ESSAY CEMETERY

This is a lecture that Walker gave at Sarah Lawrence, her alma mater. At Sarah Lawrence, she says, she felt free to live and create for the first time. After she graduated she realized that there was a gap in her education and her identity, for she had been taught the history of the south exclusively from a white point of view. Blacks have to study black texts. She discusses the literary canon and how blacks are missing from it. Where she would teach, instruction of texts written by black people is integral and invaluable. Many blacks feel that they lack history and art to relate to. Walker has made it a private mission to investigate into black writing and make them better known. Currently, they are not well known. These poems, though not in anthologies, are in her heart. She hopes she is a black revolutionary because she is always changing, and "for the good of more black people". She suggests that artists lock themselves up and produce work. But, she qualifies, bl

Walker describes Jean Toomer's exploration of the Reconstruction South. Toomer found women sexually abused and lost, but who he saw to hold power, spirituality and beauty of which they were not aware. They were waiting for these unknowns to be made known. In the meantime they did not appreciate any aspects of life. These black women were artists whose creative forces were abandoned to the hardships of life. Black women who were able to create such as Phillis Wheatley and Zora Hurston had divided loyalties, between black and white cultures. They were raised in both and their art is not genuinely hers but confused due to this. Many have criticized Wheatley's poetry for glorifying white people but Walker understands that art for Phyllis was a soulful practice and it sustained her. This is not the end of the story, for the next generation of black women has survived. There is now the quest for black female identity. Society is not understanding of this strife. The quest

Paley used to only write poetry. This was done using her "ear for literature". Sometime in the mid 1950s Paley had an urge to write, but poetry was not the way to express it. The "beginning of big luck" happened: she got sick and her children had to go to all-day daycare for a few weeks. During this time she succeeded in writing several stories. She wrote them using her other "ear", her "home ear"- the faculty in her that let her be in touch with her early experiences. Early on, as a woman who was no longer a boy, Paley realized that she would be writing domestic fiction. Luck number one. A friend of Paley's made her ex-husband read Paley's work. This ex-husband was a publisher, and he published ten short stories by Paley. The "big luck" is the politics that went on around Paley as she was living her domestic life. This meant Paley, every woman writer in fact, was part of the second wave of the feminist movement. Activi

Summary Men make war, even though it injures them terribly. Paley asks: how do they come to live this way? When Paley was a little girl, she was a boy. She wanted to continue being a boy and to go to war and do other boy things, a notion that changed only experiencing WWII. She lived in Army camps with her husband much of the time, which she liked because of the boys and the action. As she began to live her own life as a writer and otherwise, she stopped wanting to be a boy; in fact, she thought it was the worst thing that she could never identify with. And after she had children she began to notice the women around her, to really live among women, and ascribe importance to them. She began rejecting the notion that men lived exciting compelling lives. She began to be interested in women.  This is how she came to write about women. She began to explore the female terrain with which she was unfamiliar through her stories. Even though she felt what she was writing was trivial,