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"https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_025.jpg" generatedBy="human" xml:space="default" n="23"/> <div><head><title>Women and Honor: Some Notes on Lying</title></head> <byline><persName key="Adrienne Rich" ref="http://www.wikidata.org/entity/Q270705">Adrienne Rich</persName></byline></div> <div><p>(<emph>These notes are concerned with relationships between and among women. When "personal relationship" is referred to I mean a relationship between two women, it will be clear in what follows when I am talking about women's relationships with men.</emph>)</p> <p>The old, male idea of honor. A man’s ''word" sufficed—to other men—without guarantee.</p> <p>"Our Land Free, Our Men Honest, Our Women Fruitful"—a popular colonial toast in America.</p> <p>Male honor also having something to do with killing: <emph>I could not love thee, Dear, so much / Lov'd I not Honour more</emph> (''<title>To Lucasta, On Going to the Wars</title>''). Male honor as something needing to be avenged: hence, the duel.</p> <p>Women's honor, something altogether else: virginity, chastity, fidelity to a husband. Honesty in women has not been considered important. We have been depicted as generically whimsical, deceitful, subtle, vacillating. And we have been rewarded for lying.</p> <p>Men have been expected to tell the truth about facts, not about feelings. They have not been expected to talk about feelings at all.</p> <p>Yet even about facts they have continually lied. We assume that politicians are without honor. We read their statements trying to crack the code. The scandals of their politics: not that men in high places lie, only that they do so with such indifference, so endlessly, still expecting to be believed. We are accustomed to the contempt inherent in the political lie.</p> <p>To discover that one has been lied to in a personal relationship, however, leads one to feel a little crazy.</p> <p>Lying is done with words, and also with silence.</p> <p>The woman who tells lies in her personal relationships may or may not plan or invent her lying. She may not even think of what she is doing in a calculated way.</p> <p> A subject is raised which the liar wishes buried. She has to go downstairs, her parking-meter will have run out. Or there is a telephone call she ought to have made an hour ago.</p> <p>She is asked, point-blank, a question which may lead into painful talk: ''How do you feel about what is happening between us?'' Instead of trying to describe her feelings in their ambiguity and confusion, she asks, ''How do you feel?" The other, because she is trying to establish a ground of openness and trust, begins describing her own feelings. Thus the liar learns more than she tells.</p> <p>And she may also tell herself a lie: that she is concerned with the other's feelings, not with her own.</p> <p>But the liar is concerned with her own feelings.</p> <p>The liar lives in fear of losing control. She cannot even desire a relationship without manipulation, since to be vulnerable to another person means for her the loss of control.</p> <p>The liar has many friends, and leads an existence of great loneliness.</p> <p>The liar often suffers from amnesia. Amnesia is the silence of the unconscious.</p> <p>To lie habitually, as a way of life, is to lose contact with the unconscious. It is like taking sleeping pills, which confer sleep but blot out dreaming. The unconscious wants truth. It ceases to speak to those who want something else more than truth.</p> <p>In speaking of lies we come inevitably to the subject of truth. There is nothing simple or easy about this idea. There is no ''the truth,'' "a truth"—truth is not one thing, or even a system. It is an increasing complexity. The pattern of the carpet is a surface. When we look closely or when we become weavers, we learn of the tiny multiple threads unseen in the overall pattern, the knots on the underside of the carpet.</p> <p>This is why the effort to speak honestly is so important. Lies are usually attempts to make <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_026.jpg" generatedBy="human" xml:space="default" n="24"/> everything simpler—for the liar—than it really is, or ought to be.</p> <p>In lying to others we end up lying to ourselves. We deny the importance of an event, or a person, and thus deprive ourselves of a part of our lives. Or we use one piece of the past or present to screen out another. Thus we lose faith even with our own lives.</p> <p>The unconscious wants truth, as the body does. The complexity and fecundity of dreams come from the complexity and fecundity of the unconscious struggling to fulfill that desire. The complexity and fecundity of poetry come from the same struggle.</p> <p>An honorabie human relationship—that is, one in which two people have the right to use the word "love"—is a process, delicate, violent, often terrifying to both persons involved, a process of refining the truths they can tell each other.</p> <p>It is important to do this because it breaks down human self-delusion and isolation.</p> <p>It is important to do this because in so doing we do justice to our own complexity.</p> <p>It is important to do this because we can count on so few people to go that hard way with us.</p> <p>I come back to the question of women's honor. Truthfulness has not been considered important for women, as long as we have remained physically faithful to a man, or chaste.</p> <p>We have been expected to lie with our bodies: to bleach, redden, unkink or curl our hair, pluck eyebrows, shave armpits, wear padding in various places or lace ourselves, take little steps, glaze finger and toe nails, wear clothes that emphasize our helplessness.</p> <p>We have been required to tell different lies at different times, depending on what the men of the time needed to hear. The Victorian wife or the white southern lady, who were expected to have no sensuality, to "lie still"; the twentieth-century "free" woman who is expected to fake orgasms.</p> <p>We have had the truth of our bodies withheld from us or distorted; we have been kept in ignorance of our most intimate places. Our instincts have been punished: clitorectomies for "lustful'' nuns or for "difficult" wives. It has been difficult, too, to know the lies of our complicity from the lies we believed.</p> <p> The lie of the "happy marriage," of domesticity — we have been complicit, have acted out the fiction of a well-lived life, until the day we testify in court of rapes, beatings, psychic cruelties, public and private humiliations.</p> <p>Patriarchal lying has manipulated women both through falsehood and through silence. Facts we needed have been withheld from us. False witness has been borne against us.</p> <p>And so we must take seriously the question of truthfulness between women, truthfulness among women. As we cease to lie with our bodies, as we cease to take on faith what men have said about us, is a truly womanly idea of honor in the making?</p> <p>Women have been forced to lie, for survival, to men. How to unlearn this among other women?</p> <p>"Women have always lied to each other." "Women have always whispered the truth to each other.'' Both of these axioms are true.</p> <p>"Women have always been divided against each other." ''Women have always been in secret collusion." Both of these axioms are true.</p> <p>In the struggle for survival we tell lies. To bosses, to prison guards, the police, men who have power over us who legally own us and our children, lovers who need us as proof of their manhood.</p> <p>There is a danger run by all powerless people that we forget we are lying, or that lying becomes a weapon we carry over into relationships with people who do not have power over us.</p> <p>I want to reiterate that when we talk about women and honor or women and lying, we speak within the context of male lying, the lies of the powerful, the lie as a false source of power.</p> <p>Women have to think whether we want, in our relationships with each other, the kind of power that can be obtained through lying.</p> <p>Women have been driven mad, ''gaslighted," for centuries by the refutation of our experience and our instincts in a culture which validates only male experience. The truth of our bodies and our minds has been mystified to us. We therefore have a primary obligation to each other: not to undermine each other's sense of <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_027.jpg" generatedBy="human" xml:space="default" n="25"/> reality for the sake of expediency; not to gaslight each other.</p> <p>Women have often felt insane when cleaving to the truth of our experience. Our future depends on the sanity of each of us, and we have a profound stake, beyond the personal, in the project of describing our reality as candidly and fully as we can to each other.</p> <p>There are phrases which help us not to admit we are lying: "my privacy," "nobody's business but my own.'' The choices that underlie these phrases may indeed be justified; but we ought to think about the full meaning and consequences of such language.</p> <p>Women’s love for women has been represented almost entirely through silence and lies. The institution of heterosexuality has forced the lesbian to dissemble, or be labelled a pervert, a criminal, a sick or dangerous woman, etc., etc. The lesbian, then has often been forced to lie, like the prostitute or the married woman.</p> <p>Does a life "in the closet"—lying, perhaps of necessity, about ourselves to bosses, landlords, clients, colleagues, family, because the law and public opinion are founded on a lie—does this, can it, spread into public life, so that lying (described as <emph>discretion</emph>) becomes an easy way to avoid conflict or complication? Can it become a strategy so ingrained that it is used even with close friends and lovers?</p> <p>Heterosexuality as an institution has also drowned in silence the erotic feelings between women. I myself lived half a lifetime in the lie of that denial. That silence makes us all to some degree, into liars.</p> <p>When a woman tells the truth she is creating the possibility for more truth around her.</p> <p>The liar leads an existence of unutterable loneliness.</p> <p>The liar is afraid.</p> <p>But we are all afraid: without fear we become manic, hubristic, self-destructive. What is this particular fear that possesses the liar?</p> <p>She is afraid that her own truths are not good enough.</p> <p>She is afraid, not so much of prison guards or bosses, but of something unnamed within her.</p> <p>The liar fears the void.</p> <p> The void is not something created by patriarchy, or racism, or capitalism. It will not fade away with any of them. It is part of every woman.</p> <p>''The dark core,'' <persName key="Virginia Woolf" ref="http://www.wikidata.org/entity/Q40909">Virginia Woolf</persName> named it, writing of her mother. The dark core. It is beyond personality; beyond who loves us or hates us. </p><p>We begin out of the void, out of darkness and emptiness. It is part of the cycle understood by the old pagan religions that materialism denies. Out of death, rebirth; out of nothing, something.</p> <p>The void is the creatrix, the matrix. It is not mere hollowness and anarchy. But in women it has been identified with lovelessness, barrenness, sterility. We have been urged to fill our "emptiness" with children. We are not supposed to go down into the darkness of the core.</p> <p>Yet, if we can risk it, the something born of that nothing is the beginning of our truth.</p> <p>The liar in her terror wants to fill up the void with anything. Her lies are a denial of her fear; a way of maintaining control.</p> <p>Why do we feel slightly crazy when we realize we have been lied to in a relationship?</p> <p>We take so much of the universe on trust. You tell me: "In 1950 I lived on the north side of Beacon Street in Somerville.'' You tell me: ''She and I were lovers, but for months now we have only been good friends.'' You tell me: "It is seventy degrees outside and the sun is shining." Because l love you, because there is not even a question of lying between us, I take these accounts of the universe on trust: your address twenty-five years ago, your relationship with someone I know only by sight, this morning's weather. I fling unconscious tendrils of belief, like slender green threads, across statements such as these, statements made so unequivocally, which have no tone or shadow of tentativeness. I build them into the mosaic of my world. I allow my universe to change in minute, significant ways, on the basis of things you have said to me, of my trust in you.</p> <p>I also have faith that you are telling me things it is important I should know; that you do not conceal facts from me in an effort to spare me, or yourself, pain.</p> <p>Or, at the very least, that you will say, ''There are things l am not telling you."</p> <p>When we discover that someone we trusted can <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_028.jpg" generatedBy="human" xml:space="default" n="26"/> be trusted no longer it forces us to re-examine the universe, to question the whole instinct and concept of trust. For awhile, we are thrust back onto some bleak, jutting ledge, in a dark pierced by sheets of fire, swept by sheets of rain, in a world before kinship, or naming, or tenderness exist; we are brought close to formlessness.</p> <p>The liar may resist confrontation, denying that she lied. Or she may use other language: forgetfulness, privacy, the protection of someone else. Or she may bravely declare herself a coward. This allows her to go on lying, since that is what cowards do. She does not say, <emph>I was afraid</emph>, since this would open the question of other ways of handling her fear. It would open the question of what is actually feared.</p> <p>She may say, <emph>I didn't want to cause pain</emph>. What she really did not want is to have to deal with the other's pain. The lie is a short-cut through another’s personality.</p> <p>Truthfulness, honor, is not something which springs ablaze of itself; it has to be created between people.</p> <p>This is true in political situations. The quality and depth of the politics evolving from a group depends in very large part on their understanding of honor.</p> <p>Much of what is narrowly termed "politics" seems to rest on a longing for certainty even at the cost of honesty, for an analysis which, once given, need not be re-examined. Such is the dead-endedness—for women—of <rs key="Marxism" ref="http://www.wikidata.org/entity/Q7264">Marxism</rs> in our time.</p> <p>Truthfulness anywhere means a heightened complexity. But it is a movement into evolution. Women are only beginning to uncover our own truths; many of us would be grateful for some rest in that struggle, would be glad just to lie down with the sherds we have painfully unearthed, and be satisfied with those. Often I feel this like an exhaustion in my own body.</p> <p>The politics worth having, the relationships worth having, demand that we delve still deeper.</p> <p>The possibilities that exist between two people, or among a group of people, are a kind of alchemy. They are the most interesting things in life. The liar is someone who keeps losing sight of these possibilities.</p> <p>When relationships are determined by manipuation, by the need for control, they may possess a dreary, bickering kind of drama, but they cease to be interesting. They are repetitious; the shock of human possibility has ceased to reverberate through them.</p> <p>When someone tells me a piece of the truth which has been withheld from me, and which I needed in order to see my life more clearly, it may bring acute pain, but it can also flood me with a cold, sea-sharp wash of relief. Often such truths come by accident, or from strangers.</p> <p>It isn't that to have an honorable relationship with you, I have to understand everything, or tell you everything at once, or that I can know, beforehand, everything I need to tell you.</p> <p>It means that most of the time I am eager, longing for the possibility of telling you. That these possibilities may seem frightening, but not destructive, to me. That I feel strong enough to hear your tentative and groping words. That we both know we are trying, all the time, to extend the possibilities of truth between us.</p> <p>The possibility of life between us.</p> </div> </body> <back> <div><p>Adrienne Rich is a well-known poet and feminist who has published 9 books. The most recent one, <title key="Rich, Adrienne Cecile. | Of woman born" ref="http://viaf.org/viaf/9718159521652133070000/"><emph>Of Woman Born: Motherhood as Experience and Institution</emph></title> (W.W. Norton & Company), she described as coming "from the double need to survive and to work; and I wrote it in part for the young woman I once was, divided between body and mind, wanting to give her the book she was seeking...." </p></div> </back> </text> </TEI>
Paula Becker to Clara Westhoff Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader> <fileDesc> <titleStmt> <title>Paula Becker to Clara Westhoff</title> <author>Adrienne Rich</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Heresies Issue #3: Lesbian Art and Artists</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> </teiHeader> <text> <body> <pb n="84" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue03/Issue3_images/issue3_086.jpg"/> <head> Paula Becker to Clara Westhoff </head> <epigraph><p>Paula Becker 1876-1907<lb/> Clara Westhoff 1878-1954<lb/> became friends at Worpswede, an artists’ colony near Bremen, Germany, summer 1899. In January 1900, they spent a half-year together in Paris, where Paula painted and Clara studied sculpture with Rodin. In August they returned to Worpswede, and spent the next winter together in Berlin. In 1901, Clara married the poet Rainer Maria Rilke; soon after, Paula married the painter Otto Modersohn. She died in a hemorrhage after childbirth, murmuring, What a pity!</p> </epigraph> <lg> <l>The autumn feels slowed-down, </l><l>summer still holds on here, even the light </l><l>seems to last longer than it should </l><l>or maybe l’m using it to the thin edge. </l><l>The moon rolls in the air. I didn’t want this child. </l><l>You’re the only one l’ve told. </l><l>I want a child maybe, someday, but not now. </l><l>Otto has a calm, complacent way </l><l>of following me with his eyes, as if to say </l><l>Soon you'll have your hands full! </l><l>And yes, I will; this child will be mine, </l><l>not his, the failures, if I fail </l><l>will be all mine. We’re not good, Clara, </l><l>at learning to prevent these things, </l><l>and once we have a child, it is ours. </l><l>But lately, I feel beyond Otto or anyone. </l><l>Iknow now the kind of work I have to do. </l><l>It takes such energy! I have the feeling l’m </l><l>moving somewhere, patiently, impatiently, </l><l>in my loneliness. l’m looking everywhere in nature </l><l>for new forms, old forms in new places, </l><l>the planes of an antique mouth, let’s say, among the leaves. </l><l>I know and do not know </l><l>what 1 am searching for. </l><l>Remember those months in the studio together, </l><l>you up to your strong forearms in wet clay, </l><l>I trying to make something of the strange impressions </l><l>assailing me—the Japanese </l><l>flowers and birds on silk, the drunks </l><l>sheltering in the Louvre, the river-light, </l><l>those faces...Did we know exactly </l><l>why we were there? Paris unnerved you, </l><l>you found it too much, yet you went on </l><l>with your work... and later we met there again, </l><l>both married then, and I thought you and Rilke </l><l>both seemed unnerved. I felt a kind of joylessness </l><l>between you. Of course he and I </l><l>have had our difficulties. Maybe I was jealous </l><l>of him, to begin with, taking you from me, </l><l>maybe I married Otto to fill up </l><l>my loneliness for you. </l><l>Rainer, of course, knows more than Otto knows, </l><l>he believes in women. But he feeds on us, </l><l>like all of them. His whole life, his art </l><l>is protected by women. Which of us could say that? </l><l>Which of us, Clara, hasn’t had to take that leap </l><l>out beyond our being women </l><l>to save our work? </l><l>or is it to save ourselves? </l><l>Marriage is lonelier than solitude. </l><l>Do you know: I was dreaming I had died </l><l>giving birth to the child. </l><l>I couldn’t paint or speak or even move. </l><l>My child—I think—survived me. But what was funny </l><l>in the dream was, Rainer had written my requiem¬ </l><l>a long, beautiful poem, and calling me his friend. </l><l>I was your friend </l><l>but in the dream you didn’t say a word. </l><l>In the dream his poem was like a letter. </l><l>to someone who has no right </l><l>to be there but must be treated gently, like a guest </l><l>who comes on the wrong day. Clara, why don’t I dream of you </l><l>That photo of the two of us—I have it still, </l><l>you and I looking hard into each other </l><l>and my painting behind us. How we used to work </l><l>side by side! And how l’ve worked since then </l><l>trying to create according to our plar </l><l>that we’d bring, against all odds, our full power </l><l>to every subject. Hold back nothing </l><l>because we were women. Clara, our strength still lies </l><l>in the things we used to talk about: </l><l>how life and death take one another’s hands, </l><l>the struggle for truth, our old pledge against guilt. </l><l>And now I feel dawn and the coming day. </l><l>Ilove waking in my studio, seeing my pictures </l><l>come alive in the light. Sometimes I feel </l><l>it is myself that kicks inside me, </l><l>myself I must give suck to, love.. </l><l>I wish we could have done this for each other </l><l>all our lives, but we can’t... </l><l>They say a pregnant woman </l><l>dreams of her own death. But life and death </l><l>take one another’s hands. Clara, I feel so full </l><l>of work, the life I see ahead, and love </l><l>for you, who of all people </l><l>however badly I say this </l><l>will hear all I say and cannot say. </l> </lg> <byline>Adrienne Rich</byline> </body> <back> <p> Several phrases in this poem are drawn from actual diaries and letters of Paula Modersohn-Becker, as translated from the German by Liselotte Erlanger. (No published edition in English of these extraordinary writings yet exists.) Rilke did, in fact, write a Requiem for Modersohn-Becker. Perhaps this poem is my answer to his.</p> <p>This poem will be included in a forthcoming book to be enti¬ tled The Dream of a Common Language. </p></back> </text> </TEI>
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The historian Joan Kelly-Gadol suggests that a\n\t\t\t\t\tfeminist view of history is not merely compensatory history, a parallel to the\n\t\t\t\t\taccepted views of history as male. It means ’to look at ages or movements of\n\t\t\t\t\tgreat social change in terms of their liberation or repression of woman’s\n\t\t\t\t\tpotential, their import for the advancement of her humanity as well as his. The\n\t\t\t\t\tmoment this is done—the moment one assumes that women are a part of humanity in\n\t\t\t\t\tthe fullest sense—the period or set of events with which we deal takes on a\n\t\t\t\t\twholly different character or meaning from the normally accepted one. Indeed,\n\t\t\t\t\twhat emerges is a fairly regular pattern of relative loss of status for women in\n\t\t\t\t\tthose periods of so-called progressive change.\" (“The Social Relation of the\n\t\t\t\t\tSexes: Methodological Implications of Women’s History,\" in SIGNS, Vol. 1, 14,\n\t\t\t\t\tSummer 1976.)" }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.3.1" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": 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"https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104714624#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "2.3.1" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104714624#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/note" } }, "oa:hasBody": { "@type": "oa:TextualBody", "dc:format": "text/plain", "rdf:value": "This article appears as the foreword to Working It Out, edited by\n\t\t\t\tPamela Daniels and Sally Ruddick, published by Pantheon." }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": 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Arendt, pp. 81-83." }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.3.1" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104552542", "type": "oa:Annotation", "dcterms:created": "2023-02-02T15:45:52.542Z", "dcterms:modified": "2023-02-02T15:45:52.542Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104552542#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "2.3.1" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104552542#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/quote[4]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "6. H.D., Tribute to Freud. Carcanet Press, Oxford, 1971, pp.\n\t\t\t\t\t50-54." }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.3.1" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104559735", "type": "oa:Annotation", "dcterms:created": "2023-02-02T15:45:59.735Z", "dcterms:modified": "2023-02-02T15:45:59.735Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104559735#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "2.3.1" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104559735#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/p[15]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "7. Virginia Woolf, A Room of One’s Own.\n\t\t\t\t\tHogarth Press, London, 1929, p. 126." }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.3.1" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104608068", "type": "oa:Annotation", "dcterms:created": "2023-02-02T15:46:08.068Z", "dcterms:modified": "2023-02-02T15:46:08.068Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104608068#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "2.3.1" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104608068#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/quote[6]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "8. Sinister Wisdom, Vol. I, f2, Fall 1976." }, "as:generator": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "2.3.1" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104620573", "type": "oa:Annotation", "dcterms:created": "2023-02-02T15:46:20.573Z", "dcterms:modified": "2023-02-02T15:46:20.573Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104620573#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.leaf-vre.org", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "2.3.1" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/Mayawadhwa/heresies/main/issue03/texts/rich1.xml?note_annotation_20230202104620573#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/quote[7]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "9. Virginia Woolf, Three Guineas\n\t\t\t\t\t(1938). 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Simone Weil, Oppression and Liberty. Translated by\n\t\t\t\t\tArthur Wills and John Petrie. 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we enter when we are born and what we leave behind when we die. It transcends our life-span into past and future alike; it was there before we came and will outlast our brief sojourn into it. It is what we have in common not only with those who live with us, but also with those who were here before and with those who will come after us. But such a common world can survive the coming and going of the generations only to the extent that it appears in public. It is the publicity of the public realm which can absorb and make shine through the centuries whatever men (sic may want to save from the natural ruin of time.<note>1. Hannah Arendt, The Human Condition. University of Chicago Press, 1958, p. 55.</note></quote> <p> Women both have and have not a common world. The mere sharing of oppression does not constitute a common world. Our thought and action, insofar as it has taken the form of difference, assertion, or rebellion, has repeatedly been obliterated, or subsumed under "human history, which means the “publicity of the public realm" created and controlled by men. Our history is the history of a majority of the species, yet the struggles of women for a "human” status have been relegated to footnotes, to the sidelines. Above all, women’s relationships with women have been denied or neglected as a force in history.<note type="scholarNote">2. The historian Joan Kelly-Gadol suggests that a feminist view of history is not merely compensatory history, a parallel to the accepted views of history as male. It means ’to look at ages or movements of great social change in terms of their liberation or repression of woman’s potential, their import for the advancement of her humanity as well as his. The moment this is done—the moment one assumes that women are a part of humanity in the fullest sense—the period or set of events with which we deal takes on a wholly different character or meaning from the normally accepted one. Indeed, what emerges is a fairly regular pattern of relative loss of status for women in those periods of so-called progressive change." (“The Social Relation of the Sexes: Methodological Implications of Women’s History," in SIGNS, Vol. 1, 14, Summer 1976.)</note></p> <p>The essays in this book are parts of a much larger work, which we are still struggling to possess: the long process of making visible the experience of women. The tentativeness, the anxiety, sometimes approaching paralysis, the confusions, described in many of these essays by intelligent, educated, "privileged” women, are themselves evidence of the damage that can be done to creative energy by the lack of a sense of continuity, historical validation, community. Most women, it seems, have gone through their travails in a kind of spiritual isolation, alone both in the present and in ignorance of their place in any female tradition. The support of friends, of a women’s group, may make survival possible; but it is not enough.</p> <p>It is quite clear that the universities and the intellectual establishment intend to keep women’s experiences as far as possible invisible; and women’s studies a barely subsidized, condescendingly tolerated ghetto. The majority of women who go through undergraduate and graduate school suffer an intellectual coercion of which they are not even consciously aware. In a world where language and naming are power, silence is oppression, is violence.</p> <note type="annotation">This article appears as the foreword to Working It Out, edited by Pamela Daniels and Sally Ruddick, published by Pantheon.</note> <p> Writing of the destruction of the civilization of <orgName key="Languedoc" ref="http://www.wikidata.org/entity/Q206221">Languedoc</orgName> by the forces of the Church under <persName key="Montfort, Simon de" ref="http://viaf.org/viaf/236149196533974792333/">Simon de Montfort</persName>, <orgName key="Simone Weil" ref="http://www.wikidata.org/entity/Q157309">Simone Weil</orgName> reminds us: "Nothing is more cruel to the past than the commonplace which asserts that spiritual values cannot be destroyed by force; on the strength of this belief, civilizations that have been destroyed by force of arms are denied the name of civilization; and there is no risk of our being refuted by the dead."<note type="scholarNote">3. Simone Weil, Selected Essays 1934-1943. Oxford University Press, 1962, p. 43.</note> For spiritual values and a creative tradition to continue unbroken we need concrete artifacts, the work of hands, written words to read, images to look at, a dialogue with brave and imaginative women who came before us. In the false names of love, motherhood, natural law—false because they have not been defined by us to whom they are applied—women in patriarchy have been withheld from building a common world, except in enclaves, or through coded messages. </p> <quote> The protection and preservation of the world against natural processes are among the toils which need the monotonous performance of daily repeated chores.... In old tales and mythological stories it has often assumed the grandeur of heroic fights against overwhelming odds, as in the account of <orgName key="Heracles" ref="http://www.wikidata.org/entity/Q122248">Hercules</orgName>, whose cleansing of the Augean stables is among the twelve heroic “labors." A similar connotation of heroic deeds requiring great strength and courage and performed in a fighting spirit is manifest in the mediaeval use of the word: labor, travail, arbeit. However, the daily fight in which the human body is engaged to keep the world clean and prevent its decay bears little resemblance to heroic deeds; the endur ance it needs to repair every day anew the waste of yesterday is not courage, and what makes the effort painful is not danger but its relentless repetition.<note type="scholarNote">4. Arendt, p. 55.</note> </quote> <p> <persName key="Hannah Arendt" ref="http://www.wikidata.org/entity/Q60025">Hannah Arendt</persName> does not call this “woman’s work. Yet it is this activity of world-protection, world-preservation, world-repair, the million tiny stitches, the friction of the scrubbing brush, the scouring-cloth, the iron across the shirt, the rubbing of cloth against itself to exorcise the stain, the renewal of the scorched pot, the rusted knife-blade, the invisible weaving of a frayed and threadbare family life, the cleaning-up of soil and waste left behind by men and children—that we have been charged to do "for love”—not merely unpaid, but unacknowledged by the political philosophers. Women are not described as “working" when we create the essential conditions for the work of men; we are supposed to be acting out of love, instinct, or devotion to some higher cause than self.</p> <p>Arendt tells us that the Greeks despised all labor of <pb n="53"/> the body necessitated by biological needs. It was to spare themselves such labor that men kept slaves—not as a means to cheaper production. “Contempt for laboring, originally arising out of a passionate striving for freedom from necessity and a no less passionate impatience with every effort that left no trace, no monument, no great work worthy of remembrance, spread with the increasing demands of polis life upon the time of the citizens (i.e., males) and its insistence on their abstention from all but political activities."<note type="scholarNote">5. Arendt, pp. 81-83.</note></p> <p>And, in the aside of a footnote: “Women and slaves belonged and lived together...no woman, not even the wife of the household head, lived among her equals— other free women—so that rank depended much less on birth than on ’occupation’ or function.... According to the index, this footnote is the last reference to women, on page 73 of a volume of 325 pages on <title key="The Human Condition" ref="http://www.wikidata.org/entity/Q2006866">The Human Condition</title>, written by a woman.</p> <p>Every effort that left no trace.... The efforts of women in labor, giving birth to stillborn children, children who must die of plague or by infanticide; the efforts of women to keep filth and decay at bay, children decently clothed, to produce the clean shirt in which the man walks out daily into the common world of men, the efforts to raise children against the attritions of racist and sexist schooling, drugs, sexual exploitation, the brutalization and killing of barely grown boys in war. There is still little but contempt and indifference for this kind of work, these efforts. (The phrase “wages for housework" has the power to shock today that the phrase "free love" possessed a century ago.) </p> <fw>2</fw> <p> There is a natural temptation to escape if we can, to close the door behind us on this despised realm which threatens to engulf all women, whether as mothers, or in marriage, or as the invisible, ill-paid sustainers of the professions and social institutions. There is a natural fear that if we do not enter the common world of men, as asexual beings or as exceptional" women, do not enter it on its terms and obey its rules, we will be sucked back into the realm of servitude, whatever our temporary class status or privileges. This temptation and this fear compromise our powers, divert our energies, form a potent source of “blocks" and of acute anxiety about work.</p> <p>For if, in trying to join the common world of men, the professions moulded by a primarily masculine consciousness, we split ourselves off from the common life of women and deny our female heritage and identity in our work, we lose touch with our real powers, and with the essential condition for all fully realized work: community.</p> <p>Feminism begins, but cannot end, with the discovery by an individual of her self-consciousness as a woman. It is not, finally, even the recognition of her reasons for anger, or the decision to change her life, go back to school, leave a marriage (though in any individual life such decisions can be momentous and require great courage). Feminism means finally that we renounce our obedience to the fathers, and recognize that the world they have described is not the whole world. Masculine ideologies are the creation of masculine subjectivity; they are neither objective, nor value-free, nor inclusively “human. Feminism implies that we recognize fully the inadequacy for us, the distortion, of male-created ideologies; and that we proceed to think, and act, out of that recognition.</p> <p>In the common world of men, in the professions which the writers of these essays have come to grips with, it takes more than our individual talent and intelligence to think and act further. In denying the validity of women’s experience, in pretending to stand for “the human, masculine subjectivity tries to force us to name our truths in an alien language; to dilute them; we are constantly told that the “real” problems, the ones worth working on, are those men have defined, that the problems we need to examine are trivial, unscholarly, non-existent. We are urged to separate the “personal" (our entire existence as women) from the scholarly” or “professional." Several of the women who contribute to this book have described the outright insults and intellectual sabotage they encountered as women in graduate school. But more insidious may be the sabotage which appears as paternal encouragement, approval granted for internalizing a masculine subjectivity. As <persName key="Tillie Olsen" ref="http://www.wikidata.org/entity/Q272393">Tillie Olsen</persName> puts it, "Not to be able to come to one’s own truth or not to use it in one’s writing, even in telling the truth to have to tell it slant, robs one of drive, of conviction, limits potential stature. Everywhere, women working in the common world of men are denied that integrity of work and life which we can only find in an emotional and intellectual connectedness with ourselves and other women.</p> <p>More and more, however, women are creating community, sharing work, and discovering that in the sharing of work our relationships with each other become larger and more serious. In organizing a women’s self- help clinic or law collective, a writing workshop, in <pb n="54"/> editing a magazine, creating a center for women’s work like the Women’s Building in <placeName key="Los Angeles" ref="http://www.wikidata.org/entity/Q65">Los Angeles</placeName>, in running a press that publishes “lost" books by women, or contemporary work that may be threatening or incomprehensible to male editors, in participating in a women’s prison project or a crisis center, we come to understand at first-hand not only our unmet needs, but the resources we can draw on for meeting them even in the face of female poverty, the hostility of institutions, the lack of documentation of our shared past. <orgName key="Susan Griffin" ref="http://www.wikidata.org/entity/Q7647892">Susan Griffin</orgName> has said that, for a feminist, writing may be solitary but thinking is collective. Any woman who has moved from the playing-fields of male discourse into the realm where women are developing our own descriptions of the world, knows the extraordinary sense of shedding, as it were, the encumbrance of someone else’s baggage, of ceasing to translate. It is not that thinking becomes easy. but that the difficulties are intrinsic to the work itself rather than to the environment. In the common world of men, the struggle to make female experience visible - will they take seriously a thesis on women? Will they let me teach a course on women? Can I speak bluntly of female experience without shattering the male egos around me, or being labeled hysterical, castrating?- such struggles assume the status of an intellectual problem, and the real intellectual problems may not be probed at all.</p> <p>Working together as women, consciously creating our networks even where patriarchal institutions are the ones in which we have to survive, we can confront the problems of women’s relationships, the mothers we came from, the sisters with whom we were forced to divide the world, the daughters we love and fear. We can challenge and inspirit each other, throw light on one another’s blind spots, stand by and give courage at the birth-throes of one another’s insights. I think of the poet <orgName key="H.D." ref="http://dbpedia.org/resource/H.D.">H.D.</orgName> s account of the vision she had on the island of <placeName key="Corfu" ref="http://www.wikidata.org/entity/Q121378">Corfu</placeName>, in the <title key="H. D. (Hilda Doolittle), 1886-1961. | Tribute to Freud" ref="http://viaf.org/viaf/186350362/">Tribute to Freud</title>:</p> <quote>And there I sat and there is my friend Bryher who has brought me to <placeName key="Greece" ref="http://www.wikidata.org/entity/Q41">Greece</placeName>. I can turn now to her, though I do not budge an inch or break the sustained crystal-gazing at the wall before me. I say to Bryher, “There have been pictures here—I thought they were shadows at first, but they are light, not shadow. They are quite simple objects —but of course it’s very strange. I can break away from them now, if I want—it’s just a matter of concentrating what do you think? Shall I stop? Shall I go on?" Bryher says without hesitation, "Go on."</quote> <quote>...I had known such extraordinarily gifted and charming people. They had made much of me or they had slighted me and yet neither praise nor neglect mattered in the face of the gravest issues—life, death.... And yet, so oddly, I knew that this experience, this writing-on-the- wall before me, could not be shared with anyone except the girl who stood so bravely there beside me. This girl had said without hesitation, “Go on." It was she really who had the detachment and integrity of the Pythoness of Delphi. But it was I, battered and disassociated...who was seeing the pictures, and who was reading the writing or granted the inner vision. Or perhaps, in some sense, we were "seeing" it together, for without her, admittedly, I could not have gone on.<note type="scholarNote">6. H.D., Tribute to Freud. Carcanet Press, Oxford, 1971, pp. 50-54.</note></quote> <p>Even for those who would mistrust visionary experience, the episode is revealing as metaphor. The personal relationship helps create the conditions for work (out of her vision H.D. went on to create her great, late, long poems celebrating a matriarchal world and the quest of female heroes); no less does the fact of working together deepen and sustain a personal relationship. "If Chloe likes Olivia and they share a laboratory...this of itself will make their friendship more varied and lasting because it will be less personal."<note type="scholarNote">7. Virginia Woolf, A Room of One’s Own. Hogarth Press, London, 1929, p. 126.</note> By “like” I believe <persName key="Virginia Woolf" ref="http://www.wikidata.org/entity/Q40909">Virginia Woolf</persName> (still, in that book, writing more cautiously than later in Three Guineas) also meant “love"; for a laboratory we can read "the creation of a common world."</p> <p>Many women have known the figure of the male mentor" who guides and protects his female student or colleague, tenderly opening doors for her into the common world of men. He seems willing to share his power, to conspire with her in stealing what <persName key="Celia Gilbert" ref="http://www.wikidata.org/entity/Q9185668">Celia Gilbert</persName> names in this book “the sacred fire” of work. Yet what can he really bestow but the illusion of power, a power stolen, in any case, from the mass of women, over centuries, by men? He can teach her to name her experience in language that may allow her to live, work, perhaps succeed in the common world of men. But he has no key to the powers she might share with other women.</p> <p>There is also the illusion that if you make your emotional and erotic life with women, it does not matter that your intellectual work is a collaboration with silence and lying about female experience. At a panel of lesbian writers at the <orgName key="Modern Language Association" ref="http://www.wikidata.org/entity/Q1506059">Modern Language Association</orgName> in <placeName key="San Francisco" ref="http://www.wikidata.org/entity/Q62">San Francisco</placeName> in December 1975, <persName key="Susan Griffin" ref="http://www.wikidata.org/entity/Q7647892">Susan Griffin</persName> spoke of the damages we do to ourselves and our work in censoring our own truths:</p> <quote>I feel that this whole idea of the Muse, of inspiration, is a kind of cop-out. There is something very fascinating going on with a writer’s psyche when you are undergoing a silence, an inability to write. Each silence and each eruption into speech constitute a kind of struggle in the life of a writer.... The largest struggle around silence in my life has had to do with the fact that I am a woman and a lesbian. When I recognized my feelings as a woman, when I recognized my anger as a woman, suddenly my writing was transformed—suddenly I had a material, a subject-matter... And then a few years later I found my- self unhappy with my writing, unhappy with the way 1 expressed myself, unable to speak; I wrote in a poem, Words do not come to my mouth any more. And I hap- pened also...to be censoring the fact that I was a lesbian. I thought that I was doing this because of the issue of child custody, and that was and still is a serious issue. But I wasn’t acknowledging how important it was to me, both as a writer and as a human being, to be able to... write about my feelings as a lesbian.</quote> <quote>In fact, I think that writers are always dealing with taboos of one sort or another; if they are not taboos general in society, you may just have a fear in your private life of perceiving some truth because of its implications, and that will stop you from writing.... But when we come to the taboo of lesbianism, this is one which is most loaded for everyone, even those who are not lesbians. Because the fact of love between women...is one which affects every event in this society, psychic and political and sociological. And for a writer, the most savage center is oneself. <note type="scholarNote">8. Sinister Wisdom, Vol. I, f2, Fall 1976.</note></quote> <p>The whole question of what it means, or might mean, to work as a lesbian might have occupied an entire essay in this book. Of past women whose thought and work have remained visible in history, an enormous number have been lesbians, yet because of the silence and <pb n="58"/> denial that has enveloped lesbianism, we learn little from women’s biographies about the relation of thein work to their relationships with women or to the social taboos they lived among. One writer in this book mourns that "there was only one <persName key="Alice B. Toklas" ref="http://www.wikidata.org/entity/Q179122">Alice B. Toklas</persName>. But in fact women’s support to women has been there all along, lifetime or long-term comradeships. For many women, struggling for economic survival in the common world of men, these relationships have had to be dissimulated, at what cost to the work (let alone the relationships) we cannot begin to know. Every lesbian has been forced to walk past the distorting mirrors of homophobia before she could get down to the real problems of her work. Every lesbian artist knows that when she attempts to embody lesbian sexuality in her work she runs the risk of having it perceived pornographically, if it is not simply denied visibility. When a lesbian feels she may have to choose between writing or painting her truths and keeping her child, she is flung back on the most oppressive ground of maternal guilt in conflict with creative work. The question of economic survival, of keeping one’s job, is terribly real, but the more terrible questions lie deeper where a woman is forced, or permits herself, to lead a censored life.</p> <fw>3</fw> <p> In thinking about the issues of women and work raised in this book, I turned to Hannah Arendt's The Human Condition to see how a major political philosopher of our time, a woman, greatly respected in the intellectual establishment, had spoken to the theme. I found her essay illuminating, not so much for what it says, but for what it is. The issue of women as the labor ers in reproduction, of women as workers in production, of the relationship of women’s unpaid labor in the home to the separation between “private” and public spheres, of the woman’s body as commodity—these questions were not raised for the first time in the 1960's and 1970’s; they had already been documented in the 1950’s when The Human Condition was being written. Arendt barely alludes, usually in a footnote, to <persName key="Marx and Engels" ref="http://www.wikidata.org/entity/Q93700265">Marx and Engels</persName>’ engagement with these questions; and she writes as if the work of <persName key="Olive Schreiner" ref="http://www.wikidata.org/entity/Q151180">Olive Schreiner</persName>, <persName key="Charlotte Perkins Gilman" ref="http://www.wikidata.org/entity/Q287752">Charlotte Perkins Gilman</persName>, <persName key="Goldman, Emma" ref="http://viaf.org/viaf/4122160486148905180002/">Emma Goldman</persName>, <persName key="Jane Addams" ref="http://www.wikidata.org/entity/Q180989">Jane Addams</persName>, to name only a few writers, had never existed. The withholding of women from participation in the vita activa, the "common world," and the connection of this with reproductivity, is something from which she does not so much turn her eyes as stare straight through unseeing. This "great work" is thus a kind of failure for which masculine ideology has no name, precisely because in terms of that ideology it is successful, at the expense of truths the ideology considers irrelevant. To read such a book, by a woman of large spirit and great erudition, can be painful, because it embodies the tragedy of the female mind nourished on male ideologies. In fact, the loss is ours, because Arendt’s desire to grasp deep moral issues is the kind of concern we need to build a common world which will amount to more than "life-styles." The power of male ideology to possess such a female mind, to disconnect it as it were from the female body which encloses it and which it encloses, is nowhere more striking than in Arendt’s lofty and crippled book.</p> <p>Women’s minds cannot grow to full stature, or touch the real springs of our power to alter reality, on a diet of masculine ideology. This is not the same thing as saying that we can use nothing of these ideologies, or their methods; or that we need not understand them. But the common world of men cannot give us what we need, and parts of it are poisoning us. <persName key="Miriam Schapiro" ref="http://www.wikidata.org/entity/Q542496">Miriam Schapiro</persName>, in this book, describes the process through which she begins to work: filling sheets of paper with smeared paint, images created "freely, mindlessly, going back to that place in childhood where she simply painted and was happy. To her husband, this appeared as “de-professionalizing" herself. Yet the very concept of “professionalism," tainted as it is with the separation between personal life and work, with a win-or-lose mentalilty and the gauging of success by public honors and market prices, needs a thorough revaluation by women. Forty years back Virginia Woolf was asking:</p> <quote>What is this “civilization" in which we find ourselves? What are these ceremonies and why should we make money out of them? Where in short is it leading, the procession of the sons of educated men?<note type="scholarNote">9. Virginia Woolf, Three Guineas (1938). Harbinger Book, New York, 1966, p. 63.</note></quote> <p>Her answer was that it is leading to war, to elitism, to exploitation and the greed for power; in our own time we can also add that it has clearly been leading to the ravagement of the non-human living world. Instead of the concept of “professionalism, we need, perhaps, a vision of work akin to that described by <persName key="Simone Weil" ref="http://www.wikidata.org/entity/Q157309">Simone Weil</persName> in her “Theoretical Picture of a Free Society”: </p> <quote> A clear view of what is possible and what impossible, what is easy and what difficult, of the labors that separate the project from its accomplishment—this alone does away with insatiable desires and vain fears; from this and not from anything else proceed moderation and courage, virtues without which life is nothing but a disgraceful frenzy. Besides, the source of any kind of virtue lies in the shock produced by the human intelligence being brought up against a matter devoid of lenience and of falsity.<note type="scholarNote">10. Simone Weil, Oppression and Liberty. Translated by Arthur Wills and John Petrie. University of Massachusetts Press, Amherst, Mass., 1973, p. 87.</note> </quote> <p> If we conceive of feminism as more than a frivolous label, if we conceive of it as an ethics, a methodology, a more complex way of thinking about, thus more responsibly acting upon, the conditions of human life, we need a self-knowledge which can only develop through a steady, passionate attention to all female experience. I cannot imagine a feminist evolution leading to radical change in the private/political realm of gender, that is not rooted in the conviction that all women’s lives are important, that the lives of men cannot be understood by burying the lives of women; and that to make visible the full meaning of women’s experience, to re-interpret knowledge in terms of that experience, is now the most important task of thinking.</p> <p>If this is so, we cannot work alone. We had better face the fact that our hope of thinking at all, against the force of a maimed and maiming world-view, depends on seeking and giving our allegiance to a community of women co-workers. And, beyond the exchange and criticism of work, we have to ask ourselves how we can make the conditions for work more possible, not just for ourselves but for each other. This is not a question of generosity. It is not generosity that makes women in community support and nourish each other. It is rather what Whitman called the “hunger for equals"—the <pb n="59"/> desire for a context in which our own strivings will be amplified, quickened, lucidified, through those of our peers.</p> <p>We also, of course, need community with our past. Women’s art and thought and action will continue to be seen as deviant, its true meaning distorted or buried, as long as women’s work can be dismissed as exceptional, an interesting footnote to the major texts. Or, it will be encouraged for its timidities and punished for its daring. This is obvious to women who have tried to work along seriously feminist lines in the established professions. But even before the work exists, long before praise or attack, the very form it will assume, the courage on which it can draw, the sense of potential direction it may take, require—given the politics of our lives and of creation itself—more than the gifts of the individual woman, or her immediate contemporaries. We need access to the female past.</p> <p>The problem, finally, is not that of who does housework and child-care, whether or not one can find a life-companion who will share in the sustenance and repair of daily life—crucial as these may be in the short run. It is a question of the community we are reaching for in our work, and on which we can draw; who we envision as our hearers, our co-creators, our challengers; who will urge us to take our work further, more seriously, than we had dared; on whose work we can build. Women have done these things for each other, sought each other in community, even if only in enclaves, often through correspondence, for centuries. Denied space in the universities, the scientific laboratories, the professions, we have devised our networks. We must not be tempted to trade the possibility of enlarging and strengthening those networks, and of extending them to more and more women, for the illusion of power and success as exceptional" or “privileged" women in the professions.</p> </body> <back> <p> Adrienne Rich’s most recent books are <title key="Rich, Adrienne, 1929-2012. | Poems. Selections" ref="http://viaf.org/viaf/175870873/">Poems Selected and New: 1950-1974</title> and <title>Of Woman Born: Motherhood as Experience and Institution</title>, both published by W.W. Norton, and Twenty-One Love Poems, published by <orgName>Effie’s Press</orgName>, <placeName key="Emeryville, California" ref="http://dbpedia.org/resource/Emeryville,_California">Emeryville California</placeName>. </p> </back> </text> </TEI>
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and among women. When "personal relationship" is referred to I mean a relationship between two women, it will be clear in what follows when I am talking about women's relationships with men.)</p> <p>The old, male idea of honor. A man’s “word" sufficed—to other men—without guarantee.</p> <p>"Our Land Free, Our Men Honest, Our Women Fruitful"—a popular colonial toast in America.</p> <p>Male honor also having something to do with killing: I couid not love thee, Dear, so much / Lov'd I not Honour more (“To Lucasta, On Going to the Wars”). Male honor as something needing to be avenged: hence, the duel.</p> <p>Women’s honor, something altogether else: virginity, chastity, fidelity to a husband. Honesty in women has not been considered important, We have been depicted as generically whimsical, deceitful, subtle, vacillating. And we have been rewarded for lying.</p> <p>Men have been expected to tell the truth about facts, not about feelings. They have not been expected to talk about feelings at all.</p> <p>Yet even about facts they have continually lied. We assume that politicians are without honor. We read their statements trying to crack the code. The scandals of their politics: not that men in high places lie, only that they do so with Such indifference, so endlessly, still expecting to be believed. We are accustomed to the contempt inherent in the political lie.</p> <p>To discover that one has been lied to in a personal relationship, however, leads one to feel a little crazy.</p> <p>Lying is done with words, and also with silence.</p> <p>The woman who tells lies in her personal relationships may or may not plan or invent her lying. She may not even think of what she is doing in a calculated way.</p> <p> A subject is raised which the liar wishes buried. She has to go downstairs, her parking-meter will have run out. Or there is a telephone call she ought to have made an hour ago.</p> <p>She is asked, point-blank, a question which may lead into painful talk: “How do you feel about what is happening between us?” Instead of trying to describe her feelings in their ambiguity and confusion, she asks “How do you feel?" The other, because she is trying to establish a ground of openness and trust, begins describing her own feelings. Thus the liar learns more than she tells.</p> <p>And she may also tell herself a lie: that she is concerned with the other’s feelings, not with her own.</p> <p>But the liar is concerned with her own feelings.</p> <p>The liar lives in fear of losing control. She cannot even desire a relationship without manipulation, since to be vulnerable to another person means for her the loss of control.</p> <p>The liar has many friends, and leads an existence of great loneliness.</p> <p>The liar often suffers from amnesia. Amnesia is the silence of the unconscious.</p> <p>To lie habitually, as a way of life, is to lose contact with the unconscious. it is like taking sleeping pills, which confer sleep but blot out dreaming. The unconscious wants truth. It ceases to speak to those who want something else more than truth.</p> <p>In speaking of lies we come inevitably to the subject of truth. There is nothing simple or easy about this idea. There is no “the truth,” "a truth"—truth is not one thing, or even a system. It is an increasing complexity. The pattern of the carpet is a surface. When we look closely or when we become weavers, we learn of the tiny multiple threads unseen in the overall pattern, the knots on the underside of the carpet.</p> <p>This is why the effort to speak honestly is so important, Lies are usually attempts to make <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_026.jpg"/> everything simpler—for the liar—than it really is, or ought to be.</p> <p>In lying to others we end up lying to ourselves. We deny the importance of an event, or a person, and thus deprive ourselves of a part of our lives. Or we use one piece of the past or present to screen out another. Thus we lose faith even with our own lives.</p> <p>The unconscious wants truth, as the body does. The complexity and fecundity of dreams come from the complexity and fecundity of the unconscious struggling to fulfill that desire. The complexity and fecundity of poetry come from the same struggle.</p> <p>An honorabie human relationship—that is, one in which two people have the right to use the word "love”—is a process, delicate, violent often terrifying to both persons involved, a process of refining the truths they can tell each other.</p> <p>It is important to do this because it breaks down human self-delusion and isolation.</p> <p>It is important to do this because in so doing we do justice to our own complexity.</p> <p>It is important to do this because we can count on so few people to go that hard way with us.</p> <p>I come back to the question of women’s honor. Truthfuiness has not been considered important for women, as long as we have remained physically faithful to a man, or chaste.</p> <p>We have been expected to lie with our bodies: to bleach, redden, unkink or curl our hair, pluck eyebrows, shave armpits, wear padding in various places or lace ourselves, take little steps, glaze finger and toe nails, wear clothes that emphasize our helplessness.</p> <p>We have been required to tell different lies at different times, depending on what the men of the time needed to hear. The Victorian wife or the white southern lady, who were expected to have no sensuality, to "lie still"; the twentieth-century “free" woman who is expected to fake orgasms.</p> <p>We have had the truth of our bodies withheld from us or distorted; we have been kept in ignorance of our most intimate places. Our instincts have been punished: clitorectomies for "lustful” nuns or for "difficult" wives. it has been difficult, too, to know the lies of our complicity from the lies we believed.</p> <p> The lie of the "happy marriage," of domesticity — we have been complicit, have acted out the fiction of a weil-lived life, until the day we testify in court of rapes, beatings, psychic cruelties, public and private humiliations.</p> <p>Patriarchal lying has manipulated women both through fafsehood and through silence. Facts we needed have been withheld from us. False witness has been borne against us.</p> <p>And so we must take seriously the question of truthfulness between women, truthfulness among women. As we cease to lie with our bodies, as we cease to take on faith what men have said about us, is a truly womanly idea of honor in the making?</p> <p>Women have been forced to lie, for survival, to men. How to unlearn this among other women?</p> <p>"Women have always lied to each other." "Women have always whispered the truth to each other.” Both of these axioms are true.</p> <p>"Women have always been divided against each other." “Women have afways been in secret collusion." Both of these axioms are true.</p> <p>In the struggle for survival we tell lies. To bosses, to prison guards, the police, men who have power over us who legally own us and our children, lovers who need us as proof of their manhood.</p> <p>There is a danger run by all powerless people that we forget we are lying, or that lying becomes a weapon we carry over into relationships with people who do not have power over us.</p> <p>I want to reiterate that when we talk about women and honor or women and lying, we speak within the context of male lying, the lies of the powerful, the lie as a false source of power.</p> <p>Women have to think whether we want, in our relationships with each other, the kind of power that can be obtained through lying.</p> <p>Women have been driven mad, “gaslighted," for centuries by the refutation of our experience and our instincts in a culture which validates only male experience. The truth of our bodies and our minds has been mystified to us. We therefore have a primary obligation to each other: not to undermine each other’s sense of <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_027.jpg"/> reality for the sake of expediency; not to gaslight each other.</p> <p>Women have often felt insane when cleaving to the truth of our experience. Our future depends on the sanity of each of us and we have a profound stake beyond the personal in the project of describing our reality as candidly and fully as we can to each other.</p> <p>There are phrases which help us not to admit we are lying: "my privacy,“ "nobody’s business but my own.” The choices that underlie these phrases may indeed be justified; but we ought to think about the full meaning and consequences of such language.</p> <p>Women’s love for women has been represented almost entirely through silence and lies. The institution of heterosexuality has forced the lesbian to dissemble, or be labelled a pervert, a criminal, a sick or dangerous woman, etc., etc. The lesbian, then has often been forced to lie, like the prostitute or the married woman.</p> <p>Does a life "in the closet” — lying, perhaps of necessity, about ourselves to bosses, landlords, clients, colleagues, family, because the law and public opinion are founded on a lie — does this, can it, spread into public life, so that lying (described as discretion) becomes an easy way to avoid conflict or complication? Can it be- come a strategy so ingrained that it is used even with close friends and lovers?</p> <p>Heterosexuality as an institution has also drowned in silence the erotic feelings between women. I myself lived half a lifetime in the lie of that denial. That silence makes us all to some degree, into liars.</p> <p>When a woman tells the truth she is creating the possibility for more truth around her.</p> <p>The liar leads an existence of unutterable loneliness.</p> <p>The liar is afraid.</p> <p>But we are all afraid: without fear we become manic, hubristic, self-destructive. What is this particular fear that possesses the liar?</p> <p>She is afraid that her own truths are not good enough.</p> <p>She is afraid, not so much of prison guards or bosses, but of something unnamed within her.</p> <p>The liar fears the void.</p> <p> The void is not something created by patriarchy, or racism, or capitalism. It will not fade away with any of them. It is part of every woman.</p> <p>“The dark core,” Virginia Woolf named it, writing of her mother. The dark core. It is beyond personality; beyond who loves us or hates us. We begin out of the void, out of darkness and emptiness. It is part of the cycle understood by the old pagan religions that materialism denies. Out of death, rebirth; out of nothing, something.</p> <p>The void is the creatrix, the matrix. It is not mere hollowness and anarchy. But in women it has been identified with lovelessness, barrenness, sterility. We have been urged to fill our "emptiness" with children. We are not supposed to go down into the darkness of the core.</p> <p>Yet, if we can risk it, the something born of that nothing is the beginning of our truth.</p> <p>The liar in her terror wants to fill up the void with anything. Her lies are a denial of her fear; a way of maintaining control.</p> <p>Why do we feel slightly crazy when we realize we have been lied to in a relationship?</p> <p>We take so much of the universe on trust. You tell me: "In 1950 I lived on the north side of Beacon Street in Somerville.“ You tell me: “She and I were lovers, but for months now we have only been good friends.” You teil me: "It is seventy degrees outside and the sun is shining." Because l love you, because there is not even a question of lying between us, I take these accounts of the universe on trust: your address twenty-five years ago your relationship with someone I know only by sight, this morning's weather. I fling unconscious tendrils of belief, like slender green threads, across statements such as these, statements made so unequivocally, which have no tone or shadow of tentativeness. I build them into the mosaic of my worid. I allow my universe to change in minute, significant ways, on the basis of things you have said to me, of my trust in you.</p> <p>I also have faith that you are teiling me things it is important I should know; that you do not conceal facts from me in an effort to spare me, or yourself, pain.</p> <p>Or, at the very least, that you wili say, “There are things l am not telling you."</p> <p>When we discover that someone we trusted can <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_028.jpg"/> be trusted no longer it forces us to re-examine the universe, to question the whole instinct and concept of trust. For awhile, we are thrust back onto some bleak, jutting ledge, in a dark pierced by sheets of fire, swept by sheets of rain in a world before kinship, or naming, or tenderness exist; we are brought close to formlessness.</p> <p>The liar may resist confrontation, denying that she lied. Or she may use other language: forgetfulness privacy, the protection of someone else. Or she may bravely declare herself a coward. This allows her to go on lying, since that is what cowards do. She does not say, I was afraid, since this would open the question of other ways of handling her fear. It wouid open the question of what is actually feared.</p> <p>She may say, I didn't want to cause pain. What she really did not want is to have to deal with the other’s pain. The lie is a short-cut through another’s personality.</p> <p>Truthfulness, honor, is not something which springs ablaze of itself; it has to be created between people.</p> <p>This is true in political situations. The quality and depth of the politics evolving from a group depends in very large part on their understanding of honor.</p> <p>Much of what is narrowly termed "politics" seems to rest on a longing for certainty even at the cost of honesty, for an analysis which, once given, need not be re-examined. Such is the dead-endedness—for women—of <rs key="Marxism" ref="http://www.wikidata.org/entity/Q7264">Marxism</rs> in our time.</p> <p>Truthfulness anywhere means a heightened complexity. But it is a movement into evolution. Women are only beginning to uncover our own truths; many of us would be grateful for some rest in that struggle, would be glad just to lie down with the sherds we have painfully unearthed, and be satisfied with those. Often I feel this like an exhaustion in my own body.</p> <p>The politics worth having, the relationships worth having, demand that we delve still deeper.</p> <p>The possibilities that exist between two people, or among a group of people, are a kind of alchemy. They are the most interesting things in life. The liar is someone who keeps losing sight of these possibilities.</p> <p>When relationships are determined by manipuation, by the need for control, they may possess a dreary, bickering kind of drama, but they cease to be interesting. They are repetitious; the shock of human possibility has ceased to reverberate through them.</p> <p>When someone tells me a piece of the truth which has been withheld from me, and which I needed in order to see my life more clearly, it may bring acute pain, but it can also flood me with a cold, sea-sharp wash of relief. Often such truths come by accident, or from strangers.</p> <p>It isn’t that to have an honorable relationship with you, I have to understand everything, or tell you everything at once, or that I can know, beforehand, everything I need to tell you.</p> <p>It means that most of the time I am eager, longing for the possibility of telling you. That these possibilities may seem frightening, but not destructive, to me. That I feel strong enough to hear your tentative and groping words. That we both know we are trying, ail the time, to extend the possibilities of truth between us.</p> <p>The possibility of life between us.</p> </div> </body> <back> <div><p>Adrienne Rich is a well-known poet and feminist who has published 9 books. The most recent one, <title key="Rich, Adrienne Cecile. | Of woman born" ref="http://viaf.org/viaf/9718159521652133070000/">Of Woman Born: Motherhood as Experience and Institution</title> (W.W. Norton & Company), she described as coming “from the double need to survive and to work; and I wrote it in part for the young woman I once was, divided between body and mind, wanting to give her the book she was seeking...." </p></div> </back> </text> </TEI>
