Feminists From The United States

"There is an attitude that has developed since about the 1890s that attempts to cast all politics and sociology out of poetry. I don't understand how anyone can seriously maintain this attitude. Actually, the attitude itself is political. Art which embodies the ideals of the ruling class in society isn't conceived as being political, and is simply judged by how well it is done. Art which contains ideas which threaten the position of that ruling class is silenced by critics: it is political, they say, and not art."

"Life is the first gift, love is the second, and understanding the third. (p666)"

"It is not sex that gives the pleasure, but the lover. (p402)"

""...you have a reciprocal nature. You understand if you want to be listened to, you should put in time listening." (p343)"

"In their minds we're not human...They don't hate us because we did something or said something. They make us stand for an evil they invent and then they want to kill it in us. (p255)"

"If only I could tell each of them how much more fully I could love them now. I could give them, not the dutiful, selfish and perfunctory love of an adolescent, but an understanding love that would lighten their terrible burdens. (p253)"

"[He] felt a controlled importance, a fine passionate honing of his attention and intellect that made him impatient with his whole previous life. (p208)"

""He said to me once he had given up a normal life for the cyborgs. As if he could only create life if he gave up loving and living." (Yod about Avram, twenty-eight: HOW CAN WE TELL THE DANCER FROM THE DANCE?)"

""There's too little pleasant in this nasty dying world. We all need to remember how to play, how to be children together for a little while." (Gadi, twenty-eight: HOW CAN WE TELL THE DANCER FROM THE DANCE?)"

"Most of life was bizarre when she stopped to examine it. (twenty-eight: HOW CAN WE TELL THE DANCER FROM THE DANCE?)"

""I used to wonder what I did wrong. But now I think that unless you grossly mistreat a child or spoil her or let her be injured, basically there's a given element in all of us, something from genes or the moment. From birth on, a child follows her own path. She learns, but she also unfolds from within." (Malkah, twenty-eight: HOW CAN WE TELL THE DANCER FROM THE DANCE?)"

""They perceive whatever they don't control as hostile." (Avram, twenty-five: WHERE THE ELITE MEET)"

"Riva said, "Most folks press the diodes of stimmies against their temples and experience some twit's tears and orgasms, while the few plug in and access information on a scale never before available. The many know less and less and the few more and more." (twenty-three: WINE IN THE MIDDLE OF THE NIGHT)"

"We all of us go about, she meant to tell him but was too occupied, wanting to be wanted but unsure why anybody should bother. (twenty-two: THE PRESENT)"

""Before you, the strongest feeling I knew was fear." (Yod, twenty-two: THE PRESENT)"

""Nobody at twenty-eight is a success or a failure. It's too early to figure out which way the tide's moving (Malkah, fifteen: THE SAME AS ME)"

""One aspect of working with you, even of being with you, that I really appreciate is how hard you try to communicate. Human males don't often have that habit." (Shira to Yod, fourteen: BY THE LIGHT OF THE UNYELLOW MOON)"

"They ambled around the world through the Glops, into multi enclaves, onto the tubes and the zips, far more freely and safely than people or animals could. Shira watched it wistfully. That was true freedom, she thought, something now available only to special machines. (fourteen: BY THE LIGHT OF THE UNYELLOW MOON)"

"People had gone too far in destroying the earth, and now the earth was diminishing the number of people. (fourteen: BY THE LIGHT OF THE UNYELLOW MOON)"

""I still have insomnia, but now I tell myself stories instead of counting men." (Malkah nine: REVISING THE FAMILY ALBUM)"

""Some people go on wanting [sex] as long as they live, but other people, they let it go as if it were a garment that had worn out." (Malkah, nine: REVISING THE FAMILY ALBUM)"

""I never wanted to belong to anybody. I only wanted to borrow them for a while, for the fun of it, the tenderness, some laughs." (Malkah, nine: REVISING THE FAMILY ALBUM)"

"She felt as if she were seventeen again, ignorant, fearful, a creature all gusty emotions and pain. (eight: HOW SHALL I ADDRESS YOU?)"

""...No one can stop children in love unless by exile. But you'll never grow up if you don't let go of each other." (Malkah, six: WE KNOW TOO MUCH AND TOO LITTLE)"

""You love too hard. It occupies the center and squeezes out your strength. If you work in the center and love to the side, you will love better in the long run, Shira. You will give more gracefully, without counting, and what you get, you will enjoy." (Malkah, six: WE KNOW TOO MUCH AND TOO LITTLE)"

"His body was a city, vast, filling her head. (five: FIFTEEN YEARS BEFORE: THE DAY OF ALEF)"

"Malkah's love was strong but abrasive, scrubbing her clean. Gadi's love bore both roses and thorns... (five: FIFTEEN YEARS BEFORE: THE DAY OF ALEF)"

"For years she had had this magic circle they could weave about themselves, luminous with Gadi's imagination, the place where she could never be lonely or bored. In that private world of play more intense, far more real than reality, she was whatever she longed for. (five: FIFTEEN YEARS BEFORE: THE DAY OF ALEF)"

"This was the home she had fled, not from an unhappy childhood but from too early and too intense love, paradise torn. (four: THROUGH THE BURNING LABYRINTH)"

"No one before the twenty-first century had ever loved flowers and fruiting trees and little birds and the simple beauty of green leaves as did those who lived after the Famine, for whom they were precious and rare and always endangered. (four: THROUGH THE BURNING LABYRINTH)"

"He's in Veecee Beecee, making those elaborate worlds people play at living in instead of worrying about the one we're all stuck with." (one: IN THE CORPORATE FORTRESS)"

"Piercy writes with high intelligence, love for the world, ethical passion and innate feminism."

"A lot of the young women in the peace movement were really just pushed around by SDS (the student organization). That is, Meredith Tax or Marge Piercy were pushed around by these guys, these young fellows in these student movements, who were really not shallow because they were very smart, but callow and full of male beans and ambition and so forth. And accustomed to or forced to play a certain role. I think the women's movement has done a lot for men, a tremendous lot for them. For men who paid attention it has taken some of the burden of machoism off their backs, which is a terrible burden to bear. If you think about it, it's horrible. It's horrible to have to be that kind of person in order to be a person."

"I remember Marge Piercy saying at the Aspen Conference that she had "an aesthetics of clarity." And I thought, hmm, that's not bad."

"Marge Piercy is very dear to me-a person who puts her life where her mouth is...I'm always interested in what Marge [Piercy] does. I mean we have our differences about several things, and approaches to writing-what and who and how-but she's an amazing woman and a true writer, and she does a tremendous amount of work and is very particular about what she's doing. She's doing a certain kind of chronicling of our time. She has a book called The High Cost of Living. I think it's really a wonderful book. It's not well-known. And it's one of her shortest things. I think she thinks she just tossed it off."

"one of our finest novelists and poets"

"Some critics may wince at her politics, but no one can doubt whose voice is speaking, or that the language comes from a fully engaged life. Not that politics is her only subject. She writes about planting tomatoes, making love, remodeling the kitchen, and dying. Her avid followers know that she can be just as tough about herself and as humorous-as about the world's absurdities. At heart, Marge Piercy is a utopian, possessing what Margaret Atwood describes as "a view of human possibility-harmony between the sexes, among races, and between humankind and nature-that makes the present state of affairs clearly unacceptable by comparison.""

"In the women's consciousness-raising groups I belonged to in the early 1970s, we shared personal and very emotional stories of what it had really been like for us to live as women, examining our experiences with men and with other women in our families, sexual relationships, workplaces and schools, in the health care system and in surviving the general societal contempt and violence toward women. As we told our stories we found validation that our experiences and our reactions to them were common to many women, that our perceptions, thoughts, and feelings made sense to other women. We then used that shared experience as a source of authority. Where our lives did not match official knowledge, we trusted our lives and used the collective and mutually validated body of stories to critique those official versions of reality. This was theory born of an activist need, and the feminist literature we read, from articles like "The Politics of Housework" and "The Myth of the Vaginal Orgasm" to the poetry of Susan Griffin, Marge Piercy, Alta, Judy Grahn, and others, rose out of the same mass phenomenon of truth-telling from personal knowledge."

"(her poems) are Marge Piercy at her most telling. The author is a fearless and exciting woman"

"Marge Piercy is a literary icon-novelist, poet, social activist."

"Marge Piercy is shameless; that is, she is that rarity, a free person. Her freedom enables her to write about her brilliant, fascinating life with honesty and gusto. She is magnificent on the subject of cats."

"Her work has always had the courage both of her convictions and of its own (the difference between the two has occasionally been one of her problems), and the present books are no exception. She is a serious writer who deserves the sort of considered attention which, too often, she does not get... out of all the surge and flux, the sometimes dutiful rhetoric, Piercy can build moments and sometimes whole poems that she would not have achieved with careful elegance. “People of the Shell,” for instance, is superb, and it is not alone. Lines and aphorisms surface, flash and sink, poems transform themselves, words swirl. The literary ancestor here is not Dickinson but Whitman, and the vision is finally, despite the small ironies, a romantic one. Like Whitman, Piercy must be read in chunks, not sips, and appreciated for her courage, gut energy and verbal fecundity, not for laconic polish. Dancing is hard and you may fall down, her poetry implies, but she is going to dance anyway. She rams on, and the reader can only applaud."

"Remember to weave real connections, wrote Marge Piercy: “create real nodes, build real houses/Live a life you can endure; make love that is loving/Connections are made slowly, sometimes they grow underground/You cannot tell always by looking what is happening/More than half a tree is spread out in the soil under your feet.”"

"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."

"Often I imagine in different and better times not have to be political. I can even imagine, when I am at the bottom of a long uphill grade, doing something besides writing novels, although I doubt it. But I never imagine living without poetry."

"just as politically when there is no vocabulary for discussing your situation, when you're a woman before there is language of feminism, trying to understand what it's like to be a woman, you have no concepts, no vocabulary for even understanding your own situation."

"What is honor from a woman's point of view? Honor has been defined from a male point of view. What does it mean to choose not to endure having been raped?"

"Friendship is my paradigm for the good relationship. If you like someone, you will also love them better. If you love without liking, there's a chill at the core of it that easily turns into possessiveness, jealousy, competition."

"I am very interested in the voluntary families that people create; not just the communes but the informal social webs by which a great many people survive and flourish. A lot of my adult life I have been trying in one form or another to create alternatives to the nuclear family."

"I'm a pluralist in sexuality as in most things. I want people to make many different choices and flourish in them, and to respect the choices they don't make in their own lives as well as those they do."