Rich, one of the most influential and widely read writers of the feminist books arthritis, took on sexism and racial oppression in her poems and prose. Internet Explorer 9 or earlier.
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Widely read, widely anthologized, widely interviewed and widely taught, Ms. Rich was for decades among the most influential writers of the feminist movement and one of the best-known American public intellectuals. Company, her publisher since the mid-1960s. Triply marginalized — as a woman, a lesbian and a Jew — Ms. Rich was concerned in her poetry, and in her many essays, with identity politics long before the term was coined.
More articles about Betty Friedan. In describing the stifling minutiae that had defined women’s lives for generations, both argued persuasively that women’s disenfranchisement at the hands of men must end. While some critics called her poetry polemical, she remained celebrated for the unflagging intensity of her vision, and for the constant formal reinvention that kept her verse — often jagged and colloquial, sometimes purposefully shocking, always controlled in tone, diction and pacing — sounding like that of few other poets. All this helped ensure Ms. Rich’s continued relevance long after she burst genteelly onto the scene as a Radcliffe senior in the early 1950s.
More articles about the National Book Awards. That volume, published in 1973, is considered her masterwork. In the title poem, Ms. Rich was far too seasoned a campaigner to think that verse alone could change entrenched social institutions.
National Book Foundation in 2006, on receiving its medal for distinguished contribution to American letters. Neither is it a blueprint, nor an instruction manual, nor a billboard. But at the same time, as she made resoundingly clear in interviews, in public lectures and in her work, Ms. Rich saw poetry as a keen-edged beacon by which women’s lives — and women’s consciousness — could be illuminated. She was never supposed to have turned out as she did.
Go to the Baltimore Travel Guide. Her mother, Helen Gravely Jones Rich, a Christian, was a pianist and composer who, cleaving to social norms of the day, forsook her career to marry and have children. Adrienne was baptized and confirmed in the Episcopal Church. Theirs was a bookish household, and Adrienne, as she said afterward, was groomed by her father to be a literary prodigy.
He encouraged her to write poetry when she was still a child, and she steeped herself in the poets in his library — all men, she later ruefully observed. But those men gave her the formalist grounding that let her make her mark when she was still very young. More articles about Wystan Hugh Auden. More articles about Yale University.
Younger Poets series, a signal honor. Released in 1951, the book, with its sober mien, dutiful meter and scrupulous rhymes, was praised by reviewers for its impeccable command of form. She had learned the lessons of her father’s library well, or so it seemed. For even in this volume Ms. Rich had begun, with subtle subversion, to push against a time-honored thematic constraint — the proscription on making poetry out of the soul-numbing dailiness of women’s lives. Bright topaz denizens of a world of green. They pace in sleek chivalric certainty.