Playwrights From The United States

"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)"

"it wasn't until long after my graduation from the private college I'd attended in Los Angeles, that I realized the major reason for my total alienation classmates was rooted in class and culture. CLICK."

"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."

"…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."

"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…"

"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…"

"What the oppressor often succeeds in doing is simply externalizing his fears, projecting them into the bodies of women, Asians, gays, disabled folks, whoever seems most "other.""

"I still believe in a Chicano literature that is hungry for change, that has the courage to name the sources of our discontent both from within our raza and without, that challenges us to envision a world where poverty, crack, and pesticide poisoning are not endemic to people with dark skin and Spanish surnames"

"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 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…"

"In response to an upsetting confrontation between Jewish women and women of color in a New England regional Women's Studies Conference,** Cherríe Moraga (et al.) wrote in Gay Community News, "We don't have to be the same to have a movement, but we do have to be accountable for our ignorance. In the end, finally, we must refuse to give up on each other.""

"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."

"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."

"But it is not really difference the oppressor fears so much as similarity. He fears he will discover in himself the same aches, the same longings as those of the people he has shitted on. He fears the immobilization threatened by his own own incipient guilt. He fears he will have to change his life once he has seen himself in the bodies of the people he has called different. He fears the hatred, anger, and vengeance of those he has hurt."

"I met him one day coming out of Louis B. Mayer's office, and he told me Mr. Mayer had been telling him how much he liked the picture we had done. Mr. Brown said, "I told him, 'Give me writers like Lenore Coffee, and I'll give you stuff like that all the time." I put my hand on his shoulder, and I said, "Goodbye, Clarence." He said, "What do you mean?" I said, "I'll never work for you again. This is a producer's studio. They don't like teams of writers-directors." And I never worked for him again."

"I look back on my forty years in Hollywood with nothing but pleasure. If you can work forty years in Hollywood without getting your throat cut, you can count yourself lucky."

"They pick your brains, break your heart, ruin your digestion -- and what do you get for it? Nothing but a lousy fortune."

"I have seen Family Portrait. I went into the theatre with a chip on my shoulder and came out on my knees."

"When a man of forty marries a girl of twenty, it isn't her youth he's seeking but his own."

"In most pictures today, the 'sex appeal' is primarily manifested through the feminine characters. But women, as I said before, constitute by far the greatest portion of all audiences. It should be aimed at them. It is an almost indefinable thing. I should call it a hint of great capacity for emotion, a capacity which can only be tapped by a touch on a hidden spring, seldom found. Take, for instance, and William Boyd, who played what might almost be called a double lead in the last picture I did for Cecil DeMille. In both of them 'sex appeal' will be strikingly manifested. Between these two men I have appealed to every potential feminine spectator of the picture. And that is the way 'sex appeal' should be directed, not to the men, but to the women, I believe."

"Coffee took pride in her sharp eyesight (no need of eyeglasses); she continued to read avidly (mostly romantic paperbacks), to talk of writing (although her hands were not up to it), and to be witty and sharp-tongued. The afternoon visit with her was memorable for its bon mots, its rambling panorama of Hollywood life, and the sly, sexual innuendo so surprising in a woman whose storytelling roots were essentially Victorian (and Roman Catholic). One could detect a sense of what a feisty and inventive writer the young Lenore Coffee must have been, fresh off the train in 1919; what a formidable presence she must have been in a roomful of male studio executives."

"10 February 2014 in response to "Where were the King and Queen planning to go when they lost their lives out at sea?" speaking of Chris Buck"

"A wedding. According to Chris, they didn't die on the boat. They got washed up on a shore in a jungle island. The queen gave birth to a baby boy. They build a treehouse. They get eaten by a leopard..."

"I'm not sure he's wrong about automobiles," he said. "With all their speed forward they may be a step backward in civilization — that is, in spiritual civilization. It may be that they will not add to the beauty of the world, nor to the life of men's souls. I am not sure. But automobiles have come, and they bring a greater change in our life than most of us suspect."

"The somewhere we're goin' to, and got to go to if we don't want to get wiped out, it's somewhere everlastingly and eternally ahead! It's like to-morrow; when we get there we aren't there; we got to keep goin', and we got to everlastingly and eternally keep goin' – and goin' fast! If we don't, the Almighty hasn't got a bit o' use for us; He turns us right into dust and scattered old bones, and nothin's left of our whole country and our finest cities except some street paving and a few cellars with weeds in 'em."

"Monopoly of public policy by experts—trade negotiators, government bureaucrats, think tankers, professors, journalists—helped create the populist backlash that empowered Trump."

"Trump’s legacy includes an extremist Republican Party that tries to hold on to power by flagrantly undemocratic means, and an opposition pushed toward its own version of extremism."

"Trump’s lies will linger for years, poisoning the atmosphere like radioactive dust."

"In a sense, Americans expected a degree of fabrication from their leaders. After Jimmy Carter, in his 1976 campaign, promised, 'I’ll never lie to you,' and then pretty much kept his word, voters sent him back to Georgia. Ronald Reagan’s gauzy fictions were far more popular."

"The beginning of the end of Trump’s presidency arrived on March 11, 2020, when he addressed the nation for the first time on the subject of the pandemic and showed himself to be completely out of his depth. The virus was a fact that Trump couldn’t lie into oblivion or forge into a political weapon—it was too personal and frightening, too real."

"Trump’s barrage of falsehoods—as many as 50 daily in the last fevered months of the 2020 campaign—complemented his unconcealed brutality. Lying was another variety of shamelessness. Just as he said aloud what he was supposed to keep to himself, he lied again and again about matters of settled fact—the more brazen and frequent the lie, the better."

"Barack Obama was always better at explaining the meaning of democracy than at fighting its opponents."

"After Afghanistan, Iraq, and Libya, the burden of proof is on anyone who would make the case for military action as a force for good."

"Barack Obama was a writer before he became a politician, and he saw his Presidency as a struggle over narrative."

"It’s hard to build a narrative around actions not taken, disasters possibly averted, hard realities accommodated. The story of what didn’t happen isn’t an easy one to tell."

"More than any modern President, Barack Obama had a keen sense of the limits of American power—and of his own."

"At the heart of Obama’s narrative was a belief that progress, in the larger scheme of things, was inevitable, and this belief underscored his position on every issue from marriage equality to climate change. His idea of progress was neither the rigid millennial faith of Woodrow Wilson nor Bush’s shallow God-blessed optimism. It was human-scale and incremental."

"Progressives find it hard to imagine that there are others who in good faith don’t want the better world they’re offering and will fiercely resist it."

"America under Trump became less free, less equal, more divided, more alone, deeper in debt, swampier, dirtier, meaner, sicker, and deader."

"I became a vegetarian at 15. I was never a big meat eater — I was always picky. I was raised in a kosher home, and if you're raised with a food restriction, it's not that difficult to have another kind of food restriction. … At some point, I had a dream that I was eating chicken. But in the dream, I understood that it was actually miniature human legs and arms. My brain was connecting muscle and bone to another animal. Once I had made that connection, it just wasn't something I wanted to eat."

"Vegetarianism is a really important part of what we need to do to help the environment. The meat industry is really toxic to the environment. The cattle industry — besides the fact that there's a lot of cruel things happening — the manure is extremely toxic. We just need to pull back as a culture as much as we can."

"Imamu Amiri Baraka, a seminal man of letters, a revolutionary black nationalist, and a mesmerizing poet."

"(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."

"I think Amiri Baraka’s work made me want to write poems too. Especially his beautiful poem, “An Agony. As Now.” A really, really beautiful poem."

"I remember the first time I met Amiri Baraka, who was then Leroi Jones. I was doing The Amen Corner and he was a student at Howard University. I liked him right away. He was a pop-eyed little boy poet. He showed me a couple of his poems. I liked them very much. And then he came to New York a couple of years later. He came to New York when I came back to New York from Paris. And by this time I knew the business. I'd been through the fucking business by that time. I was a survivor. And I remember telling him that his agent wanted him to become the young James Baldwin. But I told him you're not the young James Baldwin. There's only one James Baldwin and you are Leroi Jones and there's only one Leroi Jones. Don't let them run this game on us, you know? You're. Leroi Jones, I'm James Baldwin. And we're going to need each other. That's all I said. He didn't believe it then but time took care of that. ("He believes it now?") Yes he knows it now."

"Marcus Garvey, Elijah Muhammad, Malcolm X, Martin Luther King, Stokely Carmichael, Amiri Baraka and other black male leaders have righteously supported patriarchy. They have all argued that it is absolutely necessary for black men to relegate black women to a subordinate position both in the political sphere and in home life."

"A man is either free or he is not. There cannot be any apprenticeship for freedom."

"LeRoi Jones was also one of the popular poets of the 1968 generation. His most famous line was fast becoming “Up against the wall motherfucker this is a stick-up.” A 1967 East Village “affinity group” named themselves “the Motherfuckers” after the Jones poem. An affinity group used intense intellectual debates as an underpinning for carrying out the kind of media-grabbing street theater that Abbie Hoffman could do so well. During the New York City garbage strike, the Motherfuckers hauled garbage by subway from the redolent mountains of it left on the sidewalks to the newly opened Lincoln Center."

"("In the early 70s, Amiri Baraka wrote such things as the woman's role was to be feminine and submissive. How far do you think black male attitudes have changed since then, since the Black Panther movement?") MA: That was an aberration which took place and black women for a while said: 'Okay, we'll see what you do with this,' and it didn't happen. Black women said: 'No babe we don't take it like that,' and we don't, we haven't. We were sold together, bought together on the African continent, lay spoon fashion in the filthy hatchets of slave ships together, got up on the auction block together, stood together, sold again together, got up before sunrise, got up after sunset, together, worked those cane fields and cotton fields and the mines and all that together. Please, we are equal."