I've been writing both poetry and short stories since I was a child, but I first began to think of myself as a writer when my 11th-grade English teacher encouraged me to lean in. I started to take my craft seriously in college, majoring in English with a focus on creative writing. By the time I graduated in the mid-1990s, I considered myself a poet.
Marsha eventually brought her salon to campus and founded the Comparative Literature Women's Caucus, an activist collective that established the first women's literature classes in Comparative Literature, conceived and taught by graduate student women. Caucus members helped produce the first major translation anthologies of women's world-wide poetry, encouraged women to write feminist dissertations on women authors, and researched discrimination against women in the department.
Kramer followed up, notebook in hand. The New Yorker, then led by William Shawn, was averse to polemical swashbuckling; it would never print a phone number as a kicker. But its writers could take their time. Kramer embedded with the Stanton-Anthony Brigade, the "founding cadre" of a set of revolutionary cells devoted to consciousness-raising, or C.R. She sat in as members shared intimate stories, seeking patterns of oppression and strategizing methods of resistance; she watched sisterhood blossom, then break down.
bell hooks saved me. I say that in all sincerity. At a critical time in my life, when I was at my lowest point, it was bell hooks, through her books, who pulled me out of a hole of profound depression and set me on a path of self-renewal on which I have remained ever since. Newly divorced with two very young sons, I was determined to give a better fatherhood experience than the one I had.
A little rice? A little soup? I'd rather die reading the early texts you sent about my breasts. I wouldn't take a picture- infidelity!- and so instead had conjured them with words, for which, with words, you gave me back a tongue we dragged across the skin of common thought. Such is our lot, our shared disease or gift. Like Bernini's angels propped somewhere in Rome
Many editors languish in the margins of history, their contributions largely invisible despite how much they shape whom and how we read. But in recent years, amid a wave of books unearthing overlooked figures, biographers have turned their sights to pioneering book and magazine editors-including Malcolm Cowley of Viking, Judith Jones of Knopf, Bennett Cerf of Random House, and Katharine S. White of The New Yorker -anointing them as the unsung architects of the American literary canon.