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Bluebird
there’s a bluebird in my heart that
wants to get out
but I’m too tough for him,
I say, stay in there, I’m not going
to let anybody see
you.
there’s a bluebird in my heart that
wants to get out
but I pour whiskey on him and inhale
cigarette smoke
and the whores and the bartenders
and the grocery clerks
never know that
he’s
in there.
there’s a bluebird in my heart that
wants to get out
but I’m too tough for him,
Lesbia Harford
(1891-1927)
Bluebird
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My window pane is broken
My window pane is broken
Just a bit
Where the small curtain doesn’t
Cover it.
And in the afternoon
I like to lie
And watch the pepper tree
Against the sky.
Pink berries and blue sky
And leaves and sun
Are very fair to rest
One’s eyes upon.
And my tired feet are resting
On the bed
And there’s a pillow under
My tired head.
Parties and balls and books
I know are best
But when I’ve finished work
I like to rest.
Lesbia Harford
(1891-1927)
My window pane is broken
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I was sad
I was sad
Having signed up in a rebel band,
Having signed up to rid the land
Of a plague it had.
For I knew
That I would suffer, I would be lost,
Be bitter and foolish and tempest tost
And a failure too.
I was sad;
Though far in the future our light would shine
For the present the dark was ours, was mine,
I couldn’t be glad.
Lesbia Harford
(1891-1927)
I was sad
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The story of art as it’s never been told before, from the Renaissance to the present day, with more than 300 works of art.
How many women artists do you know? Who makes art history? Did women even work as artists before the twentieth century? And what is the Baroque anyway?
Guided by Katy Hessel, art historian and founder of @thegreatwomenartists, discover the glittering paintings by Sofonisba Anguissola of the Renaissance, the radical work of Harriet Powers in the nineteenth-century United States and the artist who really invented the “readymade.”
Explore the Dutch Golden Age, the astonishing work of postwar artists in Latin America, and the women defining art in the 2020s.
Have your sense of art history overturned and your eyes opened to many artforms often ignored or dismissed. From the Cornish coast to Manhattan, Nigeria to Japan, this is the history of art as it’s never been told before.
Katy Hessel is an art historian, broadcaster and curator dedicated to celebrating women artists from all over the world. She runs @thegreatwomenartists Instagram and The Great Women Artists Podcast, where she has interviewed the likes of Tracey Emin, Marina Abramovic and authors Ali Smith and Deborah Levy. Katy has lectured at Tate and National Gallery, presented films for the BBC, and is a Visiting Fellow at Cambridge University. She is a columnist for the Guardian, and the author of The Story of Art without Men – a Sunday Times Bestseller and winner of Waterstones Book of the Year 2022.
Katy Hessel:
The Story of Art without Men
Publisher: W. W. Norton & Company
May 2, 2023
Language: English
Hardcover: 512 pages
ISBN-10: 0393881865
ISBN-13: 978-0393881868
26,28 euro – hardcover
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En écho au mouvement « Femme, Vie, Liberté », 16 femmes iraniennes livrent ici leurs témoignages.
Ces voix s’élèvent parfois depuis l’exil, parfois depuis des cellules de prison. Elles parlent d’une vie sans droits contrôlée par la police des mœurs, d’humiliations, de mise sous tutelle et de détresse économique.
Mais aussi d’une nouvelle génération, d’une révolution que plus rien ne pourra arrêter, de libertés qui se gagnent pas à pas et de l’incroyable résilience du peuple iranien. Leurs textes sont bouleversants, remplis de larmes et porteurs d’espoir. Leur bravoure est une leçon d’humanité.
Avec les témoignages de : Golshifteh Farahani, Ghazal Abdollahi, Parastou Forouhar, Shohreh Bayat, Shila Behjat, Ani, Nargess Eskandari-Grünberg, Fariba Balouch, Rita Jahanforuz, Jasmin Shakeri, Shirin Ebadi, Masih Alinejad, Narges Mohammadi, Nazanin Boniadi, Nasrin Sotoudeh, Leily.
Traduit de l’allemand par Mathilde Ramadier, sauf pour le témoignage de Golshifteh Farahani, recueilli par Sophie Caillat.
Nous n’avons pas peur
Le courage des femmes iraniennes
Natalie Amiri & Düzen Tekkal
Avec le témoignage de Golshifteh Farahani
Traduction : Mathilde Ramadier
Editions du Faubourg
ISBN : 9782493594686
Publié le 1 mars 2024
208 pages
140 x 190 mm
Acheter le livre en librairie au prix de € 18,-
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The title poem, “Because I Love You, I Become War,” is a poem of feminist genius, deserving to be in the pantheon of all-time brilliant poems!
Sascha A. Akhtar, author of #LoveLikeBlood
Raw[ness] exudes from this collection of poems and poetics prose about love and war, both corporal and terrestrial. Whether speaking of “rose petals yawning like little girls, like the daughters I never bore,” or a California wildfire’s “yellowed skies” and “smoke taint,” even color is narrative in Eileen Tabios’ dexterous hands.
Eileen R. Tabios has released over 60 collections of poetry, fiction, essays, and experimental biographies from publishers in 11 countries and cyberspace. DOVELION: A FAIRY TALE FOR OUR TIMES (AC Books, 2021) is her first long- form novel. Her 2020 books include a short story collection, PAGPAG: The Dictator’s Aftermath in the Diaspora; a poetry collection, THE IN(TER)VENTION OF THE HAY(NA)KU (Marsh Hawk Press, 2019); and her third bilingual edition (English/Thai), INCULPATORY EVIDENCE: Covid-19 Poems.
Her award-winning body of work includes invention of the hay(na)ku, a 21st century diasporic poetic form, and the MDR Poetry Generator that can create poems totaling theoretical infinity, as well as a first poetry book, Beyond Life Sentences, which received the Philippines’ National Book Award for Poetry. Translated into 11 languages, she also has edited, co-edited or conceptualized 15 anthologies of poetry, fiction and essays. Her writing and editing works have received recognition through awards, grants and residencies.
Because I love you, I become war
Poems & Uncollected Poetics Prose
by Eileen R. Tabios
Pub Date: 5/30/2023
Publisher: Marsh Hawk Press, Inc.
ISBN-10 : 099865826X
ISBN-13 : 978-0998658261
Binding: Paperback
Pages: 332
Price: $ 22.00
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Inspiring oral histories of women fighting for justice and radical social change at community, state, and national levels.
Award-winning oral historian Lynn Lewis brings together the stories of nine exceptional women, from their earliest formative experiences to their current strategies as movement leaders, organizers, and cultural workers.
Each chapter is dedicated to one activist—Malkia Devich-Cyril, Priscilla Gonzalez, Terese Howard, Hilary Moore, Vanessa Nosie, Roz Pelles, Loretta Ross, Yomara Velez, and Betty Yu.
Reflecting upon the path their lives have taken, they talk about their struggles and aspirations, insights and victories, and what keeps them in the fight for a better world.
The life stories of these inspiring women reveal the many ways the experience of injustice can catalyze resistance and a commitment to making change. They demonstrate how the relationships and bonds of collective struggle for the common good not only win justice, but create hope, love, and joy.
Lynn Lewis (editor) is an oral historian, educator, and community organizer. She is the author of Love and Collective Resistance: Lessons from the Picture the Homeless Oral History Project and is the former executive director and past civil rights organizer at Picture the Homeless. Lewis is the recipient of many honors and awards, including a 2022/2023 National Endowment for the Humanities Oral History Fellowship. She lives in New York City.
Women Who Change the World:
Stories from the Fight for Social Justice
by Lynn Lewis (Editor)
ISBN-13: 9780872868748
Publisher: City Lights Books
Series: City Lights Open Media
Publication date: 08/29/2023
Pages: 280
Paperback
$17.95
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The Rights of Women
Yes, injured Woman! rise, assert thy right!
Woman! too long degraded, scorned, opprest;
O born to rule in partial Law’s despite,
Resume thy native empire o’er the breast!
Go forth arrayed in panoply divine;
That angel pureness which admits no stain;
Go, bid proud Man his boasted rule resign,
And kiss the golden sceptre of thy reign.
Go, gird thyself with grace; collect thy store
Of bright artillery glancing from afar;
Soft melting tones thy thundering cannon’s roar,
Blushes and fears thy magazine of war.
Thy rights are empire: urge no meaner claim,—
Felt, not defined, and if debated, lost;
Like sacred mysteries, which withheld from fame,
Shunning discussion, are revered the most.
Try all that wit and art suggest to bend
Of thy imperial foe the stubborn knee;
Make treacherous Man thy subject, not thy friend;
Thou mayst command, but never canst be free.
Awe the licentious, and restrain the rude;
Soften the sullen, clear the cloudy brow:
Be, more than princes’ gifts, thy favours sued;—
She hazards all, who will the least allow.
But hope not, courted idol of mankind,
On this proud eminence secure to stay;
Subduing and subdued, thou soon shalt find
Thy coldness soften, and thy pride give way.
Then, then, abandon each ambitious thought,
Conquest or rule thy heart shall feebly move,
In Nature’s school, by her soft maxims taught,
That separate rights are lost in mutual love.
Anna Laetitia Barbauld
(1743 – 1825)
The Rights of Women
Anna Laetitia Barbauld wrote this poem in 1793,
in response to Mary Wollstonecraft’s ‘A Vindication of the Rights of Woman´.
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Women Do Not Want It
When the woman suffrage argument first stood upon its legs,
They answered it with cabbages, they answered it with eggs,
They answered it with ridicule, they answered it with scorn,
They thought it a monstrosity that should not have been born.
When the woman suffrage argument grew vigorous and wise,
And was not to be answered by these opposite replies,
They turned their opposition into reasoning severe
Upon the limitations of our God-appointed sphere.
We were told of disabilities–a long array of these,
Till one could think that womanhood was merely a disease;
And “the maternal sacrifice” was added to the plan
Of the various sacrifices we have always made–to man.
Religionists and scientists, in amity and bliss,
However else they disagreed, could all agree on this,
And the gist of all their discourse, when you got down in it,
Was–we could not have the ballot because we were not fit!
They would not hear the reason, they would not fairly yield,
They would not own their arguments were beaten in the field;
But time passed on, and someway, we need not ask them how,
Whatever ails those arguments–we do not hear them now!
You may talk of suffrage now with an educated man,
And he agrees with all you say, as sweetly as he can:
‘T would be better for us all, of course, if womanhood was free;
But “the women do not want it”–and so it must not be!
‘T is such a tender thoughtfulness! So exquisite a care!
Not to pile on our frail shoulders what we do not wish to bear!
But, oh, most generous brother! Let us look a little more–
Have we women always wanted what you gave to us before?
Did we ask for veils and harems in the Oriental races?
Did we beseech to be “unclean,” shut out of sacred places?
Did we beg for scolding bridles and ducking stools to come?
And clamour for the beating stick no thicker than your thumb?
Did we ask to be forbidden from all the trades that pay?
Did we claim the lower wages for a man’s full work today?
Have we petitioned for the laws wherein our shame is shown:
That not a woman’s child–nor her own body–is her own?
What women want has never been a strongly acting cause,
When woman has been wronged by man in churches, customs, laws;
Why should he find this preference so largely in his way,
When he himself admits the right of what we ask today?
Charlotte Perkins Gilman
(1860-1935)
Women Do Not Want It
Suffrage Songs and Verses
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The Anti-Sufragists
Fashionable women in luxurious homes,
With men to feed them, clothe them, pay their bills,
Bow, doff the hat, and fetch the handkerchief;
Hostess or guest; and always so supplied
With graceful deference and courtesy;
Surrounded by their horses, servants, dogs–
These tell us they have all the rights they want.
Successful women who have won their way
Alone, with strength of their unaided arm,
Or helped by friends, or softly climbing up
By the sweet aid of “woman’s influence”;
Successful any way, and caring naught
For any other woman’s unsuccess–
These tell us they have all the rights they want.
Religious women of the feebler sort–
Not the religion of a righteous world,
A free, enlightened, upward-reaching world,
But the religion that considers life
As something to back out of !– whose ideal
Is to renounce, submit, and sacrifice.
Counting on being patted on the head
And given a high chair when they get to heaven–
These tell us they have all the rights they want.
Ignorant women–college bred sometimes,
But ignorant of life’s realities
And principles of righteous government,
And how the privileges they enjoy
Were won with blood and tears by those before–
Those they condemn, whose ways they now oppose;
Saying, “Why not let well enough alone?”
Our world is very pleasant as it is”–
These tell us they have all the rights they want.
And selfish women–pigs in petticoats–
Rich, poor, wise, unwise, top or bottom round,
But all sublimely innocent of thought,
And guiltless of ambition, save the one
Deep, voiceless aspiration–to be fed!
These have no use for rights or duties more.
Duties today are more than they can meet,
And law insures their right to clothes and food–
These tell us they have all the rights they want.
And, more’s the pity, some good women too;
Good, conscientious women with ideas;
Who think–or think they think–that woman’s cause
Is best advanced by letting it alone;
That she somehow is not a human thing,
And not to be helped on by human means,
Just added to humanity–an “L”–
A wing, a branch, an extra, not mankind–
These tell us they have all the rights they want.
And out of these has come a monstrous thing,
A strange, down-sucking whirlpool of disgrace,
Women uniting against womanhood,
And using that great name to hide their sin!
Vain are their words as that old king’s command
Who set his will against the rising tide.
But who shall measure the historic shame
Of these poor traitors–traitors are they all–
To great Democracy and Womanhood!
Charlotte Perkins Gilman
(1860-1935)
The Anti-Sufragists
Suffrage Songs and Verses
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She who is to come
A woman–in so far as she beholdeth
Her one Beloved’s face;
A mother–with a great heart that enfoldeth
The children of the Race;
A body, free and strong, with that high beauty
That comes of perfect use, is built thereof;
A mind where Reason ruleth over Duty,
And Justice reigns with Love;
A self-poised, royal soul, brave, wise and tender,
No longer blind and dumb;
A Human Being, of an unknown splendor,
Is she who is to come!
Charlotte Perkins Gilman
(1860-1935)
She who is to come
Suffrage Songs and Verses
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More in: # Classic Poetry Archive, Archive G-H, Archive G-H, Feminism
Dithyrambe
Glücklich, wem der Gott der Reben
Seine süßen Gaben beut,
Hüllend um das ganze Leben
Selige Vergessenheit!
Alle finstern Geister weichen,
Aller Fesseln sind wir los,
Herrscher in des Traumes Reichen,
Fühlt der Geist sich frei und groß.
Fort, mit deinen bleichen Zügen,
Träumende Erinnerung!
Deinen Zauber zu betrügen,
Fühl’ ich mächtig mich und jung!
Heiliger Entzückung Gluten
Fach’ ich in der Seele an;
Möchte frei das All’ umfluten,
Wie der alte Ocean!
Stürmt empor, ihr Jugendgeister!
Tanzt um mich in frohen Reih’n!
Immer frischer, immer dreister,
Stürzt ins Leben euch hinein!
Fluch den fremden, starren Mächten,
Die der Menschen Sinn betört;
Die uns martern, die uns knechten,
Die mein ganzes Sein zerstört!
Mächt’ger Gott der süßen Reben,
Spende mir Vergessenheit!
Schenke mir ein neues Leben,
Voll Genuß und Seligkeit!
Schlagt die Gläser all’ in Scherben:
So vergeh’ die alte Welt!
So mag sterben und verderben,
Was das Herz in Fesseln hält!
Louise Aston
(1814-1871)
Die wilde Rose
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More in: # Classic Poetry Archive, Archive A-B, Archive A-B, Feminism
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