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Adrienne Rich, are born of woman

Adrienne Rich, We are born woman. Motherhood as experience and institution . Feminisms Lecture Series 1996.

Feminist pioneer and interesting Adrienne Rich, and theoretical and as a poet. In this book, writing in the seventies but revised in 1986 including an introduction updater, I find issues that I find quite useful to think right now, and it clearly cleared by writing Rich, uniting theory with experience cleverly embodying feminist premise: the personal is political. We are born of women as a way to remember the need to build feminine genealogy, motherhood and the patriarchal political institution, which aims to keep women under control spreading stereotypes about motherhood as an unequivocal and unconditional fact, compared to motherhood as an experience that elicited feelings Search and opposite, like all other human relationships.

I always interested in their political and collective perspective, his reproduce here a paragraph which also cites a poem by his friend Audre Lorde :

Women are born was praised and attacked by what was considered his strange approach: personal testimony mixed with research and theory derived from them. But this approach never seemed strange, as I wrote. What still seems strange is the "absent author" the author who sits speculations, theories, facts and fantasies without any personal basis. On the other hand, recently I felt that the thesis of women's liberation movement of the late '60s that "the personal is political" (a thesis that helped give birth to this book) is being covered by a blurring of the New Age -staff-to-the-personal-self, as if "the personal is good" had become a corollary, forgetting the thesis. Audre Lorde question in a recent poem:

"What we want from each other after being told our stories

We want to be cured a quiet moss to grow over our scars we want the all-powerful sister that will not scare

that will make the pain go that last not so "

The question of what we want more than a" safe space is crucial in terms of differences between individual accounts with no place to go, and a collective movement that empowers women.

Audre Lorde, Adrienne Rich Meridel Lesueur and

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Alison Bechdel, Fun Home

Alison Bechdel, Fun Home , Mondadori, Barcelona, \u200b\u200b2008, 232 pp.

"A family tragicomic" is the subtitle that Bechdel chooses to recount his past and, incidentally, make a comic than I had been doing so far.

And so Fun Home leads to a Victorian house with a complicated father and a mother misunderstood. From the outset the story of Bechdel interests t the time not by the drawings, not thrilling finish at any time, but history has the intelligence to be reckoned with sufficient credibility, sincerity, level and feelings expected of a good story.

Alison Bechdel analyzes, dissects times the figure of the father and his relationship with him, to understand both love and sexual choices and in their intellectual choices. The difficult father figure will gradually be drawing throughout the book to go, in a way, creating parallels between parental options and those of the author.

Bechdel is one of the best known figures in current U.S. active lesbianism and the comic has won several awards since its release. Kd lang The singer reminds me androgynous and provocative aesthetics.

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THE LOVE STORY OF THE CENTURY. Mouth on a text by Marta Tikkanen.

Urgently

I recommend you you go to the Market Theatre, until Sunday 14 November, to see the play The love story of the century by mouth on the poems of the same name by writer Finnish Märta Tikkanen. Directed by Mariano Anós and cleanly played by the wonderful actress Ana Garcia, who pinpoints the powerful verses written in the seventies by Tikkanen to explain the destabilization terrible that her husband's alcoholism led to his life and those of her four children. The clarity of the text is reflected beautifully by the sober staging and the luminous performance of Ana García. Despair lost love, suffering and fear of children, writing, past-his mother and grandmother of the protagonist, and the future of those same children. The allusion to the situation shared with many other women, and complicity in them to succeed. All this in a direct and daily language that dissects the aftermath of the events until the impenetrability of the words becomes clear as he writes his own Tikkanen.

mouth also has a teaching unit and in parallel, Unnamable Books has reissued the book of poems, previously published Hyperion and was discontinued. It is difficult to choose a poem, I leave you with this.

ACCOUNTS

ME that I fall asleep by the door and

indoor resting her head on the dog so many nights that

biked

crying the day he

your dog died the dog meant more to you

your father and your mother always

were drunk and were never at home

nor knew what to do with you

is sad and cry

I'm sitting in a chair in front of you

and I have time to think about many things

because history is not short

and not the first to see

I hear you

still counting and I there in the chair I wonder why

say nothing of the nights when your children

have not dared to sleep

but have gone into hiding behind the corner

to watch you play it safe so

dad will not

started drinking again right?

how is dad?

here does not smell of brandy, right?

sure you sure

no drinking tonight?

While you cry until he fell asleep

because there are so sorry to have you

so having had an alcoholic father

I keep wondering if he could sit

burn my hate and

become white ash

while you're lying there whimpering

not think for a moment

your children also have

father