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As her sons have seen her: the mother in patriarchy: controlling, erotic, castrating, heart-suffering, guilt-ridden, and guilt-provoking; a marble brow, a huge breast, an avid cave; between her legs snakes, swamp-grass, or teeth; on her lap a helpless infant or a martyred son. She exists for one purpose: to bear and nourish the son.
Every journey into the past is complicated by delusions, false memories, false namings of real events.
The connections between and among women are the most feared, the most problematic, and the most potentially transforming force on the planet.
The worker can unionize, go out on strike; mothers are divided from each other in homes, tied to their children by compassionate bonds; our wildcat strikes have most often taken the form of physical or mental breakdown.
There is the falsely mystical view of art that assumes a kind of supernatural inspiration, a possession by universal forces unrelated to questions of power and privilege or the artist's relation to bread and blood. In this view, the channel of art can only become clogged and misdirected by the artist's concern with merely temporary and local disturbances. The song is higher than the struggle.
They can rule the world while they can persuade us our pain belongs in some order is death by famine worse than death by suicide, than a life of famine and suicide...?
We might hypothetically possess ourselves of every technological resource on the North American continent, but as long as our language is inadequate, our vision remains formless, our thinking and feeling are still running in the old cycles, our process may be revolutionary but not transformative.
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