Name: Essential Essays
Rating: 2.5 (2 reviews)
ISBN: 9780393355130

Adrienne Rich

A career-spanning selection of the lucid, courageous, and boldly political prose of National Book Award winner Adrienne Rich.

Culture, Politics, and the Art of Poetry

Essential Essays

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And I know there must be deep reservoirs of anger in her; every mother has known overwhelming, unacceptable anger at her children. When I think of the conditions under which my mother became a mother, the impossible expectations, my father's distaste for pregnant women, his hatred of all that he could not control, my anger at her dissolves into grief and anger for her, and then dissolves back again into anger at her: the ancient, unpurged anger of the child.

My mother lives today as an independent woman, which she was always meant to be. She is a much-loved, much-admired grandmother, an explorer in new realms; she lives in the present and future, not the past. I no longer have fantasies—they are the unhealed child's fantasies, I think of some infinitely healing conversation with her, in which we could show all our wounds, transcend the pain we have shared as mother and daughter, say everything at last. But in writing these pages, I am admitting, at least, how important her existence is and has been for me.

For it was too simple, early in the new twentieth-century wave of feminism, for us to analyze our mothers' oppression, to understand "rationally" —and correctly why our mothers did not teach us to be Amazons, why they bound our feet or simply left us. It was accurate and even radical, that analysis; and yet, like all politics narrowly interpreted, it assumed that consciousness knows everything. There was, is, in most of us, a girl-child still longing for a woman's nurture, tenderness, and approval, a woman's power exerted in our defense, a woman's smell and touch and voice, a woman's strong arms around us in moments of fear and pain. Any of us would have longed for a mother who had chosen, in Christabel Pankhurst's words, that "reckoning the cost [of her suffragist activism] in advance, Mother prepared to pay it, for women's sake." It was not enough to understand our mothers; more than ever, in the effort to touch our own strength as women, we needed them. 

We need to understand this double vision or we shall never understand ourselves. Many of us were mothered in ways we cannot yet even perceive; we only know that our mothers were in some incalculable way on our side. But if a mother had deserted us, by dying, or putting us up for adoption, or because life had driven her into alcohol or drugs, chronic depression or madness, if she had been forced to leave us with indifferent, uncaring strangers in order to earn our food money, because institutional motherhood makes no provision for the wage-earning mother; if she had tried to be a "good mother" according to the demands of the institution and had thereby turned into an anxious, worrying, puritanical keeper of our virginity; or if she had simply left us because she needed to live without a child—whatever our rational forgiveness, whatever the individual mother's love and strength, the child in us, the small female who grew up in a male-controlled world, still feels, at moments, wildly unmothered. When we can confront and unravel this paradox, this contradiction, face to the utmost in ourselves the groping passion of that little girl lost, we can begin to transmute it, and the blind anger and bitterness that have repetitiously erupted among women trying to build a movement together can be alchemized. Before sisterhood, there was the knowledge—transitory, fragmented, perhaps, but original and crucial—of mother-and-daughterhood.

reading adrienne rich's essential essays is to learn, all over again, how much, how encompassing a person's writing life can be—her work reaches and breathes into the academic, the political, and the literary with a seamlessness and ease I can't help but envy. her voice is what holds it all together, this sharp, incisive, tender, grounded thing, no doubt a body of her lived experiences/obsessions as well as her values/morals. I have been trying to articulate this for a long time—this question of the writer's voice, what it is, what makes it—and sitting with rich's voice through this thick volume of work is realising, oh, maybe the writer's voice tells us most simply about how much the writer has communed with themselves, what they know/don't know about their internal world, what they know/don't know about how they move through the world world. I think this might be most true in poets (although its likely this is simply a frequency illusion), why sometimes we are able to locate that stone of shame or that blinding light or that whisper grief throughout and beyond a body of work. why there are voices we can trust, why there are voices that are unsteady, or empty of the political, empty of the personal. anyways leaving this collection I leave with more questions than answers, as always, and an unhealthy obsession with the one essay titled "motherhood and daughterhood" which I feel has shaken the bedrock of my existence. I will be thinking about that essay forever

Essential Essays Culture, Politics, and the Art of Poetry

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