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“There is the staircase,
like
there is the sun. There is the kitchen, the plate with toast and strawberry jam, your subterfuge, your ordinary mirage. You stand red-handed. You want to wash yourself in earth, in rocks and grass What are you supposed to do with all this loss? In the daylight we know what's gone is gone, but at night it's different. Nothing gets finished, not dying, not mourning; the dead repeat themselves, like clumsy drunks lurching sideways through the doors we open to them in sleep; these slurred guests, never entirely welcome, even those we have loved the most, especially those we have loved the most, returning from where we shoved them away too quickly: from under the ground, from under the water, they clutch at us, they clutch at us, we won't let go.” — Margaret Atwood |
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“CELL
like
Now look objectively. You have to admit the cancer cell is beautiful. If it were a flower, you'd say, How pretty, with its mauve centre and pink petals of if a cover for a pulpy thirties sci-fi magazine. How striking: as an alien, a success, all purple eye and jelly tentacles and spines, or are they gills, creeping around on granular Martian dirt red as the inside of the body, while its tender walls expand and burst, its spores scatter elsewhere, take root, like money, drifting like a fiction or miasma in and out of people's brains, digging themselves industriously in. The lab technician says, It has forgotten how to die. But why remember? All it wants is more amnesia. More life, and more abundantly. to take more. to eat more. To replicate itself. To keep on doing those things forever. Such desires are not unknown. Look in the mirror.” — Margaret Atwood |
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“UP
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You wake up filled with dread. There seems no reason for it. Morning light sifts through the window, there is birdsong, you can't get out of bed. It's something about the crumpled sheets hanging over the edge like jungle foliage, the terry slippers gaping their dark pink mouths for your feet, the unseen breakfast--some of it in the refrigerator you do not dare to open--you will not dare to eat. What prevents you? The future. The future tense, immense as outer space. You could get lost there. No. Nothing so simple. The past, its density and drowned events pressing you down, like sea water, like gelatin filling your lungs instead of air. Forget all that and let's get up. Try moving your arm. Try moving your head. Pretend the house is on fire and you must run or burn. No, that one's useless. It's never worked before. Where is it coming form, this echo, this huge No that surrounds you, silent as the folds of the yellow curtains, mute as the cheerful Mexican bowl with its cargo of mummified flowers? (You chose the colou...more ” — Margaret Atwood |
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"It was assigned for a Women's lit class I took last semester. :)"
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dara
added
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dara
rated a book 3 of 5 stars
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"
This book is appallingly bad.
I bought it for a couple of reasons. First, I am about to teach Lady Chatterly's Lover for the first time, and I thought any book that makes the case for widespread use of "cunt" was an important bit of prep for D.H.... " Read more of this review » |
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dara
rated a book 2 of 5 stars
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| I wanted to love Cunt, I did, honest, but it's just not happening. I don't connect with the author or her writing. It's all over the place. I don't wanna taste my own cunt juices on the reg, or chart my menstrual cycle along the moon's cycle. Sorry--...more | |
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dara
is on page 237 of 434 of Word Warriors
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“In Letters to a Young Poe, Rilke says, 'The highest form of love is to be the protector of another person's solitude.' That's what I want. For other people to love each other without having to partake in them, to possess them, to allow them to be their own inside their solitude, to protect that. I wish people respected each other's aloneness. I wish I could write something very beautiful and erotic without worrying about people wanting to use me to fulfill some fantasy--which I have no control over, and often, has nothing to do with me--inside themselves.”
― Kristen Kosmas
― Kristen Kosmas
“Final Disposition
Others divided closets full of mother's things.
From the earth, I took her poppies.
I wanted those fandango folds
of red and black chiffon she doted on,
loving the wild and Moorish music of them,
coating her tongue with the thin skin
of their crimson petals.
Snapping her fingers, flamenco dancer,
she'd mock the clack of castanets
in answer to their gypsy cadence.
She would crouch toward the flounce of flowers,
twirl, stamp her foot, then kick it out
as if to lift the ruffles, scarlet
along the hemline of her yard.
And so, I dug up, soil and all,
the thistle-toothed and gray-green clumps
of leaves, the testicle seedpods and hairy stems
both out of season, to transplant them in my less-exotic garden. There, they bloom
her blood's abandon, year after year,
roots holding, their poppy heads nodding
a carefree, opium-ecstatic, possibly forever sleep.”
― Jane Glazer
Others divided closets full of mother's things.
From the earth, I took her poppies.
I wanted those fandango folds
of red and black chiffon she doted on,
loving the wild and Moorish music of them,
coating her tongue with the thin skin
of their crimson petals.
Snapping her fingers, flamenco dancer,
she'd mock the clack of castanets
in answer to their gypsy cadence.
She would crouch toward the flounce of flowers,
twirl, stamp her foot, then kick it out
as if to lift the ruffles, scarlet
along the hemline of her yard.
And so, I dug up, soil and all,
the thistle-toothed and gray-green clumps
of leaves, the testicle seedpods and hairy stems
both out of season, to transplant them in my less-exotic garden. There, they bloom
her blood's abandon, year after year,
roots holding, their poppy heads nodding
a carefree, opium-ecstatic, possibly forever sleep.”
― Jane Glazer
“UP
You wake up filled with dread.
There seems no reason for it.
Morning light sifts through the window,
there is birdsong,
you can't get out of bed.
It's something about the crumpled sheets
hanging over the edge like jungle
foliage, the terry slippers gaping
their dark pink mouths for your feet,
the unseen breakfast--some of it
in the refrigerator you do not dare
to open--you will not dare to eat.
What prevents you? The future. The future tense,
immense as outer space.
You could get lost there.
No. Nothing so simple. The past, its density
and drowned events pressing you down,
like sea water, like gelatin
filling your lungs instead of air.
Forget all that and let's get up.
Try moving your arm.
Try moving your head.
Pretend the house is on fire
and you must run or burn.
No, that one's useless.
It's never worked before.
Where is it coming form, this echo,
this huge No that surrounds you,
silent as the folds of the yellow
curtains, mute as the cheerful
Mexican bowl with its cargo
of mummified flowers?
(You chose the colours of the sun,
not the dried neutrals of shadow.
God knows you've tried.)
Now here's a good one:
you're lying on your deathbed.
You have one hour to live.
Who is it, exactly, you have needed
all these years to forgive?”
― Margaret Atwood
You wake up filled with dread.
There seems no reason for it.
Morning light sifts through the window,
there is birdsong,
you can't get out of bed.
It's something about the crumpled sheets
hanging over the edge like jungle
foliage, the terry slippers gaping
their dark pink mouths for your feet,
the unseen breakfast--some of it
in the refrigerator you do not dare
to open--you will not dare to eat.
What prevents you? The future. The future tense,
immense as outer space.
You could get lost there.
No. Nothing so simple. The past, its density
and drowned events pressing you down,
like sea water, like gelatin
filling your lungs instead of air.
Forget all that and let's get up.
Try moving your arm.
Try moving your head.
Pretend the house is on fire
and you must run or burn.
No, that one's useless.
It's never worked before.
Where is it coming form, this echo,
this huge No that surrounds you,
silent as the folds of the yellow
curtains, mute as the cheerful
Mexican bowl with its cargo
of mummified flowers?
(You chose the colours of the sun,
not the dried neutrals of shadow.
God knows you've tried.)
Now here's a good one:
you're lying on your deathbed.
You have one hour to live.
Who is it, exactly, you have needed
all these years to forgive?”
― Margaret Atwood
“There is the staircase,
there is the sun.
There is the kitchen,
the plate with toast and strawberry jam,
your subterfuge,
your ordinary mirage.
You stand red-handed.
You want to wash yourself in earth, in rocks and grass
What are you supposed to do
with all this loss?
In the daylight we know
what's gone is gone,
but at night it's different.
Nothing gets finished,
not dying, not mourning;
the dead repeat themselves, like clumsy drunks
lurching sideways through the doors
we open to them in sleep;
these slurred guests, never entirely welcome,
even those we have loved the most,
especially those we have loved the most,
returning from where we shoved them
away too quickly:
from under the ground, from under the water,
they clutch at us, they clutch at us,
we won't let go.”
― Margaret Atwood
there is the sun.
There is the kitchen,
the plate with toast and strawberry jam,
your subterfuge,
your ordinary mirage.
You stand red-handed.
You want to wash yourself in earth, in rocks and grass
What are you supposed to do
with all this loss?
In the daylight we know
what's gone is gone,
but at night it's different.
Nothing gets finished,
not dying, not mourning;
the dead repeat themselves, like clumsy drunks
lurching sideways through the doors
we open to them in sleep;
these slurred guests, never entirely welcome,
even those we have loved the most,
especially those we have loved the most,
returning from where we shoved them
away too quickly:
from under the ground, from under the water,
they clutch at us, they clutch at us,
we won't let go.”
― Margaret Atwood
“I Go Back to May 1937
I see them standing at the formal gates of their colleges,
I see my father strolling out
under the ochre sandstone arch, the
red tiles glinting like bent
plates of blood behind his head, I
see my mother with a few light books at her hip
standing at the pillar made of tiny bricks with the
wrought-iron gate still open behind her, its
sword-tips black in the May air,
they are about to graduate, they are about to get married,
they are kids, they are dumb, all they know is they are
innocent, they would never hurt anybody.
I want to go up to them and say Stop,
don't do it--she's the wrong woman,
he's the wrong man, you are going to do things
you cannot imagine you would ever do,
you are going to do bad things to children,
you are going to suffer in ways you never heard of,
you are going to want to die. I want to go
up to them there in the late May sunlight and say it,
her hungry pretty blank face turning to me,
her pitiful beautiful untouched body,
his arrogant handsome blind face turning to me,
his beautiful untouched body,
but I don't do it. I want to live. I
take them up like the male and female
paper dolls and bang them together
at the hips like chips of flint as if to
strike sparks from them, I say
Do what you are going to do, and I will tell about it.”
― Sharon Olds
I see them standing at the formal gates of their colleges,
I see my father strolling out
under the ochre sandstone arch, the
red tiles glinting like bent
plates of blood behind his head, I
see my mother with a few light books at her hip
standing at the pillar made of tiny bricks with the
wrought-iron gate still open behind her, its
sword-tips black in the May air,
they are about to graduate, they are about to get married,
they are kids, they are dumb, all they know is they are
innocent, they would never hurt anybody.
I want to go up to them and say Stop,
don't do it--she's the wrong woman,
he's the wrong man, you are going to do things
you cannot imagine you would ever do,
you are going to do bad things to children,
you are going to suffer in ways you never heard of,
you are going to want to die. I want to go
up to them there in the late May sunlight and say it,
her hungry pretty blank face turning to me,
her pitiful beautiful untouched body,
his arrogant handsome blind face turning to me,
his beautiful untouched body,
but I don't do it. I want to live. I
take them up like the male and female
paper dolls and bang them together
at the hips like chips of flint as if to
strike sparks from them, I say
Do what you are going to do, and I will tell about it.”
― Sharon Olds
Better World Book Club
— 91 members
— last activity May 24, 2013 07:09am
Welcome to Better World Book Club! Located in Orlando, FL. We will be reading and discussing books that focus on: * humane education * human and non-hu...more
RJ Reads (Reproductive Justice Book Club)
— 69 members
— last activity May 24, 2013 01:37pm
Reading and discussing nonfiction and fiction books relating to reproductive justice issues. New books quarterly. A Backline joint.
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