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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.
"Blood is everywhere in our society: on nightly T.V., in daily newspaper photos, in religious imagery. Yet menstrual blood is never mentioned and almost never seen, except privately by women. A girl's first period is usually kept secret, a source of embarrassment and irritation. Menstruation in our culture is invisible and irrelevant if properly hidden, shameful and unclean if not." "It was not always this way. Long ago, in cultures around the world, a girl's menarchal passage was a time of celebration and initiation, and a time for ceremony, often including special clothing and foods and a period of seclusion. Far more than a biological event, menstruation was a recognized mark of female power, a source of ritual and of awe." "The influence of early menstrual rites remains visible in our culture today. According to Judy Grahn, the ancient rites explain much of contemporary material culture - why women wear lipstick and eye makeup and adorn themselves with earrings and hair clasps, or why forks, bowls, chairs, rugs, and shoes originated, for instance. But Grahn also reveals the profound connections between ancient menstrual rites and the development of agriculture, mathematics, geometry, writing, calendars, horticulture, architecture, astronomy, cooking, money, and many other realms of knowledge. Blending archaeological data, ethnography, folklore, history, and myth, she constructs a new myth of origin for us all, demonstrating that menstruation is what made us human." "Blood, Bread, and Roses reclaims woman's myths and stories, chronicling the ways in which women's actions and the teaching of myth have interacted over the millennia. Grahn argues that culture has been a weaving between the genders, a sharing of wisdom derived from menstruation. Her rich interpretations of ancient menstrual rites give us a new and hopeful story of culture's beginnings based on the integration of body, mind, and spirit found women's traditions. Blood, Bread, and Roses offers all of us a way back to understanding the true meaning of women's menstrual power."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
In the traditional of great literary manifestos, Norton is proud to present this powerful work by Adrienne Rich. With passion, critical questioning, and humor, Adrienne Rich suggests how poetry has actually been lived in the world, past and present. In this essay, which was the basis for her speech upon accepting the National Book Foundation's Medal for Distinguished Contribution to American Letters, she ranges among themes including poetry's disparagement as "either immoral or unprofitable," the politics of translation, how poetry enters into extreme situations, different poetries as conversations across place and time. In its openness to many voices, Poetry and Commitment offers a perspective on poetry in an ever more divided and violent world. "I hope never to idealize poetry—it has suffered enough from that. Poetry is not a healing lotion, an emotional massage, a kind of linguistic aromatherapy. Neither is it a blueprint, nor an instruction manual, nor a billboard."
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.
"Adrienne Rich's new prose collection could have been titled The Essential Rich."—Women's Review of Books These essays trace a distinguished writer's engagement with her time, her arguments with herself and others. "I am a poet who knows the social power of poetry, a United States citizen who knows herself irrevocably tangled in her society's hopes, arrogance, and despair," Adrienne Rich writes. The essays in Arts of the Possible search for possibilities beyond a compromised, degraded system, seeking to imagine something else. They call on the fluidity of the imagination, from poetic vision to social justice, from the badlands of political demoralization to an art that might wound, that may open scars when engaged in its work, but will finally suture and not tear apart. This volume collects Rich's essays from the last decade of the twentieth century, including four earlier essays, as well as several conversations that go further than the usual interview. Also included is her essay explaining her reasons for declining the National Medal for the Arts. "The work is inspired and inspiring."—Alicia Ostriker "[S]o clear and clean and thorough. I learn from her again and again."—Grace Paley
A major American poet faces her own native land, her own life, and the result is a volume of compelling, transforming poems. The book includes two extraordinary longer works: the self-exploratory "Sources" and "Contradictions—Tracking Poems," an ongoing index of an American woman's life. The poet writes, "In these poems I have been trying to speak from, and of, and to, my country. To speak of a different claim from those staked by the patriots of the sword; to speak of the land itself, the cities, and of the imaginations that have dwelt here, at risk, unfree, assaulted, erased. I believe more than ever that the search for justice and compassion is the great wellspring for poetry in our time, throughout the world, though the theme of despair has been canonized in this country. I draw strength from the traditions of all those who, with every reason to despair, have refused to do so."
The poems of Anatomic have emerged from biomonitoring and microbiome testing on the author's body to examine the way the outside writes the inside, whether we like it or not. Adam Dickinson drew blood, collected urine, swabbed bacteria, and tested his feces to measure the precise chemical and microbial diversity of his body. To his horror, he discovered that our "petroculture" has infiltrated our very bodies with pesticides, flame retardants, and other substances. He discovered shifting communities of microbes that reflect his dependence on the sugar, salt, and fat of the Western diet, and he discovered how we rely on nonhuman organisms to make us human, to regulate our moods and personalities. Structured like the hormones some of these synthetic chemicals mimic in our bodies, this sequence of poems links the author’s biographical details (diet, lifestyle, geography) with historical details (spills, poisonings, military applications) to show how permeable our bodies are to the environment. As Dickinson becomes obsessed with limiting the rampant contamination of his own biochemistry, he turns this chemical-microbial autobiography into an anxious plea for us to consider what we’re doing to our world -- and to our own bodies.
For poet Tiana Clark, trees will never be just trees. They will also and always be a row of gallows from which Black bodies once swung. This is an image that she cannot escape, but one that she has learned to lean into as she delves into personal and public histories, explicating memories and muses around race, elegy, family, and faith by making and breaking forms as well as probing mythology, literary history, her own ancestry, and, yes, even Rihanna. I Can’t Talk About the Trees without the Blood, because Tiana cannot engage with the physical and psychic landscape of the South without seeing the braided trauma of the broken past—she will always see blood on the leaves.