Women Academics From The United States

"The odds continue to be stacked against children of color who made up nearly three-quarters of all poor children in 2018. With nearly one in four poor, they are more than 2.5 times more likely to be poor than White children."

"We need to recognize the destructive role played by the media in fanning the flames of the "Black-Jewish Conflict." Cornel West, bell hooks, Richard Green, Barbara Christian, Henry Louis Gates, Marian Wright Edelman, Nell Painter, Albert Raby....Why are these names not as well known outside the African American community as the names of Louis Farrakhan or Leonard Jeffries? Are they, in their diversity and dynamism, less representative of the African American community?"

"Don't count out Marian Wright Edelman, because there is talk that President Clinton may want to shock the nation by putting a real black on the Supreme Court."

"I've been struck by the upside-down priorities of the juvenile justice system. We are willing to spend the least amount of money to keep a kid at home, more to put him in a foster home and the most to institutionalize him."

"The Bible is replete with the images and power of small things which achieve great ends when they are grounded in faith: a mustard seed, a jawbone, a stick, a slingshot, a widow's mite. We must not, in trying to think about how we can make a big difference, ignore the small daily differences we can make which, over time, add up to big differences that we often cannot foresee."

"A lot of people are waiting for Martin Luther King or Mahatma Gandhi to come back — but they are gone. We are it. It is up to us. It is up to you."

"In Montgomery, Alabama, Jonah and I went to the Civil Rights Memorial, and then we walked around to Dexter Baptist Church and went up into Martin's pulpit. I'd forgotten what a little place it was. We looked out from the little pulpit in that little church and talked about how something so big started from a place so small. Just a lot of committed people of faith in church on one side of the street, and all the power of Alabama in the state capitol right across the street. As a young lawyer, I used to listen to Dr. King in chapel at Spelman College. One of the thngs I liked about him was that he didn't pretend to be a great powerful know-it-all. I remember him discussing openly his gloom, depression, his fears, admitting that he didn't know what the next step was. He would then say: "Take the first step in faith. You don't have to see the whole staircase, just take the first step.""

"The challenge of social justice is to evoke a sense of community that we need to make our nation a better place, just as we make it a safer place."

"all political propaganda generally ends the same way: it's yours now, this thing isn't over; I can't tell you what finally happened because it hasn't finally happened yet! This is always a problem when you write anything with real social or political consciousness-what you're describing hasn't ended. I suppose this is true, in a way, of all fiction."

"Revision, self-criticism, change-all these are essential for any art form to maintain a sense of vitality."

"The idea that artists should be willing to push something as far as it will go, until they watch it crack, has always appealed to me."

"This isn't something I feel the need to apologize for. The idea that every year or two years you're supposed to turn out these new books that are all going to be wonderful and commercially popular is a misguided notion that commerce has foisted upon us. The writing process has a rhythm all its own, and at least for me the rhythm is absolutely different for every book."

"You have to have conventions and rigid symbols and patterns before you can upset them."

"The same professors who talked about literature as an absolute value never talked about the sexist messages we were getting from it. The rules of conduct of that time, in the 1950s, were completely different for women, on campus, from what boys were permitted to do. There was a peculiar kind of tacit agreement to pretend that the absolute values were classless and sexless, even though they aren't."

"The abortion question is illustrative of this. Women say, 'We want the right to own our own bodies.' And the opposition, the Moral Majority, say things like, 'When does life begin?' That's not the point. I don't give a damn when it begins. I don't give a damn what the real differences between men and women are. I just don't want to be stepped on when I walk out into the street. I don't want to have to go out at night in terror. I don't want you to tell me that you won't give me a decent job. I don't want to have a low salary. I don't want to be maltreated."

"There's an awful lot of mythology hidden in science. The pathology that was hidden behind nineteenth-century science is beginning to be fairly obvious. I think that the same thing goes on today in sociology and psychology, even in biology."

"What we have to watch out for, to keep from being suckered in, is when someone purports to explain not one particular concrete thing, but the way in which a whole species works."

"after having had contact with students for so many years, I think it's a lot harder to change somebody's life than people think. People will say they've been changed, but what they really mean is they read something which crystallized an awful lot of things they were already feeling. I don't think books really change people's minds very often; I think that's awfully rare."

"Science fiction is a natural, in a way, for any kind of radical thought. Because it is about things that have not happened and do not happen. It's usually placed in the future, but not always. It's very fruitful if you want to present the concerns of any marginal group, because you are doing it in a world where things are different."

"I began reading science fiction in the 1950s and got from it a message that didn't exist anywhere else then in my world. Explicit sometimes in the detachable ideas, implicit in the gimmicks, peeking out from behind often intolerably class-bigoted, racist, and sexist characterizations, somehow surviving the usual America-the-empire-is-good plots, most fully expressed in the strange life-forms and strange, strange, wonderfully strange landscapes, was the message: Things can be really different"

"...if everything is related to everything else (which I believe) then you can start anywhere, and (if you attend carefully to your own experience and everything you know) you will find yourself forced to broaden your inquiry to include as much of everything else as you possibly can."

"We may not, by the way, be the only sapient beings in the galaxy-in fact the odds are heavily against such an occurrence-which probability sometimes gave me inexplicable comfort in the midst of the combined horrors of adolescence and the ghastliness of growing up to the tune of "Love and marriage / Go together like a horse and carriage," illegal abortion, and all the other viciousness we endured because we were young. There seem to be plenty of folks now who find that smothering, coercive, conformist, witch-hunting, red-baiting era an object of nostalgia. They can have it."

"Although the aesthetic satisfaction of the syllogistic form still attracts me, I'm no longer sure that it can handle much more complexity than that of a shopping list, let alone social criticism or the reconceptualization (or "breaking set") feminists have been calling the click! phenomenon for some two decades now."

"Staying in charge of feminism is personally comfortable and personally gratifying for White women and may avoid the struggles and problems talked about his chapter (as well as some others), but if we do, we will lose. Not only we lose allies and our moral decency-no small matter for a radical movement whose position is founded not on armies but on its claims to justice-we will lose something of even greater importance: the ability to understand the interconnections between different kinds of oppression. That is, we will lose any possibility of developing an accurate map of the world. And if we don't have that, we will fail, even in getting anything for ourselves. ("THERE IS A VILLAGE / OVER / THAT HILL", p311)"

"here, of course, we come to the one occupation of a female protagonist in literature, the one thing she can do, and by God she does it and does it and does it, over and over and over again. She is the protagonist of a Love Story."

"Whether tentative or conclusively pessimistic, the invented, all-female worlds, with their consequent lesbianism, have another function: that of expressing the joys of female bonding, which-like freedom and access to the public world-are in short supply for many women in the real world. Sexually, this amounts to the insistence that women are erotic integers and not fractions waiting for completion. Female sexuality is seen as native and initiatory, not (as in our traditionally sexist view) reactive, passive, or potential. ("Recent Feminist Utopias")"

"Puberty is an awakening into sexual adulthood for both sexes. According to Simone de Beauvoir in The Second Sex, it is also the time when the prison bars of "femininity," enforced by law and custom, shut the girl in for good. Even today entry into woman's estate is often not a broadening-out (as it is for boys) but a diminution of life. Feminist utopias offer an alternative model of female puberty, one which allows the girl to move into a full and free adulthood. ("Recent Feminist Utopias")"

"An examination of English literature or Western literature reveals that of all the possible actions people can do in this fiction, very few can be done by women. Our literature is not about women. It is not about women and men equally. It is by and about men. ("What Can a Heroine Do? or Why Women Can't Write")"

"How multiform the universe is, how branching, how structured, how crystalline! Mountain ranges, clouds, trees, human relations, human literary inventions-how fractal they all are! (Introduction)"

"If any theme runs through all my work, it is what Adrienne Rich once called "re-vision," i.e., the re-perceiving of experience, not because our experience is complex or subtle or hard to understand (though it is sometimes all three) but because so much of what's presented to us as "the real world" or "the way it is" is so obviously untrue that a great deal of social energy must be mobilized to hide that gross and ghastly fact. As a theatre critic (whose name I'm afraid I've forgotten) once put it, "There's less there than meets the eye." Hence, my love for science fiction, which analyzes reality by changing it. Mundane, realistic fiction often carries its meaning behind the action, underneath the action, underneath the ostensible action. Science fiction cancels this process by making what is usually a literary metaphor into a literal identity. (Introduction)"

"The "old dykes" who boast of their friendships with gay men, the women who cluster round pro-feminist men (real or otherwise) radiating gratitude and praise, the Lesbians who talk endlessly about their attraction to men and their "bisexuality," when the psychology of genuinely bisexual women is quite different, all who allow fear to impress them morally or make them lie to themselves, who keep in their hearts not affection, not even concern, but adulation of the heroic, normative, central sex-all these are betraying themselves and other women. To lose the connection to fundamental theory and to evaluate discrete bits of personal behavior as feminist or non-feminist (whether they're male or female), is self-destructive and dreadfully confusing. Feminism isn't a grab bag of all the good and nice things in the world (as some, albeit a very few, feminists sometimes seem to think) and patriarchy isn't a collection of personally nasty behavior and all the bad things in the world. Nor is feminism a set of rules for virtuous living. To believe the former leads to helplessness in the face of institutionalized patriarchy and believing the latter leads to otherwise intelligent women boggling about absurdities"

"the demand for "attractiveness," like the existence of pornography, is sexual harassment, nothing more and nothing less."

"much of our mass literature, television, and movies encourages violence against women even more subtly and pervasively than pornography...If pornography is bad because it tells lies about women, is it any worse-or even any different-from the rest of the culture? Patriarchal ideology and culture are nothing but lies about women. I think we often forget this simply because it's so absolutely pervasive in everything from clothing to the design of houses to the structure of cities (anti-children and anti-women)."

"[about feminism] I'm going to propose as the primary demand of patriarchy what she chooses from Matilda Joslyn Gage (1873):n2 that women's resources be available, non-reciprocally and without pay, to men. If men have an unreasonable and unjust double amount of authority (intellectual and other), self-esteem, time, energy, leisure, cultural importance, wealth, freedom, and so on, this is precisely because they have stolen our time, our energy, our leisure, our authority, our labor and the wealth it produces, our self-esteem, our claims to knowledge and achievement, and our possibilities for autonomy and freedom. We are not merely excluded from male activities and institutions; our resources have been appropriated by men as their own in a massive theft lasting for centuries."

"Some revolutionary proposals:"

"Minority art, vernacular art, is marginal art. Only on the margins does growth occur. (Epilogue)"

"middle-class women, although taught to value established forms, are in the same position as the working class: neither can use established forms to express what the forms were never intended to express (and may very well operate to conceal). (Epilogue)"

"The re-evaluation and rediscovery of minority art (including the cultural minority of women) is often conceived as a matter of remedying injustice and exclusiveness through doing justice to individual artists by allowing their work into the canon, which will thereby be more complete, but fundamentally unchanged. (11. Aesthetics)"

"When the memory of one's predecessors is buried, the assumption persists that there were none and each generation of women believes itself to be faced with the burden of doing everything for the first time. And if no one ever did it before, if no woman was ever that socially sacred creature, "a great writer," why do we think we can succeed now? (9. Lack of Models)"

"The idea that any art is achieved 'intuitively' is a dehumanization of the brains, effort, and the traditions of the artist, and a classification of said artist as subhuman. It is those supposed incapable of intelligence, training, or connection with a tradition who are described as working by instinct or intuition. (9. Lack of Models)"

"Ignorance is not bad faith. But persistence in ignorance is. (5. The Double Standard of Content)"

"At the level of high culture with which this book is concerned, active bigotry is probably fairly rare. It is also hardly ever necessary, since the social context is so far from neutral. To act in a way both sexist and racist, to maintain one's class privilege, it is only necessary to act in the customary, ordinary, usual, even polite manner. (2. Bad Faith)"

"Writing pays very badly. Writing pays very badly. Writing pays worse now than it did then. If you do it, do it for the love of it. You may even make a living at it and you may not. (If you do what Danielle Steel does, you probably will.) This issue is very American, i.e. the idea that celebrities have real lives and the rest of us don't. Publicity doesn't necessarily mean power or money and unfortunately believing that the "real" news is about celebrities leaves us all totally ignorant of the forces that are truly hurting us, and truly shaping our lives."

"The United States is a nation made up of many very different sub-cultures (this is not even mentioning class differences). I have heard talk - largely from middle-aged white men - to the effect that everything used to be so harmonious and people so happy and what happened? - but they don't really want to know. Differences that used to be firmly suppressed in a hierarchy that was sold to all of us as "natural" are now busting out all over. When they take the forms of theory or morals (and even when they don't) it's impossible to argue them away. They exist. The Left (to which I belong) must learn them. We must all learn them. It's time and it's hard to do. I'm trying."

"Joanna Russ is a brilliant writer, a writer of real moral passion and high wit."

"All of Joanna Russ's novels are interesting beyond the ordinary. They ask nasty and necessary questions. They are always asking who owns things and what does it cost to survive, how and what do you eat and who do you use, what do you dare to do to make your own choices. They offer a gallery of some of the most interesting female protagonists in current fiction, women who are rarely victims and sometimes even victors, but always engaged sharply and perceptively with their fate...One advantage of working in a genre is that things have to happen, you must create a moving plot, and that discipline keeps Russ's springy intelligence at least somewhat anchored. If she is like any other writer, she makes me think sometimes of Swift. She is as angry, as disgusted, as playful, as often didactic, as airy at times and as crude, as intellectual. The quality of outraged, clear-sighted, pained intelligence, at once incandescent and exacerbated, is one of the major experiences for me in reading her work. Her critical essays tend to be witty and savage. Boredom is a torture to which the world obviously condemns her a lot."

"Joanna Russ has written in "Recent Feminist Utopias": "I believe that utopias are not embodiments of universal human values, but are reactive; that is, they supply in fiction what their authors believe society lacks in the here and now. The positive values stressed in the stories can reveal to us what, in the authors' eyes, is wrong with our society. Thus if the stories are familial, communal in feelings, we may safely guess that the authors see our society as isolating people from each other, especially (to judge from the number of all-female utopias in the group) women from women. If the utopias stress a feeling of harmony and connection with the natural world, the authors may be telling us that in reality they feel a lack of such connection.""

"Joanna Russ told me the same thing that when she was in high school she thought if she didn't write about men going off to war or hunting big game then she didn't have anything significant to say."

"There was a hostility toward Joanna’s writing from male critics and male magazine editors, and men in general in science fiction. She had some friends, but quite a lot of the men in science fiction were appalled at the way that Joanna was challenging the norms of what women should be in science fiction."

"She had much more intellectual training and intellectual capacity for thinking about science fiction than most writers ever bother with...I think it would be fair to say that she and Samuel Delany, between them, invented science fiction scholarship back in the ’60s and ’70s...In her science fiction reviews, she was always wanting the people she thought were good to be better, to be more intellectual and more challenging."