Poets From The United States

"It was the poor part of town—small houses and courts with mailboxes full of spiders, mailboxes hanging by one nail, old women inside rolling cigarettes and chewing tobacco and humming to their canaries and watching you, an idiot lost in the rain."

"I thought about taking a shower but I could see the headlines: MAILMAN CAUGHT DRINKING THE BLOOD OF GOD AND TAKING A SHOWER, NAKED, IN A ROMAN CATHOLIC CHURCH. ...I found out later that mail for the church was delivered to the parish house around the corner. But now, of course, I knew where to... shower when I'm down and out."

""MR. JONSTONE IS A FINE MAN!" "Don't be silly, he's an obvious sadist," I said. "How long have you been in the Post Office?" "Three weeks." "MR. JONSTONE HAS BEEN WITH THE POST OFFICE FOR 30 YEARS!" "What does that have to do with it?" "I said, MR. JONSTONE IS A FINE MAN!" I believe the poor fellow actually wanted to kill me. He and Jonstone must have slept together. "All right," I said, "Jonstone is a fine man. Forget the whole fucking thing." Then I walked out and took the next day off. Without pay, of course."

"I didn't even have a uniform, just a cap. I wore my regular clothes. The way my shackjob Betty and I drank there was hardly money for clothes."

"But I couldn't help thinking, god, all these mailmen do is drop in letters and get laid. This is the job for me, oh yes yes yes."

"It began as a mistake."

"The free soul is rare, but you know it when you see it - basically because you feel good, very good, when you are near or with them."

"Show me a man who lives alone and has a perpetually clean kitchen, and eight times out of nine I'll show you a man with detestable spiritual qualities."

"I was given the job of milking the cows, finally, and it got me up earlier than anybody. But it was kind of nice, pulling at those cows' tits (pg. 172)."

"An intellectual is a man who says a simple thing in a difficult way; an artist is a man who says a difficult thing in a simple way."

"If you want to know who your friends are, get yourself a jail sentence."

"I walk through rooms of the dead, streets of the dead, cities of the dead: men without eyes, men without voices; men with manufactured feelings and standard reactions; men with newspaper brains, television souls and high school ideals."

"I've never met another man I'd rather be."

"Van Gogh writing his brother for paints Hemingway testing his shotgun Celine going broke as a doctor of medicine the impossibility of being human Shakespeare a plagiarist Beethoven with a horn stuck into his head against deafness the impossibility the impossibility Nietzsche gone totally mad the impossibility of being human all too human this breathing in and out out and in these punks these cowards these champions these mad dogs of glory moving this little bit of light toward us impossibly."

"No shortcuts, with me as with life."

"It's 4:30 in the morning, it's always 4:30 in the morning."

"The cultural-political perspectives of Jewish feminists interacted with the ideas of many other pioneering women's liberationists in the city, Jewish and non-Jewish, including Kathie Sarachild, Carol Hanisch, Irene Peslikis, Peggy Dobbins, Anne Koedt, Pat Mainardi, Robin Morgan, Ann Snitow, and Vivian Gornick. Acting within a communal context, innovative theory and practice emerged from group interaction."

"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."

"We can't destroy the inequities between men and women until we destroy marriage."

"If we can open ourselves to ourselves and each other, as women, only then can we begin to fight for and create, in fact reclaim, not "Lesbian Nation" or "Amazon Nation"—let alone some false state of equality—but a real Feminist Revolution, a proud gynocratic world that runs on the power of women. Not in the male sense of power, but in the sense of a power plant—producing energy. And to each, that longing for, that right to, a great love filled in reality, for all women, and children and men and animals and trees and water and all life, an exquisite diversity in unity. That world breathed and exulted on this planet some twelve thousand years ago, before the patriarchy arose to crush it."

"Biological determinism has for years struck me as a failure of intellectual nerve. So I don't mean to counter sexist theories along those lines with a mirror-image feminist version. We have as yet no truly value-free science, uninfluenced by masculinist (among other biases) prejudice. Consequently — although on certain bleak days I am sorely tempted to agreement with what we feminists have termed the "acute terminal testosterone-poisoning" theory of patriarchal history — I do not make the argument that women are inherently more peaceable, nurturing, or altruistic than men. (For one thing, this permits men the laziest of justifications for their own behavior.) Yet it is undeniable that history is a record of most women acting peaceably and of most men acting belligerently — to a point where the capacity for belligerence is regarded as an essential ingredient of manhood and the proclivity for conciliation is thought largely a quality of women."

"[N]o one appeared to wonder whether this S-M proliferation was a lesbian copy of a faggot imitation of patriarchal backlash against feminism."

"Pornography is the theory, and rape the practice. And what a practice. The violation of an individual woman is the metaphor for man's forcing himself on whole nations (rape as the crux of war), on nonhuman creatures (rape as the lust behind hunting and related carnage), and on the planet itself (reflected even in our language—carving up "virgin territory," with strip mining often referred to as a "rape of the land")."

"I claim that rape exists any time sexual intercourse occurs when it has not been initiated by the woman, out of her own genuine affection and desire."

"I feel that "man-hating" is an honorable and viable political act, that the oppressed have a right to class-hatred against the class that is oppressing them. And although there are exceptions (as in everything), i.e., men who are trying to be traitors to their own male class, most men cheerfully affirm their deadly class privileges and power. And I hate that class."

"And let's put one lie to rest for all time: the lie that men are oppressed, too, by sexism--the lie that there can be such a thing as 'men's liberation groups.' Oppression is something that one group of people commits against another group specifically because of a 'threatening' characteristic shared by the latter group--skin color or sex or age, etc. The oppressors are indeed FUCKED UP by being masters (racism hurts whites, sexual stereotypes are harmful to men) but those masters are not OPPRESSED. Any master has the alternative of divesting himself of sexism or racism—the oppressed have no alternative—for they have no power—but to fight. In the long run, Women's Liberation will of course free men—but in the short run it's going to COST men a lot of privilege, which no one gives up willingly or easily. Sexism is NOT the fault of women—kill your fathers, not your mothers."

"Let's run it on down. White males are most responsible for the destruction of human life and environment on the planet today. Yet who is controlling the supposed revolution to change all that? White males (yes, yes, even with their pasty fingers back in black and brown pies again). It just could make one a bit uneasy. It seems obvious that a legitimate revolution must be led by, made by those who have been most oppressed: black, brown, and white women–with men relating to that as best they can. A genuine Left doesn't consider anyone's suffering irrelevant, or titillating; nor does it function as a microcosm of capitalist economy, with men competing for power and status at the top, and women doing all the work at the bottom (and functioning as objectified prizes or "coin" as well). Goodbye to all that."

"Woman is [...] — finally screwing and your groin and buttocks and thighs ache like hell and you're all wet and maybe bloody and it wasn't like a Hollywood movie at all but jesus at least you're not a virgin any more but is this what it's all about?—And meanwhile he's asking, "Did you come?""

"Women are not inherently passive or peaceful. We're not inherently anything but human."

"It's like watching a nature documentary about piranha in which all the deadly fish do is write each other love notes: Eventually, we want to see them bare their teeth and shred an ox."

"Good friends in hard times and hard friends in good times."

"Czesław Miłosz wrote, “Language is the only homeland.” … What he meant, I think, is that when borders collapse, when flags change, when your birthplace wakes up with a different name—sometimes six names—you realize your country hasn’t just split; your language has, too. Suddenly, one tongue wears four alphabets. Six new passports, three new anthems, and a dozen ways to say mine. What lingers is the echo of a phrase that only your people say. A joke that dies in translation. The lullaby your grandmother hummed while shelling white beans into her apron, her voice low enough not to wake the war. What stays is the syntax. The cadence. The words no one else knows how to carry."

"[F]or us - writers and artists bringing original expression to politics and social issues at the end of this century where neither socialism nor capitalism has achieved justice and human fulfilment for all - Czeslaw Milosz has the rubric: "Ill at ease in the tyranny, ill at ease in the republic/In the one I longed for freedom, in the other for the end of corruption.""

"I read the beautiful writing of Milosz when he says, especially his magnificent essays, that if he would not write in Polish, he wouldn't be who he is. And I think he kept his language as a way of keeping his Polish soul and his European soul and the World War II soul."

"I knew that I would speak in the language of the vanquished No more durable than old customs, family rituals, Christmas tinsel, and once a year the hilarity of carols."

"But where is our, dear to us, mortality? Where is time that both destroys and saves us? This is too difficult for me. Peace eternal Could have no mornings and no evenings, Such a deficiency speaks against it."

"How it should be in Heaven I know, for I was there. By its river. Listening to its birds. In its season: in summer, shortly after sunrise. I would get up and run to my thousand works And the garden was superterrestrial, owned by imagination."

"I think that I am here, on this earth, To present a report on it, but to whom I don't know. As if I were sent so that whatever takes place Has meaning because it changes into memory."

"I still think too much about the mothers And ask what is man born of woman. He curls himself up and protects his head While he is kicked by heavy boots; on fire and running, He burns with bright flame; a bulldozer sweeps him into a clay pit. Her child. Embracing a teddy bear. Conceived in ecstasy."

"Our memory is childish and it saves only what we need."

"We go down with the bells ringing in all the sunken cities. Forgotten, we are greeted by the embassies of the dead, While your endless flowing carries us on and on; And neither is nor was. The moment only, eternal."

"Under various names, I have praised only you, rivers! You are milk and honey and love and death and dance. From a spring in hidden grottoes, seeping from mossy rocks, Where a goddess pours live water from a pitcher, At clear streams in the meadow, where rills murmur underground, Your race and my race begin, and amazement, and quick passage."

"Earth, what have I to do with thee? With your meadows where dumb beasts Grazed before the deluge without lifting their heads? What have I to do with your implacable births? So why this gracious melancholia? Is it because anger is no use?"

"A weak human mercy walks in the corridors of hospitals and is like a half-thawed winter."

"When I curse Fate, it's not me, but the earth in me."

"The death of a man is like the fall of a mighty nation That had valiant armies, captains, and prophets, And wealthy ports and ships all over the seas."

"If I am all mankind, are they themselves without me?"

"Now I am not ashamed of my defeat. One murky island with its barking seals Or a parched desert is enough To make us say: yes, oui, si."

"And space, what it is like? Is it mechanical, Newtonian? A frozen prison? Or the lofty space of Einstein, the relation Between movement and movement? No reason to pretend I know. I don't know, and if I did, Still my imagination is a thousand years old."

"Tell me, as you would in the middle of the night When we face only night, the ticking of a watch, the whistle of an express train, tell me Whether you really think that this world Is your home? That your internal planet That revolves, red-hot, propelled by the current Of your warm blood, is really in harmony With what surrounds you? Probably you know very well The bitter protest, every day, every hour, The scream that wells up, stifled by a smile, The feeling of a prisoner who touches a wall And knows that beyond it valleys spread, Oaks stand in summer splendor, a jay flies And a kingfisher changes a river to a marvel."