Jul 22, 2019 · Audre Lorde has been a major intellectual inspiration for the feminists of 2018. Her quotes are frequently posted on Twitter. Women’s websites list Lorde’s words among the quotes marchers might...
The Audre Lorde Chair in Race, Class, Gender and Sexuality was established by Carla F. Wallace. The chair is jointly based in the Department of Women's and Gender Studies and the Department of Pan African Studies, both in the College of Arts and Sciences.
Mar 01, 2021 · Audre Lorde Now – A Community Read-in for Our Survival. “The master’s tools will never dismantle the master’s house.”. How do we avoid the trap of “divide and rule”? Read at least one poem and one essay below. Poetry: Who Said it Was Simple. To the Brown Menace or Poem to the Survival of Roaches.
Mar 01, 2021 · Audre Lorde Now – A Community Read-in for Our Survival. Audre Lorde Now - A Community Read-in for Our Survival “Caring for myself is not self-indulgence, it is self-preservation and that is an act of political warfare.”. What are the everyday threats to our health and how do we affirm the value of our lives by practicing radical self-care?
1. “I have come to believe over and over again that what is most important to me must be spoken, made verbal and shared, even at the risk of having it bruised or misunderstood.” -Audre Lorde.Mar 15, 2021
Born as Audrey Geraldine Lorde, she chose to drop the "y" from her first name while still a child, explaining in Zami: A New Spelling of My Name that she was more interested in the artistic symmetry of the "e"-endings in the two side-by-side names "Audre Lorde" than in spelling her name the way her parents had intended ...
Audre Lorde, in full Audre Geraldine Lorde, also called Gamba Adisa or Rey Domini, (born February 18, 1934, New York, New York, U.S.—died November 17, 1992, St. Croix, U.S. Virgin Islands), American poet, essayist, and autobiographer known for her passionate writings on lesbian feminism and racial issues.
She has made lasting contributions in the fields of feminist theory, critical race studies and queer theory through her pedagogy and writing. “I write for those women who do not speak, for those who do not have a voice because they were so terrified, because we are taught to respect fear more than ourselves.Jun 3, 2019
'Coal' (1968) First appearing in her 1968 debut collection The First Cities, “Coal” might be Lorde's most defining work. Not only did it later become the title poem for another book, but the poem is her declaration of her own identity and celebration of being Black.Feb 14, 2022
With the publication of Coal by a major book company in 1976, Lorde began to reach a larger audience. The Black Unicorn (1978) soon followed. In this volume, Lorde explored her African heritage. It is considered one of her greatest works by many critics.Feb 18, 2021
The poem “Hanging Fire” by Audre Lorde illustrates the concerns and struggles many people face during their adolescent years. The poem is written in the voice of a 14 year-old girl that is worried about several different obstacles she is facing.
the civil rightsLorde and Rollins divorced in 1970. During the 1960s, Lorde began publishing her poetry in magazines and anthologies, and also took part in the civil rights, antiwar, and women's liberation movements. Lorde published her first volume of poems, The First Cities, in 1968.
Edwin RollinsAudre Lorde / Spouse (m. 1962–1970)
Audre Lorde, who named herself black, feminist, lesbian, mother, poet, and activist, was a pioneer for black lesbians everywhere. In her poetry and prose, Lorde challenged the myths and taboos associated with black women, lesbians, and feminists.
It uses polemical language, dismissing the demands of objectivity and utilizes colorful metaphors and poetic language, mixing genres and co-opting styles, thus politicizing the academic writing form. In her essay, Lorde gives expression to the experience of the multiply oppressed.Apr 8, 2017
In 1985, Audre Lorde was a part of a delegation of black women writers who had been invited to Cuba. The trip was sponsored by The Black Scholar and the Union of Cuban Writers. She embraced the shared sisterhood as black women writers. They visited Cuban poets Nancy Morejon and Nicolas Guillen.
Afro-German feminist scholar and author Dr. Marion Kraft interviewed Audre Lorde in 1986 to discuss a number of her literary works and poems. In this interview, Audre Lorde articulated hope for the next wave of feminist scholarship and discourse. When asked by Kraft, "Do you see any development of the awareness about the importance of differences within the white feminist movement?" Lorde replied with both critiques and hope:
Lorde's impact on the Afro-German movement was the focus of the 2012 documentary by Dagmar Schultz. Audre Lorde: The Berlin Years 1984–1992 was accepted by the Berlin Film Festival, Berlinale, and had its World Premiere at the 62nd Annual Festival in 2012.
Lorde was born in New York City to Caribbean immigrants, her father from Barbados and her mother Grenadian from the island of Carriacou, Frederick Byron Lorde (known as Byron) and Linda Gertrude Belmar Lorde, who settled in Harlem. Lorde's mother was of mixed ancestry but could " pass " for ' Spanish ', which was a source of pride for her family. Lorde's father was darker than the Belmar family liked, and they only allowed the couple to marry because of Byron Lorde's charm, ambition, and persistence. Nearsighted to the point of being legally blind and the youngest of three daughters (her two older sisters were named Phyllis and Helen), Lorde grew up hearing her mother's stories about the West Indies. At the age of four, she learned to talk while she learned to read, and her mother taught her to write at around the same time. She wrote her first poem when she was in eighth grade.
In both works, Lorde deals with Western notions of illness, disability, treatment, cancer and sexuality, and physical beauty and prost hesis, as well as themes of death, fear of mortality, survival, emotional healing, and inner power.
The Callen-Lorde Community Health Center, an organization in New York City named for Michael Callen and Lorde, is dedicated to providing medical health care to the city's LGBT population without regard to ability to pay.
Around the 1960s, second-wave feminism became centered around discussions and debates about capitalism as a "biased, discriminatory, and unfair" institution , especially within the context of the rise of globalization .
Continuity does not happen automatically, nor is it a passive process. The 60s were characterized by a heady belief in instantaneous solutions. They were vital years of awakening, of pride, and of error. The civil rights and Black power movements rekindled possibilities for disenfranchised groups within this nation.
The 60s should teach us how important it is not to lie to ourselves. Not to believe that revolution is a one-time event, or something that happens around us rather than inside of us. Not to believe that freedom can belong to anyone group of us without the others also being free.
The answer to cold is heat, the answer to hunger is food. But there is no simple monolithic solution to rac ism, to sexism, to homophobia.
Dr. Kaila Story is Associate Professor, Women's, Gender and Sexuality Studies, with a joint appointment in the Department of Pan-African Studies. She holds the Audre Lorde Chair in Race, Class, Gender, and Sexuality Studies.
Dialogues on Gender at the Speed Art Museum#N#In conjunction with the exhibition Breaking the Mold: Investigating Gender at the Speed Art Museum, the Speed hosted a three-part “Dialogues on Gender” series of public conversations, presented in partnership with WFPL’s Strange Fruit and Louisville Public Media. This series featured groundbreaking discussions that took place in June, July, and August.
WFPL’s Strange Fruit co-host and professor Dr. Kaila Story and art critic Paddy Johnson, the founding editor of Art F City, discussed past and contemporary feminisms in life, art, education, culture, and working in the media. WFPL’s Strange Fruit co-host and activist Jaison Gardner moderated the conversation.