Rich, Adrienne: Primary Sources
ADRIENNE RICH: PRIMARY SOURCES
ADRIENNE RICH (ESSAY DATE OCTOBER 1972)
SOURCE: Rich, Adrienne. "When We Dead Awaken: Writing as Re-Vision." In Adrienne Rich's Poetry: Texts of the Poems, the Poet on Her Work, Reviews and Criticism, edited by Barbara Charlesworth Gelpi and Albert Gelpi, pp. 90-8. New York: W. W. Norton & Company, 1975.
In the following essay, originally published in the journal College English in October, 1972, Rich encourages readers to reexamine texts by and about women in order to come to a new understanding of women as artists and individuals.
Ibsen's When We Dead Awaken is a play about the use that the male artist and thinker—in the process of creating culture as we know it—has made of women, in his life and in his work; and about a woman's slow struggling awakening to the use to which her life has been put. Bernard Shaw wrote in 1900 of this play:
[Ibsen] shows us that no degradation ever devized or permitted is as disastrous as this degradation; that through it women can die into luxuries for men and yet can kill them; that men and women are becoming conscious of this; and that what remains to be seen as perhaps the most interesting of all imminent social developments is what will happen "when we dead awaken".1
It's exhilarating to be alive in a time of awakening consciousness; it can also be confusing, disorienting, and painful. This awakening of dead or sleeping consciousness has already affected the lives of millions of women, even those who don't know it yet. It is also affecting the lives of men, even those who deny its claims upon them. The argument will go on whether an oppressive economic class system is responsible for the oppressive nature of male/female relations, or whether, in fact, the sexual class system is the original model on which all the others are based. But in the last few years connections have been drawn between our sexual lives and our political institutions, which are inescapable and illuminating. The sleepwalkers are coming awake, and for the first time this awakening has a collective reality; it is no longer such a lonely thing to open one's eyes.
Re-vision—the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction—is for us more than a chapter in cultural history: it is an act of survival. Until we can understand the assumptions in which we are drenched we cannot know ourselves. And this drive to self-knowledge, for woman, is more than a search for identity: it is part of her refusal of the self-destructiveness of male-dominated society. A radical critique of litterature, feminist in its impulse, would take the work first of all as a clue to how we live, how we have been living, how we have been led to imagine ourselves, how our language has trapped as well as liberated us; and how we can begin to see—and therefore live—afresh. A change in the concept of sexual identity is essential if we are not going to see the old political order re-assert itself in every new revolution. We need to know the writing of the past, and know it differently than we have ever known it; not to pass on a tradition but to break its hold over us.
For writers, and at this moment for women writers in particular, there is the challenge and promise of a whole new psychic geography to be explored. But there is also a difficult and dangerous walking on the ice, as we try to find language and images for a consciousness we are just coming into, and with little in the past to support us. I want to talk about some apects of this difficulty and this danger.
Jane Harrison, the great classical anthropologist, wrote in 1914 in a letter to her friend Gilbert Murray:
By the by, about "Women," it has bothered me often—why do women never want to write poetry about Man as a sex—why is Woman a dream and a terror to man and not the other way around?…Is it mere convention and propriety, or something deeper?2
I think Jane Harrison's question cuts deep into the myth-making tradition, the romantic tradition; deep into what women and men have been to each other; and deep into the psyche of the woman writer. Thinking about that question, I began thinking of the work of two 20th-century women poets, Sylvia Plath and Diane Wakoski. It strikes me that in the work of both Man appears as, if not a dream, a fascination and a terror; and that the source of the fascination and the terror is, simply, Man's power—to dominate, tyrannize, choose, or reject the woman. The charisma of Man seems to come purely from his power over her and his control of the world by force, not from anything fertile or life-giving in him. And, in the work of both these poets, it is finally the woman's sense of herself—embattled, possessed—that gives the poetry its dynamic charge, its rhythms of struggle, need, will, and female energy. Convention and propriety are perhaps not the right words, but until recently this female anger and this furious awareness of the Man's power over her were not available materials to the female poet, who tended to write of Love as the source of her suffering, and to view that victimization by Love as an almost inevitable fate. Or, like Marianne Moore and Elizabeth Bishop, she kept human sexual relationships at a measured and chiselled distance in her poems.
One answer to Jane Harrison's question has to be that historically men and women have played very different parts in each others' lives. Where woman has been a luxury for man, and has served as the painter's model and the poet's muse, but also as comforter, nurse, cook, bearer of his seed, secretarial assistant and copyist of manuscripts, man has played a quite different role for the female artist. Henry James repeats an incident which the writer Prosper Mérimée described, of how, while he was living with George Sand,
he once opened his eyes, in the raw winter dawn, to see his companion, in a dressing-gown, on her knees before the domestic hearth, a candlestick beside her and a red madras round her head, making bravely, with her own hands, the fire that was to enable her to sit down betimes to urgent pen and paper. The story represents him as having felt that the spectacle chilled his ardor and tried his taste; her appearance was unfortunate, her occupation an inconsequence, and her industry a reproof—the result of all of which was a lively irritation and an early rupture.3
I am suggesting that the specter of this kind of male judgment, along with the active discouragement and thwarting of her needs by a culture controlled by males, has created problems for the woman writer: problems of contact with herself, problems of language and style, problems of energy and survival.
In rereading Virginia Woolf's A Room Of One's Own for the first time in some years, I was astonished at the sense of effort, of pains taken, of dogged tentativeness in the tone of that essay. And I recognized that tone. I had heard it often enough, in myself and in other women. It is the tone of a woman almost in touch with her anger, who is determined not to appear angry, who is willing herself to be calm, detached, and even charming in a roomful of men where things have been said which are attacks on her very integrity. Virginia Woolf is addressing an audience of women, but she is acutely conscious—as she always was—of being overheard by men: by Morgan and Lytton and Maynard Keynes and for that matter by her father, Leslie Stephen. She drew the language out into an exacerbated thread in her determination to have her own sensibility yet protect it from those masculine presences. Only at rare moments in that essay do you hear the passion in her voice; she was trying to sound as cool as Jane Austen, as Olympian as Shakespeare, because that is the way the men of the culture thought a writer should sound.
No male writer has written primarily or even largely for women, or with the sense of women's criticism as a consideration when he chooses his materials, his theme, his language. But to a lesser or greater extent, every woman writer has written for men even when, like Virginia Woolf, she was supposed to be addressing women. If we have come to the point when this balance might begin to change, when women can stop being haunted, not only by "convention and propriety" but by internalized fears of being and saying themselves, then it is an extraordinary moment for the women writer—and reader.
I have hesitated to do what I am going to do now, which is to use myself as an illustration. For one thing, it's a lot easier and less dangerous to talk about other women writers. But there is something else. Like Virginia Woolf, I am aware of the women who are not with us here because they are washing the dishes and looking after the children. Nearly fifty years after she spoke, that fact remains largely unchanged. And I am thinking also of women whom she left out of the picture altogether—women who are washing other people's dishes and caring for other people's children, not to mention women who went on the streets last night in order to feed their children. We seem to be special women here, we have liked to think of ourselves as special, and we have known that men would tolerate, even romanticize us as special, as long as our words and actions didn't threaten their privilege of tolerating or rejecting us according to their ideas of what a special woman ought to be. An important insight of the radical women's movement, for me, has been how divisive and how ultimately destructive is this myth of the special woman, who is also the token woman. Every one of us here in this room has had great luck—we are teachers, writers, academicians; our own gifts could not have been enough, for we all know women whose gifts are buried or aborted. Our struggles can have meaning only if they can help to change the lives of women whose gifts—and whose very being—continue to be thwarted.
My own luck was being born white and middle-class into a house full of books, with a father who encouraged me to read and write. So for about twenty years I wrote for a particular man, who criticized and praised me and made me feel I was indeed "special." The obverse side of this, of course, was that I tried for a long time to please him, or rather, not to displease him. And then of course there were other men—writers, teachers—the Man, who was not a terror or a dream but a literary master and a master in other ways less easy to acknowledge. And there were all those poems about women, written by men: it seemed to be a given that men wrote poems and women frequently inhabited them. These women were almost always beautiful, but threatened with the loss of beauty, the loss of youth—the fate worse than death. Or, they were beautiful and died young, like Lucy and Lenore. Or, the woman was like Maud Gonne, cruel and disastrously mistaken, and the poem reproached her because she had refused to become a luxury for the poet.
A lot is being said today about the influence that the myths and images of women have on all of us who are products of culture. I think it has been a peculiar confusion to the girl or woman who tries to write because she is peculiarly susceptible to language. She goes to poetry or fiction looking for her way of being in the world, since she too has been putting words and images together; she is looking eagerly for guides, maps, possibilities; and over and over in the "words' masculine persuasive force" of literature she comes up against something that negates everything she is about: she meets the image of Woman in books written by men. She finds a terror and a dream, she finds a beautiful pale face, she finds La Belle Dame Sans Merci, she finds Juliet or Tess or Salomé, but precisely what she does not find is that absorbed, drudging, puzzled, sometimes inspired creature, herself, who sits at a desk trying to put words together.
So what does she do? What did I do? I read the older women poets with their peculiar keenness and ambivalence: Sappho, Christina Rossetti, Emily Dickinson, Elinor Wylie, Edna Millay, H. D. I discovered that the woman poet most admired at the time (by men) was Marianne Moore, who was maidenly, elegant, intellectual, discreet. But even in reading these women I was looking in them for the same things I had found in the poetry of men, because I wanted women poets to be the equals of men, and to be equal was still confused with sounding the same.
I know that my style was formed first by male poets: by the men I was reading as an undergraduate—Frost, Dylan Thomas, Donne, Auden, MacNiece, Stevens, Yeats. What I chiefly learned from them was craft. But poems are like dreams: in them you put what you don't know you know. Looking back at poems I wrote before I was 21, I'm startled because beneath the conscious craft are glimpses of the split I even then experienced between the girl who wrote poems, who defined herself in writing poems, and the girl who was to define herself by her relationships with men. "Aunt Jennifer's Tigers," written while I was a student, looks with deliberate detachment at this split. In writing this poem, composed and apparently cool as it is, I thought I was creating a portrait of an imaginary woman. But this woman suffers from the opposition of her imagination, worked out in tapestry, and her life-style, "ringed with ordeals she was mastered by." It was important to me that Aunt Jennifer was a person as distinct from myself as possible—distanced by the formalism of the poem, by its objective, observant tone—even by putting the woman in a different generation.
In those years formalism was part of the strategy—like asbestos gloves, it allowed me to handle materials I couldn't pick up barehanded. (A later strategy was to use the persona of a man, as I did in "The Loser." ) I finished college, published my first book by a fluke, as it seemed to me, and broke off a love affair. I took a job, lived alone, went on writing, fell in love. I was young, full of energy, and the book seemed to mean that others agreed I was a poet. Because I was also determined to have a "full" woman's life, I plunged in my early twenties into marriage and had three children before I was thirty. There was nothing overt in the environment to warn me: these were the fifties, and in reaction to the earlier wave of feminism, middle-class women were making careers of domestic perfection, working to send their husbands through professional schools, then retiring to raise large families. People were moving out to the suburbs, technology was going to be the answer to everything, even sex; the family was in its glory. Life was extremely private; women were isolated from each other by the loyalties of marriage. I have a sense that women didn't talk to each other much in the fifties—not about their secret emptinesses, their frustrations. I went on trying to write; my second book and first child appeared in the same month. But by the time that book came out I was already dissatisfied with those poems, which seemed to me mere exercises for poems I hadn't written. The book was praised, however, for its "gracefulness"; I had a marriage and a child. If there were doubts, if there were periods of null depression or active despairing, these could only mean that I was ungrateful, insatiable, perhaps a monster.
About the time my third child was born, I felt that I had either to consider myself a failed woman and a failed poet, or to try to find some synthesis by which to understand what was happening to me. What frightened me most was the sense of drift, of being pulled along on a current which called itself my destiny, but in which I seemed to be losing touch with whoever I had been, with the girl who had experienced her own will and energy almost ecstatically at times, walking around a city or riding a train at night or typing in a student room. In a poem about my grandmother I wrote (of myself): "A young girl, thought sleeping, is certified dead."4 I was writing very little, partly from fatigue, that female fatigue of suppressed anger and the loss of contact with her own being; partly from the discontinuity of female life with its attention to small chores, errands, work that others constantly undo, small children's constant needs. What I did write was unconvincing to me; my anger and frustration were hard to acknowledge in or out of poems because in fact I cared a great deal about my husband and my children. Trying to look back and understand that time I have tried to analyze the real nature of the conflict. Most, if not all, human lives are full of fantasy—passive daydreaming which need not be acted on. But to write poetry or fiction, or even to think well, is not to fantasize, or to put fantasies on paper. For a poem to coalesce, for a character or an action to take shape, there has to be an imaginative transformation of reality which is in no way passive. And a certain freedom of the mind is needed—freedom to press on, to enter the currents of your thought like a glider pilot, knowing that your motion can be sustained, that the buoyancy of your attention will not be suddenly snatched away. Moreover, if the imagination is to transcend and transform experience it has to question, to challenge, to conceive of alternatives, perhaps to the very life you are living at that moment. You have to be free to play around with the notion that day might be night, love might be hate; nothing can be too sacred for the imagination to turn into its opposite or to call experimentally by another name. For writing is re-naming. Now, to be maternally with small children all day in the old way, to be with a man in the old way of marriage, requires a holding-back, a putting-aside of that imaginative activity, and seems to demand instead a kind of conservatism. I want to make it clear that I am not saying that in order to write well, or think well, it is necessary to become unavailable to others, or to become a devouring ego. This has been the myth of the masculine artist and thinker; and I repeat, I do not accept it. But to be a female human being trying to fulfill traditional female functions in a traditional way is in direct conflict with the subversive function of the imagination. The word traditional is important here. There must be ways, and we will be finding out more and more about them, in which the energy of creation and the energy of relation can be united. But in those earlier years I always felt the conflict as a failure of love in myself. I had thought I was choosing a full life: the life available to most men, in which sexuality, work, and parenthood could coexist. But I felt, at 29, guilt toward the people closest to me, and guilty toward my own being.
I wanted, then, more than anything, the one thing of which there was never enough: time to think, time to write. The fifties and early sixties were years of rapid revelations: the sit-ins and marches in the South, the Bay of Pigs, the early anti-war movement, raised large questions—questions for which the masculine world of the academy around me seemed to have expert and fluent answers. But I needed desperately to think for myself—about pacifism and dissent and violence, about poetry and society and about my own relationship to all these things. For about ten years I was reading in fierce snatches, scribbling in notebooks, writing poetry in fragments; I was looking desperately for clues, because if there were no clues then I thought I might be insane. I wrote in a notebook about this time:
Paralyzed by the sense that there exists a mesh of relationships—e.g. between my anger at the children, my sensual life, pacifism, sex, (I mean sex in its broadest significance, not merely sexual desire)—an interconnectedness which, if I could see it, make it valid, would give me back myself, make it possible to function lucidly and passionately. Yet I grope in and out among these dark webs.
I think I began at this point to feel that politics was not something "out there" but something "in here" and of the essence of my condition.
In the late fifties I was able to write, for the first time, directly about experiencing myself as a woman. The poem was jotted in fragments during children's naps, brief hours in a library, or at 3 a.m. after rising with a wakeful child. I despaired of doing any continuous work at this time. Yet I began to feel that my fragments and scraps had a common consciousness and a common theme, one which I would have been very unwilling to put on paper at an earlier time because I had been taught that poetry should be "universal," which meant, of course, non-female. Until then I had tried very much not to identify myself as a female poet. Over two years I wrote a 10-part poem called "Snapshots of a Daughter-in-Law," in a longer, looser mode than I'd ever trusted myself with before. It was an extraordinary relief to write that poem. It strikes me now as too literary, too dependent on allusion; I hadn't found the courage yet to do without authorities, or even to use the pronoun "I"—the woman in the poem is always "she." One section of it, No. 2, concerns a woman who thinks she is going mad; she is haunted by voices telling her to resist and rebel, voices which she can hear but not obey.
The poem "Orion," written five years later, is a poem of reconnection with a part of myself I had felt I was losing—the active principle, the energetic imagination, the "half-brother" whom I projected, as I had for many years, into the constellation Orion. It's no accident that the words "cold and egotistical" appear in this poem, and are applied to myself. The choice still seemed to be between "love"—womanly, maternal love, altruistic love—a love defined and ruled by the weight of an entire culture; and egotism—a force directed by men into creation, achievement, ambition, often at the expense of others, but justifiably so. For weren't they men, and wasn't that their destiny as womanly love was ours? I know now that the alternatives are false ones—that the word "love" is itself in need of re-vision.
There is a companion poem to "Orion," written three years later, in which at last the woman in the poem and the woman writing the poem become the same person. It is called "Planetarium," and it was written after a visit to a real planetarium, where I read an account of the work of Caroline Herschel, the astronomer, who worked with her brother William, but whose name remained obscure, as his did not.
In closing I want to tell you about a dream I had last summer. I dreamed I was asked to read my poetry at a mass women's meeting, but when I began to read, what came out were the lyrics of a blues song. I share this dream with you because it seemed to me to say a lot about the problems and the future of the woman writer, and probably of women in general. The awakening of consciousness is not like the crossing of a frontier—one step, and you are in another country. Much of woman's poetry has been of the nature of the blues song: a cry of pain, of victimization, or a lyric of seduction. And today, much poetry by women—and prose for that matter—is charged with anger. I think we need to go through that anger, and we will betray our own reality if we try, as Virginia Woolf was trying, for an objectivity, a detachment, that would make us sound more like Jane Austen or Shakespeare. We know more than Jane Austen or Shakespeare knew: more than Jane Austen because our lives are more complex, more than Shakespeare because we know more about the lives of women, Jane Austen and Virginia Woolf included.
Both the victimization and the anger experienced by women are real, and have real sources, everywhere in the environment, built into society. They must go on being tapped and explored by poets, among others. We can neither deny them, nor can we rest there. They are our birth-pains, and we are bearing ourselves. We would be failing each other as writers and as women, if we neglected or denied what is negative, regressive, or Sisyphean in our inwardness.
We all know that there is another story to be told. I am curious and expectant about the future of the masculine consciousness. I feel in the work of the men whose poetry I read today a deep pessimism and fatalistic grief; and I wonder if it isn't the masculine side of what women have experienced, the price of masculine dominance. One thing I am sure of: just as woman is becoming her own midwife, creating herself anew, so man will have to learn to gestate and give birth to his own subjectivity—something he has frequently wanted woman to do for him. We can go on trying to talk to each other, we can sometimes help each other, poetry and fiction can show us what the other is going through; but women can no longer be primarily mothers and muses for men: we have our own work cut out for us.
- G. B. Shaw, The Quintessence of Ibsenism (Hill and Wang, 1922), p. 139.
- J. G. Stewart, Jane Ellen Harrison: A Portrait from Letters (London, 1959), p. 140.
- Henry James, "Notes on Novelists" in Selected Literary Criticism of Henry James, ed. Morris Shapira (London: Heineman, 1963), pp. 157-58.
- "Halfway," in Necessities of Life.