Women Authors From The United States

"Walking the Clouds opens up sf to reveal Native presence. It suggests that Indigenous sf is not so new-just overlooked, although largely accompanied by an emerging movement-and advocates that Indigenous authors should write more of it."

"Native slipstream thinking, which has been around for millennia, anticipated recent cutting-edge physics, ironically suggesting that Natives have had things right all along. The closest approximation in quantum mechanics is the concept of the "multiverse," which posits that reality consists of a number of simultaneously existing alternate worlds and/or parallel worlds. Interested readers will enjoy John Gribbin's In Search of the Multiverse: Parallel Worlds, Hidden Dimensions, and the Quest for the Frontiers of Reality (2010) and David Deutsch's seminal The Fabric of Reality: The Science of Parallel Universes and Its Implications (1998)."

"America is not the only country in the world, nor is it the best. It is a new country, with new ways, but it is not the only way, nor is it the best way."

"Methods that do not resemble western science are not de facto "primitive.""

"In terms of the future, my Anishinaabemowin language has a word, kobade—a very small word, but in reality an extremely sophisticated concept. The idea is that everything that’s in the past and the future is also in the now, but it’s not as simplistic as that. It’s more like there exists a spiral of intergenerational connections, so that even if you are in the present you have spirit persons at your side; they can be ancient spirits, considered to be from the past or from the future. Kobade is the recognition of all persons, not just human persons, and of all the intergenerational connections that we have, which are never linear, but spiral. In my language some people may describe it as a chain, wherein we’re connected to each other, so that the future is always containing the past and the present; I don’t use the word “chain” because I work in Black Studies and it just feels heavy and inappropriate. I use the image of a spiral. This is very different from the former science fiction model, what was called “extrapolative fiction.” This word came directly from Robert A. Heinlein, who took the idea from mathematical equations, where you pull something out of the past or the present and draw this imagined plausible future from one dot to another. That’s an extremely linear concept, too simplistic to allow other forms of thinking. For example, we just don’t arbitrarily choose a certain point in the past when writing and developing characters; there can be all kinds of remnants of pasts, presents, and futures."

"The myths about idealizing settlers and settler nations at the time of contact are a huge misunderstanding that are still promoted today."

"Everything is storytelling. Indigenous sciences are embedded in stories; this is how we share our Indigenous sciences."

"The reason I’m interested in science fiction is that when I was little and we had firesides, sweats, and other ceremonies, we were telling stories about star peoples that came to earth in, basically, space canoes. For me, the concept of a spaceship was not unusual. And, of course, we are all star people. We are made of stardust, which is scientifically accurate. Everything is made of stardust."

"I cannot explain to you the sensation of drowning. Suffice it to say that it is not peaceful, not tranquil, not even very dramatic, but rather an ongoing tragedy of gargling, choking, spewing out water, gasping for breath."

"Roving was good for the writer; to have been a reporter undoubtedly informed Ring Lardner, Ernest Hemingway, Stephen Crane. To know far more than he may ever use is imperative for the writer."

"As Basil Johnston (Anishinaabe) might remind us, w'daeb-a-wae, "a telling of the truth," casts our voices and words only as far as vocabulary and perception allow."

"The vibrancy of change permeates the air around all of our nations, human and more-than-human."

"Influenced by the Civil Rights, Black Power and Nuyorican movements, Miriam often asserted, “African Americans have always been in the vanguard. Everything that’s worthwhile in this country has come about because African Americans have pushed it. We all benefit everyday, white people as well as people of color, from the struggles of African Americans.”"

"May we treasure our kinship system, which connects us not always via direct blood relations but through our social relations and roles, filling each"

"Ultimately we want to share knowledge, not in a way that's stolen and appropriated and misused, but in a way that is a sharing and exchange of ideas that will actually help us get to a point where we don't have to worry about, you know, needing to head off to another planet in order to live."

"Prior to graduating high school, Miriam wrote, “Each new mask is put on, tested, and finally disposed of…Just who am I?” adding, “It should not matter who your parents were. The product is what is of importance. It should not matter!” This introspection and insightfulness would serve her well in future endeavors."

"She authored dozens of seminal works that challenged racial democracy, Taíno revivalism, blanqueamiento, and the U.S. census"

"Climate change is as much about humanity as it is about industry, and it is creative efforts that will ultimately move hearts and minds to address the problem."

"As a Research Coordinator and Curator of Exhibits and Special Programs at the Schomburg Center for Research in Black Culture, Miriam worked closely with SNCC activists Roberta “Bobbi” Yancy, professor Zita Nunes, and director Howard Dodson to produce dozens of widely celebrated international Africana exhibits (1987-1997)."

"In their introduction to the Afro-Latin@ Reader, the first major academic effort about Latin@s of African descent in the United States, editors Miriam Jiménez Román and Juan Flores struggle to define the term Afro-Latin@, asking within a North American context, "What's an Afro-Latin@? Who is an Afro-Latin@? The term befuddles us because we are accustomed to thinking of 'Afro' and 'Latin@' as distinct from each other and mutually exclusive: one is either Black or Latin@""

"In the process of putting the book together, we discovered a whole series of people who were identified as being African-American because they appeared—Black. There was no real attention to their [Latino] ethnicity even if they spoke Spanish; they served as bridges. Afro-Latinos function in two worlds: African [Black] and Latino."

"Jiménez Román and Flores write: "Afro-Latin@ is at the personal level a unique and distinctive experience and identity because of its range among and between Latin@, Black, and United States American dimensions of lived reality. In their quest for a full and appropriate sense of social identity Afro-Latin@s are thus typically pulled in three directions at once and share a complex, multidimensional optic on contemporary society." Taking a cue from W.E.B. Du Bois, we might name this three-pronged web of affiliations "triple-consciousness." To paraphrase those unforgettable lines from The Souls of Black Folk (1903) in studying the historical and contemporary experience of United States Afro-Latin@, one ever feels his three-ness, -a Latin@, a Negro, an American; three souls, three thoughts, three unreconciled strivings; three warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder. Du Bois's reference to strength and resilience bears emphasis: the multiple experiences and perspectives including the contradictions, pain, and outrage-does not necessarily translate into pathological confusion. As many of the contributions to this volume suggest, embracing and celebrating all the dimensions of one's self has not only been possible but has also resulted in significant innovations at the personal and collective level."

"She was an influential pioneering architect of the Afro-Latinx Studies movement."

"Afro-Latinos serve as bridges. The most obvious example would be Arturo Alfonso Schomburg. The Schomburg Center for Black Culture [Harlem, New York, USA] is probably the premiere institution for any type of serious scholarship and research on Africans and their descendants. Schomburg was a Black Puerto Rican who came to the United States from Puerto Rico in 1891 at 17. He became an integral part of the Black community – African American and Caribbean; most definitely he served as a bridge. Most of his writings were about Black Latinos, whether in Spain, the Caribbean or South America."

"I coined the term “Indigenous futurisms” in 2003 while editing Walking the Clouds: An Anthology of Indigenous Science Fiction. Much like Afrofuturism, Latinx futurism, and the like, Indigenous futurisms is a literary and artistic movement that expresses Native perspectives of the past, present, and future. These genres encompass the myriad communities too often overlooked within speculative and science fiction. Still, they can be limiting in their singularity."

"She received all of her formal education in public schools and universities during the early years of ethnic studies, saying, “I owe my less formal but likely strongest intellectual, professional and personal development to the African diasporic community of scholars and activists,” whose worked inspired her for a lifetime."

"We keep denying the importance of race because white people are becoming the minority."

"Whether we look at race as a fixed notion or culturally constructed concept it is very real. Race itself is an invention, a creation. Many people feel race is something that’s fixed, rigid and doesn’t have variances. By looking at Afro-Latinos, you kind of get a better sense of how fluid race has been. People have constructed it in different ways depending on conditions and circumstances."

"This kind of book should have been around when I was a kid because blackness was equated with being African-American. This limited view left me concerned about my blackness because I grew up as a Black Puerto Rican and I’m very conscious how race and ethnicity have both impacted my life."

"we’re not in a post racial state. Race is still a very important part of how all of us – globally – live our lives. African-Americans and Latinos need to get together, create change that will benefit not just Latinos and African-Americans but all people of color."

"The way ideology is constructed in Latin America –if you claim Blackness or talk about race, it’s because you have some kind of complex; you just can’t seem to deal with the world the way it is. It’s a good way of silencing any kind of protest against discrimination because people think you’re saying because you have a problem, it’s your personal problem not collective discrimination."

"("Are there any countries working to acknowledge the historical and cultural impact of their African roots?") Every single country in Latin America and the Caribbean is doing that, including places you would never imagine like Chile and Uruguay and Paraguay, all have Black advocacy organizations. The only exception is El Salvador. And I think we can contribute some of the reluctance to organizing to El Salvador’s civil war. The political instability works against organizing."

"struggling for racial equality [in Latin America] is far behind the United States."

"As the Red Nation’s The Red Deal: Indigenous Action to Save Our Earth puts it, over and over again, we have a choice to make: decolonization or extinction."

"In Latin America there is this general concept that because we are all racially mixed, somewhere back in everybody’s family tree there is an African or Indian then we are incapable of being racist because that would be being racist against ourselves. Since most of these countries became independent that has become the guiding line that we are all mixed and because we are all mixed we cannot be racist."

"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."

"I was not surprised by the reactions of women following my performance in Bloomington. One woman in the stage crew ran up and exclaimed, "They're standing up; they're giving you a standing ovation." the surprise in her voice told me that she had never seen a poetry performance; she had never felt the energy reverberate through a room with the Audre Lordes, Adrienne Richs, and Judy Grahns of this world. The glow in her face also told me that she would do so in the future."

"In 1973 a lesbian-feminist press collective in Oakland published a long poem by a working-class lesbian, Judy Grahn. In "A Woman Is Talking to Death" Grahn gives chapter and verse to the "death" that is self-denial, accepted disempowerment, passivity, mutual betrayal. ("Death sits on my doorstep/ cleaning his revolver.") Stylistically it transits from a long, open narrative line to dialogue to blocks of prose to invocation, from linear anecdote to surreal images. What's notable is the freedom of line and voice, a colloquial diction with surges of intensity. A great public poem, emerging from a new and vital women's movement, expanding the political imaginary of Whitman and Duncan, enlarging the potentialities of gay and lesbian poetry. In sometimes raw urgency, it locates its voice in the class- and race-inflected lives of everyday "common women"...Grahn herself wrote of the poem: "The particular challenges... for me were ... the criss-cross oppressions which... continually divide us-and how to define a lesbian life within the context of other people in the world. I did not realize at the time that I was also taking up the subject of heroes in a modern life which for many people is more like a war than not, or that I would begin a redefinition for myself of the subject of love."

"poetry readings were incredible. I mean, people like Judy Grahn could bring 500 people to a reading."

"I found out that Santa Teresa was sent to the convent by her father because they caught her kissing a woman cousin. I had been reading Judy Grahn's poem "I Have Come to Claim Marilyn Monroe's Body," and at the same time I was reading about what happened to Teresa's body: how they dug her up, how people had taken different pieces of her, and how her body did not really belong to her but to the Church. I started making the connection with what happens to women's bodies now."

"Judy Grahn traced the probable origin of the word "dyke" in the English language to Boudica, the warrior queen of the Celtic tribes who led a fierce uprising against the Roman conquest of the British Isles in 61 C.E."

"In her study of gay culture, Another Mother Tongue, Judy Grahn envisions the women warriors in the lesbian tradition from antiquity to the persecution of lesbians in the U.S. armed forces since World War II. Grahn begins her odyssey of the lesbian warrior with the Celtic queen Boudica. Grahn disclosed details of the Amazon peoples on the European and African continents, who lived circa 3000 B.C.E. The oldest of these peoples were Libyan in northwest Africa who "were known not only as warriors but as founders of cities," most of which were named after their female generals, such as Myrine, Mytilene, Elaia, Anaia, Gryneia, Kyme. "At the city of Ephesus the Amazons established a shrine and magnificent statue to the Goddess Artemis." Included in this section of Grahn's book is a description of one of the many horrific witch-hunts of lesbians in the U.S. army in modern times. This ended in Grahn's discharge in 1960. "Military authority," she writes, "rules by the breaking of pride and dignity as much as by any threat of bodily harm. Nor can anyone humiliate you as deeply as your own." Describing this period in her life, Grahn continues: "Discharged into a poor area of Washington, D.C., with $80 and utter demoralization... I found that despair has no bottom; it can multiply itself indefinitely, inside the mind and outside. . . . I thrashed about at the bottom of the well of degradation among the more demoralized of America's people.... But I had to put the pieces of my life back together somehow." Grahn emerged from this time "fighting, studying, making notes on my own about Gay people I knew," embodying the warrior legacy she was soon to uncover in her search and make available to us."

"Poetry is an overlooked and underrated kind of art."

"purple is of the spirit and denotes a change from one world or life position to another. In recent times, the election of Ronald Reagan in 1980 marked the greatest single change in the American economic and political viewpoint since the time of the Great Depression, the New Deal, and Franklin Delano Roosevelt fifty years earlier. And the fashion industry responded in kind, reflecting 1981 as a year of change by coming out with racks of clothes for men and women that featured every shade and hue of purple."

"I came into civil rights and feminist consciousness in the middle of the American war on Vietnam, and the police and FBI war on the Black Power and nonviolent civil rights movements. I experienced the violence at People’s Park and at Altamont, and the news reports of the assassination of Harvey Milk in San Francisco, and the mass murder of nine hundred mostly African American men women and children by a trusted white man at Jonestown. The Left seemed paralyzed, while the Right moved into more overt white supremacy and homophobia. And religious fundamentalism, already excluding and punishing LGBT+ people, became more aggressive and threatening. Meanwhile Rachel Carson told us we faced a “silent spring” if we did not change our economic and philosophical habits. The world, my friends and I decided, was lacking in mother love, at both the local, personal level, and the macro, religious and ethical level. A large number of us went looking for the goddess, among other things, any goddess who might give us a handle on establishing love, compassion and a maternal way of solving problems, as guiding principles."

"I try to accept as many invitations as I can with the idea that probably people have not met another Navajo before. They don’t really have any idea except maybe the stereotypical kinds of ideas of American Indians. For whoever comes behind me in the next two years, I want to establish what the position entails, and that is a challenge."

"people use words, words that aren’t really mine, that are from our language, from our history. It is not even really me, you know — it is everything that people over the generations and over the centuries have deemed beautiful. And beautiful has a different connotation than aesthetics."

"It’s important to do as much as I can to publicize the ideas of language, the importance of family, the importance of history, and also the importance of changes that have happened, that are happening now. Always political issues come up, issues of the environment, issues of education, of poverty, drug use, alcoholism. All of those things are a part of it, too."

"The burning questions of my life have been to discern what obstacles prevent me and the people I love—“wounded communities” I sometimes say, though they are also vibrantly alive and creative—from living fully engaged, accepted, lives. This has meant changing attitudes and practices in psychiatry, the military, police, families, the public, the law—toward women, LGBTQI, BIPOC people, and nature. What can I do to further these changes?"

"The idea of poetry in our Navajo world, speaking — Ya’ jił’tí’i’gí’ — Diníbizaad — is related to the whole — one’s whole life, the whole community. It’s not separated the way poetry is in Western society."