A Tumblr Q & A Singer-Poet Lorde

Born in Ontario in 1971 to an Anishinaabe mother and a Scottish father, Leanne Betasamosake Simpson is a member of Alderville First Nation and is of Michi Saagiig Nishnaabeg ancestry. Although she has written three books, her most famous one is a collection of short stories called Islands of Decolonial Love. Simpson also works for the The Centre for World Indigenous Knowledge and Research at Athabasca University in Canada. She is a poet, an academic, and activist, and a spoken word artist, and she won the RBC Taylor Emerging Writer Award for her non-fiction works in 2014. She also was awarded the Briarpatch Magazine’s Writing From the Margins prize for short fiction in 2012. Leanne Simpson’s seeks inspiration from a variety of styles, from from storytelling to critical analysis.

|Spend about 1 hour on this section. Think carefully about the poems before you write your answer. |

Sarah Polley’s film Stories We Tell is as much about how we interpret images – what we take as “true” – as it is about how we remember. Through a close analysis of the film discuss what you think the film sets out to do and how it achieves these aims. In answering this question you might also want to look at reviews of the film.

When I think of a poet, images of scowling, mustached men whose 19th century wardrobe could use an update spring to mind—a somber Edgar Allen Poe type whose ink strokes inquire of unrequited love interests and dreary days alone in the snow. I certainly do not imagine modern, multi-ethnic women who live in the same state as me. However, as soon as I read Natasha Trethewey’s poetry, I immediately admired the way her words so effortlessly danced on the page, my mind’s eye watching the elegant choreography with each syllable read. Moreover, when I learned of her tragic history, and the strength and resilience she possessed to carry on, I could not help but to respect the way she turned pain into beautiful art. The right words carry great power

Two women from two different backgrounds have so much in common yet they are so different. One grew up in Houston, Texas while the other grew up in Saint Michael, Barbados. Even though these two women have had very different up bringing the one thing they have in common is their great voices. These two women’s background, musical style, and other career ventures make them both two of the best female artist in their field.

Beyoncé Knowles, a well-known singer, songwriter uses two of her songs: “Freedom” and “Formation” to tell the story of herself. “Freedom” is the beginning of her story where she is searching for freedom and equality showing that there is still much inequality and injustice for African Americans in America today. The song slowly transitions to a more positive tone when she seems to have made something beneficial out of her difficult situation. “Formation,” however, has a completely different tone. While she does address negative situations from the past at the beginning of the song, she quickly transitions to a more positive tone full of pride in where she came from, who she has become, and what she has overcome. Together, the two songs

Gwen Harwood, a contemporary female poet, born in Brisbane Australia in the 1920 's, wrote her poetry during a time where Australian society held dominant gender ideologies that focused on domesticating women. A widely held belief of a passive, nurturing mother figure who looked after her children and complied with her duties as a 'house-wife ', whilst men were viewed as the sole source of income and had a minimal nurturing role with children, was shared, along with ideas of male superiority, and of masculine qualities being superior to feminine qualities, both of which were only expected to be embodied by males and females respectively. The construction of people, places and institutions through poetic conventions in Harwood 's poetry allows the audience to identify these cultural beliefs in conventional gender roles and expectations within 1950 's Australian society in particular. These constructions critique the attitudes and values of the time, especially where women are concerned, and thus position the audience to reject the patriarchal assumptions of the time. Her poems Suburban Sonnet and Prize Giving are can be perceived as radical interpretations and criticisms of the views of the time they were written in, and attest to Harwood 's own beliefs of female independence and placing value on feminine and masculine roles and qualities equally. Harwood grew up with the main female figures in her life being her mother and grandmother, who were both very independent; her

Lorde was a minority in every group that she belonged to, and although she gained support and began to have the ability to self-integrate, she still faced hardships through discrimination. Lorde's feeling that she did not belong completely runs throughout the book: "The ‘time' when I would have to protect myself alone, although I did not know how or when. For Flee and me, the forces of social evil were not theoretical, not long distance nor solely bureaucratic" (205). Here Lorde is pointing out that her struggle is not solely one of a lesbian. Lorde is a double minority in this case because she is a black and a lesbian. This point to the argument in the text as a whole, that Lorde is still a minority even in her own groups, for example, she is even a minority in her own family (the only lesbian) and therefore Lorde's battle of integration did not end at her finding a group of friends.. This emphasizes Lorde's argument that throughout the book, she lives in houses, but never has a home. Lorde, being a double and sometimes even triple minority continues to experience hardship throughout the book. On page 255, Lorde again looks to her friends and lovers as a

She is funny, like she can make the whole world laugh. I’m not as good of a joker person as my

"You laugh when I havent been funny and you answer right off.You never stop to think what I've asked you" (pg.12, part 1)

When I was a senior in High School I completed a final project that prompted me to choose a literary work written by an individual with different life experiences than my own, write a research paper explaining the author’s background, and compare how this author’s environment influences their interpretation of the world versus my own. I went into the project believing it to be another time-waster activity that would finally secure my high grade in the course. Unknown to me, this project would catapult me to pursue a career of social justice.

In her essay “Age, Race, Class, and Sex: Women Redefining Difference”, Audre Lorde details multiple groups of people and their actions and attitudes. She focuses on and criticizes different demographics’ actions and how they impede the achievement of equality for people like herself. She portrays the disenfranchisement and underappreciation she receives multilaterally because of her race, social class, sexual orientation, age, gender. Lorde’s prevailing goal of the essay is to demonstrate that the marginalized should not nullify, ignore, suppress, or attack the expression of differences between themselves. Rather, she asserts that they should recognize and celebrate those differences to unite across demographic boundaries so they may together

Akin to intersectional romance fiction, poetry is equivalently as radical. Poetry magnifies the significance of language as a revolutionary tool, one that liberates women and cultivates an environment in which women are free to address their aspirations and anxieties while condemning the ideals of a society that operates under the canons of male chauvinism. In a collection of letters published as a tribute to the late Audre Lorde in Off Our Backs, a feminist newspaper journal written for women by women, one anonymous contributor discusses how Lorde “encourages all women to find their own means of expression, their own poetry to value and to use” (Tyler 32) in her piece “Poetry Is Not a Luxury”. In the piece, Lorde discusses how for women, poetry is not a nonessential indulgence, as Caucasian men throughout history have suggested through how they render poetry as an opportunity to “cover [a] desperate wish for imagination without insight” (Lorde, “Poetry Is Not a Luxury” 36). Lorde contends that poetry is a “vital necessity of [the] existence” (Lorde, “Poetry Is Not a Luxury” 36) of women because it establishes the infrastructure on which women “predicate [their] hopes and dreams toward survival and change, first made into language, then into idea, then into more tangible action” (Lorde, “Poetry Is Not a Luxury” 36). Lorde’s text motivates women to exercise “the power of the word, a freedom for women greatly feared by…patriarchal society” (Tyler 32). Lorde states the poetry

An ode can be defined as a "ceremonious lyric poem on an occasion of dignity in which personal emotion and universal themes are united" (Ode, 2012). While hip-hop is known for its violent, masculine, and often, misogynistic lyrics, "Dear Mama" (1995), the first single from Tupac Shakur's album, Me Against the World (1995), can be considered to be a modern ode. Tupac Shakur, also known as 2Pac, one of hip-hop's most influential rappers, intended to pay homage to his mother through this song and frequently referenced it in many of his later songs. "Dear Mama" (1995) contains many elements that allow its lyrics to be analyzed from a literary perspective including tone, theme, and lyrical style.

Adrienne Rich's poetry serves a prophetic function by articulating the history and ideals of the feminist struggle. By recalling the ancient chthonic mysteries of blood and birth, by reconnecting daughters with their mothers, by drawing parallels between women today and their historical counterparts, and by envisioning the women of the future who will emerge from the feminist struggle, her poetry celebrates women's strength and possibilities. Elaborating her vision, Rich brings a nurturing ethos to her analysis of social priorities: