Women Activists From The United States

"The labor of women in the house, certainly, enables men to produce more wealth than they otherwise could; and in this way women are economic factors in society. But so are horses."

"I do not want to be a fly, I want to be a worm!"

"Said I, in scorn all burning hot, In rage and anger high, "You ignominious idiot, Those wings are made to fly!""

"A million million worlds that move in peace; A million mighty laws that never cease; And one small ant-heap, hidden by small weeds, Rich with eggs, slaves and store of millet-seeds. They sleep beneath the sod And trust in God."

"Through watching so much at night, when it changes so, I have finally found out. The front pattern does move-and no wonder! The woman behind shakes it!"

"It becomes bars! The outside pattern, I mean, and the women behind it is as plain as can be. I didn't realize for a long time what the thing was that showed behind, that dim sub-pattern, but now I am quite sure it is a woman. By daylight she is subdued, quiet. I fancy it is the pattern that keeps her so still."

"You think you have mastered it [the wallpaper pattern], but just as you get well under way in following, it turns a back-somersault and there you are. It slaps you in the face, knocks you down, and tramples upon you."

"This wallpaper has a kind of sub-pattern in a different shade, a particularly irritating one, for you can only see it in certain lights, and not clearly then."

"The color is repellent, almost revolting: a smouldering unclean yellow, strangely faded by the slow-turning sunlight."

"The stony-minded orthodox were right in fearing the first movement of new knowledge and free thought. It has gone on, and will go on, irresistibly, until some day we shall have no respect for an alleged "truth" which cannot stand the full blaze of knowledge, the full force of active thought."

"A normal feminine influence in recasting our religious assumptions will do more than any other one thing to improve the world."

"Many years later I was told that the great specialist had admitted to friends of his that he had altered his treatment of neurasthenia since reading The Yellow Wallpaper. It was not intended to drive people crazy, but to save people from being driven crazy, and it worked."

"For many years I suffered from a severe and continuous nervous breakdown tending to melancholia — and beyond. During about the third year of this trouble I went, in devout faith and some faint stir of hope, to a noted specialist in nervous diseases, the best known in the country. This wise man put me to bed and applied the rest cure, to which a still-good physique responded so promptly that he concluded there was nothing much the matter with me, and sent me home with solemn advice to "live as domestic a life as far as possible," to "have but two hours' intellectual life a day," and "never to touch pen, brush, or pencil again" as long as I lived. This was in 1887. I went home and obeyed those directions for some three months, and came so near the borderline of utter mental ruin that I could see over. Then, using the remnants of intelligence that remained, and helped by a wise friend, I cast the noted specialist's advice to the winds and went to work again — work, the normal life of every human being; work, in which is joy and growth and service, without which one is a pauper and a parasite — ultimately recovering some measure of power. Being naturally moved to rejoicing by this narrow escape, I wrote The Yellow Wallpaper, with its embellishments and additions, to carry out the ideal (I never had hallucinations or objections to my mural decorations) and sent a copy to the physician who so nearly drove me mad. He never acknowledged it."

"The latest and highest form of Feminism has great promise for the world. It postulates womanhood free, strong, clean and conscious of its power and duty."

"I'm getting really fond of the room in spite of the wallpaper. Perhaps because of the wallpaper."

"All three children carried themselves rather better than the common run of "green" pupils that were brought to Miss Nixon. But the figure that challenged attention to the group was the tall, straight father, with his earnest face and fine forehead, nervous hands eloquent in gesture, and a voice full of feeling. This foreigner, who brought his children to school as if it were an act of consecration, who regarded the teacher of the primer class with reverence, who spoke of visions, like a man inspired, in a common schoolroom, was not like other aliens, who brought their children in dull obedience to the law; was not like the native fathers, who brought their unmanageable boys, glad to be relieved of their care. I think Miss Nixon guessed what my father's best English could not convey. I think she divined that by the simple act of delivering our school certificates to her he took possession of America."

"It is painful to be consciously of two worlds. The Wandering Jew in me seeks forgetfulness. I am not afraid to live on and on, if only I do not have to remember too much. A long past vividly remembered is like a heavy garment that clings to your limbs when you would run."

"Outside America I should hardly be believed if I told how simply, in my experience, Dover Street merged into the Back Bay."

"Mary Antin gave one of the brightest accounts of reaching and penetrating the promised land."

"For Mary Antin and another immigrant Jewish author, Anzia Yezierska, the sacrifices were costly but appeared warranted, the passports to professional success and American identities. Part of a generation bridging Yiddish culture and Yankee experience, Antin and Yezierska passionately described the struggles and changes within the immigrant Jewish family. More than half a century ago, the autobiographical Promised Land and the novel, Bread Givers, anticipated the concerns of such later authors as Tillie Olsen, Grace Paley, Cynthia Ozick, Norma Rosen and Joanne Greenberg."

"A proper autobiography is a death-bed confession. A true man finds so much work to do that he has no time to contemplate his yesterdays; for to-day and to-morrow are here, with their impatient tasks. The world is so busy, too, that it cannot afford to study any man's unfinished work; for the end may prove it a failure, and the world needs masterpieces."

"A little instruction in the elements of chartography—a little practice in the use of the compass and the spirit level, a topographical map of the town common, an excursion with a road map—would have given me a fat round earth in place of my paper ghost."

"Revolution always unfolds inside an atmosphere of rising expectations."

"Let us imagine the prospect-for the first time in the nation's history-of a population united for fundamental change. Would the elite turn as so often before, to its ultimate weapon-foreign intervention-to unite the people with the Establishment, in war? It tried to do that in 1991, with the war against Iraq. But, as June Jordan said, it was "a hit the same way that crack is, and it doesn't last long.""

"June Jordan makes us think of Akhmatova, of Neruda. She is the bravest of us, the most outraged. She feels for all. She is the universal poet."

"June's work opened new ways for me as a reader to think about nature poetry. In fact, as a longtime reader of her work, I had never thought of her as an environmental poet, perhaps because I had categorized her as a social justice poet and a black feminist writer, and in my mind, as a result of years of literary and cultural indoctrination, these identities were separate from what was most commonly defined as "nature poet." And yet, as I read her collected work again in search of nature poetry, I found it everywhere. June saw everything as connected, and she loved nature and spoke out on its behalf."

"I also want to read, and make, poems that remind me "why it must come," why what June Jordan calls the logic of "the infinite connectedness of human life" demands equality in community. This poetry is worth our most sacred and profane passion, because it embodies our desire, what we might create, in the difficult world around the poem."

"She believed, and nourished the belief, that genuine, up-from-the-bottom revolution must include art, laughter, sensual pleasure, and the widest possible human referentiality. She wrote from her experience in a woman's body and a dark skin, though never solely "as" or "for." Sharply critical of nationalism, separatism, chauvinism of all kinds as tendencies toward narrowness and isolation, she was too aware of democracy's failures to embrace false integrations. Her poetic sensibility was kindred to Blake's scrutiny of innocence and experience; to Whitman's vision of sexual and social breadth; to Gwendolyn Brooks's and Romare Bearden's portrayals of ordinary black people's lives; to James Baldwin's expression of the bitter contradictions within the republic...She knew many poetries, ancient and modern; her sonnets, for example, are both silken and surprising. But in her preface to the collection Passion, she matched herself consciously most incisive essays from the last two decades with the tradition of "New World poetry," non-European, deriving in North America from Whitman, and including "Pablo Neruda, Agostinho Neto, Gabriela Mistral, Langston Hughes, Margaret Walker and Edward Brathwaite.""

"June Jordan’s poetry embraces a half-century in which she dwelt as poet, intellectual, and activist: also as teacher, observer, and recorder. In a sense unusual among twentieth-century poets of the United States, she believed in and lived the urgency of the word — along with action — to resist abuses of power and violations of dignity in — and beyond — her country."

"In the words of June Jordan, “We always have choices. And capitulation is only one of them.”"

"A few years ago, there was the first collection ever published of political essays written by a Black woman-June Jordan. Think about that. It's amazing there are so few."

"In political journalism that cuts like razors, in essays that blast the darkness of confusion with relentless light; in poetry that looks as closely into lilac buds as into death’s mouth … she has comforted, explained, described, wrestled with, taught and made us laugh out loud before we wept. … I am talking about a span of forty years of tireless activism coupled with and fueled by flawless art."

"In this era of counter-revolution and its deadly effects, we can be discouraged into silence or reduced to caring only about our immediate, personal world. Or we can, as I heard poet June Jordan say at a conference in Arizona, fight back against "those pistol-packing gatekeepers of a house that never belonged to them in the first place." That sounds better! And let's remember: there would be no counter-attack today if we hadn't made some significant changes yesterday."

"We are hungry for heroes. To paraphrase June Jordan, we are the women whom we want to become."

"As we move toward empowerment, we face the other inseparable question, what are we empowering ourselves for? In other words, how do we use this power we are reaching for? We can't separate those two. June Jordan once said something which is just wonderful. I'm paraphrasing her-that her function as a poet was to make revolution irresistible. Well o.k. that is the function of us all, as creative artists, to make the truth, as we see it, irresistible. That's what I want to do with all of my writing."

"Today's mic-hogging, fast-talking, contentious young (and old) lefties continue to hawk little books and pamphlets on revolution, always with choice words or documents from Marx, Mao, even Malcolm. But I've never seen a broadside with "A Black Feminist Statement or even the writings of Angela Davis or June Jordan or Barbara Omolade or Flo Kennedy or Audre Lorde or bell hooks or Michelle Wallace, at least not from the groups who call themselves leftist. These women's collective wisdom has provided the richest insights into American radicalism's most fundamental questions: How can we build a multiracial movement? Who are the working class and what do they desire? How do we resolve the Negro Question and the Woman Question? What is freedom?"

"Aren't we blessed that June Jordan is one of the ancestors who we can call on and hear her voice to keep us centered in this current stormy weather? What can we hear from her in this moment? I think that love is a requirement of principled struggle, both self-love and love of others, that we must all do what we can, that it is better to do something rather than nothing, that we have to trust others as well as ourselves. I often repeat the adage that "hope is a discipline." We must practice it daily. June's work teaches us this truth."

"June Jordan, who has been a touchstone of mine, really, since I first read her work in college, which was many, many years ago. So I really can't believe that I'm here today, and I'm really grateful to be here with all of you to celebrate her legacy and her life. June Jordan loved Black people, and so do I. She was an educator, and so am I. She was an activist; so am I. She was an internationalist, and so am I. She was a brilliant writer, and I am not-at all...She insisted that by organizing, we have the power to overcome oppression. I too believe this to be true."

"I have realized that I was in danger of losing my relationship to black vernacular speech because I too rarely use it in the predominantly white settings that I am most often in, both professionally and socially. And so I have begun to work at integrating into a variety of settings the particular Southern black vernacular speech I grew up hearing and speaking. It has been hardest to integrate black vernacular in writing, particularly for academic journals. When I first began to incorporate black vernacular in critical essays, editors would send the work back to me in standard English. Using the vernacular means that translation into standard English may be needed if one wishes to reach a more inclusive audience. In the classroom setting. I encourage students to use their first language and translate it so they do not feel that seeking higher education will necessarily estrange them from that language and culture they know most intimately. Not surprisingly, when students in my Black Women Writers class began to speak using diverse language and speech, white students often complained. This seemed to be particularly the case with black vernacular. It was particularly disturbing to the white students because they could hear the words that were said but could not comprehend their meaning. Pedagogically, I encouraged them to think of the moment of not understanding what someone says as a space to learn. Such a space provides not only the opportunity to listen without "mastery," without owning or possessing speech through interpretation, but also the experience of hearing non-English words. These lessons seem particularly crucial in a multicultural society that remains white supremacist, that uses standard English as a weapon to silence and censor. June Jordan reminds us of this in On Call."

"I learned a lot from the black arts movement. I loved reading black feminist thinkers on my own (outside of academia)—Audre Lorde, Barbara Smith, Angela Davis, June Jordan, bell hooks, etc."

"At the library I would go the shelves alphabetically. I was drawn to anyone with a female name, with a Latino or Spanish name. There were very, very few. But as a teenager I discovered African American poetry. Gwendolyn Brooks was the first. Then Phillis Wheatley. I really identified with this slave woman writing poetry to assert and affirm her humanity. Suddenly my eyes were open to history. There was a whole explosion of African-American women poets-Audre Lorde, Nikki Giovanni, June Jordan. I have a poem in my head that's going to take me years to write down. Its working title is "On Thanking Black Muses." I owe them, because poetry really changed my life, saved it."

"June Jordan, who has died aged 65, after suffering from breast cancer for several years, defied all pigeonholes. Poet, essayist, journalist, dramatist, academic, cultural and political activist — she was all these things, by turn and simultaneously, but above all, she was an inspirational teacher, through words and actions, and a supremely principled person. …Her life was about challenging oppression, and her characteristic talent was the ability to lay bare through her writing "the intimate face of universal struggle". … For Toni Morrison, the sum of June Jordan's career was: "Forty years of tireless activism coupled with and fueled by flawless art." All that aside, she was a joy to know."

"Education has paralleled the life of prospering white America: it has been characterized by reverence for efficiency, cultivation of competence unattended by concern for aim, big white lies, and the mainly successful blackout of Black life."

"In America, the traditional routes to black identity have hardly been normal. Suicide (disappearance by imitation, or willed extinction), violence (hysterical religiosity, crime, armed revolt), and exemplary moral courage; none of these is normal."

"We are among those who have been violated into violence."

"Efficiency, competence: Black students know the deadly, neutral definition of these words. There seldom has been a more efficient system for profiteering, through human debasement, than the plantations, of a while ago. Today, the whole world sits, as quietly scared as it can sit, afraid that, tomorrow, America may direct its efficiency and competence toward another forest for defoliation, or clean-cut laser-beam extermination."

"We, we know the individuality that isolates the man from other men, the either/or, the lonely-one that leads the flesh to clothing, jewelry, and land, the solitude of sight that separates the people from the people, flesh from flesh, that jams material between the spirit and the spirit. We have suffered witness to these pitiful, and murdering, masquerade extensions of the self.Instead, we choose a real, a living enlargement of our only life. We choose community."

"Body and soul, Black America reveals the extreme questions of contemporary life, questions of freedom and identity: How can I be who I am?"

"Most of the women of the world-Black and First World and white who work because we must-most of the women of the world persist far from the heart of the usual Women's Studies syllabus. Similarly, the typical Black History course will slide by the majority experience it pretends to represent. For example, Mary McLeod Bethune will scarcely receive as much attention as Nat Turner, even though Black women who bravely and efficiently provided for the education of Black people hugely outnumber those few Black men who led successful or doomed rebellions against slavery. In fact, Mary McLeod Bethune may not receive even honorable mention because Black History too often apes those ridiculous white history courses which produce such dangerous gibberish as The Sheraton British Colonial "history" of the Bahamas. Both Black and white history courses exclude from their central consideration those people who neither killed nor conquered anyone as the means to new identity, those people who took care of every one of the people who wanted to become "a person," those people who still take care of the life at issue: the ones who wash and who feed and who teach and who diligently decorate straw hats and bags with all of their historically unrequired gentle love: the women."

"1. “The People” shall not be defined as a group excluding or derogating anyone on the basis of race, ethnicity, language, sexual preference, class, or age. 2. “The People” shall consciously undertake to respect and to encourage each other to feel safe enough to attempt the building of a community of trust in which all may try to be truthful and deeply serious in the messages they craft for the world to contemplate. 3. Poetry for the People rests upon a belief that the art of telling the truth is a necessary and a healthy way to create powerful, and positive, connections among people who, otherwise, remain (unknown and unaware) strangers. The goal is not to kill connections but, rather, to create and to deepen them among truly different men and women."