Novelists From The United States

"Meridel Le Sueur, the Minnesota writer, interviewed her grandmother, who said, "I've lived all my life trying to suppress these stories of what happened to me, and now you're going to write them." And she did"

"Meridel Le Sueur's documentary novel of the depression, The Girl, is arresting as a study of female double life... Sex is thus equated with attention from the male, who is charismatic though brutal, infantile, or unreliable. Yet it is the women who make life endurable for each other, give physical affection without causing pain, share, advise, and stick by each other. (I am trying to find my strength through women-without my friends, I could not survive)...The Girl and Sula are both novels which examine what I am calling the lesbian continuum, in contrast to the shallow or sensational "lesbian scenes" in recent commercial fiction. Each shows us woman identification untarnished (till the end of Le Sueur's novel) by romanticism; each depicts the competition of heterosexual compulsion for women's attention, the diffusion and frustration of female bonding that might, in a more conscious form, reintegrate love and power."

"She does recognize who she is, what she is from, and there is no separation. You know, she's been going at it a long time, has faced much opposition, and has kept on talking and speaking in such a beautiful and lyrical voice...She's really had a lot of influence on me in terms of being a woman who speaks as a woman and has been often criticized for it, and in the past she could not get her books published because she kept to her particular viewpoint and was sympathetic to certain unpopular viewpoints."

"She was a poet. She was an activist. She was a writer. And she was a bold believer in a different world. And, you know, she was a poet. She was a writer of poetry books. But she also, you know, fought for the women’s right to vote. She was an organizer in the labor movement, big sacrificer for some of the rights that we have today and sort of—not sort of. She’s a legend, I guess, beyond our family and did a lot of—did a lot of things that helped shape this country. And to me, you know, as—to me and our generation, I think we still derive a lot of courage from the courage that she had."

"Meridel Le Sueur is wonderful. She is still, in my view, a consummate artist, one of the best, most important American writers."

"Feminist writer Patricia Hampl once said of Meridel: "Bedecked with Indian turquoise bracelets and rings, a string of large ominous teeth around her neck, a bright multicolored serape covering her body-this walking heap of archetypal images is not your idea of somebody's grandmother. A grandmother, no; a wise and maybe occasionally avenging ancient goddess, yes.""

"In the beginning was thought, and her name was Woman. The Mother, the Grandmother, recognized from earliest times into the present among those peoples of the Americas who kept to the eldest traditions, is celebrated in social structures, architecture, law, custom, and the oral tradition. To her we owe our lives, and from her comes our ability to endure, regardless of the concerted assaults on our, on Her, being, for the past five hundred years of colonization. She is the Old Woman who tends the fires of life. She is the Old Woman Spider who weaves us together in a fabric of interconnection. She is the Eldest God, the one who Remembers and Re-members; and though the history of the past five hundred years has taught us bitterness and helpless rage, we endure into the present, alive, certain of our significance, certain of her centrality, her identity as the Sacred Hoop of Be-ing."

"Two exceedingly important creative and political lives."

"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)"

"To address a person as “mother” is to pay the highest ritual respect."

"Some of the best poetry is being written by three American Indian women"

"Meridel has enjoyed being "rediscovered" by the feminist press, particularly because of her chance to work with women editors. Her male editors typically had "such a superior attitude-even in punctuation." Whereas, she contrasts, "The Feminist Press wouldn't even change a comma without asking." The format of Ripening, with its biography, commentary and scrapbook photos, "would never have been conceived in male printing," she notes. Trashing the women writers has resulted in the neglect of twenty midwest women writers-"some as good as Sandburg or Lewis"-now out of print, Meridel says unhappily. She cites as an example her friend and Wisconsin author Zona Gale, who won a Pulitzer Prize in 1921 ("for a feminist story"), yet is virtually forgotten and unread today. Meridel "repudiates categories of male literature." She politely answered all questions about times and dates, but mildly remarked, "Linear thinking is patriarchal.""

"It's really hard to describe how you can fill a city with terror. When you look at it chronologically, it's terrifying to see how close you are to fascism."

"The whole temper of the world is in a much higher consciousness than I've even seen it-there's a global consciousness. I think we're on the verge of a new humanity if we don't blow it up!"

"The women's movement is great in the Twin Cities, I think."

"The great energies, languages and nourishment of women are seized, hidden and violated by indifference and outright conspiracy in order to maintain the silence of women. It is a loss when the voices of women are muffled, lost or deliberately silenced."

"I'd always identified myself with the people's struggles. I think I began writing more about it and having an audience for writing it. But we wrote as partisans, we call it. You're on the side and like I was marching. I don't say anything about the troubles of the manufacturers association, or any sympathy for them. I just identified with the strikers."

"For the first time, Meridel says "I am writing what I want to write. I don't know if anyone is going to read it," she adds with the pragmatism of someone whose work was virtually banned for years. "I don't even think about it. I just love it. It's a wonderful gift to have a passion like that.""

"The independent strong woman was a bad woman, even in the radical press. Irene and I had a vision of the free new woman growing in her own pattern-a new crop, new protein, new communication, new connections, new conceptions-birthing out of terrible hunger and anger."

"Her advice to the women's movement is to avoid male prototypes: "It has to be a collective vision. The time is over entirely for private vision, or private greed. We're entering a new era of the same fate for all.""

"Emma Goldman lived at the Anarchist's House too. Describe Emma Goldman? Her interest to Meridel was as "the first sexually 'free' woman" she met. "The women and feminists of that period never dealt with sex. They were Puritans.""

"Meridel Le Sueur, whose work I cite and discuss, has been an inspiration to generations of women writers. Having known her since I was a child, it is with a special gratitude that I thank her both personally and professionally for her labors."

"Perhaps Meridel Le Sueur's wisest and most comforting words to women of the world are found in a line of a poem of solidarity she composed for the North Vietnamese Women's Union: "It was the bumble bee and the butterfly who survived, not the dinosaur,""

"There is a spirit that pervades everything, that is capable of powerful song and radiant movement, and that moves in and out of the mind. The colors of this spirit are multitudinous, a glowing, pulsing rainbow. Old Spider Woman is one name for this quintessential spirit, and Serpent Woman is another. Corn Woman is one aspect of her, and Earth Woman is another, and what they together have made is called Creation, Earth, creatures, plants, and light. [...] This spirit, this power of intelligence, has many names and many emblems. She appears on the plains, in the forests, in the great canyons, on the mesas, beneath the seas. To her we owe our very breath, and to her our prayers are sent blown on pollen, on corn meal, planted into the earth on feather-sticks, spit onto the water, burned and sent to her on the wind. Her variety and multiplicity testify to her complexity: she is the true creatrix for she is thought itself, from which all else is born. She is the necessary precondition for material creation, and she, like all of her creation, is fundamentally female—potential and primary. She is also the spirit that informs right balance, right harmony, and these in turn order all relationships in conformity with her law."

"“It has never happened!” cannot be construed to mean, “It can never happen!”—as well say, “Because I have never broken my leg, my leg is unbreakable,” or “Because I’ve never died, I am immortal.”"

"There is no one like Linda Hogan. I read her poetry to both calm and ignite my heart."

"People certainly tended to overestimate the intelligence of dogs!"

"A dead cat, it seemed, lay on the counter, but as he looked, it stirred to life and he realized that it had merely been lying, after the the habit of cats, in such a position that it looked dead. The cat looked at him with a kind of cold effrontery, as the duchess at the chambermaid. Ish felt uncomfortable, and had to remind himself that this was the way cats had always behaved."

"Linda Hogan is one of the most important environmental writers of our time. In this troubled and dark world, I am grateful for the wisdom, light, and love found in these poems."

"Drenched in grief and loss though it is, Mean Spirit is a haunting and beautiful story. Hogan's compassion for her characters is what makes the book captivating, bearable. She brings us a long overdue story, one that celebrates the resilience and survival of our own Indian population."

"Yes, he realized, if a man began to think of himself as divinely appointed, he was close to thinking of himself as God—and at that point lay insanity."

"one of our best writers."

"A novel that instructs the heart as it binds its curative spell. With her unparalleled gifts for truth and magic, Linda Hogan reinforces my faith in reading, writing, living."

"In recent years I read much more Native American women's work than anything else; for example, Leslie Marmon Silko and Linda Hogan. I feel an affinity within to these women's work. Their writings run closer to the Chicano experience, given the fact that we both have native roots here in the United States."

"Linda Hogan's work is rooted in truth and mystery."

"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)"

"Linda Hogan's gentle and clear poetry in Rounding the Human Corners reminds me that, too often, I long and ask for more than I need."

"There had been many definitions of Man; he would make another: “The noise-producing animal.”"

"She is a compassionate witness who reminds us: 'When a person says, "I remember," all things are possible.'"

"Her verses teach us how to live with dignity in a world bent on destruction."

"I puzzle over humans. They can talk, but they can lie. They do not always know their own motivations."

"Whatever it is that people believe about the lives of writers only applies to writers who have great incomes, I believe."

"It is a life of constant observation and learning. Sometimes, other than love and tenderness for our own, what else is there to learn in this world for us?"

"It is more about murder and theft, the true stories of what happened during the Oklahoma oil boom."

"All of the animals I have known enter into my writing, become it. They are inspiration, research, and also my love."

"I always think of Lewis and Clark, their story. It is not really their story at all. It is the story of Sacajawea who knew the way, took them along, saved them from mishaps, kept them fed, negotiated their entry into different tribal territories. The story, really, is hers. And she was still just a girl. Yet, women have been omitted from Native histories and so little is found that it is an effort to find information, even for scholars. So I like to center stories that are also history, with women as integral forces within the story."

"While groups of non-humans have different cultures, even different dialects in the same species, they accept one another. Humans find their differences too often as fracture lines. I have loved working with non-human animals, but find that I also have love for humans once I learn them."

"How absolutely amazing all the life forms and their origins."

"Stories have the capacity to make change in ways that other forms of activism don’t...Sometimes I think of them as a form of activism, sometimes as an expression of love, or the meaningful humanity of our daily lives."

"Everything that happens in one country is carried away to others, through air, through ocean. Radioactivity shows up long distances away. Our plastics travel in the ocean to other continents. Now there is plastic sand, the ground-down drinking bottles of America, which have become the dead beaches on islands in the Pacific. These were once places the indigenous people depended on for food sources and which are now completely dead. We forget how small the planet has always been and it becomes smaller with each catastrophe. We also now have ways to communicate across and beneath oceans, to know what is happening not only to our embodied planet, but to people in other locations, attacks on innocent protesters, wars we might not have known existed, and that has allowed us to become more conscious humans on this earth, to know we have kin everywhere and the earth, as a living body, is one."