Political Activists

"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 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."

"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)"

"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)"

"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)"

"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)"

"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."

"Grace Paley says, "By the third line, I know whether it's going to turn into a poem or a story. With poems, I talk to people. In stories, they talk to me.""

"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)"

"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)"

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

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

"all the arts feed each other (1980)"

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

"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)"

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

"("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)"

"art comes from constant mental harassment."

"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)"

"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)"

"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."

"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."

"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."

"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."

"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."

"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 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."

"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."

""Can you think of a writer (besides Chekhov) who is holy and an artist?" "Grace Paley." She (Mary Gordon) smiled. "Well, yes." Obviously."

"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."

"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."

"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)"

"You know in my lifetime, Jews have been very close to Blacks, really have had very close relations, and I just happen to be reading this book When and Where I Enter (by Paula Giddings)."

"If you I live long enough you really become patient. People improve. If they're already wonderful, they become slowly more wonderful."

"(A lot of people we've talked to said that Israel's invasion of Lebanon in '82 was a real jolt. People who for years hadn't thought about their Jewishness were sort of forced to start thinking about it in relationship to Israel. Did that have an effect on you?) GP: Well, since I think a lot about politics, it had an effect on me. But it didn't have a jolting or a changing effect. It wasn't so much a surprise as a new reason for sorrow and disgust. I was pleased at the services that year that this young fellow really spoke out very strongly. Sometimes I think that the Left has really made some terrible mistakes. I was talking about it the other day-the way the people in Nicaragua can separate the people of this US from the government. And that is partly a result of a decision by the Left. It's not just a strategy decision, it's true. It's a decision which the Left made in Vietnam, which was to divide the country. A very sensible, simple thing to do, to see us as opposed to the government. True too. It did not weaken the people of Nicaragua or Vietnam. So, I've never understood why my sisters and brothers on the Left haven't been able to do the same in relation to Israel. And if they'd done it a long time ago, I think things could have been different. If they had pointed out again and again: the people and the government, I mean, the difference at that time. A big majority of the American people were not yet against the war in Vietnam when the Vietnamese said, "We know you're not the government." There were maybe nine people on assorted street corners in '62, '63, '64 and the Vietnamese were already talking like that, right? So it's not as if you would have had to say the majority of the people in Israel are against this. Enough of them were in opposition. Why it wasn't done I-I know why it wasn't done. (Why?) Anti-Semitism. (Has that changed at all with the Left? Gotten worse? Or do you think it's the same?) No, I think in some ways it's better. In the women's movement press, too. You were really both very useful and really strong and influential. And I think a lot of women began to think seriously about anti-Semitism. Just because women started to stand up, others suddenly realized they had legs."

"You can't talk about anything without bringing in the world. It's out there."

"I think the women’s movement is wonderful, a great thing. I hate to see some of the mean struggles within it, but I don’t see how it could exist without it. Everybody should try to be as honorable and truthful and fierce as they can be."

"if you don’t think history, you’re not thinking. You’re just not thinking if you cannot see a generation back. And if you do not think about the circumstances in their lives, then you don’t know what you’re thinking about. There’s no truth in the present moment. Now simply doesn’t exist without then at all."

"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."

"(What was your sense of what it meant to be Jewish when you were growing up?) Well, it meant to be a socialist. Well, not really. But it meant to have social consciousness. It also meant that we were related to those generations of the Jewish Bible. We had common history. Our neighborhood was solidly Jewish. Next door there could be somebody who wasn't. That would be a very exotic person. The whole block didn't have more than two people who weren't Jewish. So my idea of the world was that it was totally Jewish. And the people to be worried about and pitied are the ones outside. So there is a sense that the stranger is the one to be remembered. The reason that it's repeated in the Bible so many times that we were strangers in Egypt is really to make us behave decently. This seemed to me very much a part of being Jewish. And it wasn't a matter of hospitality, which is as American as apple pie, so to speak. It wasn't hospitality; it was a normal sense of outrage when others were treated badly, and along with that the idea that injustice not be allowed to continue."