in the beginning the Creator told a great lie. For there was nothing at all, but the Creator spoke, saying, It exists. And behold, in order that the lie of God might be God’s truth, the universe at once began to exist."

"It seemed, at least, that they had not taught the boy to lie. But they had not taught him to know truth from lies."

"Planets were very large places, on any scale but that of the spaces in between them."

"They prevented men from doing anything. But they did nothing themselves. They did not rule, they only blighted."

"Predictions are uttered by prophets (free of charge); by clairvoyants (who usually charge a fee, and are therefore more honored in their day than prophets); and by futurologists (salaried). Prediction is the business of prophets, clairvoyants, and futurologists. It is not the business of novelists. A novelist’s business is lying."

"I’ll make my report as if I told a story, for I was taught as a child on my homeworld that Truth is a matter of the imagination. The soundest fact may fail or prevail in the style of its telling: like that singular organic jewel of our seas, which grows brighter as one woman wears it and, worn by another, dulls and goes to dust. Facts are no more solid, coherent, round, and real than pearls are. But both are sensitive."

"I forgot, being too interested myself, that he’s a king, and does not see things rationally, but as a king."

"No, I don’t mean love, when I say patriotism. I mean fear. The fear of the other. And its expressions are political, not poetical: hate, rivalry, aggression. It grows in us, that fear. It grows in us year by year."

"One voice, speaking truth is a greater force than fleets and armies, given time; plenty of time."

"When action grows unprofitable, gather information; when information grows unprofitable, sleep."

"I thought, shivering, that there are things that outweigh comfort, unless one is an old woman or a cat."

"Legends of prediction are common throughout the whole Household of Man. God speaks, spirits speak, computers speak. Oracular ambiguity or statistical probability provides loopholes, and discrepancies are expunged by Faith."

"“We in the Handdara don’t want answers. It’s hard to avoid them, but we try to.” “Faxe, I don’t think I understand.” “Well, we come here to the Fastnesses mostly to learn what questions not to ask.” “But you’re the Answerers!” “You don’t see, Genry, why we perfected and practice Foretelling?” “No—” “To exhibit the perfect uselessness of knowing the answer to the wrong question.”"

"The only thing that makes life possible is permanent, intolerable uncertainty: not knowing what comes next."

"A man wants his virility regarded, a woman wants her femininity appreciated, however indirect and subtle the indications of regard and appreciation. On Winter they will not exist. One is respected and judged only as a human being. It is an appalling experience."

"A man can trust his luck, but a society can’t; and cultural change, like random mutation, may make things chancier. So they have gone very slowly. At any one point in their history a hasty observer would say that all technological progress and diffusion had ceased. Yet it never has. Compare the torrent and the glacier. Both get where they are going."

"If civilization has an opposite, it is war."

"“The mission I am on overrides all personal debts and loyalties.” “If so,” said the stranger with fierce certainty, “it is an immoral mission.”"

"He was a hard shrewd jovial politician, whose acts of kindness served his interest and whose interest was himself. His type is panhuman. I had met him on Earth, and on Hain, and on Ollul. I expect to meet him in Hell."

"Elegance is a small price to pay for enlightenment, and I was glad to pay it."

"This, at least, is the accepted explanation, though like most economic explanations it seems, under certain lights, to omit the main point."

"It is not altogether a bad thing to have criminal ancestors. An arsonist grandfather may bequeath one a nose for smelling smoke."

"To oppose something is to maintain it. They say here “all roads lead to Mishnory.” To be sure, if you turn your back on Mishnory and walk away from it, you are still on the Mishnory road. To oppose vulgarity is inevitably to be vulgar. You must go somewhere else; you must have another goal; then you walk a different road."

"To be an atheist is to maintain God. His existence or his nonexistence, it amounts to much the same, on the plane of proof. Thus proof is a word not often used among the Handdarata, who have chosen not to treat God as a fact, subject either to proof or to belief: and they have broken the circle, and go free. To learn which questions are unanswerable, and not to answer them: this skill is most needful in times of stress and darkness."

"It is not human to be without shame and without desire."

"Mr. Ai, we’ve seen the same events with different eyes; I wrongly thought they’d seem the same to us."

"The First Envoy to a world always comes alone. One alien is a curiosity, two are an invasion."

"A man who doesn’t detest a bad government is a fool. And if there were such a thing as a good government on earth, it would be a great joy to serve it."

"What is more arrogant than honesty?"

"It is good to have an end to journey towards; but it is the journey that matters, in the end."

"How does one hate a country, or love one? [...] I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry?"

"Light is the left hand of darkness and darkness the right hand of light. Two are one, life and death, lying together like lovers in kemmer, like hands joined together, like the end and the way."

"A profound love between two people involves, after all, the power and chance of doing profound hurt."

"The experience was disagreeable. I began to feel like an atheist praying."

"And I wondered, not for the first time, what patriotism is, what the love of country truly consists of, how that yearning loyalty that had shaken my friend’s voice arises, and how so real a love can become, too often, so foolish and vile a bigotry. Where does it go wrong?"

"Wrongs done could not be righted, but at least they were not still being done."

"Character and training disposed him not to interfere in other mens’s business. His job was to find out what they did, and his inclination was to let them go on doing it. He preferred to be enlightened, rather than to enlighten; to seek facts rather than the Truth. But even the most unmissionary soul, unless he pretend he has no emotions, is sometimes faced with a choice between commission and omission. “What are they doing?” abruptly becomes, “What are we doing?” and then, “What must I do?”"

"“Sometimes a god comes,” Selver said. “He brings a new way to do a thing, or a new thing to be done. A new kind of singing, or a new kind of death. He brings this across the bridge between the dream-time and the world-time. When he has done this, it is done. You cannot take things that exist in the world and try to drive them back into the dream, to hold them inside the dream with walls and pretenses. That is insanity. What is, is. There is no use pretending, now, that we do not know how to kill one another.”"

"Like all walls it was ambiguous, two-faced. What was inside it and what was outside it depended upon which side of it you were on. Looked at from one side, the wall enclosed a barren sixty-acre field called the Port of Anarres. [...] It was in fact a quarantine. The wall shut in not only the landing field but also the ships that came down out of space, and the men that came on the ships, and the worlds they came from, and the rest of the universe. It enclosed the universe, leaving Anarres outside, free. Looked at from the other side, the wall enclosed Anarres: the whole planet was inside it, a great prison camp, cut off from other worlds and other men, in quarantine."

"You can go home again, the General Temporal Theory asserts, so long as you understand that home is a place where you have never been."

"Uninfluenced by others, he never knew he influenced them; he had no idea they liked him."

"Suffering is dysfunctional, except as a bodily warning against danger. Psychologically and socially it’s merely destructive."

"It is of the nature of idea to be communicated: written, spoken, done. The idea is like grass. It craves light, likes crowds, thrives on crossbreeding, grows better for being stepped on."

"He had assumed that if you removed a human being’s natural incentive to work—his initiative, his spontaneous creative energy—and replaced it with external motivation and coercion, he would become a lazy and careless worker. But no careless workers kept those lovely farmlands, or made the superb cars and comfortable trains. The lure and compulsion of profit was evidently a much more effective replacement of the natural initiative than he had been led to believe."

"To be whole is to be part; true voyage is return."

"Excess is excrement."

"No doors were locked, few shut. There were no disguises and no advertisements. It was all there, all the work, all the life of the city, open to the eye and to the hand."

"Grow up. Grow up. Time to grow up. You’re here now. We’re working on physics here, not religion. Drop the mysticism and grow up."

"He was appalled by the examination system, when it was explained to him; he could not imagine a greater deterrent to the natural wish to learn than this pattern of cramming in information and disgorging it at demand."

"He tried to read an elementary economics text; it bored him past endurance, it was like listening to somebody interminably recounting a long and stupid dream. He could not force himself to understand how banks functioned and so forth, because all the operations of capitalism were as meaningless to him as the rites of a primitive religion, as barbaric, as elaborate, and as unnecessary. In a human sacrifice to deity there might be at least a mistaken and terrible beauty; in the rites of the moneychangers, where greed, laziness, and envy were assumed to move all men’s acts, even the terrible became banal."

"To make a thief, make an owner; to create crime, create laws."

"Coercion is the least efficient means of obtaining order."

"People like to do things. They like to do them well. People take the dangerous, hard jobs because they take pride in doing them, they can—egoize, we call it—show off?—to the weaker ones. Hey, look, little boys, see how strong I am! You know? A person likes to do what he is good at doing.... But really, it is the question of ends and means. After all, work is done for the work’s sake. It is the lasting pleasure of life. The private conscience knows that. And also the social conscience, the opinion of one’s neighbors. There is no other reward, on Anarres, no other law. One’s own pleasure, and the respect of one’s fellows. That is all. When that is so, then you see the opinion of the neighbors becomes a very mighty force."

"You can’t crush ideas by suppressing them. You can only crush them by ignoring them. By refusing to think, refusing to change. And that’s precisely what our society is doing!"

"She saw time naïvely as a road laid out. You walked ahead, and you got somewhere. If you were lucky, you got somewhere worth getting to."

"“If you can see a thing whole,” he said, “it seems that it’s always beautiful. Planets, lives.... But close up, a world’s all dirt and rocks. And day to day, life’s a hard job, you get tired, you lose the pattern. You need distance, interval. The way to see how beautiful the earth is, is to see it as the moon. The way to see how beautiful life is, is from the vantage point of death.” “That’s all right for Urras. Let it stay off there and be the moon—I don’t want it! But I’m not going to stand up on a gravestone and look down on life and say, ‘O lovely!’ I want to see it whole right in the middle of it, here, now. I don’t give a hoot for eternity.”"

"The news had stirred him strangely. He listened for bulletins on the radio, which he had seldom turned on after finding that its basic function was advertising things for sale."

"“The politics of reality,” Shevek repeated. He looked at Oiie and said, “That is a curious phrase for a physicist to use.” “Not at all. The politician and the physicist both deal with things as they are, with real forces, the basic laws of the world.” “You put your petty miserable ‘laws’ to protect wealth, your ‘forces’ of guns and bombs, in the same sentence with the law of entropy and the force of gravity? I had thought better of your mind, Demaere!”"

"[Shevek] came at last to the long array of doors through which crowds of people came and went constantly, all purposeful, all separate. They all looked, to him, anxious. He had often seen that anxiety before in the faces of Urrasti, and wondered about it. Was it because, no matter how much money they had, they always had to worry about making more, lest they die poor? Was it guilt, because no matter how little money they had, there was always somebody who had less? Whatever the cause, it gave all the faces a certain sameness, and he felt very much alone among them."

"“The law of evolution is that the strongest survives.” “Yes, and the strongest, in the existence of any social species, are those who are most social. In human terms, most ethical.”"

"“But what’s the good of this sort of ‘understanding,’” Dearri said, “if it doesn’t result in practical, technological applications? Just word juggling, isn’t it?” “You ask questions like a true profiteer,” Shevek said, and not a soul there knew he had insulted Dearri with the most contemptuous word in his vocabulary; indeed Dearri nodded a bit, accepting the compliment with satisfaction."

"Our model of the cosmos must be as inexhaustible as the cosmos. A complexity that includes not only duration but creation, not only being but becoming, not only geometry but ethics. It is not the answer we are after, but only how to ask the question."

"No. It is not wonderful. It is an ugly world. Not like this one. Anarres is all dusty and dry hills. All meager, all dry. And the people aren’t beautiful. They have big hands and feet, like me and the waiter there. But not big bellies. They get very dirty, and take baths together, nobody here does that. The towns are very small and dull, they are dreary. No palaces. Life is dull, and hard work. You can’t always have what you want, or even what you need, because there isn’t enough. You Urrasti have enough. Enough air, enough rain, grass, oceans, food, music, buildings, factories, machines, books, clothes, history. You are rich, you own. We are poor, we lack. You have, we do not have. Everything is beautiful here. Only not the faces. On Anarres nothing is beautiful, nothing but the faces. The other faces, the men and women. We have nothing but that, nothing but each other. Here you see the jewels, there you see the eyes. And in the eyes you see the splendor, the splendor of the human spirit. Because our men and women are free—possessing nothing, they are free. And you the possessors are possessed. You are all in jail. Each alone, solitary, with a heap of what he owns. You live in prison, die in prison. It is all I can see in your eyes—the wall, the wall!"

"A child free from the guilt of ownership and the burden of economic competition will grow up with the will to do what needs doing and the capacity for joy in doing it. It is useless work that darkens the heart. The delight of the nursing mother, of the scholar, of the successful hunter, of the good cook, of the skillful maker, of anyone doing needed work and doing it well—this durable joy is perhaps the deepest source of human affection, and of sociality as a whole."

"He felt that sense of being necessary which is the burden and reward of parenthood."

"“There’s a point, around age twenty,” Bedap said, “when you have to choose whether to be like everybody else the rest of your life, or to make a virtue of your peculiarities.”"

"It was easy to share when there was enough, even barely enough, to go round. But when there was not enough? Then force entered in; might making right; power, and its tool, violence, and its most devoted ally, the averted eye."

"Existence is its own justification, need is right."

"The individual cannot bargain with the State. The State recognizes no coinage but power: and it issues the coins itself."

"Like all power seekers, Pae was amazingly shortsighted. There was a trivial, abortive quality to his mind, it lacked depth, affect, imagination. It was, in fact, a primitive instrument."

"He did not know their songs, and only listened and was borne along on the music, until from up front there came sweeping back wave by wave down the great slow-moving river of people a tune he knew. He lifted his head high and sang it with them, in his own language as he had learned it: the Hymn of the Insurrection. It had been sung in these streets, in this same street, two hundred years ago, by these people, his people."

"It is our suffering that brings us together. It is not love. Love does not obey the mind, it turns to hate when forced. The bond that binds us is beyond choice. We are brothers. We are brothers in what we share. In pain, which each of us must suffer alone, in hunger, in poverty, in hope, we know our brotherhood. We know it, because we have been forced to learn it. We know that there is no help for us but from one another, that no hand will save us if we do not reach out our hand. And the hand that you reach out is empty, as mine is. You have nothing. You possess nothing. You own nothing. You are free. All you have is what you are, and what you give."

"You cannot buy the Revolution. You cannot make the Revolution. You can only be the Revolution. It is in your spirit or, it is nowhere."

"A scientist can pretend that his work isn’t himself, it’s merely the impersonal truth. An artist can’t hide behind the truth. He can’t hide anywhere."

"With the myth of the State out of the way, the real mutuality and reciprocity of society and individual became clear. Sacrifice might be demanded of the individual, but never compromise: for though only the society could give security and stability, only the individual, the person, had the power of moral choice—the power of change, the essential function of life. The Odonian society was conceived as a permanent revolution, and revolution begins in the thinking mind."

"“Do you not understand that I want to give this to you—and to Hain and the other worlds—and to the countries of Urras? But to you all! So that one of you cannot use it, as A-Io wants to do, to get power over the others, to get richer or to win more wars. So that you cannot use the truth for your private profit, but only for the common good.” “In the end, the truth usually insists upon serving only the common good,” Keng said. “In the end, yes, but I am not willing to wait for the end. I have one lifetime, and I will not spend it for greed and profiteering and lies. I will not serve any master."

"There is nothing, nothing on Urras that we Anarresti need! We left with empty hands, a hundred and seventy years ago, and we were right. We took nothing. Because there is nothing here but States and their weapons, the rich and their lies, and the poor and their misery. There is no way to act rightly, with a clear heart, on Urras. There is nothing you can do that profit does not enter into, and fear of loss, and the wish for power. You cannot say good morning without knowing which of you is ‘superior’ to the other, or trying to prove it. You cannot act like a brother to other people, you must manipulate them, or command them, or obey them, or trick them. You cannot touch another person, yet they will not leave you alone. There is no freedom. It is a box—Urras is a box, a package, with all the beautiful wrapping of blue sky and meadows and forests and great cities. And you open the box, and what is inside it? A black cellar full of dust, and a dead man. A man whose hand was shot off because he held it out to others. I have been in Hell at last. Desar was right; it is Urras; Hell is Urras."

"“For we each of us deserve everything, every luxury that was ever piled in the tombs of the dead kings, and we each of us deserve nothing, not a mouthful of bread in hunger. Have we not eaten while another starved? Will you punish us for that? Will you reward us for the virtue of starving while others ate? No man earns punishment, no man earns reward. Free your mind of the idea of deserving, the idea of earning, and you will begin to be able to think.”"

"What we’re after is to remind ourselves that we didn’t come to Anarres for safety, but for freedom. If we must all agree, all work together, we’re no better than a machine. If an individual can’t work in solidarity with his fellows, it’s his duty to work alone. His duty and his right. We have been denying people that right. We’ve been saying, more and more often, you must work with the others, you must accept the rule of the majority. But any rule is tyranny. The duty of the individual is to accept no rule, to be the initiator of his own acts, to be responsible. Only if he does so will the society live, and change, and adapt, and survive. We are not subjects of a State founded upon law, but members of a society founded upon revolution. Revolution is our obligation: our hope of evolution."

"The Revolution is in the individual spirit, or it is nowhere. It is for all, or it is nothing. If it is seen as having any end, it will never truly begin. We can’t stop here. We must go on. We must take the risks."

"We have been civilized for a thousand millennia. We have histories of hundreds of those millennia. We have tried everything, Anarchism, with the rest. But I have not tried it. They say there is nothing new under any sun. But if each life is not new, each single life, then why are we born?"

"The sunlights differ, but there is only one darkness."

"Most civilisations, perhaps, look shinier in general terms and from several light-years away."

"Where my guides lead me in kindness I follow, follow lightly, and there are no footprints in the dust behind us."

"One of the historians of Darranda said: To learn a belief without belief is to sing a song without the tune. A yielding, an obedience, a willingness to accept these notes as the right notes, this pattern as the true pattern, is the essential gesture of performance, translation, and understanding. The gesture need not be permanent, a lasting posture of the mind or heart, yet it is not false. It is more than the suspension of disbelief needed to watch a play, yet less than the conversion. It is a position, a posture in the dance."

"She had come to Aka to learn how to sing this world's tune, to dance its dance; and at last, she thought, away from the city's endless noise, she was beginning to hear the music and to learn how to move to it."

"On Aka, god is a word without referent. No capital letters. No creator, only creation. No eternal father to reward and punish, justify injustice, ordain cruelty, offer salvation. Eternity not an endpoint but a continuity. Primal division of being into material and spiritual only as two-as-one, or one in two aspects. [...] The Akan system is a spiritual discipline with spiritual goals, but they're exactly the same goals it seeks for bodily and ethical well-being. Right action is its own reward. Dharma without karma."

"She was not so naive as to think there was any necessary relation between religion and morality, or that if there was a relation it was likely to be a benevolent one."

"By such literalism, fundamentalism, religions betrayed the best intentions of their founders. Reducing thought to formula, replacing choice by obedience, these preachers turned the living word into dead law."

"We're not outside the world, yoz. You know? We are the world. We're its language. So we live and it lives. You see?"

"To hear, one must be silent."

"Have you never thought how danger must surround power as shadow does light?"

"You must not change one thing, one pebble, one grain of sand, until you know what good and evil will follow on that act. The world is in balance, in Equilibrium. A wizard's power of Changing and Summoning can shake the balance of the world. It is dangerous, that power. It is most perilous. It must follow knowledge, and serve need. To light a candle is to cast a shadow."

"Go to bed; tired is stupid."

"You thought, as a boy, that a mage is one who can do anything. So I thought, once. So did we all. And the truth is that as a man’s real power grows and his knowledge widens, ever the way he can follow grows narrower: until at last he chooses nothing, but does only and wholly what he must do..."

"The hunger of a dragon is slow to wake, but hard to sate."

"“Heal the Wound, Cure the illness, but let the Dying spirit go”"

"From that time forth he believed that the wise man is one who never sets himself apart from other living things, whether they have speech or not, and in later years he strove long to learn what can be learned, in silence, from the eyes of animals, the flight of birds, the great slow gestures of trees."

"It is light that defeats the dark."

"He had almost yielded, but not quite. He had not consented. It is very hard for evil to take hold of the unconsenting soul."

"“For a word to be spoken,” Ged answered slowly, “there must be silence. Before, and after.” Then all at once he got up, saying, “I have no right to speak of these things. The word that was mine to say I said wrong. It is better that I keep still; I will not speak again. Maybe there is no true power but the dark.”"

"I was in too much haste, and now have no time left. I traded all the sunlight and the cities and the distant lands for a handful of power, for a shadow, for the dark."

"War as a moral metaphor is limited, limiting, and dangerous. By reducing the choices of action to 'a war against' whatever-it-is, you divide the world into Me or Us (good) and Them or It (bad) and reduce the ethical complexity and moral richness of our life to Yes/No, On/Off. This is puerile, misleading, and degrading. In stories, it evades any solution but violence and offers the reader mere infantile reassurance. All too often the heroes of such fantasies behave exactly as the villains do, acting with mindless violence, but the hero is on the “right” side and therefore will win. Right makes might."

"All I know is the dark, the night underground. And that’s all there really is. That’s all there is to know, in the end. The silence, and the dark. You know everything, wizard. But I know one thing — the one true thing!"

"As she stumbled forward she cried out in her mind, which was as dark, as shaken as the subterranean vault, “Forgive me. O my Masters, O unnamed ones, most ancient ones, forgive me, forgive me!” There was no answer. There had never been an answer."

"Living, being in the world, was a much greater and stranger thing than she had ever dreamed."

"“Summon up a supper,” he said. “Oh, I could. On golden plates, if you like. But that’s illusion, and when you eat illusions you end up hungrier than before.”"

"A dark hand had let go its lifelong hold upon her heart. But she did not feel joy, as she had in the mountains. She put her head down in her arms and cried, and her cheeks were salt and wet. She cried for the waste of her years in bondage to a useless evil. She wept in pain, because she was free. What she had begun to learn was the weight of liberty. Freedom is a heavy load, a great and strange burden for the spirit to undertake. It is not easy. It is not a gift given, but a choice made, and the choice may be a hard one. The road goes upward towards the light; but the laden traveler may never reach the end of it."

"So the first step out of childhood is made all at once, without looking before or behind, without caution, and nothing held in reserve."

"Young he was not, so that one had to call him old, but the word did not suit him."

"When I was young, I had to choose between the life of being and the life of doing. And I leapt at the latter like a trout to a fly. But each deed you do, each act, binds you to itself and to its consequences, and makes you act again and yet again. Then very seldom do you come upon a space, a time like this, between act and act, when you may stop and simply be. or wonder who, after all, you are."

"“We may suffer for it when the balance of things rights itself, but we do not lose hope and forego art and forget the words of the Making. Nature is not unnatural. This is not a righting of the balance, but an upsetting of it. There is only one creature who can do that.” “A man?” Arren said, tentative. “We men.” “How?” “By an unmeasured desire for life.” “For life? But it isn’t wrong to want to live?” “No. But when we crave power over life—endless wealth, unassailable safety, immortality—then desire becomes greed. And if knowledge allies itself to that greed, then comes evil. Then the balance of the world is swayed, and ruin weighs heavy in the scale.”"

"Those were men in whom great strength and knowledge served the will to evil and fed upon it. Whether the wizardry that serves a better end may always prove the stronger, we do not know. We hope."

"There is a certain bleakness in finding hope where one expected certainty. Arren found himself unwilling to stay on these cold summits. He said after a little while, “I see why you say that only men do evil, I think. Even sharks are innocent; they kill because they must.” "That is why nothing else can resist us. Only one thing in the world can resist an evil-hearted man. And that is another man. In our shame is our glory. Only our spirit, which is capable of evil, is capable of overcoming it.”"

"No, I don’t understand him, but he is worth listening to."

"He resolved not to speak again until he had controlled his temper."

"“But you knew them to be evil men—” “Was I to join them therefore? To let their acts rule my own? I will not make their choices for them, nor will I let them make mine for me!”"

"But we, insofar as we have power over the world and over one another, we must learn to do what the leaf and the whale and the wind do of their own nature. We must learn to keep the balance. Having intelligence, we must not act in ignorance. Having choice, we must not act without responsibility. Who am I—though I have the power to do it—to punish and reward, playing with men’s destinies?”"

"The counsel of the dead is not profitable to the living."

"“Is it a wicked thing, then?” “I should call it a misunderstanding, rather. A misunderstanding of life. Death and life are the same thing—like the two sides of my hand, the palm and the back. And still the palm and the back are not the same...They can be neither separated, nor mixed.”"

"To claim power over what you do not understand is not wise, nor is the end of it likely to be good."

"Aye. Like knows like, sister"

"The Dyer backed away from him another step and stood watching him, the exaltation in his face clouding slowly over until it was replaced by a strange, heavy look; it was as if reasoning thought were laboring to break through the storm of words and feelings and visions that confused him. Finally he turned around without a word and began to run back down the road, into the haze of dust that had not yet settled on his tracks."

"“Well,” he said. “Strange roads have strange guides. Let’s go on.”"

"The word must be heard in silence; there must be darkness to see the stars."

"What you love, you will love. What you undertake you will complete. You are a fulfiller of hope; you are to be relied on. But seventeen years give little armor against despair...Consider, Arren. To refuse death is to refuse life."

"I know what they think they seek. But I know it to be a lie. Listen to me, Arren. You will die. You will not live forever. Nor will any man nor any thing. Nothing is immortal. But only to us is it given to know that we must die. And that is a great gift: the gift of selfhood. For we have only what we know we must lose, what we are willing to lose....That selfhood which is our torment, and our treasure, and our humanity, does not endure. It changes; it is gone, a wave on the sea. Would you have the sea grow still and the tides cease, to save one wave, to save yourself? Would you give up the craft of your hands, and the passion of your heart, and the light of sunrise and sunset, to buy safety for yourself—safety forever? That is what they seek to do on Wathort and Lorbanery and elsewhere. That is the message that those who know how to hear have heard: By denying life you may deny death and live forever!—And this message I do not hear, Arren, for I will not hear it. I will not take the counsel of despair."

"“In innocence there is no strength against evil,” said Sparrowhawk, a little wryly. “But there is strength in it for good.”"

"“The first lesson on Roke, and the last is, Do what is needful! And no more.” “The lessons in between, then, must consist in learning what is needful.” “They do.”"

"“What harm have the trees done them?” he said. “Must they punish the grass for their own faults? Men are savages, who would set a land afire because they have a quarrel with other men.”"

"One man may as easily destroy, as govern: be King or Anti-King."

"“A king has soldiers, servants, messengers, lieutenants. He governs through his servants. Where are the servants of this—Anti-king?” “In our minds, lad. In our minds. The traitor, the self; the self that cries I want to live; let the world burn so long as I can live! The little traitor soul in us, in the dark, like the worm in the apple.”"

"To see a candle’s light, one must take it into a dark place."

"“There’s nothing to fear, Lebannen,” he said gently, mockingly. “They were only the dead.”"

"“You exist: without name, without form. You cannot see the light of day; you cannot see the dark. You sold the green earth and the sun and stars to save yourself. But you have no self. All that which you sold, that is yourself. You have given everything for nothing. And so now you seek to draw the world to you, all that light and life you lost, to fill up your nothingness. But it cannot be filled. Not all the songs of earth, not all the stars of heaven, could fill your emptiness.”"

"Her left hand reminded her of its existence, and she looked round to see what was scratching the heel of her hand. It was a tiny thistle, crouched in a crack in the sandstone, barely lifting its colorless spikes into the light and wind. It nodded stiffly as the wind blew, resisting the wind, rooted in rock. She gazed at it for a long time."

"A great deal of her obscurity and cant, Tenar had begun to realize, was mere ineptness with words and ideas. Nobody had ever taught her to think consecutively. Nobody had ever listened to what she said. All that was expected, all that was wanted of her was muddle, mystery, mumbling. She was a witchwoman. She had nothing to do with clear meaning."

"Despair speaks evenly, in a quiet voice."

"If they come prying they can leave curious."

"And I know that all I understand about living is having your work to do, and being able to do it. That’s the pleasure, and the glory, and all. And if you can’t do the work, or it’s taken from you, then what’s any good? You have to have something...."

"“Is it different, then, for men and for women?” “What isn’t, dearie?”"

"A wrong that cannot be repaired must be transcended."

"“But now you've come too far, and I warn you, woman! I will not have you set foot on this domain. And if you cross my will or dare so much as speak to me again, I will have you driven from Re Albi, and off the Overfell, with the dogs at your heels. Have you understood me?” “No,” Tenar said, “I have never understood men like you.”"

"Is power that—an emptiness?"

"“She obeys me, but only because she wants to.” “It’s the only justification for obedience,” Ged observed."

"It’s not a weapon or a woman can make a man, or magery either, or any power, anything but himself."

"O foolish writer. Now moves. Even in storytime, dreamtime, once-upon-a-time, now isn’t then."

"All times are changing times, but ours is one of massive, rapid moral and mental transformation. Archetypes turn into millstones, large simplicities get complicated, chaos becomes elegant, and what everybody knows is true turns out to be what some people used to think."

"There’s no way to use power for good."

"There’s people all over these parts, and maybe beyond, who think, as you said, that nobody can be wise alone. So these people try to hold to each other."

"It was men’s ambitions, they said, that had perverted all the arts to ends of gain."

"Highdrake said that to make love is to unmake power."

"“The solution lies in secrecy,” said Medra. “But so does the problem.”"

"Ignorant power is a bane!"

"How can people be anything but ignorant when knowledge isn’t saved, isn’t taught?"

"The desire for power feeds off itself, growing as it devours."

"The danger in trying to do good is that the mind comes to confuse the intent of goodness with the act of doing things well."

"“It always seemed to me they’re sort of alike,” he said, “magic and music. Spells and tunes. For one thing, you have to get them just exactly right.”"

"“What’s that all about?” Golden said to his wife, a rhetorical question. She looked at him and said nothing, a non-rhetorical answer."

"To which Silence of course made no reply, letting him hear what he had said and feel its foolishness thoroughly."

"It’s a rare gift, to know where you need to be, before you’ve been to all the places you don’t need to be."

"You’ll know what to say when the time comes. That’s the art, eh? What to say, and when to say it. And the rest is silence."

"All the mystery and wisdom of the Masters, when it’s out in the daylight, doesn’t amount to so much, you know. Tricks of the trade—wonderful illusions. But people don’t want to know that. They want the illusions, the mysteries. Who can blame them? There’s so little in life that’s beautiful or worthy."

"Maybe that’s what the Masters are afraid of. Maybe celibacy isn’t as necessary as the Rule of Roke teaches. Maybe it’s not a way of keeping the power pure, but of keeping the power to themselves."

"Injustice makes the rules, and courage breaks them."

"Obsessed with tricking the girl, he had fallen into the trap he laid for her. Bitterly he recognised that he was always believing his own lies, caught in nets he had elaborately woven."

"Before the gods and after, always, are the streams. Caves, stones, hills. Trees. The earth. The darkness of the earth."

"She knew it, but she did not want to know it."

"What goes too long unchanged destroys itself."

"There’s seldom as much hurry as I used to think there was."

"All or nothing at all, the true lover says, and that’s the truth of it. My love will never die, he says. He claims eternity. And rightly. How can it die when it’s life itself? What do we know of eternity but the glimpse we get of it when we enter in that bond?"

"The world’s vast and strange, Hara, but no vaster and no stranger than our minds are. Think of that sometimes."

"I’d rather get bad news from an honest man than lies from a flatterer."

"Manipulated, one manipulates others."

"Statesmen remember things selectively."

"The bond between true lovers is as close as we come to what endures forever."

"Greed puts out the sun."

"“It is not right to want to die,” the Summoner said....“For the very old, the very ill, it may be. But life is given us. Surely it’s wrong not to hold and treasure that great gift!” “Death also is given us,” said the king."

"I think," Tehanu said in her soft, strange voice, "that I when I die, I can breathe back the breath that made me live. I can give back to the world all that I didn't do. All that I might have been and couldn't be. All the choices I didn't make. All the things I lost and spent and wasted. I can give them back to the world. To the lives that haven't been lived yet. That will be my gift back to the world that gave me the life I did live, the love I lived, the breath I breathed."

"Earthsea had its beginning in 1964 in two stories that I wrote and published. They are slight; more like a sailor’s chance sighting of a couple of islands than the discovery of a new world. Earthsea exists in them, though, as the Americas existed in 1492 in Watlings Island, now known as San Salvador Island. These stories speak of the Islands, of the Outer Reach, of the great rich islands of the Archipelago, the Inner Lanes, the roadsteads white with ships, and the golden roofs of Havnor. Earthsea is there, though unexplored. Some things mentioned—trolls, black magic—will never appear again. But one element in each story will turn out to be part of the deep fabric of Earthsea."

"In the name is the magic."

"Beyond the elegant chapter headings by Ruth Robbins for the Parnassus’s edition of A Wizard of Earthsea, and Gail Garraty’s fine woodcut-like art in the same style for the early Atheneum editions, until very recently, the books of Earthsea had no illustrations. This was partly by my own decision. After Ruth’s unique wraparound jacket for the first edition of A Wizard of Earthsea—with its splendidly stylized, copper-brown portrait face—cover art for the books mostly went out of my control. The results could be ghastly—the droopy, lily-white wizard of the first Puffin UK paperback; the silly man with sparks shooting out of his fingers that replaced him. Some covers were quite pretty in themselves, but delicate medieval persons on twee islands with castles with pointy towers had nothing to do with my earthy, salty Earthsea. And as for copper or brown or black skin, forget it! Earthsea was bathed in bleach. I was ashamed of the covers that gave the reader every wrong idea about the people and the place. I resented publishers’ art departments that met any suggestion that the cover might resemble something or someone in the book by rejecting it, informing me loftily that they Knew what would Sell (a mystery no honest cover designer would ever claim to know). Paperback houses wanted commercial, all-purpose fantasy covers; YA departments wanted no suggestion of adult concerns. So I discouraged all suggestions of illustration."

"As the reputation of the books grew, I began to be granted, however grudgingly, more input on the cover art. From that period, 1991, Margaret Chodos-Irvine’s four beautiful jacket paintings for the first four books (Atheneum), and the gorgeous metallic covers of the last two (Harcourt). These last were thanks to my editor , who fought long and fiercely for me. Years later, Michael let me see the first draft the cover department sent him: a fat green dragon, clearly modelled from one of those cute wind-up dinosaurs that spit sparks, sitting up like a dog begging, in a cloud of pink steam. St. Michael fought that dragon and defeated it, but it took him months."

"I have written so often of how and why it took me so long to write the six books of Earthsea that the story has become like the book you have to read to your four-year-old every night for weeks—You really want to hear it again? Oh well, okay, here goes! I wrote the first three books in five years: ’68, ’70, ’72. I was on a roll. None of them was closely plotted or planned before writing; in each of them much of the story came to me as I followed what I wrote where it inevitably led. I started confidently on the fourth book. The central character was Tenar again, of course, to balance it out. I knew she hadn’t stayed and studied wizardry with Ogion, but had married a farmer and had children, and that the story was going to bring her and Ged back together. But by the middle of the first chapter, I realized that I didn’t know who she was—now. I didn’t know why she’d done what she’d done or what she had to do. I didn’t know her story, or Ged’s. I couldn’t plot or plan it. I couldn’t write it. It took me eighteen years to learn how."

"I was forty-two in 1972; in 1990, I was sixty. During those years, the way of understanding society that we’re obliged to call feminism (despite the glaring absence of its opposite term masculism) had grown and flourished. At the same time an increasing sense of something missing in my own writing, which I could not identify, had begun to paralyze my storytelling ability. Without the feminist writers and thinkers of the 1970s and ’80s, I don’t know if I ever could have identified this absence as the absence of women at the center. Why was I, a woman, writing almost entirely about what men did? Why because I was a reader who read, loved, and learned from the books my culture provided me; and they were almost entirely about what men did. The women in them were seen in relation to men, essentially having no existence unrelated to male existence. I knew what men did, in books, and how one wrote about them. But when it came to what women did, or how to write about it, all I had to call on was my own experiences—uncertified, unapproved by the great Consensus of Criticism, lacking the imprimatur of the Canon of Literature, piping up solo against the universally dominant and almost unison chorus of the voices of men talking about men. Oh, well, now, was that true? Hadn’t I read Jane Austen? Emily Brontë? Charlotte Brontë? Elizabeth Gaskell? George Eliott? Virginia Woolf? Other, long-silenced voices of women writing about both women and men were being brought back into print, into life. And my contemporary women writers were showing me the way. It was high time I learned to write of and from my own body, my own gender, in my own voice."

"When Tehanu came out, a good many critics and readers saw it as mere gender politics and resented it as a betrayal of the romantic tradition of heroism. As I tried to say in the essay, not to change viewpoint would, for me, have been the betrayal. By including women fully in my story, I gained a larger understanding of what heroism is and found a true and longed-for way back into my Earthsea—now a very much greater, stranger, more mysterious place than it had ever appeared before."

"Though Tehanu is named for the child character, neither it nor the two books after it are books “for children” or definable as “young adult.” I had abandoned any attempt to suit my vision of Earthsea to a publisher’s category or a critic’s prejudice. The notion that fantasy is only for the immature rises from an obstinate misunderstanding of both maturity and the imagination. So, as my protagonists grew older, I trusted my younger readers to follow them or not, as and when they chose. In the PR-driven world of publishing, that constituted a real risk, and I am very grateful to the editors who took that risk with me."

"Never say never; never say last!"

"If a dragon comes to you and says, “Arw sobriost!” you don’t ask questions. You do what it says. There is a great taloned foot, set like a step in front of you; and above it, the crook of the elbow joint; and above that, the jutting shoulder blade: a stairway. You clamber up that stairway, feeling the fiery inner heat of the dragon’s body. You settle yourself between the vast wings, take hold of the big spine-thorn before you. And the dragon lifts, takes off, takes you where you and it must go, flying on the other wind, flying free."

"There is nothing important except people. A person is defined solely by the extent of his influence over other people, by the sphere of his interrelationships; and morality is an utterly meaningless term unless defined as the good one does to others, the fulfilling of one’s function in the sociopolitical whole."

"But in fact, isn't that man's very purpose on earth - to do things, change things, run things, make a better world? No! What is his purpose, then? Things don't have purposes, as if the universe were a machine, where every part has a useful function. What's the function of a galaxy? I don't know if our life has a purpose and I don't see that it matters. What does matter is that we're a part. Like a thread in a cloth or a grass-blade in a field. It is and we are. What we do is like wind blowing on the grass."

"The end justifies the means. But what if there never is an end? All we have is means."

"I guess I can't, or my subconscious can't, even imagine a warless world. The best it can do is substitute one kind of war for another. You said, no killing of humans by other humans. So I dreamed up the Aliens. Your own ideas are sane and rational, but this is my unconscious you're trying to use, not my rational mind. Maybe rationally I could conceive of the human species not trying to kill each other off by nations, in fact rationally it's easier to conceive of than the motives of war. But you're handling something outside reason. You're trying to reach progressive, humanitarian goals with a tool that isn't suited to the job. Who has humanitarian dreams?"

"He never spoke with any bitterness at all, no matter how awful the things he said. Are there really people without resentment, without hate, she wondered. People who never go cross-grained to the universe? Who recognize evil, and resist evil, and yet are utterly unaffected by it? Of course there are. Countless, the living and the dead. Those who have returned in pure compassion to the wheel, those who follow the way that cannot be followed without knowing they follow it, the sharecroppers’s wife in Alabama and the lama in Tibet and the entomologist in Peru and the millworker in Odessa and the greengrocer in London and the goatherd in Nigeria and the old, old man sharpening a stick by a dry streambed somewhere in Australia, and all the others. There is not one of us who has not known them. There are enough of them, enough to keep us going. Perhaps."

"A person who believes, as she did, that things fit: that there is a whole of which one is a part, and that in being a part one is whole: such a person has no desire whatever, at any time, to play God. Only those who have denied their being yearn to play at it."

"Great self-destruction follows upon unfounded fear."

"What's wrong with changing things? Now, I wonder if this self-canceling, centerpoised personality of yours leads you to look at things defensively. I want you to try to detach yourself from yourself and try to see your own viewpoint from the outside, objectively. You are afraid of losing your balance. But change need not unbalance you; life's not a static object, after all. It's a process. There's no holding still. Intellectually you know that, but emotionally you refuse it. Nothing remains the same from one moment to the next, you can't step into the same river twice. Life-evolution-the whole universe of space/time, matter/energy—existence itself—is essentially change."

"When things don't change any longer, that's the end result of entropy, the heat-death of the universe. The more things go on moving, interrelating, conflicting, changing, the less balance there is—and the more life. I'm pro-life, George. Life itself is a huge gamble against the odds, against all odds! You can't try to live safely, there's no such thing as safety. Stick your neck out of your shell, then, and live fully! It's not how you get there, but where you get to that counts. What you're afraid to accept, here, is that we're engaged in a really great experiment, you and I. We're on the brink of discovering and controlling, for the good of all mankind, a whole new force, an entire new field of antientropic energy, of the life-force, of the will to act, to do, to change!"

"He knew that in so far as one denies what is, one is possessed by what is not, the compulsions, the fantasies, the terrors that flock to fill the void."

"You have to help another person. But it’s not right to play God with masses of people. To be God you have to know what you’re doing. And to do any good at all, just believing you're right and your motives are good isn’t enough. You have to...be in touch. He isn’t in touch. No one else, no thing even, has an existence of its own for him; he sees the world only as a means to his end. It doesn’t make any difference if his end is good; means are all we’ve got."

"How could anybody think this man was sick? All right, so he had funny dreams. That was better than being plain mean and hateful, like about one quarter of the people she had ever met."

"But maybe you're just as glad he’s not a shrink, eh? Awful to have your spouse analyzing your unconscious desires across the dinner table, eh?"

"He looked at the machine, its cabinets all standing open; it should be destroyed, he thought. But he had no idea how to do it, nor any will to try. Destruction was not his line; and a machine is more blameless, more sinless even than any animal. It has no intentions whatsoever but our own."

"There is a bird in a poem by T. S. Eliot who says that mankind cannot bear very much reality; but the bird is mistaken. A man can endure the entire weight of the universe for eighty years. It is unreality that he cannot bear."

"I haven't any strength, I haven't any character, I'm a born tool. I haven't any destiny. All I have is dreams. And now other people run them."

"As I refuse violence, I refuse to serve the violent."

"Indeed, until she had met Lev at school, it had not occurred to her that anyone might prefer to speak a plain fact rather than a lie that sounded well. People said what suited their purposes, when they were serious; and when they weren’t serious, they talked without meaning anything at all."

"“Why are you always so full of answers?” “Because life’s so full of questions.”"

"Why should he remember her? Why should she remember him? She had other things to think about. She was a grown woman. She had to face life. Even if all life had to show her was a locked door, and behind the locked door, no room."

"When we’ve agreed that something ought to be done, or not done, we get very stubborn. And when that meets up with another stubbornness, it can make a kind of war, a struggle of ideas, the only kind of war anybody ever wins."

"They had learned how to listen for the sense of the meeting, not the voice of the loudest. They had learned that they must judge each time whether obedience was necessary and right, or misplaced and wrong. They had learned that the act of violence is the act of weakness, and that the spirit’s strength lies in holding fast to the truth."

"Easy victories aren’t worth winning."

"In the self-important, Falco reflected, there is always room for a little more self-importance."

"If I don’t speak truth I can’t seek truth."

"Going was easy. Keep on going was hard."

"Armed men don’t sit down and talk."

"And the rest, all the rest. All the days and lights and winds and years that would have been, and that would not be, that should be and were not, because he was dead. Shot dead on the road, in the wind, at twenty-one. His mountains unclimbed, never to be climbed."

"Nobody had made this wilderness, and there was no evil in it and no good; it simply was."

"She too had lost her luck, and known death, and gone on."

"What would that be, a world without war? It would be the real world. Peace was the true life, the life of working and learning and bringing up children to work and learn. War, which devoured work, learning, and children, was the denial of reality."

"To know there is a choice is to have to make the choice: change or stay: river or rock."

"He always asked, why thus? why this way, not another way? I answered: Because in what we do daily and in the way we do it, we enact the gods. He said: Then the gods are only what we do. I said: In what we do rightly, the gods are."

"The old knowledge had been difficult but not distressing. It had been all paradox and myth, and it had made sense. The new knowledge was all fact and reason, and it made no sense."

"What is the use trying to describe the flowing of a river at any one moment, and then at the next moment, and then at the next, and the next, and the next? You wear out. You say: There is a great river, and it flows through this land, and we have named it History."

"“Lines and colors made with earth on earth may hold knowledge in them. All knowledge is local, all truth is partial,” Havzhiva said with an easy, colloquial dignity that he knew was an imitation of his mother, the Heir of the Sun, talking to foreign merchants. “No truth can make another truth untrue. All knowledge is a part of the whole knowledge. A true line, a true color. Once you have seen the larger pattern, you cannot go back to seeing the part as the whole.""

"It may be in our sexuality that we are most easily enslaved, both men and women. It may be there, even as free men and women, that we find freedom hardest to keep. The politics of the flesh are the roots of power."

"I was utterly miserable, and yet fearless as I had never been. I was carefree. It was like dying. It would be foolish to worry about anything while one died."

"What is one man's and one woman's love and desire, against the history of two worlds, the greatest revolution of our lifetimes, the hope, the unending cruelty of our species? A little thing. But a key is a little thing, next to the door it opens."

"There was a pretty prince of Troy named Paris. He and a Greek queen ran off together. Her husband called the other kings of Greece together, and they went to Troy, a great army in a thousand beaked ships, to get the woman back. Helen was her name." "What did they want her back for?" "Her husband's honor demanded it." "I should think his honor demanded that he divorce her and find himself a decent wife." "Lavinia, these people were Greeks."

"I can never get used to the fact, though I know it, that women are born cynics. Men have to learn cynicism. Infant girls could teach it to them."

"Is it the gods who set this fire in our hearts, or do we each make our fierce desire into a god?"

"Why must there be war?" "Oh Lavinia, what a woman's question that is! Because men are men."

"They say Mars absolves the warrior from the crimes of war, but those who were not the warriors, those for whom the war was said to be fought, even though they never wanted it to be fought, who absolves them?"

"Men call women faithless, changeable, and though they say it in jealousy of their own ever-threatened sexual honor, there is some truth in it. We can change our life, our being; no matter what our will is, we are changed. As the moon changes yet is one, so we are virgin, wife, mother, grandmother. For all their restlessness, men are who they are; once they put on the man's toga they will not change again; so they make a virtue of that rigidity and resist whatever might soften it and set them free."

"(If you had to pick a writer for a mentor, who would you choose and why? ) It’s a toss-up between Leslie Marmon Silko and Ursula Le Guin...LeGuin is a master storyteller, no matter what the subject...Very subtle, very wonderful, but LeGuin doesn’t let her writerly chops get in the way of entertaining her readers."

"I especially liked Ursula Le Guin's Dispossessed, and the original Dune by Frank Herbert was another favorite of mine."

"Like one or two other SF figures of unassailable stature, Le Guin is deeply courteous. She seems to meet people in the expectation, or maybe simply the hope that she will learn from the encounter. She is like the novelist Doris Lessing; they do not reflect the world; they absorb it."

"I grew up in a pacifist anarchist community that was Anishinaabe-founded, at least to some degree. So, when I read Ursula K. Le Guin’s 1974 novel The Dispossessed, I could absolutely understand the whole process of community and of shunning or shaming a person as a form of power and control, but also the recognition of combining art with science, rather than understanding them as separate. Although her story is science fictional, by acknowledging the role of storytelling in this combination between art and science, Le Guin again takes the fiction out of science fiction, and works with other forms of science."

"Her publisher at Gollancz, Malcolm Edwards, said that “those of us who had the pleasure of working with her will remember her as a gracious and good-humoured woman with an iron will, gently expressed”. “She was by common consent one of the greatest – if not the greatest – contemporary SF and fantasy author. This is a very sad day,” said Edwards."

"Ursula Le Guin has been a hero of mine for 20 years. She's done so much, and she will continue to do good even though she's gone. I honestly don't know what I would have become if it weren't for Ursula Le Guin. The first time I read "A Wizard of Earthsea" I realized how balance could be even more epic than war. Suddenly, Fantasy wasn't just wish fulfillment and grandeur, it was real and complex."

"Ursula Le Guin has died. She is a master storytelling. She is fierce and frighteningly smart and does not tolerate fools. Her EARTHSEA books are a revelation."

"I have no guilt regarding my love of fantasy and science fiction, only pleasure. I grew up reading the Magazine of Fantasy & Science Fiction. I chuckle over how this “genre” has become mainstream and how time travel, alternative universes and magic are now so everyday. Plus, no one could ever feel guilty about reading writers like Ursula K. Le Guin and Philip K. Dick."

"Ursula can write a simple, simple sentence, and I will find myself in tears. She has always been thinking about issues of power and race and how they play out."

"For Margaret Atwood, Le Guin is a "quintessentially American writer", of undoubted literary quality, "for whom the quest for the Peaceable Kingdom is ongoing". Her worlds, Le Guin says, are not so much invented as discovered. "I stare and see something, maybe a person in a landscape, and have to find out what it is." But whether charting inner lands or outer space, her eye remains on the here and now. At 76, Le Guin counts among her affiliations the peace and women's movements ("I take a perverse pleasure in calling myself a feminist"), and Taoism ("profoundly subversive")."

"“She influenced a generation and more of writers – women by inspiration and example – but also any men with an ambition to work with science fiction and fantasy to aspire to more than the forms were allowed to do, or be,” said Guy Gavriel Kay. “We’re poorer for her loss, and richer for having had her presence.”"

"Not all art takes collapse for granted, however. There have long been creators on the margins, from Afrofuturists to feminist fantasists, who have attempted to explode the idea that the future"

"Mary Robinette Kowal told NPR's Petra Mayer that Le Guin's work could not be confined to a simple label found atop bookstore shelves. "Throughout her life she embraced new forms of technology; she was constantly pushing boundaries and barriers. That is inspiring to me," Kowal said. "She was one of the first really big voices in science fiction and fantasy who was a woman," Kowal added. "And I think she did a lot for science fiction and fantasy — not just for women and women's roles because of her feminism but also legitimizing us as an art form. There are a lot of people who will read an Ursula Le Guin book and go, 'Well, this isn't science fiction, it's literature.' But of course, it is science fiction. A lot of times, she can be a gateway drug for people.""

"There's a great quote actually that she gave the Paris Review a few years ago. I will let her speak here because she's the writer. She said, (reading) where I can get prickly and combative is if I'm just called a sci-fi writer. I'm not. I'm a novelist and poet. Don't shove me into your damn pigeon hole where I don't fit because I'm all over. My tentacles are coming out of the pigeon in all directions...She didn't pull any punches. She always kind of went her own way. You know, there were very few women writing sci-fi and fantasy in the '60s when she first began to publish. And it was definitely not as respected a genre as it is today. But she was so influential. Just as an example, when she began to publish the "Earthsea" books in the late-'60s, there were a lot of characters that weren't white, and that was a pretty big deal if the only other thing you were seeing was Lieutenant Uhura on "Star Trek."...She was a voracious reader. She was known to study Taoism. The ideas of balance from Taoism come through very strongly in her work, particularly in the "Earthsea" novels. There's this one bit where an aspiring mage who's at a magic school that is so not Hogwarts - he has to learn to do by not doing."

"“We are terribly diminished by Ursula Le Guin’s absence,” said China Miéville, a science fiction and fantasy writer. “She was, rather, a colossus of literature, a radical, a trailblazer.”"

"there are two authors I consider my teachers, one on the most realistic side and the other one in the most fantastic side: ...Ursula K. Le Guin...and Nabokov"

"Another characteristic of contemporary utopias is sexual permissiveness. The point of that permissiveness is not to break taboos but to separate sexuality from questions of ownership, reproduction and social structure. The feminist utopias that are not entirely lesbian often assume, as in Ursula Le Guin's The Dispossessed, some mix of monogamy, casual promiscuity, homosexuality and heterosexuality, with adolescent bisexuality as the norm."

"I'm very ambivalent about Le Guin; obviously, she's a wonderfully inventive writer, but her lack of awareness about a lot of political and historical issues just exasperates me. If I read her fiction I usually have to forget a lot I know about people and the dynamics of behavior. And sometimes her moralizing about everything strikes me as not humanist at all. But I'm jealous of her, so all of this is suspect...She's a charming person, incredibly witty and very brilliant. But there are times I'd like to shake her down to her toes until the loose change comes out. I don't think she really knows how political, communal, people processes actually work. Delany, on the other hand, clearly does, and he's applied this awareness to his public criticisms of The Dispossessed...it's clear from what Le Guin writes that she isn't in touch with a lot of political realities, which causes her fiction to fall apart. It's obviously a conscientious thing on her part-no one can doubt her sincerity or genuine concern-but I wish she'd just let go of it and write selfishly about things she enjoys. Because when she does that, she's absolutely splendid. The darkness box, animal languages, and so on. Superb. She has such a remarkable feel for the little details-the stories, the buildings, the language, the histories, the clothing and food, the fiction, the proverbs, the whole self-reflection of cultures."

"“Look at the top tier of writers in science fiction and fantasy today … and you see the unmistakable traces of Le Guin in their work,” author John Scalzi wrote in the Los Angeles Times. “Multiple generations of her spiritual children, making the genre more humane and expansive, and better than it would have been without her.”"

"I have been afraid of putting air in a tire ever since I saw a tractor tire blow up and throw Newt Hardbine's father over the top of the Standard Oil sign. I'm not lying. He got stuck up there. About nineteen people congregated during the time it took for Norman Strick to walk up to the Courthouse and blow the whistle for the volunteer fire department. They eventually did come with the ladder and haul him down, and he wasn't dead but lost his hearing and in many other ways was never the same afterward. They said he overfilled the tire."

"A wife is the earth itself, changing hands, bearing scars."

"Her body moved with the frankness that comes from solitary habits. But solitude is only a human presumption. Every quiet step is thunder to beetle life underfoot; every choice is a world made new for the chosen. All secrets are witnessed."

"I also love to travel, and am especially thrilled to see different tracts of wilderness that are still thriving on our planet. A lot of us spend our best efforts trying to reclaim what’s damaged, imagining and working to fend off the dire outcomes of humanity’s mistakes. To spend our hearts without filling them up again is a dangerous economy. So I go to the wilds to repair my soul. Earlier this year I spent several weeks in , a vast, unpeopled land where I walked trails among s, s, and s. I watched pumas eating guanacos. A wilderness big enough to support a healthy population of 200-pound predators: that is a wonder."

"The march of human progress seemed mainly a matter of getting over that initial shock of being here."

"At some point in my life I'd honestly hoped love would rescue me from the cold, drafty castle I lived in. But at another point, much earlier I think, I'd quietly begun to hope for nothing at all in the way of love, so as not to be disappointed. It works. It gets to be a habit."

"He was wounded. I suppose some sharp thing in me wanted to sting him, for making me need him now. After he'd once cut me to the edge of what a soul will bear. But that was senseless.... I looked at this grown-up Loyd and tried to make sense of him, seeing clearly that he was too sweet to survive around me. I would go to my grave expecting the weapon in the empty hand."

"Libraries are the one American institution you shouldn't rip off."

"Every minute with a child takes seven minutes off your life."

"It kills you to see them grow up. But I guess it would kill you quicker if they didn't."

"We're animals. We're born like every other mammal and we live our whole lives around disguised animal thoughts."

"The very least you can do in your life is to figure out what you hope for. And the most you can do is live inside that hope. Not admire it from a distance but live right in it, under its roof."

"A flock is nothing but the put-together of all your past choices."

"Even the most recalcitrant climate scientists agree now, the place is heating up. pretty much every one of the lot. Unless some other outcome is written on the subject line of his paycheck. [...] If you were here to get information, Tina, you would not be standing in my laboratory telling me what scientists think."

"Cub retreated to the familiar grounds of remorse and insufficiency, the terms of his existence, ratified by marriage. He could construct defeat from any available material and live inside it, but for once Dellarobia didn't go there with him. she was going ahead."

"There is some kind of juice in our brains that makes us only care about what's in front of us right this minute. Even if we know something different will happen later and we should think about that too. [...] If I could teach you one thing, Preston, that's it. Think about what's coming at you later on."

"I also thank Bill McKibben and his 350.org colleagues for the most important work in the world, and the most unending."

"you will find elements of magic realism in literature from all over the world—not just in Latin America. You will find it in Scandinavian sagas, in African poetry, in Indian literature written in English, in American literature written by ethnic minorities. Writers like Salman Rushdie, Toni Morrison, Barbara Kingsolver, and Alice Hoffman all use this style."

"Louise Erdrich, Barbara Kingsolver. They write, as you say, from the margins: a subversive novel, with an anti-WASP tone that I love."

"As Barbara Kingsolver's Holding the Line demonstrates, distinctions between traditional/nontraditional, striker/supporter, Mexican/Euro-American can become blurred."

"God says the Africans are the Tribes of Ham. Ham was the worst one of Noah’s three boys: Shem, Ham, and Japheth. Everybody comes down on their family tree from just those three, because God made a big flood and drowneded out the sinners. But Shem, Ham, and Japheth got on the boat so they were A-okay. Ham was the youngest one, like me, and he was bad. Sometimes I am bad, too."

"(Book 1, Chapter 3)"

"Nakedness,” Father repeated, “and darkness of the soul! For we shall destroy this place where the loud clamor of the sinners is waxen great before the face of the Lord.” No one sang or cheered anymore. Whether or not they understood the meaning of “loud clamor,” they didn’t dare be making one now. They did not even breathe, or so it seemed. Father can get a good deal across with just his tone of voice, believe you me. The woman with the child on her hip kept her back turned, tending to the food."

"(Book 1, Chapter 4)"

"Several days later, once Father had regained his composure and both his eyes, he assured me that Mama Tataba hadn’t meant to ruin our demonstration garden. There was such a thing as native customs, he said. We would need the patience of Job. “She’s only trying to help, in her way,” he said."

"(Book 1, Chapter 6)"

"Once in a great while we just have to protect her. Even back when we were very young I remember running to throw my arms around Mother’s knees when he regaled her with words and worse, for curtains unclosed or slips showing—the sins of womanhood. We could see early on that all grown-ups aren’t equally immune to damage. My father wears his faith like the bronze breastplate of God’s foot soldiers, while our mother’s is more like a good cloth coat with a secondhand fit."

"(Book 1, Chapter 10 )"

"(Book 1, Chapter 11 Quotes)"

"The likes of Eleanor Roosevelt declared we ought to come forth with aid and bring those poor children into the twentieth century. And yet Mr. George F. Kennan, the retired diplomat, allowed that he felt “not the faintest moral responsibility for Africa.” It’s not our headache, he said. Let them go Communist if they feel like it. It was beyond me to weigh such matters, when my doorstep harbored snakes that could knock a child dead by spitting in her eyes."

"(Book 2, Chapter 13 )"

"The boys said, “Patrice Lumumba!” I told Leah that means the new soul of Africa, and he’s gone to jail and Jesus is real mad about it. I told her all that! I was the youngest one but I knew it. I lay so still against the tree branch I was just the same everything as the tree. I was like a green mamba snake. Poison. I could be right next to you and you wouldn’t ever know it."

"(Book 2, Chapter 15)"

"Anatole leaned forward and announced, “Our chief, Tata Ndu, is concerned about the moral decline of his village.” Father said, “Indeed he should be, because so few villagers are going to church.” “No, Reverend. Because so many villagers are going to church.”"

"(Book 2, Chapter 16)"

"Father said, “An election. Frank, I’m embarrassed for you. You’re quaking in your boots over a fairy tale. Why, open your eyes, man. These people can’t even read a simple slogan: Vote for Me! Down with Shapoopie! An election! Who out here would even know it happened?”"

"(Book 2, Chapter 20 )"

"Set upon by the civet cat, the spy, the eye, the hunger of a superior need, Methuselah is free of his captivity at last. This is what he leaves to the world: gray and scarlet feathers strewn over the damp grass. Only this and nothing more, the tell-tale heart, tale of the carnivore. None of what he was taught in the house of the master. Only feathers, “without the ball of Hope inside. Feathers at last at last and no words at all."

"(Book 2, Chapter 25)"

"My downfall was not predicted. I didn’t grow up looking for ravishment or rescue, either one. My childhood was a happy one in its own bedraggled way. My mother died when I was quite young, and certainly a motherless girl will come up wanting in some respects, but in my opinion she has a freedom unknown to other daughters. For every womanly fact of life she doesn’t get told, a star of possibility still winks for her on the horizon."

"(Book 3, Chapter 26)"

"Then there is batiza, Our Father’s fixed passion. Batiza pronounced with the tongue curled just so means “baptism.” Otherwise, it means “to terrify.” Nelson spent part of an afternoon demonstrating to me that fine linguistic difference while we scraped chicken manure from the nest boxes. No one has yet explained it to the Reverend. He is not of a mind to receive certain news. Perhaps he should clean more chicken houses."

"(Book 3, Chapter 28 )"

"But where is the place for girls in that Kingdom? The rules don’t quite apply to us, nor protect us either. What do a girl’s bravery and righteousness count for, unless she is also pretty? Just try being the smartest and most Christian seventh-grade girl in Bethlehem, Georgia. Your classmates will smirk and call you a square. Call you worse, if you’re Adah."

"(Book 3, Chapter 33 )"

"Nelson squatted on his heels, his ashy eyelids blinking earnestly as he inspected Mother’s face. Surprisingly, she started to laugh. Then, more surprisingly, Nelson began to laugh, too. He threw open his near-toothless mouth and howled alongside Mother, both of them with their hands on their thighs. I expect they were picturing Rachel wrapped in a pagne trying to pound manioc. Mother wiped her eyes. “Why on earth do you suppose he’d pick Rachel?” From her voice I could tell she was not smiling, even after all that laughter. “He says the Mvula’s, strange color would cheer up his other wives.”"

"(Book 3, Chapter 35 )"

"My knees plunged, a rush of hot blood made me fall. A faintness of the body is my familiar, but not the sudden, evil faint of a body infected by horrible surprise. By this secret: the smiling bald man with the grandfather face has another face. It can speak through snakes and order that a president far away, after all those pebbles were carried upriver in precious canoes that did not tip over, this President Lumumba shall be killed."

"(Book 3, Chapter 43)"

"Oh, it’s a fine and useless enterprise, trying to fix destiny. That trail leads straight back to the time before we ever lived, and into that deep well it’s easy to cast curses like stones on our ancestors. But that’s nothing more than cursing ourselves and all that made us. Had I not married a preacher named Nathan Price, my particular children would never have seen the light of this world. I walked through the valley of my fate, is all, and learned to love what I could lose."

"(Book 4, Chapter 49)"

"And so it came to pass that the normal, happy event of dividing food after a hunt became a war of insults and rage and starving bellies. There should have been more than enough for every family. But as we circled to receive our share of providence, the fat flanks of the magnificent beasts we’d stalked on the hill shrank to parched sinew, the gristle of drought-starved carcasses. Abundance disappeared before our eyes. Where there was plenty, we suddenly saw not enough. Even little children slapped their friends and stole caterpillars from each other’s baskets. Sons shouted at their fathers. Women declared elections and voted against their husbands. The elderly men whose voices hardly rose above a whisper, because they were so used to being listened to, were silenced completely in the ruckus. Tata Kuvudundu looked bedraggled and angry. His white robe was utterly blackened with ash. He raised his hands and once again swore his prophecy that the animals and all of nature were rising up against us."

"(Book 4, Chapter 55)"

"Until that moment I’d always believed I could still go home and pretend the Congo never happened. The misery, the hunt, the ants, the embarrassments of all we saw and endured—those were just stories I would tell someday with a laugh and a toss of my hair, when Africa was faraway and make-believe like the people in history books. The tragedies that happened to Africans were not mine. We were different, not just because we were white and had our vaccinations, but because we were simply a much, much luckier kind of person. I would get back home to Bethlehem, Georgia, and be exactly the same Rachel as before."

"(Book 4, Chapter 60 )"

"But his kind will always lose in the end. I know this, and now I know why. “Whether it’s wife or nation they occupy, their mistake is the same: they stand still, and their stake moves underneath them. The Pharaoh died, says Exodus, and the children of Israel sighed by reason of their bondage. Chains rattle, rivers roll, animals startle and bolt, forests inspire and expand, babies stretch open-mouthed from the womb, new seedlings arch their necks and creep forward into the light. Even a language won’t stand still. A territory is only possessed for a moment in time. They stake everything on that moment, posing for photographs while planting the flag, casting themselves in bronze. Washington crossing the Delaware. The capture of Okinawa. They’re desperate to hang on."

"(Book 5, Chapter 62)"

"Neto is about Anatole’s age, also educated by missionaries. He’d already gone abroad to study medicine and returned home to open a clinic, where his own people could get decent care, but it didn’t work out. A gang of white policemen dragged him out of his clinic one day, beat him half to death, and carted him off to prison. The crowds that turned up to demand his release got cut down like trees by machine-gun fire. Not only that, but the Portuguese army went out burning villages to the ground, to put a damper on Neto’s popularity. Yet, the minute he got out of prison, he started attracting droves of people to an opposition party in Angola."

"(Book 5, Chapter 68)"

"He is the one wife belonging to many white men.” Anatole explained it this way: Like a princess in a story, Congo was born too rich for her own good, and attracted attention far and “wide from men “who desire to rob her blind. The United States has now become the husband of Zaire’s economy, and not a very nice one. Exploitive and condescending, in the name of steering her clear of the moral decline inevitable to her nature. “Oh, I understand that kind of marriage all right,” I said. “I grew up witnessing one just like it.”"

"(Book 5, Chapter 70)"

"It is brave to be involved To be not fearful to be unresolved."

"Exhaust the little moment. Soon it dies. And be it gash or gold it will not come Again in this identical guise."

"We real cool. We Left school. We Lurk late. We Strike straight. We Sing sin. We Thin gin. We Jazz June. We Die soon."

"Art hurts. Art urges voyages— and it is easier to stay at home."

"When I start writing a poem, I don't think about models or about what anybody else in the world has done."

"A writer should get as much education as possible, but just going to school is not enough; if it were, all owners of doctorates would be inspired writers."

"As you get older, you find that often the wheat, disentangling itself from the chaff, comes out to meet you."

"Art is a refining and evocative translation of the materials of the world."

"Truth-tellers are not always palatable. There is a preference for candy bars."

"Be careful what you swallow. Chew!"

"I am a writer perhaps because I am not a talker."

"I am interested in telling my particular truth as I have seen it."

"To be in love Is to touch with a lighter hand. In yourself you stretch, you are well."

"He is not there but You know you are tasting together The winter, or a light spring weather. His hand to take your hand is overmuch. Too much too bear."

"I shall not sing a May song. A May song should be gay. I'll wait until November And sing a song of gray."

"And all the little people Will stare at me and say, "That is the Crazy Woman Who would not sing in May.""

"I hold my honey and I store my bread In little jars and cabinets of my will. I label clearly, and each latch and lid I bid, Be firm till I return from hell."

"Already you're on Page 8."

"consider the big fists breaking your little bones, or consider the vague bureaucrats stumbling, fumbling through Paper."

"Is earnest enough, may earnest attract or lead to light; Is light enough, if hands in clumsy frenzy, flimsy whimsically, enlist; Is light enough when this bewilderment crying against the dark shuts down the shades? Dilute confusion. Find and explode our mist."

"Say to them, say to the down-keepers, the sun-slappers, the self-soilers, the harmony-hushers, "even if you are not ready for day it cannot always be night." You will be right."

"Abortions will not let you forget. You remember the children you got that you did not get, The damp small pulps with a little or with no hair, The singers and workers that never handled the air. You will never neglect or beat Them, or silence or buy with a sweet. You will never wind up the sucking-thumb Or scuttle off ghosts that come."

"I have heard in the voices of the wind the voices of my dim killed children. I have contracted. I have eased My dim dears at the breasts they could never suck. I have said, Sweets, if I sinned, if I seized Your luck And your lives from your unfinished reach, If I stole your births and your names, Your straight baby tears and your games, Your stilted or lovely loves, your tumults, your marriages, aches, and your deaths, If I poisoned the beginnings of your breaths, Believe that even in my deliberateness I was not deliberate."

"What shall I say, how is the truth to be said? You were born, you had body, you died. It is just that you never giggled or planned or cried."

"Believe me, I loved you all. Believe me, I knew you, though faintly, and I loved, I loved you All."

"I pass you my Poem. A poem doesn’t do everything for you. You are supposed to go on with your thinking. You are supposed to enrich the other person’s poem with your extensions, your uniquely personal understandings, thus making the poem serve you."

"I pass you my Poem! — to tell you we are all vulnerable — the midget, the Mighty, the richest, the poor. Men, women, children, and trees. I am vulnerable."

"My Poem is life, and not finished. It shall never be finished. My Poem is life, and can grow. Wherever life can grow, it will. It will sprout out, and do the best it can. I give you what I have. You don’t get all your questions answered in this world. How many answers shall be found in the developing world of my Poem? I don’t know. Nevertheless I put my Poem, which is my life, into your hands, where it will do the best it can."

"Rudolph Reed was oaken. His wife was oaken too. And his two good girls and his good little man Oakened as they grew."

"Nary a grin grinned Rudolph Reed, Nary a curse cursed he, But moved in his House. With his dark little wife, And his dark little children three."

"The first night, a rock, big as two fists. The second, a rock big as three. But nary a curse cursed Rudolph Reed. (Though oaken as man could be.) The third night, a silvery ring of glass. Patience arched to endure, But he looked, and lo! small Mabel's blood Was staining her gaze so pure."

"He ran like a mad thing into the night And the words in his mouth were stinking. By the time he had hurt his first white man He was no longer thinking. By the time he had hurt his fourth white man Rudolph Reed was dead. His neighbors gathered and kicked his corpse. "Nigger—" his neighbors said."

"Small Mabel whimpered all night long, For calling herself the cause. Her oak-eyed mother did no thing But change the bloody gauze."

"The good man. He is still enhancer, renouncer. In the time of detachment, in the time of the vivid heather and affectionate evil, in the time of oral grave grave legalities of hate - all real walks our prime registered reproach and seal. Our successful moral. The good man."

"Coherent Counsel! Good man. Require of us our terribly excluded blue. Constrain, repair a ripped, revolted land. Put hand in hand land over. Reprove the abler droughts and manias of the day and a felicity entreat. Love. Complete your pledges, reinforce your aides, renew stance, testament."

"Already I am no longer looked at with lechery or love. My daughters and sons have put me away with marbles and dolls, Are gone from the house. My husband and lovers are pleasant or somewhat polite And night is night."

"It is a real chill out, The genuine thing. I am not deceived, I do not think it is still summer Because sun stays and birds continue to sing."

"It is a real chill out. The fall crisp comes I am aware there is winter to heed. There is no warm house That is fitted with my need."

"Come: there shall be such islanding from grief, And small communion with the master shore. Twang they. And I incline this ear to tin, Consult a dual dilemma. Whether to dry In humming pallor or to leap and die."

"Somebody muffed it?? Somebody wanted to joke."

"That time we all heard it, cool and clear, cutting across the hot grit of the day. The major Voice. The adult Voice forgoing Rolling River, forgoing tearful tale of bale and barge and other symptoms of an old despond. Warning, in music-words devout and large, that we are each other's harvest: we are each other's business: we are each other's magnitude and bond."

"Our earth is round, and, among other things That means that you and I can hold completely different Points of view and both be right. The difference of our positions will show Stars in your window I cannot even imagine. Your sky may burn with light, While mine, at the same moment, Spreads beautiful to darkness."

"Until the publication of Brooks's Maud Martha, only Zora Neale Hurston had populated her fiction and folklore with ordinary people. Hurston's works, however, were southern and rural, and although they have been vastly important in the development of a literary self-portraiture of Afro-American women, it was Brooks's novel (and poetry) that launched a genre embedded in northern, urban, ghetto experience which encouraged the subsequent works of Paule Marshall, Ann Petry, and Alice Childress, among many others...For many Brooks's works in general, and Maud Martha in particular, were a touchstone, inscribing Black womanhood, as Paule Marshall once observed, "in all the wonder of her complexity." Maud Martha, published in 1953, presaged the literary outpouring by Black women since the early 1960s...The pioneering achievement of Gwendolyn Brooks's Maud Martha was that it offered a mirror, inviting Black women to look at themselves and their urban, working-class community through the eyes of one of their own. In its emphasis on relationship, in its attention to community, in its relentless probing of the consequences of racism, in its conjuring of the intimate through interior dialogue and the interior space of Maud Martha's home, Brooks's novel expressed precisely both a female sensibility and the wisdom and insight drawn from everyday life."

"A black woman would have tremendous difficulties, like a black man, to go to the nitty gritty, to express what is really going on inside. Because what happens is that you are being treacherous. By telling the truth about myself I am telling the truth about my father, my mother and a whole lot of other people, too. You can get crucified for that…it's one of the things that happen when you live in a sick society. And some black women like Gwendolyn Brooks, Toni Morrison and Paule Marshall have gotten beyond that at whatever price, but they got beyond it."

"I did not read any Langston Hughes until I was an adult, but I remember being carried away by him and Gwendolyn Brooks."

"(At National Black Theater performance) I was in awe of the words I witnessed that day. It was the first time that I heard the works of writers like Gwendolyn Brooks, Nikki Giovanni, Langston Hughes, Amiri Baraka. I heard poetry that was about me, that was very immediate. I connected to it in a visceral way. That experience moved me so profoundly that I went home and that night I wrote my first batch of poems. It was like the floodgates opened. That reading empowered me with a voice and gave me permission to express everything that had been festering in me for years. So I just started experimenting with language and writing all kinds of things."

"When I read Jefferson's disparagement of Wheatley, it felt like he had been disparaging the entire lineage of Black poets who would follow her, myself included, and I saw a man who had not had a clear understanding of what love is...When Gwendolyn Brooks wrote about the children on the South Side of Chicago playing with one another in neighborhoods left neglected by the city, it was an act of love..."

"One of the keys to happiness is a bad memory."

"Life is too short to be miserable."

"A deadline is negative inspiration. Still, it's better than no inspiration at all."

"You can't be truly rude until you understand good manners."

"No animal on the face of the earth could conceive of taxation. You and I work roughly six months a year to pay our local, state and federal taxes. If nothing else, this should convince you that animals are smarter than people."

"Divorce is the one human tragedy that reduces everything to cash."

"About all you can do in life is be who you are. Some people will love you for you. Most will love you for what you can do for them, and some won't like you at all."

"I finally figured out the only reason to be alive is to enjoy it."

"If the world were a logical place, men would ride side saddle."

"Normal is the average of deviance."

"I also think living in the country gives you faith. All you have to do is get up and look at the mountains and look at the other animals to realize that your problems are mostly made up or exacerbated by humans. But human life isn't necessarily life. There's so much more out there."

"Good judgment comes from experience, and experience comes from bad judgment."

"I think the reason I choose the comic approach so often is because it's harder, therefore affording me the opportunity to show off. Also, a comic vision is my natural world view, but I've grown up in spite of myself and I can pass the comic twist if it detracts from what the characters need. Yes, the life of a saint is hard."

"I have changed my definition of tragedy. I now think tragedy is not foul deeds done to a person... but rather that tragedy is irresolvable conflict. Both sides/ideas are right. Plot involves fragmentary reality, and it might involve composite reality. Fragmentary reality is the view of the individual. Composite reality is the community or state view. Fragmentary reality is always set against composite reality. Virginia Woolf did this by creating fragmentary monologues and for a while this was all the rage in literature. She was a genius. In the hands of the merely talented it came off like gibberish."

"I also look at people like Rita Mae Brown and some of the writers who were supported by small presses that have switched over to mainstream presses. That's all right-that's their choice. But the fact is that I'm sensitive to the publishing history of dykes and women of color. It was women who put my work in print and I'm not going to turn my back on them. Ideally, I would like to do both: publish with a small press and enlarge my audience by publishing with a mainstream press."

"I had managed to rationalize my shock and dismay when I found the narrator of Ruby fruit Jungle describing the fat Jewish girl Barbara Spangenthau as someone who "always had her hand in her pants playing with herself, and worse, she stank. Until I was fifteen I thought that being Jewish meant you walked around with your hand in your pants." In 1974, as an emerging lesbian, I didn't want to admit that the movement's leading fiction writer was basing her humor on age-old anti-Semitic stereotypes. I simply couldn't afford to take it in. So I kept silent. In those early years of struggle it seemed unworthy to make a fuss. And worse-it seemed divisive. I could not yet claim my anger. I wanted too much to belong"

"In the early 1970s, women started national networks of small presses, such as Daughters Inc., which published Rita Mae Brown's groundbreaking lesbian novel Rubyfruit Jungle."

"The statistics on sanity are that one out of every four Americans is suffering from some form of mental illness. Think of your three best friends. If they're okay, then it's you."

"Insanity is doing the same thing over and over again but expecting different results."

"My mother was a strong, domineering woman, probably scared to death of the position she found herself in She was psychotic, attempting suicide several times and scaring the devil out of me as a kid with threats . . . One day [she] would say that she loved me, and the next day she'd scream that she was sorry I'd ever been born -- that I'd ruined her life . . . [She] would often stuff her mouth with cotton and hold her breath, pretending that she was dead, to scare me when I was small. Sometimes she'd tell me she really could walk and during the night she was going to get up, turn on the gas jets, and kill us both. I would be absolutely terrified . . . And yet . . . she encouraged my writing and would tell me that I was a good kid and she didn't know why she acted that way . . . but then she'd do it again."

"When I think of me as a psychic, I get hung up because I seem to be in the company of so many nuts. Writers may be as nuts as anyone else but it's a nuttiness that doesn't bug me -- there's no dogma attached."

"The routine in the gallery seemed eternal. The artists ate a skimpy breakfast, worked from seven in the morning until noon, ate lunch when lunch was available, exercised by shift in the courtyard below, worked again till six, ate dinner, and worked from seven until eight-thirty. The gallery housed writers, artists, and a few musicians. Sexes were segregated. Every two weeks the men and women were allowed to mix indiscriminately. Any children born were immediately put in the outside government nurseries where they were brought up as workers, beginning in the fields or chemical gardens at the age of six."

"If Utrillo's paintings depicted actual scenes from life, if they were not imaginative pictorial fantasies, then the whole world would have had to be completely different. If Utrillo's representation was valid, then it would mean that mankind had regressed to an astonishing, almost unbelievable degree. All the things that Fitch believed man capable of enjoying -- dignity, solitude, integrity -- would have been experienced in the past. And that, he thought, was impossible. If men had ever possessed these benefits, they would never have given them up."

"It's your knowledge of the past that we're concerned with. Manuscripts and all kinds of important information has been withheld from the public for so many generations that we're held back ourselves. We have to know what was tried in order to see where the race failed. We're in a very peculiar position. At one time the Rebellers had a positive plan of action. We still know what we're rebelling against, but we have no idea of what sort of civilization we want to put in place of what we have now."

"Now, he was filled with a distaste for a civilization in which the individual was so prone and in which he must be so diligent just to preserve his sanity."

"Our purpose is implicit in our name. We're rebelling against life as it is for the masses of people. We believe that man can be a creature of dignity, integrity, and creativity. Filth, starvation, crowded quarters lead to man's degeneration as a biological species, and indeed, will result in his extinction."

"At one time, the race depended upon quantity for survival," Toby said. "Now it is destroying itself. We believe that man's unique characteristics, imagination, psychic understanding, sympathy, and so forth, are being undermined. Even if the race survives physically, it won't be the same race. We won't be bright enough to recognize our fall from grace, either; that's the hell of it. Tests show that though our mental capacity is as great as ever, our use of it has slumped to an astonishing degree."

"It is my contention that if a large body of strong healthy men do not exist as a pool of hope for the race, then the race has no chance to survive. If twenty million starved neurotics manage to live through the plague, does this mean that humanity survives?" He paused, throwing the question at them and waiting until they formed their own answer. Then he shouted, "No, it does not! What is humanity, a physical form only? I say it is more. It is intellect and reason and dignity. It is these qualities that must survive, not the mere number of twisted sickly bodies."

"We didn't have a chance to form the world we were born into. Now we have the opportunity to make a new one."

"We might have a chance now to rebuild it all with what we have left. We might have learned that we can exist only as a part of nature, not apart from nature."

"Your own inner capabilities and potentials are more varied and powerful than you realize. The purpose of this book is to enable you to recognize and use them in daily life. You use them now, but in a subdued and inefficient manner. They work in spite of you."

"Our first introduction to Frank Withers came on December 2, 1963. In our earlier sessions, we had never been able to maintain any consistency between one sitting and another. When the Seth sessions began, one session began to instantly reinforce earlier ones. Seth specified that we have sessions twice a week, naming the evenings and the time. Sessions varied from two to three hours each. Sometimes they were longer. We have followed this schedule ever since, and sessions still continue."

"Q. Can you give us more information concerning the name Ruburt? A. That was Jane's name long ago as yours was Joseph. Both represented high points for your entities, images in the mental genes, blueprints for the spirit to follow. Joseph and Ruburt represent the full scope of your earthly personalities, towards which you must grow. But in another sense, you are already Joseph and Ruburt, since the blueprint exists. Through each life the individual tries to follow his. The pattern is not imposed, but is the entity's own outline."

"For this reason, all the experiments in this book should be supplemented with a healthy outgoing attitude toward other people and relationships. If you are already a withdrawn, introspective person, you should make efforts to relate yourself with others through outside activities. This will ensure a balanced growth of your abilities, and the gradual acceptance of your inner abilities by your conscious mind."

"Any such material, received through the board, through automatic writing, or voice communication, should be carefully studied. Generally speaking, if your messages claim to originate from famous dead personalities, you can discount them as valid information. In all probability, they are creative fabrications of your own personal subconscious."

"Neither of you have a need for children in your present personalities. You are almost finished with incarnations on the earth, so much so that the physical bodies will return completely and unfragmented upon your physical death. This is always the case in the final earth life. The physical property is left behind, no portion of it being carried on that plane through children."

"Intellectual truth alone will not make you free, though it is certainly a necessary preliminary. If this were the case your walls would fall away, since intellectually you understand their rather dubious nature. Since feeling is so often the cohesive with which mind builds, it is feeling itself which must be changed if you would find freedom from your particular plane of existence at your particular time."

"The personality when it leaves your plane for good will have developed its potentials as far as it possibly can."

"The emotions come closer than anything else to the vividness of inner data."

"Suggestion can shape dreams, and the dreams themselves then operate as action. A strong dream can be a more significant psychic action than any physical experience, and it can change the course of the personality completely."

"The fact is that your plane originated because enough entities needed certain types of experience to warrant such a creation, and they set about forming it through the process of evolution."

"A personality will not choose unfavorable circumstances of rebirth until he himself sees that necessary discipline can be achieved in no other manner. Therefore extremely hot and extremely cold countries go largely undeveloped."

"Full use of the inner senses is not even for me yet."

"Free will as I mentioned earlier certainly does operate, but you must remember that while it does operate, personalities on your plane are extremely limited as to choice. They can only choose to operate within their own camouflage pattern framework."

"Your plane is a training place in the use of manipulation of energy."

"Hypnotism will become more and more a tool of scientific investigation. Telepathy will be proven without a doubt, and utilized, sadly enough in the beginning, for purposes of war and intrigue. Nevertheless telepathy will enable your race to make its first contact with alien intelligence."

"One dream can change the development of a personality, and change his physical course."

"Telepathy accounts for the usefulness of spoken language. Without telepathy no language would be intelligible."

"Hatred does not exist as a basic psychological structure. It is, however, the result of psychological manipulation of fear; and fear is not a basic psychological structure."

"However faith in an idea is frowned upon in scientific circles, but no new concept or idea, or discovery, ever came unless there was first faith that it indeed existed."

"Energy projected into any kind of construction, psychic or physical, cannot be recalled, but must follow the laws of the particular form into which it has been for the moment molded."

"There are no ends that must be accomplished by any given personality, no ends that must be gained by a personality for the entity."

"With his superior knowledge the entity must leave hands off. His, the entity’s, only hope is to allow the personality complete independence, for it is the personality who understands more clearly than he the conditions of the particular plane upon which he existence happens. There is here no puppet, and there is no hand that moves the strings. If there were you see, you would indeed have a much more perfect world, but you would not have that one built-in prerequisite: complete as possible existence within all facets, and manipulation within all facets, of a given plane."

"I have told you that emotions also possess an electrical reality. Thoughts formed and sent out within the impulse range of emotion often succeed because of the peculiar nature of emotional electrical impulses themselves. They have a particularly strong electrical mass."

"The winter of the spirit must be journeyed through, and it must not only be conquered but the benefits used. Yet without it maturity cannot arrive."

"The expression of joy also makes the ego more resilient, less fearful, less resentful of diverse conditions when they occur. The emotion itself is an automatic signal that unites the conscious and subconscious is shared experience."

"An illness is a failure to solve a mental or psychological problem in the correct manner . . . The energy that would be used to solve the problem instead is spent maintaining the illness. It is therefore necessary that an attempt be made as soon as possible to solve the problem, which of course must first be discovered by the ego, which has avoided it."

"As a rule, each entity is born so that he experiences at least three roles, that of mother, father and child . . . Beside the three necessary roles there is another quality, different in dimension, which is also necessary for the personality, and this involves the fullest use of potential."

"I would suggest that you tell yourselves that you will henceforth be able to remember dreams from the deeper levels of your personality, and you should find that you will be able to do so. You can also tell yourselves when you wish that you will give special attention to the nature of time and space, as these appear within your dreams. You will discover then upon awakening that many perceptions concerning time and space within the dream state will remain within you."

"You are at a point where you are ready to look into yourselves and to take the next steps that must indeed be taken."

"The eating of meat without doubt focuses the physical mechanism closely to the physical system. There is nothing wrong with this. If you are trying to develop inner abilities however, and if you wish to allow yourself a mobility of focus, then moderation in this respect must be used."

"I may say that Buddhism does indeed come closer in essence to reality than other religions. However, the Buddhist either have not gone far enough, or have gone too far, according to your viewpoint. If they have gone too far, then they have been so concerned with inner reality that they have become too tolerant of physical disease and disasters. If they have no gone far enough, then they have not followed through sufficiently so that these physical disasters could truly be suffered without pain."

"Every action changes every other action. We return to our ABC's. Therefore every action in the present affects those actions which you call the past. Ripples from a thrown stone go to in all directions."

"I have told you that upon physical death the ego becomes the subconscious in the next existence, and that its conscious knowing is retained electromagnetically."

"On the other hand as I have told you, your past continually changes. It does not appear to change for you, for you change with it."

"Basically there is no difference between precognition and telepathy. The apparent difference is the result of an inadequate understanding of the nature of time."

"A survival personality is many respects is psychologically much different from the individual that he was. The ego is now under the control of what may be loosely called the inner self. When communications take place between a survival personality and a personality who exists within the physical system, then this involves a reshuffling, again, on the part of the survival personality, where the ego is momentarily given greater reign. There is the same sort of disorientation that the ego experiences within physical reality when an individual dreams . . . The survival personality therefore momentarily inserts his ego in its old position."

"When you dream of others they know it. When they dream of you, you know this."

"[S]uggestions should be given that only constructive suggestions will be reacted to."

"As a rule projection in some areas can only be achieved by those who are living their last earthly cycle."

"Projections involve many more aspects of the whole self, and are a mark that the personality is progressing in important ways. The inner senses are allowed their greatest freedom in projection states, and the whole self retains experience that it would not otherwise. When this knowledge becomes part of the usual waking consciousness, that is when you realize what you have done, then you have taken a gigantic step forward. An almost automatic determination must be set up however if projections with conscious awareness are to be anything but rare oddities."

"Physical activity is an excellent way of using and controlling the effect of aggressive reaction, and will prevent the buildup of aggressive emotions into unsupervised physical constructions, and also prevent the habitual piling up of such aggressions, where detrimental constructions result continually."

"Occasionally when a decision has been made by the ego, the subconscious will change it, because the decision is obviously such an unwise one."

"What happens in the case of a constructive psychic energy when it [the inner self] is purposely denied aggressive outlets? It finds out . . . How strong and potent is the energy that is at its command?... It is quite necessary that all these questions be answered, for the inner self is composed of energy, and in other fields of activity thoughts and emotions are instantaneously translated, their results instantly seen. There is no saving time lag."

"Identity is no longer limited to the outer ego alone. The outer ego is now familiar with the whole self, or the entire identity, and has available to it strength of which it was not previously aware. In periods of exuberance, when you are working well, and your health is extraordinarily good, when you are able to remember and manipulate your dreams, then such periods are signs of the emergence of this new consciousness."

"The senses serve to blot out many more aspects of reality than they allow you to perceive. They are actually rather rigid limiting devices, yet in many inner explorations you will automatically translate experience into terms that the senses can use."

"I mentioned the caffeine. I should also note that if coffee does not prevent or inhibit sleep, it will stimulate dream projections, and also aid you in bringing the critical faculties into the dream state."

"When a man is ill it is not necessarily because he wants to be ill subconsciously. It is not necessarily because he is receiving some hidden psychological benefit, or because the illness fulfills some need. He is ill often - always in fact - because of a distortion that is occurring within the self, and materialized in physical form."

"None of us are ever equipped, for general purposes, to perceive reality in all of its forms. The pyramid gestalts can do this, and we help the pyramid gestalts perform this feat. But as a rule we must pick and choose. There is too much for any consciousness to digest except those so highly developed that even I know little of them."

"Reincarnation and projection, you see, are one and the same thing . . . When you are attached to the physical organism your projections are not as complete -- the difference between a reincarnational instance and a simple projection from the physical state."

"With drugs, there are some dangers. There are dimensions in which you are completely incapable, and if through some molecular disturbance you fell into one of these it is possible that you could not find your way back."

"Those portions of the brain, seemingly unused, deal with these other dimensions, and physically, you begin to use these portions, though minutely, for the first time, under psychedelic situations."

"A fully developed psychology will not exist until reincarnation is accepted as a fact."

"Now there are classes indeed where the newly dead are instructed. I used to teach some of these."

"To create a harmonious inner existence is a positive act with far-reaching effects, and not an act of isolation. To desire peace strongly is to help achieve it."

"If you want to know what you think of yourself, then ask yourself what you think of others, and you will find your answer."

"There are those who are so tightly meshed within physical reality that the soul is squeezed dry. They are tight, sore, and chafing beneath too-severe habits and ideas. For them momentary release, such as the drugs can give is highly beneficial."

"The basic idea of karma is not punishment. Karma presents the opportunity for development; to make use of opportunities that were not taken advantage of, to fill in gaps of ignorance, to enlarge understanding through experience, to do what should be done."

"However, you will reincarnate whether or not you believe that you will. It is much easier if your theories fit reality, but if they do not, then you do not change reality one iota."

"An individual who has survived physical death can if he wishes recreate any portion of his own past as it was. He can recreate any portion of his own past in any way he wishes, changing his own actions within it if he so chooses, combining and reforming the entire composition. Such a procedure is usually a dead-end enterprise. The others involved are vivid hallucinations, and he may not realize this."

"Physicists however will be forced to recognize that the energy within molecular structures has its origin elsewhere. They will be forced to postulate the existence of an unknown force, always existing despite newer current theories. No postulated new force theory will be able to explain reality."

"This is not the Cayce material, with information seemingly coming from some vast storehouse of knowledge. In those terms no such storehouse exists. Knowledge does not exist independently of the one who knows. Someone gave Cayce the material. It did not come out of thin air. It came from an excellent source, a pyramid gestalt personality, with definite characteristics, but the alien nature of the personality was too startling to Cayce, and he could not perceive it."

"We are Seth, and whenever we have spoken we have been known as Seth. The entity had its beginning before the emergence of your time. It was instrumental, with many other entities, in the early formation of energy into physical form. We are not alone in this endeavor, for through your centuries other entities like us have also appeared and spoken."

"When I speak of All That Is, you must understand my position within it. All That Is knows no other. This does not mean that there may not be more to know. It does not mean, and here words quite fail us, it does not mean that All That Is, in any terms we can conceive of, may not be limited. It knows of no other."

"I told you once that in those terms I would be considered as Ruburt's number 6 or 7 self. You had better change Ruburt to Jane in that sentence. Ruburt then, would be considered Jane's third self in approximate terms. In the analogy these future selves would dwell in other dimensions, and usually self one, or Jane, would be relatively unaware of their, existence or knowledge. In this case self one is able to make such contacts however."

"In spiritualistic terms, Ruburt would be [Jane's] the guardian angel, you see."

"Now in the past, in your distant past, when I spoke through others, or portions of my entity did so, then such personal connections also existed with those through whom we communicated."

"Your system is not the most elementary, but it is one of the most elementary, and it is a way that the inner self acquaints itself with certain basic facts. It therefore provides itself with a large variety of environments in various reincarnations, with problems of various natures, and with diverse circumstances."

"You must remember, once more, that expectations are the blocks with which you build your reality. There are no exceptions to this rule."

"When the race is in deepest stress and faced with great problems, it will call upon someone like Christ. It will seek out and indeed from itself produce the very personalities necessary to give it the strength it needs."

"It (the fetus) is strongly aware of your feelings toward it. At times the personality traits that it had earlier color this perception. It pushes these aside impatiently. It has mental images of its own probable future, and parts of it do become frightened at times, to relinquish old adult powers for an infant's helplessness."

"The eye projects and focuses the inner image (idea) onto the physical world in the same manner that a motion picture camera transfers an image onto a screen. The mouth creates words. The ears create sound. The difficulty in understanding this principle is due to the fact that we’ve taken it for granted that the image and sound already exist for the senses to interpret. Actually the senses are the channels of creation by which idea is projected into material expression."

"Some people think that we are stuck in physical reality like flies in flypaper or victims in quicksand, so that each motion we make only worsens our predicament and hastens our extinction. Others see the universe as a sort of theater into which we are thrust at birth and from which we depart forever at death. In the backs of their minds people with either attitude will see a built-in threat in each new day; even joy will be suspect because it, too, must end in the body's eventual death. I used to feel this way. When I fell in love with Rob, my joy served to double the underlying sense of tragedy I felt, as if death mocked me all the more by making life twice as precious. I saw each day bringing me closer to a total extinction that I could hardly imagine, but which I resented with growing vehemence."

"Physical objects cannot exist unless they exist in a definite perspective and space continuum. But each individual creates his own space continuum . . . I want to tie this in with the differences you seem to see in one particular object. Each individual actually creates an entirely different object, which his physical senses then perceive."

"Still speaking of dreams, Seth says: "Energy projected into any kind of construction, psychic or physical, cannot be recalled, but must follow the laws of the particular form into which it has been for the moment molded. Therefore, when the dreamer contracts his multi-realistic objects backward, ending for himself the dream he has constructed, he ends it for himself only. The reality of the dream continues." The energy, as Seth explains it, can be transformed, but not annihilated."

"The waking consciousness, dear friends, is not the ego. The ego is only that portion of the waking consciousness that deals with physical manipulation."

"Later, in your time, all of you will look down into the physical system like giants peering through small windows at the others now in your position and smile. But you will not want to stay, nor crawl through the same enclosures . . . We protect such systems. Our basic and ancient knowledge automatically reaches out to nourish all system that grow--"

"Simply stated, this is one of the thumbnail passages that explain Seth's concept of God: "He is not human in your terms, though he passed through human stages; and here the Buddhist myth comes closest to approximating reality. He is not one individual, but an energy gestalt. If you remember what I said about the way in which the universe expands, that it has nothing to do with space, then you may perhaps dimly perceive the existence of a psychic pyramid of interrelated, ever-expanding consciousness that creates, simultaneously and instantaneously, universes and individuals that are given -- through the gifts of personal perspective -- duration, psychic comprehension, intelligence, and eternal validity."

"Most of your God concepts deal with a static God, and here is one of your main theological difficulties. The awareness and inner experience of this gestalt constantly changes and grows. There is no static God. When you say, "This is God," then God is already something else."

"All portions of All That Is are constantly changing, enfolding, and unfolding. All That Is, seeking to know Itself, constantly creates new versions of Itself. For this seeking Itself is a creative activity and the core of all action."

"There were three men whose lives became confused in history and merged, and whose composite history became known as the life of Christ . . . Each was highly gifted psychically, knew of his role, and accepted it willingly. The three men were a part of one entity, gaining physical existence in one time. They were not born on the same date, however. There are reasons why the entity did not return as one person. For one thing, the full consciousness would be too strong for one physical vehicle. For another, the entity wanted a more diversified environment than could otherwise be provided."

"No God created the crime of murder, and no God created sorrow or pain . . . Again, because you believe that you can murder a man and end his consciousness forever, then murder exists within your reality and must be dealt with . . . The assassin of Dr. King believes that he has blotted out a living consciousness for all eternity . . . But your errors and mistakes, luckily enough, are not real and do not affect reality, for Dr. King still lives."

"There is never any justification for violence. There is no any justification for hatred. There is no any justification for murder. Those who indulge in violence for whatever reason are themselves changed, and the purity of their purpose adulterated."

"It is wrong to curse a flower and wrong to curse a man. It is wrong not to hold any man in honor, and it is wrong to ridicule any man. You must honor yourselves and see within yourselves the spirit of eternal vitality. If you do not do this, then you destroy what you touch. And you must honor each other individual also, because in him is the spark of eternal vitality. When you curse another, you curse yourselves, and the curse returns to you. When you are violent, the violence returns . . . I speak to you because yours is the opportunity [to better world conditions] and yours is the time. Do not fall into the old ways that will lead you precisely into the world that you fear."

"When every young man refuses to go to war, you will have peace. As long as you fight for gain and greed, there will be no peace. As long as one person commits acts of violence for the sake of peace, you will have war. Unfortunately it is difficult to imagine that all the young men in all of the countries will refuse to go to war at the same time. And so you must work out what violence has wrought. Within the next hundred years, that time may come. Remember, you do not defend any idea with violence. There is no man who hates but that hatred is reflected outward and made physical. And there is no man who loves but that love is reflected outward and made physical."

"Above all, I am sure that Seth is my channel to revelational knowledge, and by this I mean knowledge that is revealed to the intuitive portion of the self rather than discovered by the reasoning faculties. Such revelational material is available to all of us, I believe, to some degree. From it springs the aspirations and achievements of our race. I think that revelational knowledge come first in the form of intuitions, dreams, hunches, or experiences such as mine, and that the intellect than (sic) uses the information provided. both are important."

"You do not understand the dimensions into which your own thoughts drop, for they continue their own existence, and others look up to them and view them like stars. I am telling you that your own thoughts and mental actions appear to inhabitants of other systems like the stars and planets within your own; and those inhabitants do not perceive what lies within and behind the stars in their own heavens."

"Plants will react quite sharply to an abortion. The fetus, however, will also react to the death of an animal in the family, and will be acquainted with the unconscious psychic relationships within the family long before it reaches the sixth month. The plants in a house are also quite aware of the growing fetus; the plants will also pick up the fact that a member of the family is ill, often in advance of physical symptoms. They are that sensitive to the consciousness within cellular structure. Plants will also know whether a fetus is male or female."

"This private multidimensional self, or the soul, has... an eternal validity. It is upheld, supported, maintained by the energy, the inconceivable vitality, of All That Is."

"Each mental act is a reality for which you are responsible."

"Success does not necessarily involve great intellect, or great position, or great wealth; it has to do with inner integrity. Remember that."

"Within your system, to kill is obviously a moral crime, but to kill another in punishment only compounds the original error. Someone very well known who established a church -- if you will, a civilization -- once said, "Turn the other cheek if you are attacked." The original meaning of that remark, however, should be understood. You should turn the other cheek because you realize that basically the attacker only attacks himself. Then you are free, and the reaction is a good one. If you turn the other cheek without this understanding, however, and feel resentful, or if you turn the other cheek out of a feeling of pseudomoral superiority, then the reaction is far from adequate."

"If you examine your thoughts for five minutes at various times during the day for several times a month, you will indeed receive a correct impression of the kind of life you have arranged for yourself in the next existence. If you are not pleased with what you discover, then you had better begin changing the nature of your thoughts and feelings."

"To dwell upon the possibility of illness or disaster is equally poor policy, for you set up negative webs of probabilities that need not occur. You can theoretically alter your own past as YOU have known it, for time is no more something divorced from you than probabilities are. The past existed in multitudinous ways. You only experienced one probable past. By changing this past in your mind, now, in your present, you can change not only its nature but its effect, and not only upon yourself but upon others."

"So the concept of God began to change as the ego recognized its reliance upon inner reality, but the drama had to be worked out within the current framework. Muhammadanism was basically so violent precisely because Christianity was basically so gentle. Not that Christianity was not mixed with violence, or that Muhammadanism was devoid of love. But the psyche went through its developments and battled with itself, denying some feelings and characteristics and stressing others, so the historic religious exterior dramas represented and followed these inner aspirations, struggles, and searches."

"I'm proud to publish this book under my own name, though I don't fully understand the mechanics of its production or the nature of the personality I assume in delivering it. I had no conscious work to do on the book at all. I simply went into trance twice a week, spoke in a "mediumistic" capacity for Seth, or as Seth, and dictated the words to my husband, Robert Butts, who wrote them down."

"The inner world of each man and woman is connected with the inner world of the earth. The spirit becomes flesh. Part of each individual soul, then, is intimately connected with what we will call the world's soul, or the soul of the earth."

"It might help if you imagine an inner living dimension within yourself in which you create, in miniature psychic form, all the exterior conditions that you know. Simply put, you do exactly this. Your thoughts, feelings and mental pictures can be called incipient exterior events, for in one way or another each of these is materialized into physical reality."

"Your experience in the world of physical matter flows outward from the center of your psyche. Then you perceive this experience. exterior events, circumstances and conditions are meant as a kind of living feedback. Altering the state of the psyche automatically alters the physical circumstances. There is no other valid way of changing physical events. It might help if you imagine an inner living dimension within yourself in which you create, in miniature psychic form, all the exterior conditions that you know. Simply put, you do exactly this. Your thoughts, feelings and mental pictures can be called incipient exterior events, for in one way or another, each of these is materialized into physical reality."

"You are in physical existence to learn and understand that your energy, translated into feelings, thoughts and emotions, causes all experience. There are no exceptions."

"Quite deliberately you use your conscious mind playfully, creating a game as children do, in which for a time you completely ignore what seems to be in physical terms and 'pretend' that what you really want is real. If you are poor, you purposely pretend that you have all you need financially. Imagine how you will spend your money. If you are ill, imagine playfully that you are cured. See yourself doing what you would do. If you cannot communicate with others, imagine yourself doing so easily. If you feel your days dark and pointless, then imagine them filled and joyful. Now this may sound impractical, yet in your daily life you use your imagination and your emotions often at the service of far less worthy beliefs; and the results are quite clear - and let me add, unfortunately practical."

"You get what you concentrate upon. There is no other main rule."

"The fact remains that there are probable past events that can "still happen" within your personal previous experience. A new event can literally be born in the past -- "now.""

"In daily practical experience, try to concentrate for a while upon seemingly subordinate abilities, ones that you think of as latent. If you do so consistently, using your imagination and will, then those abilities will become prominent in your present. The current beliefs will reprogram and alter past experience. It is not simply that past, forgotten, unconsciously perceived events will be put together in a new way and organized under a new heading, but in that past (now not perceivable), the entire bodily response to seemingly past events will change."

"Your desire or beliefs will literally be reaching back into time, teaching the nerves new tricks. Definite reorganizations in that past will occur in your present, allowing you to behave in entirely new fashions. Learned behavior therefore alters not only present and future but also past conduct."

"From infinite probable acts, comma, only one can be physically experienced as a rule, period. The dream world operates as a creative situation in which probable acts are instantly materialized, laid out in actual or symbolic form. From these you then choose the most appropriate for physical expression."

"Do not place the words of gurus, ministers, priests, scientists, psychologists, friends -- or my words --higher than the feelings of your own being. You can learn much from others, but the deepest knowledge must come from within yourself. Your own consciousness is embarked upon a reality that basically can be experienced by no other, that is unique and untranslatable, with its own meaning, following its own path of becoming."

"I was . . . questioning the students when something else caught my attention. First, dimly, then more vividly, I began to sense the presence of an invisible personality beside me. That is, I didn't see him, but felt his emotional reality quite as strongly as physical vision could ever show it. I'd "met" this same person in several previous classes when he told me mentally that he represented a past life of mine. Then, supposedly, I'd been some kind of jealous leader, demanding utmost loyalty. My friend Sue had been one of my followers. Now he wanted to confront her, feeling that she was going her own way this time and not following in her footsteps, as he thought she should have."

"Cordellas are invisible symbols that surface. As they do, they show the universe in a new light by the very nature of their relationships. In a very limited fashion, alphabets do the same thing, for once you have accepted certain basic verbal symbols they impose their discipline even upon your thoughts . . . and throw their particular light upon the reality you perceive. Alphabets are nevertheless tools that shape and direct perception. They are groups of relationships that you transpose upon "reality". To this extent they shape your conceptions of the world that you know. Their discipline and rigidity is considerable. Once you think of a "tree" as a tree, it takes great effort before you can see it freshly again, as a living individual entity. Cordellas do not have the same rigidity. Inner invisible relationships are allowed to rise, [with] the acknowledgment recognized reality viewed through the lenses of these emerging relationships."

"This conscious self is only one aspect of our greater reality, however; the part that springs into earthknowing. It can be called the "focus personality," because through it we perceive our three-dimensional life. It contains within it, however, traces of the unknown or "source self" out of which it constantly emerges. The source self is the fountainhead of our present physical being, but it exists outside of that frame of reference. We are earth versions of ourselves, beautifully turned into corporal experience. Our known consciousness is filtered through perceptive mechanisms that are a part of what they perceive. We are the instruments through which we know the earth. In other terms, we are particles of energy, flowing from the source self into physical materialization. Each source self forms many such particles or "Aspect selves" that impinge upon three-dimensional reality, striking our space-time continuum. Others are not physical at all, but have their existence in completely different systems of reality. Each Aspect self is connected to the other, however, through the common experience of the source self, and can come to some degree to draw on the knowledge, abilities, and perceptions of the other Aspects. Psychologically, these other Aspects appear within the known self as personality traits, characteristics, and talents that are uniquely ours. The individual is the particle or focus personality, formed by the intersection of the unknown self with space and time. We can follow any of our traits or emotions back to this source self, or at least to a recognition of its existence."

"Just as a telegram is composed of symbols called words, so the personagram is made of Aspect-prints that together combine to form the message. Only this message is written "on" a psychological structure by psychologically animate symbols. A telegram is inert itself; the information appears upon it, but it can't send a message or interpret its own. A personagram can."

"It wasn't that I mistrusted the Seth personality, but I felt it was a personification of something else -- and that "something else" wasn't a person in our terms. It was, I felt, a consciousness different from mine, but to call Seth a spirit guide, meaning a nonphysical person in usual terms, just didn't fit to me."

"Seth's book The Nature of Personal Reality, stresses the importance of personal beliefs in the private creation of daily reality. He emphasizes that it's important not to be afraid of thoughts or feelings, particularly of aggressive ones. Expressed naturally and easily through body motion, gestures, and activity, these are a necessary part of corporal reality. Only when we fear them and impede their natural expression dop they back up or become dangerous."

"Who needs poetry? All of us do. Poetry has always been the voice of the inner self, the carrier of revelations, dreams, and visions that often defy expression in ordinary prose."

"Let us, using our double vision, travel two worlds in one and form a single double song that splashes out in ripples of thought and blood that eddy, wrinkle and wake through the double skies of our single universe, and break into rainbow vowels that sing soft lullabies, and fall as light in both our worlds."

"But I thought: Of course -- Lyman was representing my own ideas about something else too; the overly gullible people who parade as skeptics. All many of them need is a word they've been some big shot in a past life, or known some famous person, and presto, they're confirmed "believers." People like that -- like the boy on the phone -- never trust their own vision."

"Others have provided maps for the psyche, but I've never trusted them. Those maps carried the marks of too many name-places in this reality. When you travel through the psyche, you necessarily journey through your own deepest mind -- and as you travel into inner realities, this means that you move into another kind of atmosphere, as you would if you were travelling in outer space. In the past, others have projected phantoms of their own minds there, then acted as if these were natural signposts. In my journeys I refused to follow those paths, feeling that they were not safe or dependable and fearing that they might cloud my own view or make me lose my way."

"I knew that the library was also the materialization of a certain level of the psyche, even as our world is. Only there, time is laid out like space is here. The windows of the library coincide with definite places in our space-time. In our world, these points of intersection may appear as natural objects, and these correlate with coordination points in your psyche. Moving toward these coordination points in your mind automatically lines up your consciousness to some extent with this other reality, and stabilizes conditions enough to allow for more or less conscious entry and return."

"I'm afraid that I got put off by the kings, queens, christs, disciples, priests, and priestesses who seemed to parade through the psyches of my contemporaries; and by the reincarnational data given by many psychics. It seems that almost everyone has a distinguished reincarnational family tree, blooming with famous historic personages. I've often thought that these purported past lives of fame and grandeur represent more heroic portions of the psyche, buried beneath prosaic life; I was willing to admit their value in reminding a contemporary personality of its own greater abilities and potentials."

"These classic models are everywhere mirrored in all universal systems, and in each they are the ideals from which all varieties and versions of themselves constantly emerge. They are, then, the source of all phenomenal life and represent the inner structure behind all life forms. They do not produce copies of themselves, however, but new creative eccentricities which, in turn, alter the models. They also appear as the biological working models of the genes and chromosomes, and they can be affected and changed at any time through mental experience. they are, in fact, instantly responsive to mental and psychic events, through the natural interchange between the psychological model accepted by the focus personality, and the reflections of that model through the entire body structure."

"Cave man and Industrial man are both versions of a model of man that is, itself, constantly changed by its own eccentricities -- and their subjective experience of reality is so different that the respective versions follow entirely divergent paths. Cave man did not turn into Industrial man. Nor is Industrial man a better version of an earlier model. Each chose eccentricities that involved specific orientations within the same time-space framework. Each uses the contents of a given earth differently."

"Everything was giant-sized, as if I were looking through binoculars. "I" was walking up giant stalks. At first I didn't know what they were or what I was, for that matter. The stalks were tall as redwood trees, and suddenly "I" realized that I was an insect of some kind. This was a grass blade. I thought I was a fly in a gigantic forest -- a giant fly, because everything was so large and super-real, and I'm used to thinking of flies as small. But I was an ordinary fly. I realized, and this was what the world looked like! Oddly enough, this made me feel better, I didn't care what I was; as long as I was something. So I felt myself go up the grass blade. It's impossible to verbalize the sensations I had, but I remember being aware of the weight of my wings. They seemed very sturdy and reassuring."

"Ruburt tuned in to the world view of a man known dead. He was not directly in communication with William James. He was aware, however, of the universe through William James' world view. As you might tune into a program on a television set, Ruburt tuned into the view of reality now held in the mind of William James. Because that view necessarily involved emotions, Ruburt felt some sense of emotional contact -- but only with the validity of the emotions. Each person has such a world view, whether living or dead in your terms, and that "living picture" exists despite time or space. It can be perceived by others."

"He said, for example: "Many people working with the Ouija board or automatic writing receive messages that seem, or purport, to come from historic personages. Often, however, the material is vastly inferior to that which could have been produced by the person in question during his or her earthly existence. Any comparison with the material received to the written books or accounts already existing would immediately show glaring discrepancies. Yet in many instances, the Ouija board operator or the automatic writer is to some extent or other tuning in to a world view, struggling to open roads of perception free enough to perceive an altered version of reality, but not equipped enough through training and temperament, perhaps to express it. . . ."

"The most legitimate instances of communication between the living and the dead occur in an intimate personal framework in which a dead parent makes contact with its offspring; a husband or wife freshly out of physical reality appears to his or her mate. But very seldom do historic personages make contact except with their own intimate circles."

"Each identity has free will and chooses its environment as a physical stance in space and time. Those involved in a given century are working on particular problems and challenges. Various races do not simply 'happen,' and diverse cultures do not just appear. The greater self 'divides' itself, manifesting in flesh as several individuals, with entirely different backgrounds, yet each embarked on the same kind of creative challenge."

"The psyche is awareized energy, in a state of constant creativity; a psychic pattern of multidimensionally expressed; each point within it changing in relationship to all other points, and thus altering the entire pattern or model. Each self is immersed in the psyche, yet immersed in its own individuality simultaneously, experiencing reality in time and out of it at once."

"I saw us as coming from a source self, free of space and time, into this reality. The focus personality (or the self we know) focuses in this life, but is also composed of other Aspects or parts of the source self that are latent within the psyche, though "alive" in other realities. These form the basic structure of the psyche from which the focus personality emerges. I call these "prime Aspects." A harmonious working relationship between these prime Aspects results in a well-balanced focus personality -- one that is reasonably happy, healthy, and creative."

"I believe too thoroughly that we create our own reality, for one thing -- an unpopular belief where violence is concerned -- but I'm convinced that the victim-to-be picks out the assailant with as much skill and craft as the murderer seeks his victim, and until we learn much more about both, we'll get nowhere battling crime. I'm not justifying murder by any means, but I'm saying that the victim wants to be murdered -- perhaps to be punished, if not by a vengeful god then by one of his fellows, and that a would-be murderer can switch in a minute and become the victim instead; and that the slayer wants to be slain."

"We are a multitude of selves, and the sooner we learn that, the better. And in that rich alliance of psychological Aspects lies the very secret of our practical operative stability. Only because we change our positions constantly in reference to the psyche and the world are we able to manipulate physically and translate inner experience into sense terms."

"Civilizations and social orders have not been geared to the fulfillment of human potential (even now, for all of our liberal thought), but to the suppression of abilities that did not fit in with the basic assumptions about the nature of the self. We inhibited any such evidence from conscious awareness, developing a kind of one-line official consciousness. Opposing data did not disappear, but formed powerful undercurrents that composed the unofficial knowledge of the race."

"Civilizations, both past and present represent projections of inner selfhood, and mirror the state of the mass psyche at any given time."

"The totem pole, for example, is a remnant from an era where there was much greater communication between man and the animals -- when, in fact, men went to the animals to learn, and from them first acquired knowledge of herbs and corrective medicinal behavior."

"This (precognitive ability) steers the cell through mazes of probabilities, while allowing it to retain knowledge of its own greater fulfillment -- the ideas of itself, which is always alive in any given period of your time. On a different kind of scale, then, each individual has the same sort of idealized version of the self, and so does each species. Here I mean each species, and I am not simply referring to mankind. Obviously these are not apparent to the physical senses, yet they are strong energy centers that to some degree stimulate the physical senses toward activity. To that degree, then, there are indeed "tree gods," gods of the forest, and "gods of being" connected with each person."

"There have indeed been civilizations upon your planet that understood as well as you, and without your kind of technology, the workings of the planets, the positioning of the stars -- people who even foresaw "later" global changes. They used a mental physics. There were men before you who brought back data quite as "scientific" and pertinent. There were those who understood the "origin" of your solar system far better than you. Some of these civilizations did not need spaceships. Instead, highly trained men combining the abilities of dream-art scientists and mental physicists cooperated at journeys not only through time but through space."

"Pretend that you are a writer of fiction, and you create a character. This character is so independent, alive and real, that it in turn forms other characters -- and each writes its own book, or forms its own reality. That is a truer picture of your position."

"There is no transmigration of souls, in which the entire personality of a person comes back as an animal."

"Through him I am aware of the nature and condition of your world, and offer from my viewpoint comments meant to help you. Through Ruburt, then, I am permitted to view the earth again in your terms. I exist apart from him, as he exists apart from me, yet we together a part of the same entity - and that simply carries the idea of the psyche further."

"Time expands in all directions, and away from any given point. The past is never finished, and the future is never completely formed. You choose to experience certain versions of events. You then organize these, nibbling at them, so to speak, a bit "at a time." The creativity of any given entity is endless, and yet all of the potentials for experience will be explored . . . You follow in terms of continuity one version of yourself at any given "time" . . . Quite literally, you live more than one life at a time. You do not experience your century simply from one separate vantage point, and the individuals alive in any given century have far deeper connections that you realize. You do not experience your space-time world, then, from one but from many viewpoints."

"It is fashionable to say: You must not eat meat because you are killing the animals, and this is wrong. But in deeper terms, physically and biologically the animals are born from the body of the earth, which is composed of the corpses of men and women as much as it is of other matter. The animals consume you, then, as often as you consume them, and they are as much a part of your humanity as you are a part of their so called animal nature."

"Part of the unknown reality, then, is hidden beneath language and the enforced pattern of accustomed words-so, for an exercise, look about your environment. Make up new, different 'words' for the objects that you see about you. Pick up any object, for example. Hold it for a few seconds, feel its texture, look at its color, and spontaneously give it a new name by uttering the sounds that come into your mind. See how the sounds bring out certain aspects of the object that you may not have noticed before. The new word will fit as much as the old one did. It may, in fact, fit better. Do this with many objects, following the same procedure. You can instead say the name of any object backwards. In such ways you break up to some extent the automatic patterning of familiar phrases, so that you can perceive the individuality that is within each object."

"Again, your being is never annihilated, but continues to develop its own existence in other ways. A portion of you has lived many lives upon this planet, but the "you" that you know is freshly here, and will never again encounter space and time in precisely the same way. The same applies to each life lived either before or after. Biologically you rest upon a heritage, however, and psychically the same applies. The soul, or this greater personage, does not simply send out an old self in new clothes time and time again, but each time a new, freshly-minted self that then develops and goes its own way. That self rides firmly, however, in the great flight of experience, and feels within itself all of those other fully unique versions that also fling their way into existence."

"I have memories of being Ruburt - but the Ruburt I was is not the Ruburt that Ruburt is in his reality."

"Ruburt’s life as he knows it is not in my memory -- because I did different things when I was Ruburt. And he is not bound by that reality that was mine."

"You take it for granted that interpretations of events change, but that certain definite events occurred that are beyond alteration. Instead, the events themselves are not nearly that concrete. You accept one probable event. Someone else may experience instead a version of that event, which then becomes that individual’s felt reality."

"However, suicides and would-be suicides often have such a great literal lust for life that they constantly put it into jeopardy, so that they can experience what it is in heightened form."

"In terms that I admit are difficult to describe, the creative solutions will change the course of history in the past, so that variations are taken, and technology does not progress in the same way that it has in your experience."

"You are not a miniature self, an adjunct to some superbeing, never to share fully In its reality. In those terms you are that superself - looking out of only one eye, or using just one finger. Much of this is very difficult to verbalize. You are not subordinate to some giant consciousness. While you think in such terms, however, I must speak of reincarnational selves counterparts, because you are afraid that if you climb out of what you think your identity is, then you will lose it."

"I thought you understood," he said. "The world is your teacher. It will be all around you. The ocean and the wind and the stars and the moon will all teach you many things."

"I know that the earth was new, but I didn't realize that it wasn't finished yet."

"It doesn't matter," WisestFrog answered. "You knew that the thoughts were beneath you and you felt small. And here in the Land of the Gods, everything is so creative that your thoughts may give results you don't expect at all. But you really have no problem. Just think big yourself bigger. Go ahead, think a big thought."

"There was a god or goddess of wind, rain, lightning, thunder, clouds, stars, sun, and of course, the moon goddess, and they all more or less worked under SkyMaker."

"The God of All Life was really more like a light than anything else, and the whole divine arena just lit up as if a universal spotlight was turned on from the inside of things, bathing every visible object. Everything Emir saw was lit up as if even the blades of grass had bulbs inside them, though bulbs hadn't been invented yet or spotlights either. Still, a new kind of superlight splashed out over the arena. More than this, the light itself was somehow kindly and alive, as if the God of All Life was everywhere at once, made of light, but with a presence inside that was invisible."

"The message of the God of All Life is in all of nature, everywhere. If you really listen, you'll hear it."

"The spirits of people and creatures and plants don't take up any room at all. But their bodies do. Bodies are like houses our spirits live in, only they're far nicer, of course. There's only room for so many bodies in the kingdom, whether they're plant bodies or creature bodies or people bodies. After a while, we have to leave our body-houses to make room for new things."

"Emir said: "This way everyone lives in a body of a kind for a while, and then leaves its body behind so that it can be remade for someone else. That's a very simple explanation, but it will do for now. Then all new life has a chance to live, and lots of room. Then we each take turns, so we can come back on new bodies when there's room available."

"To one extent or another, then, you learn to constantly monitor your behavior, so that it conforms to the established criteria set up for sane or rational experience. You are social creatures, as the animals are. Despite many of your cherished, erroneous beliefs, your nations exist as the result of cooperation, not competition, as do all social groupings."

"In dreams you are so 'dumb' that you believe there is a commerce between the living and the dead. You are so 'irrational' as to imagine that you sometimes speak to parents who are dead. You are so 'unrealistic' that it seems to you that you visit old houses, long ago torn down, or that you travel in exotic foreign cities that you have actually never visited. In dreams you are so 'insane' you do not feel yourself locked in a closet of time and space, but feel instead as if all infinity but waited your beckoning."

"A mind is a psychic pattern through which you interpret and form reality. You have physical limbs that you can see. You have minds that are invisible. Each one can organize reality in a different fashion. Each one deals with its own kind of knowledge. These minds all work together to keep you alive through the physical structure of the brain. When you use all of these minds, then and only then do you become fully aware of your surroundings: You perceive reality more clearly than you do now, more sharply, brilliantly and concisely. At the same time, however, you comprehend it directly."

"A relatively strong sexual identification is important under those circumstances - but (louder) an over-identification with them, before or afterward, can lead to stereotyped behavior, in which the greater needs and abilities of the individual are not allowed fulfillment."

"In larger terms, it is as natural for a man to love a man, and for a woman to love a woman, as it is to show love for the opposite sex. For that matter, it is more natural to be bisexual."

"Physically, however, the body is quite able to completely regenerate itself as it approaches old age. Indeed, a quite legitimate second puberty is possible, in which the male’s seed is youthfully strong and vital, and the woman’s womb is pliable and able to bear . . . Now, to some extent there is a connection between this innate, rarely observed second puberty and the development of cancer, in which growth is specifically apparent in an exaggerated manner."

"There are lost portions of the Bible having to do with sexuality, and with Christ’s beliefs concerning it, that were considered blasphemous and did not come down to you through history."

"The overly specific sexual orientation, then, reflects a basic division in consciousness. It not only separates a man from his own intuitions and emotions to some extent, or a woman from her own intellect, but it effectively provides a civilization in which mind and heart, fact and revelation, appear completely divorced. To some degree each person is at war with the psyche, for all of an individual’s human characteristics must be denied unless they fit in with those considered normal to the sexual identity."

"Many men, labelled homosexual by themselves and others, want to be fathers. Their beliefs and those of your society leads them to imagine that they must always be heterosexual or homosexual. Many feel a desire toward women that is also inhibited. Your male or female orientation limits you in ways that you do not understand. For example, in many cases the gentle "homosexual" father has a better innate idea of manliness than a heterosexual male who believes that men must be cruel, insensitive, and competitive."

"You cannot love someone you do not know -- not unless you water down the definition of love so much that it becomes meaningless."

"I don't feel "possessed" or "invaded during sessions. I don't feel that some superspirit has "taken over" my body. Instead I feel as if I am practicing some precise psychological art, one that is ancient and poorly understood in our culture; or as if I'm learning a psychological science that helps me map the contours of consciousness itself."

"In Framework 2, extra-natural help, energy, impetus, and knowledge are 'naturally' available. . . . But only when your own beliefs are clear enough so that the help is not blocked."

"Despite the beliefs and teachings of religion and psychology, impulses are biological and psychic directional signals to nudge the individual toward his or her greatest opportunities for expression and development privately, and also to insure the person's contribution to mass social reality."

"There aren't any even halfway reasonable dogmas around nowadays, not one that doesn't offend or outrage either the intellect or the intuitions."

"Old hates lie in wait for the infant till he grows into a man. Then they leap upon him when he puts his father's coat on. When the father's bones drop into the grave, the lice flock up as the dark earth turns, to feed on a son's guilt-love. No man can look in his son's face, for what was done to him, he does in turn, and he carries the hate in his blood; ghosts of times forgotten, tragedies unseen, unspoken,wait in the past's proud flesh, and nothing will shake them off."

"Some of my ideas certainly came from my mother's father. She and he had a family argument and didn't see each other for twenty years, though we all lived in the same town. Mother wouldn't let my grandfather in the house. She let me visit him though. He was part Indian and part French, a tiny dark-haired man with an Indian hoked-nose; tight-lipped and stubborn. But he talked to me about the spirits of the fire and the wind, and took me for long walks in a nearby woods, while he told me Indian legends."

"Looking back now, it's easy to see that I had no models for the socially accepted conventional female role, which was certainly a blessing."

"And I decided that if motherhood turned a "young American beauty" into that unhappy woman, then motherhood wasn't for me, either. That youthful, emotional decision (ill-formed and made for the wrong reasons) kept me from too much early sexual experimentation, and probably turned me into a bit of a tease. I'd "neck" but only go so far, because . . . well, I because I was going to be a writer, "free and unhampered." At the very least. I wasn't going to get pregnant in my teens."

"So I had to face the fact that I was blessed with abilities that were considered symptoms of emotional abnormality or mental derangement by psychology, often thought of as demonic by religion, and whose very existence was denied altogether by science. So in my darker moments I used to think that my psychic initiation and subsequent experiences were a mixed bag, to say the least. But the fact is that I was very sensitive to criticism for the very good reason that often I shared many of the beliefs that stimulated it."

"As to the origin of life, any life, I thought, we remain ignorant. Our science theorizes about the beginning of the cosmos or the birth of life. Our religions postulate endless versions of a man-God, hardly more rational than we are, as the Creator. In the past I have sometimes thought that maybe life is meaningless after all. Then I'd think that maybe the Seth material is a kind of cosmic poppycock -- the chemical composition of my mind somehow intelligent enough to understand the irony of its own meaninglessness, then spinning desperate yarns, as many psychologists would say; futile fantasies leading nowhere. But then I'd think that a brain that could conceive or order somehow had to emerge from a greater order. Besides that, earlier I hadn't realized (I thought, feeling better) that science and religion had spun some pretty weird yarns themselves, and if poppycock was being measured on a scale of one to ten, in my book anyhow they'd each get a twelve and a gold star."

"When we believe that science or religion "has the truth," we stop our speculations. While still referring to the theory of evolution, science accepts it as a fact, about existence, and therefore any speculation that threatens that theory becomes almost heretical. So often it seems that there is no other choice in the matter of man's origin than a meaningless universe and an earth populated by creatures who fight for survival, or a universe created by Christianity's objectified God. And to me, at least, the Eastern religions present no acceptable answers, either."

"I'm taking it for granted here that there is a Source or God, but that our visions of such a vast psychological reality are limited, even shoddy and destructive. The idea of a crucified God to me at least is aesthetically appalling, for example. Why not a God who loves earth and life for a change? If we're going to insist upon a superhuman God, then why a distant, tempestuous God 'the father'? Why not a God who has the finest human abilities carried to their fullest; God the superartist, superlover, superartisan or athlete or farmer? At least such designations would upgrade the conventional ideas of a godhead. And of course Christianity leaves out any goddesses, so that along with Darwinian and Freudian theories religion is not just parochial but 'sexist' as well. And no one ever talks about Christ, the lover of women . . ."

"If we are to end our wars, we have to dispense with a threatening, vengeful, bloodthirsty God. If we're to have any kind of world brotherhood, we have to dispense with a God who reserves his favors for a chosen few. Life is given to all. The sun shines freely on each of us. Would a God be less kindly? More than this, we must also dispense with our species God, and extend our ideas of divinity outward to the rest of nature which couches us and our religious theorizing with such a gracious and steady support."

"This 'God of Jane' idea, or 'God of Jim' or whoever, suits me in many ways. It suggests an intensely personal connection between each individual and the universe, for one thing. For another, it makes important distinctions between the private 'God' and the universal All That Is, while still maintaining the personal involvement. For instance, when I use the phrase 'the God of Jane', I'm referring to or trying to contact the portion of the universe that is forming me -- that is turning some indefinable divinity into this living temporal flesh. I want to avoid all other complications. I'm not trying to contact the God of Abraham, for instance, or the Biblical Christ, or the inexplicable power behind all of reality."

"It's never pleasant to have your integrity questioned, of course, no matter who you are. But when it's questioned by someone who doesn't even know you, someone who doesn't even have the facts straight, yet whose name carries the authority of science -- well, that's not exactly guaranteed to make your day."

""Science worships skepticism," I wrote, "unless skepticism is applied to science, its hypotheses, procedures, or methods. What we need are more skeptics who are not afraid to judge the claims of science with the same fine discrimination used to examine other alternate disciplines and fields of endeavor. Like The New York Times, science publishes 'all the news that's fit to print,' meaning all of the news that fits into the officially accepted view of reality. That news is already censored, and yet we're supposed to live our lives in accordance with that official definition of experience."

"The fact is that science itself must change, as it discovers that its net of evidence is equipped only to catch certain kinds of fish, and that it is constructed of webs of assumptions that can only hold certain varieties of reality, while others escape its bet entirely."

"Framework 2 is connected with the creativity and vitality of your world. In your terms, the dead waken in Framework 2 and move through it to Framework 3, where they can be aware of their reincarnational identities and connections with time, while being apart from a concentration on earth realities. In those terms, the so-called dead dip in and out of earth probabilities by travelling through Framework 2, and into those probabilities connected with earth realities. Some others may wind up in Framework 4, which is like Framework 2, except that it is a creative source for other kinds of realities not physically oriented at all and outside of, say, time concepts as you are used to thinking about them. In a way impossible to describe verbally, some portion of each identity also resides in Framework 4, and in all other Frameworks."

"What really made me angry though was finding myself agreeing with any of the journal's articles, and I did agree with several. The writers had a keen, if cold intelligence. They did a great deal of seeing through some of the nonsense concerned with the psychic field in general. Of course, they were almost vengefully gleeful when they could legitimately knock down some psychic performance, or show a psychic's predictions to be wrong. Only why couldn't they see their own scientific nonsense? And why couldn't their trained intellects perceive their own emotional vehemence? Because, I thought unhappily, they were scientific witch hunters."

"In schools, for example, there are courses in the criticism of literature, art criticism, and so forth. The arts are supposed to be 'not real.' It is quite safe, therefore, to criticize them in that regard -- to see how a story or a painting is constructed, or more importantly, to critically analyze the structure of ideas, themes, or beliefs that appear, say, in the poem or work of fiction. When children are taught science, there is no criticism allowed. They are told, 'This is how things are.' Science's reasons are given as the only true statements about reality, with which no student is expected to quarrel. Any strong intellectual explorations or counter versions of reality have appeared in science fiction, for example. Here scientists, many being science-fiction buffs, can channel their own intellectual questioning into a safe form. 'This is, after all, merely imaginative and not to be taken seriously.'"

"In a fashion, at least in your time, science has as much as religion to fear from the free intellect as religion does. And (with irony) any strong combination of intellectual and intuitional abilities is not tailor-made to bring you great friends from either category. Science has, unfortunately, bound up the minds of its own most original thinkers, for they dare not stray from certain scientific principles."

"The Crucifixion story represented, in your terms, now, the self-destructive aspect of the species at the time. And it represents the self-destructive elements of the species in this time for those who still accept it."

"There were, indeed, several 'Christs,' several people whose preaching and exploits merged to form the composite figure historically known as Christ. There are all kinds of contradictions in the Bible, and in Christ's own attitudes as depicted, because there were more Christs than one."

"Yet we are natural god-makers, a fact that certainly should be taken into consideration by our psychologies. In fact, our god-making tendencies characterize us. Throughout history, we've consistently formed these mental models of godly beings, who then, through visions and revelations, make their messages clear to the conscious mind, laying down the rules for our civilizations, structuring our institutions and directing our military establishments also, whatever their sophistication, or lack of it."

"I petted the pussy."

"There is no such thing as a chance encounter. No death occurs by chance, nor any birth. In the creative atmosphere of Framework 2, intents are known. In a manner of speaking, no act is private."

"Your impulses are your closest communication with your inner self, because in the waking state they are the spontaneous urgings towards action, rising from that deep inner knowledge of yourself that you have in dreams."

"The species is in a state of transition, one of many. This one began, generally speaking, when the species tried to step apart from nature in order to develop the unique kind of consciousness that is presently your own. That consciousness is not a finished product, however, but one meant to change, [to] evolve and develop. Certain artificial divisions were made along the way that must now be dispensed with. You must return, wiser creatures, to the nature that spawned you - not only as loving caretakers but as partners with the other species of the earth. You must discover once again the spirituality of your biological heritage."

"Those involved in such disasters - the survivors - often use such larger-than-life circumstances in order to participate in affairs that seem to have greater import than those possessed by previous humdrum existences. They seek the excitement, whatever its consequences. They become a part of history to whatever extent. For once their private lives are identified with a greater source - and from it many derive new strength and vitality. Social barriers are dropped, economic positions forgotten. The range of private emotions is given greater, fuller, sweep."

"Framework 2 is not neutral, but automatically inclined toward what we will here term good or constructive developments. It is a growth medium. Constructive or positive feelings or thoughts are more easily materialized than negative ones, because they are in keeping with Framework 2’s characteristics."

"Without exception, all of the horrors connected with Christianity’s name came from following the letter rather than the spirit of the law, or by insistence upon literal interpretations -- while the spiritual, imaginative concepts beneath were ignored."

"For an exercise, then, imagine for a while that the subjective world of your thoughts, feelings, inner images and fantasies represent the 'rockbed reality' from which individual physical events emerge. Look at the world for a change from the inside out, so to speak. Imagine that physical experience is somehow the materialization of your own subjective reality. Forget what you have learned about reactions and stimuli. Ignore for a time everything you have believed and see your thoughts as the real events. Try to view normal physical occurrences as the concrete physical reactions in space and time to your own feelings and beliefs. For indeed your subjective world causes your physical experience."

"If you believe in the sinfulness of the world, for instance, then you will search out from normal sense data those facts that confirm your belief. But beyond that, at other levels you also organize your mental world in such a way that attracts to yourself events that - again - will confirm your beliefs."

"People die when they are ready to die, for reasons that are their own. No person dies without a reason. You are not taught that, however, so people do not recognize their own reasons for dying, and they are not taught to recognize their own reasons for living — because you are told that life itself is an accident in a cosmic game of chance."

"Do not personally give any more conscious consideration . . . to events that you do not want to happen. Any such concentration, to whatever degree, ties you in with those probabilities, so concentrate upon what you want."

"You usually think . . . that your feelings about a given event are primarily reactions to the event itself. It seldom occurs to you that the feelings themselves might be primary, and that the particular event was somehow a response to your emotions, rather than the other way around... You are... literally hypnotized into believing that your feelings arise in response to events. Your feelings, however, cause the events you perceive. Secondarily, you do of course then react to those events."

"Many people feel duty-bound to express skepticism as if it were an automatic badge of honor and intellectual superiority. I'd done the same thing in the past, so I could understand the attitude."

"Schizophrenia is caused by a personality fragment that is broken off, so to speak, from the primary acting personality; operating often in direct opposition to it, but in any case, operating as a secondary personality."

"Rob liked Seth immediately. the two of them set up an excellent rapport. Through me, Seth related to Rob. Almost from the beginning he was an objectified personality to Rob; a visitor regardless of the unconventional situation; someone in whose ideas Rob was tremendously interested. On the other hand, I only knew what had been said and when the trance (or the fun) was over."

"A plane is not necessarily a planet. A plane may be one planet, but a plane may also exist where no planet is. One planet may have several planes. Planes may also involve various aspects of apparent time. Planes can and do intermix without the knowledge of the inhabitants. A plane may be a time . . . or only one iota of vitality that exists all by itself. A plane may cease to be. A plane is formed for entities as patterns for fulfillment along various lines. It is a climate conducive to the development of unique and particular capabilities and achievements . . . an isolation of elements."

"But I still couldn't quite believe in personal life after death. I preferred to think of our psychic experiences as emphasizing, instead, the unknown abilities of our present consciousness. "The Seth material could be coming from some deep inner source, an intuitive bank of inner knowledge available to everyone if they only look for it," I said."

"I don't want to give you the idea that existence without your camouflage patterns is bland and innocuous because this is not the case. The inner senses have a strong immediacy, a delicious intensity that your outer senses lack. There is no lapse of time in perception, since there is no time."

"As you can experience days or hours within its framework in the dream state and not age for the comparable amount of physical time, so as you develop, you will be able to rest and be refreshed within psychological time even when you are awake. This will aid your mental and physical state to an amazing degree. You will discover and added vitality and a decreased need to sleep. Within any given five minutes of clock time, for example you may find an hour of resting which is independent of clock time."

"The consciousness of being human was fully developed in the cave man, of course, but the human conception was alive in the fish. We have spoken of mental genes. These are more or less psychic blueprints for physical matter, and in these mental genes existed the pattern for your type of self-consciousness."

"Human consciousness was inherent and latent from the beginning of your physical universe."

"If Seth had read Mark's mind, this was an excellent progression. If not, then Mark had deceived himself, and Seth had gone along and taken advantage of the deception. And if Seth was a personification of my subconscious, then this would be an excellent example of subconscious fraud."

"The life of any given individual could be legitimately compared to the dream of an entity. While the individual suffers and enjoys his given number of years, these years are but a flash to the entity. The entity is concerned with them in the same way that you are concerned with your dreams, and as you obtain insight and satisfaction from them, though they involve only a portion of your life, so the entity to some extent directs and gives purpose and organization to his personalities. So does the entity obtain insights and satisfactions from its existing personalities, although no one of them takes up all of its attention."

"Joseph was correct when he spoke of entities creating stages upon which to act out their problems. The point is that once the play begins, the actors are so completely engrossed in their roles that they forget that they themselves wrote the play, constructed the sets or are even acting. The reason is rather apparent: If you know that a situation is 'imaginary,' you are not going to come to grips with it."

"It goes without saying that a bird's death is inevitable, but a cat killing a bird does not have to juggle the same sort of values with which a man must be concerned. For now, suffice it to say that to kill for self-protection or food on your plane does not involve you in what we may call for the first time, I believe, karmic consequences. To kill for convenience . . . or for the sake of killing involves rather dire consequences, and the emotional value behind such killing is often as important as what is killed. That is, the lust [for] killing is also a matter that brings consequences, regardless of the living thing that is killed."

"Yet the fact remains that there is a dream reality with a "structure," "landscape" and images that appear to be made of matter -- but matter that obeys different rules than those with which we are familiar. Dreams are not just psychological events. There is a dimension of reality (an "objective" dimension, if you prefer), in which all dream events happen. There are rules: Seth calls them root-assumptions that operate in all realities, our own included. We have to learn what root-assumptions govern dream reality."

"All layers of the personality are 'conscious.' They simply operate like compartments, so that often one portion of the self is not aware of other portions."

"Illnesses can be seen as impending actions representing actual blockages of energy, ation turned into channels that are not to the best interests of the personality. The energies appear concentrated and turned inward, affecting the whole system."

"According to Seth, poor health is caused mainly by destructive mental feeling patterns that directly affect the body because of the particular range within the electromagnetic system in which they fall. Bad health, for example, does not happen first, resulting in unhealthy thoughts. It is the other way around."

"The effect of any thought is quite precise and definite and set into motion because of the nature of its own electromagnetic identity. The physical body operates within certain electromagnetic patterns and is adversely affected by others. These effects change the actual molecular structure of the cells, for better or worse, and because of the laws of attraction, habitual patterns will operate. A destructive thought, then, is dangerous not only to the present state of the organism, but is also dangerous in terms of the 'future.'"

"In following Seth's dream recall instructions, we found ourselves collecting some excellent examples of precognitive dreams. Some were clear-cut and almost exactly matched the foreseen future event. Others were partially disguised in symbolism. Still others were so interwoven with other dream material that we marked them as indicative of precognition and let it go at that. Sometimes dreams that seemed nonsense contained one clear, important image that shortly -- within a few days -- would appear in a different context entirely. In several cases, two or more future events would be condensed into one dream."

"I have mentioned that any action has an electromagnetic reality. In telepathic and clairvoyant experiences, the electromagnetic pattern is transmitted. It must then be transformed into a pattern that can be distinguished by the ego, if the individual is to be consciously aware of the data. Often the information that is picked up translated by the subconscious and acted upon without conscious approval or recognition. In almost all cases, however, there must be an emotional attraction, for this is what allows for the initial transmission, and makes it possible."

"You will discover definite correlations that exist between the incidence of precognitive dreams and data having to do with the temperature and weather."

"Any one moment in physical time then is a warp, opening into these other dimensions of actuality, and any one moment can be used as a passageway or bridge. The act of crossing will be reflected in a million other worlds, but these reflections will create still another vortex of actualization."

"The soul is too great to know itself, yet each individual portion of the soul seeks this knowledge, and in the seeking creates new possibilities of development, new dimensions of actuality. The individual self at any given moment can connect with its soul."

"You do not need to feel guilty over the creation of any probable selves. They come into reality with problems, but all of you come into reality with challenges that you have set 'ahead of time.' You have given them the gift of existence. They will learn how to use it and develop their own abilities in their own way. You have also given them individuality, which means that they are not yourselves, but variations on yourselves."

"If you would have some idea of what the probable universe is like, then examine your own dreams, looking for those events which do not have any strong resemblances to the physical events of waking existence. Look for dream individuals with whom you are not acquainted in normally conscious life. Look for landscapes that appear bizarre or alien, for all of these exist somewhere. You have perceived them. They do not exist in the space you know but neither are they non-existant (sic), mere imaginative toys of the dreaming mind, without substance."

"Reincarnation is but a part of this probability system, the part that falls within your particular universe. There are also root dreams shared by the race as a whole. Most of these are not as symbolic as Jung thought them to be but are literal interpretations of the abilities used by the inner self. For that matter, as you know, flying dreams need not be symbolic of anything. They can be valid experiences, though often intermixed with other dream elements."

"The ego becomes more like the inner ego and less like its old self, comparatively speaking. It accepts large portions of reality that it previously denied. Structurally, it remains intact, yet it has changed chemically and electromagnetically. Now it is far more open to inner data. Once this freedom is achieved, the ego can never return to its old state."

"Yet none of this is meant to deny the individual, for it is the individual upon whom all else rests, and it is from the basis of the individual that all entities have their existence. Nor are the memories or emotions of an individual ever taken from him. They are always at his disposal."

"The dream body is the one with which you are most familiar. It has been called the astral body. It strikes you as being physical when you are in it, but you can do things with it that can't be done ordinarily. You can levitate, for example. As a rule, however, you do not go through walls with this body. This is the body you use for ordinary dreams. Levitation is possible with it but on a limited basis. When you enter a different dimension, the abilities of the body form change, and for all intents and purposes, it is a different body form -- which we will now call a mind form. It still seems physical in shape, but you can walk through physical matter with it."

"It is possible for you to project to a future event in which you will be involved and by an act that you make in the projection, alter the course that this future will take. Such an action would therefore appear to happen twice, once in your present and once in your future. But in the future, you would be the one whose course is altered from this traveling self from the past."

"And I tell you that whether or not these projection images are hallucinations, they can be dangerous and you must respect the reality in which they exist. I want to be sure that you realize that some of these constructions will belong to other systems. You are safe as long as you do not meddle. You may explore, and freely, and that is all."

"The projected form does make some impression upon the physical system. It is possible for it to be detected. It is a kind of pseudo-image, materialistically speaking, but it has definite electromagnetic reality and chemical properties. Animals have sensed such apparitions. They react to the chemical properties and build up [the perception] from these. These chemical properties are more diffused in such an apparition than in a physical form, however."

"When you awaken -- or seem to awaken -- in the middle of the night, try to get out of the body and go into another room. This is a pleasant and easy method. With some experience you will discover that you can maintain control, walk out of the apartment and outside. You may then attempt to normal locomotion or levitate."

"Eggs and asparagus are helpful as far as diet is concerned. I am obviously not suggesting a whole diet of eggs and asparagus. These plus fish oils are beneficial, however, but not when taken with acid foods."

"Now, there are electromagnetic changes [during projections] that can be perceived with instruments. Certain electrical fields will make themselves known under these conditions. The fields have always existed, but they will become apparent to physical instruments only when they are being crossed -- in other words, at the very act of projection. Other hints: A cool body temperature but with room temperature between 73.8 and 75.9. High humidity is poor. The color of a room is important. Cool colors are best. Too warm colors are detrimental, being too closely allied with earthly conditions."

"Projections actually involve a change of atomic structure. Consciousness simply changes its form. When projection is first accomplished, there is a strong charge of sexual hormones which are also utilized in projection. After projection is accomplished, however, there is a marked decline in chemical activity and hormone action, a drop in body temperature and a drop in blood pressure. The rapid eye movements noted by dream investigators cease entirely."

"There is a subtle difference in the way sugar molecules are utilized. Momentarily, the body uses less sugar. However, sugar is important in fueling the consciousness on its journey. It also aids in connecting the consciousness to the body. In other words, there is indeed a connection that is and must be partially physical, between the body and the travelling consciousness, and it is based upon a certain sugar molecule in a form not normally seen. Before conscious projections I would therefore recommend that you take a small amount of starchy or sugar food. A small snack before bed is a good idea from this viewpoint. Alcohol is of some benefit, though not to any great degree. Excellent results can be achieved in a dream-based projection during the day, in a nap."

"Your closest approximation of the purpose of the universe can be found in those loving emotions that you have toward the development of your children, in your intent to have them develop their fullest capacities."

"Thoughts of such magnificent vigor began to think their own thoughts-and their thoughts thought thoughts. As if in divine astonishment and surprise, All That Is began to listen, and began to respond to these generations of thoughts and dreams, for the thoughts and dreams related to each other also."

"Value fulfillment itself is most difficult to describe, for it combines the nature of a loving presence - a presence with the innate knowledge of its own divine complexity - with a creative ability of infinite proportions that seeks to bring to fulfillment even the slightest, most distant portion of its own inverted complexity. Translated into simpler terms, each portion of energy is endowed with an inbuilt reach of creativity that seeks to fulfill its own potentials in all possible variations - and in such a way that such a development also furthers the creative potentials of each other portion of reality."

"Each unit of consciousness inherently possesses within itself all of the information available to the whole, and its specific nature when it operated as a particle rests upon that great body of inner knowledge."

"Each individual of whatever species, and each consciousness, whatever its degree, automatically seeks to enhance the quality of life itself - not only for itself but for all of reality as well."

"Many people ask, for example: What is the purpose of my life? Meaning: What am I meant to do? But the purpose of your life, and each life, is in its being. That being may include certain actions, but the acts themselves are only important in that they spring out of the essence of your life, which simply by being is bound to fulfill its purposes."

"Children - change that to infants - dream of their past lives, remembering; for example, how to walk and talk. They are born with the knowledge of how to think, with the propensity for language. They are guided by memories that they later forget."

"Beyond that, however, genetic messages are coded in such a way that there is a constant give-and-take between those messages and the present experience of any given individual. That is, no genetic event is inevitable."

"The genetic systems is not closed, therefore. The genes do not simply hold information without any reference to the body’s living system. It does not exist, then -- the genetic structure -- like some highly complicated mechanism already programmed, started and functioning blindly so that once it is set into operation there is no chance for modification."

"The planet has seen many changes. It has appeared and disappeared many times. It flickers off and on -- but because of the intervals of your attention each on period seems to last for millions of years, of course, while at other levels the earth is like a firefly, flickering off and on."

"Now the origin of the universe that you know, as I have described it, was of course a master event. The initial action did not occur in space or time, but formed space and time."

"Devils and demons have no objective existence. They have always represented, again, portions of mankind’s own psychological reality that to some extent he had not assimilated -- but in a schizophrenic kind of expression, projected instead outward from himself."

"Jehovah and the Christian version of God brought about a direct conflict between the so-called forces of good and the so-called forces of evil by largely cutting out all of the intermediary gods, and therefore destroying the subtle psychological give-and-take that occurred between them -- among them -- and polarizing man’s own view of his inner psychological reality."

"Its (reincarnation) reality, however, serves to generate activity throughout time’s framework as you understand it, to unite the species, to reinforce structures of knowledge, to transmit information, and perhaps most of all to reinforce relationships involving love, brotherhood, and cooperation between generations of men and women that would otherwise be quite separate and apart from each other. Through such relationships, for example, say, the cavemen and people of the 22nd century rub elbows, where in strict terms of time the species would seem to be quite disconnected form its earlier or later counterparts."

"Your modern methods of communication are in fact modeled after your inner ones."

"One of the main purposes of dreaming, therefore, is to increase man’s pleasure, which means to increase the quality of living itself."

"Many body events that you think of in your society as negative -- certain viruses, for example -- are instead meant as self-corrective devices, even as fever actually promotes health rather than impedes it."

"In terms of earthly life as you understand it, it is overly optimistic to imagine that eventually all illnesses will be conquered, all relationships be inevitably fulfilling, or to foresee a future in which all people on earth are treated with equality and respect."

"It may also strike you, my readers, as quite shocking when I tell you that there is no such thing, basically, as disease. There are instead only processes. What you think of disease is instead the result of an exaggeration or overextension of perfectly normal body processes. You are not attacked by viruses, for instance, for all kinds of viruses exist normally in the body. There are no KILLER viruses, then but viruses that go beyond their usual bounds."

"The inner ego always identifies with its source-identity as a beloved, individualized portion of the universe. It is aware of the universal love that is its heritage. It is also aware of the infinite power and strength that composes the very fabric of its being. Through being made aware of these facts, the exterior ego can begin to feel a quicker sense of support and nourishment. The knowledge can let it relax, let go, so that it feels its life couched and safe, and knows itself to be indeed a beloved child of the universe, both ancient and young at once, with an identity far beyond the annals of time. It is of great value, then, that each person remember this universal affiliation."

"I am not advising my readers to refuse to have their children vaccinated, since you now have to take vaccination into consideration because of the prominence of it in society. It is very possible, however, that science itself will in time discover the unfortunate side effects of many such procedures and begin to reevaluate the entire subject."

"This leads me of course to at least mention here the cruel methods used in the slaughtering of animals and fowls for human consumption. The creatures are treated as if they possessed no feeling or consciousness of their own - and such attitudes show a most unfortunate misreading of natural events. As a direct result, at least as many diseases develop through such procedures as would exist in a highly primitive society with unsanitary conditions."

"I am not saying that the events in one life cause the events in another, but that there is an overall pattern - a bank of probable events - and that in each life each individual chooses those that suit his or her overall private purposes. Yet those lives will be connected. An individual may have a serious illness in one life. That event may turn up as one uncomfortable nightmare in another existence. In still another life, the individual might have a dear friend who suffers from the same disease. In still another existence the individual might decide to be a doctor, to seek a cause and a cure for the same disease."

"I want to assure you that regardless of your circumstances, age, or sex, you can indeed start over, re-arousing from within yourself those earlier, more innocent expectations, feelings and beliefs. It is much better if you can imagine this endeavor more in the light of children’s play, in fact, rather than think of it as a deadly serious adult pursuit."

"It is possible for your ideas to cause chemical reactions that impede your body’s ability to accept nourishment. If you believe that the body is evil, the purest health-food diet will or may do you little good at all, while if you have a healthy desire and respect for your physical body, a diet of TV dinners, and even fast foods, may well keep you healthy and nourished."

"Some people might say, I have a right to die, when they are arguing the case for suicide. And while this is true, it is also true that the people on your planet need every bit of help and encouragement they can get from each person alive. In a certain sense, the energy of each individual does keep the world going, and to commit suicide is to refuse a basic, cooperative venture."

"Behind the entire problem, however, is the fear of using one's full power or energy. Cancer patients most usually feel an inner impatience as they sense their own need for future expansion and development, only to feel it thwarted."

"Before health problems show up there is always a loss of self-respect or expression."

"It is unfortunately often - but not always - true that individuals who carry strong religious feeling are often bothered more than usual by poor health and personal dilemmas. The fact is that religions have been the carriers of some of the best ideas that man has entertained - but it has also held most stubbornly to the most troublesome concepts that have plagued mankind."

"It is far better to eat moderate amounts of food in all of the food ranges, and to consume smaller portions more often. I realize that your social mores also dictate your eating habits - but four light meals a day will overall serve you very well, and give the body a more steady, regulated nourishment."

"She said that she was technically a virgin when she married Rob. That after she and Walt were married, when they first came to making love and she caught sight of his penis, she'd cracked up because it was so big and she couldn't see how in hell they'd manage it. She never said in so many words, "I never had sexual interourse with Walt," e.g. But when I asked her, "So you were technically a virgin when you married Rob" (words to this effect), she said yes. She said that whenever she and Rob made love before a Seth session, or before a class session, that the results for the ensuing session were spectacular. And that sometimes she and Rob would make love for the sake of these results in a session."

"Jane never said much about this to me, and the few comments she did make, about a priest who "chased her around the bed," were delivered casually in group settings. with deprecating humor, no hint of the frightening child-molesting scenario or later sexual browbeating that Rob's notes make plain."

"To label Seth as a spirit guide is to limit an understanding of what he is . . . The minute I found out after my first book was published that this automatically put me in what people called the psychic field . . . I was so humiliated I could hardly hold my head up. I'm using my writing [and] my life to transform intuitive, sometimes revelationary material into art, where it can be enjoyed, understood to varying degrees, and stand free of the stupid interpretations . . . The whole psychic bit as it is, is intellectually and morally psychologically outrageous as far as I'm concerned and I want no part of it or the vocabulary or the ideas."

"Jane's attitude toward reincarnation (like mine) was strongly ambivalent. The idea of physical life being expressed in many historical situations made emotional and intuitive sense to her. Intellectually, however, she was highly suspicious of the standard notion of reincarnation, particularly as any kind of pat answer to present problems. Thus, when class started to experience the theory of reincarnation in emotionally-charged drama form, Jane would often find herself in a most uncomfortable one-foot-on-the-dock, one-foot-in-the-boat position, at once intellectually scandalized and intuitively involved. Even on those occasions when the inner events would "click," or when Seth gave past-life information that made complete sense to people, Jane worried about it for days afterwards. What was the meaning of such memories? Where did they come from? Were we creating the events through suggestion, combined with a need for emotional outlet? Or did we actually remember people who lived -- in our terms -- long before any of us were born? These questions demanded the class maintain a balance, from which Jane never let things stray too far."

"The spiritual kernel of The Dark Crystal is heavily influenced by Seth. I've always felt that the idea of perfect beings split into a good mystic part and an evil materialistic part which are reunited after a long separation is Jim's response to the teachings of that book. Jim admitted that he didn't understand the book himself, and that everyone would understand it — or not understand it — in their own way. But he thought it opened up a whole different way of looking at reality, which I think was one of his goals in the making of The Dark Crystal."

"They certainly demonstrate that Seth, whether an aspect of Jane Robert's unconscious mind or a genuine "spirit," was of a high level of intelligence. Yet when Jane Roberts produced a book that purported to be the after-death journal of the philosopher William James, it was difficult to take it seriously. James's works are noted for their vigour and clarity of style; Jane Robert's "communicator" writes like an undergraduate . . . there is a clumsiness here that is quite unlike James's swift-moving, colloquial prose."

"Consciousness, individual consciousness, is many-faceted, and in that respect a portion of James's consciousness is reflected through Ruburt's [Jane's]."

"His comment about a book whose author claimed was channeled from the spirit of William James, the great American psychologist and philosopher: "If the vapid writings . . . did indeed emanate from him, I can only say that this implies a terrible post-mortem reduction of personal capacities. (Survival of death with such an appalling decay of personality makes it, at least to me, a rather unattractive prospect.)""

"Now: James's consciousness is to some extent, then, reflected through Ruburt's, shining with a different cast, and henceforth forming a new combination -- one that is original and represents a new creative world view. In this combination or gestalt, Ruburt's identity predominates...""

"Good evening. This is your Captain We are about to attempt a crash landing... Place your tray tables in their upright, locked position Your Captain says: Put your head on your knees Your Captain says: Put your head in your hands... We are going down We are all going down, together... Standby."

"Uh – this is your Captain again You know, I've got a funny feeling I've seen this all before Why? Cause, I'm a caveman Why? Cause, I've got eyes in the back of my head Why? It's the heat. Standby This is the time. And this is the record of the time"

"Golden cities. Golden towns And long cars, in long lines and great big signs And they all say: Hallelujah. Yodellayheehoo Every man for himself. Ooo coo coo Golden cities. Golden towns. Thanks for the ride Big Science. Hallelujah. Big Science. Yodellayheehoo"

"Ha, ha, ha, ha, ha, ha, ha, ha... Hello? This is your mother, are you there? Are you coming home?...Hello? Is anybody home? Well, you don't know me, but I know you And I've got a message to give to you And I said: okay, who is this really? And the voice said: This is the hand, the hand that takes...Neither snow nor rain nor gloom of night Shall stay these couriers from the swift completion Of their appointed rounds"

"Let X equal X You know, it could be you It's a sky-blue sky The satellites are out tonight Let X equal X...You know, I could write a book And this book would be thick enough to stun an ox 'cause I can see the future, and it's a place... Thanks for all the presents... Thanks for introducing me to the Chief"

"She said, it looks Don't you think it looks a lot like rain? He said, isn't it? Isn't it just, isn't it just like a woman? She said, it's hard It's just hard, it's just kind of hard to say"

"Paradise Is exactly like Where you are right now Only much much Better."

"And he said: Now, I'm the Soul Doctor, and you know, language is a virus from outer space, and hearing your name is better than seeing your face."

"And you know the reason I really love the stars is that we cannot hurt them. We can't burn them or melt them or make them overflow. We can't flood them or blow them up or turn them out. But we are reaching for them. We are reaching for them."

"There is one tradition in America I am proud to inherit. It is our first freedom and the truest expression of our Americanism: the ability to dissent without fear. It is our right to utter the words, "I disagree." We must feel at liberty to speak those words to our neighbors, our clergy, our educators, our news media, our lawmakers and, above all, to the one among us we elect President."

"I grew up as a TV baby, with my TV babysitter, up until I was about 10. Then my mother just ripped the thing out of the wall and put it in a closet, and we didn't watch it. I have that sort of ability to become addicted to it. And I'm just so fascinated by it once I turn it on, I'm not even that aware what's there. I'm just watching it. So I don't ever turn it on. I get my news from the newspaper. I don't want to watch the Hollywood news product on TV... There's no other piece of furniture in my home I'd stare at for three hours at a time, so I try not to do it to the TV."

"My drug period was between the age of 17 and 18. That was a time when I was experimenting with a lot of things, I was experimenting with sleep deprivation, fasting. The longest fast I ever did was 12 days. You go that long without food and you hallucinate. I would take this powder made out of guarana seed, my friend Mary would bake it up like cocoa in muffins and leave them on my doorstep. My drinking period was when I was 13, 14. Drugs fascinated me for a short period of time but not any more. A glass of wine puts me in a weird enough state."

"It’s pretty obvious to everyone that the revolution has happened. The People can now easily cut out a hoard of middlemen (record companies, radio stations, music press and retail shops). With a series of computer strokes they can find the music they want to hear, become informed about the musicians who make it, find other people who share their interest and ultimately either buy, trade or steal that coveted sound."

"After spending nearly 20 years contracted to a major label, I have mixed feelings about their demise. These companies have profited immensely from your insatiable desire for listening and helped musicians for several decades to reach you. They grew fat and excessive. They exploited and they monopolized. They edited and censured. They’ve been rapidly losing their means of production, distribution and promotion to the internet. They have been economizing by dropping artists, cutting staff and folding into one another but they can’t keep up with the pace of disintegration. You might not have ever heard my name if Elektra Records hadn’t made me one of their artists for hire. I’m both grateful and resentful and you probably are too."

"I don’t listen to anything on the radio but NPR and occasional oldies programs. I can’t comment on the content or format of most commercial radio but I have read the statistics about the step-by-step deregulation of FCC rules that has allowed monopolies like Clear Channel to buy up massive shares of the airwaves. This has damaged our business (music) and our culture (American). The internet is offering bold alternatives but a transistor radio is only $25.00 and not everyone is hooked up through a computer and high speed connection."

"I don’t want to overdo discussing my experience of motherhood, its too private and profound to parade around. I will say that carrying a child, giving birth to a child and raising that child up has made me feel more engaged and connected to others. I have a greater understanding of people (living past & present). We all begin so pure, so innocent and so hungry for physical and emotional comfort. It’s so important that every baby be generously cherished, fed and comforted. I can see now how withholding these essentials can do irreparable damage. Now (post-baby) when I encounter a sad or aggressive character, I wonder what the first three years of his or her life were like. Imaging them alone, crying in their cribs has given me much more compassion."

"For the time being I am enjoying my chance to enjoy civilian life off the road. If I combined all the months that I have lived out of a van or tour bus it would amount to twelve solid years. That would be twelve years of driving or flying an average of 100 to 400 miles per day and sleeping in a different city every night. It was a very unique lifestyle that I adapted to and even enjoyed with it’s surreal pace. It’s also a lifestyle that can take a toll on the body and relationships with the people that you are constantly leaving behind."

"I think many people have been made curious about Henry Darger because of the song on my album Motherland. Henry Darger (1892-1973) was the author and illustrator of what could possibly be the longest unfinished fictional work of all time. His towering hand-bound manuscript of 17,000 pages was found in this obscure retired hospital janitor’s apartment after his death. Henry worked in obsessed isolation for six decades on his saga entitled, The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion."

"I saw my first Henry Darger collage/paintings in the early 1980’s when the tale of Henry’s life was just emerging through rumor and scattered fragments of his book. He lived and died a recluse in Chicago where no one knew of his writings or paintings. There was a folk art gallery in New Orleans that had acquired a small pile of Realms of the Unreal illustrations. I was on tour with REM at the time, Michael Stipe and I visited the gallery where we had a first look at these images of seven little horrified girls pursued by a purple and orange winged cats or evil professors on horseback or resting peacefully under giant sunflowers. I was completely captivated and intrigued."

"If I could calm or restrain you for the sake of pity save the pistol save the cynic's tongue save the cool white stare treat me to an honest face sometime"

"I'm tired of the excuses everybody uses he's their kid I stay out of it, but who gave you the right to do this?"

"threats like, "if you don't mind I will beat on your behind" "slap you, slap you silly" made me say, "o, what's the matter here?""

"heaven, is this heaven where we are?"

"see them walking, if you dare if you call that walking stumble, stagger, fall and drag themselves along the streets of heaven"

"where is the halo that should glow 'round your face and where are the wings that should grow from your shoulder blades?"

"these sobering sights I've seen in the City of Angels have all been one rude awakening that was due to me in this city of fallen angels"

"the color of the sky as far as I can see is coal gray lift my head from the pillow and then fall again with a shiver in my bones just thinking about the weather a quiver in my lips as if I might cry"

"what a cold and rainy day where on earth is the sun hid away?"

"don't talk, I will listen don't talk, you keep your distance I'd rather hear some truth tonight than entertain your lies"

"talk, talk, talk about it you talk as if you care but when your talk is over tilt that bottle in the air tossing back more than your share"

"hey Jack Kerouac I think of your mother and the tears she cried, she cried for none other than her little boy lost in our little world that hated and that dared to drag him down her little boy courageous who chose his words from mouths of babes got lost in the wood hip flask slinging madman, steaming cafe flirts they all spoke through you"

"hey Jack now for the tricky part when you were the brightest star who were the shadows? of the San Francisco beat boys you were the favorite now they sit and rattle their bones and think of their blood stoned days"

"trouble me disturb me with all your cares and you worries trouble me on the days when you feel spent"

"speak to me don't mislead me, the calm I feel means a storm is swelling there's no telling where it starts or how it ends"

"let me have a look inside these eyes while I'm learning please don't hide them just because of tears"

"these are days you'll remember"

"you'll know it's true, that you are blessed and lucky it's true, that you are touched by something that will grow and bloom in you"

"these days you might feel a shaft of light make its way across your face and when you do you'll know how it was meant to be see the signs and know their meaning"

"If lust and hate is the candy if blood and love tastes so sweet then we give 'em what they want Hey, hey, give 'em what they want"

"So their eyes are growing hazy 'cause they want to turn it on so their minds are soft and lazy Well, hey, give 'em what they want"

"I've walked these streets in the mad house asylum they can be where a wild eyed misfit prophet on a traffic island stopped and he raved of saving me"

"have I been blind have I been lost inside myself and my own mind hypnotized mesmerized by what my eyes have seen?"

"doctors have come from distant cities just to see me stand over my bed disbelieving what they're seeing they say I must be one of the wonders of god's own creation and as far as they can see they can offer no explanation"

"newspapers ask intimate questions want confessions they reach into my head to steal the glory of my story"

"people see me I'm a challenge to your balance I'm over your heads how I confound you and astound you"

"o, I believe fate smiled and destiny laughed as she came to my cradle know this child will be able laughed as she came to my mother know this child will not suffer laughed as my body she lifted know this child will be gifted with love, with patience and with faith she'll make her way"

"Ophelia was a bride of god a novice Carmelite in sister cells the cloister bells tolled on her wedding night"

"Ophelia was a circus queen the female cannonball projected through five flaming hoops to wild and shocked applause..."

"Ophelia was a cyclone, tempest a god damned hurricane your common sense your best defense lay wasted and in vain"

"Ophelia's mind went wandering you'd wonder where she'd gone through secret doors down corridors she'd wander them alone"

"people struggle, people fight for the simple pleasures in their lives but trouble comes from everywhere it's a little more than you can bear"

"I know that it will hurt I know that it will break your heart the way things are and the way they've been and the way they've always been"

"people ruthless, people cruel see the damage that some people do full of hatred, full of pride it's enough to make you lose your mind"

"don't spread the discontent don't spread the lies don't make the same mistakes with your own life"

"take a look at my body look at my hands there's so much here that I don't understand"

"your face saving promises whispered like prayers I don't need them"

"contempt loves the silence it thrives in the dark with fine winding tendrils that strangle the heart they say that promises sweeten the blow but I don't need them no, I don't need them"

"o, I need the darkness the sweetness the sadness the weakness I need this"

"I need a lullaby a kiss goodnight angel sweet love of my life o, I need this"

"you've been so kind and generous I don't know how you keep on giving for your kindness I'm in debt to you for your selflessness, my admiration and for everything you've done you know I'm bound... I'm bound to thank you for it"

"I want to thank you for so many gifts you gave with love and tenderness I want to thank you I want to thank you for your generosity the love and the honesty that you gave me"

"they told you life is hard it's misery from the start it's dull and slow and painful I tell you life is sweet in spite of the misery there's so much more be grateful"

"who do you believe? who will you listen to who will it be? it's high time that you decide in your own mind"

"where in hell can you go far from the things that you know far from the sprawl of concrete that keeps crawling its way about 1,000 miles a day?"

"take one last look behind commit this to memory and mind don't miss this wasteland, this terrible place when you leave keep your heart off your sleeve"

"motherland cradle me close my eyes lullaby me to sleep keep me safe lie with me stay beside me don't go, don't you go"

"once I could love, I could trust, I could not doubt but that was just about the worst thing that I could do it was just about the worst thing that I could do"

"once I was open, could hope, I had no doubt but that was the worst thing that I could do"

"once I came close to that most elusive fire burning with hopeless love and desire but it was just about the worst thing that I could do it was just about the worst thing I could do"

"who'll save the poor little girl? oh, Henry... who'll tell the story of her? Henry Darger"

"who will draw the calvary in risk his very own precious skin to make our Angelinia a free and peaceful land again? Henry who'll love a poor orphan child? Henry Darger"

"The animals of the world exist for their own reasons. They were not made for humans any more than black people were made for whites or women for men."

"He has told me he likes men as well as he likes women, which seems only natural, he says, since he is the offspring of two sexes as well as two races. No one is surprised he is biracial; why should they be surprised he is bisexual? This is an explanation I have never heard and cannot entirely grasp; it seems too logical for my brain."

"I felt in Georgia and on the east coast generally very squeezed. People have so many hang-ups about how other people live their lives. People always want to keep you in a little box or they need to label you and fix you in time and location. I feel a greater fluidity here. People are much more willing to accept that nothing is permanent, everything is changeable so there is freedom and I do need to live where I can be free."

"The most common way people give up their power is by thinking they don't have any."

"Activism is the rent I pay for living on the planet."

"I want a grown-up attitude to Cuba, for instance, a country and people I love. I want an end to the war immediately, and I want the soldiers to be encouraged to destroy their weapons and drive themselves out of Iraq. I want the Israeli government to be made accountable for its behaviour to the Palestinians, and I want the people of the US to cease acting as if they don't understand what is going on. But most of all I want someone with the confidence to talk to anyone, "enemy" or "friend", and this Obama has shown he can do."

"The harm that you do to others is the harm that you do to yourself and you cannot think then that you can cause wars in other parts of the world and destroy people and drone them without this having a terrible impact on your own soul and your own consciousness."

"I think unless the people are given information about what is happening to them, they will die in ignorance. And i think that's the big sin. I mean if there is such a thing as a sin, that's it, to destroy people and not have them have a clue about how this is happening."

"Us sing and dance, make faces and give flower bouquets, trying to be loved. You ever notice that trees do everything to get attention we do, except walk?"

"They calls me yellow like yellow be my name. They calls me yellow like yellow be my name. But if yellow is a name Why aint black the same. Well, if I say Hey black girl Lord, she try to ruin my game."

"I don’t know nothing, I think. And glad of it."

"The little I knew about my own self wouldn’t have filled a thimble!"

"Niggers going to Africa, he said to his wife. Now I have seen everything."

"We know a roofleaf is not Jesus Christ, but in its own humble way, is it not God?"

"The world is changing, I said. It is no longer a world just for boys and men."

"I think Africans are very much like white people back home, in that they think they are the center of the universe and that everything that is done is done for them."

"I think it pisses God off if you walk by the color purple in a field somewhere and don’t notice it."

"I think us here to wonder, myself. To wonder. To ast. And that in wondering bout the big things and asting bout the big things, you learn about the little ones, almost by accident. But you never know nothing more about the big things than you start out with. The more I wonder, he say, the more I love."

"But please remember, especially in these times of group-think and the right-on chorus, that no person is your friend (or kin) who demands your silence, or denies your right to grow and be perceived as fully blossomed as you were intended."

"Today, great writers from minority groups in the U.S. are finding their voice in the wonderful, rich imagery of magic realism. Writers such as Louise Erdrich, Toni Morrison, Alice Walker, and Amy Tan all have a unique, rich way of writing that can be described as magic realism. These women are among those who have broken away from the style of writing that defines most of the fiction coming from industrialized countries: that pragmatic, minimalist style and way of facing reality in which the only things one dares talk about are those things one can control. What cannot be controlled is denied."

"There are some young Black women, however, that I particularly want to talk about, younger than I in any case, young Black women who are writing, who are inspirational to me...I'm impressed certainly with Alice Walker."

"This ninny [referring to one particularly hostile black author] implied that The Color Purple would absolutely destroy black Americans. But it's interesting that we've survived rapes, slavery, ridicule, abuse, discrimination and you tell us we are so weak that a book is going to destroy us. Please!"

"I loathe the misogynist assumption that a woman’s faults must be the direct result of a man’s actions, but I find myself incapable of separating Walker’s fraught marriage from her hatred of Judaism. She doesn’t separate the two either. In her 2014 book, The Cushion in the Road, Walker writes about meeting an elderly Palestinian woman in the Occupied Territories. The woman accepted a gift from Walker, and then bestowed a blessing upon her, “May God protect you from the Jews,” to which Walker responded, “It’s too late, I already married one”...I wonder how Walker could put the burden of her trauma onto us — black Jewish women. What is her responsibility to her daughter, and what is my responsibility to Alice Walker? Many of my black and Jewish friends refuse to even judge her. Perhaps it is I who know nothing, nothing at all. I know that I will not cancel Alice Walker. I can’t erase the incredible work she created. I will continue to read The Color Purple and her other works. But I will never be able to rid myself of the ghost of this poem. It would be irresponsible and self-hating of me to do so. I will read and teach Walker’s work with love, but this poem will always be there, fluttering in the wind like a torn-out page of the Talmud."

"Perhaps, just as Alice Walker writes of her own forebears in her essay "In Search of Our Mother's Gardens," my blood ancestors-unlike my literary ancestors-were so weather-beaten, terror-stricken, and maimed that they were stifled. As a result, those who somehow managed to create became, in my view, martyrs and saints. "Instead of being perceived as whole persons," wrote Walker, "their bodies became shrines: what was thought to be their minds became temples suitable for worship. These crazy 'Saints' stared out at the world, wildly, like lunatics-or quietly, like suicides; and the 'God' that was in their gaze was as mute as a great stone.""

"To me, the great writers who come from ethnic minorities writing in English come from America. I think the deep, the real deep thinkers now writing in the English language are the black women, such as Toni Morrison, Gloria Naylor, Alice Walker, etc. (F.J.: Where they are using black English in a certain kind of way to signify their difference?) Emecheta: Exactly."

"My ambition has long been sharpened by Alice Walker, willing to tell the stories of black women without apology, willing to write politically without apology—Possessing the Secret of Joy, a haunting, gorgeous novel about female genital mutilation that keeps me transfixed and heartbroken and helpless each time I read it, because sometimes the only way to tell the truth is to tell a story."

"one of the things that guided how I was thinking about the ending was this Alice Walker quote, where she’s talking about writing The Color Purple and about what a radical act it is to give certain characters a happier, peaceful ending."

"I truly feel there is a new language coming about-look at the work of Meridel LeSueur, Sharon Doubiago, Linda Hogan, Alice Walker - it's coming from the women. Something has to be turned around. (1990)"

"...there is the powerful need we all have to tell a story, each of us with a piece of the whole pattern to complete. As Alice Walker says, We are all telling part of the same story, and as Sharon Olds has said, Every writer is a cell on the body politic of America."

"(Q:The Woman Warrior opens with your mother saying "You must not tell anyone what I'm about to tell you," and then you proceed to do just that. Why do you begin with this particular scene?") Kingston: There has to be a way into the story. And there are obstacles in the way, including orders from one's own mother not to tell. So I thought if I began the book stating what that order was, I could confront it directly and disobey the order. And in that way I could free myself and my voice to be able to tell the story. Since writing that I've seen that there are other people who use this same technique. Alice Walker begins The Color Purple: "You better not never tell nobody but God." Toni Morrison begins The Bluest Eye: "Quiet as it's kept"-then proceeds to tell the community's secrets."

"there are plenty of black men and Asian men who love Alice Walker's work. And they love my work. And there isn't even a battle going on. It's Ishmael Reed all by himself. It's Frank Chin all by himself. But the press plays it up as if it's all these Asian men against me."

"Look at how many Black Lesbian writers there are whose names are not known. Why isn't Gloria Hull a household name because of the research she's done on women of the Harlem Renaissance? What about Pat Parker? She's a really powerful poet. Norton is probably one of the finest poetry publishers in this country but I'm only one Black dyke and I'm greedy. I want more of us read and seen. Alice Walker is not a Lesbian. She has made very positive and sympathetic statements of "solidarity" with Lesbian sisters but she has made it perfectly clear that she is not a Lesbian and I think that's a real factor in her acceptability."

"How do you think I feel when I hear Alice Walker say "Black feminism sounds like some kind of spray!"? I feel really sad. It hurts me, but it hurts me for Alice too, because I hear her testifying against herself in a way that is painful, and because she does it in a way that also testifies against me. All the time Black women are surrounded by forces that attempt to make us speak out against each other, and all of us have had the experience of opening our mouth and having a frog jump out, but we also have to realize that we are responsible for our own frogs. I know Alice would not attack other Black women in a white women's forum, so I would like to presume that it was not meant as an attack. But the fact remains it was heard as an attack upon Black feminism by many, and it was a very demoralizing statement."

"I think she is a very nice person and a good writer, I have lots of quarrels with things that she writes. I accept that it comes out of an American-centric, if you like, view of life, but it is very neocolonialist. We can see what she said and say that it is good, and I really feel I've got a sense of what it is; but then, on the other hand, we are seeing that she is calling us savages. (Q: You mean in The Color Purple?) Yes. Now this isn't going to be taken up in America because of the guilt. But it's Alice; it's not just her characters. I feel about some black American writers that they don't understand us. And because they don't understand who we are, we are savage, exotic, and different. So, yes, we take exception to that."

"Why has [[Alice Walker|[Alice] Walker]] escaped accountability for so long? Perhaps it is due to her Israel politics, which have been used to confuse the issue. Walker is a prominent supporter of the Boycott, Divestment, and Sanctions (BDS) movement against Israel, famously forbidding The Color Purple from being translated into the language of Hebrew. Because Walker—like [[David Icke|[David] Icke]]—is a strident critic of Israel, her defenders—like Icke's—have dismissed allegations of anti-Semitism by claiming they are merely an attempt to quash her criticism of the Jewish state."

"Throughout the 1970s, feminist journals like Women: A Journal of Liberation and Ms. ran regular features on forgotten women who have since become mainstays of our culture. In a 1975 article in Ms., Alice Walker reintroduced Zora Neale Hurston to eager readers like me, who sought out second-hand copies of Her Eyes Were Watching God."

"I think that the first book that made me think that I could try to be a writer – or that made me aware that a young black woman from the South could write about the South — was Alice Walker’s The Color Purple, which I read for the first time when I was in junior high. Because I saw something of – not myself – but the experience of the people around me reflected in that book, because it’s set in the rural South and these people are poor, and just seeing that she could do that made me think, ‘Maybe I could do that.’ It just made me realize that it might be possible."

"I was teaching a course in Russian history, and I thought I would jazz it up a little. It was art, literature, it had students read Russian literature, and Alice didn't say anything in class. And then the first papers came in, and she wrote this paper on Tolstoy and Dostoyevsky, and I read the paper-well, I showed it to a colleague of mine. This is sort of an inside thing about the academic world, I have a lot of inside things of the academic world, and this colleague of mine-as you can see, I'm not letting Alice say anything-I showed it to a colleague of mine, and with that professorial arrogance, he said, "She couldn't have written it."...He said, "Somebody else must have written this." I said, "No, you're wrong. There's nobody around that can write like this." That was our introduction."

"I am a witch, by which I mean that I am somebody who believes that the earth is sacred, and that women and women's bodies are one expression of that sacred being. My spirituality has always been linked to my feminism. Feminism is about challenging unequal power structures. So, it also means challenging inequalities in race, class, sexual preference. What we need to be doing is not just changing who holds power, but changing the way we conceive of power. There is the power we're all familiar with — power over. But there is another kind of power — power from within. For a woman, it is the power to be fertile either in terms of having babies or writing books or dancing or baking bread or being a great organizer. It is the kind of power that doesn't depend on depriving someone else."

"Much of what is written on the craft is biased in one way or another, so weed out what is useful to you and ignore the rest. I see the next few years as being crucial in the transformation of our culture away from the patriarchal death cults and toward the love of life, of nature, of the female principle. The craft is only one path among the many opening up for women, and many of us will blaze new trails as we explore the uncharted country of our own interiors. The heritage, the culture, the knowledge of the ancient priestesses, healers, poets, singers, and seers were nearly lost, but a seed survived the flames that will blossom in a new age into thousands of flowers. The long sleep of Mother Goddess is ended. May She awaken in each of our hearts — Merry meet, merry part, and blessed be."

"The witches, the wise women, and the healers were also always the counselors. It's a whole other tradition of knowledge and learning that has been suppressed because it had political implications."

"Each being is sacred — meaning that each has inherent value that cannot be ranked in a hierarchy or compared to the value of another being."

"Any ritual is an opportunity for transformation. To do a ritual, you must be willing to be transformed in some way. The inner willingness is what makes the ritual come alive and have power. If you aren't willing to be changed by the ritual, don't do it."

"...They would probably only get a little while, if that, but even a drop of happiness could color a whole well of misery."

"Spirituality leaps where science cannot yet follow, because science must always test and measure, and much of reality and human experience is immeasurable."

"In the Craft, we do not believe in the Goddess — we connect with her; through the moon, the stars, the ocean, the earth, through trees, animals, through other human beings, through ourselves. She is here. She is within us all."

"The test of a true myth is that each time you return to it, new insights and interpretations arise."

"Witchcraft offers the model of a religion of poetry, not theology. It presents metaphors, not doctrines, and leaves open the possibility of reconciliation of science and religion, of many ways of knowing."

"The mythology and cosmology of Witchcraft are rooted in that “Paleolithic shaman’s insight”: that all things are swirls of energy, vortexes of moving forces, currents in an ever-changing sea. Underlying the appearance of separateness, of fixed objects within a linear stream of time, reality is a field of energies that congeal, temporarily, into forms. In time, all “fixed” things dissolve, only to coalesce again into new forms, new vehicles."

"The primary principle of magic is connection. The universe is a fluid, everchanging energy pattern, not a collection of fixed and separate things. What affects one thing affects, in some way, all things: All is interwoven into the continuous fabric of being."

"Energy flows in spirals. Its motion is always circular, cyclical, wavelike. The spiral motion is revealed in the shape of galaxies, shells, whirlpools, DNA. Sound, light, and radiation travel in waves—which themselves are spirals viewed in a flat plane. The moon waxes and wanes, as do the tides, the economy, and our own vitality. The implications of the spiral model are many. Essentially, it means that no form of energy can be exerted indefinitely in one direction only. Always, it will reach a peak, a point of climax, and then turn."

"The Trickster represents the quality of randomness and chance in the universe, without which there could be no freedom. In the Craft the Goddess is not omnipotent. The cosmos is interesting rather than perfect, and everything is not part of some greater plan, nor is all necessarily under control. Understanding this keeps us humble, able to admit that we cannot know or control or define everything."

"Any creative work that is truly alive is influenced by a thousand chance factors in its generation."

"When power relations of domination are no longer the norm in society, and when men assume truly equal shares of all aspects of childrearing, perhaps we will be able to fully reclaim the nurturing aspects of the God. Until then, let us hope some men will begin this process by the way they lead their lives."

"One of the great disservices a culture of domination has done to all of us is to confuse the erotic with domination and violence. The God is wild, but his is the wildness of connection, not of domination. Wildness is not the same as violence. Gentleness and tenderness do not translate into wimpiness. When men — or women, for that matter — begin to unleash what is untamed in us, we need to remember that the first images and impulses we encounter will often be the stereotyped paths of power we have learned in a culture of domination. To become truly wild, we must not be sidetracked by the dramas of power-over, the seduction of addictions, or the thrill of control. We must go deeper."

"We need to fully feel and express our emotions without worrying that they are likely to cause harm to another. But intensely and obsessively brooding on one's anger or resentment is not a good thing to do."

"The Conqueror, whose core issue is safety splits us into Conqueror and Enemy/Victim, tells us, "Don't trust!" and generates fear, paranoia, distortions of reality, and the need to annihilate enemies. The Conqueror seduces us by making us feel special, sometimes grandiose and self-righteous, sometimes especially weak and victimized."

"The Judge, whose core issue is our sense of worth and value, splits us into Judge and Subject to be Judged. When possessed by the Judge, we live in a world of comparisons, competition, and punishment, constantly rate ourselves and others, feel jealousy and guilt. The Judge seduces us with the false promise that we can gain value if we obey, perform, produce."

"The Orderer, whose core issue is control, splits us into Controller and Out-of-Control selves, tells us "Don't Feel", and generates anxiety, rigidity, and addictions. The Orderer seduces us with the belief that order can be imposed from without, that the answer to chaos is more rigid order."

"The Censor, whose core issue is isolation and connection, splits us into Silencer and Secret-to-be-kept, tells us, "Don't speak of it; don't see it; you're the only one who ever felt that." Possessed by the Censor, we feel shame confusion, and blame, often for the victim, or we live in denial. The Censor deludes us with the belief that the pain we are in will go away if we don't name it or speak of it."

"This is the stillness behind motion, when time itself stops; the center is also the circumference of all. We are awake in the night. We turn the Wheel to bring the light. We call the sun from the womb of night. Blessed Be!"

"The tide has turned! The light will come again! In a new dawn, in a new day, The sun is rising! Io! Evohe! Blessed Be!"

"Magic is another word that makes people uneasy, so I use it deliberately, because words they are comfortable with, the words that sound acceptable, rational, scientific, and intellectually sound, are comfortable precisely because they are the language of estrangement."

"When we practice magic we are always making connections, moving energy, identifying with other forms of being. Magic could be called the applied science that is based on an understanding of how energy makes patterns and patterns direct energy. To put it another way, at its heart is a paradox:"

"To live with integrity in an unjust society we must work for justice. To walk with integrity through a landscape strewn with beer cans, we must stop and pick them up."

"Sexual integrity means honestly recognizing our own impulses and desires and honoring them, whether or not we choose to act on them. If we value integrity, we must also value diversity in sexual expression and orientation, recognizing that there is no one truth, or one way, that fits everyone. Sexuality is sacred because through it we make a connection with another self — but it is misused and perverted when it becomes an arena of power-over, a means of treating another — or oneself — as an object."

"We are all longing to go home to some place we have never been — a place half-remembered and half-envisioned we can only catch glimpses of from time to time. Community. Somewhere, there are people to whom we can speak with passion without having the words catch in our throats. Somewhere a circle of hands will open to receive us, eyes will light up as we enter, voices will celebrate with us whenever we come into our own power. Community means strength that joins our strength to do the work that needs to be done. Arms to hold us when we falter. A circle of healing. A circle of friends. Someplace where we can be free."

""...We believe we can continue to live and thrive only if we care for one another. This is the age of the Reaper, when we inherit five thousand years of postponed results, the fruits of our callousness toward the earth and toward other human beings. But at last we have come to understand that we are part of the earth, part of the air, the fire, and the water, as we are part of one another.” (p17)"

""What I say, what I have always said, is there has got to be an end to it. Now is the time to make an end. There will never be a better time, because there is always a reason to fight and kill and build more guns and weapons..." (p239)"

"The Goddess religion asserts that the earth is alive, and that everything on the earth is part of a living being. We believe that you can celebrate life in many different images and forms, that life moves in cycles of birth and growth and death and rebirth, and that the same spirit moves through nature, through the cycles of the seasons, through the birth and growth and death of plants and animals, and through our lives as human beings. There is a multiplicity of images that you can draw upon for understanding and power, but the reason we focus on the goddess is partly to counterbalance the 5,000 years worth of focus on male holy images, and partly to affirm that bringing life into the world is sacred. Our goal is not to get out of the world or to get out of life, but to integrate it, to celebrate it, to embrace it fully, and to embrace all the different cycles within it"

"I'm going to end with a vision I have for the winter solstice: There are bonfires everywhere strung along the beaches, blazing on twin peaks on all the high places. In the parks and on rooftops small groups gather around cauldrons. There are no mass meetings, only circles."

"The Spiral Dance is a seed planted twenty years ago. Over the last two decades, the goddess movement has grown from many seeds like a garden of long-life flowers and healing herbs. It's a big garden — I've tended only one corner of it."

"The word witch is related to the root of the word "willow," a very flexible tree. Since ancient times witches have been known as those who can bend or shape fate. We twist the energies. The idea of witch became synonymous with wise woman, and with others who were herbalists and healers and keepers of the old traditions after the advent of Christianity. We were the ones who really knew the land and knew what grew there, and how to use it."

"The god is Eros, but he is also Logos, the power of the mind. In witchcraft there is no opposition between the two. The bodily desire for union and the emotional desire for connection are transmuted into the intellectual desire for knowledge, which is also a form of union. Knowledge can be both analytic and synthetic; it can take these apart and look at differences, or form a pattern from unintegrated parts and see the whole."

"We join together to earth the power of the season and to slip between the worlds, the voices saying to every one of us, "Wake up, you are it, you are a part of the circle of the wise. There is no mystery that has not already been revealed to you. There is no power you do not already have. You share in all the love there is. The goddess awakens in infinite forms and a thousand disguises. She is found where she is least expected, appears out of nowhere and everywhere to illumine the open heart. She is singing, crying, moaning, wailing, shrieking, crooning to us, to be awake, to commit ourselves to life, to be a lover in the world and of the world, to join our voices in the single song of constant change and creation. For her law is to love all beings, and she is the cup of the drink of life. The circle is ever open, ever unbroken."

""Another world is possible!" is the slogan created at the World Social Forum in Brazil in 2001. Another world is also necessary, for this one is unjust, unsustainable, and unsafe. It's up to us to envision, fight for, and create that world, a world of freedom, real justice, balance, and shared abundance, a world woven in a new design. (p8)"

"This is how it works: Someone has a vision that arises from a fierce and passionate love. To make it real, we must love every moment of what we do. Impermanent spirals embed themselves in asphalt, concrete, dust. Slowly, slowly, they eat into the foundations of the structures of power. Deep transformations take time. Regeneration arises from decay. Si, se puede! It can be done. (p26)"

"In a culture where profit has become the true God, self-sacrifice can seem incomprehensible rather than noble. (p215)"

"No sane person with a life really wants to be a political activist. When activism is exciting, it tends to involve the risk of bodily harm or incarceration, and when it's safe, it is often tedious, dry, and boring. Activism tends to put one into contact with extremely unpleasant people, whether they are media interviewers, riot cops, or at times, your fellow activists. Not only that, it generates enormous feelings of frustration and rage, makes your throat sore from shouting, and hurts your feet. Nonetheless, at this moment in history, we are called to act as if we truly believe that the Earth is a living, conscious being that we're part of, that human beings are interconnected and precious, and that liberty and justice for all is a desirable thing."

"When we founded Reclaiming two decades ago, our intention was to bring together the spiritual and the political. Or more accurately, some of us for whom the spiritual and the political were inseparable wanted to create a practice and community that reflected this integration. Now, with the Bush forces pushing into an aggressive war, with horrific environmental and social problems left unaddressed, the need for activism is stronger than ever. The stakes have never been higher, and the sense of urgency is palpable."

"Spirituality and ritual are not something removed from the world, but are deeply embedded in it. Reclaiming is founded on Earth-based spirituality, which rejects the split between spirit and matter, and claims nature and the physical, material world as equally sacred with the spirit."

"We don't ideologically believe in the separation of spirit and matter, but in practice, we still tend to think that things that are too material, too real-life, are somehow not as spiritual. So a trance to Faery is perceived as "spiritual," whereas a trance to a Brazilian favela slum is not. We can argue about the reality of Faery, but the favela is undeniably real. If we truly believe that our spirituality is about deep interconnectedness, maybe it's more important for us to grapple internally with the reality of the favela than to dance with the faeries."

"Much of our magic and our community work is about creating spaces of refuge from a harsh and often hostile world, safe places where people can heal and regenerate, renew our energies and learn new skills. In that work, we try to release guilt, rage, and frustration, and generally turn them into positive emotions. Safety and refuge and healing are important aspects of spiritual community. But they are not the whole of spirituality. Feeling good is not the measure by which we should judge our spiritual work. Ritual is more than self-soothing activity. Spirituality is also about challenge and disturbance, about pushing our edges and giving us the support we need to take great risks. The Goddess is not just a light, happy maiden or a nurturing mother. She is death as well as birth, dark as well as light, rage as well as compassion — and if we shy away from her fiercer embrace we undercut both her own power and our own growth."

"There are times when it is inappropriate to feel wholly good. Now is one of them. As the saying goes, "If you aren't angry, you aren't paying attention." This doesn't mean that we need to be in a constant state of rage or irritability or guilt. It means we need to use our magical tools to face the stark and overwhelming realities that confront us, acknowledge our feelings, and transmute them into the energy we need for change."

"Everyone has the right to their own opinion about a ritual, and to their own aesthetics. There's generally at least one invocation in every ritual that I could personally do without."

"The water we hold sacred is not some abstract image or fantasy of Water, but the real stuff that we need to drink and bathe and grow our gardens, that provides the crucial habitat for fish and plants and thousands of other creatures, that is the Earth's literal life blood."

"Another common, unspoken assumption is that spirituality is about calm and peace, and conflict is unspiritual. Which of course makes it hard to integrate the spiritual with the political, which is all about conflict. In New Age circles, a common slogan is that "What you resist, persists." Truly spiritual people are never supposed to be confrontational or adversarial — that would be perpetuating an unevolved, "us-them" dualism. I don't know from what spiritual tradition the "what you resist, persists" slogan originated, but I often want to ask those who blithely repeat it, "What's your evidence?" When it is so patently obvious that what you don't resist persists like hell and spreads all over the place. In fact, good, strong, solid resistance may be the only thing that stands between us and hell. Hitler didn't persist because of the Resistance — he succeeded in taking over Germany and murdering millions because not enough people resisted."

"On some deep cosmic level, we are all one, and within us we each contain the potential for good and for destruction, for compassion and hate, for generosity and greed. But even if I acknowledge the full range of impulses within myself, that doesn't erase the differences between a person acting from compassion and love, and another choosing to act from hate and greed. Moreover, it doesn't erase my responsibility to challenge a system which furthers hate and greed. If I don't resist such a system, I am complicit in what it does. I join the perpetrators in oppressing the victims."

"I am often astonished at well-meaning, spiritual people who advocate beaming light toward world leaders, who scold activists for expressing anger toward authorities or police, who define compassion as loving the enemy — but somehow lose sight of the need to love our friends, our allies, and those who suffer at the hands of the perpetrators. I really don't feel much call to beam love and light at Bush or Cheney or the directors of the International Monetary Fund. Whether or not they suffer from lack of love is beyond me. From my perspective, they suffer from an excess of power, and I feel called to take it away from them. Because I do love the child in Iraq, the woman in the favela, the eighteen-year-old recruit to the Marines who never dreamed he was signing up to bomb civilians. I can't love them, or myself and my community, effectively if I can't articulate the real differences in interests and agendas between "us" and "them" — between those who have too little social power and those who have too much."

"Systems don't change easily. Systems try to maintain themselves, and seek equilibrium. To change a system, you need to shake it up, disrupt the equilibrium. That often requires conflict. To me, conflict is a deeply spiritual place. It's the high-energy place where power meets power, where change and transformation can occur."

"Our magical tools and insights, our awareness of energies and allies on many planes, can deepen and inform our activism. And our activism can deepen our magic, by encouraging us to create ritual that speaks to the real challenges we face in the world, offers the healing and renewal we need to continue working, and a community that understands that spirit and action are one."

"Instead of closing our eyes to meditate, we need to open our eyes and observe. Unless our spiritual practice is grounded in a real connection to the natural world, we run the risk of simply manipulating our own internal imagery and missing the real communication taking place all around us. (p11)"

"I use “Witch” to identify with the heritage outlined above, to place myself firmly in the line of outlaw healers and purveyors of unapproved wisdom. And I use the word “magic” for much the same reason. I could say “sophisticated non-mechanistic psychology,” but that term lacks the same ring. Magic is a discipline of the mind, and it begins with understanding how consciousness is shaped and how our view of reality is constructed. Since the time of the Witch persecutions, knowledge that derives from the worldview of an animate, interconnected, dynamic universe is considered suspect—either outright evil or simply woo-woo. But whenever an area of knowledge is considered suspect, our minds are constricted. The universe is too big, too complex, too ever-changing for us to know it completely, so we choose to view it through a certain frame—one that screens out pieces of information that conflict with the categories in our minds. The narrower that frame, the more we screen out, the less we are capable of understanding or doing. (p26)"

"Because everything is interdependent, there are no simple, single causes and effects. Every action creates not just an equal and opposite reaction, but a web of reverberating consequences. (p33)"

"Systems change in response to forces that disturb their equilibrium. External forces, changes in conditions, new energies, and new challenges can shake up self-regulating cycles. So one way to change a system is to stir it up. That’s the role of protest and direct action, and it’s the reason why stronger forms of action are often necessary to bring change. Sweet reason, gentle persuasion, and dialogue that doesn’t challenge the functioning of the system often end up becoming incorporated in the system’s own efforts to maintain equilibrium. (p37)"

"The essence of nonviolence is choice: acknowledging that we always do have a choice about whether or not to use violence, and posing an expanded range of choices to those in power. (p64)"

"I do not write about nice people. I am not nice people. Neither is anyone I have ever cared deeply about."

"I want to write a great book — I want to make a difference — I want to have adventures and take enormous risks and be everything they say we are and not give a damn what anyone says."

"When I dare to be powerful, to use my strength in the service of my vision, then it becomes less and less important whether I am afraid."

"I am not free while any woman is unfree, even when her shackles are very different from my own."

"When I speak of the erotic, then I speak of it as an assertion of the life force of women; of that creative energy empowered, the knowledge and use of which we are now reclaiming in our language, our history, our dancing, our loving, our work, our lives."

"Each time you love, love as deeply as if it were forever / Only, nothing is eternal."

"Feminism must be on the cutting edge of real social change if it is to survive as a movement in any particular country."

"Overextending myself is not stretching myself. I had to accept how difficult it is to monitor the difference. Necessary for me as cutting down on sugar. Crucial. Physically. Psychically. Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare."

"I stared at this earnest young black man for a moment. Suddenly my hair became very political. Waves of horror washed over me. How many forms of religious persecution are we now going to visit upon one another as black people in the name of our public safety? And suppose I was a Rastafarian? What then? Why did that automatically mean I could not vacation in Virgin Gorda? Did it make my tourist dollars unusable?"

"I have always wanted to be both man and woman, to incorporate the strongest and richest parts of my mother and father within/into me — to share valleys and mountains upon my body the way the earth does in hills and peaks."

"Being women together was not enough. We were different. Being gay-girls together was not enough. We were different. Being Black together was not enough. We were different. Being Black women together was not enough. We were different. Being Black dykes together was not enough. We were different.Each of us had our own needs and pursuits, and many different alliances. Self-preservation warned some of us that we could not afford to settle for one easy definition, one narrow individuation of self. At the Bag, at Hunter College, uptown in Harlem, at the library, there was a piece of the real me bound in each place, and growing.It was a while before we came to realize that our place was the very house of difference rather the security of any one particular difference."

"The grapes in Uzbekistan are incredible fruit. They seem to have a life of their own. They’re called “the bridesmaid’s little finger,” and that’s about the size of them. They’re very long, and green, and they’re absolutely the most delicious."

"We are all more blind to what we have than to what we have not."

"The quality of light by which we scrutinize our lives has direct bearing upon the product which we live, and upon the changes which we hope to bring about through those lives. It is within this light that we form those ideas by which we pursue our magic and make it realized. This is poetry as illumination, for it is through poetry that we give name to those ideas which are, until the poem, nameless and formless-about to be birthed, but already felt. That distillation of experience from which true poetry springs births thought as dream births concept, as feeling births idea, as knowledge births (precedes) understanding."

"As we learn to bear the intimacy of scrutiny and to flourish within it, as we learn to use the products of that scrutiny for power within our living, those fears which rule our lives and form our silences begin to lose their control over us."

"For each of us as women, there is a dark place within where hidden and growing our true spirit rises, “Beautiful and tough as chestnut/stanchions against our nightmare of weakness” and of impotence. These places of possibility within ourselves are dark because they are ancient and hidden; they have survived and grown strong through darkness. Within these deep places, each one of us holds an incredible reserve of creativity and power, of unexamined and unrecorded emotion and feeling. The woman’s place of power within each of us is neither white nor surface; it is dark, it is ancient, and it is deep."

"For women, then, poetry is not a luxury. It is a vital necessity of our existence. It forms the quality of the light within which we predicate our hopes and dreams toward survival and change, first made into language, then into idea, then into more tangible action. Poetry is the way we help give name to the nameless so it can be thought. The farthest external horizons of our hopes and fears are cobbled by our poems, carved from the rock experiences of our daily lives."

"As they become known to and accepted by us, our feelings and the honest exploration of them become sanctuaries and spawning grounds for the most radical and daring of ideas. They become a safe-house for that difference so necessary to change and the conceptualization of any meaningful action."

"We can train ourselves to respect our feelings and to transpose them into a language so they can be shared. And where that language does not yet exist, it is our poetry which helps to fashion it."

"Poetry is not only dream and vision; it is the skeleton architecture of our lives. It lays the foundations for a future of change, a bridge across our fears of what has never been before."

"Possibility is neither forever nor instant. It is not easy to sustain belief in its efficacy. We can sometimes work long and hard to establish one beachhead of real resistance to the deaths we are expected to live, only to have that beachhead assaulted or threatened by those canards we have been socialized to fear, or by the withdrawal of those approvals that we have been warned to seek for safety."

"The white fathers told us, I think therefore I am; and the black mothers in each of us-the poet-whispers in our dreams, I feel therefore I can be free. Poetry coins the language to express and charter this revolutionary awareness and demand, the implementation of that freedom."

"Our poems formulate the implications of ourselves, what we feel within and dare make real (or bring action into accordance with), our fears, our hopes, our most cherished terrors."

"Within living structures defined by profit, by linear power, by institutional dehumanization, our feelings were not meant to survive. Kept around as unavoidable adjuncts or pleasant pastimes, feelings were expected to kneel to thought as women were expected to kneel to men. But women have survived. As poets. And there are no new pains. We have felt them all already. We have hidden that fact in the same place where we have hidden our power. They surface in our dreams, and it is our dreams that point the way to freedom. Those dreams are made realizable through our poems that give us the strength and courage to see, to feel, to speak, and to dare. If what we need to dream, to move our spirits most deeply and directly toward and through promise, is discounted as a luxury, then we give up the core — the fountain — of our power, our womanness; we give up the future of our worlds."

"It is our dreams that point the way to freedom. Those dreams are made realizable through our poems that give us the strength and courage to see, to feel, to speak, and to dare."

"I have come to believe over and over again that what is most important to me must be spoken, made verbal and shared, even at the risk of having it bruised or misunderstood. That the speaking profits me, beyond any other effect."

"What I most regretted were my silences. Of what had I ever been afraid? To question or to speak as I believed could have meant pain, or death. But we all hurt in so many different ways, all the time, and pain will either change or end. Death, on the other hand, is the final silence."

"Your silence will not protect you."

"The transformation of silence into language and action is an act of self-revelation, and that always seems fraught with danger."

"In the cause of silence, each of us draws the face of her own fear — fear of contempt, of censure, or some judgment, or recognition, of challenge, of annihilation. But most of all, I think, we fear the visibility without which we cannot truly live. Within this country where racial difference creates a constant, if unspoken, distortion of vision, Black women have on one hand always been highly visible, and so, on the other hand, have been rendered invisible through the depersonalization of racism. Even within the women’s movement, we have had to fight, and still do, for that very visibility which also renders us most vulnerable, our Blackness. For to survive in the mouth of this dragon we call america, we have had to learn this first and most vital lesson — that we were never meant to survive. Not as human beings. And neither were most of you here today, Black or not. And that visibility which makes us most vulnerable is that which also is the source of our greatest strength. Because the machine will try to grind you into dust anyway, whether or not we speak. We can sit in our corners mute forever while our sisters and our selves are wasted, while our children are distorted and destroyed, while our earth is poisoned; we can sit in our safe corners mute as bottles, and we will still be no less afraid."

"Each of us is here now because in one way or another we share a commitment to language and to the power of language, and to the reclaiming of that language which has been made to work against us. In the transformation of silence into language and action, it is vitally necessary for each one of us to establish or examine her function in that transformation and to recognize her role as vital within that transformation."

"For those of us who write, it is necessary to scrutinize not only the truth of what we speak, but the truth of that language by which we speak it. For others, it is to share and spread also those words that are meaningful to us. But primarily for us all, it is necessary to teach by living and speaking those truths which we believe and know beyond understanding. Because in this way alone we can survive, by taking part in a process of life that is creative and continuing, that is growth. And it is never without fear — of visibility, of the harsh light of scrutiny and perhaps judgment, of pain, of death. But we have lived through all of those already, in silence, except death. And I remind myself all the time now that if I were to have been born mute, or had maintained an oath of silence my whole life long for safety, I would still have suffered, and I would still die. It is very good for establishing perspective. And where the words of women are crying to be heard, we must each of us recognize our responsibility to seek those words out, to read them and share them and examine them in their pertinence to our lives. That we not hide behind the mockeries of separations that have been imposed upon us and which so often we accept as our own."

"We can learn to work and speak when we are afraid in the same way we have learned to work and speak when we are tired. For we have been socialized to respect fear more than our own needs for language and definition, and while we wait in silence for that final luxury of fearlessness, the weight of that silence will choke us. The fact that we are here and that I speak these words is an attempt to break that silence and bridge some of those differences between us, for it is not difference which immobilizes us, but silence. And there are so many silences to be broken."

"Racism: The belief in the inherent superiority of one race over all others and thereby the right to dominance."

"Sexism: The belief in the inherent superiority of one sex and thereby the right to dominance."

"Heterosexism: The belief in the inherent superiority of one pattern of loving and thereby its right to dominance."

"Homophobia: The fear of feelings of love for members of one’s own sex and therefore the hatred of those feelings in others."

"For Black women as well as Black men, it is axiomatic that if we do not define ourselves for ourselves, we will be defined by others — for their use and to our detriment. The development of self-defined Black women, ready to explore and pursue our power and interests within our communities, is a vital component in the war for Black liberation."

"In the interests of separation, Black women have been taught to view each other as always suspect, heartless competitors for the scarce male, the all-important prize that could legitimize our existence. This dehumanizing denial of self is no less lethal than the dehumanization of racism to which it is so closely allied."

"The distortion of relationship which says “I disagree with you, so I must destroy you” leaves us as Black people with basically uncreative victories, defeated in any common struggle. This jugular vein psychology is based on the fallacy that your assertion or affirmation of self is an attack upon my self — or that my defining myself will somehow prevent or retard your self-definition. The supposition that one sex needs the other’s acquiescence in order to exist prevents both from moving together as self-defined persons toward a common goal. This kind of action is a prevalent error among oppressed peoples. It is based upon the false notion that there is only a limited and particular amount of freedom that must be divided up between us, with the largest and juiciest pieces of liberty going as spoils to the victor or the stronger. So instead of joining together to fight for more, we quarrel between ourselves for a larger slice of the one pie."

"As Black women we have the right and responsibility to define ourselves and to seek our allies in common cause: with Black men against racism, and with each other and white women against sexism. But most of all, as Black women we have the right and responsibility to recognize each other without fear and to love where we choose. Both lesbian and heterosexual Black women today share a history of bonding and strength to which our sexual identities and our other differences must not blind us."

"There are many kinds of power, used and unused, acknowledged or otherwise. The erotic is a resource within each of us that lies in a deeply female and spiritual plane, firmly rooted in the power of our unexpressed or unrecognized feeling. In order to perpetuate itself, every oppression must corrupt or distort those various sources of power within the culture of the oppressed that can provide energy for change. For women, this has meant a suppression of the erotic as a considered source of power and information within our lives."

"The erotic offers a well of replenishing and provocative force to the woman who does not fear its revelation, nor succumb to the belief that sensation is enough."

"Pornography is a direct denial of the power of the erotic, for it represents the suppression of true feeling. Pornography emphasizes sensation without feeling."

"The erotic is a measure between the beginnings of our sense of self and the chaos of our strongest feelings. It is an internal sense of satisfaction to which, once we have experienced it, we know we can aspire. For having experienced the fullness of this depth of feeling and recognizing its power, in honor and self-respect we can require no less of ourselves."

"It is never easy to demand the most from ourselves, from our lives, from our work. To encourage excellence is to go beyond the encouraged mediocrity of our society is to encourage excellence. But giving in to the fear of feeling and working to capacity is a luxury only the unintentional can afford, and the unintentional are those who do not wish to guide their own destinies."

"The erotic is not a question only of what we do; it is a question of how acutely and fully we can feel in the doing. Once we know the extent to which we are capable of feeling that sense of satisfaction and completion, we can then observe which of our various life endeavors bring us closest to that fullness."

"The principal horror of any system which defines the good in terms of profit rather than in terms of human need, or which defines human need to the exclusion of the psychic and emotional components of that need — the principal horror of such a system is that it robs our work of its erotic value, its erotic power and life appeal and fulfillment. Such a system reduces work to a travesty of necessities, a duty by which we earn bread or oblivion for ourselves and those we love. But this is tantamount to blinding a painter and then telling her to improve her work, and to enjoy the act of painting. It is not only next to impossible, it is also profoundly cruel."

"As women, we need to examine the ways in which our world can be truly different."

"The very word erotic comes from the Greek word ', the personification of love in all its aspects — born of Chaos, and personifying creative power and harmony. When I speak of the erotic, then, I speak of it as an assertion of the lifeforce of women; of that creative energy empowered, the knowledge and use of which we are now reclaiming in our language, our history, our dancing, our loving, our work, our lives."

"The ascetic position is one of the highest fear, the gravest immobility. The severe abstinence of the ascetic becomes the ruling obsession. And it is one not of self-discipline but of self-abnegation."

"Understanding is a hand-maiden which can only wait upon, or clarify, that knowledge, deeply born. The erotic is the nurturer or nursemaid of all our deepest knowledge."

"The sharing of joy, whether physical, emotional, psychic, or intellectual, forms a bridge between the sharers which can be the basis for understanding much of what is not shared between them, and lessens the threat of their difference."

"We have been raised to fear the yes within ourselves, our deepest cravings. But, once recognized, those which do not enhance our future lose their power and can be altered. The fear of our desires keeps them suspect and indiscriminately powerful, for to suppress any truth is to give it strength beyond endurance. The fear that we cannot grow beyond whatever distortions we may find within ourselves keeps us docile and loyal and obedient, externally defined, and leads us to accept many facets of our oppression as women."

"When we live outside ourselves, and by that I mean on external directives only rather than from our internal knowledge and needs, when we live away from those erotic guides from within ourselves, then our lives are limited by external and alien forms, and we conform to the needs of a structure that is not based on human need, let alone an individual’s. But when we begin to live from within outward, in touch with the power of the erotic within ourselves, and allowing that power to inform and illuminate our actions upon the world around us, then we begin to be responsible to ourselves in the deepest sense. For as we begin to recognize our deepest feelings, we begin to give up, of necessity, being satisfied with suffering and self-negation, and with the numbness which so often seems like their only alternative in our society. Our acts against oppression become integral with self, motivated and empowered from within."

"There is, for me, no difference between writing a good poem and moving into sunlight against the body of a woman I love."

"The need for sharing deep feeling is a human need."

"The erotic cannot be felt secondhand."

"Recognizing the power of the erotic within our lives can give us the energy to pursue genuine change within our world, rather than merely settling for a shift of characters in the same weary drama. For not only do we touch our most profoundly creative source, but we do that which is female and self-affirming in the face of a racist, patriarchal, and anti-erotic society."

"Black feminism is not white feminism in blackface. Black women have particular and legitimate issues which affect our lives as Black women, and addressing those issues does not make us any less Black."

"Black feminists speak as women because we are women and do not need others to speak for us."

"One tool of the Great-American-Double-Think is to blame the victim for victimization: Black people are said to invite lynching by not knowing our place; Black women are said to invite rape and murder and abuse by not being submissive enough, or by being too seductive, or too …"

"In this country, Black women traditionally have had compassion for everybody else except ourselves. We have cared for whites because we had to for pay or survival; we have cared for our children and our fathers and our brothers and our lovers. History and popular culture, as well as our personal lives, are full of tales of Black women who had “compassion for misguided black men.” Our scarred, broken, battered and dead daughters and sisters are a mute testament to that reality. We need to learn to have care and compassion for ourselves, also."

"Narcissism comes not out of self-love but out of ."

"Oppressors always expect the oppressed to extend to them the understanding so lacking in themselves."

"It is not the destiny of Black america to repeat white america’s mistakes. But we will, if we mistake the trappings of success in a sick society for the signs of a meaningful life."

"One oppression does not justify another."

"As a people, we most certainly must work together."

"Pain is very visceral, particularly to the people who are hurting."

"If the problems of Black women are only derivatives of a larger contradiction between capital and labor, then so is racism, and both must be fought by all of us. The capitalist structure is a many-headed monster. I might add here that in no socialist country that I have visited have I found an absence of racism or of sexism, so the eradication of both of these diseases seems to involve more than the abolition of capitalism as an institution."

"When I speak of knowledge, as you know, I am speaking of that dark and true depth which understanding serves, waits upon, and makes accessible through language to ourselves and others. It is this depth within each of us that nurtures vision."

"When patriarchy dismisses us, it encourages our murderers. When feminist theory dismisses us, it encourages its own demise."

"As outsiders, we need each other for support and connection and all the other necessities of living on the borders. But in order to come together we must recognize each other."

"The truest direction comes from inside."

"All our children are outriders for a queendom not yet assured."

"Raising Black children — female and male — in the mouth of a racist, sexist, suicidal dragon is perilous and chancy. If they cannot love and resist at the same time, they will probably not survive. And in order to survive they must let go. This is what mothers teach — love, survival — that is, self-definition and letting go. For each of these, the ability to feel strongly and to recognize those feelings is central: how to feel love, how to neither discount fear nor be overwhelmed by it, how to enjoy feeling deeply."

"The knowledge of fear can help make us free."

"For survival, Black children in america must be raised to be warriors. For survival, they must also be raised to recognize the enemy’s many faces."

"The strongest lesson I can teach my son is the same lesson I teach my daughter: how to be who he wishes to be for himself. And the best way I can do this is to be who I am and hope that he will learn from this not how to be me, which is not possible, but how to be himself. And this means how to move to that voice from within himself, rather than to those raucous, persuasive, or threatening voices from outside, pressuring him to be what the world wants him to be."

"Difference does not have to be threatening."

"When I envision the future, I think of the world I crave for my daughters and my sons. It is thinking for survival of the species — thinking for life."

"We are jointly responsible for the care and raising of the young, since that they be raised is a function, ultimately, of the species."

"You know ? You know the big barrancas? When the rains come to the mountains, the boulders rush through the big ravines. The sound, the first rush, would start one or two days before the rains came. All the rocks tumbling down from the mountains made a voice, and the echoes would resound and it would be a sound of weeping, with the waters behind it."

"That’s how I found out, again through experience, that poetry is not Play-Doh. You can’t take a poem and keep re-forming it. It is itself, and you have to know how to cut it, and if there’s something else you want to say, that’s fine."

"The only thing I had to give was me."

"It was more than pain. The horror, the enormity of what was happening. Not just the death of King, but what it meant. I have always had the sense of Armageddon and it was much stronger in those days, the sense of living on the edge of chaos. Not just personally, but on the world level. That we were dying, that we were killing our world — that sense had always been with me. That whatever I was doing, whatever we were doing that was creative and right, functioned to hold us from going over the edge. That this was the most we could do while we constructed some saner future. But that we were in that kind of peril. And here it was reality, in fact."

"I learned how important grammar is, that part of the understanding process is grammatical. That’s how I taught myself to write prose. I kept learning and learning. I’d come into my class and say, “Guess what I found out last night. Tenses are a way of ordering the chaos around time.” I learned that grammar was not arbitrary, that it served a purpose, that it helped to form the ways we thought, that it could be freeing as well as restrictive."

"The learning process is something you can incite, literally incite, like a riot. And then, just possibly, hopefully, it goes home, or on."

"I knew, as I had always known, that the only way you can head people off from using who you are against you is to be honest and open first, to talk about yourself before they talk about you. It wasn’t even courage. Speaking up was a protective mechanism for myself."

"One thing has always kept me going — and it’s not really courage or bravery, unless that’s what courage or bravery is made of — is a sense that there are so many ways in which I’m vulnerable and cannot help but be vulnerable, I’m not going to be more vulnerable by putting weapons of silence in my enemies’ hands. Being an open lesbian in the Black community is not easy, although being closeted is even harder."

"Perceptions precede analysis just as visions precede action or accomplishments."

"That’s the only thing I’ve had to fight with, my whole life, preserving my perceptions of how things are, and later, learning how to accept and correct at the same time. Doing this in the face of tremendous opposition and cruel judgment. And I spent a long time questioning my perceptions and my interior knowledge, not dealing with them, being tripped by them."

"What understanding begins to do is to make knowledge available for use, and that’s the urgency, that’s the push, that’s the drive."

"Interdependency between women is the way to a freedom which allows the I to be, not in order to be used, but in order to be creative. This is a difference between the passive be and the active being."

"Difference must be not merely tolerated, but seen as a fund of necessary polarities between which our creativity can spark like a dialectic. Only then does the necessity for interdependency become unthreatening. Only within that interdependency of different strengths, acknowledged and equal, can the power to seek new ways of being in the world generate, as well as the courage and sustenance to act where there are no charters."

"Difference is that raw and powerful connection from which our personal power is forged."

"As women, we have been taught either to ignore our differences, or to view them as causes for separation and suspicion rather than as forces for change. Without community there is no liberation, only the most vulnerable and temporary armistice between an individual and her oppression. But community must not mean a shedding of our differences, nor the pathetic pretense that these differences do not exist."

"Those of us who stand outside the circle of this society’s definition of acceptable women; those of us who have been forged in the crucibles of difference — those of us who are poor, who are lesbians, who are Black, who are older — know that survival is not an academic skill. It is learning how to stand alone, unpopular and sometimes reviled, and how to make common cause with those others identified as outside the structures in order to define and seek a world in which we can all flourish. It is learning how to take our differences and make them strengths. For the master’s tools will never dismantle the master’s house. They may allow us temporarily to beat him at his own game, but they will never enable us to bring about genuine change."

"In a world of possibility for us all, our personal visions help lay the groundwork for political action."

"In our world, divide and conquer must become define and empower."

"The form our creativity takes is often a class issue. Of all the art forms, poetry is the most economical. It is the one which is the most secret, which requires the least physical labor, the least material, and the one which can be done between shifts, in the hospital pantry, on the subway, and on scraps of surplus paper. Over the last few years, writing a novel on tight finances, I came to appreciate the enormous differences in the material demands between poetry and prose. As we reclaim our literature, poetry has been the major voice of poor, working class, and Colored women. A room of one’s own may be a necessity for writing prose, but so are reams of paper, a typewriter, and plenty of time. The actual requirements to produce the visual arts also help determine, along class lines, whose art is whose. In this day of inflated prices for material, who are our sculptors, our painters, our photographers? When we speak of a broadly based women’s culture, we need to be aware of the effect of class and economic differences on the supplies available for producing art."

"As we move toward creating a society within which we can each flourish, ageism is another distortion of relationship which interferes without vision. By ignoring the past, we are encouraged to repeat its mistakes. The “generation gap” is an important social tool for any repressive society. If the younger members of a community view the older members as contemptible or suspect or excess, they will never be able to join hands and examine the living memories of the community, nor ask the all important question, “Why?” This gives rise to a historical amnesia that keeps us working to invent the wheel every time we have to go to the store for bread. We find ourselves having to repeat and relearn the same old lessons over and over that our mothers did because we do not pass on what we have learned, or because we are unable to listen."

"To examine Black women’s literature effectively requires that we be seen as whole people in our actual complexities — as individuals, as women, as human — rather than as one of those problematic but familiar stereotypes provided in this society in place of genunine images of Black women. And I believe this holds true for the literatures of other women of Color who are not Black."

"The literatures of all women of Color recreate the textures of our lives, and many white women are heavily invested in ignoring the real differences. For as long as any difference between us means one of us must be inferior, then the recognition of any difference must be fraught with guilt. To allow women of Color to step out of stereotypes is too guilt provoking, for it threatens the complacency of those women who view oppression only in terms of sex. Refusing to recognize difference makes it impossible to see the different problems and pitfalls facing us as women."

"Unless one lives and loves in the trenches it is difficult to remember that the war against dehumanization is ceaseless."

"Black women and our children know the fabric of our lives is stitched with violence and with hatred, that there is no rest. We do not deal with it only on the picket lines, or in dark midnight alleys, or in the places where we dare to verbalize our resistance. For us, increasingly, violence weaves through the daily tissues of our living — in the supermarket, in the classroom, in the elevator, in the clinic and the schoolyard, from the plumber, the baker, the saleswoman, the bus driver, the bank teller, the waitress who does not serve us."

"The threat of difference has been no less blinding to people of Color. Those of us who are Black must see that the reality of our lives and our struggle does not make us immune to the errors of ignoring and misnaming difference. Within Black communities where racism is a living reality, differences among us often seem dangerous and suspect. The need for unity is often misnamed as a need for homogeneity, and a Black feminist vision mistaken for betrayal of our common interests as a people. Because of the continuous battle against racial erasure that Black women and Black men share, some Black women still refuse to recognize that we are also oppressed as women, and that sexual hostility against Black women is practiced not only by the white racist society, but implemented within our Black communities as well. It is a disease striking the heart of Black nationhood, and silence will not make it disappear. Exacerbated by racism and the pressures of powerlessness, violence against Black women and children often becomes a standard within our communities, one by which manliness can be measured. But these woman-hating acts are rarely discussed as crimes against Black women."

"Rape is not aggressive sexuality, it is sexualized aggression."

"My fullest concentration of energy is available to me only when I integrate all the parts of who I am, openly, allowing power from particular sources of my living to flow back and forth freely through all my different selves, without the restrictions of externally imposed definition. Only then can I bring myself and my energies as a whole to the service of those struggles which I embrace as part of my living."

"It is not our differences which separate women, but our reluctance to recognize those differences and to deal effectively with the distortions which have resulted from the ignoring and misnaming of those differences."

"Our future survival is predicated upon our ability to relate within equality. As women, we must root out internalized patterns of oppression within ourselves if we are to move beyond the most superficial aspects of social change. Now we must recognize differences among women who are our equals, neither inferior nor superior, and devise ways to use each others’ difference to enrich our visions and our joint struggles. The future of our earth may depend upon the ability of all women to identify and develop new definitions of power and new patterns of relating across difference. The old definitions have not served us, nor the earth that supports us. The old patterns, no matter how cleverly rearranged to imitate progress, still condemn us to cosmetically altered repetitions of the same old exchanges, the same old guilt, hatred, recrimination, lamentation, and suspicion. For we have, built into all of us, old blueprints of expectation and response, old structures of oppression, and these must be altered at the same time as we alter the living conditions which are a result of those structures. For the master’s tools will never dismantle the master’s house."

"The true focus of revolutionary change is never merely the oppressive situations which we seek to escape, but that piece of the oppressor which is planted deep within each of us, and which knows only the oppressors’ tactics, the oppressors’ relationships. Change means growth, and growth can be painful. But we sharpen self-definition by exposing the self in work and struggle together with those whom we define as different from ourselves, although sharing the same goals. For Black and white, old and young, lesbian and heterosexual women alike, this can mean new paths to our survival."

"Women respond to racism. My response to racism is anger. I have lived with that anger, ignoring it, feeding upon it, learning to use it before it laid my visions to waste, for most of my life. Once I did it in silence, afraid of the weight. My fear of anger taught me nothing. Your fear of that anger will teach you nothing, also."

"Guilt and defensiveness are bricks in a wall against which we all flounder; they serve none of our futures."

"Every woman has a well-stocked arsenal of anger potentially useful against those oppressions, personal and institutional, which brought that anger into being. Focused with precision it can become a powerful source of energy serving progress and change. And when I speak of change, I do not mean a simple switch of positions or a temporary lessening of tensions, nor the ability to smile or feel good. I am speaking of a basic and radical alteration in those assumptions underlining our lives."

"Anger expressed and translated into action in the service of our vision and our future is a liberating and strengthening act of clarification, for it is in the painful process of this translation that we identify who are our allies with whom we have grave differences, and who are our genuine enemies."

"Anger is loaded with information and energy."

"Any discussion among women about racism must include the recognition and the use of anger. This discussion must be direct and creative because it is crucial. We cannot allow our fear of anger to deflect us nor seduce us into settling for anything less than the hard work of excavating honesty; we must be quite serious about the choice of this topic and the angers entwined within it because, rest assured, our opponents are quite serious about their hatred of us and of what we are trying to do here. And while we scrutinize the often painful face of each other’s anger, please remember that it is not our anger which makes me caution you to lock your doors at night and not to wander the streets of Hartford alone. It is the hatred which lurks in those streets, that urge to destroy us all if we truly work for change rather than merely indulge in academic rhetoric. This hatred and our anger are very different. Hatred is the fury of those who do not share our goals, and its object is death and destruction. Anger is a grief of distortions between peers, and its object is change."

"Women of Color in america have grown up within a symphony of anger, at being silenced, at being unchosen, at knowing that when we survive, it is in spite of a world that takes for granted our lack of humanness, and which hates our very existence outside of its service. And I say symphony rather than cacophony because we have had to learn to orchestrate those furies so that they do not tear us apart. We have had to learn to move through them and use them for strength and force and insight within our daily lives. Those of us who did not learn this difficult lesson did not survive. And part of my anger is always libation for my fallen sisters."

"Anger is an appropriate reaction to racist attitudes, as is fury when the actions arising from those attitudes do not change."

"It is not the anger of other women that will destroy us but our refusals to stand still, to listen to its rhythms, to learn within it, to move beyond the manner of presentation to the substance, to tap that anger as an important source of empowerment. I cannot hide my anger to spare you guilt, nor hurt feelings, nor answering anger; for to do so insults and trivializes all our efforts. Guilt is not a response to anger; it is a response to one’s own actions or lack of action. If it leads to change then it can be useful, since it is then no longer guilt but the beginning of knowledge. Yet all too often, guilt is just another name for impotence, for defensiveness destructive of communication; it becomes a device to protect ignorance and the continuation of things the way they are, the ultimate protection for changelessness."

"I have no creative use for guilt, yours or my own. Guilt is only another way of avoiding informed action, of buying time out of the pressing need to make clear choices, out of the approaching storm that can feed the earth as well as bend the trees."

"When we turn from anger we turn from insight, saying we will accept only the designs already known, deadly and safely familiar. I have tried to learn my anger’s usefulness to me, as well as its limitations."

"The strength of women lies in recognizing differences between us as creative, and in standing to those distortions which we inherited without blame, but which are now ours to alter. The angers of women can transform difference through insight into power. For anger between peers births change, not destruction, and the discomfort and sense of loss it often causes is not fatal, but a sign of growth."

"Guilt is only another form of objectification."

"My anger has meant pain to me but it has also meant survival, and before I give it up I’m going to be sure that there is something at least as powerful to replace it on the road to clarity."

"What woman here is so enamored of her own oppression that she cannot see her heelprint upon another woman's face? What woman's terms of oppression have become precious and necessary to her as a ticket into the fold of the righteous, away from the cold winds of self-scrutiny?"

"I am not free while any woman is unfree, even when her shackles are very different from my own. And I am not free as long as one person of Color remains chained. Nor is any one of you."

"I speak here as a woman of Color who is not bent upon destruction, but upon survival. No woman is responsible for altering the psyche of her oppressor, even when that psyche is embodied in another woman. I have suckled the wolf’s lip of anger and I have used it for illumination, laughter, protection, fire in places where there was no light, no food, no sisters, no quarter. We are not goddesses or matriarchs or edifices of divine forgiveness; we are not fiery fingers of judgment or instruments of flagellation; we are women forced back always upon our woman’s power. We have learned to use anger as we have learned to use the dead flesh of animals, and bruised, battered, and changing, we have survived and grown and, in Angela Wilson’s words, we are moving on. With or without uncolored women. We use whatever strengths we have fought for, including anger, to help define and fashion a world where all our sisters can grow, where our children can love, and where the power of touching and meeting another woman’s difference and wonder will eventually transcend the need for destruction."

"It is not the anger of Black women which is dripping down over this globe like a diseased liquid. It is not my anger that launches rockets, spends over sixty thousand dollars a second on missiles and other agents of war and death, slaughters children in cities, stockpiles nerve gas and chemical bombs, sodomizes our daughters and our earth. It is not the anger of Black women which corrodes into blind, dehumanizing power, bent upon the annihilation of us all unless we meet it with what we have, our power to examine and to redefine the terms upon which we will live and work; our power to envision and to reconstruct, anger by painful anger, stone upon heavy stone, a future of pollinating difference and the earth to support our choices."

"Malcolm X is a distinct shape in a very pivotal period of my life. I stand here now — Black, Lesbian, Feminist — an inheritor of Malcolm and in his tradition, doing my work, and the ghost of his voice through my mouth asks each one of you here tonight: Are you doing yours?"

"There are no new ideas, just new ways of giving those ideas we cherish breath and power in our own living."

"I was one of the ones who didn’t really hear Malcolm’s voice until it was amplified by death. I had been guilty of what many of us are still guilty of — letting the media, and I don’t mean only the white media — define the bearers of those messages most important to our lives. When I read Malcolm X with careful attention, I found a man much closer to the complexities of real change than anything I had read before."

"One of the most basic Black survival skills is the ability to change, to metabolize experience, good or ill, into something that is useful, lasting, effective. Four hundred years of survival as an endangered species has taught most of us that if we intend to live, we had better become fast learners."

"We do not have to live the same mistakes over again if we can look at them, learn from them, and build upon them."

"As Black people, if there is one thing we can learn from the 60s, it is how infinitely complex any move for liberation must be. For we must move against not only those forces which dehumanize us from the outside, but also against those oppressive values which we have been forced to take into ourselves. Through examining the combination of our triumphs and errors, we can examine the dangers of an incomplete vision. Not to condemn that vision but to alter it, construct templates for possible futures, and focus our rage for change upon our enemies rather than upon each other. In the 1960s, the awakened anger of the Black community was often expressed, not vertically against the corruption of power and true sources of control over our lives, but horizontally toward those closest to us who mirrored our own impotence."

"Historically, difference had been used so cruelly against us that as a people we were reluctant to tolerate any diversion from what was externally defined as Blackness. In the 60s, political correctness became not a guideline for living, but a new set of shackles. A small and vocal part of the Black community lost sight of the fact that unity does not mean unanimity — Black people are not some standardly digestible quantity. In order to work together we do not have to become a mix of indistinguishable particles resembling a vat of homogenized chocolate milk. Unity implies the coming together of elements which are, to begin with, varied and diverse in their particular natures. Our persistence in examining the tensions within diversity encourages growth toward our common goal. So often we either ignore the past or romanticize it, render the reason for unity useless or mythic. We forget that the necessary ingredient needed to make the past work for the future is our energy in the present, metabolizing one into the other. Continuity does not happen automatically, nor is it a passive process."

"The 60s were characterized by a heady belief in instantaneous solutions. They were vital years of awakening, of pride, and of error. The civil rights and Black power movements rekindled possibilities for disenfranchised groups within this nation. Even though we fought common enemies, at times the lure of individual solutions made us careless of each other. Sometimes we could not bear the face of each other’s differences because of what we feared those differences might say about ourselves. As if everybody can’t eventually be too Black, too white, too man, too woman. But any future vision which can encompass all of us, by definition, must be complex and expanding, not easy to achieve. The answer to cold is heat, the answer to hunger is food. But there is no simple monolithic solution to racism, to sexism, to homophobia. There is only the conscious focusing within each of my days to move against them, wherever I come up against these particular manifestations of the same disease. By seeing who the we is, we learn to use our energies with greater precision against our enemies rather than against ourselves."

"The 60s for me was a time of promise and excitement, but the 60s was also a time of isolation and frustration from within. [...] It was a time of great hope and great expectation; it was also a time of great waste. That is history. We do not need to repeat these mistakes in the 80s."

"There is no such thing as a single-issue struggle because we do not live single-issue lives. Malcolm knew this. Martin Luther King, Jr. knew this. Our struggles are particular, but we are not alone. We are not perfect, but we are stronger and wiser than the sum of our errors. Black people have been here before us and survived. We can read their lives like signposts on the road and find, as Bernice Reagon says so poignantly, that each one of us is here because somebody before us did something to make it possible. To learn from their mistakes is not to lessen our debt to them, nor to the hard work of becoming ourselves, and effective."

"We do not have to romanticize our past in order to be aware of how it seeds our present. We do not have to suffer the waste of an amnesia that robs us of the lessons of the past rather than permit us to read them with pride as well as deep understanding. We know what it is to be lied to, and we know how important it is not to lie to ourselves. We are powerful because we have survived, and that is what it is all about — survival and growth."

"Within each one of us there is some piece of humanness that knows we are not being served by the machine which orchestrates crisis after crisis and is grinding all our futures into dust. If we are to keep the enormity of the forces aligned against us from establishing a false hierarchy of oppression, we must school ourselves to recognize that any attack against Blacks, any attack against women, is an attack against all of us who recognize that our interests are not being served by the systems we support."

"Survival is not a theory."

"We are women trying to knit a future in a country where an was defeated as subversive legislation. We are Lesbians and gay men who, as the most obvious target of the , are threatened with castration, imprisonment, and death in the streets. And we know that our erasure only paves the way for erasure of other people of Color, of the old, of the poor, of all of those who do not fit that mythic dehumanizing norm. Can we really still afford to be fighting each other?"

"Revolution is not a one-time event. It is becoming always vigilant for the smallest opportunity to make a genuine change in established, outgrown responses; for instance, it is learning to address each other’s difference with respect. We share a common interest, survival, and it cannot be pursued in isolation from others simply because their differences make us uncomfortable. We know what it is to be lied to. The 60s should teach us how important it is not to lie to ourselves. Not to believe that revolution is a one-time event, or something that happens around us rather than inside of us. Not to believe that freedom can belong to any one group of us without the others also being free. How important it is not to allow even our leaders to define us to ourselves, or to define our sources of power to us."

"Change is the immediate responsibility of each of us, wherever and however we are standing, in whatever arena we choose."

"We who are Black are at an extraordinary point of choice within our lives. To refuse to participate in the shaping of our future is to give it up. Do not be misled into passivity either by false security (they don’t mean me) or by despair (there’s nothing we can do). Each of us must find our work and do it. Militancy no longer means guns at high noon, if it ever did. It means actively working for change, sometimes in the absence of any surety that change is coming. It means doing the unromantic and tedious work necessary to forge meaningful coalitions, and it means recognizing which coalitions are possible and which coalitions are not. It means knowing that coalition, like unity, means the coming together of whole, self-actualized human beings, focused and believing, not fragmented automatons marching to a prescribed step. It means fighting despair."

"Nothing neutralizes creativity quicker than tokenism, that false sense of security fed by a myth of individual solutions."

"You do not have to be me in order for us to fight alongside each other. I do not have to be you to recognize that our wars are the same. What we must do is commit ourselves to some future that can include each other and to work toward that future with the particular strengths of our individual identities. And in order to do this, we must allow each other our differences at the same time as we recognize our sameness."

"In order to be whole, we must recognize the despair oppression plants within each of us — that thin persistent voice that says our efforts are useless, it will never change, so why bother, accept it. And we must fight that inserted piece of self-destruction that lives and flourishes like a poison inside of us, unexamined until it makes us turn upon ourselves in each other. But we can put our finger down upon that loathing buried deep within each one of us and see who it encourages us to despise, and we can lessen its potency by the knowledge of our real connectedness, arcing across our differences."

"is always easiest when it is removed, academic."

"How are you practicing what you preach — whatever you preach, and who exactly is listening? As Malcolm stressed, we are not responsible for our oppression, but we must be responsible for our own liberation. It is not going to be easy, but we have what we have learned and what we have been given that is useful. We have the power those who came before us have given us, to move beyond the place where they were standing. We have the trees, and water, and sun, and our children. Malcolm X does not live in the dry texts of his words as we read them; he lives in the energy we generate and use to move along the visions we share with him. We are making the future as well as bonding to survive the enormous pressures of the present, and that is what it means to be a part of history."

"To search for power within myself means I must be willing to move through being afraid to whatever lies beyond. If I look at my most vulnerable places and acknowledge the pain I have felt, I can remove the source of that pain from my enemies’ arsenals. My history cannot be used to feather my enemies’ arrows then, and that lessens their power over me. Nothing I accept about myself can be used against me to diminish me. I am who I am, doing what I came to do, acting upon you like a drug or a chisel to remind you of your me-ness, as I discover you in myself."

"Survival is the greatest gift of love."

"Addie Mae Collins, Carol Robertson, Cynthia Wesley, Denise McNair. Four little Black girls, none more than ten years of age, singing their last autumn song in a Sunday church school in . After the explosion clears it is not possible to tell which patent leather Sunday shoe belongs to which found leg."

"The power to kill is less than the power to create, for it produces an ending rather than the beginning of something new."

"We have to consciously study how to be tender with each other until it becomes a habit because what was native has been stolen from us, the love of Black women for each other."

"Anger — a passion of displeasure that may be excessive or misplaced but not necessarily harmful. Hatred — an emotional habit or attitude of mind in which aversion is coupled with ill will. Anger, used, does not destroy. Hatred does."

"Growing up, metabolizing hatred like a daily bread. Because I am Black, because I am woman, because I am not Black enough, because I am not some particular fantasy of a woman, because I AM. On such a consistent diet, one can eventually come to value the hatred of one’s enemies more than one values the love of friends, for that hatred becomes the source of anger, and anger is a powerful fuel."

"Sometimes it seems that anger alone keeps me alive; it burns with a bright and undiminished flame. Yet anger, like guilt, is an incomplete form of human knowledge. More useful than hatred, but still limited. Anger is useful to help clarify our differences, but in the long run, strength that is bred by anger alone is a blind force which cannot create the future. It can only demolish the past. Such strength does not focus upon what lies ahead, but upon what lies behind, upon what created it — hatred. And hatred is a deathwish for the hated, not a lifewish for anything else."

"To grow up metabolizing hatred like daily bread means that eventually every human interaction becomes tainted with the negative passion and intensity of its by-products — anger and cruelty."

"We do not love ourselves, therefore we cannot love each other. Because we see in each other’s face our own face, the face we never stopped wanting. Because we survived and survival breeds desire for more self. A face we never stopped wanting at the same time as we try to obliterate it."

"We had to metabolize such hatred that our cells have learned to live upon it because we had to, or die of it. Old King Mithridates learned to eat arsenic bit by bit and so outwitted his poisoners, but I’d have hated to kiss him upon his lips! Now we deny such hatred ever existed because we have learned to neutralize it through ourselves, and the catabolic process throws off waste products of fury even when we love."

"With the constant manipulation of the media, many Black americans are honestly confused, defending “our” invasion of Black Grenada under a mistaken mirage of patriotism. Nineteen eighty-four is upon us, and doublethink has come home to scramble our brains and blanket our protest."

"In addition to being a demonstration to the Caribbean community of what will happen to any country that dares to assume responsibility for its own destiny, the invasion of Grenada also serves as a naked warning to thirty million African-americans. Watch your step. We did it to them down there and we will not hesitate to do it to you."

"Hundreds of Grenadian bodies are buried in unmarked graves, relatives missing and unaccounted for, survivors stunned and frightened into silence by fear of being jailed and accused of “spreading unrest among the people.” No recognition and therefore no aid for the sisters, mothers, wives, children of the dead, families disrupted and lives vandalized by the conscious brutality of a planned, undeclared war. No attention given to the Grenadian bodies shipped back and forth across the sea in plastic bodybags from Barbados to Grenada to Cuba and back again to Grenada. After all, they all look alike, and besides, maybe if they are flown around the world long enough they will simply disappear, or become invisible, or some other peoples’ sacrifice."

"Weeks after the invasion, Grenadians were still smelling out and burying bodies which lay all over the island. The true casualty figures will never be known. No civilian body count is available. Even the bodies of Maurice Bishop and his slain ministers are never positively identified, no doubt to forestall any possible enshrinement by the people who loved him, no doubt to make the task of smearing his popular memory more easily accomplished. It has already begun."

"No matter what the venue, we can be witnesses to our own existence. "If we do not define ourselves for ourselves," said Audre Lorde, "we will be defined by others- for their use and our detriment." Each generation must look around with a critical eye and ask, "Is this who I am? How will we be portrayed to future generations?""

"Adrienne Rich has also had a real influence on me and more recently Audre Lorde."

"I'm using the word nos/otras. Otras means other and nos means us, we. We don't have to keep using the oppositional language of the fathers. We were taught to write and think like these theorists. It's complicitous for somebody who is an "other" to be using "their" terms and "their" styles all the time. It's like fighting them with their own language. Audre Lorde said it very succinctly: "You cannot use the master's tools to dismantle the master's house."

"Poetry is not a luxury for women, explained Audre Lorde. It is the distillation of our experience, the moment of interpretation, the intuitive leap transcending the boundaries of the conventional coordinates on the official map designating our place in the world"

"Lorde sees mortality as both weapon and power: "I am talking here about the need for every woman to live a considered life.""

"Audre Lorde has said each of us must find the work that is ours to do."

"Audre Lorde taught us, “Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare.”"

"At the library I would go the shelves alphabetically. I was drawn to anyone with a female name, with a Latino or Spanish name. There were very, very few. But as a teenager I discovered African American poetry. Gwendolyn Brooks was the first. Then Phillis Wheatley. I really identified with this slave woman writing poetry to assert and affirm her humanity. Suddenly my eyes were open to history. There was a whole explosion of African-American women poets-Audre Lorde, Nikki Giovanni, June Jordan. I have a poem in my head that's going to take me years to write down. Its working title is "On Thanking Black Muses." I owe them, because poetry really changed my life, saved it."

"I learned a lot from the black arts movement. I loved reading black feminist thinkers on my own (outside of academia)—Audre Lorde, Barbara Smith, Angela Davis, June Jordan, bell hooks, etc."

"With its paradoxical title, Sister Outsider, Audre Lorde's most influential book of prose, is ever more trenchant twenty-three years after its first printing-surpassing even the reputation of her poetry, which is no minor feat...On the shelf with or at the bottom of that stack of other well-mined tomes-The Black Woman: An Anthology; Conditions: Five, The Black Women's Issue; Lesbian Fiction; Top Ranking-Sister is never far from me. I retain several dog-eared, underlined, coffee-splotched copies of her-at home, at work, on my nightstand-as necessary as my eyeglasses, my second sight... In one paragraph, Lorde can simultaneously blow away the entire Enlightenment project and use its tools, too. In 1990 I quoted myself in "Knowing the Danger and Going There Anyway," an article I wrote on Lorde for the Boston feminist newspaper, Sojourner; I'll change the sister trope and quote myself again: "I said that Audre Lorde's work is 'a neighbor I've grown up with, who can always be counted on for honest talk, to rescue me when I've forgotten the key to my own house, to go with me to a tenants' or town meeting, a community festival'."4 In 1990, Lorde was still walking among us. Sister Outsider has taken its creator's place as that good neighbor. And with this new edition, we will have our good neighbor and sister for another generation. May those of us who are Sister Outsider's old neighbors continue to be inspired by her luminous writing and may those new neighbors be newly inspired."

"This is not the first period during which we have confronted the difficult problem of using difference as a way of bringing people together, rather than as incontrovertible evidence of separation. There are more options than sameness, opposition, or hierarchical relations. One of the basic challenges confronting women of color today, as Audre Lorde has pointed out, is to think about and act upon notions of equality across difference. There are so many ways in which we can conceptualize coalitions, alliances, and networks that we would be doing ourselves a disservice to argue that there is only one way to construct relations across racial and ethnic boundaries. We cannot assume that if it does not unfold in one particular way, then it is not an authentic coalition."

"Aymar Jean Christian of Northwestern University historically contextualizes and updates the notion of intersectional storytelling in his recent book Race and Media: Critical Approaches. “Most creators are ‘intersectional,’ meaning they identify with multiple communities marginalized by their race, class, gender, sexuality, ethnicity, religion, disability, or citizenship status,” he writes. He argues that the framework of intersectionality was developed throughout the 20th century by women writers of color like Sojourner Truth, Audre Lorde, and Kimberlé Crenshaw. Those early intersectional writers sought to describe “the interlocking nature of oppression and the specificity of being both Black and woman (and often queer).”"

"She was a mover of large groups of people. She had a particular charge that transformed cultures. When we lose someone such as her (although we never really ever lose anything or anyone), we have to shift to accommodate the change. The poem addressed our collective change."

"in our human development we begin with ourselves and move outward toward relationship, and in writing work, it seems to be the same, that most writers begin with their own identity, with autobiography, and then move out toward family, friends, environment, country, world. I have noticed there's a return for many writers as they age…for others the world expands outward more and more, never returning to self...We need for writers to do both. We need the personal in its global context. I like writers that do both. I think of Audre Lorde, in Cancer Journals, a book that talks about disease, poetry, language, facing death, facing life, and it talks about the political and economic context of cancer in the U.S.-the cancer "business," the A.M.A. We need for writers to do both. We need the personal in its global context."

"Audre Lorde's essay "Eye to Eye" was one of the very first readings on the list. It was the work everyone called to mind in our class as we spoke about how important it is for black women to stand in feminist solidarity with one another."

"We participate in, and are excited by, organizing that takes as a starting point the interconnections between struggles to dismantle our carceral state and to build just and flourishing public K-12 educational systems. These include LGBTQ liberation movements that reject criminalization as the response to gender and sexual violence in schools, immigration rights organizers who say no to legislation that pits children against parents, and anti-violence movements that do not rely on policing as their primary strategy for peace-building. As the Black feminist lesbian poet and scholar Audre Lorde wrote years ago, "There are not single-issue struggles because we do not live single-issue lives.""

"we have learned from Lorde: At the same time as we organize behind specific and urgent issues, we must also develop and maintain an ongoing vision, and the theory following upon that vision, of why we struggle-of the shape and taste and philosophy of what we wish to see."

"Lorde is right: "Poetry is the way we help give name to the nameless so it can be thought. The farthest external horizons of our hopes and fears are cobbled by our poems, carved from the rock experiences of our daily lives.""

"The poet Audre Lorde has said, "Poetry is not a luxury." I think it is no accident that these words were spoken by a Black lesbian radical poet, and that they have been echoed throughout the feminist writers community."

"We can watch a classic becoming. When Audre Lorde tells a room full of women, many lesbians, many Black women, "Your silence will not protect you," and Gloria Hull writes "Poem," dedicated to Audre Lorde, which concludes: "Dear Eshu's Audre/please keep on/teaching us/how/to speak/to know/that now/"our labor is/more important than/our silence" and this poem is chosen to introduce Conditions: Five-The Black Women's Issue, we know we're in the presence of something classic. The invocation. The passionate connection. The exhortation to speak."

"Today's mic-hogging, fast-talking, contentious young (and old) lefties continue to hawk little books and pamphlets on revolution, always with choice words or documents from Marx, Mao, even Malcolm. But I've never seen a broadside with "A Black Feminist Statement or even the writings of Angela Davis or June Jordan or Barbara Omolade or Flo Kennedy or Audre Lorde or bell hooks or Michelle Wallace, at least not from the groups who call themselves leftist. These women's collective wisdom has provided the richest insights into American radicalism's most fundamental questions: How can we build a multiracial movement? Who are the working class and what do they desire? How do we resolve the Negro Question and the Woman Question? What is freedom?"

"Audre Lorde was one of my role models when I first came out as a lesbian. Audre was an extraordinary African American lesbian writer. It really meant a lot to me that she wrote to me on three different occasions that the dedications to "Bashert" were important to her."

"Poets—incredible nature poets like Mary Oliver, Gabriela Mistral, or Audre Lorde—look deeply at the world and make us feel like we are connected. Poetry that addresses the natural world helps us repair that connection. When you are paying attention to something, it’s a way of loving something. How can we continue to hurt something that we love?"

""Poetry of Heroism" was presented at "Sister Comrade: Celebrating the Lives of Audre Lorde and Pat Parker" on November 3, 2007, at the First Congregational Church in Oakland, California. Angela Davis, Judy Grahn, Jewelle Gomez, Holly Near, Linda Tillery, and Mary Watkins were among the presenters who gave memorial tribute to these foremothers of the lesbian-of-color movement."

"In a uniquely distinct way, Audre Lorde's and Toni Cade Bambara's presence in Bridge also impacted Bridges success. Audre and Toni were exemplary sister-writers, emblematic of that great surge of Black feminist writing spilling into our hands in 1970s and 80s. As "sisters of the yam"... they stood up in unwavering solidarity with the rest of us "sisters of the rice, sisters of the corn, sisters of the plantain" and that mattered. It helped put Bridge, coedited by two "unknown" Chicana writers, on the political-literary map. All in all, it was a brave moment in feminist history."

"It is my conviction that currently in the United States, more women than men are writing good and vital poetry, although there are fine male poets. This is our renaissance, our Elizabethan plenty. We have giants like Adrienne Rich, Audre Lorde, Diane di Prima and Maxine Kumin, we have rising powers like Joy Harjo and Celia Gilbert and Sharon Olds, and we have dozens and dozens of individual voices sharply flavored and yet of our time, our flesh, our troubles."

"One of the most sensual and sensuous women poets I can think of is Audre Lorde. She thinks in images that are most certainly lesbian images. But also images from Afro-Caribbean culture and from African mythology and experience. And that's a very powerful combination. Because that also has not been available in most poetry in English."

"Over many years (I am almost 72) so many poets have touched my imagination and opened paths for me—it hardly makes sense to list them. I have always read a great deal of poetry. Some poets—like Robert Lowell, Denise Levertov, Randall Jarrell, Jean Valentine, Audre Lorde, Hayden Carruth, Jane Cooper, June Jordan, Joy Harjo, Clayton Eshelman—have been my friends, we’ve been comrades in exchanging work and encouraging each other"

"When I read Jefferson's disparagement of Wheatley, it felt like he had been disparaging the entire lineage of Black poets who would follow her, myself included, and I saw a man who had not had a clear understanding of what love is...When Audre Lorde fractured this language and then built us a new one, giving us a fresh way to make sense of who we are in the world, it was an act of love."

"To Kimberlé Williams Crenshaw, the Combahee River Collective, and Audre Lorde for your lessons on intersectionality and the beauty of Black girl magic. This book would not be possible without you."

"Insisting that "Poetry is not a luxury," Audre Lorde writes, "Poetry is not only dream or vision, it is the skeleton architecture of our lives,""

"I had long ago found courage in Audre Lorde's Sister Outsider when she says: “I find I am constantly being encouraged to pluck out some one aspect of myself and present this as a meaningful whole, eclipsing or denying the other parts of self. But this is a destructive and fragmenting way to live. My fullest concentration of energy is available to me only when I integrate all the parts of who I am, openly, allowing power from particular sources of my living to flow back and forth freely through all my different selves, without the restrictions of externally imposed definition. Only then can I bring myself and my energies as a whole to the service of those struggles which I embrace as part of my living""

"Who am I today is a composite of many aspects; I am a Puerto Rican woman, I am also a lesbian, a woman of color, and a human rights advocate. Excluding one identity in lieu of the other does not tell the whole story. After I met the poet Audre Lorde I realized I had to embrace all this in order to have a holistic view. Audre said: "you can only empower yourself when you join all the parts of your own Self." So I had to join all the pieces of the puzzle so it could be read."

"Lo and behold! God made this starry wold, The maggot and the mold; lo and behold! He taught the grass contentment blade by blade, The sanctity of sameness in a shade."

"Oh I'm in love with the janitor's boy, And the janitor's boy loves me; He's going to hunt for a desert isle In our geography."

"He'll carry me off, I know that he will, For his hair is exceedingly red; And the only thing that occurs to me Is to dutifully shiver in bed."

"I linger on the flathouse roof, the moonlight is divine. But my heart is all aflutter like the washing on the line."

"Once a pallid Vestal Doubted truth in blue; Listed red in ruin, Harried every hue;Barricaded vision, Garbed herself in sighs; Ridiculed the birthmarks Of the butterflies."

"Finally she faltered; Saw at last, forsooth, Every gaudy color Is a bit of truth. Then the gates were opened; Miracles were seen; That instructed damsel Donned a gown of green;Wore it in a churchyard, All arrayed with care; And a painted rainbow Shone above her there."

"In the darkness, who would answer for the color of a rose, Or the vestments of the May moth and the pilgrimage it goes?"

"A precious place is Paradise and none may know its worth, But Eden ever longeth for the knicknacks of the earth.The angels grow quite wistful over worldly things below; They hear the hurdy-gurdies in the Candle Makers Row.They listen for the laughter from the antics of the earth; They lower pails from heaven's walls to catch the milk-maids mirth."

"The sun shall shine in ages yet to be, The musing moon illumine pastures dim, And afterwards a new nativity For all who slept the dreamless interim."

"The starry brocade of the summer night Is linked to us as part of our estate; And every bee that wings its sidelong flight Assurance of a sweeter, fairer fate."

"When you return, the youngest of the seers, Released from fetters of ancestral pose, There will be beauty waiting down the years — Revisions of the ruby and the rose."

"The sign work of the Orient it runneth up and down; The Talmud stalks from right to left, a rabbi in a gown;The Roman rolls from left to right from Maytime unto May; But the gods shake up their symbols in an absent-minded way.Their language runs to circles like the language of the eyes, Emphasised by strange dilations with little panting sighs."

"The very serpents bite their tails; the bees forget to sting, For a language so celestial setteth up a wondering.And the touch of absent mindedness is more than any line, Since direction counts for nothing when the gods set up a sign."

"Cloud-made mountains towered, Beckoning to me; Visionary triremes Talked about the sea..."

"Across the downs a hummingbird Came dipping through the bowers, He pivoted on emptiness To scrutinize the flowers."

"You cannot choose your battlefield, God does that for you; But you can plant a standard Where a standard never flew. 11px|frameless QOTD 2007·11·01 Sound file"

"Said the tiger to the lily, Said the viper to the rose, Let us marry so our children May attain the double pose.With a feline half a flower — With the attar in the asp We could institute a slaughter That would make a planet gasp."

"The world is growing gentle, But few know what she owes To the understanding lily And the judgment of the rose."

"Treating the sword blade the same as the staff, Turning the chariot wheel into chaff. Toppling a pillar and nudging a wall, Building a sand pile to counter each fall. Yielding to nothing — not even the rose, The dust has its reasons wherever it goes."

"Oh, we have had great lovers that we followed to the pyre; Our boasts out-do the Sabine girls—the Mosque of St. Sophia. And we are very sure of ours, for when a city falls, They seize us and they love us and they hurl us from the walls."

"He found the harem filled with rocking maids Surrendered to the orgies of the sob."

"Great is the rose Infected by the tomb, Yet burgeoning Indifferent to death."

"The rose has told In one simplicity. That never life Relinquishes a bloom But to bestow An ancient confidence."

"Great is the rose That challenges the crypt, And quotes milleniums Against the grave."

"The gods released a vision on a world forespent and dull; They sent it as a challenge by the sea hawk and the gull.It roused the Norman eagerness, the Albion cliffs turned red: "You fly the wings of logic — can you fly the wings of lead?"

"A thousand ardent oilers swung the long spout 'twixt their nods, And tried to glimpse a meaning in the challenge of the gods.And then one night there landed on a Mineola swale A plane that looked like pewter, with a carrier of mail.Its wings were tinged like tea-box skins, each truss of shadow gray, Its cabin but an alcove slung beneath a metal ray. The Spirit of St. Louis was inscribed upon the lee; It came from out a province that had never seen the sea."

"A single-motored miracle, a lead mine on each flank; Below a shadow swept and awed the hundred-fathom bank."

"And the eyes of all look upward seeing sign-word drawing nigh, The stony wings of Egypt coming back across the sky;We hear the clinking tamborine of Miriam anew; We believe in every miracle since Lindbergh flew the blue — The wonder of the long draw when the bowstring is a thread — The beauty of a courage that can raise the wings of lead."

"Let go the lure The striving to unmake;Behold the truth Whenever heart may ache There is a glory In a great mistake."

"A year ago, to a startled public, was revealed the most extraordinary prodigy of them all — Nathalia Crane, 11-year-old poet, "The Baby Browning of Brooklyn," whose first volume of verse, The Janitor's Boy, was heralded by critics to be a work of genius. Such words as "blastoderm", "sindoc," "peris," "parasang," "sarcenet," "teazel," "nullah," "cantatrice," "barracan," "sistrum," writhed and hissed in her verses. One poem began with the nebular hypothesis and ended with prohibition; others cantered with a Eugene Fieldian humor; still others coldly glowed with the passion-weary detachment of a woman who has had her fill of life and its motley follies. Critic-Poet Louis Untermeyer chortled with elation. Poet William Rose Benét wrote a preface. The English Society of Authors and Playwrights (of which Thomas Hardy is President) asked Nathalia Crane to join them."

"It seems impossible to me that a girl so immature could have written these poems. They are beyond the powers of a girl of twelve. The sophisticated viewpoint of sex … knowledge of history and archeology found in these pages place them beyond the reach of any juvenile mind."

"Nathalia sort of sings her poems to herself — they come into being that way. She reads Kipling constantly, and Conan Doyle is her favorite. The only poet she likes is Longfellow, but she doesn't enthuse over him. She likes wild, imaginative tales. When she finds a word she likes or doesn't understand, she looks it up in every available dictionary and studies every possible meaning and use for it..."

"Nathalia can explain practically every line she has ever written; I have heard her uncertain treble clarify passages that have puzzled erudite authors. No poet that ever lived delighted in amassing such curious, half-forgotten sounds; not even Francis Thompson had so great a vocabulary of rare and archaic terms. . . Nathalia collects words the way a boy of her age collects postage stamps; she had thumbed Noah Webster's work (in various editions) and made a glossary of her own. The dictionary is her playbox and she knows exactly where every odd toy is concealed."

"Some of the critics explained the work by insisting that the child was some sort of medium, an instrument unaware of what was played upon it; others, considering the book a hoax, scorned the fact that any child could have written verses so smooth in execution and so remarkable in spiritual overtones. … The appeal of such lines is not that they have been written by a child but by a poet."

"I remember that Bob had bought several books during the trip, and they were in sight. One was a collection of verse by a talented child named Nathalia Crane, then making a sizable splash in the American literary world."

"I would like it if those who were active at the time I am writing about find in Vida something that brings back the excitement, the fear, the hope of that era. I would be pleased if those too young to have lived through those times might find something of value in our struggles, might learn from our successes and our failures and be inspired to imagine a movement that might again try to change the structure and direction of our country into a more humane, just and equal society."

"I said, I like my life. If I have to give it back, if they take it from me, let me only not feel I wasted any, let me not feel I forgot to love anyone I meant to love, that I forgot to give what I held in my hands, that I forgot to do some little piece of the work that wanted to come through."

"The noise from outside broke loud and sudden, as if somebody had begun cutting a superhighway through the woods. Dinah's first reaction was fury. Bounding up, she spilled her coffee right into the lap of the black velvet robe Susan had made for her. A chain saw screeched nasally but she heard something growlier under it."

"We are past the point where critics, whether reviewing a few poetry books in the London Times or New York Times, or for literary magazines, editors, teachers of literature and male poets themselves can pontificate about poetry and mean only the work of twenty or thirty white male writers."

"Good work in a field breeds interest and makes room for more good practitioners. We are not rivals but workers building something whose final shape we are not able even to fantasize."

"Like species, couples die out or evolve."

"Like many women, Daria both loved her mother and prayed not to become her. Often Daria felt helpless before her mother Nina's woes, yet her first impulse was to reassure herself: I am different. I have a good and faithful husband, I have my own work, I live in a beautiful house, I like my life. Misery was not hereditary or contagious. Since the plane had taken off late from Chicago, Daria had been dividing her time between worrying about her younger daughter Tracy, who had gone away to college for the first time, and Nina, who had sounded more depressed and lonely than usual on the phone last night. Was Nina really sick? Or just unhappy?"

"Live as if you liked yourself, and it may happen: reach out, keep reaching out, keep bringing in."

"Doorways are sacred to women for we are the doorways of life and we must choose what comes in and what goes out."

"No, thanks." Vida placed her hand over the top of the tulip-shaped wineglass. "No more for me. Thank you." "This is a good Vouvray. Louis in the wine store recommended it" Hank tried to nudge her hand aside with the cold dripping base of the bottle. "It's lovely. I've just had enough." She made herself smile. It felt like a date, a bad date. She had to keep smiling across the debris of the dinner for two. "The chicken was wonderful!"

"Drifting with things is a habit it takes almost dying to break."

"Beth was looking in the mirror of her mother's vanity. The mirror had wings that opened and shut. When she was little she used to like to pull them together around her into a cave of mirrors with only a slit of light. It isn't me, isn't me. Well, who else would it be, stupid? Isn't anyone except Bride: a dress wearing a girl."

"The point of creating futures is to get people to imagine what they want and don’t want to happen down the road – and maybe do something about it."

"Feminist utopias were created out of a hunger for what we didn’t have, at a time when change felt not only possible but probable. Utopias came from the desire to imagine a better society when we dared to do so."

"When I was a child, I first noticed that neither history as I was taught it, nor the stories I was told, seemed to lead to me. I began to fix them. I have been at it ever since. We need a past that leads to us. Similarly, what we imagine we are working toward does a lot to define what we will consider doable action aimed at producing the future we want and preventing the future we fear."

"Utopia is born of the hunger for something better, but it relies on hope as the engine for imagining such a future. I wanted to take what I considered the most fruitful ideas of the various movements for social change and make them vivid and concrete – that was the real genesis of Woman on the Edge of Time."

"It may be that television and the ever more aggressive investigative efforts of the news media have addled our ability to choose a leader wisely. Between sound bites and the seduction of images, we run a popularity contest every four years instead of an election. ("THE MORE WE SEE, THE LESS WE KNOW" , article originally from 2004)"

"The worst thing that a politician can be called is elitist-and what do we mean by that? In Iowa, Howard Dean was labeled that-a sushi eating, PBS watching, Volvo driving man-not macho enough, clearly, to win the vote of working men. But who determines the massive layoffs and the movement of corporations abroad that gut the economies of so many cities and drive families from comfort into chaos? Those are the members of the real elite ("THE MORE WE SEE, THE LESS WE KNOW")"

"Poetry was a way of keeping myself relatively sane and trying to make sense of the world I inhabited, which did not correspond to the world shown on the television we acquired the year we moved or the world that textbooks and school commended to us. The place I had grown up in was far more violent. Radical politics made sense to me. ("TOUCHED BY GINSBERG AT A (RELATIVELY) TENDER AGE")"

"Poetry changes with every generation, but it does not improve or progress. It just changes its styles, trappings and some of its obsessions, but we can still enjoy Sappho and Homer; they are today's news as much as when they were written or recited."

"the most fruitful ways to approach the future for me are speculative fiction or utopian fiction. Isaac Asimov once said that all science fiction falls into three categories: What if, If only, and If this continues. I have written in all three categories."

"Who wants equality? Those who do not have it."

"(about putting time into trying to look young) It is certainly a replacement for educating your mind, developing your interests, becoming closer to other people. If you spent the amount of time a week you might spend on the pursuit of a prepubescent body on learning a foreign language, on writing something meaningful to yourself and to others, on practicing piano, on changing the society-this country would be a far different place."

"Utopia is work that issues from pain: it is what we do not have that we crave."

"It is by imagining what we truly desire that we begin to go there. That is the kind of thinking about the future that seems to me most fruitful, most rewarding. I want a future in which women are not punished for having women's bodies, are not punished for desire or the lack of it, are viewed as independent protagonists in their own adventures-spiritual, intellectual, romantic, sexual, and creative adventures. That's one reason I read and write speculative fiction."

"When the knocking came, Maud was taking a sponge bath. (first line of "The Cost of Lunch, Etc.")"

"In my life, there have been a great many Mr. Wrongs. I married one of them and spent time and energy and emotion on dozens more. My feeling is that in love you are entitled to a great many mistakes so long as you aren't making the same one over and over. (beginning of "The Easy Arrangement")"

"As if a wind that had been blowing hard against her had suddenly fallen silent, her ears roared with silence. ("What the Arbor Said")"

"I love silence but I fear emptiness. (p11)"

"From the time I arrived on the Cape, one of the things I chose explicitly was to put my writing first. Everything else in my life waxed and waned, but writing, I discovered during my restructuring, was my real core. (p218)"

"At that time, a pregnant woman could not get an abortion in Massachusetts -- but a cat could. (p221)"

"Attention is love, what we must give children, mothers, fathers, pets, our friends, the news, the woes of others. What we want to change we curse and then pick up a tool. Bless whatever you can with eyes and hands and tongue. If you can't bless it, get ready to make it new."

"Holy is the hand that works for peace and for justice, holy is the mouth that speaks for goodness, holy is the foot that walks toward mercy."

"there is no justice we don't make daily like bread and love."

"Poems start from a phrase, an image, an idea, a rhythm insistent in the back of the brain...Some poems are a journey of discovery and exploration for the writer as well as the reader. I find out where I am going when I finally arrive, which may take years."

"The mind wraps itself around a poem."

"Each good novel has a vision of its world that informs what is put in and what is left out."

"For me the gifts of the novelist are empathy and imagination."

"I think poetry ultimately is a more communal activity than fiction, but I love both equally."

"Every artist creates with open eyes what she sees in her dream. (p67)"

"He fought her with full energy and intelligence, as she had wanted to be loved. (one: IN THE CORPORATE FORTRESS)"

"He's in Veecee Beecee, making those elaborate worlds people play at living in instead of worrying about the one we're all stuck with." (one: IN THE CORPORATE FORTRESS)"

"No one before the twenty-first century had ever loved flowers and fruiting trees and little birds and the simple beauty of green leaves as did those who lived after the Famine, for whom they were precious and rare and always endangered. (four: THROUGH THE BURNING LABYRINTH)"

"This was the home she had fled, not from an unhappy childhood but from too early and too intense love, paradise torn. (four: THROUGH THE BURNING LABYRINTH)"

"For years she had had this magic circle they could weave about themselves, luminous with Gadi's imagination, the place where she could never be lonely or bored. In that private world of play more intense, far more real than reality, she was whatever she longed for. (five: FIFTEEN YEARS BEFORE: THE DAY OF ALEF)"

"Malkah's love was strong but abrasive, scrubbing her clean. Gadi's love bore both roses and thorns... (five: FIFTEEN YEARS BEFORE: THE DAY OF ALEF)"

"His body was a city, vast, filling her head. (five: FIFTEEN YEARS BEFORE: THE DAY OF ALEF)"

""You love too hard. It occupies the center and squeezes out your strength. If you work in the center and love to the side, you will love better in the long run, Shira. You will give more gracefully, without counting, and what you get, you will enjoy." (Malkah, six: WE KNOW TOO MUCH AND TOO LITTLE)"

""...No one can stop children in love unless by exile. But you'll never grow up if you don't let go of each other." (Malkah, six: WE KNOW TOO MUCH AND TOO LITTLE)"

"She felt as if she were seventeen again, ignorant, fearful, a creature all gusty emotions and pain. (eight: HOW SHALL I ADDRESS YOU?)"

""I never wanted to belong to anybody. I only wanted to borrow them for a while, for the fun of it, the tenderness, some laughs." (Malkah, nine: REVISING THE FAMILY ALBUM)"

""Some people go on wanting [sex] as long as they live, but other people, they let it go as if it were a garment that had worn out." (Malkah, nine: REVISING THE FAMILY ALBUM)"

""I still have insomnia, but now I tell myself stories instead of counting men." (Malkah nine: REVISING THE FAMILY ALBUM)"

"People had gone too far in destroying the earth, and now the earth was diminishing the number of people. (fourteen: BY THE LIGHT OF THE UNYELLOW MOON)"

"They ambled around the world through the Glops, into multi enclaves, onto the tubes and the zips, far more freely and safely than people or animals could. Shira watched it wistfully. That was true freedom, she thought, something now available only to special machines. (fourteen: BY THE LIGHT OF THE UNYELLOW MOON)"

""One aspect of working with you, even of being with you, that I really appreciate is how hard you try to communicate. Human males don't often have that habit." (Shira to Yod, fourteen: BY THE LIGHT OF THE UNYELLOW MOON)"

""Nobody at twenty-eight is a success or a failure. It's too early to figure out which way the tide's moving (Malkah, fifteen: THE SAME AS ME)"

""Before you, the strongest feeling I knew was fear." (Yod, twenty-two: THE PRESENT)"

"We all of us go about, she meant to tell him but was too occupied, wanting to be wanted but unsure why anybody should bother. (twenty-two: THE PRESENT)"

"Riva said, "Most folks press the diodes of stimmies against their temples and experience some twit's tears and orgasms, while the few plug in and access information on a scale never before available. The many know less and less and the few more and more." (twenty-three: WINE IN THE MIDDLE OF THE NIGHT)"

""They perceive whatever they don't control as hostile." (Avram, twenty-five: WHERE THE ELITE MEET)"

""I used to wonder what I did wrong. But now I think that unless you grossly mistreat a child or spoil her or let her be injured, basically there's a given element in all of us, something from genes or the moment. From birth on, a child follows her own path. She learns, but she also unfolds from within." (Malkah, twenty-eight: HOW CAN WE TELL THE DANCER FROM THE DANCE?)"

"Most of life was bizarre when she stopped to examine it. (twenty-eight: HOW CAN WE TELL THE DANCER FROM THE DANCE?)"

""There's too little pleasant in this nasty dying world. We all need to remember how to play, how to be children together for a little while." (Gadi, twenty-eight: HOW CAN WE TELL THE DANCER FROM THE DANCE?)"

""He said to me once he had given up a normal life for the cyborgs. As if he could only create life if he gave up loving and living." (Yod about Avram, twenty-eight: HOW CAN WE TELL THE DANCER FROM THE DANCE?)"

"[He] felt a controlled importance, a fine passionate honing of his attention and intellect that made him impatient with his whole previous life. (p208)"

"If only I could tell each of them how much more fully I could love them now. I could give them, not the dutiful, selfish and perfunctory love of an adolescent, but an understanding love that would lighten their terrible burdens. (p253)"

"In their minds we're not human...They don't hate us because we did something or said something. They make us stand for an evil they invent and then they want to kill it in us. (p255)"

""...you have a reciprocal nature. You understand if you want to be listened to, you should put in time listening." (p343)"

"It is not sex that gives the pleasure, but the lover. (p402)"

"Life is the first gift, love is the second, and understanding the third. (p666)"

"There is an attitude that has developed since about the 1890s that attempts to cast all politics and sociology out of poetry. I don't understand how anyone can seriously maintain this attitude. Actually, the attitude itself is political. Art which embodies the ideals of the ruling class in society isn't conceived as being political, and is simply judged by how well it is done. Art which contains ideas which threaten the position of that ruling class is silenced by critics: it is political, they say, and not art."

"Connie got up from her kitchen table and walked slowly to the door. Either I saw him or I didn't and I'm crazy for real this time, she thought. (first lines)"

"Over the old buildings the rain blew in long gray ropy strands cascading down the brick walls. As she was beckoned out with rough speed, she was surprised to see gulls wheeling above, far inland, as over other refuse grounds. Little was recycled here. She was human garbage carried to the dump. (Chapter One, p26)"

"She will walk in strength like a man and never sell her body and she will nurse her babies like a woman and live in love like a garden... (Chapter Seven, p133)"

""Those of your time who fought hard for change, often they had myths that a revolution was inevitable. But nothing is! All things interlock. We are only one possible future..." (p177)"

""How come you took so long to get together and start fighting for what was yours? It's running easy to know smart looking backward, but it seems as if people fought hardest against those who had a little more than themselves or often a little less, instead of the lugs who got richer and richer." (p177)"

"Suddenly she thought that these men believed feeling itself a disease, something to be cut out like a rotten appendix. Cold, calculating, ambitious, believing themselves rational and superior, they chased the crouching female animal through the brain with a scalpel. From an early age she had been told that what she felt was unreal and didn’t matter. Now they were about to place in her something that would rule her feelings like a thermostat. (p282)"

""Only in us do the dead live. Water flows downhill through us. The sun cools in our bones. We are joined with all living in one singing web of energy. In us live the dead who made us. In us live the children unborn. Breathing each other’s air, drinking each other’s water, eating each other’s flesh, we grow like a tree from the earth." (p322)"

"The Movement is supposed to be for human liberation: how come the condition of women inside it is no better than outside?"

"Repression brings hardening."

"If the rewards are concentrated at the top, the shitwork is concentrated at the bottom."

"If you have contempt for people and think they cannot know what they want and need, who the hell is the revolution for?"

"We are oppressed, and we will achieve our liberation by fighting for it the same as any other oppressed group. Nobody is going to give it to us because we ask, however eloquently."

"A tendency to believe quite literally in the rhetoric of Movement males is a form of naiveté that no woman can afford."

"There are a lot of lonely and a lot of horny women."

"The use of women as props for a sagging ego is accepted socially. Everybody sees it and everybody agrees that they don't."

"The importance of male solidarity to enforce discrimination and contempt for women cannot be overemphasized."

"Certain of any oppressed group can always rise from that group by incorporating the manners and value system of the oppressed, and outwitting them at their own rigged game. We want Something Else. We are told that our sense of oppression is not legitimate. We are told women's liberation is a secondary issue, to be dealt with after the war is won. But the basis of women's oppression is economic in a sense that far predates capitalism and the market economy and that is woven through the whole fabric of socialization. Our claims are the most radical, for they entail restructuring even the nuclear family. Nowhere on earth are women free now, although in some places things are marginally better. What we want we will have to invent ourselves."

"There is much anger here at Movement Men, but I know they have been warped and programmed by the same society that has damn near crippled us. My anger is because they have created in the Movement a microcosm of that oppression and are proud of it. Manipulation and careerism and competition will not evaporate of themselves. Sisters, what we do, we have to do together, and we will see about them."

"All in all, the world of He, She and It is becoming reality much faster than I imagined. (2020)"

"The art of fiction is one of constant seduction. You must persuade the reader on page 1 to start reading - on page 50, or page 150 and yes, on page 850. (2004)"

"As for the political and corporate aspects, as one of the founders of the North American Congress on Latin America, I spent a couple of year doing power structure research. I was extrapolating from current trends – which have progressed today to the point where every cabinet post under Trump is run by an official from the corporations that the departments are supposed to regulate."

"Reconstructionism, which is my branch of Judaism, is strongly concerned with the environment"

"(What advice would you give to young people who are currently concerned about the state of the world and who want to fight against environmental destruction and big business?) There are endless organizations that have sprung up since Trump entered office to fight many of his terrible decisions and appointments.There are also environmental organizations that have been around since the seventies. Join a group that appeals to you and work on the issue that most alarms or impinges on you. No one else can tell you what to join or what to work on. It has to be something that actually gets you excited, angry, and passionate, not something you think you should care about."

"Science fiction, speculative fiction, whatever you want to call it, is one of the ways to explore social issues in fiction. You can explore what it's going to be like if current trends continue. You can change a variable and see what that does."

"The idea that poetry should be devoid of politics is a modern heresy designed to diminish any slight power we might have, to render us irrelevant. It is a notion that poets before about 1940 would have found really weird. Shakespeare's plays are rife with politics; same with Milton, Dryden, Pope, Wordsworth, Shelley, [[Byron, and that's only a few British poets. All the Irish poets had political ideas. Go back to the Romans. Find one without politics! Poets and novelists and memoirists and essayists are all citizens like your plumber or neighborhood cop or clergy. If you don't take an interest, politics may come down on your head, may take away your livelihood, pollute your air, give you cancer from the food you eat, teach your children garbage and false history, make you pay for wars you don't believe in and actually hate."

"What interests me in history is how those periods influenced the present. In Sex Wars, one of the alarming aspects is that in the period after the Civil War they were dealing with the same problems and issues we are dealing with today: the rights of women and minorities, immigration, abortion, contraception, income inequality, prison reform, election manipulation."

"The best way, we always say, to learn to write memoirs is to read memoirs and learn from those that don't work for you as well as from those who do. Look at how they did things. Separate out the craft elements. If you want to write detective stories, read them. If you want to write historical novels, read them."

"I’ve always felt that in order to change things, you have to understand the forces and choices that created the PRESENT, therefore I write about times in the past that I find very relevant."

"My political ideas changed when feminism of the second wave developed. I had read Simone de Beauvoir’s The Second Sex partly in French, then far more easily in English as soon as it came out. But there was almost no context then for my feminist leanings until in 1967, we began to organize in women’s liberation. I learned a lot from Marxism but probably lean more toward syndicalist anarchism"

"When you remove religion from the golem, you get Superman."

"Religions have done far more damage over the centuries than good. Religion may help individuals to bear hard times and trouble and loss, but institutionalized religion of all stripes quickly becomes dangerous. Established religion always seems to breed a them vs us mentality that has lead to crusades, pogroms, ethnic cleansing, the Inquisition, genocide, civil war, and legal discrimination."

"Everything to me is connected-religion, the body, politics, our relation to each other and all other living beings, the environment. Life is of a piece. To me it's all one vision, and poetry is at the center."

"I've been amazed at the number of unions that tell me how helpful "To be of use" is to them in their organizing work."

"I am an intensely curious person, nosy, insatiable. As a poet, everything you experience, whether personally or vicariously or virtuously or virtually, for that matter, is your stuff. Imagery can't really be taught. You can lecture about the different kinds of imagery in different sorts of poems, but the truth is, imagery is the most personal core of a poet. What you know and what you feel becomes your imagery."

"You have to stay open and curious and keep learning as you go. Poems come from a whole variety of sources. When you're younger, you believe in inspiration. As you get older, you believe most in receptivity and work."

"We have been living in times in which human cruelty is all around us. Yet the world is very beautiful."

"To be a poet is to open your eyes to everything around you. I love the beauty of the world, but I get angry at the cruelty in the world. How can we not get angry at the tremendous cruelty that is built into our system?"

"From the third grade on, women are trained to mistrust their natural bodies and to try to make them conform with body types belonging to two percent of the population."

"Lots of people are angry and just can't figure out where to aim their anger. We forget how to do anything political. Every generation has to start all over again-people have to figure out what's happened, but you have to start with two, three at a time, and organize. In the meantime, we need the poems-if not for the politicians then for the people the politicians ignore."

"I want my poems to give voice to something in the experience of a life. To find ourselves spoken for in art gives dignity to our pain, our anger, our losses."

"The farther you are from the centers of power in this society, the less likely you are to find validation of your experiences, your insights and ideas, your life. It is more important to you to find in art that validation, that respect for your experiences that no minority except the thin, white, and wealthy can count on."

"Poems told me there were other people who felt the way I felt. That was validation for the person I was. Poems can mean survival."

"If you're female in this society, culture tells you that you've had it if you're not twenty-two, blond, and weigh about ninety-two pounds. Then, even if you are twenty-two, blond, and weigh ninety-two pounds, you're still going to fail because you're going to get old. Women are destined to age into failure even if when they're young they are what society defines as perfect. Poems about women who are not twenty-two, blond, and ninety-two pounds can remind us of reality."

"We have to know how connected we are. It's quite remarkable, the very strange notion of the self today. We think the self stops right here. But my self doesn't stop here. It flows out into the people I love, into the people I have loved, the people I come from, the people I speak to. Sometimes, in dream or in vision, we encounter each other without boundaries. Being strong means being strong together."

"I like sex because it's one of the ways that people leave off operating so much with forebrain. If I like poetry because it ties all the different ways of knowing and being together, sex does the same thing."

"The reason I am political is because I want there to be a juster apportionment of the world's pleasure and less unjust apportionment of the world's pain. Power per se is fairly uninteresting to me, except as I observe it distorting peoples' characters."

"I think that there is in any of us numerous other people that we never live out, and our opposites are as fascinating as what we are. In fiction you get to live out all those little pieces of you, that never really come into your life at all."

"I don't tend to smile a lot in situations where I feel on display - public situations. I speak directly and straightforwardly and bluntly, and that lack of subterfuge and lack of middle-class women's mannerisms is perceived by some men as hostile, just as Black behavior which is simply straightforward is perceived by some whites as hostile."

"Unlike some separatists I don't view men as biologically impaired. I believe sexism is culturally conditioned and that if you change the culture, you will change the kind of behavior which people with the various sorts of genitalia will consider appropriate. What I hate in men is what I consider ugly, brutal, violent, mean behavior - behavior damaging to women, to men they consider inferior, to children, to other living creatures with whom we share our biosphere."

"I'm a pluralist in sexuality as in most things. I want people to make many different choices and flourish in them, and to respect the choices they don't make in their own lives as well as those they do."

"I am very interested in the voluntary families that people create; not just the communes but the informal social webs by which a great many people survive and flourish. A lot of my adult life I have been trying in one form or another to create alternatives to the nuclear family."

"Friendship is my paradigm for the good relationship. If you like someone, you will also love them better. If you love without liking, there's a chill at the core of it that easily turns into possessiveness, jealousy, competition."

"What is honor from a woman's point of view? Honor has been defined from a male point of view. What does it mean to choose not to endure having been raped?"

"just as politically when there is no vocabulary for discussing your situation, when you're a woman before there is language of feminism, trying to understand what it's like to be a woman, you have no concepts, no vocabulary for even understanding your own situation."

"Often I imagine in different and better times not have to be political. I can even imagine, when I am at the bottom of a long uphill grade, doing something besides writing novels, although I doubt it. But I never imagine living without poetry."

"Jewish women in second-wave feminism helped to provide the theoretical underpinnings and models for radical action that were seized on and imitated throughout the United States and abroad. Their articles and books became classics of the movement and led the way into new arenas of cultural and political understanding in academe, politics, and grassroots organizing. Even a partial honor roll of Jewish women's liberation pioneers must include such figures as Shulamith Firestone, Ellen Willis, Robin Morgan, Alix Kates Shulman, Naomi Weisstein, Heather Booth, Susan Brownmiller, Marilyn Webb, Meredith Tax, Andrea Dworkin, Linda Gordon, Ellen DuBois, Ann Snitow, Marge Piercy, Letty Cottin Pogrebin, and Vivian Gornick. Despite historians' acknowledgment of the salience of Jewish women in earlier social movements, their prominence within radical feminism failed to attract much attention."

"Remember to weave real connections, wrote Marge Piercy: “create real nodes, build real houses/Live a life you can endure; make love that is loving/Connections are made slowly, sometimes they grow underground/You cannot tell always by looking what is happening/More than half a tree is spread out in the soil under your feet.”"

"Her work has always had the courage both of her convictions and of its own (the difference between the two has occasionally been one of her problems), and the present books are no exception. She is a serious writer who deserves the sort of considered attention which, too often, she does not get... out of all the surge and flux, the sometimes dutiful rhetoric, Piercy can build moments and sometimes whole poems that she would not have achieved with careful elegance. “People of the Shell,” for instance, is superb, and it is not alone. Lines and aphorisms surface, flash and sink, poems transform themselves, words swirl. The literary ancestor here is not Dickinson but Whitman, and the vision is finally, despite the small ironies, a romantic one. Like Whitman, Piercy must be read in chunks, not sips, and appreciated for her courage, gut energy and verbal fecundity, not for laconic polish. Dancing is hard and you may fall down, her poetry implies, but she is going to dance anyway. She rams on, and the reader can only applaud."

"Marge Piercy is shameless; that is, she is that rarity, a free person. Her freedom enables her to write about her brilliant, fascinating life with honesty and gusto. She is magnificent on the subject of cats."

"Marge Piercy is a literary icon-novelist, poet, social activist."

"(her poems) are Marge Piercy at her most telling. The author is a fearless and exciting woman"

"In the women's consciousness-raising groups I belonged to in the early 1970s, we shared personal and very emotional stories of what it had really been like for us to live as women, examining our experiences with men and with other women in our families, sexual relationships, workplaces and schools, in the health care system and in surviving the general societal contempt and violence toward women. As we told our stories we found validation that our experiences and our reactions to them were common to many women, that our perceptions, thoughts, and feelings made sense to other women. We then used that shared experience as a source of authority. Where our lives did not match official knowledge, we trusted our lives and used the collective and mutually validated body of stories to critique those official versions of reality. This was theory born of an activist need, and the feminist literature we read, from articles like "The Politics of Housework" and "The Myth of the Vaginal Orgasm" to the poetry of Susan Griffin, Marge Piercy, Alta, Judy Grahn, and others, rose out of the same mass phenomenon of truth-telling from personal knowledge."

"Some critics may wince at her politics, but no one can doubt whose voice is speaking, or that the language comes from a fully engaged life. Not that politics is her only subject. She writes about planting tomatoes, making love, remodeling the kitchen, and dying. Her avid followers know that she can be just as tough about herself and as humorous-as about the world's absurdities. At heart, Marge Piercy is a utopian, possessing what Margaret Atwood describes as "a view of human possibility-harmony between the sexes, among races, and between humankind and nature-that makes the present state of affairs clearly unacceptable by comparison.""

"one of our finest novelists and poets"

"Marge Piercy is very dear to me-a person who puts her life where her mouth is...I'm always interested in what Marge [Piercy] does. I mean we have our differences about several things, and approaches to writing-what and who and how-but she's an amazing woman and a true writer, and she does a tremendous amount of work and is very particular about what she's doing. She's doing a certain kind of chronicling of our time. She has a book called The High Cost of Living. I think it's really a wonderful book. It's not well-known. And it's one of her shortest things. I think she thinks she just tossed it off."

"I remember Marge Piercy saying at the Aspen Conference that she had "an aesthetics of clarity." And I thought, hmm, that's not bad."

"A lot of the young women in the peace movement were really just pushed around by SDS (the student organization). That is, Meredith Tax or Marge Piercy were pushed around by these guys, these young fellows in these student movements, who were really not shallow because they were very smart, but callow and full of male beans and ambition and so forth. And accustomed to or forced to play a certain role. I think the women's movement has done a lot for men, a tremendous lot for them. For men who paid attention it has taken some of the burden of machoism off their backs, which is a terrible burden to bear. If you think about it, it's horrible. It's horrible to have to be that kind of person in order to be a person."

"Piercy writes with high intelligence, love for the world, ethical passion and innate feminism."

"I have walked through many lives, some of them my own, and I am not who I was, though some principle of being abides from which I struggle not to stray. When I look behind, as I am compelled to look before I can gather strength to proceed on my journey, I see the milestones dwindling toward the horizon and the slow fires trailing from the abandoned campsites over which scavenger angels wheel on heavy wings. Oh, I have made myself a tribe out of my true affections, and my tribe is scattered! How shall the heart be reconciled to its feast of losses? In a rising wind the manic dust of my friends, those who fell along the way, bitterly stings my face. Yet I turn, I turn, exulting somewhat, with my will intact to go wherever I need to go and every stone on the road precious to me. In my darkest night, when the moon was covered and I roamed through wreckage, a nimbus-clouded voice directed me: "Live in the layers, not on the litter." Though I lack the art to decipher it, no doubt the next chapter in my book of transformations is already written. I am not done with my changes."

"In the best painting as in authentic poetry one is aware of moral pressures exerted... choices are important, moral pressure exists to make right and wrong choices."

"I love what the poet Stanley Kunitz said about dreaming of “an art so transparent that you can look through and see the world.” That pretty much sums up what I most admire in a work of literature."

"I remember something Stanley Kunitz once told me. He said, "Poetry explores depths of thought and feeling that civilization requires for its survival.""

"Things come to me, they speak to me. Stanley Kunitz has had an enormous impact on my life. He once said that poetry is only half language, the other half is a quality of perception, a function of the imagination, a particular form of paying attention. For me, it's a stilling of the self, waiting for this language to speak to me before I utter it."

"We are beginning to wonder whether a servant girl hasn’t the best of it after all. She knows how the salad tastes without the dressing, and she knows how life’s lived before it gets to the parlor door."

"I am not a critic; to me criticism is so often nothing more than the eye garrulously denouncing the shape of the peephole that gives access to hidden treasure."

"New York is the meeting place of the peoples, the only city where you can hardly find a typical American."

"After all, it is not where one washes one’s neck that counts but where one moistens one’s throat."

"Well, isn’t Bohemia a place where everyone is as good as everyone else — and must not a waiter be a little less than a waiter to be a good Bohemian?"

"Morbid? You make me laugh. This life I write and draw and portray is life as it is, and therefore you call it morbid. Look at my life. Look at the life around me. Where is this beauty that I am supposed to miss? The nice episodes that others depict? Is not everything morbid? I mean the life of people stripped of their masks. Where are the relieving features? Often I sit down to work at my drawing board, at my typewriter. All of a sudden my joy is gone. I feel tired of it all because, I think, "What's the use?" Today we are, tomorrow dead. We are born and don't know why. We live and suffer and strive, envious or envied. We love, we hate, we work, we admire, we despise. … Why? And we die, and no one will ever know that we have been born."

"If Helen of Troy could have been seen eating peppermints out of a paper bag, it is highly probable that her admirers would have been an entirely different class. It is the thing you are found doing while the horde looks on that you shall be loved for — or ignored."

"Suffering for love is how I have learned practically everything I know, love of grandmother up and on."

"Of course I think of the past and of Paris, what else is there to remember?"

"The Seal, she lounges like a bride, Much too docile, there's no doubt; Madame Récamier, on side, (if such she has), and bottom out."

"We are adhering to life now with our last muscle — the heart."

"There is always more surface to a shattered object than a whole."

"Someday beneath some hard Capricious star — Spreading its light a little Over far, We'll know you for the woman That you are."

"What turn of card, what trick of game Undiced? And you we valued still a little More than Christ."

"Ah God! she settles down we say; It means her powers slip away It means she draws back day by day From good or bad."

"Somewhere beneath her hurried curse, A corpse lies bounding in a hearse; And friends and relatives disperse, And are not stirred."

"What turn of body, what of lust Undiced? So we've worshipped you a little More than Christ."

"One sees you sitting in the sun Asleep; With the sweeter gifts you had And didn't keep, One grieves that the altars of Your vice lie deep."

"We watched her come with subtle fire And learned feet, Stumbling among the lustful drunk Yet somehow sweet. We saw the crimson leave her cheeks Flame in her eyes; For when a woman lives in awful haste A woman dies. The jests that lit our hours by night And made them gay, Soiled a sweet and ignorant soul And fouled its play."

"The heart of the jealous knows the best and most satisfying love, that of the other’s bed, where the rival perfects the lover’s imperfections."

"I’m a fart in a gale of wind, a humble violet, under a cow pat."

"Dreams have only the pigmentation of fact."

"Sleep demands of us a guilty immunity. There is not one of us who, given an eternal incognito, a thumbprint nowhere set against our souls, would not commit rape, murder and all abominations."

"The night is a skin pulled over the head of day that the day may be in torment."

"One's life is peculiar to one's own when one has invented it."

"In the acceptance of depravity the sense of the past is most truly captured. What is a ruin but time easing itself of endurance? Corruption is the Age of Time."

"Destiny and history are untidy."

"A man is whole only when he takes into account his shadow as well as himself — and what is a man's shadow but his upright astonishment?"

"Life is not to be told, call it as loud as you like, it will not tell itself."

"A strong sense of identity gives man an idea he can do no wrong; too little accomplishes the same."

"Contemporary writers and artists praised her style, feared her tongue; she was a beauty, but a talented, acerbic, and powerfully intelligent one."

"Complex in her privacy, refusing to be controlled by an audience or pinioned to a single representation, she once told Henry Ramont of the New York Times, "I used to be invited by people who said, 'Get Djuna for dinner, she's amusing.' So I stopped it.""

"She was a spendthrift of the spirit, an American in Paris when, as Evelyn Waugh said, the going was good."

"I went back to work and wrote a poem for this person. While I was writing it I was realizing that if I wanted to I could use the telephone instead of writing the poem, and so Personism was born. It's a very exciting movement which will undoubtedly have lots of adherents. It puts the poem squarely between the poet and the person, Lucky Pierre style, and the poem is correspondingly gratified. The poem is at last between two persons instead of two pages."

"Now I am quietly waiting for the catastrophe of my personality to seem beautiful again, and interesting, and modern.The country is grey and brown and white in trees, snows and skies of laughter always diminishing, less funny not just darker, not just grey.It may be the coldest day of the year, what does he think of that? I mean, what do I? And if I do, perhaps I am myself again."

"And always embrace things, people earth sky stars, as I do, freely and with the appropriate sense of space."

"The beauty of America, neither cool jazz nor devoured Egyptian heroes, lies in lives in the darkness I inhabit in the midst of sterile millions."

"It is even in prose, I am a real poet. My poem is finished and I haven't mentioned orange yet It's twelve poems, I call it oranges."

"People I read a lot to my son were people like Robert Bly and Lucille Clifton, Frank O’Hara for some reason, Chinese poems, Japanese poems."

"Bridges are thresholds to other realities, archetypal, primal symbols of shifting consciousness. They are passageways, conduits, and connectors that connote transitioning, crossing borders, and changing perspectives. Bridges span liminal (threshold) spaces between worlds, spaces I call nepantla, a Nahuatl word meaning tierra entre medio. Transformations occur in this in-between space, an unstable, unpredictable, precarious, always-in-transition space lacking clear boundaries. Nepantla es tierra desconocida, and living in this liminal zone means being in a constant state of displacement--an uncomfortable, even alarming feeling. Most of us dwell in nepantla so much of the time it’s become a sort of “home.” Though this state links us to other ideas, people, and worlds, we feel threatened by these new connections and the change they engender."

"The Chicano Movement coalesced identity and I have a lot of respect for it despite its sexist attitudes. For that reason it started diminishing. It's not dead, but the male aspect of it is diminishing because the men would not confront thing but racial issues. The movement to me is now like a mosaic with all these little pieces. The little pieces are the ones that are now being activated so that a poet like Lorna Dee Cervantes is her own little miniature movement. Francisco Alarcón, Norma Alarcón, José Limón, all the people who are writing are carrying out the struggle against domination and subordination in the kinds of things they focus on-language, folklore, just anything."

"The soul uses everything to further its own making. … States which disrupt the smooth flow (complacency) of life are exactly what propel the soul to do its work: make soul, increase consciousness of itself. Our greatest disappointments and painful experiences—if we can make meaning out of them—can lead us toward becoming more of who we are."

"At some point, on our way to a new consciousness, we will have to leave the opposite bank, the split between the two mortal combatants somehow healed so that we are on both shores at once and, at once, see through serpent and eagle eyes. Or perhaps we will decide to disengage from the dominant culture, write it off all together as a lost cause, and cross the border into a wholly new and separate territory. Or we might go another route. The possibilities are numerous once we decide to act and not react."

"That focal point or fulcrum, that juncture where the mestiza stands, is where phenomena tend to collide. It is where the possibility of uniting all that is separate occurs. This assembly is not one where severed or separated pieces merely come together. Nor is it a balancing of opposing powers. In attempting to work out a synthesis, the self has added a third element which is greater than the sum of its severed parts. That third element is a new consciousness—a mestiza consciousness."

"They'd like to think I have melted in the pot. But I haven't. We haven't."

"A misinformed people is a subjugated people."

"I did participate in the Chicano Movement. Actually, I started out with MECHA, a Mexican American youth organization. Also I was involved with different farm worker activities in South Texas and later in Indiana. When I became more recognized as a writer, I started articulating a lot of these feminist ideas that were a kind of continuation of the Chicano Movement. But I call it "El Movimiento Macha." A marimacha is a woman who is very assertive. That is what they used to call dykes, marimachas, half-and-halfs. You were different, you were queer, not normal, you were marimacha. I had been witnessing all these Chicana writers, activists, artists and professors who were very strong and therefore very marimacha. So I named it "El Movimiento Macha" as the Chicano Civil Rights Movement kind of petered out. And there were women like myself, many Chicanas, who were already questioning, having problems with the guys who were ignoring women's issues. Therefore, in the eighties and nineties, there are all these women-Chicana activists, writers and artists-around, and I listen to them, read them and reflect their influence on my life as well. What you could say is that in the sixties and the early seventies the Chicanos were at the controls. They were the ones who were visible, the Chicano leaders. Then in the eighties and nineties, the women have become visible. I see a lot of Chicanas when I travel. They come up to me, and while we are talking I ask them about their role models. They mention names like Cherríe Moraga, Gloria Anzaldúa and other Chicana authors. It is, and will continue to be, women that they are reading, that they respect. Not the guys. So it-the Chicano Movement-has shifted into the Movimiento Macha."

"when Chicanas read Borderlands, when it was read by little Chicanas in particular, it somehow legitimated them. They saw that I was code-switching, which is what a lot of Chicanas were doing in real life as well, and for the first time after reading that book they seemed to realize, "Oh, my way of writing and speaking is okay" and, "Oh, she is writing about La Virgen de Guadalupe, about la Llorona, about the corridos, the gringos, the abusive, et cetera. So if she [Gloria Anzaldúa] does it, why not me as well?" The book gave them permission to do the same thing. So they started using code-switching and writing about all the issues they have to deal with in daily life. To them, it was like somebody was saying: You are just as important as a woman as anybody from another race. And the experiences that you have are worth being told and written about."

"My whole struggle is to change the disciplines, to change the genres, to change how people look at a poem, at theory or at children's books. So I have to struggle between how many of these rules I can break and how I still can have readers read the book without getting frustrated."

"More and more people today become border people because the pace of society has increased. Just think about multi-media, computers and World Wide Web, for example. By the Internet you can communicate instantly with someone in India or somewhere else in the world, like Australia, Hungary or China. We are all living in a society where these borders are transgressed constantly."

"I also want Chicano kids to hear stuff about la Llorona, about the border, et cetera, as early as possible. I don't want them to wait until they are eighteen or nineteen to get that information. I think it is very important that they get to know their culture already as children. Here in California I met a lot of young Chicanos and Chicanas who didn't have a clue about their own Chicano culture. They lost it all. However, later on, when they were already twenty, twenty-five or even thirty years old, they took classes in Chicano studies to learn more about their ancestors, their history and culture. But I want the kids to already have access to this kind of information. That is why I started writing children's books. So far I have had two bilingual books published, and I am writing the third one at the moment. This is going to be more for juvenile readers, little boys and girls who are like ages eleven to twelve. Next I want to write a book for young adults who are about fifteen to sixteen years old as well. With my children's books I want to provide them with more knowledge about their roots and, by doing so, give them the chance to choose. To choose whether they want to be completely assimilated, whether they want to be border people, or whether they want to be isolationists."

"I am a seventh generation American and so I don't have any 'real Mexican' roots. So this is what happened to someone living at the border like me: My ancestors have always lived with the land here in Texas. My indigenous ancestors go back twenty to twenty-five thousand years and that is how old I am in this country. My Spanish ancestors have been in this land since the European takeover which pulled migration from Spain to Mexico. Texas was part of a Mexican state called Tamaulipas. And Texas, New Mexico, Arizona, and part of California and Colorado, were part of the northern section of Mexico. It was almost half of Mexico that the U.S. cheated Mexico out of when they bought it by the Treaty of Guadalupe-Hidalgo. By doing so they created the borderlands. The Anzaldúas lived right at the border. Therefore the ones of our family who ended up north of the border, in the U.S., were the Anzaldúas with an accent, whereas the ones that still lived in Mexico dropped their accent after a while. As the generations then went by, we lost contact with each other. Nowadays the Anzaldúas in the United States no longer know the Anzalduas in Mexico. The border split my family, so to speak."

"The feeling of not belonging to any culture at all, of being an exile in all the different cultures. You feel like there are all these gaps, these cracks in the world. In that case I would draw a crack in the world. Then I start thinking: "Okay, what does this say about my gender, my race, the discipline of writing, the U.S. society in general and finally about the whole world?" And I start seeing all these cracks, these things that don't fit. People pass as though they were average or normal; however, everybody is different. There is no such thing as normal or average. And your culture says: "That is reality!" Women are this way, men are this way, white people are this way. And you start seeing behind that reality. You see the cracks and realize that there are other realities. Women can be this or that, whites can be this or that. Besides physical reality there might be a spiritual reality. A parallel world, a world of the supernatural. After having realized all these cracks, I start articulating them and I do this particularly in the theory. I have stories where these women, these prietas-they are all prietas-actually have access to other worlds through these cracks. So I take these major things, I just go with it and work it out as much as I can. I bring the concept of borders and borderlands more into unraveling all that, too. And I now call it Nepantla, which is a Nahuatl word for the space between two bodies of water, the space between two worlds. It is a limited space, a space where you are not this or that but where you are changing. You haven't got into the new identity yet and haven't left the old identity behind either-you are in a kind of transition. And that is what Nepantla stands for. It is very awkward, uncomfortable and frustrating to be in that Nepantla because you are in the midst of transformation."

"Gender is an important issue, too, as in most of the major religions in the world-like Christianity, Hindi and Islam-women are second-place and inferior. Women are regarded as nothing and often treated worse than cattle. In all these religions there is that attitude underneath. But yes, Christianity has cleaned up a lot of that. However, if you look at all the violence towards women, women are battered, molested, raped or killed-for example, one out of every three women in this country gets molested-there is a deep hatred and fear of women. So, yeah, the white culture emphasizes that we are all equal, men and women. However, underneath all that there is this violence against women, all this negative stuff about women. So if you can see through that illusion, through those cracks, you can see to that reality-of Protestantism, Christianity, Judaism, Hindi, Islam and Moslem, the major religions in the world-that they still have that negative attitude towards women as they continue to regard and treat them as inferior beings."

"When you go through a heavy difficult time, and you don't have the resources, you can't go to anybody in the society or in the community, you finally fall back on yourself. What I did was that I started breathing. I had to like breathing and to start meditating in order to get through the pain and that whole difficult period. And all that reconnected me with nature, from which I had gotten away. So this is why I like to live at the ocean, like I do now here in Santa Cruz. You know, to live near the ocean means that you just go there and then get another infusion of energy. All the petty problems you have fall away because of the presence of the ocean. It therefore is a real spiritual presence for me. I feel that way with some trees, the wind, serpents, snakes, deserts, too. So in the periods that I was going through, my very darkest times when there was nobody there for me, I realized that at least I had to be there for me."

"An addiction (a repetitious act) is a ritual to help one through a trying time; its repetition safeguards the passage, it becomes one's talisman, one's touchstone. If it sticks around after having outlived its usefulness, we become "stuck" in it and it takes possession of us. But we need to be arrested. Some past experience or condition has created this need. This stopping is a survival mechanism, but one which must vanish when it's no longer needed if growth is to occur."

"Wild tongues can't be tamed, they can only be cut out."

"Like all people, we perceive the version of reality that our culture communicates. Like others having or living in more than one culture, we get multiple, often opposing messages. The coming together of two self-consistent but habitually incomparable frames of reference causes un choque, a cultural collision."

"Who is to say that robbing a people of its language is less violent than war?"

"The answer to the problem between the white race and the colored, between males and females, lies in healing the split that originates in the very foundation of our lives, our culture, our languages, our thoughts. A massive uprooting of dualistic thinking in the individual and collective consciousness is the beginning of a long struggle, but one that could in our best hopes, bring us to the end of rape, of violence, of war."

"I preferred the world of imagination to the death of sleep"

"only through the body, through the pulling of flesh, can the human soul be transformed. And for images, words, stories to have this transformative power, they must arise from the human body--flesh and bone--and from the Earth's body--stone, sky, liquid, soil."

"Borders are set up to define the places that are safe and unsafe, to distinguish us from them. A border is a dividing line, a narrow strip along a steep edge. A borderland is a vague and undetermined place created by the emotional residue of an unnatural boundary. It is in a constant state of transition. The prohibited and forbidden are its inhabitants."

"Those who are pushed out of the tribe for being different are likely to become more sensitized (when not brutalized into insensitivity)."

"Alienated from her mother culture, ‘alien' in the dominant culture, the woman of color does not feel safe within the inner life of her Self. Petrified, she can’t respond, her face caught between los intersticios, the spaces between the different worlds she inhabits."

"There is something compelling about being both male and female, about having an entry into both worlds. Contrary to some psychiatric tenets, half and halfs are not suffering from a confusion of sexual identity, or even from a confusion of gender. What we are suffering from is an absolute despot duality that says we are able to be only one or the other. It claims that human nature is limited and cannot evolve into something better. But I, like other queer people, am two in one body, both male and female. I am the embodiment of the hieros gamos: the comig together of opposit qualities within."

"The skin of the earth is seamless. The sea cannot be fenced, El mar does not stop at borders"

"(Q: Did people in your family tell stories about their own lives?) A: Some of the stories had to do with animals. My father told about black ghost dogs, espantos, and Mamágrande Ramona told rabid coyote stories and stories of Pancho Villa coming across the border and raiding the pueblos."

"When everybody says "lesbian," a word connected with Sappho and the island of Lesbos, that automatically means that your forefathers and foremothers are European, that George Washington is the father of our country and Columbus discovered America-all false assumptions."

"I'm using the word nos/otras. Otras means other and nos means us, we. We don't have to keep using the oppositional language of the fathers. We were taught to write and think like these theorists. It's complicitous for somebody who is an "other" to be using "their" terms and "their" styles all the time. It's like fighting them with their own language. Audre Lorde said it very succinctly: "You cannot use the master's tools to dismantle the master's house."

"the lesbian community is under siege, we always try to present to the heterosexual community the idealized version, but I do not think that's a good way to do it, even though I can understand where it's coming from. ("Valerie Miner talked about the kinds of self-censorship she finds in her work when she starts thinking she should present only positive images of lesbians or working-class people.") Yes. In that poem and also in the poem "Night Voice" I do that. There's this whole controversy now over media images of lesbians and gays and bisexuals. It's brought out in movies like Basic Instinct and Silence of the Lambs where they are presented as killers. It comes up in the novels of P. D. James, where she has these criminals who are lesbians or gay men. And I hate that. But, at the same time, I want the dirty laundry to be out there, whether it's on the Mexican culture or the lesbian culture or the bisexual. And I'm not sure how you do that."

"Why am I compelled to write? Because the writing saves me from this complacency I fear. Because I have no choice. Because I must keep the spirit of my revolt and myself alive. Because the world I create in the writing compensates for what the real world does not give me. By writing I put order in the world, give it a handle so I can grasp it. I write because life does not appease my appetites and hunger. I write to record what others erase when I speak, to rewrite the stories others have miswritten about me, about you."

"Many have a way with words. They label themselves seers but they will not see. Many have the gift of tongue but nothing to say. Do not listen to them. Many who have words and tongue have no ear, they cannot listen and they will not hear. (p. 171)"

"Write with your eyes like painters, with your ears like musicians, with your feet like dancers. You are the truthsayer with quill and torch. Write with your tongues of fire. Don't let the pen banish you from yourself. (p. 171)"

"We are not reconciled to the oppressors who whet their howl on our grief. We are not reconciled. (p. 171)"

"Perhaps like me you are tired of suffering and talking about suffering, estás hasta el pescuezo de sufrimiento, de contar las lluvias de sangre pero no las lluvias de flores (up to your neck with suffering, of counting the rainsof blood but not the rains of flowers)."

"Basta de gritar contra el viento-toda palabra es ruido si no está acompañada de acción (enough of shouting against the wind-all words are noise if not accompanied with action)."

"We have come to realize that we are not alone in our struggles nor separate nor autonomous but that we-white black straight queer female male-are connected and interdependent. We are each accountable for what is happening down the street, south of the border or across the sea. And those of us who have more of anything: brains, physical strength, political power, spiritual energies, are learning to share them with those that don't have."

"With This Bridge comenzado a salir de las sombras; hemos comenzado a reventar rutina costumbres opresivas y a aventar los tabues; hemos comenzado a acarrear con orgullo la tarea de deshelar corazones y cambiar conciencias (we have begun to come out of the shadows; we have begun to break with routines and oppressive customs and to discard taboos; we have commenced to carry with pride the task of thawing hearts and changing consciousness). Mujeres, a no dejar que el peligro del viaje y la inmensidad del territorio nos asuste-a mirar hacia adelante y a abrir paso en el monte (Women, let's not let the danger of the journey and the vastness of the territory scare us-let's look forward and open paths in these woods). Caminante, no hay puentes, se hacen puentes al andar (Voyager, there are no bridges, one builds them as one walks)."

"Like a stone thrown into a pool, this book's ripples have touched people on numerous shores, affecting scholars and activists throughout the world."

"Among the ashes traces of our roots glow like live coals illuminating our past, giving us sustenance for the present and guidance for the future."

"The seed for this book came to me in the mid-seventies in a graduate English class taught by a "white" male professor at the University of Texas at Austin. As a Chicana, I felt invisible, alienated from the gringo university and dissatisfied with both el movimiento Chicano and the feminist movement. Like many of the contributors to Bridge I rebelled, using writing to work through my frustrations and make sense of experiences."

"collectively we've gone far, but we've also lost ground-affirmative action has been repealed, the borders have been closed, racism has taken new forms and it's as pervasive as it was twenty-one years ago. Some of the cracks between the worlds have narrowed, but others have widened-the poor have gotten poorer, the corporate rich have become billionaires. New voices have joined the debate, but others are still excluded."

"Later I taught a course in Chicano Studies titled La Mujer Chicana. Having difficulty finding material that reflected my students' experiences I vowed to one day put Chicanas' and other women's voices between the covers of a book."

"Subtle forms of political correctness, self-censorship, and romanticizing home racial/ethnic/class communities imprison us in limiting spaces. These categories do not reflect the realities we live in, and are not true to our multicultural roots. Liminality, the in-between space of nepantla, is the space most of us occupy. We do not inhabit un mundo but and we need to allow these other worlds and peoples to join in the feminist-of-color dialogue. We must be wary of assimilation but not fear cultural mestizaje. Instead we must become nepantleras and build bridges between all these worlds as we traffic back and forth between them, detribalizing and retribalizing in different and various communities."

"daring to make connections with people outside our "race" necessitates breaking down categories. Because our positions are nos/otras, both/and, inside/outside, and inner exiles we see through the illusion of separateness. We crack the shell of our usual assumptions by interrogating our notions and theories of race and other differences. When we replace the old story (of judging others by race, class, gender, and sexual groupings and using these judgments to create barriers), we threaten people who believe in clearly defined mutually exclusive categories. The same hands that split assumptions apart exchange of stories."

"Our images/feelings/thoughts have to be conflicted before we see the need for change."

"For positive social change to happen we need to envision a different reality, dream new blueprints for it, formulate new strategies for coping in it."

"May our voices proclaim the bonds of bridges."

"Though modern therapies exhort you to act against your passions (compulsions), claiming health and integration lies in that direction, you've learned that delving more fully into your pain, anger, despair, depression will move you through them to the other side, where you can use their energy to heal."

"The solution to your depression lies en esa cueva oscura [in this dark cave] and a deeper integration of your psyche."

"Her work is an exemplar of how to interpret from experience, and it also directs our attention to a process of connection between ourselves as women, and across the many boundaries of difference."

"Gloria Anzaldúa declares: "I will not glorify those aspects of my culture which have injured me and which have injured me in the name of protecting me. So don't give me your tenets and your laws. Don't give me your lukewarm gods. What I want is an accounting with all three cultures-white, Mexican, Indian." In her demand for "an accounting" with the many cultures and communities that define her identity, Anzaldúa articulates una cultura mestiza, an agonistic and innovative feminism whose democratic receptivity is characterized by its emphasis on contentious encounters that cut across multiple axes of difference."

"she was instrumental in revisioning feminism to embrace the concerns of lesbians and women of color."

"This is the oppressor's languages yet I need it to talk to you." Adrienne Rich's words...I know that it is not the English language that hurts me, but what the oppressors do with it, how they shape it to become a territory that limits and defines, how they make it a weapon that can shame, humiliate, colonize. Gloria Anzaldúa reminds us of this pain in Borderlands/La Frontera when she asserts, "So, if you want to really hurt me, talk badly about my language."

"Gloria Anzaldúa has consistently modelled commitment to writing as a life-organizing principle; in addition, Gloria, an old friend, and Chrystos, a new one, gave me courage to write honestly about violence."

"Shame is a knife that carves out a culture's heart. To name, describe and defy shame is thus a profoundly rebellious, strengthening act, and nobody writes about shame like Gloria Anzaldúa-the shame of the other, the minority, the one whose face, hair, eyes, skin, speech, sexuality is different, not right...Those familiar with Anzaldúa's writing from This Bridge Called My Back, the groundbreaking collection she co-edited with Cherrie Moraga, know her as one of the most important and original voices of Third World feminism. In the borderlands new creatures come into being, including the "new mestiza" Anzaldúa celebrates in some of the boldest experimental writing to come out of the women's movement. Monique Wittig comes to mind, experimenting with language as well as form, or June Arnold, or the innovative English/Yiddish poetry of Irena Klepfisz, cited several times by Anzaldúa...the dominant note in the book is neither scolding nor grim. Anzaldúa loves her culture, language, people. Many of the poems are wildly humorous or optimistic simply by dint of their inventiveness ("Interface" or "Holy Relics," for example). She invokes new human possibility in the name of the new mestiza charged with pulling the human race into a future free from destruction, exploitation or oppression."

"In the '80s, when I -- I've written about this -- I was rooming with Gloria Anzaldúa, who was a Chicana lesbian writer from Texas. And we were teaching in a program in Santa Cruz -- a summer three-week -- I think it was a three-week program. It was called Women's Voices, and it was about -- it was a writing program,...We sort of introduced ourselves to each other, and -- she did ask me how come I never used Yiddish, and I thought that was sort of an interesting question, since it had never even occurred to me. I mean, I think I used two Yiddish words up until then."

"The most striking change during the past 20 years can be seen in attitudes toward homophobia. In the late 1960s and early 1970s, an almost total silence hung over gay and lesbian advocacy. No openly gay person could be a movement leader. Today homophobia persists; most progressive, straight Chicanos as well as Chicanas still fail to see gay and lesbian rights as another struggle of other oppressed people. Too many still fail to see homophobia as a sometimes murderous force of discrimination. But the situation has improved, especially in some major cities, in academia and among youth...The work of Chicana lesbian artists and intellectuals such as Gloria Anzaldúa and Cherríe Moraga has been crucial to this liberation, with benefits going beyond las lesbianas. Wherever one finds strong voices for women among Chicanas, they often come from Lesbians."

""To survive the borderlands/you must live sin fronteras/be a crossroads." Those words convey Gloria E. Anzaldúa's essence as she wrote so powerfully about the many kinds of borderlands we confront in life...Her death from diabetes marks the loss of a great feminist philosopher whose ideas live on."

"I saw Anzaldúa in action at a workshop on the creative process. "How's that for drama?" she asked us, having covered a portable blackboard with drawings. "I lecture with pictures," she explained, going on to trace the significance of these personal hieroglyphics. After she read us one of her poems in Spanish: "I know that was frustrating for many of you, but I wanted you to see what it feels like to be locked out of the language because you don't know it. I was punished for speaking Spanish in school.""

"What I like about Chicana writers like Gloria Anzaldúa, Cherrie Moraga, and others is that they have very important things to say. They have a vision, a feminist vision."

"Gloria Anzaldúa, disentangling the heavy hanging strands fringing the cave of mestiza consciousness, finds speechlessness compounded by femaleness, and both by the fact of being alien, "queer," not a woman in her culture's eyes. Her sense of identity is more complicated than Baca's because she's forced to transform many layers of negativity surrounding femaleness itself-images of Malintzin, the Indian woman as betrayer, of la chingada, the Indian woman as the fucked-one, of la Llorona, eternally mourning, long-suffering mother-and to confront the despot duality of simplistic masculine/feminine: I, like other queer people, am two in one body, both male and female. I am the embodiment of the hieros gamos: the coming together of opposite qualities within.""

"What W. E. B. Du Bois described as the "veil" that barred African Americans from the White American world can be productively understood in relation to Latinx subjectivities by drawing on Anzaldúa's theorization of exclusion in Borderlands/La Frontera (1987). For Anzaldúa, borders are recursive structures that can be reproduced on a number of scales, such that the "color line" (in Du Bois' terms) is just one of many possible sites for the production of exclusion and double-consciousness. In her formulation of a New Mestiza Consciousness, the racial and economic exclusion caused by colonialism must always be understood in relation to the sexual and gender domination of patriarchy. Anzaldúa's Chicana feminism involves the experience of multiple forms of double-consciousness in response to the multiplicity of power. In some places, Anzaldúa characterizes her lesbian Chicana feminist consciousness as a "Shadow-Beast... that refuses to take orders from outside authorities... that hates constraints of any kind, even those self-imposed" (1987:38)...What Du Bois' navigates as transcendence around and above the exclusionary veil, allowing him to access both the Black and White worlds, Anzaldúa approaches with a hopeful ambivalence: she is without country as a Mestiza, yet possesses all countries through the potential for feminine kinship: she is without race as a lesbian, yet identifies with all races as part of a queer diaspora; and she is without culture as a staunch critic of patriarchal beliefs and practices, yet fully cultural as a creative participant in the production of an emergent reality (1987:102-103)."

"The works of Chicana lesbian writers Gloria Anzaldúa, Cherrie Moraga, Emma Pérez, Ana Castillo, Alicia Gaspar de Alba, Carla Trujillo, and many others bring out the pain and isolation, but, as important, their joys, self-respect, courage, and dignity."

"The migrants' plight has transformed border crossings into a key image in contemporary Latin American art and poetry. José Martí, who lived in exile in New York, said that shame of the indigenous mother culture is at the core of Latin America's dependency, fueling the sell-out of natural resources and the cycle of poverty. Gamaliel Churata concurs. It is no coincidence that the main theorization on this issue has come from the work of Gloria Anzaldúa, a mestiza born and raised on the border. She writes: "The U.S. Mexican border is an open wound where the Third World grates against the first and bleeds. . . . We, indias y mestizas, police the Indian in us, brutalize and condemn her." In her work, the negative space that defines women by what they "are not" (nonwhite, non-male), is transformed into creative space, by a will "to fashion my own gods out of my entrails. " Her work indicates the difficult edge all mestizos navigate, the hidden rage and complex paradoxes that women poets often acknowledge."

"Our earth is round, and, among other things, that means that you and I can hold completely different points of view and both be right. The difference of our positions will show stars in your window I cannot even imagine. Your sky may burn with light, while mine, at the same moment, spreads beautiful to darkness. Still we must choose how we separately corner the circling universe of our experience. Once chosen, our cornering will determine the message of any star and darkness we encounter. These poems speak to philosophy; they reveal the corners where we organize what we know."

"And who will join this standing up and the ones who stood without sweet company will sing and sing back into the mountains and if necessary even under the sea we are the ones we have been waiting for"

"I wanted to be strong. I never wanted to be weak again as long as I lived. I thought about my mother and her suicide and I thought about how my father could not tell whether she was dead or alive. I wanted to get well and what I wanted to do as soon as I was strong, actually, what I wanted to do was I wanted to live my life so that people would know unmistakably that I am alive, so that when I finally die people will know the difference for sure between my living and my death. And I thought about the idea of my mother as a good woman and I rejected that, because I don't see why it's a good thing when you give up, or when you cooperate with those who hate you or when you polish and iron and mend and endlessly mollify for the sake of the people who love the way that you kill yourself day by day silently. And I think all of this is really about women and work. Certainly this is all about me as a woman and my life work. I mean I am not sure my mother’s suicide was something extraordinary. Perhaps most women must deal with a similar inheritance, the legacy of a woman whose death you cannot possibly pinpoint because she died so many, many times and because, even before she became my mother, the life of that woman was taken; I say it was taken away."

"I am working for the courage to admit the truth that Bertolt Brecht has written; he says, "It takes courage to say that the good were defeated not because they were good, but because they were weak." I cherish the mercy and the grace of women’s work. But I know there is new work that we must undertake as well: that new work will make defeat detestable to us. That new women’s work will mean we will not die trying to stand up: we will live that way: standing up. I came too late to help my mother to her feet. By way of everlasting thanks to all of the women who have helped me to stay alive I am working never to be late again."

"If any of us hopes to survive, s/he must meet the extremity of the American female condition with immediate and political response. The thoroughly destructive and indefensible subjugation of the majority of Americans cannot continue except at the peril of the entire body politic."

"Revolution always unfolds inside an atmosphere of rising expectations."

"I care because I want you to care about me. I care because I have become aware of my absolute dependency upon you, whoever you are, for the outcome of my social, my democratic experience."

"If you are free, you are not predictable and you are not controllable."

"Bisexuality means I am free and I am as likely to want to love a woman as I am likely to want to love a man, and what about that? Isn't that what freedom implies?"

"As a child I was taught that to tell the truth was often painful. As an adult I have learned that not to tell the truth is more painful, and that the fear of telling the truth — whatever the truth may be — that fear is the most painful sensation of a moral life."

"1. “The People” shall not be defined as a group excluding or derogating anyone on the basis of race, ethnicity, language, sexual preference, class, or age. 2. “The People” shall consciously undertake to respect and to encourage each other to feel safe enough to attempt the building of a community of trust in which all may try to be truthful and deeply serious in the messages they craft for the world to contemplate. 3. Poetry for the People rests upon a belief that the art of telling the truth is a necessary and a healthy way to create powerful, and positive, connections among people who, otherwise, remain (unknown and unaware) strangers. The goal is not to kill connections but, rather, to create and to deepen them among truly different men and women."

"Most of the women of the world-Black and First World and white who work because we must-most of the women of the world persist far from the heart of the usual Women's Studies syllabus. Similarly, the typical Black History course will slide by the majority experience it pretends to represent. For example, Mary McLeod Bethune will scarcely receive as much attention as Nat Turner, even though Black women who bravely and efficiently provided for the education of Black people hugely outnumber those few Black men who led successful or doomed rebellions against slavery. In fact, Mary McLeod Bethune may not receive even honorable mention because Black History too often apes those ridiculous white history courses which produce such dangerous gibberish as The Sheraton British Colonial "history" of the Bahamas. Both Black and white history courses exclude from their central consideration those people who neither killed nor conquered anyone as the means to new identity, those people who took care of every one of the people who wanted to become "a person," those people who still take care of the life at issue: the ones who wash and who feed and who teach and who diligently decorate straw hats and bags with all of their historically unrequired gentle love: the women."

"Body and soul, Black America reveals the extreme questions of contemporary life, questions of freedom and identity: How can I be who I am?"

"We, we know the individuality that isolates the man from other men, the either/or, the lonely-one that leads the flesh to clothing, jewelry, and land, the solitude of sight that separates the people from the people, flesh from flesh, that jams material between the spirit and the spirit. We have suffered witness to these pitiful, and murdering, masquerade extensions of the self.Instead, we choose a real, a living enlargement of our only life. We choose community."

"Efficiency, competence: Black students know the deadly, neutral definition of these words. There seldom has been a more efficient system for profiteering, through human debasement, than the plantations, of a while ago. Today, the whole world sits, as quietly scared as it can sit, afraid that, tomorrow, America may direct its efficiency and competence toward another forest for defoliation, or clean-cut laser-beam extermination."

"We are among those who have been violated into violence."

"In America, the traditional routes to black identity have hardly been normal. Suicide (disappearance by imitation, or willed extinction), violence (hysterical religiosity, crime, armed revolt), and exemplary moral courage; none of these is normal."

"Education has paralleled the life of prospering white America: it has been characterized by reverence for efficiency, cultivation of competence unattended by concern for aim, big white lies, and the mainly successful blackout of Black life."

"June Jordan, who has died aged 65, after suffering from breast cancer for several years, defied all pigeonholes. Poet, essayist, journalist, dramatist, academic, cultural and political activist — she was all these things, by turn and simultaneously, but above all, she was an inspirational teacher, through words and actions, and a supremely principled person. …Her life was about challenging oppression, and her characteristic talent was the ability to lay bare through her writing "the intimate face of universal struggle". … For Toni Morrison, the sum of June Jordan's career was: "Forty years of tireless activism coupled with and fueled by flawless art." All that aside, she was a joy to know."

"At the library I would go the shelves alphabetically. I was drawn to anyone with a female name, with a Latino or Spanish name. There were very, very few. But as a teenager I discovered African American poetry. Gwendolyn Brooks was the first. Then Phillis Wheatley. I really identified with this slave woman writing poetry to assert and affirm her humanity. Suddenly my eyes were open to history. There was a whole explosion of African-American women poets-Audre Lorde, Nikki Giovanni, June Jordan. I have a poem in my head that's going to take me years to write down. Its working title is "On Thanking Black Muses." I owe them, because poetry really changed my life, saved it."

"I learned a lot from the black arts movement. I loved reading black feminist thinkers on my own (outside of academia)—Audre Lorde, Barbara Smith, Angela Davis, June Jordan, bell hooks, etc."

"I have realized that I was in danger of losing my relationship to black vernacular speech because I too rarely use it in the predominantly white settings that I am most often in, both professionally and socially. And so I have begun to work at integrating into a variety of settings the particular Southern black vernacular speech I grew up hearing and speaking. It has been hardest to integrate black vernacular in writing, particularly for academic journals. When I first began to incorporate black vernacular in critical essays, editors would send the work back to me in standard English. Using the vernacular means that translation into standard English may be needed if one wishes to reach a more inclusive audience. In the classroom setting. I encourage students to use their first language and translate it so they do not feel that seeking higher education will necessarily estrange them from that language and culture they know most intimately. Not surprisingly, when students in my Black Women Writers class began to speak using diverse language and speech, white students often complained. This seemed to be particularly the case with black vernacular. It was particularly disturbing to the white students because they could hear the words that were said but could not comprehend their meaning. Pedagogically, I encouraged them to think of the moment of not understanding what someone says as a space to learn. Such a space provides not only the opportunity to listen without "mastery," without owning or possessing speech through interpretation, but also the experience of hearing non-English words. These lessons seem particularly crucial in a multicultural society that remains white supremacist, that uses standard English as a weapon to silence and censor. June Jordan reminds us of this in On Call."

"June Jordan, who has been a touchstone of mine, really, since I first read her work in college, which was many, many years ago. So I really can't believe that I'm here today, and I'm really grateful to be here with all of you to celebrate her legacy and her life. June Jordan loved Black people, and so do I. She was an educator, and so am I. She was an activist; so am I. She was an internationalist, and so am I. She was a brilliant writer, and I am not-at all...She insisted that by organizing, we have the power to overcome oppression. I too believe this to be true."

"Aren't we blessed that June Jordan is one of the ancestors who we can call on and hear her voice to keep us centered in this current stormy weather? What can we hear from her in this moment? I think that love is a requirement of principled struggle, both self-love and love of others, that we must all do what we can, that it is better to do something rather than nothing, that we have to trust others as well as ourselves. I often repeat the adage that "hope is a discipline." We must practice it daily. June's work teaches us this truth."

"Today's mic-hogging, fast-talking, contentious young (and old) lefties continue to hawk little books and pamphlets on revolution, always with choice words or documents from Marx, Mao, even Malcolm. But I've never seen a broadside with "A Black Feminist Statement or even the writings of Angela Davis or June Jordan or Barbara Omolade or Flo Kennedy or Audre Lorde or bell hooks or Michelle Wallace, at least not from the groups who call themselves leftist. These women's collective wisdom has provided the richest insights into American radicalism's most fundamental questions: How can we build a multiracial movement? Who are the working class and what do they desire? How do we resolve the Negro Question and the Woman Question? What is freedom?"

"As we move toward empowerment, we face the other inseparable question, what are we empowering ourselves for? In other words, how do we use this power we are reaching for? We can't separate those two. June Jordan once said something which is just wonderful. I'm paraphrasing her-that her function as a poet was to make revolution irresistible. Well o.k. that is the function of us all, as creative artists, to make the truth, as we see it, irresistible. That's what I want to do with all of my writing."

"We are hungry for heroes. To paraphrase June Jordan, we are the women whom we want to become."

"In this era of counter-revolution and its deadly effects, we can be discouraged into silence or reduced to caring only about our immediate, personal world. Or we can, as I heard poet June Jordan say at a conference in Arizona, fight back against "those pistol-packing gatekeepers of a house that never belonged to them in the first place." That sounds better! And let's remember: there would be no counter-attack today if we hadn't made some significant changes yesterday."

"In political journalism that cuts like razors, in essays that blast the darkness of confusion with relentless light; in poetry that looks as closely into lilac buds as into death’s mouth … she has comforted, explained, described, wrestled with, taught and made us laugh out loud before we wept. … I am talking about a span of forty years of tireless activism coupled with and fueled by flawless art."

"A few years ago, there was the first collection ever published of political essays written by a Black woman-June Jordan. Think about that. It's amazing there are so few."

"In the words of June Jordan, “We always have choices. And capitulation is only one of them.”"

"June Jordan’s poetry embraces a half-century in which she dwelt as poet, intellectual, and activist: also as teacher, observer, and recorder. In a sense unusual among twentieth-century poets of the United States, she believed in and lived the urgency of the word — along with action — to resist abuses of power and violations of dignity in — and beyond — her country."

"She believed, and nourished the belief, that genuine, up-from-the-bottom revolution must include art, laughter, sensual pleasure, and the widest possible human referentiality. She wrote from her experience in a woman's body and a dark skin, though never solely "as" or "for." Sharply critical of nationalism, separatism, chauvinism of all kinds as tendencies toward narrowness and isolation, she was too aware of democracy's failures to embrace false integrations. Her poetic sensibility was kindred to Blake's scrutiny of innocence and experience; to Whitman's vision of sexual and social breadth; to Gwendolyn Brooks's and Romare Bearden's portrayals of ordinary black people's lives; to James Baldwin's expression of the bitter contradictions within the republic...She knew many poetries, ancient and modern; her sonnets, for example, are both silken and surprising. But in her preface to the collection Passion, she matched herself consciously most incisive essays from the last two decades with the tradition of "New World poetry," non-European, deriving in North America from Whitman, and including "Pablo Neruda, Agostinho Neto, Gabriela Mistral, Langston Hughes, Margaret Walker and Edward Brathwaite.""

"I also want to read, and make, poems that remind me "why it must come," why what June Jordan calls the logic of "the infinite connectedness of human life" demands equality in community. This poetry is worth our most sacred and profane passion, because it embodies our desire, what we might create, in the difficult world around the poem."

"June's work opened new ways for me as a reader to think about nature poetry. In fact, as a longtime reader of her work, I had never thought of her as an environmental poet, perhaps because I had categorized her as a social justice poet and a black feminist writer, and in my mind, as a result of years of literary and cultural indoctrination, these identities were separate from what was most commonly defined as "nature poet." And yet, as I read her collected work again in search of nature poetry, I found it everywhere. June saw everything as connected, and she loved nature and spoke out on its behalf."

"June Jordan makes us think of Akhmatova, of Neruda. She is the bravest of us, the most outraged. She feels for all. She is the universal poet."

"Let us imagine the prospect-for the first time in the nation's history-of a population united for fundamental change. Would the elite turn as so often before, to its ultimate weapon-foreign intervention-to unite the people with the Establishment, in war? It tried to do that in 1991, with the war against Iraq. But, as June Jordan said, it was "a hit the same way that crack is, and it doesn't last long.""

"Aunt Jennifer's tigers prance across a screen, Bright topaz denizens of a world of green. They do not fear the men beneath the tree; They pace in sleek chivalric certainty.Aunt Jennifer's fingers fluttering through her wool Find even the ivory needle hard to pull. The massive weight of Uncle's wedding band Sits heavily upon Aunt Jennifer's hand.When Aunt is dead, her terrified hands will lie Still ringed with ordeals she was mastered by. The tigers in the panel that she made Will go on prancing, proud and unafraid."

"A thinking woman sleeps with monsters."

"I have to say that what I know I know through making poems."

"instead of poems about experiences I am getting poems that are experiences, that contribute to my knowledge and my emotional life even while they reflect and assimilate it. In my earlier poems I told you, as precisely and eloquently as I knew how, about something in the more recent poems something is happening, something has happened to me and, if I have been a good parent to the poem, something will happen to you who read it."

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

"To become a token woman—whether you win the Nobel Prize or merely get tenure at the cost of denying your sisters—is to become something less than a man … since men are loyal at least to their own world-view, their laws of brotherhood and self-interest."

"False history gets made all day, any day, the truth of the new is never on the news False history gets written every day... The lesbian archaeologist watches herself sifting her own life out from the shards she's piecing, asking the clay all questions but her own."

"What would it mean to live in a city whose people were changing each other's despair into hope?-- You yourself must change it.-- what would it feel like to know your country was changing?-- You yourself must change it.-- Though your life felt arduous new and unmapped and strange what would it mean to stand on the first page of the end of despair?"

"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 of kinship where all is represented as separation."

"There is no simple formula for the relationship of art to justice. But I do know that art means nothing if it simply decorates the dinner table of power which holds it hostage. The radical disparities of wealth and power in America are widening at a devastating rate. A President cannot meaningfully honor certain token artists while the people at large are so dishonored. I know you have been engaged in a serious and disheartening struggle to save government funding for the arts, against those whose fear and suspicion of art is nakedly repressive. In the end, I don’t think we can separate art from overall human dignity and hope. My concern for my country is inextricable from my concerns as an artist. I could not participate in a ritual which would feel so hypocritical to me."

"I'm both a poet and one of the "everybodies" of my country. I live with manipulated fear, ignorance, cultural confusion and social antagonism huddling together on the faultline of an empire. I hope never to idealise poetry — it has suffered enough from that. Poetry is not a healing lotion, an emotional massage, a kind of linguistic aromatherapy. Neither is it a blueprint, nor an instruction manual, nor a billboard. There is no universal Poetry, anyway, only poetries and poetics, and the streaming, intertwining histories to which they belong. There is room, indeed necessity, for both Neruda and César Valléjo, for Pier Paolo Pasolini and Alfonsina Storni, for both Ezra Pound and Nelly Sachs. Poetries are no more pure and simple than human histories are pure and simple. And there are colonised poetics and resilient poetics, transmissions across frontiers not easily traced."

"Of course, like the consciousness behind it, behind any art, a poem can be deep or shallow, glib or visionary, prescient or stuck in an already lagging trendiness. What's pushing the grammar and syntax, the sounds, the images — is it the constriction of literalism, fundamentalism, professionalism — a stunted language? Or is it the great muscle of metaphor, drawing strength from resemblance in difference? Poetry has the capacity to remind us of something we are forbidden to see. A forgotten future: a still uncreated site whose moral architecture is founded not on ownership and dispossession, the subjection of women, outcast and tribe, but on the continuous redefining of freedom — that word now held under house arrest by the rhetoric of the "free" market. This on-going future, written-off over and over, is still within view. All over the world its paths are being rediscovered and reinvented. There is always that in poetry which will not be grasped, which cannot be described, which survives our ardent attention, our critical theories, our late-night arguments. There is always (I am quoting the poet/translator Américo Ferrari) "an unspeakable where, perhaps, the nucleus of the living relation between the poem and the world resides"."

"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. (p55, "The 'Sacred Calling'")"

"In the interstices of language lie powerful secrets of the culture. (p249, "Motherhood and Daughterhood")"

"It's exhilarating to be alive in a time of awakening consciousness; it can also be confusing, disorienting, and plainful. ("When We Dead Awaken: Writing As Re-Vision")"

"Re-vision – the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction – is for woman more than a chapter in cultural history: it is an act of survival. Until we 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. ("When We Dead Awaken: Writing As Re-Vision")"

"poems are like dreams: in them you put what you don't know you know. ("When We Dead Awaken: Writing As Re-Vision")"

"Much male fear of feminism is the fear that, in becoming whole human beings, women will cease to mother men, to provide the breast, the lullaby, the continuous attention associated by the infant with the mother. Much male fear of feminism is infantilism–the longing to remain the mother’s son, to possess a woman who exists purely for him. ("Husband-Right and Father-Right" 1977)"

"I think that passion for survival is the great theme of women's poetry. (from "Power and Danger: Works of a Common Woman" 1977)"

"motherhood is the great mesh in which all human relations are entangled, in which lurk our most elemental assumptions about love and power. (from "Motherhood: The Contemporary Emergency and the Quantum Leap" 1978)"

"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. ("Motherhood: The Contemporary Emergency and the Quantum Leap" 1978)"

"I had been looking for the Women's Liberation movement since the 1950s. I came into it in 1970 (Forward)"

"I believe that words can help us move or keep us paralyzed, and that our choices of language and verbal tone have something - a great deal - to do with how we live our lives and whom we end up speaking with and hearing... ("Toward a More Feminist Criticism")"

"my personal world view at sixteen, as at twenty-six, was itself being created by political conditions. I was not a man; I was white in a white-supremacist society; I was being educated from the perspective of a particular class; my father was an "assimilated" Jew in an anti-Semitic world, my mother a white southern Protestant; there were particular historical currents on which my consciousness would come together, piece by piece. My personal world view was shaped in part by the poetry I had read, a poetry written almost entirely by white Anglo-Saxon men, a few women, Celts and Frenchmen notwithstanding. Thus, no poetry in the Spanish language or from Africa or China or the Middle East. My personal world view, which like so many young people I carried as a conviction of my own uniqueness, was not original with me, but was, rather, my untutored and half-conscious rendering of the facts of blood and bread, the social and political forces of my time and place. ("Blood, Bread, and Poetry: the Location of the Poet")"

"When someone with the authority of a teacher describes the world and you’re not in it, there’s a moment of psychic disequilibrium, as if you looked into a mirror and saw nothing. It takes some strength of soul--and not just individual strength, but collective understanding--to resist this void, this non-being, into which you are thrust, and to stand up, demanding to be seen and heard. And to make yourself visible, to claim that your experience is just as real and normative as any other... ("Invisibility in Academe")"

"Patriarchy is no more an abstraction than imperialism is, once you have tasted it in your mouth, felt it across your flesh. ("North American Tunnel Vision" 1983)"

"As a feminist in the United States it seemed necessary to examine how we participate in mainstream North American cultural chauvinism, the sometimes unconscious belief that white North Americans possess a superior right to judge, select, and ransack other cultures, that we are more "advanced" than other peoples of this hemisphere. ("North American Tunnel Vision" 1983)"

"Feminism has always been shaped and fired by the question How can things be other than they are? What if...? (p190 "The Soul of a Woman's College")"

"Women's Studies can amount simply to compensatory history; too often they fail to challenge the intellectual and political structures that must be challenged if women as a group are ever to come into collective, nonexclusionary freedom."

"No woman is really an insider in the institutions fathered by masculine consciousness."

"In this decade now ending, as more women are entering the professions (though still suffering sexual harassment in the workplace, though still, if they have children, carrying two full-time jobs, though still vastly outnumbered by men in upper-level and decision-making jobs), we need most profoundly to remember that early insight of the feminist movement as it evolved in the late sixties: that no woman is liberated until w all are liberated."

"An early objection to feminism-in both the nineteenth and twentieth centuries-was that it would make women behave like men-ruthlessly, exploitatively, oppressively. In fact, radical feminism looks to a transformation of human relationships and structures in which power, instead of a thing to be hoarded by a few, would be released to and from within the many, shared in the form of knowledge, expertise, decision making, access to tools, as well as in the basic forms of food and shelter and health care and literacy."

"The belief that established science and scholarship-which have so relentlessly excluded women from their making-are "objective" and "value-free" and that feminist studies are "unscholarly," "biased," and "ideological" dies hard. Yet the fact is that all science, and all scholarship, and all art are ideological; there is no neutrality in culture."

"Learn to be worthy of the women of every class, culture, and historical age who did otherwise, who spoke boldly when women were jeered and physically harassed for speaking in public, who-like Anne Hutchinson, Mary Wollstonecraft, the Grimké sisters, Abby Kelley, [[Ida B. Wells-Barnett, [[Susan B. Anthony, Lillian Smith, Fannie Lou Hamer-broke taboos, who resisted slavery-their own and other people's. To become a token woman-whether you win the Nobel prize or merely get tenure at the cost of denying your sisters-is to become something less than a man indeed, since men are loyal at least to their own world view, their laws of brotherhood and male self-interest. I am not suggesting that you imitate male loyalties; with the philosopher Mary Daly, I believe that the bonding of women must be utterly different and for an utterly different end: not the misering of resources and power, but the release, in each other, of the yet unexplored resources and transformative power of women, so long despised, confined, and wasted. (p9)"

"It was only in college, when I read a poem by Karl Shapiro beginning "To hate the Negro and avoid the Jew/ is the curriculum," that it flashed on me that there was an untold side to my father's story of his student years."

"According to Nazi logic, my two Jewish grandparents would have made me a Mischling, first-degree-nonexempt from the Final Solution."

"At different times in my life I have wanted to push away one or the other burden of inheritance, to say merely I am a woman; I am a lesbian. If I call myself a Jewish lesbian, do I thereby try to shed some of my southern gentile white woman's culpability? If I call myself only through my mother, is it because I pass more easily through a world where being a lesbian often seems like outsiderhood enough?"

"These were the 1940s, and we were told a great deal about the Battle of Britain, the noble French Resistance fighters, the brave, starving Dutch-but I did not learn of the resistance of the Warsaw ghetto until I left home."

"Anti-Semitism was so intrinsic as not to have a name."

"it came to me that every one of those piles of corpses, mountains of shoes and clothing had contained, simply, individuals, who had believed, as I now believed of myself, that they were intended to live out a life of some kind of meaning, that the world possessed some kind of sense and order, yet this had happened to them."

"To be able to ask even the child's astonished question Why do they hate us so? means knowing how to say "we.""

"I was admittedly young and trying to educate myself, but I was also doing something that is dangerous: I was flirting with identity."

"what isn't named is often more permeating than what is"

"It (1968) was a year of intensifying political awareness for me: the Martin Luther King and Robert Kennedy assassinations, the Columbia strike."

"The experience of motherhood was eventually to radicalize me."

"In the permissive liberalism of academic Cambridge, you could raise your children to be as vaguely or distinctly Jewish as you would, but Christian myth and calendar organized the year. My sons grew up knowing far more about the existence and concrete meaning of Jewish culture than I had. But I don't recall sitting down with them and telling them that millions of people like themselves, many of them children, had been rounded up and murdered in Europe in their parents' lifetime. Nor was I able to tell them that they came in part out of the rich, thousand-year-old Ashkenazic culture of eastern Europe, which the Holocaust destroyed; or that they came from a people whose traditions, religious and secular, included a hatred of oppression and an imperative to pursue justice and care for the stranger-an anti-racist, a socialist, and even sometimes a feminist vision. I could not tell them these things because these things were still too indistinct in my own mind."

"The emergence of the Civil Rights movement in the sixties I remember as lifting me out of a sense of personal frustration and hopelessness. Reading James Baldwin's early essays in the fifties had stirred me with a sense that apparently "given" situations like racism could be analyzed and described and that this could lead to action, to change. Racism had been so utter and implicit a fact of my childhood and adolescence, had felt so central among the silences, negations, cruelties, fears, superstitions of my early life, that somewhere among my feelings must have been the hope that if Black people could become free of the immense political and social burdens they were forced to bear, I, too, could become free of all the ghosts and shadows of my childhood, named and unnamed. When "the movement" began, it felt extremely personal to me. And it was often Jews who spoke up for the justice of the cause, Jewish students and civil rights lawyers who travelled South; it was two young Jews who were found murdered with a young Black man in Mississippi: Schwerner, Goodman, Chaney."

"The struggle for Black civil rights had such clarity about it for me: I knew that segregation was wrong, that unequal opportunity was wrong, I knew that segregation in particular was more than a set of social and legal rules-it meant that even "decent" white people lived in a network of lies and arrogance and moral collusion."

"I didn't understand then that I was living between two strains of Jewish social identity: the Jew as radical visionary and activist who understands oppression firsthand, and the Jew as part of America's devouring plan in which the persecuted, called to assimilation, learn that the price is to engage in persecution."

"By the time I left my marriage, after seventeen years and three children, I had become identified with the Women's Liberation movement. It was an astonishing time to be a woman of my age. In the 1950s, seeking a way to grasp the pain I seemed to be feeling most of the time, to set it in some larger context, I had read all kinds of things; but it was James Baldwin and Simone de Beauvoir who had described the world-though differently in terms that made the most sense to me. By the end of the sixties there were two political movements-one already meeting severe repression, one just emerging-which addressed those descriptions of the world. And there was, of course, a third movement, or a movement-within-a-movement: the early lesbian manifestoes, the new visibility and activism of lesbians everywhere."

"Reading The Second Sex in the 1950s isolation of an academic housewife had felt less dangerous than reading "The Myth of Vaginal Orgasm" or "Woman-identified Woman" in a world where I was in constant debate and discussion with women over every aspect of our lives that we could as yet name."

"Sometimes I feel I have seen too long from too many disconnected angles: white, Jewish, anti-Semite, racist, anti-racist, once-married, lesbian, middle-class, feminist, exmatriate southerner, split at the root-that I will never bring them whole."

"sometimes I feel inadequate to make any statement as a Jew; I feel the history of denial within me like an injury, a scar. For assimilation has affected my perceptions; those early lapses in meaning, those blanks, are with me still. My ignorance can be dangerous to me and to others. Yet we can't wait for the undamaged to make our connections for us; we can't wait to speak until we are perfectly clear and righteous. There is no purity and, in our lifetimes, no end to this process."

"I know that in the rest of my life, the next half century or so, every aspect of my identity will have to be engaged. The middle-class white girl taught to trade obedience for privilege. The Jewish lesbian raised to be a heterosexual gentile. The woman who first heard oppression named and analyzed in the Black Civil Rights struggle. The woman with three sons, the feminist who hates male violence. The woman limping with a cane, the woman who has stopped bleeding are also accountable. The poet who knows that beautiful language can lie, that the oppressor's language sometimes sounds beautiful. The woman trying, as part of her resistance, to clean up her act."

"White men need a history that does not simply "include" peoples of color and white women, but that shows the process by which the arrogance of hierarchy and the celebration of violence have reached a point of destructiveness almost out of control. In other words, white men need to start questioning the text handed down from father to son, the dominator's version."

"Historical amnesia is starvation of the imagination; nostalgia is the imagination's sugar rush, leaving depression and emptiness in its wake. Breaking silences, telling our tales, is not enough. We can value that process-and the courage it may require-without believing that it is an end in itself. Historical responsibility has, after all, to do with action-where we place the weight of our existences on the line, cast our lot with others, move from an individual consciousness to a collective one. But we all need to begin with the individual consciousness: How did we come to be where we are and not elsewhere?"

"Feminist history charges us, as women committed to the liberation of women, to know the past in order to consider what we want to conserve and what we want not to repeat or continue. To see patterns, connections, which the false assimilation of liberal humanism obscures. To draw strength: Memory is nutriment, and seeds stored for centuries can still germinate."

"As feminists, we need to be looking above all for the greatness and sanity of ordinary women, and how these women have collectively waged resistance. In searching that territory we find something better than individual heroines: the astonishing continuity of women's imagination of survival, persisting through the great and little deaths of daily life."

"If it is the present that calls us to activism, it is history that must nourish our choices and commitment."

"we need to know where we have been: we need our history."

"Those of us who came into activism in the sixties and before, who have continued as engaged citizens through the seventies into the nineties-as welfare rights organizers, as feminists, as members of a critical and oppositional press, as community organizers, as lesbian and gay activists, as anti-racism educators, as new and challenging voices in the labor movement, as builders of battered women's shelters and rape crisis centers, as coalition builders among racial and ethnic communities, as creators of socially responsive art-we did not intend for you or any young people to face at your coming-of-age so manipulated and demoralized a society, at once so fearful and so complacement, as this one. But it's not commiseration I feel for you, standing here, but hope. You have had not just educational privilege of a high order, but the privilege of having a time of youth, when you could try on different selves, without fear of being locked into any one of them. Most people your age in this country don't have a time of youth. And for those young men and women, who will not stand today or any day soon in academic robes under a threatening or a clear blue sky, who were early locked by racism and poverty into manhoods and womanhoods they had no time to choose, I also feel, not despair, but hope."

"I believe in the potential, both tapped and blocked, within each one of you. I believe that the responses to the Simi Valley verdict where hundreds of white youth have joined in demonstrations and uprisings in city after city, where citizens of conscience, whatever their, our origins, are being compelled to consider their, our place in all this-I believe that the civil and moral unrest now moving through the inner nervous system of our country, has a chance of catalyzing one of the great shifts in our history. A chance of building not into some hierarchic, monolithic movement, but into many streams of movement, always in touch with and interrogating each other: African American, Arab American, Asian American, Jewish, Latino, white, lesbian, gay and straight: women and men, old and young. My hope, for you and for us all, is that you refuse docility and shallowness and lend your gifts and intelligence to a rising democracy movement here in the United States, sharing power with sisters and brothers at whose expense that power was acquired: learning what can only be taught by those who are not here today."

"Dear and cherished graduates: Remember the youth of your generation. Remember all the youths-and the parents who are not here today nor at any commencement in the land. Remember that our true democracy cannot come to birth without their participation. Nor without yours."

"I have never believed that poetry is an escape from history, and I do not think it is more, or less, necessary than food, shelter, health, education, decent working conditions. It is as necessary. (Preface)"

"Where every public decision has to be justified in the scales of corporate profits, poetry unsettles these apparently self-evident propositions-not through ideology, but by its very presence and ways of being, its embodiment of states of longing and desire. (Preface)"

"poetry is always being created anew, in new places, by unforetold hands and voices. In this, it is like the many movements against demoralizing power. We don't know where either will come from. This is a story without an end. (Preface)"

"Despair, when not the response to absolute physical and moral defeat is, like war, the failure of imagination. (p17, III: "What would we create?")"

"As a society in turmoil, we are going to see more, and more various, attempts to simulate order through repression; and art is a historical target for such efforts. A distaste for the political dimensions of art, in this time and place, is a dangerous luxury. (p161, XIX: "The transgressor mother")"

"The danger lies in forgetting what we had. The flow between generations becomes a trickle, grandchildren tape-recording grandparents' memories on special occasions perhaps—no casual storytelling jogged by daily life, there being no shared daily life what with migrations, exiles, diasporas, readings, the search for work. Or there is a shared daily life riddled with holes of silence. (XI: "A Leak in History")"

"It's Black History Month. But this is white history. White hate crimes, white hate speech. I still try to claim I wasn't brought up to hate. But hate isn't the half of it. I grew up in the vast encircling presumption of whiteness-that primary quality of being which knows itself, its passions, only against an otherness that has to be dehumanized. I grew up in white silence that was utterly obsessional. Race was the theme whatever the topic. (XXI: "The distance between language and violence" p 181)"

"A revolutionary poem will not tell you who or when to kill, what and when to burn, or even how to theorize. It reminds you... where and when and how you are living and might live, it is a wick of desire. (XXVIII: "What if")"

"Any truly revolutionary art is an alchemy through which waste, greed, brutality, frozen indifference, blind sorrow and anger are transmuted into some drenching recognition of the What if?-the possible...Revolutionary art dwells, by its nature, on edges. This is its power: the tension between subject and means, between the is and what can be. (XXVIII: "What if")"

"If the imagination is to transcend and transform experience it has to question, to challenge, to conceive of alternatives, perhaps to the very life you are living at the moment. You have to be free to play around with the notion that day might be night, love might be hate; nothing can be too sacred for the imagination to turn into its opposite or to call experimentally by another name. For writing is re-naming. ("When We Dead Awaken: Writing as Re-Vision")"

"Lies are usually attempts to make everything simpler - for the liar - than it really is, or ought to be. (from "Women and Honor: Some Notes on Lying")"

"I look everywhere for signs of that fusion I have glimpsed in the women's movement, and most recently in Nicaragua. I turn to Toni Cade Bambara's The Salt Eaters or Ama Ata Aidoo's Our Sister Killjoy or James Baldwin's Just above My Head; to paintings by Frida Kahlo or Jacob Lawrence; to poems by Dionne Brand or Judy Grahn or Audre Lorde or Nancy Morejón; to the music of Nina Simone or Mary Watkins. This kind of art-like the art of so many others uncanonized in the dominant culture-is not produced as a commodity, but as part of a long conversation with the elders and with the future. (And, yes, I do live and work believing in a future.) Such artists draw on a tradition in which political struggle and spiritual continuity are meshed. Nothing need be lost, no beauty sacrificed. The heart does not turn to a stone. ("Blood, Bread, and Poetry: The Location of the Poet" 1983)"

"Most biographers of women still fail to recognize that a woman's central relationship can be to her work, even as lovers come and go. ("Raya Dunayevskaya's Marx")"

"I think I've brought figures of resistance into my poetry for quite a while-going back to the voice of Mary Wollstonecraft in "Snapshots of a Daughter-in-Law" (1960). History has always felt to me an immense resource for art, and poetry as a place where history can be kept alive-not grand master narratives, but otherwise forgotten or erased people and actions. In the 1970s we were rediscovering women whose lives had been dropped out of history or distorted, like Susan B. Anthony, Harriet Tubman, Emily Dickinson, Marie Curie, Ida B. Wells-Barnett, Hannah Senesch, Ethel Rosenberg. (p141)"

"The impulse to create begins - often terribly and fearfully - in a tunnel of silence. Every real poem is the breaking of an existing silence, and the first question we might ask any poem is, What kind of voice is breaking silence, and what kind of silence is being broken? (p150)"

"one period's necessary strategies can mutate into the monsters of a later time."

"Malcolm X and Martin Luther King, Jr.-both leaders with large constituencies-had been murdered just as each was unscrolling a map on which race and class intersected in a shared landscape."

"I still believe what I wrote in 1971: A change in the of sexual identity is essential if we are not to see the old political order reassert itself in every new revolution."

"But Sisyphus is not, finally, a useful image. You don't roll some unitary boulder of language or justice uphill; you try with others to assist in cutting and laying many stones, designing a foundation. One of the stonecutter-architects I met was Muriel Rukeyser, whose work I had begun reading in depth in the 1980s. Through her prose Rukeyser had engaged me intellectually; her poetry, however, in its range and daring, held me first and last. "Her Vision" is a tribute to the mentorship of her work. Another was Raya Dunayevskaya, who wrote vividly and trenchantly of the concrete revolutionary lives of women, and whose fusion of Marx's humanism with contemporary feminisms expanded my sense of the possibilities of both."

"I believe in the necessity for a poetic language untethered from the compromised language of state and media."

"A new century, even a new technology, doesn't of itself produce newness. It is live human beings, looking in all directions, who will do this."

"At times in the past decade and a half I have felt like a stranger in my own country. I seem not to speak the official language. I believe many others feel like this, not just as poets or intellectuals but as citizens-accountable yet excluded from power. I began as an American optimist, albeit a critical one, formed by our racial legacy and by the Vietnam War. In both these cases it was necessary to look hard truths in the face in order to change horrible realities. I believed, with many others, that my country's historical aquifers were flowing in that direction of democratic change. I became an American skeptic, not as to the long search for justice and dignity, which is part of all human history, but in the light of my nation's leading role in demoralizing and destabilizing that search, here at home and around the world. Perhaps just such a passionate skepticism, neither cynical nor nihilistic, is the ground for continuing."

"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)"

"the freedom of that library-whatever its limitations-let me know that it's possible and necessary to be interested in everything: Hindu mythology, the mud-blotted villages of Chekhov's peasants in Czarist Russia, the sound of an eighteenth-century English poem ("I wander through each charter'd street / Near where the charter'd Thames doth flow") or Bible cadences ("Would God I had died for thee, O Absalom, my son, my son"); and the French Revolution. To assume that philosophy, history, foreign literatures in translation, novels, plays, poetry of many kinds belonged together in one room of the mind."

"I've said that "American Jews" have paid an intellectual and spiritual price for the narrowing of sight demanded by conformity and reliance on Israel as surrogate identity. Part of this price has been estrangement of many Jews from any Jewish affiliation. But, of course, in reality American Jews disagree like all other Jews, past and future."

"diaspora-a multifaceted condition-means never always, or anywhere, being just like other Jews. It means class and cultural difference, dissension, contradiction, different languages and foods, living in different ages and relationships to tradition, world politics, and the "always/already" of anti-Semitism."

"it’s not even an ad hominem thing about President Clinton, although I find him cowardly and spineless. I am concerned about what it means when we have two parties which are so close together in their collaboration with the wealthiest interests in the country and who are so alike in their disregard for the majority of people in this country. And I feel as if the relative creative freedom of artists and intellectuals ultimately depends on the conditions everywhere and the conditions of human labor everywhere. We’re all working. We’re all trying to do our work. And the circumstances, the conditions under which working people exist in the society are not something that can be separated and left aside from the position of the artist. I just don’t see how you can do that. (1997)"

"I drew a lot of nourishment from the poets that I then was aware of and able to be aware of, poets like William Blake, like Emily Dickinson, like Whitman, people whose—and then later, somewhat later, Yeats, who taught me in fact that poetry could be political and still be incredibly beautiful. And on and on, because one is always reading, one is always extending one’s range into the world of poetry translated from other languages, poetry from other centuries. (1997)"

"Art and literature have given so many people the relief of feeling connected - pulled us out of isolation. It has let us know that somebody else breathed and dreamed and had sex and loved and raged and knew loneliness the way we do. (2001)"

"Poetry reaches into places in us that we are suppose to ignore or mistrust, that are perceived as subversive or non-useful, in what is fast becoming known as global culture. (2001)"

"I think my work comes out of both an intense desire for connection and what it means to feel isolated. There's always going to be a kind of tidal movement back and forth between the two. (2001)"

"ultimately language alone cannot liberate us"

"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."

"It feels to me that I need to know more than I ever did in order to be a poet, that I need to be conscious of what is happening on this planet in ways that I never used to think about. And it's not that that takes the place of the work of the imagination, but that each of us has an imagination that has itself been created by a set of circumstances, some very nourishing, some very negative in terms of becoming blinders-the lacunae, the cartoon-imagery."

"in the women's movement, writers have so often been seen and cited as spokespeople and as leaders. My feeling is that it is the activists who move the rest of us, and that one may explain, describe, praise, deplore or whatever what is actually happening in the way of action-and that's very important, so I'm not selling the word short either when I say this-but, you don't make a political movement simply out of words."

"this is an ignorance that is damaging both to women and to men. Ignorance of the history of more than half the human species. And therefore the history of the entire species is distorted. In some ways we have come a long way; in other ways, I think, not at all. And then outside of the sphere of the kind of education where you would expect to find a certain liberal stance toward feminism, the issue becomes what women have any education available to them at all. Thinking on a global level, how early do women leave school, if they've gone to school at all? The illiteracy rate among women overall is rapidly on the increase. And so it's not just a question of, do we know our history, but do we know how to read, how to write? Do we know that there is such a thing as history, that we can be part of it, makers of it?"

"We don't shed racism or sexism because we're in a liberation movement unless we struggle hard to try to create bridges, to find out where our common base is, to become educated in each other's realities, to search for and document the mistakes of the past so we can stop making them. I'm thinking particularly of the history of the nineteenth-century white suffrage movement, the early North American feminist movement, its visions, and its racist stances, despite its roots in the Abolitionist movement."

"I grew up in a social and familial world in which there was a great deal of splitting. I've written an essay called "Split at the Root" which actually speaks about my own family roots: Jewish and Gentile. But it was also a world very split by segregation. Baltimore in the thirties and forties was a deeply segregated city. There weren't back-of-the-bus rules, but Black people did not shop in the same department stores as white people, there was the interracial eating taboo, and so on. That kind of thing a child grows up acutely aware of, even if it's never talked about, and of course there was a great deal of pressure not to talk about it. It was a given. And it was a given that, needless to say, white people were extremely tense about. But we learned not to ask questions about it or to discuss it. We did not go to school with Black children. The Black people that I grew up knowing all worked for white people as domestic workers. So that left a profound impact, in the sense that it was a situation which, I think from a very young age, I felt was so-uncomfortable is hardly the word-almost intolerable. There was so much that wasn't explained, there were codes of behavior that you couldn't question but that you couldn't figure out...When the Civil Rights movement came long in the late fifties, early sixties, and I began to hear Black voices describing and analyzing what were the concrete issues for Black people, like segregation, like racism, it came to me as a great relief. It was like finding language for something that I'd needed a language for all along. That was the first place where I heard a language to name oppression. And it was an enormous relief, even as it threw up a lot of questions for me as to where I stood with all this."

"Where connections are being made always feels to me like the point of intensest life."

"I was thinking a lot about something that wasn't being talked about at the time very much. I was thinking about where sexuality belonged in all this. What is the connection between Vietnam and the lovers' bed? If this insane violence is being waged against a very small country by this large and powerful country in which I live, what does that have to do with sexuality and with what's going on between men and women, which I felt also as a struggle even then?"

"you see your parents first of all as these great looming figures who have no past, no context. They're just there and over and against you. Or they're not there, which is another kind of looming presence-looming absence. But I've been learning to see my father and to think about his life more and more and more in the context of the social and political world, if you will, that he grew up in, to think about the things that brought him to where he was when I knew him, especially the meaning of his Jewishness."

"(“Do you think there has been a regression during the past ten years from the progress made by the women's movement? Has its momentum slowed, and, if so, will the movement pick up its pace again to what it was in the 1970s? Is there now a sense of exhaustion?”) Well, it very much depends on how you look at the contours of the landscape. An astonishing number of feminist institutions were founded in the seventies. And a lot of movement was going on in existing institutions like universities. But the kind of political retrenchment that began, I think, before Reagan was elected, and in fact led up to his election, inevitably was accompanied by the reassertion of old conservative values about women, and about sexuality. And those attitudes have come down hard."

"People have to put bread on the table and they're trying to do political work as well."

"Some people are tired and burnt-out, but I see new women and men-coming along all the time. And that is very refreshing and very inspiring. It's not as though the same cast of characters that was there in the early seventies still has to be doing it all now. The cast of characters has grown; some have left, some have taken time out and returned, others have come in, many with new understandings, with new contributions."

"One of the things that has been growing in the women's movement in this country-and again, in a society like this it can't, it doesn't happen easily, and it doesn't happen overnight-is the consciousness that we aren't a homogeneous movement, that we are a multi-ethnic movement, that women's experiences across the board are different, even though we share common female experiences. There's been a tremendous enrichment through those understandings, and through the visibility, the leadership, of women of color, and the work of Jewish feminists; that has certainly been part of the last few years."

"An enormous amount is happening globally-different kinds of struggle in different countries, in different societies. When you look at South Africa, there's enormous leadership by women. Black women in South Africa are maintaining and creating a structure. In that violence-ridden society, in the midst of revolution, they are creating childcare centers, soup kitchens, planting gardens, keeping things going on that human level. Now I don't think that's just women doing the service work of the world; those women are also leaders of their communities. We could talk about feminism in the Philippines, in Latin America, in the Caribbean, not a monolithic global movement but many movements, all over the world, contending within and against many different cultures. The United States movement is only a small part of the picture."

"at the time I started writing, that was already set up as a problem. If you were going to be writing a truly new poetry, could you use the old forms?"

"I guess what I'm searching for always is a way of staying linked to the past, pulling out of it whatever you can use, and continuing to move on."

"One of the most sensual and sensuous women poets I can think of is Audre Lorde. She thinks in images that are most certainly lesbian images. But also images from Afro-Caribbean culture and from African mythology and experience. And that's a very powerful combination. Because that also has not been available in most poetry in English."

"(“Costs-in a word. So much of your work has been a struggle to speak honestly and openly, whether about poetry itself or about social issues, about racism, about lesbianism. What are the costs of doing so, as a poet, as a person?") What would be the cost of not doing it? I feel as though it's for my survival, first and foremost. This is how I cope, this is how I survive. I have learned from my peers that this way of creating can be a way of surviving. I didn't invent that."

"For a very long time, poems were a way of talking about what I couldn't talk about any other way. And why is it that you're not able to talk about certain things? It's because they are the points of danger, you feel that in the social fabric, you feel there are people who don't want you to raise this question, or if you're a child-to ask this question. That is the threatening place, and of course it becomes a place of great fascination too. I was equipped from a very young age to use language in this way because of how I was brought up, and by whom I was brought up, and the fact that poetry was available to me as a choice, when it might not have been for another seven or ten years if I'd been another child."

"language is this medium that we hand back and forth between us in all human relationships all the time, it doesn't really have a privileged place. It's this coinage in which we keep trying to get a hold of each other or make ourselves clear. So, the fact that poetry was available to me for that is very important."

"Experience is always larger than language. And there's always the next poem, yes. Not necessarily because I feel I've falsified something, but because I wrote it as I knew it then, and I'm going to know it differently in six months. Or I'm going to know something else. Or I'm going to need to know something else, and the only way I can get to it is by writing that poem."

"we teachers used to talk a lot about who fails the teacher or the student-when you have a classroom situation which is rigged entirely against the student, or in which the teacher is too ignorant to teach. Not ignorant of grammar, but ignorant of the students, ignorant of their culture. So, I was thinking very much about our failures, the map of our failures, we who consider ourselves so possessed of language, so articulate."

"I think we're at a very interesting watershed, because I have been seeing and noting a tremendous renaissance of poetry in the United States over the past ten to twenty years nourished by the voices of many groups which had been largely silenced before that-by the voices of women, the voices of people of color, the voices of gay men and lesbians, the voices of working-class, white Americans. There is a seething, burgeoning poetry out there, but it's many poetries, and it's coming from many cultures and many communities."

"(What do you think when you look around this festival and you see Japanese American poets, Chinese American poets, Puerto Rican poets, poets from the white working class?) I feel enormous joy and exhilaration. This is so different from the poetry world into which I was growing up in the 1940s and 1950s. That was a world dominated by a few major figures, mostly from a certain class and of course male: Pound, Williams, Eliot, Stevens. I was saying to a young man, a poet working here, "Your generation doesn't have to look at the field of poetry as a hierarchy. You can draw from this enormously rich cluster of poetries, and you can enrich yourself from so many kinds that this is a wholly different situation than we had in the 1940s and 1950s.""

"(question about democracy) It is more than troubled. I mean, it may be sliding out of our grasp. It goes without saying that this has never been a full democracy. It has always been a selective democracy, offering a few people the full enjoyment of a democratic society, but it has always been repressive toward certain groups, and I don't think that it is less so now. I think we're seeing a failure of the democratic dream and a cynicism toward that dream, so that the dream becomes mere rhetoric in the mouths of politicians and corporations."

"I believe that poetry asks us to consider the quality of life. Poetry reflects on the quality of life, on us as we are in process on this earth, in our lives, in our relationships, in our communities. It embodies what makes it possible for us to continue as human under the barrage of brute violence, numbing indifference, trivialization, and shallowness that we endure, not to speak of what has come to seem in public life like a total loss on the part of politicians of any desire even to appear consistent, or to appear to adhere to principle."

"Something has to die in order for us to begin to know our truths. Perhaps we have to lose our national fantasies."

"when I say "radical" I mean at the root, real. Real social transformation, real change has to come out of a love of life and a love for the world, not hatred of the world. Increasingly what I fear and what I see is a movement of people on the right who are moving from a hatred of human beings, a hatred of the other, a hatred of life. That's why I say there is nothing wrong with personal happiness if you can take it and use it as a key, a measure, a standard."

"I think there are many different kinds of dread for many different kinds of people. I think that more and more people feel uncared for, feel that their lives are not only unvalued but meaningless, feel that though they may care for their lives, no one else will, feel that the only way that they can protect their survival and interests is by the gun. I'm afraid that many people feel an enormous desperation which plays into the propaganda of hate."

"A sense of community seems to arise out of the word. Well, that's true. I believe that. I think that's one of the reasons that communities of poetry, and I don't just mean communities of poets, but everywhere in this country communities of poetry-of people reading poetry, listening to poetry, coming together around poetry-are becoming so widespread. It's as if this gathering around the word occurs in response to worsening conditions."

"from a very young age poetry was always a sustenance for me. It was a way of going deeper into things, it was never escapism. It was a way, as a very young child, of finding out about life...(it told me) many things. And they contradicted each other, of course, but it was a way of reflecting on and maybe testing out emotions and feelings that I had no words for myself."

"I think politics can seem a burden when we feel alone and powerless against enormous and impersonal forces out there in the public realm. The late years of the Vietnam War when a lot of poets were giving antiwar readings was a very crucial time for me. In the 1960s, when poetry was very much part of public life, I began trying to make connections for myself between the havoc being wreaked by my government on a small country thousands of miles away, which I and so many of my friend were protesting, and the relations between human beings within my country, especially the relations between women and men. That kind of synthesis really wasn't happening yet in the public sphere, but I was trying to make that synthesis in my poetry-which was the only way I knew how to do it."

"("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 intend to go on making poetry. I intend to go on trying to be part of what I think of as an underground stream-of voices resisting the voices that tell us we are nothing, that we are worthless, or that we all hate each other, or should hate each other. I think that there is a real culture of resistance here-of artists' and of other kinds of voices-that will continue, however bad things get in this country. I want to make myself part of that and do my work as well as I can. I want to love those I love as well as I can, and I want to love life as well as I can."

"I have been exceptionally privileged to be able to think of myself as a creative person. There is so much creativity I believe in every infant born and yet so few of us get to develop it, so few of us even get to think about having an audience for our words. So, with the kind of audience that I now have, I want to speak responsibly and for that I need teachers."

"A series of poems by a lot of poets have been up in the New York subway. The head of the Transit Authority is a lover of poetry and he decided he wanted "poetry in motion." I was very happy to see that. The same thing has been done in the bus system in San Diego, California, and I think it should be happening everywhere. I think the question of "how do we get people to read poetry?" might be to some extent resolved if people saw more poetry out in the world, places where they go, in just the ordinary public places where everybody has to stand on line, or hang from the strap, waiting, because people would be reading poetry. They would find themselves reading it and absorbing it...I hope many people who saw that poem ("Delta") in the subway thought, "Yes-you can't wrap me up in the story of my life. I am more complicated than you can know.""

"I define “politics” in this sense as the on-going collective struggle for liberation and for the power to create—not only works of art, but also just and nonviolent social institutions. There is no way I can see that the poet can stand outside all that...when you ask, “Do you write political poetry?” I say yes, I have done so since the mid-sixties and the artists’ protests against the Vietnam War. As a very young poet, I had been brought up on that dogma that politics was bad for poetry. What I search for continuously in my art is adequate language, language I hope can stand beyond any particular occasion. What I’m finding is that in our increasingly dysfunctional U.S. society, marvelous poetry is being written—out of and amid the dysfunction."

"I began as a formalist because that was the poetic tradition—Anglo-European—that I first knew. Walt Whitman and Emily Dickinson were there of course, but Dickinson’s work was edited into a prim textual conformity until 1960 when the poems in their original form exploded my ideas of poetry. Also, my own life pushed me beyond the conventions of formalism—along with reading my direct contemporaries who were exploring open forms, like Denise Levertov, W.S. Merwin, and Galway Kinnell. All this was in the Sixties when the most intense life was lived around politics—the Black Civil Rights movement, the anti-Vietnam War movement, very large moral questions were in the air, along with a great deal of hope, and the revolutions in Africa and Central America were part of that consciousness. That period has been trashed by the Right as mere posturing, violence and drug abuse. But it was in many ways both a practical and a visionary time."

"Over many years (I am almost 72) so many poets have touched my imagination and opened paths for me—it hardly makes sense to list them. I have always read a great deal of poetry. Some poets—like Robert Lowell, Denise Levertov, Randall Jarrell, Jean Valentine, Audre Lorde, Hayden Carruth, Jane Cooper, June Jordan, Joy Harjo, Clayton Eshelman—have been my friends, we’ve been comrades in exchanging work and encouraging each other… But I’ve also been powerfully affected by Wallace Stevens, Hart Crane, Muriel Rukeyser, Aimé Césaire, Robert Duncan—poets I met briefly if at all. Baudelaire, Sachs, Celan, Ghalib, Mandelstam…all in translation. This kind of influence isn’t textual, exactly—it’s like having windows open on “what is possible.” And this kind of intensive reading of many poets, and dialogues with a few, seems to me more fertilizing to a poet’s life than immersion in workshops."

"I think poets should work in the non-literary, non-academic world, get to know more than a workshop or a university."

"I am a citizen of a country that has just undergone a thieved election, a country deeply and dangerously divided between rich and poor, but also between rich and middle class. What I believe in and what my government represents are not the same thing."

"One of the insidious rhetorical devices of the U.S. Right has been to claim (for example) that empathy with others is merely “liberal guilt” or “political correctness,” that compassion is merely sentimental or even hypocritical. I see it as an entirely cynical view that underscores the profit motive as the only real basis for human relationships."

"women cannot become liberated one by one. But individual revolt is not simply futile."

"I’ve known great happiness in my life along with great darkness, and a question that has repeatedly entered my poetry has been, how do we use the direct experience of happiness that may be given us, whether of love and sexuality or creativity or the sense of connectedness with other beings, human and otherwise? The philosopher Hannah Arendt writes about the concept of “public happiness”—the sense of being a participant, a citizen, of sharing the power to create collectively. She says that’s what the framers of the U.S. constitution really intended in saying that “men” are endowed with the inalienable right to the “pursuit of happiness.” The idea becomes more tantalizing in a society where most citizens feel individually and collectively disempowered—as just now in the U.S. But the issue of happiness turns up also in the poetry of Charles Olson, and in my poem, “Camino Real,” I have a dialogue with both Olson and Oppen, in which I say, “Why measure? It’s itself the measure.” It occurs to me now that Whitman was not simply inventing an ideal United States; he was trying to show what public happiness would feel like, along with public grief and mourning as in his Civil War poems."

"Dark Fields of the Republic and Midnight Salvage were written during the final decade of the twentieth century and against the grain of their society. The economic and technological expansion, with the terrible human and environmental prices paid, were (and are) accelerating, while at the same time language itself, the medium of my art, was deteriorating."

"For myself it is an ever-present challenge to draw lines of connection between personal feelings and their social dimensions, “the body’s pain and the pain on the streets” to recognize that an economic system can impact on human sensibility—Marx’s idea that exploitative relations of production end by affecting all human relations, the most private and intimate included. These are finally not just ideas, they become our feelings. And it’s in feelings that poetry is rooted."

"The music, the sound of words working together, has always mattered to me."

"Our ears, like it or not, take in so much in a day. Maybe some North American ears have trouble with poetry because of the noise from an aggressively voiced ruling ethos—its terminology of war, success, national security, winning and losing, ownership, merchandising, canned information, canned laughter. Poetry can be direct, it can be colloquial, it can be abrupt or angry, but it’s not that vacuous noise; it wants to unseat that kind of language, play other kinds of sound tracks."

"Relations of power, as I began to decipher them, have infused a great deal of my work over time—both poetry and prose. But poetry was where I could confront, perhaps transform, what I was experiencing and learning about the world."

"There’s a poem from the mid-1950s in Snapshots of a Daughter-in-Law, “From Morning Glory to Petersburg”—titles from an encyclopedia volume—that suggests the effort to ask, as a conscious strategy, how do you make livable meaning out of separate bits of classified information? How to live with “facts” you can’t integrate? Well, one way was to integrate them is through poetry."

"The split in our language between “political” and “personal” has, I think, been a trap."

"to be “against war” has come to seem too easy a stance. War exists in a texture of possession and deprivation, economic and religious dogmas, racism, colonialist exploitation, nationalism, unequal power. Who decides to make war? Who is destroyed in it? Who creates the rhetoric of “terror” and “democracy”?"

"("What are the obligations of poetry? Have they changed in your lifetime?") I don’t know that poetry itself has any universal or unique obligations. It’s a great ongoing human activity of making, over different times, under different circumstances. For a poet, in this time we call “ours,” in this whirlpool of disinformation and manufactured distraction? Not to fake it, not to practice a false innocence, not pull the shades down on what’s happening next door or across town. Not to settle for shallow formulas or lazy nihilism or stifling self-reference. Nothing “obliges” us to behave as honorable human beings except each others’ possible examples of honesty and generosity and courage and lucidity, suggesting a greater social compact."

"We tried in the early years of the feminist movement to look under and behind the myths, the legends that always depicted the stepmother as cruel, the bad mother, the myths in popular psychology of the evil mother, the evil mother-daughter bond. We tried to correct those, and in so doing, I think we unearthed a great deal that was real and important and useful. To idealize, to sentimentalize, to mythologize that — those powers, those strengths, those teachers — takes us into yet another place where I think we are disempowered."

"Essentially poetry, if it is poetry, does not lend itself to simple readings, to oversimplifications — though people may try to read it that way. It seems to me that the essential nature of a poem is that there is ambivalence and ambiguity quivering underneath."

"I'm one of the lesbians who came out through the women's movement. And I don't mean I wouldn't have come out without a women's movement, but it's very hard to imagine the world without the women's liberation movement at this point. However, in my own history, that was the point. It was a time of tremendous intensity among women — women of all kinds. Women who had known they were lesbians all their lives, women who were then coming out, women who were then and have remained heterosexual. There was a kind of intensity around the politics that was very profound and passionate. It was very moving and very exciting to see women taking their strength and taking hold of each other's strength and bringing out the power in each other. ... The passion was political, and the politics was passionate. Yes, it was very sexual, and it was also a milieu and a time that was very political."

"A long-lived relationship is about so many things. It is such a dense and complex process — always a process — and it's not to be summed up. It's not to be turned into some kind of vignette. If we are serious, we also have to recognize that even the longest and richest and densest relationship must end, and we see it around us. We see it in that inevitability of time's power, if you will."

"Adrienne Rich has also had a real influence on me and more recently Audre Lorde."

"Native American literature should be important to Americans not as a curio, an artifact of the American past that has little pertinence to an American present or future, but rather as a major tradition that informs American writers ranging from Cotton Mather and Nathaniel Hawthorne through Walt Whitman, William Carlos Williams, and William Faulkner to Adrienne Rich, Toni Cade Bambara, and Judy Grahn."

"As Di Vilde Chayes began its meetings in February, Adrienne Rich outlined her goals for the group: "Dear Schvesters: Thinking about what a Jewish Lesbian group/cell/collective/study group/action group/network or combination of these, might be.... I want to be part ... of a Jewish/lesbian/feminist group which can develop an analysis of anti-Semitism and Jewish identity for ourselves and for the feminist movement and which will also relentlessly keep this in with what we already understand of racism, class injustice woman-hating, homophobia. Rich felt that she had a lot of work to do "simply to feel and understand" both her "existence and oppression as a Jew." When Evelyn Torton Beck invited her to contribute to Nice Jewish Girls, she at first declined, but after thinking over the issues for a year, Rich wrote "Split at the Root" for the anthology. The essay spoke of the profound difficulties of focusing on different oppressions at the same time. "Sometimes I feel I have seen too long from too many disconnected angles," Rich wrote memorably in the now-classic essay, "white, Jewish, anti-Semite, racist, anti-racist, once-married lesbian, middle-class, feminist, exmatriate Southerner, split at the root; that I will never bring them whole."... Although Judaism was "yet another strand of patriarchy," she always added mentally, "if Jews had to wear yellow stars again, I too would wear one"...Di Vilde Chayes' formation offered "another beginning," analogous to the founding moments of radical feminism. "In some ways this feels to me like the early 1970s when we were rushing about searching for the lost, out-of-print, hard-to-come-by information we needed," she wrote to her Di Vilde Chayes sisters, "the books gathering dust in libraries, the history we didn't know. We exchange bibliographies, follow off leads in other bibliographies. We start trying to name what is happening, We make lists... of Jewish women fiction writers in America and are shocked at how few we find. We start... reversing stereotypes, claiming our strengths. At the same time, within the very movement where this is happening, we have to confront unexamined bigotry, old Leftist attitudes, etc." Given the historical exigencies of the times and the coming together of Di Vilde Chayes, along with work done by other Nice Jewish Girls contributors, Rich felt that her own perspectives were "changing, opening out.” “I am glad that each of you exists," she told the Schwesters."

"I am indebted to Adrienne Rich whose thinking on so many issues influenced my own, and who read this manuscript in full, offering detailed notes. Her support, and incisive criticisms and suggestions were of great importance to me emotionally and intellectually."

"I cannot say I am a citizen of the world as Virginia Woolf, speaking as an Anglo woman born to economic means, declared herself; nor can I make the same claim to U.S. citizenship as Adrienne Rich does despite her universal feeling for humanity. As a mestiza born to the lower strata, I am treated at best, as a second class citizen, at worst, as a non-entity. I am commonly perceived as a foreigner everywhere I go, including in the United States and in Mexico. This international perception is based on my color and features. I am neither black nor white. I am not light skinned and cannot be mistaken for "white"; because my hair is so straight I cannot be mistaken for "black." And by U.S..standards and according to some North American Native Americans, I cannot make official claims to being india."

"I echo Adrienne Rich’s idea that the personal is political. My poetics is rooted in my personal history, and from there I examine the world around me. I see myself not just as a Chinese-American, but as a global citizen. I care about America but also about what happens in the world."

"Adrienne Rich believes “the poem must serve” the people. Somehow, I don’t want my poems to be relevant to only a few readers in academia."

"Rich was one of the most celebrated poets of the last half-century and a lifelong advocate for women, gay and lesbian rights, peace and racial justice. Rich drew widespread acclaim for her many volumes of poetry and prose, which brought the oppression of women and lesbians into the public spotlight. She was a key figure in the women’s movement and an uncompromising critic of the powerful."

"In her vision of warning and her celebration of life, Adrienne Rich is the Blake of American letters."

"I admire her sheer audacity. In the face of everything she learned from the fathers, given the time when she grew up and her own father's admonitions, still she became herself."

"Writing about Adrienne Rich's work, connecting it to the work of men who thought critically about the body, in her introduction to Thinking Through the Body, Jane Gallop comments: “Men who do find themselves in some way thinking through the body are more likely to be recognized as serious thinkers and heard. Women have first to prove that we are thinkers, which is easier when we conform to the protocol that deems serious thought separate from an embodied subject in history. Rich is asking women to enter the realms of critical thought and knowledge without becoming disembodied spirit, universal man.”"

"Despite flaws and contradictions in her analysis, Adrienne Rich's essay "Disloyal to Civilization': Feminism, Racism, and Gynephobia" was groundbreaking in that it ruptured that wall of denial, addressing the issue of race and accountability. White women were more willing to "hear" another white woman talk about racism, yet it is their inability to listen to black women that impedes feminist progress."

"Adrienne Rich's Women and Honor: Some Notes on Lying, for example, filled a need and has been taken instantly into the culture. How many lesbians have given a new lover a copy, either to start things off right. or after the first big fight?"

"I feel I was very lucky, though, because when I came out, which was in 1973, New York was just hopping. It was exploding. It was after Stonewall. Lesbians started getting organized. I belonged to a group of lesbian writers. There were four of us who decided to start Conditions magazine, for example, and before that we had a group called Di Vilde Chayas [the wild animals], which was a group that had Adrienne Rich, Melanie Kaye/Kantrowitz, Gloria Greenfield, and Evelyn Torton Beck, who did Nice Jewish Girls."

"Why weren't other women of Color found to participate in this conference? Why were two phone calls to me considered a consultation? Am I the only possible source of names of Black feminists? And although the Black panelist's paper ends on an important and powerful connection of love between women, what about interracial cooperation between feminists who don't love each other? In academic feminist circles, the answer to these questions is often, "We did not know who to ask." But that is the same evasion of responsibility, the same cop-out, that keeps Black women's art out of women's exhibitions, Black women's work out of most feminist publications except for the occasional "Special Third World Women's Issue," and Black women's texts off your reading lists. But as Adrienne Rich pointed out in a recent talk, white feminists have educated themselves about such an enormous amount over the past ten years, how come you haven't also educated yourselves about Black women and the differences between us-white and Black-when it is key to our survival as a movement?"

"As a poet, Adrienne Rich had a great impact on me. I studied her work a great deal."

"I think of Adrienne Rich's words from a generation ago: adapting John Donne, she wrote, "Any woman's death diminishes me.” Twenty years later, I would amend Rich's statement and assert with equal lesbian feminist passion, "Every barrio boy's death diminishes me.""

"I admire her work, and I now understand historically the important part that she played in the feminist movement."

"Adrienne Rich was an exquisitely political poet—and a politically exquisite poet...Committed to trade unionism, she served on the board of the National Writers Union, as arguably the most honored of its author members...A huge fan of "Democracy Now," and a frequent contributor to The Nation and other journals of the left, she made political media more lyrical. But she also made literary journals more political."

"For nearly half a century the voice of Adrienne Rich has charted America's changing mental, emotional, and moral landscape in poetry and essays fueled by the twin motives of a thirst for justice and a quest to stretch the imagination."

"Anger has always played a role in poetry...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."

"It is my conviction that currently in the United States, more women than men are writing good and vital poetry, although there are fine male poets. This is our renaissance, our Elizabethan plenty. We have giants like Adrienne Rich, Audre Lorde, Diane di Prima and Maxine Kumin, we have rising powers like Joy Harjo and Celia Gilbert and Sharon Olds, and we have dozens and dozens of individual voices sharply flavored and yet of our time, our flesh, our troubles."

"At her best Rich is inimitable"

"my sense of her, the thing that I most loved, was her integrity. She lived exactly what she said. And this was so rare and so beautiful...I think her legacy for all of us is to continue to believe in the power of art, especially in the power of poetry, and to keep moving and not to be dissuaded, not to be discouraged, but to take heart from a woman who lived for 82 years giving her very best, growing out of every shell that society attempted to force her into to become this really amazing figure of inspiration and hope and love."

"Poetry is a magic of pauses ... not a thing of tunes, but of heightened consciousness."

"One writes because one has a burning desire to objectify what it is indispensable to one's happiness to express."

"Precision, economy of statement, logic employed to ends that are disinterested ... liberate the imagination."

"You know I don't really understand much of my poetry myself. Of course, I was convinced I understood it when I wrote it !"

"I don't consider In Distrust of Merits a poem. It's just a burst of feelings. It's emotion recorded, a 'haphazard form ' a protest."

"I think books are chiefly responsible for my dogged self determined efforts to write; books & verisimilitude; I like to describe things."

"For me, a poem starts when a felicitious phrase springs to mind."

"I never plan a stanza, words cluster like chromosomes determining the procedure, later, I may influence or thin it."

"What I write could only be called poetry because there is no other category to put it."

"Poetry is: a classifying, a botanizing, a voracity of contemplation, a pleasure, an indulgence, an infatuation in which the actual is a deft benficence."

"I have been influenced by the Bible, Bach's music and contemporarily by Pound, Eliot, Stevens, Williams and Hopkins."

"A writer is unfair to himself when he is unable to be hard on himself."

"Omissions are not accidents."

"A willingness to satisfy contradictory objections to one's manner of writing might turn one's work into the donkey that finally found itself being carried by its masters, since some readers suggest that quotation marks are disruptive of pleasant progress; others, that notes to what should be complete are a pedantry or evidence of an insufficiently realized task. But since in anything I have written, there have been lines in which the chief interest is borrowed, and I have not yet been able to outgrow this hybrid method of composition, acknowledgements seem only honest. Perhaps those who are annoyed by provisos, detainments, and postscripts could be persuaded to take probity on faith and disregard the notes."

"Everything I have written is the result of reading or of interest in people."

"War is pillage versus resistance and if illusions of magnitude could be transmuted into ideals of magnanimity, peace might be realized."

"He fights and he writes. Is there something I have missed? He is a smiling pugilist."

"I have learned more from Ezra Pound about writing than from anyone else."

"Music should be directed by the ear, poetry by the imagination"

"There is an inevitable connection between music and poetry."

"I tend to write in patterned arrangement with rhymes.. I try to secure an effect of flowing continuity and the correspondence between verse and music."

"I look upon verse as an exercise in composition."

"Whatever it is.. poem.. play, story..it must hold attention."

"Yes, I believe in prayer, as a mystery which can endow one with more power perhaps than any other spiritual mystery, yet a mystery that cannot be exposited to a point where it is not a mystery."

"One may be pardoned, yes I know one may, for love for love, undying (Ephesians 6:24)"

"Blessed the man whose faith is different from possessiveness - of a kind not framed by 'things which do appear' ( Hebrews 11:3)"

"There is hate's crown beneath which all is death; there's love without which none is king."

"There never was a war that was not inward; I must fight till I conquered in myself what causes war"

"In Homer, existence is flawed; transcendence, conditional; ' the journey from sin to redemption, perpetual',"

"Tell me, Tell me where might there be a refuge for me from egocentricity and its propensity to bisect, mis-state, misunderstand and obliterate continuity?"

"O to be a dragon, a symbol of the power of Heaven — of silkworm size or immense; at times invisible. Felicitous phenomenon!"

"You are not male nor female, but a plan deep-set within the heart of man."

"Consume hostility; employ your weapon in this meeting-place of surging enmity! Insurgent feet shall not outrun multiplied flames, O Sun."

"Poetry I too, dislike it: there are things that are important beyond all this fiddle, Reading it, however, with a perfect contempt for it one discovers in it after all, a place for the genuine."

"If you demand on the other hand, the raw material of poetry in all its rawness and that which is on the other hand genuine, you are interested in poetry."

"'Hebrew poetry is, prose with a sort of heightened consciousness' Ecstasy affords the occasion expediency, determines the form"

"that which is impossible to force, it is impossible to hinder."

"My father used to say "Superior people never make long visits.""

"The deepest feeling always shows itself in silence; not in silence, but restraint."

"This is a strange fraternity — these sea lions and land lions, land unicorns and sea unicorns; the lion civilly rampant, tame and concessive like the long-tailed bear of Ecuador — the lion standing up against this screen of woven air which is the forest: the unicorn also, on its hind legs in reciprocity."

"So wary as to disappear for centuries and reappear but never caught, the unicorn has been preserved by an unmatched device wrought like the work of expert blacksmiths ..."

"He's not out seeing a sight but the rock crystal thing to see — the startling El Greco brimming with inner light — that covets nothing that it has let go. This then you may know as the hero."

"What is our innocence, what is our guilt? All are naked, none is safe."

"Beauty is everlasting and dust is for a time."

"Some speak of things we know, as new; And you, of things unknown as things forgot."

"We Call Them the Brave who likely were reluctant to be brave."

"What of it? We call them brave perhaps? Yes; what if the time should come when no one will fight for anything and there's nothing of worth to save."

"Maine should be pleased that its animal is not a waverer, and rather than fight, lets the primed quill fall. Shallow oppressor, intruder, insister, you have found a resister."

"A symbol from the first, of mastery, experiments such as Hippocrates made and substituted for vague speculation stayed the ravages of plague."

"Staff and effigy of the animal which by shedding its skin is a sign of renewal — the symbol of medicine."

"The problems is mastered — insupportably tiring when it was impending. Deliverance accounts for what sounds like axiom. The Gordian knot need not be cut."

"Love, ah Love, when your slipknot's drawn, One can but say, "Farewell, good sense.""

"We are what we were at birth, and each trait has remained in conformity with earth's and with heaven's logic: Be the devil's tool, resort to black magic, None can diverge from the ends which Heaven foreordained."

"Marianne Moore is fundamental, and not only for having published poets of great intensity, such as Hart Crane, in the Dial, her splendid poetry review. It is difficult to define her contribution, so decisive it appears to me, but I am certain that she is our most original poetess, the one who has brought a brilliant precision to poetic language by means of a meticulous conservatism. Her extremely personalized style is at this moment influencing the young poets of the United States. She has succeeded in introducing a great variety of poetic motives, maintaining the ancestral, 'out-of-date' virtues of American culture-such as irony, a subtle sense of humor, understatement-while keeping herself at the same time within the creative vanguard of poetry in the English language."

"Although Le Guin tended to discount the distinction between dream-world and "real" world, she made a sharp distinction between the real world and the world of science fiction. When asked if there is really a difference between what we call reality and science fiction, she retorted decisively: "You bet you there is. You keep that firmly in mind. It's a fiction. You know what Marianne Moore said about imaginary gardens with real toads-sometimes there are real gardens with imaginary toads in them. But it's a mixture. Fiction writers write fiction, particularly in science fiction. People forget this and say they are describing reality or they are predicting reality. But the very most that a fiction writer can do is offer an option.""

"I created a "dream world" that I tried grounding absolutely and solidly in a real place, the Napa Valley, which I know stone by stone. Marianne Moore said real toads in imaginary gardens is what poetry is about. Well, what I did was create imaginary toads in a real garden. I tried working out in that book the world that I think I would like best to live in. Although this one will do."

"Until recently this female anger and this furious awareness of the Man's power over her were not available materials to the female poet, who tended to write of Love as the source of her suffering, and to view that victimization by Love as an almost inevitable fate. Or, like Marianne Moore and Elizabeth Bishop, she kept sexuality at a measured and chiseled distance in her poems."

"I discovered that the woman poet most admired at the time (by men) was Marianne Moore, who was maidenly, elegant, intellectual, discreet."

"A boy's hunched body loved out of a stalk The first song of his happiness, and the song woke His heart to the darkness and into the sadness of joy."

"The appeal to heaven breaks off. The petals begin to fall, in self-forgiveness. It is a flower. On this mountainside it is dying."

"The sheer blue milken dreaminess spurting and shuddering from the fourteen teats into the fourteen mouths sucking and blowing beneath them: the long, perfect loveliness of sow."

"I take a wolf's rib and whittle it sharp at both ends and coil it up and freeze it in blubber and place it out on the fairway of the bears."

"I feel like Galway Kinnell has been a teacher, even though I have never met him. I love his work. I think that what he has is a beautiful balance between technique and music. He is such a poet. He's a poet's poet with the music"

"No one worth possessing Can be quite possessed."

"This is the funeral pyre and Troy is dead That sparkled so the day I saw it first, And darkened slowly after. I am she Who loves all beauty — yet I wither it."

"My dreams are over, I have ceased to cry Against the fate that made men love my mouth And left their spirits all too deaf to hear The little songs that echoed through my soul. I have no anger now. The dreams are done; Yet since the Greeks and Trojans would not see Aught but my body's fairness, till the end, In all the islands set in all the seas, And all the lands that lie beneath the sun, Till light turn darkness, and till time shall sleep, Men's lives shall waste with longing after me, For I shall be the sum of their desire, The whole of beauty, never seen again."

"And as I played, a child came thro' the gate, A boy who looked at me without a word, As tho' he saw stretch far behind my head Long lines of radiant angels, row on row. That day we spoke a little, timidly, And after that I never heard the voice That sang so many songs for love of me."

"Ah, Aphrodite, if I sing no more To thee, God's daughter, powerful as God, It is that thou hast made my life too sweet To hold the added sweetness of a song. There is a quiet at the heart of love, And I have pierced the pain and come to peace."

"We weep before the Blessed Mother's shrine, To think upon her sorrows, but her joys What nun could ever know a tithing of? The precious hours she watched above His sleep Were worth the fearful anguish of the end. Yea, lack of love is bitterest of all."

"All this grows bitter that was once so sweet, And many mouths must drain the dregs of it. But none will pity me, nor pity him Whom Love so lashed, and with such cruel thongs."

"Make songs for Death as you would sing to Love — But you will not assuage him. He alone Of all the gods will take no gifts from men."

"I may not speak till Eros' torch is dim, The god is bitter and will have it so."

"I would live in your love as the sea-grasses live in the sea, Borne up by each wave as it passes, drawn down by each wave that recedes."

"Perhaps when all the world is bare And cruel winter holds the land, The Love that finds no place to hide Will run and catch my hand. I shall not care to have him then, I shall be bitter and a-cold — It grows too late for frolicking When all the world is old.Then little hiding Love, come forth, Come forth before the autumn goes, And let us seek thro' ruined paths The garden's last red rose."

"For tho' I know he loves me, To-night my heart is sad; His kiss was not so wonderful As all the dreams I had."

"With the man I love who loves me not I walked in the street-lamps' flare — But oh, the girls who can ask for love In the lights of Union Square."

"There is no sign of leaf or bud, A hush is over everything — Silent as women wait for love, The world is waiting for the spring."

"I hope that when he smiles at me He does not guess my joy and pain, For if he did, he is too kind To ever look my way again."

"The greenish sky glows up in misty reds, The purple shadows turn to brick and stone, The dreams wear thin, men turn upon their beds, And hear the milk-cart jangle by alone."

"Oh, is it not enough to be Here with this beauty over me? My throat should ache with praise, and I Should kneel in joy beneath the sky. Oh, beauty are you not enough?"

"Oh, beauty, are you not enough? Why am I crying after love?"

"I am the pool of gold When sunset burns and dies,— You are my deepening skies, Give me your stars to hold."

"When I am dead and over me bright April Shakes out her rain-drenched hair, Tho' you should lean above me broken-hearted, I shall not care. I shall have peace, as leafy trees are peaceful When rain bends down the bough, And I shall be more silent and cold-hearted Than you are now."

"I lift my heart as spring lifts up A yellow daisy to the rain; My heart will be a lovely cup Altho' it holds but pain. For I shall learn from flower and leaf That color every drop they hold, To change the lifeless wine of grief To living gold."

"But oh, to him I loved Who loved me not at all, I owe the little open gate That led thru heaven's wall."

"How should they know that Sappho lived and died Faithful to love, not faithful to the lover, Never transfused and lost in what she loved, Never so wholly loving nor at peace."

"I have grown weary of the winds of heaven. I will not be a reed to hold the sound Of whatsoever breath the gods may blow, Turning my torment into music for them. They gave me life; the gift was bountiful, I lived with the swift singing strength of fire, Seeking for beauty as a flame for fuel — Beauty in all things and in every hour. The gods have given life — I gave them song; The debt is paid and now I turn to go."

"Life has loveliness to sell, All beautiful and splendid things, Blue waves whitened on a cliff, Soaring fire that sways and sings, And children's faces looking up Holding wonder like a cup."

"Spend all you have for loveliness, Buy it and never count the cost; For one white singing hour of peace Count many a year of strife well lost, And for a breath of ecstasy Give all you have been, or could be."

"But I will turn my eyes from you As women turn to put away The jewels they have worn at night And cannot wear in sober day."

"If I can find out God, then I shall find Him, If none can find Him, then I shall sleep soundly, Knowing how well on earth your love sufficed me, A lamp in darkness."

"I try to catch at many a tune Like petals of light fallen from the moon, Broken and bright on a dark lagoon,But they float away — for who can hold Youth, or perfume or the moon's gold?"

"I should be glad of loneliness And hours that go on broken wings, A thirsty body, a tired heart And the unchanging ache of things, If I could make a single song As lovely and as full of light, As hushed and brief as a falling star On a winter night."

"But you I never understood, Your spirit's secret hides like gold Sunk in a Spanish galleon Ages ago in waters cold."

"It will not hurt me when I am old, A running tide where moonlight burned Will not sting me like silver snakes; The years will make me sad and cold, It is the happy heart that breaks."

"O lovely chance, what can I do To give my gratefulness to you? You rise between myself and me With a wise persistency; I would have broken body and soul, But by your grace, still I am whole."

"Not one would mind, neither bird nor tree If mankind perished utterly;And Spring herself, when she woke at dawn, Would scarcely know that we were gone."

"Sun-swept beaches with a light wind blowing From the immense blue circle of the sea, And the soft thunder where long waves whiten — These were the same for Sappho as for me. Two thousand years — much has gone by forever, Change takes the gods and ships and speech of men — But here on the beaches that time passes over The heart aches now as then."

"Oh Earth, you gave me all I have, I love you, I love you, — oh what have I That I can give you in return — Except my body after I die?"

"The window-lights, myriads and myriads, Bloom from the walls like climbing flowers."

"I am alone, as though I stood On the highest peak of the tired gray world, About me only swirling snow, Above me, endless space unfurled; With earth hidden and heaven hidden, And only my own spirit's pride To keep me from the peace of those Who are not lonely, having died."

"If I am peaceful, I shall see Beauty's face continually; Feeding on her wine and bread I shall be wholly comforted, For she can make one day for me Rich as my lost eternity."

"If we keep an open mind, too much is likely to fall into it."

"Youth is not a question of years: one is young or old from birth."

"The advantage of love at first sight is that it delays a second sight."

"I am beginning to have a healthy dread of possessions, be it of a country, a house, a being or even an idea. If we are bothered by possessions we cannot really live either from without or from within; we are the possession of our possessions. All wars and most loves come from the possessive instinct. Why grab possessions like thieves, or divide them like socialists when you can ignore them like wise men: that you may belong to everything and everything be yours inclusive of yourself. Could we, and we can, have the vital necessities for all, we should do away with this cry of class and begin to differentiate between individuals. Individual superiority can alone feed the soul and give back through some materialisation of itself this individualised wealth of being."

"We know all their gods; they ignore ours. What they call our sins are our gods, and what they call their gods, we name otherwise."

"Time engraves our faces with all the tears we have not shed."

"We have reached the age, those of us to whom fortune has assigned a post in life's struggle, when, beaten and smashed and biffed by the lashings of the dragon's tail, we begin to appreciate that the old man was not such a damned fool after all. We saw our parents wrestling with that same dragon, and we thought, though we never spoke the thought aloud, 'Why don't he hit him on the head?' Alas, comrades, we know now. We have hit the dragon on the head and we have seen the dragon smile."

"There was ease in Casey's manner as he stepped into his place, There was pride in Casey's bearing and a smile on Casey's face, And when responding to the cheers he lightly of his hat, No stranger in the crowd could doubt, 't was Casey at the bat."

""Strike one" the Umpire said.From the bleachers black with people there rose a sullen roar, Like the beating of the storm-waves on a stern and distant shore, "Kill him! Kill the Umpire!" shouted someone from the stand — And it's likely they'd have done it had not Casey raised his hand."

"Oh! somewhere in this favored land the sun is shining bright, The band is playing somewhere, and somewhere hearts are light, And somewhere men are laughing and somewhere children shout; But there is no joy in Mudville — mighty Casey has "struck out.""

"But, sure, the sky is big, I said; Miles and miles above my head; So here upon my back I'll lie And look my fill into the sky. And so I looked, and, after all, The sky was not so very tall. The sky, I said, must somewhere stop, And — sure enough! — I see the top! The sky, I thought, is not so grand; I 'most could touch it with my hand! And reaching up my hand to try, I screamed to feel it touch the sky."

"The world stands out on either side No wider than the heart is wide; Above the world is stretched the sky, — No higher than the soul is high. The heart can push the sea and land Farther away on either hand; The soul can split the sky in two, And let the face of God shine through. But East and West will pinch the heart That can not keep them pushed apart; And he whose soul is flat — the sky Will cave in on him by and by."

"It's little I know what's in my heart, What's in my mind it's little I know, But there's that in me must up and start, And it's little I care where my feet go."

"My candle burns at both ends; It will not last the night; But, ah, my foes, and, oh, my friends — It gives a lovely light."

"Safe upon the solid rock the ugly houses stand; Come and see my shining palace built upon the sand!"

"Many a bard's untimely death Lends unto his verses breath; Here's a song was never sung: Growing old is dying young."

"One thing there's no getting by— I've been a wicked girl." said I; "But if I can't be sorry, why, I might as well be glad!"

"But you are mobile as the veering air, And all your charms more changeful than the tide, Wherefore to be inconstant is no care: I have but to continue at your side. So wanton, light and false, my love, are you, I am most faithless when I most am true."

"After all, my earstwhile dear, My no longer cherished, Need we say it was not love, Now that love is perished?"

"My heart is warm with friends I make, And better friends I'll not be knowing, Yet there isn't a train I wouldn't take, No matter where it's going."

"Euclid alone has looked on Beauty bare. Let all who prate of Beauty hold their peace, And lay them prone upon the earth and cease To ponder on themselves, the while they stare At nothing, intricately drawn nowhere."

"Thus in the winter stands the lonely tree, Nor knows what birds have vanished one by one, Yet knows its boughs more silent than before: I cannot say what loves have come and gone, I only know that summer sang in me A little while, that in me sings no more."

"Love is not all: it is not meat nor drink Nor slumber nor a roof against the rain; Nor yet a floating spar to men that sink And rise and sink and rise and sink again; Love can not fill the thickened lung with breath, Nor clean the blood, nor set the fractured bone; Yet many a man is making friends with death Even as I speak, for lack of love alone."

"Childhood is not from birth to a certain age and at a certain age The child is grown, and puts away childish things. Childhood is the kingdom where nobody dies. Nobody that matters, that is."

"… one damn thing after another … one damn thing over and over."

"The only people I really hate are servants. They are not really human beings at all. As attributed without citation in At Home by Bill Bryson, Chapter V, "The Scullery and the Larder" p. 111"

"When people talk about American literature, they really mean Hemingway, Faulkner and Poe and when they do include women it's Emily Dickinson and Edna St. Vincent Millay. To decide to take that on and say, 'I will speak and will be heard'-that takes a lot of guts."

"When I was in high school, I had never read Black poetry. The one poet of color whom I had read, and loved, was Pablo Neruda. I have to say that Neruda and Millay were the two poets I loved. All the others didn't make much sense. Except Eliot. He really got to me."

"Wylie and Millay were standard in high school-women whom I really loved."

"T. S. Eliot, Millay, Helene Margaret, I read and connected with because they made me feel what they were feeling, or wanted to feel."

"When I was a freshman at Brandeis, an instructor told us that we should not like Edna St. Vincent Millay. He didn’t say it in so many words, but the message was that we shouldn’t like her because she slept around. No women got into the modernist boys’ club except Marianne Moore, who was respected because she was respectable. Sexually respectable. This sounds oversimplified, but it isn’t. All the other women poets had sex lives — kinky sex lives."

"Edna St. Vincent Millay was outspoken and feisty."

"The ancient owls' nest must have burned. Hastily, all alone, a glistening armadillo left the scene, rose-flecked, head down, tail down"

"The big fish tubs are completely lined with layers of beautiful herring scales and the wheelbarrows are similarly plastered with creamy iridescent coats of mail, with small iridescent flies crawling on them."

"Why should I be my aunt, or me, or anyone? What similarities boots, hands, the family voice I felt in my throat, or even the National Geographic and those awful hanging breasts held us all together or made us all just one?"

"From a magician's midnight sleeve the radio-singers distribute all their love-songs over the dew-wet lawns."

"The armored cars of dreams contrived to let us do so many a dangerous thing."

"Topography displays no favorites; North's as near as West. More delicate than the historians' are the map-makers' colors."

"I love Elizabeth Bishop, and I think that in Latin America she's really well known. I think she's much more well known than Lowell, I think because of her experience in Brazil...I think that Brazil allowed Elizabeth Bishop to be herself"

"I love poets who bring together poetry and life in all its motion: Neruda, Forché, Cardenal, Dugan, Bishop"

"I had felt drawn, but also repelled, by Bishop's early work-I mean repel in the sense of refusing access, seeming to push away. In part, my difficulties with her were difficulties in the poetry, of Bishop as a young poet finding her own level and her own language. But in part they were difficulties I brought with me, as a still younger woman poet already beginning to question sexual identity, looking for a female genealogy, still not yet consciously lesbian. I had not then connected the themes of outsiderhood and marginality in her work, as well as its encodings and obscurities, with a lesbian identity. I was looking for a clear female tradition; the tradition I was discovering was diffuse, elusive, often cryptic. Yet, especially given the times and customs of the 1940s and 1950s, Bishop's work now seems to me remarkably honest and courageous. Women poets searching for older contemporaries in that period were supposed to look to "Miss" Marianne Moore as the paradigm of what a woman poet might accomplish, and, after her, to "Miss" Bishop. Both had been selected and certified by the literary establishment, which was, as now, white, male, and at least ostensibly heterosexual. Elizabeth Bishop's name was spoken, her books reviewed with deep respect. But attention was paid to her triumphs, her perfections, not to her struggles for self-definition and her sense of difference. In this way, her reputation made her less, rather than more, available to me. The infrequency of her public appearances and her geographic remoteness-living for many years in Brazil, with a woman as it happened, but we didn't know that-made her an indistinct and a problematic life model for a woman poet."

"Until recently this female anger and this furious awareness of the Man's power over her were not available materials to the female poet, who tended to write of Love as the source of her suffering, and to view that victimization by Love as an almost inevitable fate. Or, like Marianne Moore and Elizabeth Bishop, she kept sexuality at a measured and chiseled distance in her poems."

"If you want to sell your vote, go ahead; it's a free country. But be sure you get something for it... You can't get both justice and the two dollars."

"We have a genuine admiration and affection for President Truman, not only because of his leadership in these troubled times of the world, but in a more intimate sense, because of his constant, fair-minded, generous attitude in helping Puerto Rico to help itself."

"This crime confirms my conviction of the connection of these mad, grotesque, and futile nationalist violence-makers in Puerto Rico with communistic propaganda strategy all over the world."

"The issue in Puerto Rico is not between colonialism and independence. We are not a colony of the United States. We are citizens of the United States and our Island is associated on a basis of freedom with the United States. We are members of the independence of the United States."

"The nationalists have no political power. They have no votes and they hate votes. Votes to them are as repugnant as holy water to the devil."

"We devoted the decade that started in 1940 to beginning the struggle to abolish poverty. To do that we set aside political status as an issue. During the decade that started in 1950 we directed our energy especially toward the creation of a new political status vitally adapted to the economic needs of Puerto Rico. During the decade that is now starting I propose that we devote special attention to what kind of civilization, what kind of culture, what deep and good manner of living the people of Puerto Rico want to make for themselves on the basis of their increasing economic prosperity."

"If a good civilization is the final goal, and if we are to devote to it the larger part of this new decade, we must set above all other duties the duty of education education in the school and out of the school: the improvement of all means of communication, such as schools, universities, radio, television, and the press."

"Our society, in its endeavor to improve spiritually, to enlighten its understanding, to understand itself better, must restore to the teacher his legitimate position."

"a man we can regard as a spiritual fellow countryman, a man eminent in music, eminent in human virtues, eminent in liberty. Of all his qualities the least is music-and he is one of the great musicians of the world: Maestro Pablo Casals!"

"Progress in technology is necessary for the economic development of our country in the direction of higher and higher levels that will benefit all Puerto Ricans. But to find relief for the human suffering temporarily caused by this very progress is a necessary duty."

"But it is repulsive to observe that democracy, precisely because of its principles of human freedom, frequently finds itself in the position of jailing poor people who are not morally perverse, while letting go free the big corruptors, the big racketeers, the big criminals of the numbers racket. Democracy should assiduously search for a way to prevent this. Its great respect for human freedom must not be used as a tool to guarantee impunity to these racketeers and criminals."

"The history of Puerto Rico in the past decades has been that of two drives seeking to merge into one: the drive to abolish poverty and the drive of the people toward the ideal image of themselves."

"The objective is, I repeat, a good civilization based on the abolition of poverty. A political status that puts obstacles in the path of that ideal cannot be, so long as it creates obstacles, the status that gives real freedom to the people of Puerto Rico."

"Commonwealth status provides us with a means adapted to the high end of creating an excellent civilization here in Puerto Rico. There is talk as to whether the Commonwealth status is or is not permanent. Strictly speaking, nothing in the world is permanent; but, accepting this as a relative term, I will say that the Commonwealth status shall be as permanent as the people of Puerto Rico may desire. It is fruit of our people's freedom of thought, and its permanence or impermanence should be the fruit of our people's continuing freedom to make decisions."

"When the economic development of Puerto Rico reaches a point where any other political status may be consistent with a prosperous life and a good civilization, the people of Puerto Rico may then take up the question of political status. For they will then be free, truly free, of the coercion of destructive and inexorable economic realities, to decide whether they wish to continue using Commonwealth as a means toward the ideal of the good life, or whether they prefer to use any other status as a means to this end. What I am saying is that a political status should not be a straitjacket, a fetish, an unreasoned prejudice, but a great means toward much deeper and more significant ends."

"A government is not an end in itself. It is a means for the appropriate organization of a political community. Neither is a political status for the same reason-an end in itself."

"the best political status for a country has the consent of its people and helps, or at least does not greatly hinder, the growth of its economy. It participates in the development of what is good in its culture-the culture that the people desire for themselves on the basis of this economy."

"I believe that if Puerto Rico had been a federated state of the Union in, say, 1945, at the end of World War II, it would never have been able to attain the economic development, with its consequent social progress, which has been observed and admired by the whole world all these years"

"The distribution of this great wealth-the way in which it is apportioned to profits, wages, and professional salaries, education, health, continuing economic development, social security, recreation, housing, communications is extremely important...I propose that economic justice be maintained or improved as part of the agenda of the future."

"Political liberty-under any political status-is in itself only one of the many expressions of human liberty."

"The man who knows something today that he did not know yesterday is today, in that degree, a freer man than he was yesterday, because ignorance is servitude and knowledge is freedom. Parents who know today that they can provide their children with an adequate education are much freer than they were yesterday, if yesterday they lived in uncertainty as to whether or not they could educate their children. If a family knows it can move from a slum to a public housing development and later, as its economic condition improves, to a home of its own, it has greater freedom of spirit than one that despairs of ever being able to improve its lot... In a rapidly growing economic system such as Puerto Rico has and should continue to have, with increasing opportunities for greater economic well-being, all who now have hope, rather than despair, are freer because of this hope."

"a good civilization, our true final goal."

"A good civilization, it seems to me, is one which continues to work energetically to create more wealth, but directs this wealth toward the fulfillment of deeper values. Once certain basic needs are satisfied and certain basic comforts are available to all, it turns its attention to the attainment of more meaningful and lasting satisfactions than the mere possession and consumption of merchandise."

"once the basic needs and comforts are provided for, this growing economic energy should be used to create more personal freedom in all its multiple aspects. We have already pointed out what these are: more universities, more museums, more laboratories and libraries, more opportunities for adults to continue their education beyond the mere attainments of techniques for earning a living, more individuality in decisions, better neighborly feeling, better neighborhoods, greater appreciation of, rather than imitation of, the neighbor-in short, more serenity."

"The public philosophy of our people should be much more than their political status; much more than their technology and their economy. It is or should be the deepest expression of their unity and their soul."

"let us dedicate this new decade to the grand enterprise of a great education for Puerto Rico."

"At present, the Board of Education is eager to help the bilingual reader and to encourage the entire student body. It has transplanted "Operation Understanding," one of the slogans of Puerto Rico's former governor, Luis Muñoz Marín, to the mainland."

"The biggest traitor in Puerto Rican history is this lackey, Luis Munoz Marin, who shipped our people by the hundreds of thousands to New York because he could not provide jobs for them; who taught our people to be white middle class americanos, when they were poor, oppressed boricuas; who destroyed the jibaro with operation bootstrap, moving thousands off the land into the slums of San Juan, and Ponce, and let all our money go to u.s. capitalists. He was the apostle of non-violence for profit."

"Our people have experience with crooked politicians full of empty promises. In the 1940's, luis munoz marin and the slogan "Bread, Land, and Liberty." Where is the bread? Where is the land? Where is the liberty? munoz marin was for independence, until he got into office. Then he became a traitor, and a rich man."

"Pseudo-modernists pursue individual style because they know they cannot make a name without it; but if they had lived in the eighteenth century their sole object would have been to write correctly, to conform to the manner of the period. In practice, their conforming individualism means an imitation, studiously concealed, of the eccentricities of poems which really are individual."

"When modernist poetry, or what not so long ago passed for modernist poetry, can reach the stage where the following piece by Mr. Ezra Pound is seriously offered as a poem, there is some justification for the plain reader and orthodox critic who shrinks from anything that may be labelled 'modernist' either in terms of condemnation or approbation.... Better he thinks, that ten authentic poets should be left for posterity to discover than one charlatan should be allowed to steal into the Temple of Fame."

"I feel an intense intimacy with those who have this loathing interest in me. Further than this, I know what they mean, I sympathize with them, I understand them. There should be a name (as poetic as love) for this relationship between loather and loathed; it is of the closest and more full of passion than incest."

"Because most people are not sufficiently employed in themselves, they run about loose, hungering for employment, and satisfy themselves in various supererogatory occupations. The easiest of these occupations, which have all to do with making things already made, is the making of people: it is called the art of friendship."

"What is science? yard-measure and scale to philosophy, expert-accountant, bank clerk. What is poetry? miserable, ill-fed, underpaid, unionized labourer, pleased to oblige, grateful for work, flattering himself that poverty makes him an aristocrat."

"In the old romanticism the poem was an uncommon effect of common experience on the poet. All interest in the poem centred in this mysterious capacity of the poet for overfeeling, for being overaffected. In Poe the old romanticism ended and the new romanticism began. That is, the interest was broadened to include the reader: the end of the poem was pushed ahead a stage, from the poet to the reader. The uncommon effect of experience on the poet became merely incidental to the uncommon effect which he might have on the reader. Mystery was replaced by science; inspiration by psychology."

"All literature is written by the old to teach the young how to express themselves so that they in turn may write literature to teach the old how to express themselves. All literature is written by mentally precocious adolescents and by mentally precocious senescents."

"The group is only interested in the formal publishing of individuals for the purpose of establishing their social solidarity."

"The object of group truth is group-confirmation and perpetuation; while individual truth has no object other than discovering itself and involves neither proofs nor priests. In order, however, to win any acceptance it must translate itself into group truth, it must accommodate itself to the fact-curriculum of the group. But not only is such truth forced to submit to group terminology and order, but the group conscience demands that the individual mind serve it by working with the purposes of the group. The group, indeed, tries to preclude all idiosyncratic thought-activity and to use what intelligence it can control against it."

"We live on the circumference of a hollow circle. We draw the circumference, like spiders, out of ourselves: it is all criticism of criticism."

"The child begins with crude sex alone. It innocently indulges itself in sensual pleasures. It loves kissing and to be kissed, stroking and to be stroked, fondly contemplating its excretions. The civilized society into which it is born magnifies the importance of these insignificant local sensations, gives them intellectual depth. It creates a handsome receptacle, love, to contain the humours of this unnaturally enlarged instinct."

"Polygamy and polyandry distribute the frightening physical solidarity of monogamy. Monogamous couples are always hungry for company: to dilute sex."

"The anthology meets with two different kinds of reactions in living poets. They will either write toward the anthology or away from it. Anti-anthology poets often overreach themselves, inflicting protective distortions on their work - as parents in old Central Europe often deliberately maimed their sons to save them from compulsory military service."

"A new type of poem has been evolved and popularized by the demands of the anthology-reading public. It is called 'the perfect modern lyric.' Like the best-seller novel, it is usually achieved in the dark; but certain critical regulations can be made for it. It must be fairly regular in form and easily memorized, it must be a new combination of absolutely warn-out material, it must have a certain unhealthy vigour or languor, and it must start off engagingly with a simple sentimental statement. Somewhere a daring pseudo-poetical image must be included..."

"Daisy was a consciously happy young woman without any of the usual endowments that make for conscious happiness, money apart. She was not pretty, she was not clever, she had no friends, no talents, nor even an imagination to make her think she was happy when she was really miserable. As she was never miserable, she had no need of an imagination."

"She [Venison] had never travelled and so could invent all kinds of strange places without being limited, as travelled people are, by knowledge of certain places only."

"Her one serious failing was that she could not write above love. She could not write a story with more than one important character in it, whom she thought of for the moment as herself; with love there had to be at least two important characters."

"The terms ‘male’ and ‘female’ must be understood as representing no more primitive opposition of sex to sex; but as defining two worlds of differing quality, in either of which men and women may jointly move and live."

"If I had my choice to make again - and again and again - it would be Paris, and Paris, and still Paris. And not because I thought him 'the right man', but because I felt him to be my life's task - even if I knew beforehand that this task was doomed to failure. It isn't patience and sweetness of character that does it, but love, and obstinacy - not minding how it turns out. When a woman in love thinks a lot about her future happiness, you can be sure she's not very much in love."

"I think you're right about the difference between the Trojan mind and the Greek mind: the Greeks live in their imaginations while the Trojans always try to see things as they really are. And with some things they do get hold of the truth, and with some things they don't. But, where they don't, they won't have substitutes. That's why their world-outlook is so much smaller than ours. It's concentrated in a few certainties which are far ahead of anything we'll arrive at, but when you have these you feel that the rest is a blank and long to be back in the bigger world again, where there's space and variety and perplexity."

"You know the story of the famous seer Phineus whom the Argonauts consulted when they stopped in Salmydessos in Thrace on their way to Colchis to get the golden fleece. He was blind, but not entirely blind - he could see just enough to see that he could not see. And the little flickering spots of light that forced themselves on him were wind-harpies trying to steal from him his prophetic power. So he would beg everyone to make him blind, to rid him of the harpies. But people laughed at him because, so far as they could tell, he was as blind as any man needed to be. Only Hercules understood, because his spirit extended into the divine shadows. Only Hercules had the courage to make the blind Phineus blind."

"What second love could she [Olympias] make out of her ruined first love? The second love that most women make out of their first love for husbands grows from a mutual and tacit sadness in both husband and wife that he is only in rare moments the man both would like him to be."

"Every woman must live by some sense of victory over disappointments, and Olympias was not the sort of woman to find compensation in her own powers of self-control and endurance."

"She [Cleopatra] was then a very young girl, but had already begun to look upon the world as a mean, dark place, in which fortune and brightness were to be had only be seizing from others what one could and keeping it in one’s hold as long as possible. Believing that there were not enough desirable things for all to have share in them, she made up her mind that the happiest person was the one who was the cleverest thief. She worked with vicious fanaticism to have what she coveted; thinking that none knew so well as herself the joy of possessing and none therefore deserved so much. When she had won her way she softened as a goddess to mortals—pouring out affection and benevolence with an abandon that was unmatchable and frightening, but irresistible. Then she was happy, and felt virtuous."

"Caesar was a reserved, disbelieving, obdurate man, and Cleopatra had conquered him by loving him for what others found repellent. ‘In you, Caesar,’ she told him, ‘I have something that, being not sweet, will not corrupt—but, like a sour metal, will only tarnish.’ And in Cleopatra Caesar had something of another world, something hellish it might be, a stranger—but, because a stranger, one with whom he could yield to weariness of himself and yet feel that in his own world he had lost none of its secrets."

"Political statements all have a battle flavour - attack, counter-attack, defence. Left political statements generally have a counter-attack flavour, though the Conservative flavour is not attack but defence. A large part of Left rhetoric is spent in imposing the 'attack' flavour on the Conservative position (for example, in such phrases as: 'inspired Capitalist opinion', 'predatory imperialist interests', 'the ruling financial oligarchy')."

"Their common assumption [communists and left-wing poets] is that every one must stand somewhere politically - and especially the poets, who are under suspicion as unpractical people who shirk the responsibility of taking a stand."

"But she [Virginia Woolf] is impotently distant from an understanding of the proper relations between literature and society, because she has no clear sense of the functions of literature. She sees writers as individual 'artists' working in mysterious privacy - which from time to time society rudely invades. Her writer, indeed, has all the characteristics of traditional 'femininity' - with society as the big strong male who should protect and cherish his literary womenfolk, but does not. She might - for all the application of her complaint to the relations between society and literature - be talking of the relations between husbands and wives."

"...poets are sensitive to the challenge 'What is the moral justification of poetry?' because they are conscious of the intrinsic goodness of poetry. Goody-goody humanitarian causes draw them easily into membership by making them wince at the notion of all the injustices prevalent in the world of physical consciousness. Let it be declared as clearly as possible that the goodness of poetry is not moral goodness, the goodness of temporal action, but the goodness of thought, the loving exercise of the will in the pursuit of truth."

"Politics have always covered two distinct kinds of problems: problems of administrative routine, and those that may be called 'questions of the moment.'... A question of the moment is, indeed, a substitute for some notion, such as the idea of God, or hereditary monarchy, or national glory, that has hitherto acted as a symbol of human co-ordination. It provides no new positive certainty to replace the discredited certainty, but is what the name implies: the raising of a question which the old certainty no longer answers."

"Euripides seems to have felt that the dignified perfection of Sophocles could be challenged only by novelty and irresponsibility. The religious conditions of the Dionysian festival kept him within certain bounds... But within the imposed limits Euripides was as profane as he dared to be, making melodrama of the divine realities which his predecessors accepted religiously, using the stage merely as a convenience for popularizing his own eccentric values."

"If you take two words like 'tame' and 'domesticated', you're forced to think of the divergence in meaning, not the similarity. You say to yourself, in getting it clear, "A dog is a tame wolf, a cat is a domesticated tiger." A cat never really tames, while tameness is the essence of a dog's soul. You tame the wolf into a dog, but the tiger domesticates itself into a cat. In this way there's more real oppositeness between things that are like than between things that are different. The kind of oppositeness, I mean, that there is between words when you discard one in favour of another."

"Yet what representative trio do not make a mad trio? Blake, Mrs. Aphra Behn, Zeno - not a typical but a representative threesome... Things do not go in simple pairs. Poetry is not a case of Shakespeare and Marlowe, Shelley and Keats, Wordsworth and Coleridge, Bridges and Masefield, Emily Dickinson and T. S. Eliot. Poetry is some awkward trio - like Caedmon, Oliver Goldsmith, Edna St. Vincent Millay. So with the novel."

"'God' is the name given to the most ‘important’ human idea. In English, as in other languages, the original sense of the word is obscure. But the character of the name is the same in all languages: it is a question. 'God' is the question 'Is there something more important than, something besides, man?'"

"I would then say that there are two kinds of feeling. The first is to feel in the sense of concentrating your emotions on something immediately available for your understanding: you make your understanding out of the emotions you have about it. The second is to feel in the sense of being affected without trying to understand: something is felt, you do not know what, and it is more important to feel it than to try to understand it, since once you try to understand it you no longer feel it."

"Women from earliest times have been used as conveniences of communication with unseen, inaccessible powers, but always in the sense that such exposing of self to dangerous mysteries, such destruction of the understanding as was required to become the slave of unseen powers, did not matter because the communicant was only a woman, in herself an undetermined cipher – a nothing."

"Anger is precious because it is an immediate, undeniable clue to what our minds (so much more cautious in rejection and resistance than our bodies) will not tolerate."

"The object of all religious activity is to mingle the human and the non-human, and the lower gods represent that which is cast back to the human from the non-human – human gods merely, practice-gods who embody the errors which man makes in first conceiving the non-human."

"Metaphor... is, as a common feature of linguistic practice, an incidental expediency, a homely administering of first-aid by mother-wit to jams or halts in expression suddenly confronting speakers, with no respectable linguistic solution immediately in sight."

"The new "ambiguity" means, in a way adjudged favorable to literary, poetic, intellectually and psychologically well-devised and praiseworthily executed linguistic performance, uncertainty of meaning, or difficulty for the interpreter in identifying just what the meaning in question is: it means the old meanings of ambiguity with a difference. It means uncertainty of meaning (of a word or combination of words) purposefully incorporated in a literary composition for the attainment of the utmost possible variety of meaning-play compressible within the verbal limits of the composition."

"Much of the magical effect that poetry gives of rendering everything it touches pellucid comes from the necessity of compression that it imposes. The impossibility of pausing in poetry as long as may be needed to make sense clear causes many a set of words actually deficient in linguistic workmanship to pass for an eloquent brevity."

"The rhythmic pattern of the poem, which forces continuity of attention – incites a pleasurable compulsion to ‘follow’ – is either a tried metrical suasion-contrivance or a specially invented pattern of physical insistences, equally, if not more, binding in its effect on the reader. From a straight linguistic point of view, there is room for wonder if there is not latent vice in this environment in which pleasurable physically-compelled responses, produced by incidents of poetic utterance, are identified with the Good."

"Think gently of the erring: Ye know not of the power With which the dark temptation came In some unguarded hour. Ye may not know how earnestly They struggled, or how well, Until the hour of weakness came, And sadly thus they fell."

"Speak gently to the erring: For is it not enough That innocence and peace have gone, Without thy censure rough?"

"Speak kindly to the erring; Thou yet may'st lead them back, With holy words and tones of love, From misery's thorny track. Forget not thou hast often sinned. And sinful yet must be; Deal gently with the erring one, As God hath dealt with thee."

"Little drops of water, Little grains of sand, Make the mighty ocean And the pleasant land.Thus the little minutes, Humble though they be, Make the mighty ages Of eternity."

"Little deeds of kindness, Little words of love, Make our pleasant earth below Like the heaven above."

"How near another's heart we oft may stand, Yet all unknowing what we fain would know Its heights of joy, its depths of bitter woe, As, wrecked upon some desert island's strand, They watch our white sails near and nearer grow; Then we, who for their rescue death would dare, Unheeding pass, and leave them to despair."

"How oft the word which we would gladly speak Might be, unto some darkly groping soul, The key to bid doubt's massive doors unroll, The free winds' breath upon the prisoner's cheek, Or. to the hungry heart, sweet pity's dole! We hurry on, nor know that they are near, As passed Evangeline the one so dear."

"Little scraps of paper, Little crumbs of food, Make a room untidy Everywhere they're strewed."

"This Humanist whom no beliefs constrained"

"Poetry is what looks like poetry, what sounds like poetry. It is metrical composition."

"With an a natural affinity for the epigram genre, I am, so to speak, a short breathed man and have an almost unthoughtout preference for brief definitive statements."

"What is needed is a noticeable unnoticeable style,... a directness of speech that seems to one judging easily imitable, to one trying it nothing less so."

"An old dissembler who lived out his lie Lies here as if he did not fear to die."

"Despise me not And not be queasy To praise somewhat Verse is not easy"

"Grief restrains grief as dams torrential rain And time grows fertile with extended pain"

"What demon is our god? What name subsumes That act external to our sleeping selves? Not pleasure — it is much too broad and narrow —, Not sex, not for the moment love, but pride, And not in prowess, but pride undefined, Autonomous in its unthought demands, A bit of vanity, but mostly pride."

"She said he was a man who cheated. He said she didn't play the game. She said an expletive deleted. He said the undeleted same. And so they ended their relation With meaningful communication."

"Plato, despair! We prove by norms How numbers bear Empiric forms, How random wrong Will average right If time be long And error slight, But in our hearts Hyperbole Curves and departs To infinity. Error is boundless. Nor hope nor doubt, Though both be groundless, Will average out."

"I may, if I can, sleep; since I must, die. Some say, rise."

"The ancient usual retreat Takes down the steps the scattering horde; Adam again has met defeat, Has missed connections with the Lord. But where the altar-candles die Waits God, and in a corner prays The last of heroes who will try The Gate again in seven days."

"I speak to you. You speak to me. Is that fragile?"

"What would happen if one woman told the truth about her life? The world would split open."

"These are roads to take when you think of your country and interested bring down the maps again, phoning the statistician, asking the dear friend, reading the papers with morning inquiry."

"Here is your road, tyingyou to its meanings: gorge, boulder, precipice. Telescoped down, the hard and stone-green river cutting fast and direct into the town."

"What do you want — a cliff over a city? A foreland, sloped to sea and overgrown with roses? These people live here."

"This is to be a summary poem of the life of the Atlantic coast of this country, nourished by the communications which run down it. Gauley Bridge is inland, but it was created by theories, systems, and workmen from many coastal sections — factors which are, in the end, not regional or national. Local images have one kind of reality. U.S. 1 will, I hope, have that kind and another too. Poetry can extend the document."

"To be a Jew in the twentieth century Is to be offered a gift. If you refuse, Wishing to be invisible, you choose Death of the spirit, the stone insanity. Accepting, take full life. Full agonies: Your evening deep in labyrinthine blood Of those who resist, fail, and resist: and God Reduced to a hostage among hostages. The gift is torment."

"The whole and fertile spirit as guarantee For every human freedom, suffering to be free, Daring to live for the impossible."

"In time of crisis, we summon up our strength. Then, if we are lucky, we are able to call every resource, every forgotten image that can leap to our quickening, every memory that can make us know our power. And this luck is more than it seems to be: it depends on the long preparation of the self to be used. In time of the crises of the spirit, we are aware of all our need, our need for each other and our need for our selves. We call up, with all the strength of summoning we have, our fullness."

"In this moment when we face horizons and conflicts wider than ever before, we want our resources, the ways of strength. We look again to the human wish, its faiths, the means by which the imagination leads us to surpass ourselves. If there is a feeling that something has been lost, it may be because much has not yet been used, much is still to be found and begun. Everywhere we are told that our human resources are all to be used, that our civilization itself means the uses of everything it has — the inventions, the histories, every scrap of fact. But there is one kind of knowledge — infinitely precious, time-resistant more than monuments, here to be passed between the generations in any way it may be: never to be used. And that is poetry."

"Poetry is, above all, an approach to the truth of feeling, and what is the use of truth! How do we use feeling? How do we use truth! However confused the scene of our life appears, however torn we may be who now do face that scene, it can be faced, and we can go on to be whole. If we use the resources we now have, we and the world itself may move in one fullness. Moment to moment, we can grow, if we can bring ourselves to meet the moment with our lives."

"Poetry is not; or seems not to be. But it appears that among the great conflicts of this culture, the conflict in our attitude toward poetry stands clearly lit. There are no guards built up to hide it. We call see its expression, and we can see its effects upon us. We can see our own conflict and our own resource if we look, now, at this art, which has been made of all the arts the one least acceptable. Anyone dealing with poetry and the love of poetry must deal, then, with the hatred of poetry, and perhaps even Ignore with the indifference which is driven toward the center. It comes through as boredom, as name-calling, as the traditional attitude of the last hundred years which has chalked in the portrait of the poet as he is known to this society, which, as Herbert Read says, "does not challenge poetry in principle it merely treats it with ignorance, indifference and unconscious cruelty." Poetry is foreign to us, we do not let it enter our daily lives."

"A poem does invite, it does require. What does it invite? A poem invites you to feel. More than that: it invites you to respond. And better than that: a poem invites a total response. This response is total, but it is reached through the emotions. A fine poem will seize your imagination intellectually — that is, when you reach it, you will reach it intellectually too — but the way is through emotion, through what we call feeling."

"A poem invites you to feel. More than that: it invites you to respond. And better than that: a poem invites a total response. This response is total, but it is reached through the emotions. A fine poem will seize your imagination intellectually- that is, when you reach it, you will reach it intellectually too-but the way is through emotion, through what we call feeling. (Chapter One, p 11)"

"I speak, then, of a poetry which tends where form tends, where meanings tend. This will be a poetry which is concerned with the crises of our spirit, with the music and the images of these meanings. It will also be a poetry of meeting-places, where the false barriers go down. For they are false. (Chapter One, p 20)"

"The universe of poetry is the universe of emotional truth. Our material is the way we feel and the way we remember. (p 23)"

"Art is action, but it does not cause action: rather, it prepares us for thought. Art is intellectual, but it does not cause thought: rather, it prepares us for thought. Art is not a world, but a knowing of the world. Art prepares us. (p 25)"

"Art and nature are imitations, not of each other, but of the same third thing both images of the real, the spectral and vivid reality that employs all means. If we fear it in art, we fear it in nature, and our fear brings it on ourselves in the most unanswerable ways. (p 26)"

"The use of truth is its communication. (p 27)"

"The meanings of poetry take their growth through the interaction of the images and the music of the poem. The music is not the rhythm, which is a representation of life, alone. The music involves the interplay of the sounds of words, the length of the sequences, the keeping and breaking of rhythms, and the repetition and variation of syllables unrhymed and rhymed. It also involves the play of ideas and images."

"The statement of ideas in a poem may have to do with logic. More profoundly, it may be identified with the emotional progression of the poem, in terms of the music and images, so that the poem is alive throughout. Another, more fundamental statement in poetry, is made through the images themselves — those declarations, evocative, exact, and musical, which move through time and are the actions of a poem."

"The poetic image is not a static thing. It lives in time, as does the poem. Unless it is the first image of the poem, it has already been prepared for by other images; and it prepares us for further images and rhythms to come. Even if it is the first image of the poem, the establishment of the rhythm prepares us — musically — for the music of the image. And if its first word begins the poem, it has the role of putting into motion all the course of images and music of the entire work, with nothing to refer to, except perhaps a title."

"Many of our poems are such monuments. They offer the truths of outrage and the truths of possibility."

"Belief has its structures, and its symbols change. Its tradition changes. All the relationships within these forms are inter-dependent. We look at the symbols, we hope to read them, we hope for sharing and communication. Sometimes it is there at once, we find it before the words arrive, as in the gesture of John Brown, or the communication of a great actor-dancer, whose gesture and attitude will tell us before his speech adds meaning from another source. Sometimes it rises in us sleeping, evoked by the images of dream, recognized in the blood. The buried voices carry a ground music; they have indeed lived the life of our people. In times of perversity and stress and sundering, it may be a life inverted, the poet who leaps from the ship into the sea; on the level of open belief, it will be the life of the tribe. In subjugated peoples, the poet emerges as prophet."

"There are ways in which poetry reaches the people who, for one reason or another, are walled off from it. Arriving in diluted forms, serving to point up an episode, to give to a climax an intensity that will carry it without adding heaviness, to travel toward the meaning of a work of graphic art, nevertheless poetry does arrive. And in the socially accepted forms, we may see the response and the fear, expressed without reserve, since they are expressed during enjoyment which has all the sanctions of society. Close to song, poetry reaches us in the music we admit: the radio songs that flood our homes, the juke-boxes, places where we drink and eat, the songs of work for certain occupations, the stage-songs we hear as ticketed audience."

"We sit here, very different each from the other, until the passion arrives to give us our equality, to make us part of the play, to make the play part of us."

"The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art. But the heaviness of the collective work on a commercial film, the repressive codes and sanctions, unspoken and spoken, the company-town feeling raised to its highest, richest, most obsessive-compulsive level in Hollywood, puts the process at the end of any creative spectrum farthest from the making of a poem. At the same time, almost anything that can be said to make the difficulties of poetry dissolve for the reader, or even to make the reader want to deal with those "difficulties," can be said in terms of film. These images are like the action sequences of a well-made movie — a good thriller will use the excitement of timing, of action let in from several approaches, of crisis prepared for emotionally and intellectually, so that you can look back and recognize the way of its arrival; or, better, feel it coming until the moment of proof arrives, meeting your memory and your recognition. The cutting of films is a parable in the motion of any art that lives in time, as well as a parable in the ethics of communication."

"In time of the crises of the spirit, we are aware of all of need, our need for each other and our need for ourselves. We call up our fullness; we turn, and act. We begin to be aware of correspondences, of the acknowledgement in us of necessity, and of the lands. And poetry, among all this — where is there a place for poetry? If poetry as it comes to us through action were all we had, it would be very much. For the dense and crucial moments, spoken under the stress of realization, full-bodied and compelling in their imagery, arrive with music, with our many kinds of theatre, and in the great prose. If we had these only, we would be open to the same influences, however diluted and applied. For these ways in which poetry reaches past the barriers set up by our culture, reaching toward those who refuse it in essential presence, are various, many-meaning, and certainly — in this period — more acceptable. They stand in the same relation to poetry as applied science to pure science."

"The creation of a poem, or mathematical creation, involves so much sense of arrival, so much selection, so much of the desire that makes choice — even though one or more of these may operate in the unconscious or partly conscious work-periods before the actual work is achieved — that the questions raised are very pertinent. . . . The poet chooses and selects and has that sense of arrival as the poem ends; he is expressing what it feels like to arrive at his meanings. If he has expressed that well, his reader will arrive at his meanings. The degree of appropriateness of expression depends on the preparing. By preparing I mean allowing the reader to feel the interdependences, the relations, within the poem. These inter-dependences may be proved, if you will allow the term, in one or more ways: the music by which the syllables resolve may lead to a new theme, as in a verbal music, or to a climax, a key-relationship which makes — for the moment — an equilibrium; the images may have established their own progression in such a way that they serve to mark the poem’s development; the tensions and attractions between the poem’s meanings may mark its growth, as they must if the poem is to achieve its form. A poem is an imaginary work, living in time, indicated in language. It is and it expresses; it allows us to express."

"The identified spirit, man and woman identified, moves toward further identifications. In a time of long war, surrounded by the images of war, we imagine peace. Among the resistances, we imagine poetry. And what city makes the welcome, in what soil do these roots flourish? For our concern is with sources. The sources of poetry are in the spirit seeking completeness. If we look for the definitions of peace, we will find, in history, that they are very few. The treaties never define the peace they bargain for: their premise is only the lack of war. The languages sometimes offer a choice of words: in the choice is illumination. In one long-standing language there are two meanings for peace. These two provide a present alternative. One meaning of peace is offered as "rest, security." This is comparable to our "security, adjustment, peace of mind." The other definition of peace is this: peace is completeness. It seems to me that this belief in peace as completeness belongs to the same universe as the hope for the individual as full-valued. In what condition does poetry live? In all conditions, sometimes with honor, sometimes underground. That history is in our poems."

"A society in motion, with many overlapping groups, in their dance. And above all, a society in which peace is not lack of war, but a drive toward unity."

"Always our wars have been our confessions of weakness."

"the making of a poem is the type of action which releases aggression. Since it is released appropriately, it is creation. For the last time here, I wish to say that we will not be saved by poetry. But poetry is the type of the creation in which we may live and which will save us."

"The world of this creation, and its poetry, is not yet born. The possibility before us is that now we enter upon another time, again to choose. Its birth is tragic, but the process is ahead: we must be able to turn a time of war into a time of building."

"The great ideas are always emerging, to be available to all men and women. And one hope of our lives is the communication of these truths."

"To be against war is not enough, it is hardly a beginning."

"We are against war and the sources of war. We are for poetry and the sources of poetry. They are everyday, these sources, as the sources of peace are everyday, infinite and commonplace as a look, as each new sun."

"As we live our truths, we will communicate across all barriers, speaking for the sources of peace. Peace that is not lack of war, but fierce and positive. We hear the saints saying: Our brother the world. We hear the revolutionary: Dare we win? All the poems of our lives are not yet made. We hear them crying to us, the wounds, the young and the unborn-we will define that peace, we will live to fight its birth, to build these meanings, to sing these songs. Until the peace makes its people, its forests, and its living cities; in that burning central life, and wherever we live, there is the place for poetry. And then we will create another peace. ** p. 214"

"Experience taken into the body, breathed-in, so that reality is the completion of experience, and poetry is what is produced. And life is what is produced. To stand against the idea of the fallen world, a powerful and destructive idea overshadowing Western poetry. In that sense, there is no lost Eden, and God is the future. The child walled-up in our life can be given his growth. In this growth is our security."

"How can I look back and not speak of the stupid learning about birth? Of the stupid learning that people make love, and how it seemed the reason for all things, the intimacy of my wondering, the illumination that — to an adolescent — was the cause for life around me, the reason why the unhappy people I knew did not kill themselves?"

"The Universe is made of stories, not of atoms."

"I lived in the first century of world wars. Most mornings I would be more or less insane."

"Slowly I would get to pen and paper, Make my poems for others unseen and unborn. In the day I would be reminded of those men and women, Brave, setting up signals across vast distances, considering a nameless way of living, of almost unimagined values."

"We would try to imagine them, try to find each other, To construct peace, to make love, to reconcile Waking with sleeping, ourselves with each other, Ourselves with ourselves. We would try by any means To reach the limits of ourselves, to reach beyond ourselves, To let go the means, to wake."

"How shall we venture home? How shall we tell each other of the poet? How can we meet the judgment on the poet, or his execution? How shall we free him? How shall we speak to the infant beginning to run? All those beginning to run?"

"O for God's sake they are connected underneath."

"One opens, yes, and one's life keeps opening, and poets have always known that one's education has no edges, has no end, is not separated out and cannot be separated out in any way, and is full of strength because one refuses to have it separated out."

"it was suggested to me in my adolescence, it would be a good idea if I married a doctor, and when he was out on housecalls I could write my poems. Now of course we have no housecalls and we have women poets-the culture has changed to that extent."

"The people in the fine apartment houses insisted that Hooverville be destroyed because it spoiled their view. It was clear to a growing child that the terrible, murderous differences between the ways people lived were being upheld all over the city, that if you moved one block in any direction you would find an entirely different order of life."

"I was told by friends, when it was a matter of deciding to go ahead and have a child, that I would have to choose between the child and poetry, and I said no. I was not going to make that choice; I would choose both."

"How old were you when you knew that there were living poets? Do you remember? In this culture a great many people don't know that there are living poets, or didn't know when I was growing up."

"There are the questions of love and religion that have to enter, along with the social bonds between us, into everything we do."

"I've always thought of two kinds of poems: the poems of unverifiable facts, based in dreams, in sex, in everything that can be given to other people only through the skill and strength by which it is given; and the other kind being the document, the poem that rests on material evidence."

"at college there was so much more freedom, and an access to materials and to people who were more than I had thought people could be. It was there that everything opened again, but I left college because my father had gone bankrupt and could not afford to have a daughter at Vassar."

"I don't believe that poetry can save the world. I do believe that the forces in our wish to share something of our experience by turning it into something and giving it to somebody: that is poetry. That is some kind of saving thing, and as far as my life is concerned, poetry has saved me again and again."

"In rewriting, I have tried always to strengthen the sound structure and to make a dense fabric, of sound, of fact, of reality and truth."

"The movement of meaning is surely the music of poetry. There isn't any music as we mean music, but there is that movement in the body and the soul, if you like. And one longs for it; it is a deep pleasure and a deep life to us, and there is this union of a physical life and a mental life that comes to us in poetry, and the physical life is bound up with sound in that way. The movement of our breathing is why we take pleasure in hearing poets read, even though most poets are abominable readers, as you know."

"it seems to me that the invitation of poetry is to bring your whole life to this moment, this moment is real, this moment is what we have, this moment in which we face each other, and if a poem is any damn good at all, it invites you to bring your whole life to that moment, and we are good poets inasmuch as we bring that invitation to you, and you are good readers inasmuch as you bring your whole life to the reading of the poem."

"Anger I would like to talk about, too. All my life I have protested in anger against what was happening, in rebellion, about wanting to make a new society and change the world, but I know underneath that I am a person who makes things much more than a person who protests. And I finally came to the point of saying, "I will protest all my life but every time I protest, I will make a poem, or I will plant, or I will feed children, or I will try to help a building, I will make something.""

"Muriel Rukeyser gave me the notion, the promise of what art could be....Nothing stopped her, neither war nor fear, shame or confusion. She knew fear but did not give into it. She went through fear as she went through hatred, coming out the other side into hope and I took her life as an ideal.... It was from her that I learned that art-poetry, fiction, story-art is not product, art is life itself. The use of poetry, she said, is usable truth and such was the nature of her passionate courage she made me believe her. I rank Muriel Rukeyser with Walt Whitman, the essential American poet, democratic at the level of hope. Lifesaving. Indispensable. And even now when I feel myself overcome with my own fears and confusion, she draws me out every time.... She is life-saving still."

"Muriel Rukeyser's first poem in her first book of poetry published in 1935 begins: "Breathe in experience, breathe out poetry." And in her tribute to the German graphic artist Käthe Kollwitz, Rukeyser asked: "What would happen if one woman told the truth about her life?" And answered: "The world would split open." This is not the poetry of contrivance; this is the poetry of naming, of philosophy, framing a set of ideas through which to interpret our realities as women."

"Muriel Rukeyser is an essential and defining voice. Few poets have combined rigorous perspective with ethical witness in the way her work manages to do. Few poets manage to love the world in as challenging and musical a language as she provides."

"the writers Muriel Rukeyser and Ruth Seid (pen name: Jo Sinclair), two strongly Jewish-identified, anti-racist white lesbians."

"This book ranks among essential works of twentieth century literature; it is saving, challenging. In The Life of Poetry Rukeyser examines the ways in which poetry can revive democracy and improve the quality of life for the people of the United States, and for poets, artists, and creative individuals everywhere...The Life of Poetry is not a book of criticism nor is it a literary treatise. It is a book that breaks boundaries and assumptions about the place of literature and the arts in American life. Rukeyser suggests that by living with the senses and the imagination open, living with poetry, human beings can prosper and attain peace. Remarkably, Rukeyser's words are as necessary and provocative now as when the book was first published, in 1949."

"Rukeyser was the most courageous poet of her brilliant generation. Her example and her greatest works are indispensable to our understanding of America, and to our own ability to say the truth."

"one of the twentieth century's germinal writers."

"An "American genius," our "twentieth-century Whitman." Anne Sexton and Erica Jong both referred to Muriel Rukeyser as "the mother of everyone.""

"In a time like this we need all the wisdom and nourishment we can get, and we have gathered today to share these things. I invoke one of the wisest, bravest voices of our century: the late Muriel Rukeyser, poet, activist, Jew, lesbian, relentless fighter for freedom...Muriel Rukeyser, again, wrote in 1944, "To be a Jew in the 20th century is to be offered a gift." Let us seize this gift."

"An awfully long time ago and a very short time ago, in one of the early books, Muriel wrote that "poems flowered from the bone." I always think of that line because it somehow seems to be both a prophecy and a summing up of all the work that has taken place in the books that came later."

"Muriel Rukeyser unspools one of the most passionate arguments I've ever read for the notion that art creates meeting places, that poetry creates democracy."

"One of the most important poets of our time.... Her originality, her genius, her courage illuminate our century."

"Muriel Rukeyser was always a political person and a sad loss for some of us-for all of us, but particularly for those who knew her. She was a total poet, totally involved in literature, and she took a beating as a woman and as a poet who was not part of the elite that began to develop after the forties knocked the thirties on their head. She and somebody like Meridel Le Sueur were doubly wounded. They were wounded as women by their own political men-something like black women are-and wounded again by the literary elite, who were for the birds. But on the other hand Muriel lived very deeply in literature and with literary people. She knew them from an early age; she was close to Mexican poets, American poets, and she was political at the same time. When she got to be president of PEN she went to Korea even though she could hardly walk by then; she was very brave. [Rukeyser died of a heart attack in 1980.] So there are people who manage to do the whole thing."

"I'd say the other major influences in late adolescence were Muriel Rukeyser and William Butler Yeats. Muriel was very important to me, as a writer who wrote honestly, passionately, and well about being a woman, as a writer with politics, as a writer whose work was written to be said aloud."

"Sisyphus is not, finally, a useful image. You don't roll some unitary boulder of language or justice uphill; you try with others to assist in cutting and laying many stones, designing a foundation. One of the stonecutter-architects I met was Muriel Rukeyser, whose work I had begun reading in depth in the 1980s. Through her prose Rukeyser had engaged me intellectually; her poetry, however, in its range and daring, held me first and last. "Her Vision" is a tribute to the mentorship of her work."

"The radical poet Muriel Rukeyser said long ago, "The universe is made of stories, not of atoms." Choosing the stories you, yourself, are made of is crucial work as we enter this unfinished story of how human beings responded to the greatest emergency our species has ever faced."

"Muriel Rukeyser loved poetry more than anyone I've ever known. She also believed it could change us, move the world."

"American self-confidence, Emerson argued, should be grounded not in a narrow chauvinistic claim about the superiority of the American way but rather in a mature affirmation of America's gifts to the world as well as candid acknowledgment of the "most un-handsome part of our condition." Cheap American patriotism not only reflects an immaturity and insecurity, he warned, but also is an adolescent defense mechanism that reveals a fear to engage the world and learn from others. Narrow nationalism is a handmaiden of imperial rule, he argues-it keeps the populace deferential and complacent. Hence it abhors critics and dissenters like Emerson who unsettle and awaken the people. His shining example of democratic intellectual work is a challenge to us today. This challenge has been taken up through the years by a stream of Emersonian voices-from Walt Whitman to William James, Gertrude Stein. W. E. B. Du Bois, and Muriel Rukeyser...Muriel Rukeyser in her classic The Life of Poetry laid bare the democratic aspirations of exploited working people in their creative expressions."

"Muriel Rukeyser, who opened much of the forbidden territory where poets can now move with ease. Here, for a new generation, the full range of the capacious poet who gave twentieth-century women's poetry its mottoes and its most audacious exemplar, and poetry of witness and moral passion its most ardent and urgent American voice."

"To enter her work is to enter a life of tremendous scope, the consciousness of a woman who was a full actor and creator in her time. But in many ways Muriel Rukeyser was beyond her time-and seems, at the edge of the twenty-first century, to have grasped resources we are only now beginning to reach for: connections between history and the body, memory and politics, sexuality and public space, poetry and physical science, and much else. She spoke as a poet, first and foremost; but she spoke also as a thinking activist, biographer, traveler, explorer of her country's psychic geography. It's no exaggeration to say that in the work of Muriel Rukeyser we discover new and powerful perspectives on the culture of the United States in the twentieth century, "the first century of world wars," as she called it."

"From a young age she seems to have understood herself as living in history-not as a static pattern but as a confluence of dynamic currents, always changing yet faithful to sources, a fluid process that is constantly shaping us and that we have the possibility of shaping. The critic Louise Kertesz, a close reader of Rukeyser and her context, notes that "no woman poet makes the successful fusion of personal and social themes in a modern prosody before Rukeyser." She traces a North American white women's tradition in Lola Ridge, Marya Zaturenska and Genevieve Taggard, all born at the end of the nineteenth century and all struggling to desentimentalize the personal lyric and to write from urban, revolutionary, and working-class experience."

"Any sketch of her life suggests the vitality of a woman who was by nature a participant, as well as an inspired observer, and the risk-taking of one who trusted the unexpected, the fortuitous, without relinquishing choice or sense of direction."

"Rukeyser's work attracted slashing hostility and scorn (of a kind that suggests just how unsettling her work and her example could be) but also honor and praise. Kenneth Rexroth, patriarch of the San Francisco Renaissance, called her "the best poet of her exact generation." At the other end of the critical spectrum, for the London Times Literary Supplement she was "one of America's greatest living poets.""

"In her lifetime she was a teacher of many poets, and readers of poetry, and some scientists paid tribute to her vision of science as inseparable from art and history. But she has largely been read and admired in pieces-in part because most readers come to her out of the very separations that her work, in all its phases, steadfastly resists."

"We call her prose "poetic" without referring to her own definitions of what poetry actually is an exchange of energy, a system of relationships."

"Rukeyser was unclassifiable, thus difficult for canon-makers and anthologists. She was not a "left wing" poet simply, though her sympathies more often than not intersected with those of the organized left, or the various lefts, of her time. Her insistence on the value of the unquantifiable and unverifiable ran counter to mainstream "scientific attitudes" and to plodding forms of materialism. She explored and valued myth but came to recognize that mythologies can rule us unless we pierce through them, that we need to criticize them in order to move beyond them. She wrote at the age of thirty-one: "My themes and the use I have made of them have depended on my life as a poet, as a woman, as an American, and as a Jew." She saw the self-impoverishment of assimilation in her family and in the Jews she grew up among; she also recognized the vulnerability and the historical and contemporary "stone agonies" endured by the Jewish people. She remained a secular visionary with a strongly political sense of her Jewish identity. She wrote out of a woman's sexual longings, pregnancy, night-feedings, in a time when it was courageous to do so, especially as she did it-unapologetically, as a big woman alive in mind and body, capable of violence and despair as well as desire."

"I never came to know her well; New York has a way of sweeping even the like-spirited into different scenes. But there was an undeniable sense of female power that came onto any platform along with Muriel Rukeyser. She carried her large body and strongly molded head with enormous pride, and stood with presence behind her words. Her poems ranged from political witness to the erotic to the mordantly witty to the visionary. Even struggling back from a stroke, she appeared inexhaustible. She was, in the originality of her nature and achievement, as much an American classic as Melville, Whitman, Dickinson, Du Bois, or Hurston."

"Elsewhere her heroes are Willard Gibbs, the mathematical physicist, Albert Pinkham Ryder, painter of the sea, John Jay Chapman, man of letters, Ann Burlak, labor organizer, Charles Ives, composer on American themes; and John Brown (abolitionist) and Wendell Willkie, political visionaries who seemed, at their historical moments, to fail; Houdini and Lord Timothy Dexter, anomalies in any pantheon. How many of their stories are familiar to us, even now? Of all these she made biographies, in verse or prose or mixed media-the series of "Lives" that would occupy her to the end. All were Americans. Of the first five she pointed out, in 1939, that they were also New Englanders, "whose value to our generation is very great and only partly acknowledged." She never wanted to write extensively about anyone who had already received his or her due, and it's worth noting how rarely any of her subjects is literary. For years she worked on a book, now lost, on Franz Boas, anthropologist who studied North American indigenous tribes. Only much later would she turn to several non-Americans, the last being Thomas Hariot, Elizabethan navigator, mathematician, naturalist, astronomer, who published the first Brief and True Report of Raleigh's Virginia, the "Indians" who lived there, and our native plants and animals."

"One of her favorite assignments was to ask everyone to complete the sentence "I could not tell...." For in what we cannot say to anyone, in our most secret conflicts, lie curled, she believed, our inescapable poems."

"Rukeyser proposes-following D'Arcy Thompson now as well as Gibbs-that the great poems are always organic, as forms in nature are organic. They grow by "clusters and combinations," through time; they find their true direction as they proceed; and they never stand still but "fly through, and over" any attempt to pin them down by analysis. They include material from the unconscious and welcome the unknown. More, "the work that a poem does is a transfer of human energy," from the poet through the poem to the fully responsible and responsive witness/reader. And now she takes a gigantic leap, tying the poet forever to the society and historical moment she or he shares with others: "I think human energy may be defined as consciousness, the capacity to make change in existing conditions.""

"rarely will you encounter a mind or imagination of greater scope."