8 FOOTNOTES Volume 2 (2009)
“The Only Lesbian:” Issues of Identity and the Erotic in Poems by Adrienne Rich and Staceyann Chin
Jennifer de Visser
Abstract This paper addresses the ways in which Adrienne Rich and Staceyann Chin represent different invocations of lesbian identity through the use of the erotic in their poetry. Rich’s “The Floating Poem, Unnumbered” from “Twenty one love poems” rewrites the history of patriarchal heteronormativiiy in love poems by explicitly alluding to lesbian sexual acts in her descriptions, use of language, and inversion of gender roles. Chin’s “Haiku on being the only lesbian from Jamaica” and “Lesbian Chasing Straight” represent the intersection of race and lesbian identity. She challenges strict categorizations of sexuality through her use of language as well as the personalized form of slam poetry. The comparison of Rich’s militant demand for space in a traditional poetic world and Chin’s articulation of a fluid sexual identity points to an evolving definition of sexuality, leading to a new sexual paradigm.
The varying ways in which lesbian identities have been negotiated in literature has differed considerably through places, cultures, and times. Within this paper, I will be discussing two lesbian-identified women and the ways in which they have explored their own identities, sexualities, and issues of the closet through the medium of poetry. Starting with Adrienne Rich’s writing, I will be looking at her attempts to make her personal life a source for both her politics and poetics. Her attempts to counteract patriarchal forms of literature by infusing them with erotic lesbian subject matter will be specifically addressed. Following this I will be looking at some of the contemporary work by Staceyann Chin and the ways in which she identifies her lesbian identity as intersectional with other minoritized identities. How this multitudinous sexual identity plays out in her chosen forum of spoken word poetry will also be touched upon. Hopefully, I will be able to gamer a greater understanding of how two women from two different generations used poetry as a means to express their minoritized places in the world.
It does not take much to argue that Adrienne Rich is hugely interested in exploring issues of lesbian identity. She is in particular interested in issues surrounding the “erasure of lesbian existence (except as exotic and perverse) in art, literature, film.” Thus, much of her focus is on combating this notion along with its partner assumption that the majority of women are innately heterosexual: “partly
Adrienne Rich, “Compulsory Heterosexuality and Lesbian Existence (1980),” Journal of Womens History, 15, no. 3 (2003): 20, web.ebscohost.com (accessed Nov. 11, 2008). 2002),
2
an
person
of
“she”
poem
“us”
erotic
has
language
however,
its motivation
a
this
use
much
history Rich’s
Adrienne
lesbian
lbid,36. Rich, lesbian
erotic writes
lesbian
woman
For
poetry.
focus
literature,
overlapping.
maintained
to
partly
something
because
sonnet.
patriarchal
individual
long
acknowledge
come
poem--and
of
P. and
“Compulsory,”
her,
and
as
language
the
150,11.
on
as
choice
“Twenty
because
content.
that
Rich.
of
politics
Rich’s
existence
feminism.” 3
compared
history
lover
This
“your
For
In lesbian
well
“her.” such
Because
a
representations
Rich same
heterosexual
and
she
as
lesbian
5-6.
fact,
The
that
by
“there
articulation Therefore,
Rich,
it
poetry
and
as
or
must
use
as
explicitly
come--.” 4
lovemaking”
Fact is
the force.” 2
into
Rich’s
breaches
format it
clearly
of
In
26-7.
one
existence
the
has
one
life
that
a
to
“Your
has
to
of
of
separates
rest
of
clear
use is
particular,
existence
her
realize her
The deepen
couple
a
a
which could
pronouns
partner
had
love
her
for
a
been
choice
Dooifrarne:
patriarchal
of
of
and
by
poetry
is
nascent
political
when
traveled,
politics
the
moves
ways
of
This
of
women
the
intensely
earlier
to
has
poems.”
men
describing
treated
patriarchal
argue
this
as
the
her
which
simply
explicitly and
from
be
in
to
“Twenty
is
been
a
are
she
“The
interplay
in
is
lesbian
Selected
use
political
the
politics
to
forward
separate
easily
feminist
imposed,
male
stance
expand
and
heterosexuality
that
also
which
particularly
poetic
generous
sees
as
the
discuss
evoke
written
political
“you” These
face
focuses
Floating
exceptional
Rich
of
personal
erotic
Poems,
poetry.
a
writers
one
tradition
intertwined
an
existence
on
in
of
she
to
content
history.
of
entity.
lesbian
great
into
a political
and
erasure
her
managed,
pieces
Rich’s love
the
out
is create
patriarchal
focus
institutionalized
thighs
on
takes
1950-2001,
area.
identity,
Poem,
invoking
fascinating.
As
and
“your”
conscious
poetic
important
of
beauty
poems”--is
This
descriptions
life
in
of
She
that
erotic may
FOOTNOTES
history
part.
such, rather
on
What
are
of
this
these
yet
content
/
with
an
simply
between
are
lesbian
both
flies
Unnumbered”
begins
work
specifically
organized,
new
she
Rich
very
ultimately
queer not
representation
of
the
form
Rich’s
should
than
relationship
articulations
her
to or
hugely
ed.
woman
their
finds
in
the
be
sonnet
in
that
can
catalogued
an
much
often
(New
pontificating
the
by heterosexuality. representation
this
feminist
with
intrinsic,
of
a
which
lover
the
intention
understanding
first
female
so
be
‘preference’
it
using
face
the
York;
propagandized,
fonnat
liberating
interconnected Volume
marks
visually
identification--into uses
format
act
engaged
lacking
explicitly
seen
as be
exemplifies
female
my
of
within
particularly
London:
of
words
politics
of
partly
an
noticed
under
lovers.
her
the
is
especially
her
her
through
whole
2
choosing
because
individual
about
to
resembles
in
(2009)
in
form,
poetry
tradition
with at
lover
Norton, love
feminist
her
such
work
lesbian
society.
But because
disease,
of
art
as
all
Here,
about
face
this
own
this
the
her
and
and
the
she
and
the
for
as
as but
as
of
in
in
in
to
a 9 10 FOOTNOTES Volume 2 (2009) lover’s outward beauty. Instead, Rich focuses on her as an autonomous person with a specific touch and lovemaking. It is this specificity that brings the nameless and faceless woman to life. While the history of patriarchal poetry may have emphasized discussions of a woman’s lips, eyes, hair, breasts, etc., Rich turns this on its head and creates a much more personal poem out of describing a woman without using these tropes.
Instead, Rich’s descriptions of the physical characteristics of her lover are quite surprising. She talks about “your traveled, generous thighs,” “the live, insatiate dance of your nipples,” and “your strong tongue and slender fingers.” Each of these phrases engages with Rich’s feminist politics. The emphasis5 on thighs is not particularly strange in a poem of this nature. However, Rich describes “traveled, generous thighs” evoking images of larger-than-average thighs with possibly a few stretch marks, veins, and/or cellulite. This can be understood as both a celebration of femininity (thighs being a part of the body where women often gain weight), as well as a focus on an atypical, feminist-minded beauty. Rich’s description of her lover’s nipples is equally fascinating because it is not focused on the breast as a whole-- which might be a typical move for a male poet. Instead, Rich has the nipples “live” and “dance” thereby giving their owner a moving, living, subjective personality. Her description of “your strong tongue” makes similar moves in that it attributes strength to the female lover, a move unusual for the male poets she is writing against.
Another aspect that sets “The Floating Poem” apart from a history of poetry is Rich’s attention to an “us.” The poem is no longer one describing a beautiful woman on a pedestal but it describes instead a giving and taking mutual relationship. This mutuality between the speaker and the lover can also be seen in the descriptions of “tender, delicate / your lovemaking” as compared to “your touch on me, firm, protective.” There are no firmly defined gender roles keeping the woman tender and 6delicate and the man as firm and protective. Instead, Rich writes her lover as embodying both these feminine and masculine characteristics equally. As well as playing with expected notions of femininity and masculinity, Rich further equalizes the speaker of the poem and the lover. In very simple terms, this can be seen in the fact that Rich writes both figures as perfonning cunnilingus. She is then even playing with expected notions of how lesbian relationships may or may not be imagined to function.
Rich’s poetry is therefore heavily invested in notions of a feminist and specifically lesbian politics. However, looking at the work of contemporary lesbian poet Staceyann Chin, we can begin to see a few of the ways that other writers have attempted to blur the boundaries set up by Rich’s politics. This can be seen most clearly in the inclusion of intersecting minoritizations as representational points in poetry. Staceyann Chin’s “Haiku on being the only lesbian from Jamaica”: “Wonder
Rich, The Fact of a Doorframe, p. 150, 11.5, 8, 10. 6 Ibid, 2-3, 9.
Midwest
Official
‘Susan
identity
but,
and
identifies
allows
seen
fascinating
the
have
used
Somers-Willett, to
poetry
poetry
poetry
specifics.
writing
distinguish work
Soiners-Willett, cormected
more
means
Staceyann
Chin’s
down
Jamaican
intersection
manages
identity personal
has
whose
entering
maximize
same
sincerity”
rather,
even
multiple
by
B.
a
Website,
Modern
multidimensional
and
and the
as
for
as
writing
of
A.
and
pussy
“sense
style
In
slam
We
Chin,
We
moment
as
her
a
Somers-Willett,
different
well and
to
counteracting
Susan
culture
in
a
strict
understand to
medium
the
rewards discussion
showing
involvement
a
her
Language
bring
“Slain
2004,
of
much the
should
“Haiku
of
Chin’s
can
own poets.” 8
the
/
political
lesbian
from
facets
as
of
represents
I
these
Rich.
context
slam
was
as
‘authenticity
B.
boundaries
staceyannchin.com,
begin
forms
that
Poetry,”
its
through
‘personality”
to
sexuality
on
from
more
having
the
A.
Association,
“Haiku
the
through
first
it
cultural
the
eatin’
being to
two
poetry
it
and
As
“Slam
of
to it
perspective--like
Somers-Willett
poet-performer
to
is
in the
of
it.
use
53.
table
other
in
the
lesbian a
forthright
well,
try
a
in
minorities
the
a
a
national
when
see,
which
terms
Poetry
multitude
This
a
movement
complete
made
performance
history
on
only
in
of of
audience
can
which
implications
slam
and
to
a
discussion
38,
poetic
being she
the
through
whole
the identity
which
gamer
lesbian
and
11.
no. poem,
I
be
of
identity.
sincerity’
Chin
had
a
1-3.
emphasizes
title
poetry.
identity
of
the
personal
and
I
performance
to
understood
and
great
(Spring
modes
denial
of
the
is
from
patriarchal host
/
Cultural
away
write.
is
has
writes.
also
a
a
in
alone.
Chin’s
minoritizations. 7
the
that
obvious
thus
the
of
P.
of
only
seen
before
fuller
Jamaica,”
leap
of
the
2005):
This
of
attempted
the
This
of as
work
0.
because
does
from
ways
lesbian
Politics Rich
applauded
in
The
issues
the
the
lesbian
Chin
a
Slam
Box
as
intensely
writing, space
a
as
the
from
understanding
FOOTNOTES
53.
idea
Jamaican.
delving
identity.
lesbian
discussion
writing
not
poetic
of
first-person
in lesbian
existence
reflective
emphasis
in
set
intensely
of
www.jstor.org
there?”
Poems
poetic.
surrounding
is
Rich--but
poetry’s of
identity,
Performing
which
of
allow
to
the
of up
from
predominantly
the
in
new
personal.
only
look
identification.
into
Chin
rather
form
&
poetry
exploring
She in
this
more
exemplifies
“use
Writings,
As
Opening
homophobia
of
for
of
Jamaica”
personal
on
of
her
movements
focus
Chin’s
voice
Identity”
therefore
at
this a
type
homosexuality.
(accessed
it
is
how
well,
of
alone
the
it
a
a
Volume
of
title
both
simply
traditionally
the
is
work
writing
closeted serves
first
the
Staceyann
live
is
a
of
poet. 9
on
the
overwhelmingly
poetry
identity
culture
it
perspective
up
The
poetry
and
Chin’s
forum.
as
known
Nov.
a
is
form
person
in
“authenticity
addresses
her
performance
poems
This
defines
2
existing
Journal
particularly
to
one’s
plays
she
from
to
(2009)
enough
the
three
Thus,
11,
sexuality
Chin
interest
explore
in
breaking
personal
of
of
even
clearly
2008). can
is
for
lyrical
1980s.
closer
voice
both
inner
of
out
often
slam slam
slam
lines
also
as
the
that
for
her
be
the
in
to
in 11
in
a
a a 12 FOOTNOTES Volume 2 (2009)
Another extremely important characteristic common to slam poetry is a discussion of the issue of marginalization. While the poets are lauded for representing their authentic and sincere personalities, these identities are “more often than not, marginalized gender, class, sexual, and racial identities [which] are celebrated at poetry slams.”° The slam, as an event, then becomes a celebration of those identities and personalities which are normally marginalized. This makes it easier to understand how some audiences can see slams “not only as literary or performative but ultimately as political 11events.” As the poetry slam becomes a politicized event, the idea of performing a marginalized identity gains significance in this forum: “the slam itself [becomes] a representational practice which authenticates certain voices and 12identities.” Thus, in many ways, the new form of slam poetry can be seen as the embodiment of the connections between the personal and the political that Rich was trying to make. It allows for a marginalized identity (such as a lesbian identity) to be shouted from the stage and, in fact, rewards the poet for such an action. The slam poetry event then becomes a locale for the work which Rich was so heavily promoting; that of both politically and artistically representing the hidden outsider identities. This authentication of these identities then represents a step towards a new view of lesbian identity.
One of the characteristics that can sometimes occur in contemporary slam poetry is the intersection of multiple minoritized identities. This, of course, is a change from Rich’s essays which focus predominantly on strictly female and lesbian identities. However, writers such as Chin are identifiing a number of varying and sometimes conflicting personal identities in their works. Returning to “Haiku on being the only lesbian from Jamaica”, this piece directly deals with the disjoint that can occur between two different marginalized identities. Chin, living in New York, can express herself through her poetry as an out lesbian. However, her life in Jamaica denied the opportunity to be open about her sexuality. Thus, her identity as a Jamaican is directly in conflict with her identity as a lesbian.
This playing with issues of identity is seen by Somers-Willett as something that does not commonly happen at poetry slams. However, she argues that some of the better poet-performers “tap the potential to critically investigate the performance of identity on the slam stage.” This investigation of identity is what, for Somers Willett, makes the personal3 identity poems “brave, enlightening, and inspiring.” Thus, it is no longer about shoring up a distinct identity but rather about 4questioning
Somers-Willett, “Slam Poetry,” 53-4. Ibid, 54. 2 Somers-Willett, “Slam Poetry,” 54. ° Ibid, 66. ‘ Ibid, 70. staceyannchin.com,
°
° a
lesbian
objects
outrageous
second
and
of
work lesbian
6
her
“Lesbian
seemingly twice).” 5
insignificant--Chin
creates
taken
boundaries
same demarcated
“dyke.”
identifying
“Lesbian
no
lesbian
necessarily
To
performance
framed
Ibid, attempting
Ibid, slam
example
Staceyann
identity,
where
the
new
lesbian
point
own
begin,
a
11.
ways
II.
of
people.
and
into
piece
70-7,
sexuality
58-9,
representation
sexuality.
such
the
fluidity
Rich, This
relationship.
by
lesbian
These
Chin’s
Chin,
plus
to
Chasing Staceyann
particularly
Chasing
of
sexuality.
typical
versatile the
in
By
/
lines
a
61. question. between
a
labels
to
64.
Chin’s
set
what
identity
as
story discussing
discussion
“Lesbian
which
The piece
idea
On
L one
date
entire
words
admitting
32.
identity.
a
interest
in
between
of
not
More
a
slam
concept
“fluorescent
in
Straight.” Straight.”
with
of
of
flesh identity
negotiations
affects
stone and/or
very
is
Chin
definition
The
such
identities
even
Chasing
poem
her
If
the
Another
with
function
groups.
particularly
visualizing
of
specifically,
this
poem,
the
of
in
numerous
simple
poem
first
colored
speaker’s
lesbian
is
and
groups
them
mentioned
sleep
the
of
to
respect
lesbian
functions
are
Straight,” identity
one
sexual
bedposts
In
In
“lesbian”
is
definition
that
previous
are
Chin
However,
of
blurred
way
in
particular,
butt
including
particular,
of
of
with
represented
level, occurs
in
sexuality
lesbian
two
dildos”
engaged
defined.
the
and
to
these
identity
advances
identity
a
in
the
aspects
manages
plug.” 7
Chin continues
in
Poems
under
by
straight a
her
and
different
she
negotiation
and
straight
and straight
ways
which
in
poets
her
of
heterosexual
identity
“straight
sexuality.
chooses
Chin
secondly,
and
those
brings
&
Chin’s
multiple
is
the As
her with
fluidity
focuses
the
“straight”
around
poetic
as
being
Writings,
Not
that
her
to
woman
who
Chin
within
well,
women
“three
lesbian-identified
woman,
utilizes
a principle
line
ways.
negotiate
issues
handcuffs”
FOOTNOTES
poem
“run-of-the-mill-dyke
objects
Chin
as
only
use
to
girls,’
rejected
of
address
were
predecessors,
identities
on
Staceyann
Through
an
the
“a
the
plays
they
differentiate
as
First
of
identity is
multi-speed
the
dating/having
uses
around
interactions--no
a
is
how
“Lesbian
out
boy
“Lesbian
truly
binary
number
not issues
that
capable
to
the
“bi-curious,”
Chin
a
language
also
with
the
by
lesbian.
of
play
number them
and
Chin
it possible,
I
erotic
a
begin
a
interesting
all,
a
the
various
kissed
continues
“has straight
opposites
discussion
manage
describing
of
straight
Official
these
Chasing Volume
in
how
of
position.
Chasing
of
to
she
between
they
fluidity
vibrators.” 6
a
her
to
different
departs
Another
often
of
a
that
being
sex.
is
lesbian
overlap.
there
it
once
way
negotiations
Website,
identities
“lesbian,”
issues
discussion identity
set
/
representing
woman.
matter
2
can
with
to
work
she
is Straight.”
throughout
refer
Straight”
(2009)
of
Through
two
up
of
open
forms
of
would
from
therefore
(perhaps
blur
excellent
sexually
identity.
include
uses
around
varied woman
2004,
the
clearly
being
kinds
occurs
to
is
how
The
This
to
and
and
the
the
the
not
of 11
of
be
in
of 13
A
a
is a 14 FOOTNOTES Volume 2 (2009)
object-related sexual acts, Chin is redefining what it means to write an erotic lesbian poem.
This inclusion of a broader lesbian sexuality also leaves room for Chin to allow broader definitions of both lesbianism and sexual identity in general. In particular, Chin opens up this fluidity of identity near the end of her poem with the lines: “I know I could have taught her a thing or two I she could have learned something new about gender-bending and multiple / orgasms.i This discussion of the straight woman who spurned her advances is interesting8 for a few reasons. First of all, Chin has left the door open for the opportunity of ‘gender-bending” without ever defining how that may or may not happen. Secondly, she allows for the possibility of encounters (sexual or otherwise) between two presumably oppositional groups.
Chin follows these lines with a few more that even further open up a fluidity of identities: “maybe she could have taught me things about the way I’ve been coming / to terms with my own sexuality.” This is almost a complete about-face from Rich’s work. While Rich’s energy9 was focused on lesbian identity as informing the world, Chin writes about the possibility of a heterosexual identity informing her own lesbian sexuality. This is particularly important as it opens the doors to a world of non-demarcated sexualities. Chin’s work is therefore very interested in attempting to broaden the horizons of existing definitions of sexuality. She thus leaves the opportunity for the creation of a new sexual paradigm in the hands of her audience. It is this opportunity for new sexual paradigms that leaves wide-open the possibilities for lesbian poets to come. What will they write? How will future poets address these issues of identity and the erotic? Following upon the legacies of Rich and Chin, in what ways will identity and sexuality co-exist in the future?
Chin, “Lesbian Chasing Straight,” II. 80-3. ‘ Ibid. 83-4.
Somers-Willett,
Rich,
Rich,
Chin,
Chin,
Works
Adrienne.
Adrienne.
(Spring
Identity.”
New
Journal
Staceyann.
(accessed
Staceyann.
Official
Writings,
Cited
York;
2005):
of
Website,
The
Susan
Nov.
The
Staceyann
“Compulsory
Womens
“Lesbian
“Haiku
London:
Journal
Fact
5
11,
B.
1-73,
2004.
A.
on
2008).
of
History
Norton,
Chasing Chin
www.jstor.org
a
being
“Slam
of
Doorframe:
Heterosexuality
staceyannchin.com.
the
Official
the
Midwest
15,
2002.
Poetry
Straight.”
only
no.
Website,
3
and
Selected
(accessed
lesbian
Modern
(2003):
Poems
the
and
FOOTNOTES
Cultural
2004.
Lesbian
from
Poems,
Language
11-48,
Nov.
&
Writings,
Jamaica.”
staceyannchin.com.
11,2008). Politics
web.ebscohost.com
Existence
1950-2001.
Association,
Volume
Staceyann
Poems
of
(1980).”
Performing
New
2
& (2009)
38,
Chin
ed.
no.
15 1