This Bridge Called My Back Poem – In 1981, Chicana feminist intellectuals Cherríe Moraga and Gloria Anzaldúa published a benchmark work for generations of feminist women of color—the seminal This Bridge Called My Back: Writings by Radical Women of Colors. To celebrate and honor this important work, the editors gloria j. Wilson, Joni B. Acuff, and Amelia M. Kraehe present a Love Letter to This Bridge Called My Back for new generations.
In A Love Letter, the authors illuminate, challenge and respond to current politics, progressive struggles, transformations, acts of resistance and solidarity, offering readers a space of renewal and healing. The central theme of the original Bridge is honored, revealing the lived realities of women of color at the intersections of race, class, gender, ethnicity and sexuality, promoting these early conversations about what it means to be a feminist consciousness in the Third World.
This Bridge Called My Back Poem
Love Letter recognizes the challenges women of color face in a twenty-first century world of climate and economic crises, increasing gun violence, and ever-changing social media constructs for women of color. It also maintains the appeal of the moving Clarion Bridge, as Moraga writes: “A theory in the flesh means a theory in which the physical realities of our lives—the color of our skin, the earth or concrete we grew up on, our sexual longing. – merge them all to create a politics born of necessity’.
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“Forty years after the landmark book This Bridge Called My Back was published, the text continues to inspire so many women of color throughout the Western world. The collection of poetry, art, prayers and personal reflections shows why the text is still relevant today.” —Emily S. Lee, editor of Race as Phenomena: Between Phenomenology and Philosophy of Race
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Last Monday, the clear sorting of the day’s jobs turned into a woman’s mind. Opening the cardboard book case, I got a flash of black and red:
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At last he had made his way home again. Since 2008, when the book was last out of print, the hunger for its reappearance has become a collective and collective matter. Its staying power is such
, co-edited by Cherríe Moraga and Gloria Anzaldúa (1981). It comes and goes and returns in 34 years and 5 taps:
Easy to type this list of facts. And to my relief I can definitely type the latest entry. But the entry feels stagnant, it does not begin to capture the mood, the
2. Remembrance / reminder A happy and/or painful memory of an object, gesture, scene, related to the loved one and which is characterized by the invasion of the imperfect tense on the grammar of the lover’s speech. – Roland Barthes
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The anticipation and ignorance created in and by the breaks of relating to are part of me.
As a process of living. Each return, if and when it comes, adding yet another layer of texture. If you were to count the number of separate prefaces, prefaces, introductions, and afterwords that Moraga and Anzaldúa wrote or co-wrote – you wouldn’t mind the introduction to Kate Rushin’s “The Bridge Poem” or the translators’ notes and notes the editors – never mind. d easily achieve a dozen. That’s quite a position. And this material alone tells a unique story about Moraga and Anzaldúa – their changing political views over time and even their implicit disagreements with each other about the boundaries and strategies of women of color feminism.
Changes. (My love of detail is a topic for a very different kind of confessional post.)
“If black [native] women were free … everyone else would have to be, because our freedom would require the destruction of all systems of oppression” (xix). Moraga appends this endnote to “[Indigenous]”: “Black women are indigenous women, once forcibly removed from their ancestral homeland. If not the details, the main ideological principles of the Chombahee River Collective’s 1977 statement can serve as a thesis today for indigenous women’s rights movements around the world” (n. 6, xxv).
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Actually, these are not “detail” questions. They go to the heart of the politics of representation, diversity, identity, agency — to name just some of the bricks they provide.
His strength. We do not know what Anzaldúa would have thought of these questions or of the 4th edition, even if her statement of literary confidence (probably written by AnaLouise Keating) states that she would be “pleased with the additional possibilities in this edition” (xxvii) . we
Rely on Moraga being typically open about her process. One thing I will always love about her style is her raw honesty, her generous willingness to put herself out there.
. For the many introductions, prefaces, introductions and appendices that give Moraga and Anzaldúa the power and freedom to grow, move, change and reflect over time, we have little access to the changes/thoughts/reflections of Valerio, Genny Lim , Jo Carillo and Doris Davenport, just to name a few.
Love Letter To This Bridge Called My Back
Do more than celebrate! It’s certainly worth celebrating. But it’s also worth a good solid read and re-read. ifHigh Flight is a 1941 sonnet written by war poet John Gillespie Magee Jr. and is inspired by his experience as a Royal Canadian Air Force fighter pilot in World War II. Magee began writing the poem on 18 August while stationed at No. 53 OTU outside London, and sent a completed manuscript to his family on 3 September, three months before he died in a training accident. Originally published in the Pittsburgh Post-Gazette, it was widely circulated when Magee became one of the first American casualties of the war after Pearl Harbor on December 11th.
Because of its pleasant and ethereal depiction of aviation, as well as its allegorical depiction of death and dying, the poem has featured prominently on aviation moments around the world, including the space shuttle Challenger.
“Oh! I slipped on the poor widows of the Earth, And made the skies dance with silver wings of laughter; Towards the sun I climbed, And went in the happy company of the sun-cut clouds, –and did a hundred things that you did not imagine Of them.—I drove and rose and fled high in the silence in the sunlight I turned there, chased the screaming wind, and sent my willing craft through distant airy halls. The place that never flew the lark nor the eagle — And while my fierce, lofty mind was treading on the invincible sanctity of space, — Stretch out my hand and touch the face of God.”
Piloting a Spitfire Mk I, Magee reached 33,000 feet (10,000 m) during a training flight over Wales sometime in August 1941. He was impressed by the speed and agility of the aircraft and the experience of flying at altitude here with him. He wrote in parts that he finished the poem right after training that day.
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The first person to read Magee’s poem later that day in the officers’ mess was his fellow Pilot Officer Michael Hry Le Bas (later Deputy Air Chief MH. Le Bas, CB CBE DSO AFC, Air Officer in Group No. 1 lead
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