Verbal Privilege

 Statue of a Woman, 2400 BC, Iraq, from The British Museum. This Mesopotamian statue would have probably been placed in a temple where it would have stood in perpetual prayer on behalf of a temple donor. Her eyebrows meet in the middle, which at the time, was considered a sign of great beauty. This statue was part of a gorgeous exhibition titled India & The World: A History in Nine Stories, at CMSVS in Mumbai.

Statue of a Woman, 2400 BC, Iraq, from The British Museum.
This Mesopotamian statue would have probably been placed in a temple where it would have stood in perpetual prayer on behalf of a temple donor. Her eyebrows meet in the middle, which at the time, was considered a sign of great beauty. This statue was part of a gorgeous exhibition titled India & The World: A History in Nine Stories, at CMSVS in Mumbai.

One of the lovelier things about the internet is the way scraps of poetry get shared as quotes and photos, like notes being passed around in the classroom while the teacher's back is turned. At the same time, these are fragments. Sometimes they obscure the uncomfortable truth that those selected bits are the only truly good lines in the poem. And then there are the others, like "North American Time" by Adrienne Rich which deserves to be read in full, all nine parts. 

 

North American Time

I

When my dreams showed signs
of becoming
politically correct
no unruly images
escaping beyond border
when walking in the street I found my
themes cut out for me
knew what I would not report
for fear of enemies' usage
then
I began to wonder

II

Everything we write
will be used against us
or against those we love.
These are the terms,
take them or leave them.
Poetry never stood a chance
of standing outside history.
One line typed twenty years ago
can be blazed on a wall in spraypaint
to glorify art as detachment
or torture of those we
did not love but also
did not want to kill.

We move but our words stand
become responsible
for more than we intended

and this is verbal privilege.

III
Try sitting at a typewriter
one calm summer evening
at a table by a window
in the country, try pretending
your time does not exist
that you are simply you
that the imagination simply strays
like a great moth, unintentional
try telling yourself
you are not accountable
to the life of your tribe
the breath of your planet

IV
It doesn't matter what you think.
Words are found responsible
all you can do is choose them
or choose
to remain silent. Or, you never had a choice,
which is why the words that do stand
are responsible

and this is verbal privilege

V
Suppose you want to write
of a woman braiding
another woman's hair--
staight down, or with beads and shells
in three-strand plaits or corn-rows--
you had better know the thickness
the length the pattern
why she decides to braid her hair
how it is done to her
what country it happens in
what else happens in that country

You have to know these things

VI
Poet, sister: words —
whether we like it or not —
stand in a time of their own.
no use protesting I wrote that
before Kollontai was exiled
Rosa Luxembourg, Malcolm,
Anna Mae Aquash, murdered,
before Treblinka, Birkenau,
Hiroshima, before Sharpeville,
Biafra, Bangla Desh, Boston,
Atlanta, Soweto, Beirut, Assam
--those faces, names of places
sheared from the almanac
of North American time

VII
I am thinking this in a country
where words are stolen out of mouths
as bread is stolen out of mouths
where poets don't go to jail
for being poets, but for being
dark-skinned, female, poor.
I am writing this in a time
when anything we write
can be used against those we love
where the context is never given
though we try to explain, over and over
For the sake of poetry at least
I need to know these things

VIII
Sometimes, gliding at night
in a plane over New York City
I have felt like some messenger
called to enter, called to engage
this field of light and darkness.
A grandiose idea, born of flying.
But underneath the grandiose idea
is the thought that what I must engage
after the plane has raged onto the tarmac
after climbing my old stairs, sitting down
at my old window
is meant to break my heart and reduce me to silence.

IX
In North America time stumbles on
without moving, only releasing
a certain North American pain.
Julia de Burgos wrote:
That my grandfather was a slave
is my grief; had he been a master
that would have been my shame.
A poet's words, hung over a door
in North America, in the year
nineteen-eighty-three.
The almost-full moon rises
timelessly speaking of change
out of the Bronx, the Harlem River
the drowned towns of the Quabbin
the pilfered burial mounds
the toxic swamps, the testing-grounds

and I start to speak again.

1983, Adrienne Rich