Download Ebook Arts of the Possible: Essays and Conversations, by Adrienne Rich
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Arts of the Possible: Essays and Conversations, by Adrienne Rich
Download Ebook Arts of the Possible: Essays and Conversations, by Adrienne Rich
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Synopsis
This is a collection of essays and poems, by Adrienne Rich, that chart America's changing mental, emotional and moral landscape.
Über den Autor und weitere Mitwirkende
Widely read, widely anthologized, widely interviewed, and widely taught, Adrienne Rich (1929-2012) was for decades among the most influential writers of the feminist movement and one of the best-known American public intellectuals. She wrote two dozen volumes of poetry and more than a half-dozen of prose. Her constellation of honors includes two National Book Awards, a MacArthur Foundation "genius" grant, and a Medal for Distinguished Contribution to American Letters by the National Book Foundation. Ms. Rich's volumes of poetry include The Dream of a Common Language, A Wild Patience Has Taken Me This Far, An Atlas of the Difficult World, The School Among the Ruins, and Telephone Ringing in the Labyrinth. Her prose includes the essay collections On Lies, Secrets, and Silence; Blood, Bread, and Poetry; an influential essay, "Compulsory Heterosexuality and Lesbian Existence," and the nonfiction book Of Woman Born, which examines the institution of motherhood as a socio-historic construct. In 2010, she was honored with The Griffin Trust for Excellence in Poetry's Lifetime Recognition Award.
Produktinformation
Taschenbuch: 204 Seiten
Verlag: Norton; Auflage: Revised (8. März 2013)
Sprache: Englisch
ISBN-10: 0393323129
ISBN-13: 978-0393323122
Größe und/oder Gewicht:
14 x 1,3 x 21,1 cm
Durchschnittliche Kundenbewertung:
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Amazon Bestseller-Rang:
Nr. 129.578 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Beautiful and inspiring book! I recommend it to everyone interested in topics like feminism, art, communication and poetry. Even though there is a great time-span in when she wrote these, she connects it to the time it was made and shows why it is still relevant today and in this book. Living language, easy and flowing. I read heavy academic texts also, this is a relief, a speaking language. But not less intelectual, its honest and I find it musical in a way. More people should know this book. Love it!
Solid. Good book to raise some thoughts and discussion pertaining to gender and feminism. If you're looking for a good and easy intro book for a light "feminist" discussion I'd recommend it. If you're looking for something dense in theoretical - there are better options.
This was a gift
If you have ever thought about the relationship between art and politics, or art and social justice, Adrienne Rich's collection of essays and conversations is a must read.In "When We Dead Awaken" (Chapt 1) - Interweaving prose and poetry, Rich demonstrates how she slowly came to terms with her identity as a female poet - a process she termed, "awakening of dead or sleeping consciousness." A process that would seem vital for any oppressed group, Rich explains how after years of sleepwalking, under the direction of men, women were slowly "awakening," re-visioning their past and drawing conclusions on the present.The book alone is worth reading simply for the 3rd chapter, a philosophical and feminist perspective on lying. "Women and Honor: Some Notes on Lying" is a unique and compelling treatise on the causes and effects of lying.
Every once in a while I wonder why, in this age, people still utter the word "feminist" as though it were an obscenity. Then I pick up one of Adrienne Rich's books, and I think, Oh yeah. That's why.Arts of the Possible purports to be a text on aesthetics, but it winds up more of a text on Adrienne Rich. The "essays" include "Notes" for several talks she's given, and unlike most essays titled "Notes," these really are just her notes, without any effort to flesh them in; the full text of other speeches; some singularly unenlightening "conversations," where she displays her disheartening lack of an understanding of literature; and a few legitimate essays, most that have appeared in other anthologies. In fact, the title piece to her previous collected prose, Blood, Bread and Poetry, is here.Her argumentative strategy mostly consists of rambling a bit about herself, especially the horrors of growing up in a house filled with books of poetry by white men, making some vague, unsupported, barely-arguable generalizations ("the reading of poetry in an elite academic institution is supposed to lead you. . . not toward a criticism of society, but toward a professional career in which the anatomy of poems is studied dispassionately"--since when?), drawing even more generalized conclusions, and then ranting about the wickedness of capitalism or patriarchy. Often, she takes swings at big-business publishing's utter lack of an aesthetic and slavery to the bottom line, claiming that the larger houses print nothing of worth. What press is this book on? Norton, a behemoth if there ever was one. What press put out her last couple collecteds? Norton. What press has she published just about every volume she's ever spewed out? Norton.Intriguing.Many pieces hint at the theory most expounded in "Defying the Space that Separates," the reprinted introduction from the abominable 1996 Best American Poetry: poor people make better art than rich people do. It's a peculiarly Protestant notion (peculiar especially because she makes so much of her oppressed and suppressed Jewish heritage). Sure, you're starving, your teeth are falling out because you can't get decent health care, and you had to sell your baby to an infertile couple from Napersville just to pay your back rent, but you do some really powerful paintings. Not only is this ludicrous on its face, but it's made especially so considering Rich's admitted upbringing in the upper-middle class, attendance at prestigious universities, and current residence in a posh San Francisco neighborhood. She has made quite a living on fashionable compassion for a class with which she's had precious little contact.T.S. Eliot, F. Scott Fitzgerald, and a host of miserable but financially-comfortable artists dating from the time of the Italian Rennaissance would definitely disagree with her theories, as would I. Having grown up in close contact with plenty of trailer parks and inner-city ghettos, I can guarantee that most the poor--like most the rest of America--are perfectly happy with their singing fish plaques and Jerry Springer Too Hot for TV videos. Many middle- to upper-class white Americans who feel guilty about their own privilege have proposed that disenfranchisement leads to better art. They haven't been right either.I would put forth that this rhetoric is, in fact, dangerous to the underappreciated sects Rich claims to represent. Works like that 96 Best, which utterly sacrifice artistry and craft to present a political agenda undermine the very cause it purports to promote. If the poor, gays and lesbians, prison inmates, people of marginalized race groups, and the like are represented by bad work, the established hegemony will have every excuse to exclude them from the canon.Rich's prose occasionally breaks into moments of genuine music, but for the most part it's painfully self-aggrandizing, and at times even offensively so. Arts of the Possible feels like nothing so much as a last-ditch effort by a woman who fears she'll be remembered as a radical instead of a writer, or worse, forgotten entirely.Those of us who take both our politics and our art seriously can only hope that last will indeed come to pass, and that our work will be considered fairly, out of the ugly shadow writers like Rich currently cast on anyone whose muse has a political bent.
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