Jens ' numerous television appearances include episodes of L. Jens' numerous awards include several L.
The man speaking was an army recruiter talking to a bunch of boys, telling them what the army was really like, what they could expect overseas. A cold angry feeling swept over me. I had heard the word they pronounced in that same callous tone before.
They, those people over there, those people who are not us, they die so easily, kill each other so casually. When I was six or eight back in Greenville, South Carolina, I had heard that same matter-of-fact tone of dismissal applied to me.
I wondered, listening to that recruiter. I pressed my bony white trash fists to my stubborn lesbian mouth. The rage was a good feeling, stronger and purer than the shame that followed it, the fear and the sudden urge to run and Dorothy allison mama essay, to deny, to pretend I did not know who I was and what the world would do to me.
My people were not remarkable. We Dorothy allison mama essay ordinary, but even so we were mythical.
We were the they everyone talks about—the un-grateful poor. I grew up trying to run away from the fate that destroyed so many of the people I loved, and having learned the habit of hiding, I found I had also learned to hide from myself. I did not know who I was, only that I did not want to be they, the ones who are destroyed or dismissed to make the "real" people, the important people, feel safer.
By the time I understood that I was queer, that habit of hiding was deeply set in me, so deeply that it was not a choice but an instinct. Hide, hide to survive, I thought, knowing that if I told the truth about my life, my family, my sexual desire, my history, I would move over into that unknown territory, the land of they, would never have the chance to name my own life, to understand it or claim it.
Why are you so afraid? Entitlement, I have told them, is a matter of feeling like we rather than they.
I have explained what I know over and over, in every way I can, but I have never been able to make clear the degree of my fear, the extent to which I feel myself denied: The need to make my world believable to people who have never experienced it is part of why I write fiction.
I know that some things must be felt to be understood, that despair, for example, can never be adequately analyzed; it must be lived. But if I can write a story that so draws the reader in that she imagines herself like my characters, feels their sense of fear and uncertainty, their hopes and terrors, then I have come closer to knowing myself as real, important as the very people I have always watched with awe.
I have known I was a lesbian since I was a teenager, and I have spent a good twenty years making peace with the effects of incest and physical abuse. But what may be the central fact of my life is that I was born in in Greenville, South Carolina, the bastard daughter of a white woman from a desperately poor family, a girl who had left the seventh grade the year before, worked as a waitress, and was just a month past fifteen when she had me.
That fact, the inescapable impact of being born in a condition of poverty that this society finds shameful, contemptible, and somehow deserved, has had dominion over me to such an extent that I have spent my life trying to overcome or deny it.
I have learned with great difficulty that the vast majority of people believe that poverty is a voluntary condition. I have loved my family so stubbornly that every impulse to hold them in contempt has sparked in me a countersurge of pride—complicated and undercut by an urge to fit us into the acceptable myths and theories of both mainstream society and a lesbian-feminist reinterpretation.
The choice becomes Steven Spielberg movies or Erskine Caldwell novels, the one valorizing and the other caricaturing, or the patriarchy as villain, trivializing the choices the men and women of my family have made. I have had to fight broad generalizations from every theoretical viewpoint. Traditional feminist theory has had a limited understanding of class differences and of how sexuality and self are shaped by both desire and denial.
The ideology implies that we are all sisters who should only turn our anger and suspicion on the world outside the lesbian community. It is easy to say that the patriarchy did it, that poverty and social contempt are products of the world of the fathers, and often I felt a need to collapse my sexual history into what I was willing to share of my class background, to pretend that my life both as a lesbian and as a working-class escapee was constructed by the patriarchy.
Or conversely, to ignore how much my life was shaped by growing up poor and talk only about what incest did to my identity as a woman and as a lesbian.
For years I thought that that concept referred to the way I had separated my activist life from the passionate secret life in which I acted on my sexual desires.
I was convinced that the fracture was fairly simple, that it would be healed when there was time and clarity to do so—at about the same point when I might begin to understand sex.
I never imagined that it was not a split but a splintering, and I passed whole portions of my life—days, months, years—in pure directed progress, getting up every morning and setting to work, working so hard and so continually that I avoided examining in any way what I knew about my life.
Busywork became a trance slate. I ignored who I really was and how I became that person, continued in that daily progress, became an automaton who was what she did.
I tried to become one with the lesbian-feminist community so as to feel real and valuable. I did not know that I was hiding, blending in for safety just as I had done in high school, in college. I did not recognize the impulse to forget.
I believed that all those things I did not talk about, or even let myself think too much about, were not important, that none of them defined me. I had constructed a life, an identity in which I took pride, an alternative lesbian family in which I felt safe, and I did not realize that the fundamental me had almost disappeared.Mama essays ""Everything's going to be all right," I told her.
"Everything's going to be all right," she told me.
The pretense was sometimes the only thing we had to give each other."() In the short story Mama, Dorothy Allison's mother and daughter c.
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Index of articles by issue Not all articles listed are available to read on our website, and many back issues are no longer available in print format. - Dorothy Allison's This is Our World In her work, “This is Our World,” Dorothy Allison shares her perspective of how she views the world as we know it.
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