20th Century Poets From The United States

"I read all the work of white women and the "bibles" of feminism, Marxist feminism, radical feminism, and social feminism. They were all providing a base of analysis for me to understand feminism and to figure out how Marxism coheres with that or how it doesn't. I wanted to get a handle on understanding my own oppression, the oppression of the women around me, and of my culture. So what happens is that you read all that stuff, and then you ask, What's missing in the picture? That's what then made me primarily reflect on black feminism. By and large, black feminists at that time were not writing theory, with some exceptions, of course. I was reading the poets and the novelists like Toni Morrison, Pat Parker, Audre Lorde, and Alice Walker. I read Walker's Meridian in the early days. At that time black feminists were the only ones who were articulating a kind of class, race, and gender analysis. So that's sort of your natural progression. You think about what is missing in that picture, and you bring it to your own kind. Those were my first influences. 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."

"When I finally lifted the lid to my lesbianism, a profound connection with my mother reawakened in me. It wasn't until I acknowledged and confronted my own lesbianism in the flesh, that my heartfelt identification with and empathy for my mother's oppression-due to being poor, uneducated, and Chicana-was realized. My lesbianism is the avenue through which I have learned the most about silence and oppression, and it continues to be the most tactile reminder to me that we are not free human beings."

"Class, I think its class above all else. Because the way class operates in this country is related to race. What I have noticed is that when white women and white lesbians relate to women of color what they’re really sort of connecting with is that they’re middle class. What really divides queer people in general not just lesbians is class. If you look at working class lesbians, including white women, that’s a really different world…"

"Time and time again, I have observed that the usual response among white women's groups when the "racism issue" comes up is to deny the difference. I have heard comments like, "Well, we're open to all women; why don't they (women of color) come? You can only do so much..." But there is seldom any analysis of how the very nature and structure of the group itself may be founded on racist or classist assumptions. More important, so often the women seem to feel no loss, no lack, no absence when women of color are not involved; therefore, there is little desire to change the situation. This has hurt me deeply. I have come to believe that the only reason women of a privileged class will dare to look at how it is that they oppress, is when they've come to know the meaning of their own oppression. And understand that the oppression of others hurts them personally."

"…It’s more that the conventionality of the model makes it a domesticized view of desire and also that really what we want is the same things as heterosexuals: the nuclear family, marriage; all of these components which from a feminist perspective we’ve already critiqued. Not every lesbian is a feminist, but if every lesbian were a feminist they shouldn’t want this either, because it really contradicts a whole movement that critiqued the nuclear family and the hierarchy of the nuclear family…"

"I don’t think femme-butch categories necessarily reproduce male-female gender relations and stereotypes about lesbians. I’m not sure Medea really thinks this either, but she does get angry at Luna when she perceives her as trying to act like a man and then resents Luna when she does not assume the power of a man. In other words, she is confused and a realistic, frightened character, afraid of losing her son and her land forever."

"Within the context of the late 1970s utterly white-middleclass-dominated genre of feminist writings (mediated by white instructors), Bridge was the logical and necessary critical outcome to my feminist studies. The book was an enormous collective "fill in the blank"-of so much that had been missing in my own education. It was what never appeared on a reading list. (Afterward to 4th edition, 2014)"

"In exile one is nothing but a ghost ... I ceased to exist when I went into exile."

"The amazing efficacy of patriarchy is that it is a covert operation. It is entre nos, just between us - man and woman, sister and brother, father and daughter, queer and not so queer. It takes place behind closed doors, inside la hacienda and back there in the slave quarters. It is so seamlessly woven into the fiber of our lives that to pull at that dangling thread of inequity is to rip open an entire life."

"Both my essays and plays attempt to explore a political question or contradiction through the mind or the heart. By that I mean, both genres require analysis and a heart-felt honesty. But the essay is fundamentally one-voiced perspective, my own…"

"The writer has a fundamental responsibility to write well or to write the best he can, because if he doesn’t he’s not a writer. And when a writer writes, he’s always referring to a social and historical context…"

"…The road that I have walked in my life as a mixed blood Chicana and as a lesbian has more and more put me…(pause) I am always the blood quantum that I am. But culturally and the life that I’ve lived and the values with which I’ve raised my own children , the relationship I have with my family and my partner and all those other things is pretty Chicano. So I don’t feel like it’s prescriptive – how one deals with being biracial. When I said I refuse the split, I really felt like typically what happens in a white dominated society is that you’re encouraged to assimilate anyway. So as a mixed blood person, you can get an incredible amount of benefits from that assimilation…"

"I never keep a fixed schedule. I like to write for a while, move around, read, drink something, come back. But when I’ve entered the world of the novel, that demands more concentration. It’s hard to even write a letter, because it means leaving that world. To put aside the typewriter and take out letter paper, or stop because you have to pay the phone bill, is terrible…"

"I’ve always been very interested in the short story. Compared to the often exhausting world of the novel, the short story offers a quicker reward, and there’s something appealing about its greater spontaneity…"

"I think: what is my responsibility to my roots-both white and brown, Spanish-speaking and English? I am a woman with a foot in both worlds; and I refuse the split. I feel the necessity for dialogue. Sometimes I feel it urgently"

"After publishing Loving in the War Years (1983) which was very autobiographical, my own story had finally been told on the page. This allowed space within me for character (some one other than myself to enter) my unconscious…"

"Love Medicine has received all kinds of acclaim. Like many others, Ursula Le Guin is unrestrained in her praise of Love Medicine which she calls "a work of really startling beauty and power" and of you, Louise, whom she refers to as "a true artist and probably a major one" [SAIL, Winter 1985]."

"Louise Edrich's book Love Medicine gave me a new way of understanding how fiction could work with values and commercial values - I think her book is really important in that respect, because it's a new direction for Indian writers. I think also how radical writers have tried very hard to do what she did - intending, for herself, just to write fiction - that is, telling the plain stories of people and their lives without pity, judgment, opinion, or romanticization."

"Louise Erdrich, who recently won the Nelson Algren short fiction award, writes of survival in a tone that has quiet strength. Roles reverse. The hunted and the hunter merge, become one. The poems contain a mystery and depth that charge them with meaning and intensity."

"Like two of her favorite contemporary writers, Marilynne Robinson and Joan Chase, Erdrich is committed to evoking the spirit of place."

"Philip Roth has declared her "greatly gifted" and found in her work "originality, authority, tenderness, and a pitiless and wild wit," and Toni Morrison has written that "the beauty of Love Medicine saves us from being devastated by its power.""

"I read Louise Erdrich’s “Love Medicine,” with its strong multiple voices. The stories were bound by community and mutual loss. That later became a model for the structure of “The Joy Luck Club.”"

"when you love someone you try to listen to them. Their voice then comes through. (1987)"

"The recent abundance of Native American writers follows the course of Native American fortunes in general. Things got better for Native Americans in education, in health, in many areas. I'm one who has benefited from Bureau of Indian Affairs money and education. The program at Dartmouth really stresses the importance of keeping your heritage. All of these things really work together. If things continue as they are now under the Reagan administration, we can expect to see a corresponding absence of younger Native American writers as well as Native American doctors, lawyers, everything-who don't have the educational advantages. These things are linked to a national governmental attitude toward keeping those promises of providing education and tribal assistance. (1986)"

"there's such a sense of humor and irony in Native American life, in tribal life. I mean, that's one of the things that does not get portrayed often enough-that there's such an irony and humor. (1986)"

"(Wasn't it Pete Seeger who once said that any time you assemble a group of people, for whatever purpose, you have the body politic?) LE: That's what people on reservations say. You know, everything's political. Getting your teeth fixed is political. There's no way around it. I just don't want to become polemical. That's the big difference. (1991)"

"(Q: Were there any established writers whom you knew and were important to your writing career during or after your apprenticeship period?) A: Mark Vinz, Cynthia MacDonald, Richard Howard, Charles Newman, Edmund White, M. L. Rosenthal, and then, although Love Medicine went out with absolutely no expectations or any prepublication notes or hype, none at all, Toni Morrison, Kay Boyle, Philip Roth, Peter Matthiessen, Anne Tyler, and Rosellen Brown read an unknown manuscript and responded with those quotes and marks of approval that appear on book jackets. These were completely unsolicited and I still find it remarkable that these writers, overwhelmed with pleas and manuscripts, picked up Love Medicine and responded. There were a great number of people kind along the way. One hears much more about the egomania and posturing of writers than one does about the devotion that writers have for one another's work. (1993)"

"(Q: Who are the writers who influenced your work or served as models?) A: Michael Dorris, of course: believer, critic, beloved, and the person I most admire. Other than Michael, it is hard to pick out lasting influences. I'm a browser, prey to temporary enthusiasms. In my reading life, I usually have a number of books "going" at once. Last year I read nature essays. This year, women's politics and Henry James. My favorites over the years include Flannery O'Connor, William Faulkner, Angela Carter, Gabrel Garcia Marquez, Marguerite Duras, Robert Stone, Jane Smiley, Robb Forman Dew, Jean Rhys, Adrienne Rich, Toni Morrison, Rene Char, Larry Woiwode, Christina Stead, Katherine Anne Porter, Willa Cather, Jim Harrison, the poets Louise Gluck, Mary Oliver, Sharon Olds and Donald Hall. I read Madame Bovary and Jane Austen and George Eliot over and over. (1993 interview)"

"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."

"(Q: Are you concerned that being labelled a "Native American writer" or a "woman writer" might result in your being marginalized? Do you object to those labels?) Erdrich: I think they originate in course descriptions and that there is some use in them. If the work survives, perhaps they'll fall away. If not, there isn't much I can do about it. After all, I don't think we read George Eliot, Jane Austen, Virginia Woolf, or Flannery O'Connor as "women writers" anymore, but as vital voices of their time. I know that, for instance, Toni Morrison will be read in this fashion. She is already. The point we're striving for is one at which the criteria for the work is its worth to readers, its excellence, the qualities that shine out and endure. (1993)"

"(BM: Your cultures, plural, keep competing within your imagination, don’t they?...Where do your ideas come from, if you have this constant interplay between these many cultures?) LE: You know, I live on the margin of just about everything. I’m a marginal person, and I think that is where I’ve become comfortable. I’m marginally there in my native life. I can do as much as I can, but I’m always German too, you know, and I’m always a mother. That’s my first identity, but I’m always a writer too. I have to write. I have to be an artist. You know, I have a very fractured inner life, I think."

"…we rationalize ourselves out of shame. We can rationalize anything away as we get older and older, but a child hasn’t that capacity yet. And so when the shame hits, it’s being knocked over. And it’s the truth of shame. And it’s what comes back to us. Sometimes when we are—and it—this is what happens to everybody. There’s going to be a time, no matter who we are, that we participate in the very oldest of human sorrows. We are at one with other people in our loss, in our shame, and we come to the very limit of who we are as people. We face that part of ourselves that we never wanted to look at. And then we experience shame the way a child experiences it…It’s pure. It’s pure and that moment and other moments like it link us with other human beings, I think."

"a mother is a frayed net, you know. We stretch ourselves over everything we can. But there’s holes all over the place where things get through and we do everything we can and fathers and—you know, as parents, we try so hard. But we can’t do it all. We can’t completely protect. I think in a very odd sense, I want things to be in ordinary for my children, routine. I want things to be simple, you know, for them to cope with. But that’s not what the world is like. And that’s not even what they want. They want to grow. They want to grow in every way that they possibly can and that’s going to involve pain."

"When I moved to Minnesota, I found there was a thriving and determined movement, a grassroots movement, to revitalize the Ojibwe language. And I’ve never come to be a competent speaker, I have to say that right now. But even learning the amount of Ojibwe that one can at my age is a life-altering experience. (BM: How so?) LE: You see the world in a different way. And to be told that you’re working in a language in which there is a spirit behind this language. I think it has to do with this being one of the indigenous languages of this continent. In which, as you look around, you see the forms of things that were named long, long ago. And you see the forms of things that have been named relatively recently. You know, this is…"

"Louise Erdrich, Barbara Kingsolver. They write, as you say, from the margins: a subversive novel, with an anti-WASP tone that I love."

"There’s something very wrong in our country—and not just in the book business. We now see what barely fettered capitalism looks like. We are killing the small and the intimate. We all feel it and we don’t know quite why everything is beginning to look the same. The central cores of large cities can still sustain interesting places. But all across our country we are intent on developing chain after chain with no character and employees who work for barely livable wages. We are losing our individuality. Killing the soul of our landscape. Yet we’re supposed to be the most individualistic of countries. I feel the sadness of it every time I go through cities like Fargo and Minneapolis and walk the wonderful old Main Streets and then go out to the edges and wander through acres of concrete boxes. Our country is starting to look like Legoland."

"(Is writing a lonely life for you?) LE: Strangely, I think it is. I am surrounded by an abundance of family and friends, and yet I am alone with the writing. And that is perfect."

"(BM: do you have an assured faith now?) LE: I go through a continual questioning. And I think that is my assurance that if I was to let go of my doubt, that I would somehow have surrendered my faith. My job is to address the mystery. My job is to doubt. My job is to keep searching, keep looking. When I think about my version of what a God is and I keep changing it, right now I think of this creator as a great artist, we don’t understand works of art when we see them. They’re—the greatest works of art are—we see them through a glass darkly. We don’t understand them. They’re very difficult for us to understand. So with this great work of art in which we’re all participating, this great artist has made beauty and terror and death and cruelty and humor and mystery part of who we are and commerce. And health care reform. Everything is part of this mystery."

"I have always kept notebooks—I have an obsessive devotion to them—and I go back to them over and over. They are my compost pile of ideas."

"(A journalist once asked you what advice you would give someone trying to write a novel. You said, “Don’t take the project too seriously.” Is that what you would say today?) LE: I think I meant that grand ideas kill first efforts. Begin with something in your range. Then write it as a secret. I’d be paralyzed if I thought I had to write a great novel, and no matter how good I think a book is on one day, I know now that a time will come when I will look upon it as a failure. The gratification has to come from the effort itself. I try not to look back. I approach the work as though, in truth, I’m nothing and the words are everything. Then I write to save my life. If you are a writer, that will be true. Writing has saved my life...I needed a way to go at life. I needed meaning. I might have chosen something more self-destructive had I not found writing."

"If I am writing a novel, it casts an aura around me and I get ideas for it, descriptions, words, phrases, at all times. I’m always jotting in notebooks I keep with me. That delight of immersion in a book is as good as a trance. For a while, the book is so powerful that I can follow the thread even through my chaotic daily existence, with children at all hours, school, dinner, long calls to my daughters, my ever-demanding house, barking dogs, and the bookstore."

"Bits of narrative always cling to a title, like magnetism."

"I suppose one develops a number of personas and hides them away, then they pop up during writing. The exertion of control comes later. I take great pleasure in writing when I get a real voice going and I’m able to follow the voice and the character. It’s like being in a trance state. Once that had happened a few times, I knew I needed to write for the rest of my life. I began to crave the trance state. I would be able to return to the story anytime, and it would play out in front of me, almost effortlessly."

"All of the books will be connected somehow—by history and blood and by something I have no control over, which is the writing itself. The writing is going to connect where it wants to, and I will have to try and follow along."

"Any good business is about its people."

"By having children, I’ve both sabotaged and saved myself as a writer. I hate to ­pigeonhole myself as a writer, but being a female and a mother and a Native American are important aspects of my work, and even more than being mixed blood or Native, it’s difficult to be a mother and a writer...It’s because you’re ­always fighting sentiment. You’re fighting sentimentality all of the time ­because being a mother alerts you in such a primal way. You are alerted to any danger to your child, and by extension you become afraid of anybody getting hurt. This becomes the most powerful thing to you; it’s instinctual. Either you end up writing about terrible things happening to children—as if you could ward them off simply by writing about them—or you tie things up in easily opened packages, or you pull your punches as a writer. All deadfalls to watch for...having children has also made me this particular writer. Without my children, I’d have written with less fervor; I wouldn’t understand life in the same way. I’d write fewer comic scenes, which are the most challenging. I’d probably have become obsessively self-absorbed, or slacked off. Maybe I’d have become an alcoholic. Many of the writers I love most were alcoholics. I’ve made my choice, I sometimes think: Wonderful children instead of hard liquor."

"English is a very powerful language, a colonizer’s language and a gift to a writer. English has destroyed and sucked up the languages of other cultures—its cruelty is its vitality."

"I’ve come to love the traditional Ojibwe ceremonies, and some rituals, but I hate religious rules. They are usually about controlling women. On Sundays when other people go to wood-and-stone churches, I like to take my daughters into the woods. Or at least work in the garden and be outside. Any god we have is out there. I’d hate to be certain that there was nothing. When it comes to God, I cherish doubt."

"Anishinaabe Louise Erdrich’s novel Future Home of the Living God (2017) is a really interesting take on decolonizing the Anthropocene."

"People assume there is just one sort of Native experience. No."