Women Authors From The United States

"We have to look at our international situation. We have to look at our relationship to the rest of the world. We export white supremacy. Your previous guest was talking about the incredible repercussions of the United States’ ongoing so-called foreign policy, which is really war policy, and that, I think he said, there were only 11 years in the entire history of the country when we weren’t involved in warfare. What does that say about what kind of nation we are? And so much of that has been racialized. And particularly, you know, I would say, since World War II, the skirmishes, and not — I mean, they’re bigger than skirmishes — the military adventures that this nation engages in just always seems to be against populations of people of color."

"this country functions with white supremacy as its engine, an engine that runs so many aspects — banking, healthcare, education. All these disparities that we see, it would take quite a bit to say, “I think, you know, we need to get rid of that.”"

"When contemporary feminist movement first began, feminist writings and scholarship by black women was groundbreaking. The writings of black women like Cellestine Ware, Toni Cade Bambara, Michele Wallace, Barbara Smith, and Angela Davis, to name a few, were all works that sought to articulate, define, speak to and against the glaring omissions in feminist work, the erasure of black female presence."

"I started writing about white supremacy earlier this summer, after George Floyd was lynched. I was so full of rage and pain, because I’ve been dealing with this ever since Emmett Till was lynched in 1955. I was 8 years old when that happened, so, of course, I could not fully understand what had actually transpired. I just knew that the people in my family, who were all from the Deep South — I grew up in Cleveland, Ohio, because they were part of the Great Migration — I just knew they were very, very upset about someone named Emmett Till, and that this person was also a child, like my twin sister Beverly and me. So, as I said, I’ve been dealing with this for quite a long time, 1955 until the spring of 2020 and beyond. So, I just thought, “I’ve got to write.” I’m a writer. I just thought, “I’ve got to write about this.” What motivated me was the fact that when people were talking about these issues, either in print or in media, visual media, etc., that they never really talked about white supremacy. They would talk about race relations. They would talk about implicit bias. They would talk about needing to reform and change the culture of policing. All well and good, but they never talked about where all this mess comes from. And that’s what I wanted to write about."

"you can’t talk about race in the United States without talking about class, and you can’t talk about class without talking about race. Racism, white supremacy, capitalism are absolutely intertwined. You know, it’s like a vine that has wrapped itself around a tree or another plant."

"it’s important for people to know that I was born under Jim Crow. I was born in 1946, so Jim Crow was the law of the land during that time, during my growing-up years. And the reason it’s important, I think, is because it shaped very much who I was and my perspective on this project of U.S. democracy, that we’re still trying to improve."

"Today's mic-hogging, fast-talking, contentious young (and old) lefties continue to hawk little books and pamphlets on revolution, always with choice words or documents from Marx, Mao, even Malcolm. But I've never seen a broadside with "A Black Feminist Statement or even the writings of Angela Davis or June Jordan or Barbara Omolade or Flo Kennedy or Audre Lorde or bell hooks or Michelle Wallace, at least not from the groups who call themselves leftist. These women's collective wisdom has provided the richest insights into American radicalism's most fundamental questions: How can we build a multiracial movement? Who are the working class and what do they desire? How do we resolve the Negro Question and the Woman Question? What is freedom? Barbara Smith, one of the founding members of the Combahee River Collective, is among the radical voices that have addressed these questions. Since the heyday of the civil rights movement, she has been telling white people that fighting racism is necessary for their own survival and liberation, not some act of philanthropy to help the downtrodden Negroes of the ghetto. She has been telling black activists that fighting homophobia is their issue because the policing of sexuality, no matter to whom it is directed, affects everyone. And she has been sharply critical of lesbian and movements for the narrowness of their political agendas. She knows what it will take to win freedom. "As a socialist and an alert Black woman, it is clear to me that it is not possible to achieve justice, especially economic justice, and equality under capitalism because capitalism was never designed for that to be the case. The assaults from the present system necessitate that most activists work for reforms, but those of us who are radicals understand that it is possible to do so at the very same time that we work for fundamental change-a revolution.""

"For those of you who are tired of hearing about racism, imagine how much more tired we are of experiencing it. ... The degree to which it is hard or uncomfortable for you to have the issue raised is the degree to which you know inside of yourself that you aren't dealing with the issue. ... I want to say right here that this is not a "guilt trip." It's a fact trip."

"Black women writers have been around a long time, and they have suffered consistent inattention. Despite this reality, you hear from various sources that black women really have "it." We're getting jobs; we're getting this and that, supposedly. Yet we still constitute the lowest economic group in America. Meanwhile those of us who do not fit into the "establishment" have not been allowed a voice, and it was only with the advent of the women's movement-even though black women are in disagreement with many aspects of the women's movement-that black women began to demand a voice, as women and as blacks. I think any of us who are honest have to say this. As Barbara Smith says, "All the women were white and all the blacks were men, but some of us are still brave." Her book on black women's studies [Some of Us Are Brave], which she edited along with Gloria Hull and Patricia Bell Scott, is the first one on the subject."

"Esther trusted God to lead her as she let go of fear in her life-changing moment."

"She was not a powerless bystander. She was an ethical queen."

"The Esther Effect was of Godly righteousness, humility, and peacefulness."

"All married couples should learn the art of battle as they should learn the art of making love. Good battle is objective and honest - never vicious or cruel. Good battle is healthy and constructive, and brings to a marriage the principles of equal partnership."

"Rose-colored glasses are never made in bifocals. Nobody wants to read the small print in dreams."

"Don't accept your dog's admiration as conclusive evidence that you are wonderful."

"Keep in mind that the true measure of an individual is how he treats a person who can do him absolutely no good."

"There is something "disembodied, triumphant, dead"—Whitman's words—about Glück's usual voice [...]. She sees experience from very far off, almost through the wrong end of a telescope, transparently removed in space or time."

"(You said once that the life of a poet oscillates between ecstasy and agony, and what mitigates those extremes is the necessary daily business of living.) Yes. Friends, conversation, gardens. Daily life. It’s what we have. I believe in the world. I trust it to provide me."

"One of the purest and most accomplished lyric poets now writing."

"A poet fascinated with border states between existence and nonexistence."

"(You once said to me on the phone, “Follow your enthusiasms.”) I believe that. I used to be approached in classes by women who felt they shouldn’t have children because children were too distracting, or would eat up the vital energies from which art comes. But you have to live your life if you’re going to do original work. Your work will come out of an authentic life, and if you suppress all of your most passionate impulses in the service of an art that has not yet declared itself, you’re making a terrible mistake. When I was young I led the life I thought writers were supposed to lead, in which you repudiate the world, ostentatiously consecrating all of your energies to the task of making art. I just sat in Provincetown at a desk and it was ghastly—the more I sat there not writing the more I thought that I just hadn’t given up the world enough. After two years of that, I came to the conclusion that I wasn’t going to be a writer. So I took a teaching job in Vermont, though I had spent my life till that point thinking that real poets don’t teach. But I took this job, and the minute I started teaching—the minute I had obligations in the world—I started to write again."

"She was in my poetry seminar at Columbia and I felt that then her poetry was tremendously involved with a kind of female anger but also victimization which I think is something that really has to come out in poetry, but it's not primarily what I would hope to find in women's poems in the future. I'd like to find something much more complicated and dense. But I think there's going to be a lot of that anger in poetry and some of it will be very powerful poetry."

"Don’t prejudge your stimuli. Just trust where your attention goes."

"We look at the world once, in childhood. The rest is memory."

"The master said You must write what you see. But what I see does not move me. The master answered Change what you see."

"I caution you as I was never cautioned you will never let go, you will never be satiated."

"I did not expect to survive, earth suppressing me. I didn't expect to waken again, to feel in damp earth my body able to respond again, remembering after so long how to open again in the cold light of earliest spring—afraid, yes, but among you again crying yes risk joyin the raw wind of the new world."

"The soul is silent. If it speaks at all it speaks in dreams."

"From the beginning of time, in childhood, I thought that pain meant I was not loved. It meant I loved."

"My bed usually looks like Proust’s bed; my whole life is lived there."

"Overhead, noises, branches of the pine shifting. Then nothing. The weak sun flickered over the dry surface.It is terrible to survive as consciousness buried in the dark earth."

"You have to live your life if you're going to do original work. Your work will come out of an authentic life, and if you suppress all of your most passionate impulses in the service of an art that has not yet declared itself, you're making a terrible mistake. When I was young I led the life I thought writers were supposed to lead, in which you repudiate the world, ostentatiously consecrating all of your energies to the task of making art. I just sat in Provincetown at a desk and it was ghastly—the more I sat there not writing the more I thought that I just hadn't given up the world enough. After two years of that, I came to the conclusion that I wasn't going to be a writer. So I took a teaching job in Vermont, though I had spent my life till that point thinking that real poets don't teach. But I took this job, and the minute I started teaching—the minute I had obligations in the world—I started to write again."

"Father has his arm around Tereze. She squints. My thumb is in my mouth: my fifth autumn. Near the copper beech the spaniel dozes in shadows. Not one of us does not avert his eyes."

"Of two sisters one is always the watcher, one the dancer."

"The poem will not survive on content but through voice. By voice I mean the style of thought, for which a style of speech never convincingly substitutes."

"When I’m trying to put a poem or a book together, I feel like a tracker in the forest following a scent, tracking only step to step. It’s not as though I have plot elements grafted onto the walls elaborating themselves. Of course, I have no idea what I’m tracking, only the conviction that I’ll know it when I see it."

"I am attracted to ellipsis, to the unsaid, to suggestion, to eloquent, deliberate silence. The unsaid, for me, exerts great power: often I wish an entire poem could be made in this vocabulary. It is analogous to the unseen; for example, to the power of ruins, to works of art either damaged or incomplete. Such works inevitably allude to larger contexts; they haunt because they are not whole, though wholeness is implied: another time, a world in which they were whole, or were to have been whole, is implied. There is no moment in which their first home is felt to be the museum."

"It seems to me that the desire to make art produces an ongoing experience of longing, a restlessness sometimes, but not inevitably, played out romantically, or sexually. Always there seems something ahead, the next poem or story, visible, at least, apprehensible, but unreachable. To perceive it at all is to be haunted by it; some sound, some tone, becomes a torment—the poem embodying that sound seems to exist somewhere already finished. It's like a lighthouse, except that, as one swims towards it, it backs away."

"Intense love always leads to mourning."

"I’m an opportunist—I always hope I’ll get material out of any activity. I never know where writing is going to come from"

"The advantage of poetry over life is that poetry, if it is sharp enough, may last."

"The Leftists have been honing their craft for so long that they're very adept. That’s how they influenced the culture. They became very adept, and they are coordinated with the rest of the media. They're really good at getting their point across. And why did they enter the storytelling room? Two reasons: one is because stories change the world. That's why Jesus spoke in parables. Stories engage emotionally, viscerally… they engage the core of the human being. So storytelling is really the way to move people."

"Our freedom is completely intertwined with our Christian faith. And so as we lose the faith in our culture, we lose our freedom because they don’t have the same value as they did, and so we will squander them because they’re completely intertwined, and it’s a very powerful thing. People who have no faith have no concept of what that is, so they’ll squander it freely."

"The thing that people have to realize is there's homeschooling and there's home education. Homeschooling is best described as doing homework with your child that he or she is assigned by a school teacher. Home education is parent-lead learning. The goal of a home educator is to instill and cultivate a love for learning that will last a lifetime."

"she's a whole lot smarter than I am, but she's a great mom to our kids and I just think... I don't know, we hit our 10-year anniversary 12 years ago. We've been married 22 years, and 10 years ago I told her, I said, "That's like a golden anniversary in Hollywood." So, we're diamond. I don't know. Most actors, 22 years would mean they've had four spouses in their life, so we have a different sort of recipe going on here."

"There’s a certain confidence, too, I think time can give you. It’s like if you have faith in God, you have the confidence of knowing I’m just one little speck. I am just one little thing on this earth, and I don’t have to be everything."

"I’m a Canadian Catholic woman, so I’m hardwired to apologize."

"I think everyone is born with humor, but your life can beat it out of you, sadly, or you can be lucky enough to grow up in it."

"Why work alone if you don’t have to? It’s all give and take. It’s all about listening to others and contributing. Even if you didn’t want to act, improv classes are great, because they teach you about conversation."

"I'm not watching Idol this season. I stopped watching after the Fantasia season because I loved her so much I didn't want to go through that process with anyone else."