Women Activists From The United States

"That word identity has been hard for many women who live secular lives and maybe harder for religious women and also feminists. But the women's movement has made a big difference. I don't know who it hasn't helped in this world. It's given a lot of Jewish women courage to stay Jewish and fight."

"we had our normal family life—struggles and hard times. That takes up a lot of time, hard times. Uses up whole days."

"it was kind of exhausting running after two babies. Still, looking back I see the pleasure of it. That’s when I began to know women very well—as co-workers, really...If I hadn’t spent that time in the playground, I wouldn’t have written a lot of those stories."

"Writers often write about what they want to read or haven’t seen written."

"there’s always that first storytelling impulse: I want to tell you something..."

"A lot of them (my stories) begin with a sentence—they all begin with language...Very often one sentence is absolutely resonant...The sound of the story comes first."

"what’s a writer for? The whole point is to put yourself into other lives, other heads—writers have always done that. If you screw up, so someone will tell you, that’s all. I think men can write about women and women can write about men. The whole point is to know the facts. Men have so often written about women without knowing the reality of their lives, and worse, without being interested in that daily reality."

"(Are there any men you think write particularly well about women?) I liked Norman Rush’s last book, Mating. The main character is a very smart woman, very intellectual, very interesting, and very unlike many of the women many women write about."

"I read poetry all the time. Probably the poets everybody read then. Very catholic taste. I even loved Eliot then whom I later grew not to love. I knew lots of poems by memory and walked around mumbling them. Yeats, Rilke, Keats, Coleridge. I liked Milton a lot, for some reason. And then there were the Oscar Williams anthologies of 1942 and 1943 with those pictures of the beautiful young poets."

"Russian is very dear to me because it’s a family language, but I am Jewish-Russian, which is a little different from Russian-Russian. My family ran away in 1905 from the Russian-Russians."

"I’ve been surrounded by music for most of my life. Always classical. But I think the most powerful sounds are those voices, those childhood voices. The tune of those voices. Other languages, Russian and Yiddish, coming up smack against the English. I think you hear that a lot in American literature."

"I will say I knew I wanted to write about women and children, but I put it off for a couple of years because I thought, People will think this is trivial, nothing. Then I thought, It’s what I have to write. It’s what I want to read. And I don’t see it out there. Meanwhile, the women’s movement had begun to gather force. It needed to become the second wave. It turned out that we were some of the drops in the wave. Tillie Olsen was more like a cupful."

"There’s hardly a woman writer who doesn’t receive some kind of support from the women’s movement. We’re very lucky to be living and writing now."

"the outside world will trivialize you for almost anything if it wants to. You may as well be who you are."

"In 1959 it was absolutely insane for Ken McCormick to say, yes, he was going to publish a book of short stories. Now everybody in the writing world is reading and writing short stories."

"a lot more women are writing. A lot of people who wouldn’t have written are writing. When a couple of black women speak, the throats of many are opened. Somehow or other they give courage and sound to their sisters."

"You can’t write without a lot of pressure. Sometimes the pressure comes from anger, which then changes into a pressure to write...The pressure from anger is an energy that can be violent or useful or useless. Also the pressure doesn’t have to be anger. It could be love. One could be overcome with feelings of lifetime love or justice."

"I hate the American expectation of violence. I’m not going to play into any of that. When I must write about violence, I will, but I’ll do it straight, not add and add because the level is higher every year."

"art comes from constant mental harassment."

"It’s a different life (being a parent). Another creature is really dependent on you. I think it’s good for a writer, though. I know some people say women writers should not have children. Of course, it was worse for them back then. Years ago just to do the kids’ wash could take the whole day, so if you were poor it was impossible to write. If you were rich, you could hire a maid; it was possible if you were George Sand. But even now we need help. My kids were in day care from the time they were three years old."

"I always say that racism is like pneumonia and anti-Semitism is like the common cold—everybody has it."

"The best training is to read and write, no matter what. Don’t live with a lover or roommate who doesn’t respect your work. Don’t lie, buy time, borrow to buy time. Write what will stop your breath if you don’t write."

"Writing poetry, which for me was then saying how I felt about this and that, didn't help me to understand the world I lived in. I developed a definition-which I think becomes less and less accurate as poetry moves into the world-that poetry was a way of speaking to the world, but fiction was a way to get the world to speak to me. (1978 interview)"

"("Do you write when you have to? Or when do you write?") GP: I write all the time, in a way. I'm not a very disciplined person. I write. I wrote yesterday, a little. Writing is a habit, among other things, and if you're a writer you'd better get into the habit. A lot of people don't realize that. When I'm writing a story then I'm really writing all the time, wholly involved in it. When I'm not writing a story, I'm still thinking....Susan Sontag once said that she can't wait to get to a typewriter so she'll know what she thinks! And that's true for most writers, that you really have gotten this habit of thinking on paper. Until you do that all you have is a lot of junk in your head, a lot of stuff swirling around, and the paper is the place where you really begin to think. (1979)"

"I don't see television the way most people do. I see it as a destroyer of concentration rather than of language. There's dead language everywhere. We're cut off from the truth of our tongues. (1980)"

"People's imagination has been changed a lot by television. (1980)"

"all the arts feed each other (1980)"

"(Why didn't you stick with poetry?) GP: I write a lot of poetry. I just never get good. Poetry is too literary a thing which comes from my love of literature rather than from my love of people, my feeling for people. (1980)"

"Concentration is really a problem for me. To seize something. But when I really have a story I'm working on, I can work on it sitting in a train, going to Washington, any place, anywhere. It's totally absorbing. (1980)"

"I think a lot of what influences a writer is what you hear in the street, the language you hear, the way people talk, the way, the rhythms, the song, the language of your childhood. (1980)"

"the world may not last. Just the other day Ronald Reagan said that the arms race is necessary. He has to be insane. INSANE! And all the people listening. They have to be insane too. (1980)"

"I never think about marriage. I never write about marriage. I do think a lot about family. I think about love and family (1980)"

"People move around too much, and they become afraid to speak their own language. (1980)"

"I think people have writer's block because they don't really write things down. Their minds are too linear. You have blocks when either you have nothing to write about or you are just going dead ahead. If you just write, if you realize what your mind is and that it's always working, you're always wondering, you're always curious, you're always thinking about things. (1980)"

"you're in love many times in your life, several times in one's life. And romantic love is very... a lot of fun, I don't want to knock it. With all the troubles that come afterward, and it may all be a lie and imposed on us, but falling in love is peachy. And if it can happen to you, boy, that's great. And if it doesn't, then by all means, you should stick to your friends. (1981)"

"Someone like Mary Daly doesn't even know how people live-but other women, I think they come from suburban lives or something like that, and no family. That's a certain kind of life but it's not general female life. (1981)"

"All of art is political; if a writer says this is not political, it's probably the most political thing that he could be doing. That's a statement of an alienation problem. I would say that my interest in ordinary life and how people live is a very political one. That's politics; that's what it is. (1982)"

"I'd been writing poetry until about 1956, and then I just sort of made up my mind that I had to write stories. I love the whole tradition of poetry, but I couldn't figure out a way to use my own Bronx English tongue in poems. I can now, better, but those early poems were all very literary; they picked up after whatever poet I was reading. They used what I think of as only one ear: you have two ears, one is for the sound of literature and the other is for your neighborhood, for your mother and father's house. (1982)"

"One of the horses history rides is language. Fifteen years ago, maybe ten, in my fifties, I wouldn't have noticed the word mankind at all. And here in 1986, a six-year-old person heard the word in all its meaning. (1985)"

"My generation really grew up at a very scary time. This time is probably twice as scary, but since we didn't know this time was coming-the Second World War was coming, the Spanish Civil War was happening when I was in high school. Mussolini had invaded Ethiopia and made all those idiotic statements that are famous to this day. Like how beautiful it was to bomb the Ethiopians. The Italian kids in my school were in heaven, they were so delighted and proud they were fainting with joy. It was a scary time. Hitler was coming inch by inch by inch. I remember my parents talking about it. (1985)"

"I'm really involved in a lot of feminist anti-militarist work. I've linked things together with my anti-war stuff. Many feminists don't see it that way, by the way. There are a lot of divisions. Women say that's not feminism; feminism is equal rights, day care, battered women, abortion. But they don't see the connection between the patriarchy of militarism and the patriarchy of ordinary daily life. They don't like that patriarchy but they don't seem to mind so much the patriarchy of intervention in Central America. (1985)"

"I always think that the writer's role is to get off her or his ass and to get on the street and do something. But that answer does not satisfy people. But to me that's a very important thing. (1985)"

"I begin every class, for instance, with the reading of poems, of something somebody thinks is beautiful. Like sort of a ritual, like saying grace, or thank you God, or something. Somebody comes in and picks up a poem and reads a poem by George Herbert or reads a poem by almost anybody. Somebody read two pages of Faulkner yesterday. I want them to read something they love. So at least two poems are read at the beginning of class-or fiction. (1986)"

"I'm a writer but I'm also a person in the world. I don't feel a terrible obligation to write a lot of books. (1988)"

"We keep being mean-we're still mean to Vietnam. Mean to Cuba. Mean to Haiti. That kind of meanness is more discouraging to me than almost anything. You can put it in economic terms, you can make a high-class theoretical discussion about it, but there is so much mean revenge and malice against the victories of ordinary people. (1993)"

"I can't see me writing an autobiography. I mean it seems so stupid. [Laughter.] You have to feel like you are telling the world something. I feel I'm doing it when I write the way I write. (1995)"

"I think the world is worse, but the people are better. I think this has to do with the revolutions of the 1960s and ’70s and the work we all did in that period. The important thing to remember about the Iraq war is that the whole world protested against it. For the first time in history, the whole world, not just me and my husband Bob, but the whole world came together to try to stop a war before it started. That had never happened before. I have a book with pictures of those protests from all over the world, from Africa, from Asia, from all over Europe. In every country people said, “No, no, don’t do it, don’t do it.” Whatever happens now, this fact is in the world. I think with those protests, we made maybe a couple of inches of progress. Some light flared there for a minute and that minute may be carried on. That’s why I say the world right now is a little worse, mostly because of what our country is doing, but the people are better because almost everywhere in the world there are people who are really thinking that they have some responsibility to make a peaceful world and to live decently. We’ll see what the next generation can do."

"everybody should be involved, not just the artists. Carpenters, teachers, everybody."

"I’m an American. I don’t feel national pride or anything like that, but on the other hand I’m very interested in this country. I’m very interested in the history of it, and I feel that it does have some valuable ideas that really have transformed many people. Certainly this is true when I think of my own parents coming here and all the other immigrants who have come here. They came for a reason, and they were satisfied, one way or the other."

"these old time immigrants are not standing up enough for the newer immigrants—the Latino people who have been coming across the Mexican border and others."