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(ZAMI is a fast-moving chronicle. From the authors vivid...)
ZAMI is a fast-moving chronicle. From the authors vivid childhood memories in Harlem to her coming of age in the late 1950s, the nature of Audre Lordes work is cyclical. It especially relates the linkage of women who have shaped her . . . Lorde brings into play her craft of lush description and characterization. It keeps unfolding page after page.Off Our Backs
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(The author discusses her life as a Black lesbian, her str...)
The author discusses her life as a Black lesbian, her struggle against cancer, sadomasochism within the gay community, and apartheid and its relationship to racism in American society
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(Book by Lorde, Audre)
Book by Lorde, Audre
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( This volume resonates with some of the finest poems Au...)
This volume resonates with some of the finest poems Audre Lorde ever wrote: sinewy, lyrical, celebratory even in the face of death, and always political in the best sense. Now the poet is gone?but the work lives, and sings. ?Robin Morgan This collection, 39 poems written between 1987 and 1992, is the final volume by "a major American poet whose concerns are international, and whose words have left their mark on many lives, in the words of Adrienne Rich. Audre Lorde (1934-1992) was the author of ten volumes of poetry and five works of prose. She was named New York State Poet in 1991; her other honors include the Manhattan Borough Presidents Award for Excellence in the Arts. The Marvelous Arithmetics of Distance was nominated for a National Book Critics Circle Award in 1994.
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( In this collection, Audre Lorde gives us poems that exp...)
In this collection, Audre Lorde gives us poems that explore "differences as creative tensions, and the melding of past strength / pain with future hope / fear; the present being the vital catalyst, the motivating force?activism." As Marilyn Hacker has written, "Black, lesbian, mother, cancer survivor, urban woman: none of Lorde's selves has ever silenced the others; the counterpoint among them is often the material of her strongest poems."
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( Here are the words of some of the women I have been, a...)
Here are the words of some of the women I have been, am being still, will come to be, writes Audre Lorde of this volume, in which she brings together many of the most important poems she has written over the past thirty years. Chosen Poems is also, Lorde says, a linguistic and emotional tour through the conflicts, fears, and hopes of the worlds I have inhabited. Among those worlds are such earlier books as The First Cities, Cables to Rage, From a Land Where Other People Live, New York Head Shop and Museum, and Coal. Only the worlds of Africa scrutinized in The Black Unicorn, too complex for excerpt, have been excluded. The volume also includes seven new poems. As Adrienne Rich has written, Lorde, for the complexity of her vision, for her moral courage and the catalytic passion of her language, has already become, for many, an indispensable poet. Chosen Poems will provide for Lordes readers, both old and new, another proof of this continuing truth.
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( The Black Unicorn is a collection of poems by a woman w...)
The Black Unicorn is a collection of poems by a woman who, Adrienne Rich writes, "for the complexity of her vision, for her moral courage and the catalytic passion of her language, has already become, for many, an indispensable poet." Rich continues: "Refusing to be circumscribed by any simple identity, Audre Lorde writes as a Black woman, a mother, a daughter, a Lesbian, a feminist, a visionary; poems of elemental wildness and healing, nightmare and lucidity. Her rhythms and accents have the timelessness of a poetry which extends beyond white Western politics, beyond the anger and wisdom of Black America, beyond the North American earth, to Abomey and the Dahomeyan Amazons. These are poems nourished in an oral tradition, which also blaze and pulse on the page, beneath the reader's eye."
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(Presenting the essential writings of black lesbian poet a...)
Presenting the essential writings of black lesbian poet and feminist writer Audre Lorde, Sister Outsider celebrates an influential voice in twentieth-century literature. In this charged collection of fifteen essays and speeches, Lorde takes on sexism, racism, ageism, homophobia, and class, and propounds social difference as a vehicle for action and change. Her prose is incisive, unflinching, and lyrical, reflecting struggle but ultimately offering messages of hope. This commemorative edition includes a new foreword by Lorde-scholar and poet Cheryl Clarke, who celebrates the ways in which Lorde's philosophies resonate more than twenty years after they were first published. These landmark writings are, in Lorde's own words, a call to never close our eyes to the terror, to the chaos which is Black which is creative which is female which is dark which is rejected which is messy which is... Lorde's works will be important to those truly interested in growing up sensitive, intelligent, and aware. New York Times
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(Audre Lorde was not only a famous poet; she was also one ...)
Audre Lorde was not only a famous poet; she was also one of the most important radical black feminists of the past century. Her writings and speeches grappled with an impressive broad list of topics, including sexuality, race, gender, class, disease, the arts, parenting, and resistance, and they have served as a transformative and important foundation for theorists and activists in considering questions of power and social justice. Lorde embraced difference, and at each turn she emphasized the importance of using it to build shared strength among marginalized communities. I Am Your Sister is a collection of Lorde's non-fiction prose, written between 1976 and 1990, and it introduces new perspectives on the depth and range of Lorde's intellectual interests and her commitments to progressive social change. Presented here, for the first time in print, is a major body of Lorde's speeches and essays, along with the complete text of A Burst of Light and Lorde's landmark prose works Sister Outsider and The Cancer Journals. Together, these writings reveal Lorde's commitment to a radical course of thought and action, situating her works within the women's, gay and lesbian, and African American Civil Rights movements. They also place her within a continuum of black feminists, from Sojourner Truth, to Anna Julia Cooper, Amy Jacques Garvey, Lorraine Hansberry, and Patricia Hill Collins. I Am Your Sister concludes with personal reflections from Alice Walker, Gloria Joseph, Johnnetta Betsch Cole, Beverly Guy-Sheftall, and bell hooks on Lorde's political and social commitments and the indelibility of her writings for all who are committed to a more equitable society.
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(There are many kinds of power, used and unused, acknowled...)
There are many kinds of power, used and unused, acknowledged or otherwise. Thus begins this powerful essay; Uses of the Erotic defines the power of the erotic, names the process by which women have been stripped of this power, and considers how women can reclaim it. Uses of the Erotic shines among Audre Lorde's powerful legacy of speeches and essays, and has influenced feminist thinking for more than 15 years. The false dichotomies that Lorde debunks persist in our cultural imagination: the separation of the erotic from the spiritual and political. Now, Kore Press brings this essay into stand-alone focus, reprinting it in a fine, handbound pamphlet illustrated with photographs by Tucson photographer Camille Bonzani. Designed by book artist Nancy Solomon, the essay is offset and letterpress printed in an edition of 1000.
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(Literary Nonfiction. Memoir. African American Studies. LG...)
Literary Nonfiction. Memoir. African American Studies. LGBT Studies. Moving between journal entry, memoir, and exposition, Audre Lorde fuses the personal and political as she reflects on her experience coping with breast cancer and a radical mastectomy. Includes photos and tributes to Lorde written after her death in 1992. "Grief, terror, courage, the passion for survival and for more than survival, are here in the searchings of a great poet."Adrienne Rich "This book teaches me that with one breast or none, I am still me."Alice Walker
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( Of Coal, the poet and critic Hayden Carruth said, "For ...)
Of Coal, the poet and critic Hayden Carruth said, "For us these words indeed are jewels in the open light." Coal is one of the earliest collections of poems by a woman who, Adrienne Rich writes, "for the complexity of her vision, for her moral courage and the catalytic passion of her language, has already become, for many, an indispensable poet." Marilyn Hacker captures the essence of Lorde and her poetry: "Black, lesbian, mother, urban woman: none of Lorde's selves has ever silenced the others; the counterpoint among them is often the material of her strongest poems."
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(A Study Guide for Audre Lorde's "Hanging Fire," excerpted...)
A Study Guide for Audre Lorde's "Hanging Fire," excerpted from Gale's acclaimed Poetry for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Poetry for Students for all of your research needs.
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(Book by Lorde, Audre)
Book by Lorde, Audre
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activist Feminist Librarian writer
Audre Lorde was born in Harlem on February 18, 1934, to West Indian immigrants Frederick Byron and Linda Belmar Lorde. She was an introverted child who did not speak until she was five years old. When she began to communicate, she answered questions with poetry that she had memorized. The limitations of her poetic store forced her at 12 or 13 to compose her own verse.
Lorde attended a Catholic elementary school where she was the first African-American student. She suffered in an environment hostile to her own culture. The nuns, for instance, complained her braids, typical of most little African-American girls, were inappropriate for school.
At Hunter College High School she met Diane DiPrima, who like Lorde was already interested in being a poet. At 15 her first published poem, a tribute to her first love, appeared in Seventeen magazine because the adviser for the high school paper found it too romantic. While in high school Lorde also participated in John Henrik Clark's Harlem Writers' Guild. She credits John Clark, a African-American nationalist, with teaching her about Africa despite his distrust of her interracial and bohemian interests. In 1951 Lorde enrolled at Hunter College. After several years of working at odd jobs and attending classes, she received her B. A. in English literature and philosophy in 1959. In 1954 she had spent a year at the National University of Mexico.
In 1961 Lorde received a Master's in library science from Columbia University and worked as a librarian in the Mount Vernon Public Library (1960-1962), St. Clare's School of Nursing (1965-1966), and The Town School (1966-1968).
In 1967 Diane DiPrima urged her to prepare a manuscript for a first book to be published by Poets Press. Before The First Cities (1968) appeared in print, Lorde was offered a six-weeks' poet-in-residence at Tougaloo College in Mississippi, an experience that was pivotal. It was her first trip to the Deep South and her first time teaching. Tougaloo exposed Lorde to an almost all-African-American environment in 1968 when African-American students were becoming militant. There she wrote all the poems of Cables to Rage (1970), realized teaching was far more fulfilling than library work.
On her return to New York Lorde tembarked on a teaching career which included a year in the SEEK program of the City University of New York, a pre-baccalaureate program for disadvantaged students; a brief stint at Lehman College where she taught white education students a course on racism; about ten years (1970-1981) as an English professor at John Jay College of Criminal Justice; and a full professorship at Hunter College from 1981 into the 1990s.
Lorde's poetry reflected the many contradictions of her life. She wrote a complex verse which was both intensely personal and militantly social. Perhaps the majority of her poems dealt with the emotions, both subtle and fierce, of relationships between lovers, children and parents, and friends. Often this work was nonracial in its presentation.
Much of Lorde's work concentrated on the victims of American urban life; the children destroyed by neglect and violence; and African-American women, who she felt were devalued by everyone including African-American men. Two of her most memorable poems were "Power, " which responded with rage to the killing of a ten-year-old boy by a New York policeman who was acquitted of murder, and "Need: A Choral Poem, " a striking piece in which the first person voices of two African-American women murdered by African-American men alternate with a chorus (Chosen Poems, Old and New (1982) ). The latter poem revealed a skill for dramatic rendering which is clear in other poems, such as "Martha" in Cables to Rage (1970), a poem which depicted the nightmarish recovery of a former lover who almost dies in a fatal car accident. Other poems, such as "Coal" in Coal (1976), were densely metaphoric.
Lorde's other works include From a Land Where Other People Live (1973), a volume which introduced the use of African mythology for feminist purposes in one poem, "The Winds of Orisha. " (Lorde had originally included a lesbian erotic poem, "Love Poem, " but removed it when Dudley Randall, the publisher of Broadside Press, naively expressed puzzlement about its meaning.
New York Head Shop and Museum (1974) explored the harsh conditions of urban life. Between Ourselves was published in 1976, and The Black Unicorn (1978) exploited further a pantheon of Yoruba goddesses in the service of feminism. Our Dead Behind Us (1986) and Sister in Arms (1985) were continuations of Lorde's unique blend of the personal and political.
Lorde's prose includes Uses of the Erotic: The Erotic as Power (1979); The Cancer Journals (1980), a record of her courageous struggle against breast cancer; Zami: A New Spelling of my Name (1982), an autobiography about growing up in the 1950s that Lorde called a biomythology, " "a fiction"; Sister Outsider (1984); and A Burst of Light (1988).
Lorde died on November 17, 1992 losing her 14-year battle to breast cancer. The New York state poet laureate, died at her home in the fashionable Judith's Fancy section of St. Croix in the U. S. Virgin Islands. She had spent seven years on the island, where she was known by an African name, Gamba Adisa, which reflected her advocacy of pan-African issues.
The African-American poet Audre Lorde wrote poetry exploring the relationships between lovers, children and parents, and friends in both a very personal and a socially relevant manner. She was a feminist poet who challenged racial and sexual stereotypes.
'Coal' is one of Lorde’s most famous works in poetry.
‘Sister Outsider: Essays and Speeches’ is perhaps one of Lorde’s most important prose works. Through this work, she challenged sexism, racism, class, ageism and homophobia; exploring the fear and hatred arising in the marginalized sections of the society such as the African-Americans, lesbians, feminists and even white women.
In 1981, Audre Lorde won the American Library Association Gay Caucus Book of the Year Award for her 1980 book ‘The Cancer Journals’.
In 1989, she received American Book Award for ‘A Burst of Light’.
In 1992, she received the Bill Whitehead Award for Lifetime Achievement from Publishing Triangle.
In 1991, she became the Poet Laureate of New York, remaining so until her death two years later.
Callen-Lorde Community Health Center, established in 1983 for providing health care to New York’s LGBTQ population, has been named in her and Michael Callen’s honor.
Aurde Lorde Award was established in 2001.
In 2014, Audre Lorde was inducted into the Legacy Walk of Chicago.
( The Black Unicorn is a collection of poems by a woman w...)
( In this collection, Audre Lorde gives us poems that exp...)
( Here are the words of some of the women I have been, a...)
(The author discusses her life as a Black lesbian, her str...)
( This volume resonates with some of the finest poems Au...)
(Presenting the essential writings of black lesbian poet a...)
(Audre Lorde was not only a famous poet; she was also one ...)
( Of Coal, the poet and critic Hayden Carruth said, "For ...)
(A Study Guide for Audre Lorde's "Hanging Fire," excerpted...)
(There are many kinds of power, used and unused, acknowled...)
(ZAMI is a fast-moving chronicle. From the authors vivid...)
(Book by Lorde, Audre)
(Literary Nonfiction. Memoir. African American Studies. LG...)
(Book by Lorde, Audre)
Lorde, whose politics reflected a paradoxical mixture of interracial socialism and African-American cultural nationalism, was acutely attuned to the oppressive conditions of American contemporary society. Her poetry was often aimed to slay the dragons of sexism and racism.
Quotations:
"The true focus of revolutionary change is never merely the oppressive situations that we seek to escape, but that piece of the oppressor which is planted deep within each of us. "
"It is not our differences that divide us. It is our inability to recognize, accept, and celebrate those differences. "
"Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare. "
"I am not free while any woman is unfree, even when her shackles are very different from my own. "
"Black and Third World people are expected to educate white people as to our humanity. Women are expected to educate men. Lesbians and gay men are expected to educate the heterosexual world. The oppressors maintain their position and evade their responsibility for their own actions. There is a constant drain of energy which might be better used in redefining ourselves and devising realistic scenarios for altering the present and constructing the future. "
"There is no thing as a single-issue struggle because we do not live single-issue lives. "
"The speaking will get easier and easier. And you will find you have fallen in love with your own vision, which you may never have realized you had. And you will lose some friends and lovers, and realize you don't miss them. And new ones will find you and cherish you. And at last you'll know with surpassing certainty that only one thing is more frightening than speaking your truth. And that is not speaking. "
"When I dare to be powerful - to use my strength in the service of my vision, then it becomes less and less important whether I am afraid. "
"When we speak we are afraid our words will not be heard or welcomed. But when we are silent, we are still afraid. So it is better to speak. "
"It is learning how to stand alone, unpopular and sometimes reviled, and how to make common cause with those other identified as outside the structures, in order to define and seek a world in which we can all flourish. It is learning how to take our differences and make the strengths. For the master's tools will never dismantle the master's house. "
"My silences had not protected me. Your silence will not protect you. But for every real word spoken, for every attempt I had ever made to speak those truths for which I am still seeking, I had made contact with other women while we examined the words to fit a world in which we all believed, bridging our differences. "
"And when the sun rises we are afraid it might not remain when the sun sets we are afraid it might not rise in the morning when our stomachs are full we are afraid of indigestion when our stomachs are empty we are afraid we may never eat again when we are loved we are afraid love will vanish when we are alone we are afraid love will never return and when we speak we are afraid our words will not be heard nor welcomed but when we are silent we are still afraid So it is better to speak remembering we were never meant to survive"
". .. oppression is as American as apple pie. .. "
"Tomorrow belongs to those of us who conceive of it as belonging to everyone; who lend the best of ourselves to it, and with joy. "
"If I didn't define myself for myself, I would be crunched into other people's fantasies for me and eaten alive. "
"Some problems we share as women, some we do not. You [white women] fear your children will grow up to join the patriarchy and testify against you; we fear our children will be dragged from a car and shot down in the street, and you will turn your backs on the reasons they are dying. "
"For the master’s tools will never dismantle the master’s house. They may allow us to temporarily beat him at his own game, but they will never enable us to bring about genuine change. Racism and homophobia are real conditions of all our lives in this place and time. I urge each one of us here to reach down into that deep place of knowledge inside herself and touch that terror and loathing of any difference that lives here. See whose face it wears. Then the personal as the political can begin to illuminate all our choices. "
"I am not only a casualty, I am also a warrior. "
"The oppression of women knows no ethnic nor racial boundaries, true, but that does not mean it is identical within those boundaries. "
"I have a duty to speak the truth as I see it and share not just my triumphs, not just the things that felt good, but the pain, the intense, often unmitigated pain. It is important to share how I know survival is survival and not just a walk throught the rain. "
"I have come to believe over and over again that what is most important to me must be spoken, made verbal and shared, even at the risk of having it bruised or misunderstood. "
"Divide and conquer must become define and empower. "
"For we have been socialized to respect fear more than our own needs for language and definition, and while we wait in silence for that final luxury of fearlessness, the weight of that silence will choke us. "
"Institutionalized rejection of differences is an absolute necessity in a profit economy which needs outsiders as surplus people. As members of such an economy, we have all been programmed to respond to the human differences between us with fear and loathing and to handle that difference in one of three ways: ignore it, and if that is not possible, copy it if we think it is dominant, or destroy it if we think it is subordinate. "
She was a lesbian.
Lourde married attorney Edwin Rollins. She and Rollins divorced in 1970 after having two children, Elizabeth and Jonathan.
During her time in Mississippi she met Frances Clayton, a white professor of psychology, who was to be her romantic partner until 1989.
From 1977–1978, Lorde had a brief affair with the sculptor and painter Mildred Thompson. The two met in Nigeria in 1977 at the Second World Black and African Festival of Arts and Culture (FESTAC 77). Their affair ran its course during the time that Thompson lived in Washington, D. C.
(known as Byron)
