Women Authors From The United States

"I have been a Pariah in academia but to all those who sought my destruction I always had one answer: "I'm Still Standing." The hymn from Sir Elton John is the best description of how I feel about my survival and triumph over a system that should not be called part of the Humanities since it is hardly humane in its treatment of difference. I have also found deplorable the treatment of students in academia. My former students are the people I miss the most about teaching. But, as one of my former students told me once and I have found it to be true: "You will always have students." So we bring this compendium to you: the totality of a life of poetry. May you feel an embrace from me as you read them. To everyone who reads these pages: I'm Still Standing! Yeah, Yeah, Yeah!"

"What I needed to verbalize is the fact that I am, among many other things, a Lesbian. Second, I wanted to communicate in some viable form with some One who came to represent all women to me."

"When I read, for the first time my collection The Margarita Poems (at rutgers university)...a young Latino male, as soon as I read my poem, "Immanence," stood up and left the room, only to go and see the Dean the next morning to ask him "How could the university have allowed an open Lesbian poem to be read within its confines?" The organizer of the conference, a remarkable white woman, had the perfect answer for the Dean: "The university is the place where one loses one's virginity and I guess that young man lost his yesterday.""

"I had long ago found courage in Audre Lorde's Sister Outsider when she says: “I find I am constantly being encouraged to pluck out some one aspect of myself and present this as a meaningful whole, eclipsing or denying the other parts of self. But this is a destructive and fragmenting way to live. My fullest concentration of energy is available to me only when I integrate all the parts of who I am, openly, allowing power from particular sources of my living to flow back and forth freely through all my different selves, without the restrictions of externally imposed definition. Only then can I bring myself and my energies as a whole to the service of those struggles which I embrace as part of my living""

"I feel that self promotion of one's misfortunes for gain is highly deplorable and a treason to the self."

"What I have seen as it deals with mental health in this country has made me believe in a need for advocacy towards a greater human understanding of emotional illness. I ask of anyone reading this book to devote some of their energies, time and moneys to explore, help, seek information, assist people in endeavors toward de-mystifying mental illness."

"I have always thought that my poetry is a reflection of my life in all its many capacities."

"My first collection: Una puertorriqueña en Penna came out of those years and the racism I experienced while being a graduate student at Bryn Mawr College. Some of the poems are also a defense of my Puerto Rican culture and language. It is sad to say that the poems were not accepted by a Latino publishing house at the time because I did not write "like a woman." In other words, I was supposed to write about flowers, gardening and domestic chores. This first anthology was amplified to be the final book, En el país de las maravillas, which my dearest Chicana sister, Norma Alarcón, agreed to publish as the first book from her established press: Third Woman. Third Woman Press gave me a platform from which to publish without pressure from the establishment on thematics. They also published my next two books: ...Y otras desgracias and The Margarita Poems. The day I received a hand written note from Maya Angelou, stating that she had read The Margarita Poems and I should consider her another Margarita, was a private moment of recognition."

"The chapbook was published in Puerto Rico as a gift to Nemir, my muse at that time (2008/2009); a woman I truly love."

"Being an Open Lesbian, a vocal female, a woman with "an attitude," as they say, has made and continues to make life in academia miserable for me-many times, I would say, by men within my own culture. But it is not all men; only those whose minds are engraved with the fear of the myth/illogical" castrating bitch."

"I have also been called and labeled "crazy" for daring to break stereotypes and taboos-for questioning white women on their racism."

"Psychology has most often been defined as science of consciousness, but this definition does not go far enough. For consciousness does not occur impersonally. Consciousness, on the contrary, always is a somebody-being-conscious. There is never perception without a somebody who perceives, and there never is thinking unless some one thinks. And this somebody is not an isolated self but a self which is affected from without and which expresses itself in its behavior. In view of these facts psychology is more exactly defined as science of the self in relation to, or conscious of, its environment."

"Any serious attempt to define and to classify forms of consciousness will act as a "red flag" waved in the face of many critics. The effort to define accurately and to classify in any detail is bound, they will urge, to result in a conservative clinging to conclusions once reached and in a love of schedules and schemes for their own sake. The system maker, they will insist, is likely to subordinate the facts to his classification and to cut down the truth to the measure of his framework."

"The phenomenon of dreaming has rarely been discussed or investigated in a thorough and in an experimental manner; of description, of theory, of discussion, of poetic analogy and illustration there has been no end; of accurate observation almost nothing. ... The most scientific books—those of and of —have been wholly or chiefly the result of the observations of abnormal subjects and in the interest, more or less distinctly, of pathology. The fullest discussion of the subject—the works of Radestock and of Spitta—are largely compilations of the recorded dreams of other people."

"All psychologists would agree to define their subject, at least in an introductory way, as the science of consciousness. But this definition is not enlightening unless its terms are thoroughly understood, and we must at once, therefore, proceed to discuss the nature of a science."

"As a poet I believe I need to work in both Eastern and Western paradigms; I need to know both traditions."

"Food is celebratory, but its flip side is hunger and deprivation. Spiritual deprivation and hunger in the new country are important motifs of ethnic American literature. Hunger in the "gold" country, in the land of the plenty is almost obscene, so there always that doubleness in my work when I write about food."

"Just as I think it's impossible to keep Chineseness pure, I think it's also impossible to keep whiteness pure. I think everything must merge, and I'm willing to have it merge within me, in my poetry."

"When Americans talk about racial politics they talk about the poles of black and white, where one group may be demonized and one group may be sanctified. I think that we must meet in the gray space in between to find harmony."

"America is no longer a monolithic, European-derived culture. It is no longer a mono-lingual or mono-cultural country, and the margins are moving toward the center. That's to say that those of us who have an urgent message or who have polyphonic voices or who have colorful backgrounds and interesting lives and pasts have a lot to say, and it's now our turn to say it. Indeed, there's more urgency in what we have to say, and the contemporary poetry world can't keep us out. That's the thing. We're breaking new ground, and this is the voice of America. My voice is one of the many voices of America."

"I see myself and my identity as nonstatic. I see myself as a frontier, and I see my limits as limitless. Somebody once accused me of being a leftist radical feminist, West Coast, Pacific Rim, socialist, neo-Classical, Chinese American poet. And I say, "Oh yes, I am all of those things." Why not? I don't believe in static identities. I believe that identities are forever changing."

"poetry is my passion. It is my art. It is my love, it is my first love beyond all loves, beyond romantic love. It's as necessary for me as breathing is necessary for me. I can't live without it."

"Marilyn Chin is a major voice."

"I feel that I'm a conduit for many voices. Historical voices, ancient voices, contemporary feminist voices. Women's voices mostly."

"Marilyn Mei Ling Chin draws on ancient cultural sources and at the same time reflects something wholly Western, urban, and contemporary-so that we have here two kinds of sophistication combined, in proportions uniquely determined by her strong personal sensibility. The results are strong with an authentic and captivating strangeness, beauty and offbeat wit."

"I hope my work will prompt someone to consider or study more about Chinese poetry."

"Adrienne Rich believes “the poem must serve” the people. Somehow, I don’t want my poems to be relevant to only a few readers in academia."

"She writes often about the conditions of exile, assimilation, and loss, and her poetry has been hailed for powerfully addressing the subjugation of Asian women raised in patriarchal societies."

"I praise Marilyn Chin's poetry!"

"I echo Adrienne Rich’s idea that the personal is political. My poetics is rooted in my personal history, and from there I examine the world around me. I see myself not just as a Chinese-American, but as a global citizen. I care about America but also about what happens in the world."

"Chinese history, Hong Kong history course through my blood."

"I think it’s important to reinvent with poetry...I like to keep experimenting. It’s important to love your genre and the possibilities. There’s so much to explore for those poets with bilingual and multicultural backgrounds as well."

"The two main issues in American history are slavery and the destruction of native Americans, historical events that have left a profound mark on American history. On even a larger scale, I would say more than ever, now in the era of Trump. We must fight against demagogues all over the world. This open hatred against immigrants! Against dark-skinned peoples… The language of building a wall, “bad hombres”, China-shaming! The demagogues are manufacturing fear and hate, Islamophobia, and generally, phobia against anybody who is “different” and might take your job."

"I belong to the American legacy and deserve a place in it."

"I believe that I am a poet of the body and of the mind and of the soul! to mimic Whitman."

"Writers must always speak out against racism and injustice...In terms of the responsibility of a poet, it is important to engage in political and social issues, yes! This is a racist world! We must speak against all kinds of injustice."

"Henry Louis Gates told me that I must assert that I am first and foremost a poet, not just an activist poet. My work encompasses activist poetry but also does a lot more than protest. I am reinventing bicultural forms. I am an innovator: the creator of the Chinese-American quatrain, of the lyric manifesto, of erotic haiku and remix sonnets!"

"I was raised by my grandmother who spoke Toisan, a very ancient language. I see myself as part of the minority tribe. I align myself more with people like Kafka, with his weird dialect. I see myself as an outsider on many levels even if we are Han."

"The Woman Warrior was a very important book in my life. I discovered it in 1977…in Amherst, Massachusetts. I was an undergraduate there...for a long time I was in despair. I thought, there was really no audience for my voice. And the narrator, the protagonist in The Woman Warrior, she was working hard to let her voice out. She had to wade through the contradictions of this dual culture, this heavy-duty heritage. If she had the power and the fortitude to continue her 'pressed duck' voice, to eke out that voice, I said, perhaps so must I continue my struggle."

"When we were young, we have to memorize those texts from Tu Fu and others. And my grandmother used to carry me on my back and chant to me Chinese poems and sayings. The first kind of poetry I heard was Chinese poetry, and it ingrained in my ear, even though English is my main language. I can hardly read Chinese. The Chinese poem was ingrained in me when I was very young. You can hear the Cantonese language in my work. The Chineseness is in the DNA of my work. I can’t divorce it from my work. I can’t say I forget it. it’s there. Bei Dao’s generation was not trained in that tradition. They didn’t go to university to study wenyanwen or ancient poetry. They were imitating the West. I tried to read Chinese poetry every day, because I think it’s important for my aesthetics."

"it has to do with Du Bois’s idea of double consciousness: you inherit a set of values at home, and have to embrace another set of values when you walk out of home. You are appreciated if you are more assertive at school. On the contrary, you are supposed to be obedient at home. It’s about balancing the two worlds. My poetry is about negotiating many worlds, the past and the present, as well as the East and the West. “Inner cultivation” and outer despair. The sublime and the ridiculous."

"Am I not the poet of witness? Am I not a disciple of Nellie Sachs and Paul Celan trying to describe the horrors of the Holocaust, meanwhile inventing a new lyric, which questions the possibility/impossibility of poetry after the most heinous episodes of history? Am I not a descendent of Qu Yuan, whose lyric intensity caused him to drown himself in the Mi Lo River in protest? And the descendent of the courageous feminist poet Qiu Jin, who recited a poem on the path to her own beheading?"

"I am always fighting against the stereotype of the subservient female maiden. I want to shake up the assumptions about being a Chinese-American woman. We all must champion women’s and children’s rights in the world. The little brown girl is still the most vulnerable person in the room."

"It’s important to have a transnational readership. To not have borders, to have one’s poetry travel well. I celebrate my Americanness. I celebrate my Chinese-ness. I celebrate my transnational identity."

"I am gratified that some of my poems have served the people for decades. From the start of my career I waxed personal and political and have sought to be an activist-subversive-radical-immigrant-feminist-transnational-Buddhist-neoclassical-nerd poet who was always on her soapbox with a bag of tricks. I see myself as an inventor of a fusionist aesthetics, of bilingual and bicultural hybrid forms."

"The frontier is always the border of something, virgin territory where we can build new worlds, remake ourselves; always there’s this obsession with remaking ourselves. So to dream of the frontier is also to desire immortality. But there is no such thing as new territory. There are always previous civilizations, societies, families, and cultures. So when we build new worlds, there will be violence."

"I don’t create redemption for my characters. The narrative of redemption is a false and lazy conceit in art. Redemption through the act of violence is avoiding culpability."

"The Western is now a global fantasy. It’s hard to pin down what the myth means because the frontier is now so abstract. To dream of the frontier is to dream of progress. But there’s also the fantasy of the frontier as being lawless. There are no regulations that hamper the body; there is no superego in the frontier."

"In certain ways, the Western ideals of the frontier, of escaping regulation, are still alive today, but now they are carried on in the life of corporations rather than individuals."

"Her vision and execution are so breathtaking."