Judy Grahn

So far, I've gotten through chapter 1. I've read sections of the chapter more than once because I wanted to make sure I wasn't getting the wrong impression. The thing that stands out most (to me) from chapter one is the statement that some of the more extreme seclusion rites of menstruation were probably in large part created by women. I've got no problem with this premise at all. What I have a problem with is the fact that is presented as a GOOD thing. Making a woman lie in one spot for days on end or go without sleep or stay in forced isolation that in some cultures lasted months should not be any less disturbing just because women might have thought it up.

An honest effort will be made on my part to read the rest of the book. My main reservation is that the book will be in large part a justification of the shame and self-loathing many mothers have passed on to their daughters.

I gave up on reading the rest. It just does not hold my interest at this time.… (plus d'informations)

I feel like this retelling of Inanna's descent set in a lesbian bar was made for me. After writing and editing Tarot poetry for over two years, I still love the genre, and especially the Tarot reader in this text, Nin (Ninshubur). The theatrical elements of Queen of Swords remind me of acting in--and contributing a response poem to--a play written in verse by my Antioch College friend Angela. Long before I attended Antioch, I began researching Goddesses, including Inanna and Her other incarnations that are mentioned in Queen of Swords. And I have made several important decisions--like attending grad school at Mills College--in lesbian bars.… (plus d'informations)

As a queer, working-class, Oakland-based, Adrienne-Rich-loving poet, I can't believe I haven't read Judy Grahn's poetry before now. So much language in this book spoke directly to me, from Rich's stellar introduction ("for women, the devil has most often taken the form of love rather than of power, gold or learning") to the Common Woman poems ("the common woman is as common as the best of bread / and will rise / and will become strong--I swear it to you"), to the conversations with death ("death, do you tell me I cannot touch this woman? / if we use each other up / on each other / that's a little bit less for you"), to the very last lines in the collection ("until then, my sweethearts, / let us speak simply of / romance, which is so much / easier and so much less / than any of us deserve").

Overall, a powerful and beautiful book. And this is the second book Goodreads has recommended that I've liked, so good job, Goodreads!… (plus d'informations)