DOCSLIB.ORG

THIS BRIDGE 'CALLEDMY BACK Writingssy RADICAL WOMEN of COLOR

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THIS BRIDGE 'CALLEDMY BACK Writingssy RADICAL WOMEN of COLOR THIS BRIDGE 'CALLEDMY BACK WRITINGSsy RADICAL WOMEN OF COLOR EDITORS: ~ CHERRIE MORAGA GLORIA ANZALDUA FOREWORD: TONI CADE BAMBARA ;f~ KITCHEN TABLE: Women of Color Press ~ New York Copyright © 1981, 1983 by Cherrie Moraga and Gloria Anzaldua. All rights reserved. No part of this book may be reproduced without permission in writing from the publisher. Published in the United States by Kitchen Table: Women of Color Press, Post Office Box 908, Latham, New York 12110-0908. Originally published by Peresphone Press, Inc. Watertown, Massachusetts, 1981. Also by Cherrie Moraga Cuentos: Stories by Latinas. ed. with Alma G6mez and Mariana Romo-Carmona. Kitchen Table: Women of Color Press, 1983. -Loving in the War Years : La Que Nunca Paso Par Sus Labios. South End Press, 1983. Cover and text illustrations by Johnetta Tinker. Cover design by Maria von Brincken. Text design by Pat McGloin. Typeset in Garth Graphic by Serif & Sans, Inc., Boston, Mass. Second Edition Typeset by Susan L. Yung Second Edition, Sixth Printing. ISBN 0-913175-03-X, paper. ISBN 0-913175-18-8, cloth. This bridge called my back: writings by radical women of color / editors, Cherne Moraga, Gloria Anzaldua; foreword, Toni Cade Bambara. - 1st ed. - Watertown, Mass. : Persephone Press, c1981. [*] xxvi, 261 p. : ill. ; 22 cm. Bibliography: p. 251-261. ISBN 0-930436-10-5 (pbk.) : $9.95 1. Feminism-Literary collections. 2. Radicalism-Literary collections. 3. Minority women-United States-Literary collections. 4. American literature -Women authors. 5. American literature-Minority authors. 6. American literature-20th century. I. Moraga, Cherne II. Anzaldua, Gloria. PS509.F44T5 81-168894 810 '.8 '09287-dc19 AACR 2 MARC Library of Congress [r88)rev [*]-2nd ed. - Latham, NY: Kitchen Table, Women of Color Press, cl983. CHRYSTOS: "Ceremony for Completing a Poetry Reading," copyright ® 1976 by Chrystos, first appeared in Womanspirit, reprinted by permission. COMBAHEE RIVER COLLECTIVE: "A Black Feminist Statement," first appeared in Capitalist Patriarchy and the Case for Socialist Feminism. Zillab R. Eisenstein, ed . (New York : Monthly Review Press, 1979), reprinted by permission. DORIS DAVENPORT: ~The Pathology of Racism," copyright © 1980 by Doris Davenport, first appeared in Spinning Off. reprinted by permission. HATTIE GOSSETT: "billie lives! biUie lives! ," copyright ® 1980 by Hattie Gossett; "who told you anybody wants to hear from you? you ain't nothing but a black woman!," copyright © 1980 by Hattie Gossett. MARY HOPE LEE: "on not being," copyright © 1979 by Mary Hope Lee, first appeared in Callaloo, reprinted by permission. AUDRE LORDE: "An Open Letter to Mary Daly," copyright © 1980 by Audre Lorde,_ first·appeared in Top Ranking, reprinted by permission. "The Master's Tools Will Never Dismantle the Master's House," copyright © 1980 by Audre Lorde. PAT PARKER: "Revloution: It's Not Neat or Pretty or Quick," copyright © 1980 by Pat Parker. KATE RUSHIN: "The Bridge Poem, copyright © 1981 by Donna K. Rushin. MITSUYE YAMADA: "Invisibility is an Unnatural Disaster," copyright © 1979 by Bridge: An Asian American Perspective. reprinted by permission. ," -- - --­ ;-~~~---- - -=~--- ­ - . 164 165 , - "pretty little Indian girl!" Speaking In Tongues: A Letter To saving the:m ­ going to give them 3rd World Women Writers * back to her one day . * Gloria Anzaldua A woman who writes has power. A woman with power is feared. In the eyes of the world this makes us dangerous beasts. 21 mayo 80 Dear muj~res de color, companions in writing- . • Anna Lee Walters in The Third Woman - Minority Women Writers in the u. s. I sit here naked in the sun, typewriter against my knee trying to Dexter Fisher {ed.} {Houghton Mifflin, 1980} p. 109. visualize you. Black woman huddles over a desk in the fifth floor of some New York tenement. Sitting on a porch in south Texas, a Chicana fanning away mosquitos and the hot air, trying to arouse the smoul­ dering embers of writing. Indian woman walking to school or work lamenting the lack of time to weave writing into your life. Asian American, lesbian, single mother, tugged in all directions by children, lover or ex-husband, and the writing. It is not ea,sy writing this letter. It began as a poem, a long poem. I tried to turn it into an essay but the result was wooden, cold. I have not yet unlearned the esoteric bullshit and pseudo-intellectualizing that school brainwashed into my writing. , How to begin again, How to approximate the intimacy and immedi­ acy I want. What form? A letter, of course, My dear hermanas, the dangers we face as women writers of color are not the same as those of white women though we have many in common. We don't have as much to lose - we never had any privileges. I wanted to call the dangers "obstacles" but that would be a kind of ly~~g . We can't transcend the dangers, can't rise above them. We must go' through the01 and hope we won't have to repeat the performance. Unlikely to be friends of people in high literary places, the beginning woman of color is invisible both in the white male main­ stream world and in the white women's feminist world, though in the latter this is gradually changing. The lesbian of color is not only invisible, she doesn't even exist. Our speech, too, is inaudible. We speak in tongues like the outcast and the insane, Because white eyes do not want to know us, they do not bother to learn our language, the language which reflects us, our culture, our spirit. The schools we attended or didn't attend did not give us the skills for writing nor the confidence that we were correct in using our class and ethnic languages. I, for one, became adept at, and majored in English to spite, to show up, the arrogant racist teachers who thought 'Originally written for Words In Our Pockets {Bootlegger: San Francisco}. the Feminist Writers' Guild Handbook. 166 Gloria Anzaldua Gloria Anzaldua 167 I all Chicano children were dumb and dirty. And Spanish was not 1 think, yes, perhaps if we go to the university. Perhaps if we taught in grade school. And Spanish was not required in High School. become male-women or as middleclass as we can. Perhaps if we give And though now I write my poems in Spanish as well as English I feel up loving women, we will be worthy of having something to say th~ rip-off of my native tongue. worth saying. They convince us that we must cultivate art for art's ,1 lack imagination you say sake. Bow down to the sacred bull, form. Put frames and metaframes around the writing. Achieve distance in order to win the coveted title No. I lack language. "literary writer" or "professional writer." Above all do not be simple, The language to clarify direct, n'or immediate. my resistance to the literate. Why do they fight us? Because they think we are dangerous beasts? Words are a war to me. They threaten my family. Why are we dangerous beasts?'Because we shake and often break the white's comfortable stereotypic images they have of us: the Black To gain the word domestic, the lumbering nanny with twelve babies sucking her tits, to describe the loss the slant-eyed Chinese with her expert hand - "They know how to I risk losing everything. treat a man in bed," the flat-faced Chicana or Indian, passively lying 1 may create a monster on her back, being fucked by the Man a la La Chingada. the word's length and body swelling up colorful and thrilling The Thir;d World woman revolts: We revoke, we erase your white male looming over my mother, characterized. imprint. when you come knocking on our doors with your rubber stamps Her voice in .the distance to brand our faces with DUMB, HYSTERICAL, PASSIVE PUTA, unintelligible illiterate. PERVERT, when you come with your branding irons to burn MY These are the monster's words. I PROPERTY on our buttocks, we will vomit the guilt, self-denial and race­ Cherrie Moraga hatred you have force-fed into us right back into your mouth. We are done being_cushions for your projected fears . We are tired of being your sacrificial lambs and scapegoats. Who gave us permission to perform the act of writing? Why does I can write this and yet I realize that many of us women of color who writing seem so unnatural for me? I'll do anything to postpone it­ have strung degrees, credentials and published books around our empty the trash, answer the telephone. The voice recurs in me: Who nec;:~s like pearls that we hang onto for dear life are in danger of am I, a poor Chicanita from the sticks, to think I could write? How dare I contributing to the invisibility of our sister-writers. "La Vendida," the even considered becoming a writer as 1 stooped over the tomato fields sell-out. bending, bending under the hot sun, hands broadened and calloused, The danger of selling out one's own ideologies. For the Third World not fit to hold the quill,·numbed into an animal stupor by the heat. woman, who has, at best, one foot in the feminist literary world, the How hard it is for us to think we can choose to become writers, much temptation is great to adopt the current feeling-fads and theory fads, less'feel and believe that we can. What have we to contribute, to give? the latest half truths in political thought, the half-digested new age Our own expectations condition us. Does not our class, our culture as psychological axioms that are preached by the white feminist well as the white man tell us writing is not for women such as us? establishment.
Load more

Recommended publications
  • The Mellon Mays Undergraduate Fellowship Journal 2018
    The Mellon Mays Undergraduate Fellowship Journal 2018 Through subtle shades of color, the cover design represents the layers of richness and diversity that flourish within minority communities. The Mellon Mays Undergraduate Fellowship Journal 2018 A collection of scholarly research by fellows of the Mellon Mays Undergraduate Fellowship Program Preface We are proud to present to you the 2018 edition of the Mellon Mays Undergraduate Fellowship Journal. For more than 30 years, the Mellon Mays Undergraduate Fellowship (MMUF) program has endeavored to promote diversity in the faculty of higher education, specifically by supporting thousands of students from underrepresented minority groups in their goal of obtaining PhDs. With the MMUF Journal, we provide an additional opportunity for students to experience academia through exposure to the publishing process. In addition to providing an audience for student work, the journal offers an introduction to the publishing process, including peer review and editor-guided revision of scholarly work. For the majority of students, the MMUF Journal is their first experience in publishing a scholarly article. The 2018 Journal features writing by 27 authors from 22 colleges and universities that are part of the program’s member institutions. The scholarship represented in the journal ranges from research conducted under the MMUF program, introductions to senior theses, and papers written for university courses. The work presented here includes scholarship from a wide range of disciples, from history to linguistics to political science. The papers presented here will take the reader on a journey. Readers will travel across the U.S., from Texas to South Carolina to California, and to countries ranging from Brazil and Nicaragua to Germany and South Korea, as they learn about theater, race relations, and the refugee experience.
    [Show full text]
  • Notes for the Downloaders
    NOTES FOR THE DOWNLOADERS: This book is made of different sources. First, we got the scanned pages from fuckyeahradicalliterature.tumblr.com. Second, we cleaned them up and scanned the missing chapters (Entering the Lives of Others and El Mundo Zurdo). Also, we replaced the images for new better ones. Unfortunately, our copy of the book has La Prieta, from El Mundo Zurdo, in a bad quality, so we got it from scribd.com. Be aware it’s the same text but from another edition of the book, so it has other pagination. Enjoy and share it everywhere! Winner0fThe 1986 BEFORECOLTJMBUS FOTJNDATION AMERICANBOOK THIS BRIDGE CALLED MY BACK WRITINGS BY RADICAL WOMEN OF COLOR EDITORS: _ CHERRIE MORAGA GLORIA ANZALDUA FOREWORD: TONI CADE BAMBARA KITCHEN TABLE: Women of Color Press a New York Copyright © 198 L 1983 by Cherrie Moraga and Gloria Anzaldua. All rights reserved. No part of this book may be reproduced without permission in writing from the publisher. Published in the United States by Kitchen Table: Women of Color Press, Post Office Box 908, Latham, New York 12110-0908. Originally published by Peresphone Press, Inc. Watertown, Massachusetts, 1981. Also by Cherrie Moraga Cuentos: Stories by Latinas, ed. with Alma Gomez and Mariana Romo-Carmona. Kitchen Table: Women of Color Press, 1983. Loving in the War Years: Lo Que Nunca Paso Por Sus Labios. South End Press, 1983. Cover and text illustrations by Johnetta Tinker. Cover design by Maria von Brincken. Text design by Pat McGloin. Typeset in Garth Graphic by Serif & Sans, Inc., Boston, Mass. Second Edition Typeset by Susan L.
    [Show full text]
  • An Annotated Bibliography of Books, Dvds, and Internet Resources on LGBTQ/Two- Spirit Native Americans and First Nations People
    Page 1 of 20 An Annotated Bibliography of Books, DVDs, and Internet Resources on LGBTQ/Two- Spirit Native Americans and First Nations People Compiled by Peter Brunette. Approved by the GLBTRT Resources Committee. Last revised November 8, 2016. Table of Contents Introduction 2 I. General Nonfiction 4 II. Memoirs 8 III. Literary Anthologies 9 IV. Fiction 10 V. Poetry 11 VI. Drama 14 VII. Films 14 VIII. Internet Resources 16 Index 18 Page 2 of 20 Introduction This bibliography includes resources about gay men, lesbians, bisexuals, transgender persons, and two-spirit persons who identify as Native American in the United States and First Nations people in Canada. The books listed in this bibliography have all been published in print, but some may be available as e-books. The sections of this bibliography contain general nonfiction, memoirs, literary anthologies, novels and short story collections, plays, and films. A section on internet resources, including local two- spirit organizations in the United States and Canada, has also been included. Each book and film has a link to the OCLC WorldCat record where you can discover what libraries hold the item. We plan to update this resource in the future. If you have any suggestions or updates, please contact the GLBTRT Resources Committee. A note on terminology: Indigenous identities are deeply complex, and concepts of gender and sexual diversity have many names. Different tribes and communities have different terms and understandings--for example, winkte (Lakota) and nádleehé (Navajo)--that do not always translate into Eurowestern concepts of sexuality and gender. With these tribal- specific concepts in mind, this resource does not prescribe a universal umbrella term, but offers the inclusive acronym LGBTQ and the contemporary term two-spirit.
    [Show full text]
  • Lerud Dissertation May 2017
    ANTAGONISTIC COOPERATION: PROSE IN AMERICAN POETRY by ELIZABETH J. LERUD A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Elizabeth J. LeRud Title: Antagonistic Cooperation: Prose in American Poetry This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the English Department by: Karen J. Ford Chair Forest Pyle Core Member William Rossi Core Member Geri Doran Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017. ii © 2017 Elizabeth J. LeRud iii DISSERTATION ABSTRACT Elizabeth J. LeRud Doctor of Philosophy Department of English June 2017 Title: Antagonistic Cooperation: Prose in American Poetry Poets and critics have long agreed that any perceived differences between poetry and prose are not essential to those modes: both are comprised of words, both may be arranged typographically in various ways—in lines, in paragraphs of sentences, or otherwise—and both draw freely from the complete range of literary styles and tools, like rhythm, sound patterning, focalization, figures, imagery, narration, or address. Yet still, in modern American literature, poetry and prose remain entrenched as a binary, one just as likely to be invoked as fact by writers and scholars as by casual readers. I argue that this binary is not only prevalent but also productive for modern notions of poetry, the root of many formal innovations of the past two centuries, like the prose poem and free verse.
    [Show full text]
  • La Nueva Chicana: Women and the Movement
    5 La Nueva Chicana: Women and the Movement Rise Up! To Woman Rise up! Rise up to life, to activity, to the beauty of truly living; but rise up radiant and powerful, beautiful with qualities, splendid with virtues, strong with energies.1 1 HIS poem was written not during the heyday of the Chicano Movement, but in 1910 by Tejana socialist labor leader and politi- cal activist Sara Estela Ramirez.2 She would not live to participate in El Primer Congreso Mexicanista held the following year. Ram- irez's ideas, however, would resonate in the words of her com- paneras. Composed of South Texas residents, this Congreso was the first civil rights assembly among Spanish-speaking people in the United States. With delegates representing community organi- zations and interests from both sides of the border, its platform ad- dressed discrimination, land loss, and lynching. Women delegates, such as Jovita Idar, Soldedad Pefia, and Hortensia Moncaya, spoke to the concerns of Tejanos and Mexicanos. Regarding education, Soledad Pena referred to "our duty ... to educate woman; to in- struct her and to ... give her due respect." Out of this congress arose a women's organization, Liga Femenil Mexicanista, and for a short period two sisters Andrea and Teresa Villareal published a newspaper, La Mujer Moderna.3 As the poem shows, strands of feminist ideology or incipient feminist ideology can be located at various junctures in the history Copyright © 2008. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S.
    [Show full text]
  • Dedication of Light to Amiri Baraka
    Dedication of Light to Amiri Baraka You dream of meeting certain people. Amiri Baraka was on my bucket list. When I decided to create a Black Arts Movement Conference at UC Merced, the truth was it was an opportunity to meet my Heroes and Sheroes. Marvin X, the west coast co-founder of the Black Arts Movement asked Amiri to come to UC Merced, and he immediately said yes, as did Ishmael Reed, Eugene Redmond, Jerry Varnardo, Jimmy Garrett, Umar Bin Hassan, Askia Toure, Genny Lim, Emory Douglas, Billy X. Jennings, Adilah Barnes, Tarika Lewis, Avotcja, Charlotte “Mama C” O’Neal, Nathan Hare, Cecil Brown, and a host of other Black Arts Movement and Black Power luminaries. Why did they come to a small city in California’s San Joaquin Valley? This may seem farfetched, but it was about community. A feeling of belonging to something greater, a distant space in time that spoke of revolution, the liberation of a colonized people, and the need to connect. Many of the writers, activists, and artists had not seen each other in over forty years but connected through the pain, the hope, and the belief that they had a mission, the liberation of African Americans from oppression. Askia Toure spoke to students at UC Merced stating, “We let you down. It is up to you to fulfill what we tried to do.” Toure spoke as a freedom fighter, one who in the past went underground to survive. With Toure in this fight were Amiri Baraka, Sonia Sanchez, Larry Neal, and men and women who believed that they were in the midst of a revolution.
    [Show full text]
  • Beyond Inclusion: an In-Depth Analysis of Teaching of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich
    Yale College Education Studies Program Senior Capstone Projects Student Research Spring 2020 Beyond Inclusion: An In-Depth Analysis of Teaching of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich Sarah Mele Yale College, New Haven Connecticut Abstract: This capstone will analyze interventions into university pedagogy based on the teaching practices of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich. It begins with a historical introduction to the role of these four women in university activism in the late 1960s and early 1970s inside and outside the classroom. Analysis of the development of Black Studies and university pedagogy since this time reveals gaps in the fulfillment of the student-driven movement’s goal that are still extremely relevant to questions of institutional power and access today. Next, this paper provides concrete pedagogical and methodological strategies for present day university teaching grounded in the work of these four revolutionary women. This portion will pull from archival research of teaching materials, notes, and correspondence as well as subsequent scholarship on pedagogy. Suggested Citation: Mele, S. (2020). Beyond Inclusion: An In-Depth Analysis of Teaching of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich (Unpublished Education Studies capstone). Yale University, New Haven, CT. This capstone is a work of Yale student research. The arguments and research in the project are those of the individual student. They are not endorsed by Yale, nor are they official university positions or statements. Beyond Inclusion: An In-Depth Analysis of Teaching of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich Sarah Mele 4/18/20 EDST 400 1 Abstract This capstone will analyze interventions into university pedagogy based on the teaching practices of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich.
    [Show full text]
  • Islands • Designers Hawaii Corporation • Dower Realty • Clarence Fong Ala • Four Star Insurance • Gray W
    K E N N E D Y THEATRE C H I N A VISIONS We have over 50 shops and services. You'l l love the convenience of shopping at Manoa Marketplace! Bakery Sweet Thoughts Clothing Sea Drea ms • Chelsect Financial Bank of Honolulu • First Federal Savings & Loan • First Nationwide Bank • Pioneer Federal Food Kay's Crackseed • Mits' Basic Food s • Yama's Fish Market Hairstyling Hairsca pes • Yes George Laundry/Dry Cleaner Hakuyosha Hawa ii In c. • Manoa Laundry Health Services Manoa Chi roprac ti c & Shiatsu Dr. Ho me r Onizuka, Opto metrist • Dr. Charles Arizumi, DDS Restaurants Castagnola's Italian Restaurant • Island Manapua Factory • McDonald 's • 0 Bok Restaurant • Restaurant Kamigata Specialty Advanced Photo Design • The Baby Place • Coffee Manoa • Craft Connection • Data Quest • T. Fujii Japanese Antiques • The Gourmet Deli • G. Williker's • Larry Auto Parts • Manoa Jewelers • Manoa Teletronics • The Sports Company • Tiffany Plant Co. • VideoShots Hawaii Services-Miscellaneous Century 21-Ann Davidson • Century 21 of the Pacific, Inc. • Creighton Properties Islands • Designers Hawaii Corporation • Dower Realty • Clarence Fong AlA • Four Star Insurance • Gray W. Nelson & Co. • Law Offices of Neil T. Nakamura • Manoa Marketplace Management • Manoa Shopping Center • Minami Development Hawaii, Inc. • Regal December 1, 2, 7, 8, 9 and 10, 1989 Travel • Suzuki Kawabata & Assoc., Architects • U.S. Post Office Variety Longs Drug Store ManoaMarketplace Entrances at Woodlawn Dr. and East Manoa Rd . In the heart of Manoa The University of Hawaii at Manoa Department of Theatre and Dance presents In honor of the 200th Anniversary of the Chinese Immigration to Hawaii, the University of Hawaii Bookstore has a Islands selection of books for your enrichment- Scripted and Directed by Gary L.
    [Show full text]
  • I. This Term Is Borrowed from the Title of Betty Friedan's Book, First
    Notes POST·WAR CONSERVATISM AND THE FEMININE MYSTIQUE I. This term is borrowed from the title of Betty Friedan's book, first published in 1963, in order not to confuse the post-Second World War ideology of women's role and place with such nineteenth-century terms as 'woman's sphere'. Although this volume owes to Freidan's book far more than its title, it does not necessarily agree with either its emphasis or its solutions. 2. Quoted in Sandra Dijkstra, 'Simone de Beauvoir and Betty Friedan: The Politics of Omission', Feminist Studies, VI, 2 (Summer 1980), 290. 3. Barbara Ehrenreich and Deirdre English, For Her Own Good: 150 Years of the Experts' Advice to Women (Garden City, New York: Anchor Press/Doubleday, 1978), pp. 216-17. 4. Richard J. Barnet, Roots of War (Baltimore: Penguin Books, 1973), pp 48-9, 118, 109. First published by Atheneum Publishers, New York, 1972. 5. Quoted in William H. Chafe, The American Woman: Her Changing Social, Economic, and Political Roles, 1920-1970 (New York: Oxford University Press, 1972), p. 187. 6. Mary P. Ryan, Womanhood in America: From Colonial Times to the Present, 2nd edn (New York and London: New Viewpoints/A division of Franklin Watts, 1979), p. 173. 7. Ferdinand Lundberg and Marynia F. Farnham, MD, Modern Woman: The Lost Sex (New York and London: Harper & Brothers Publishers, 1947), p. 319. 8. Lillian Hellman, An Unfinished Woman: A Memoir (Boston: Little, Brown and Company, 1969), pp. 5-6. 9. Barbara Charlesworth Gelpi and Albert Gelpi (eds), Adrienne Rich's Poetry (New York: W.W.
    [Show full text]
  • Toni Cade Bambara
    Toni Cade Bambara Biography Quick Facts * 1939-1995 Toni Cade Bambara, born Miltona Mirkin Cade on March 25, 1939, lived the first ten years of her life in Harlem. Bambara credits the Harlem * African- community as having a significant influence on her writing. She learned American writer, the power of the word from “the speakers on Speaker’s Corner in Har- filmmaker, lem” (Tate 28). She also credits the musicians of the forties and fifties activist, and with giving her “voice and pace and pitch” (Tate 29). While living on feminist 151st Street between Broadway and Amsterdam, Miltona changed her * First published name to “Toni” around kindergarten. The richly diverse population of the fictional work was area contributed much to Bambara’s life lessons. Always willing to “stop Gorilla, My Love and talk,” Bambara “adopted people” to fill the place in her life for rela- tives, especially grandmothers (Deep Sightings 208-209). Although the neighborhood was instrumental in forming an important part of Bambara’s identity, the author says her greatest influence and inspiration was her mother: “My mother had great respect for the life of the mind” (Deep Sightings 212). In a poignant dedication to her mother in The Salt Eaters, Bambara writes: “Mama, Helen Brent Henderson Cade Brehon, who in 1948, having come upon me daydreaming in the middle of the kitchen floor, mopped around me.” In 1959, Toni Cade graduated from Queen’s College with a B.A. in Theater Arts/English. For her first published short story, “Sweet Town,” she received the John Golden Award for fiction.
    [Show full text]
  • Asian American Women's Voices
    Est. 1981 2141 Mission St #300, San Francisco, CA 94110 (415) 863-6353 Asian American Women’s Voices 55 items for Women's History Month, 2021 Items are in very good condition unless otherwise described. All listings are subject to prior sale. Items may be returned for any reason within 30 days of receipt. Our web site, www.bolerium.com, has a search engine and secure ordering. You can sign up to receive an automatic email update of new acquisitions in chosen subject areas. All items are photographed on our website. TERMS: We reserve titles ordered by email ([email protected]), phone, or fax for 10 days. Individuals may remit by check, Visa, MasterCard, American Express or Discover. Credit cards are accepted for phone orders; please have your card number and expiration date available when ordering. Catalog prices do not include postage. For domestic media mail, add $3.50 for the first item and $1.00 per additional item. If you prefer delivery via other methods, we will strive to comply; actual postage cost will be charged. Foreign first class international or priority shipping will be charged at actual cost. California customers please add applicable sales tax. Libraries may request items to be shipped and billed, or we are happy to hold items awaiting Purchase Orders. Foreign customers may remit in US dollars with a check drawn upon a US- based bank, or by credit card. 1. Cheers to muses: contemporary works by Asian American women. San Francisco: Asian American Women Artists Association, 2007. ISBN: 0978735900. 125p., softcover, 9.5x8 inches, as new; profusely illustrated with color photos of works by the artists, many of them based in the Bay Area.
    [Show full text]
  • God and the Novel: Religion and Secularization
    GOD AND THE NOVEL: RELIGION AND SECULARIZATION IN ANTEBELLUM AMERICAN FICTION by KRISTIN JOY WILKES A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2014 DISSERTATION APPROVAL PAGE Student: Kristin Joy Wilkes Title: God and the Novel: Religion and Secularization in Antebellum American Fiction This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Henry Wonham Chairperson William Rossi Core Member Mary Wood Core Member Matthew Dennis Institutional Representative and J. Andrew Berglund Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2014 ii © 2014 Kristin Joy Wilkes iii DISSERTATION ABSTRACT Kristin Joy Wilkes Doctor of Philosophy Department of English December 2014 Title: God and the Novel: Religion and Secularization in Antebellum American Fiction My dissertation argues that the study of antebellum American religious novels is hindered by the secularization narrative, the widely held conviction that modernity entails the decline of religion. Because this narrative has been refuted by the growing field of secularization theory and because the novel is associated with modernity, the novel form must be reexamined. Specifically, I challenge the common definition of the novel as a secular form. By investigating novels by Lydia Maria Child, Susan Warner, Harriet Beecher Stowe, and Hannah Bond, I show that religion and the novel form are not opposed. In fact, scholars’ unexamined and unacknowledged definitions of religion and secularity cause imprecision.
    [Show full text]