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In this collection of prose writings, one of America's foremost poets and feminist theorists reflects upon themes that have shaped her life and work. At issue are the politics of language; the uses of scholarship; and the topics of racism, history, and motherhood among others called forth by Rich as "part of the effort to define a female consciousness which is political, aesthetic, and erotic, and which refuses to be included or contained in the culture of passivity."
The pathbreaking investigation into motherhood and womanhood from an influential and enduring feminist voice, now for a new generation. In Of Woman Born, originally published in 1976, influential poet and feminist Adrienne Rich examines the patriarchic systems and political institutions that define motherhood. Exploring her own experience—as a woman, a poet, a feminist, and a mother—she finds the act of mothering to be both determined by and distinct from the institution of motherhood as it is imposed on all women everywhere. A “powerful blend of research, theory, and self-reflection” (Sandra M. Gilbert, Paris Review), Of Woman Born revolutionized how women thought about motherhood and their own liberation. With a stirring new foreword from National Book Critics Circle Award–winning writer Eula Biss, the book resounds with as much wisdom and insight today as when it was first written.
That Adrienne Rich is a not only a major American poet but an incisive, compelling prose writer is made clear once again by this collection, in which she continues to explore the social and political context of her life and art. Examining the connections between history and the imagination, ethics and action, she explores the possible meanings of being white, female, lesbian, Jewish, and a United States citizen, both at this particular time and through the lens of the past.
A New York Times Critics’ Pick A career-spanning selection of the lucid, courageous, and boldly political prose of National Book Award winner Adrienne Rich. Demonstrating the lasting brilliance of her voice and her prophetic vision, Essential Essays showcases Adrienne Rich’s singular ability to unite the political, personal, and poetical. The essays selected here by feminist scholar Sandra M. Gilbert range from the 1960s to 2006, emphasizing Rich’s lifelong intellectual engagement and fearless prose exploration of feminism, social justice, poetry, race, homosexuality, and identity.
Gathering reviews and essays which examine Rich's poetry and prose, this text also looks at how critical opinion about her works has changed.
In her seventh volume of poetry, Adrienne Rich searches to reclaim—to discover—what has been forgotten, lost, or unexplored. "I came to explore the wreck. / The words are purposes. / The words are maps. / I came to see the damage that was done / and the treasures that prevail." These provocative poems move with the power of Rich's distinctive voice.
“Certain lines had become like incantations to me, words I’d chanted to myself through sorrow and confusion” —Cheryl Strayed, Wild “The Dream of a Common Language explores the contours of a woman’s heart and mind in language for everybody—language whose plainness, laughter, questions and nobility everyone can respond to. . . . No one is writing better or more needed verse than this.”—Boston Evening Globe
The emergence of large numbers of women writers expressing a deliberately female consciousness has marked one of the significant directions of literature in this century. A central idea embraced by these writers has been the particular isolation, or marginality, flet by women. In A Separate Vision Deborah Pope focuses on four representative poets – Louise Bogan, Maxine Kumin, Denise Levertov, and Adrienne Rich – to explore the ways in which women writers’ treatment of isolation extends our perception of women’s experience and our understanding of the alienated human sensibility. In the work of these poets, Pope identifies four distinct phases of isolation, split-self, and validation. These phases represent a progression from negation to affirmation, from a sense of powerlessness and severe restriction to one of literal and psychological freedom. She shows how the dynamics of this progression have operated in each poet’s development, with each starting from the negative stance of victimization and moving, in varying degrees, toward validation. But Pope also finds that in each woman’s work one phase of isolation is predominant. She sees the tension and confessionalism in the poetry of Bogan, the earliest of the four, as most representative of victimization. Kumin’s poems on her alienation from familial and social experiences exemplify personalization. The split-self is manifested most clearly in Levertov, whose work shows a woman torn between her social female self and her inner artistic self. Rich, the most committed feminist of this group, si also the strongest exemplar of validation. Her recent poems are charged with personality and power, and the isolation in her writing is the isolation of those in the forefront of exploration and change. This progress toward a positive sense of women’s isolation is a significant movement in contemporary poetry. With what Pope describes as their “vigorous revisioning of our patterns of human experience,” women poets are today showing us new ways of understanding and realizing human dignity and worth.