Adrienne Rich: Where does strength come from?

A critical analysis of things as they are, wearing a gender lens — this is an important feminist  preoccupation. It helps let the community of gender-watchers know what to look out for, what to take a view on and perhaps, also, what to oppose/rebel against.

But does it widen that community?

It does that to the extent it gives expression to shared concerns and prods collective understanding.

However, are we also directly celebrating those who have made a mark in presenting these analyses effectively? Are we consciously seeking out effective narratives?

If we are doing that, we must talk about Adrienne Cecile Rich. This American poet feminist wrote between the 50s and the 80s. Rich died this year, aged 82.

She wrote not only about gender subjugation, but also about capitalist, racial and military suppression, searching for and critiquing sources of power and strength. Her poems make you think.

In her poem, Power, Rich says -

She died a famous woman denying
her wounds
denying
her wounds came from the same source as her power.

Though the poem says this about Marie Curie, the title clearly flags this as an idea applicable to all women. Motherhood as a source of power is an example in this context.

To know more about her and her work, often called militant, go to the New Yorker postscript, and click here and here.

This poem is a cow

 

Stalking trash trucks on weekends, she
waits by signals. Men reading their
morning paper or men midstride their morning
jog or men trailing a corpse in their mourning white
lift her skirt, slide a pointed finger in
between her cheeks, then out, then kiss it
reverently. In bars and coffee shops, she has heard:
This is no age for holiness. Do these men know this,
she wonders. She ambles away from them. They
thrust plantains into her protesting mouth.
They watch her swallow.

 

 

Hiroshi’s Hunger

There are nights
of all nights
when the sky turns crimson red
and the wind hollow. And on moon like this
Chiyuki’s Hiroshi wails for her sea-sucked breasts.
Hunger mounts and the neighbours’ laughter
mounts higher still. Steady as a bat
with her drum like fingers. She plays.
The soft- mint like smile
cripples his hunger and he chews
his thumb to pieces. [Read More]

Two Poems

How to escape a Skinner box


Electronic relationships are the easiest to erase
Reject all phone calls, Blacklist the number, Block him everywhere
Just hit the ‘delete’ button and it’s all over
Go without talking to him this minute and you can
Go the next and the next and for every minute after that
As if nothing had ever happened.
If one plus one is no longer infinity
Cut him off;
Erase all memories as though you had never met or known or understood or loved
This man; Like no one had ever known or loved or understood you.
Remember how big the world is and how little you are in it,
How ephemeral your feelings and fallacious your knowledge
Remind yourself: you are just five senses and
He, seventy-two-point-six percent water;
If this river runs its course
Let it
What would remain of you but
A few photographs (delete them)
A song (change the soundtrack)
And the feelings after rosé-induced baby talk?
Ignore, ignore all stimuli and chant this like a mantra:
In a twenty-six letter world, eight are negligible
Only one is holy
‘I’

Escape.

***

Wendy Kroy

Your attempts to win her over are
The tale of Sisyphus’ life-
Her wounded eyes, the spider’s snare
When you lose yourself between her thighs, prepare
To have her endless legs crush your neck-
She’ll trap you in her web of lies
Smile when you meet her
Kiss her even; But be aware-
Of that pistol in your pocket
Never forget this: If you hesitate to kill her
She will kill you; Beware-
This is a woman to be worshipped, not loved;
Aspire to no more than being her designated fuck,
Whatever you do keep your opinions to yourself
If she wanted the truth, she’d torture it out of you;
Remember she likes her men like her drinks
Stiff, blue
Don’t try to run or hide
You may be damned if you do but
You’re dead if you don’t
For the moment, prepare

To be snuffed out like her hourly cigarettes.

***

Strawberries

There’s been a mistake.
You didn’t expect this glitch.
This vanishing point
of a private murmuring city.
This fumbling
in a void of spreading
formlessness
(they told you it would
be a flower, not a slit).
Greedy mouth,
how many fingers
can you swallow?

In the movies, you would
unzip her out of her dress
and she is sexy alabaster,
leaning against the stairs,
a sell-out pimping her nipples,
readying them for your touch.
In real life, she is tired
of the metaphors – earth
and mother and whatnot.
In real life, ecstasy is far
from pretty, a groaning sickness
spasming on the carpet.

You are quickly learning
about the revolution that
brews beneath her flesh -
a whispered language of
rite and ferocity and the
invisible mountain she carries.
That to sleep,
you must lock away
your inheritance.
To emerge,
a world must unlearn itself,
then flood, then burn.

When the twitching stops,
you uncork her
(of course, she is
a bottle of wine to you)
and pour out the paraffin
from her mangled bones.
Flickering tongues
from hell lick the salt
off her thighs.
No pain felt she.
Burn’d like one burning
flame together.

You went looking for strawberries,
instead you found the manic whore,
the universe’s relentless core.

Two poems

Being Belindas

(a response to Pope’s Rape of the Lock)

The mirror hangs before me
My long face stares back at me
a pointed chin
whose rounding I dread
A tiny forehead
gleaned from the thick mass
of black hair surrounding it.
At the black hair
now streaked with red
I oscillate between
fascination and nostalgia
The hair, mostly helter-skelter
sometimes, precise in a bun
A glazed eyeball
with its bit of plastic-glas lens
A newly pierced nose–
a shade too large
showing off that li’l bit of green
My ears trying to seek attention
with their multiple studs and rings
which I regard as pets
And a moody mouth.
but on the whole, a face
I can live with.
My skin the colour
of burnt caramel
a thin, supple body
I am unashamedly
in love with.

Bottles and vials lined
in an array on the slab beside me
the daily ritual
of cleansing, toning, conditioning
the creams and the perfumes
the chief kohl that lines my eyes
the earrings in their silver box
the cupboard with its
greater assortment of clothes
than i could ever wear
the occupational hazards
of being a young girl.

Oh Pope, and other misogynists!
We love being Belindas
and Belindas we shall remain
with our bottles and our vials
our bibles and our billet doux
and we rebel against rapes
of our locks and otherwise.
our bodies and their vagaries
and tricks we play with them
are ours.
And not playthings or objects
for your phallus
or that inglorious phallic symbol
your pen.

*** [Read More]

Aqua Regia

Sumana Roy

And all I see now
is my face through a curtain:
a pebbled pock-marked past,
its burning by-lanes,

and drop by drop,
like a leaking sewer,
his love, pungent,
corrosive, windblown.

And all I’ll see now
is my unborn child
learning the alphabet
and its vitriolic histories:

H for He, H for Hate,
H for Hijab, H for HCl,
and then the silent H –
H for Honour.

And if I could see now,
I’d tell you a love story –
of a genie in a bottle
of aqua regia, and

a kingdom where men
love with acid blisters
and write love’s
sour hagiography.

***

She’s the Art

She’s a study.
A truncated,
Curving,
Elusive
Prometheus
With the moment,
this very one,
As her rock.
She’s a tangent, if you will.

She
extends
Over the planes;
A circle within a circle,
Submerging
The curling,
straining ends
Of the magnetized tracks.
She’s a limit, if you will.

She
Pulls a weight,
one with a shape,
Down
With a symmetrical force
On an uncoordinated world.
A flat, common prison.
Such silence,
Such nothing as we can only approximate
Is whole.
She’s an angle, if you will.

She
Tends
Towards infinity.
Shuttling,
Tantalizing,
Terrorizing
Effervescence.
She’s nearly there.
A tangent
Come
Almost full circle.
She’s similar, if you will.

She’s
out of view.
A silhouette
Out of the corner of one’s eye
A earring,
Shadows make startling distortions.
She will not correspond.
She’s adjacent, if you will.

***

Two Poems

My Never Naked Mother

I

There are such things to a child
As there is the virgin birth to a Christian.
My mother, I always imagined,
Never took her clothes off.
For sex she merely lifted up
The skirts of her sari, the fold
Upon fold and exposed
Blameless legs, fuzzy in my
Imagining or fuzzy with hair.

I could think of her urinating -
The gurgle splash of brown yellow piss.
It was not indecent.
It was sensual as a cat’s purr.
Bathing was another matter.

[Read More]

Two Poems

nola

three floors above the street,
Nola sits naked
on a bench
with winter that coos into her ears
like rain

he mixes colours,
a tinge of blush in his cheeks,
to paint poinsettias -

I can only write of
the artist
whispering nothing but conscience
into the brush

but Nola will still sit on a bench
naked
like a stalk of poinsettias
on her lips.

[Read More]

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