Frasi di Adrienne Rich
Adrienne Rich
Data di nascita: 16. Maggio 1929
Data di morte: 27. Marzo 2012
Altri nomi: آدرین ریچ
Adrienne Rich è stata una poetessa, saggista, insegnante e femminista statunitense.
Frasi Adrienne Rich
„Il momento del cambiamento è l'unica poesia.“
Origine: Da Images for Godard, v. 72, in The Will to Change – Norton, 1971.
„La donna che mente ha parecchi amici, e conduce un'esistenza di grande solitudine.“
Origine: Da On Lies, Secrets and Silence – Norton, 1979.
„Ogni diniego si droga di verità parziali.“
Origine: Da Lo spacco alla radice – Estro, Firenze, a cura di L. Borghi.
„I rapporti sociali tra i sessi sono per le donne confusi ed estremamente problematici, se non invalidanti.“
Origine: Citato in AA.VV., Il libro del femminismo, traduzione di Martina Dominici, Gribaudo, 2019, p. 195. ISBN 9788858022900
„Lying is done with words, and also with silence.“
Origine: Women and Honor: Some Notes on Lying
„Poetries are no more pure and simple than human histories are pure and simple. And there are colonised poetics and resilient poetics, transmissions across frontiers not easily traced.“
"Legislators of the world" in The Guardian (18 November 2006) http://books.guardian.co.uk/comment/story/0,,1950812,00.html
Contesto: I'm both a poet and one of the "everybodies" of my country. I live with manipulated fear, ignorance, cultural confusion and social antagonism huddling together on the faultline of an empire. I hope never to idealise poetry — it has suffered enough from that. Poetry is not a healing lotion, an emotional massage, a kind of linguistic aromatherapy. Neither is it a blueprint, nor an instruction manual, nor a billboard. There is no universal Poetry, anyway, only poetries and poetics, and the streaming, intertwining histories to which they belong. There is room, indeed necessity, for both Neruda and César Valléjo, for Pier Paolo Pasolini and Alfonsina Storni, for both Ezra Pound and Nelly Sachs. Poetries are no more pure and simple than human histories are pure and simple. And there are colonised poetics and resilient poetics, transmissions across frontiers not easily traced.
„There is always that in poetry which will not be grasped, which cannot be described, which survives our ardent attention, our critical theories, our late-night arguments.“
"Legislators of the world" in The Guardian (18 November 2006)
Contesto: Of course, like the consciousness behind it, behind any art, a poem can be deep or shallow, glib or visionary, prescient or stuck in an already lagging trendiness. What's pushing the grammar and syntax, the sounds, the images — is it the constriction of literalism, fundamentalism, professionalism — a stunted language? Or is it the great muscle of metaphor, drawing strength from resemblance in difference? Poetry has the capacity to remind us of something we are forbidden to see. A forgotten future: a still uncreated site whose moral architecture is founded not on ownership and dispossession, the subjection of women, outcast and tribe, but on the continuous redefining of freedom — that word now held under house arrest by the rhetoric of the "free" market. This on-going future, written-off over and over, is still within view. All over the world its paths are being rediscovered and reinvented.
There is always that in poetry which will not be grasped, which cannot be described, which survives our ardent attention, our critical theories, our late-night arguments. There is always (I am quoting the poet/translator Américo Ferrari|) "an unspeakable where, perhaps, the nucleus of the living relation between the poem and the world resides".
„Of course, like the consciousness behind it, behind any art, a poem can be deep or shallow, glib or visionary, prescient or stuck in an already lagging trendiness.“
"Legislators of the world" in The Guardian (18 November 2006)
Contesto: Of course, like the consciousness behind it, behind any art, a poem can be deep or shallow, glib or visionary, prescient or stuck in an already lagging trendiness. What's pushing the grammar and syntax, the sounds, the images — is it the constriction of literalism, fundamentalism, professionalism — a stunted language? Or is it the great muscle of metaphor, drawing strength from resemblance in difference? Poetry has the capacity to remind us of something we are forbidden to see. A forgotten future: a still uncreated site whose moral architecture is founded not on ownership and dispossession, the subjection of women, outcast and tribe, but on the continuous redefining of freedom — that word now held under house arrest by the rhetoric of the "free" market. This on-going future, written-off over and over, is still within view. All over the world its paths are being rediscovered and reinvented.
There is always that in poetry which will not be grasped, which cannot be described, which survives our ardent attention, our critical theories, our late-night arguments. There is always (I am quoting the poet/translator Américo Ferrari|) "an unspeakable where, perhaps, the nucleus of the living relation between the poem and the world resides".
„Poetry is not a healing lotion, an emotional massage, a kind of linguistic aromatherapy. Neither is it a blueprint, nor an instruction manual, nor a billboard. There is no universal Poetry, anyway, only poetries and poetics, and the streaming, intertwining histories to which they belong.“
"Legislators of the world" in The Guardian (18 November 2006) http://books.guardian.co.uk/comment/story/0,,1950812,00.html
Contesto: I'm both a poet and one of the "everybodies" of my country. I live with manipulated fear, ignorance, cultural confusion and social antagonism huddling together on the faultline of an empire. I hope never to idealise poetry — it has suffered enough from that. Poetry is not a healing lotion, an emotional massage, a kind of linguistic aromatherapy. Neither is it a blueprint, nor an instruction manual, nor a billboard. There is no universal Poetry, anyway, only poetries and poetics, and the streaming, intertwining histories to which they belong. There is room, indeed necessity, for both Neruda and César Valléjo, for Pier Paolo Pasolini and Alfonsina Storni, for both Ezra Pound and Nelly Sachs. Poetries are no more pure and simple than human histories are pure and simple. And there are colonised poetics and resilient poetics, transmissions across frontiers not easily traced.
„No one has imagined us. We want to live like trees,
sycamores blazing through the sulfuric air,
dappled with scars, still exuberantly budding,
our animal passion rooted in the city.“
— Adrienne Rich, libro The Dream of a Common Language
Origine: The Dream of a Common Language
„[Poetry] is the liquid voice that can wear through stone.“
Origine: What is Found There: Notebooks on Poetry and Politics
