THE COMMON WOMAN POEMS

Judy Grahn

Amigas, I have other demands on me at the moment and have a "gap" to fill in on Ginny Bates before I can go on posting that, so, in lieu of giving you a self-generated post, here are the famous Common Woman poems by Judy Grahn. These inspired a poster, a bookstore, and the minds of a generation. Here's what Judy had to say about them in the preface to her 1969 book The Common Woman:

"The Common Woman Poems have more than fulfilled my idealistic expectations of art as a useful subject -- of art as a doer, rather than a passive object to be admired. All by themselves they went around the country. Spurred by the enthusiasm of women hungry for realistic pictures, they were reprinted hundreds of thousands of times, were put to music, danced, used to name various women's projects, quoted and then misquoted in a watered-down fashion for use on posters and T-shirts.

"Their origin was completely practical: I wanted, in 1969, to read something which described regular, everyday women without making us look either superhuman or pathetic. The closest I could come to finding such an image was a Leonard Cohen song about a whimsical woman named Suzanne, who takes you down to her place by the river. This was on an album of Nina Simone's, and I played that song numberless times during the night I wrote the seven portraits. Oddly, although the song is not a waltz, the poems are. (Try reading them while someone else hums a waltz.) I conceived of them as flexible, self-defining sonnets, seeing that each woman would let me know how many lines were needed to portray her in one long, informative thought.

"I paid particular attention to ways of linking them together, and of connecting the facts of their lives with images which called up various natural powers, hoping that these combinations would help break current stereotypes about women and the word we do. I wanted to accentuate the strengths of their persons without being false about the facts of their lives. To admire them for what they are, already. I still do."

I've already posted one of these poems, Number II, ELLA, IN A SQUARE APRON, ALONG HIGHWAY 80, at my post on 19 November 2007. For more information about Judy Grahn, check out her current website at Metaformia.

Poems are after the fold.


I. HELEN, AT 9 A.M., AT NOON, AT 5:15

Her ambition is to be more shiny
and metallic, black and purple as
a thief at midday; trying to make it
in a male form, she's become as
stiff as possible.
Wearing trim suits and spike heels,
she says "bust" instead of breast;
somewhere underneath she
misses love and trust, but she feels
that spite and malice are the
prices of success. She doesn't realize
yet, that she's missed success, also,
so her smile is sometimes still
genuine. After a while she'll be a real
killer, bitter and more wily, better at
pitting the men against each other
and getting the other women fired.
She constantly conspires.
Her grief expresses itself in fits of fury
over details, details take the place of meaning,
money takes the place of life.
She believes that people are lice
who eat her, so she bites first; her
thirst increases year by year and by the time
the sheen has disappeared from her black hair,
and tension makes her features unmistakably
ugly, she'll go mad. No one in particular
will care. As anyone who's had her for a boss
will know
the common woman is as common
as the common crow.

III. NADINE, RESTING ON HER NEIGHBOR'S STOOP

She holds things together, collects bail,
makes the landlord patch the largest holes.
At the Sunday social she would spike
every drink, and offer you half of what she knows,
which is plenty. She pokes at the ruins of the city
like an armored tank; but she thinks
of herself as a ripsaw cutting through
knots in wood. Her sentences come out
like thick pine shanks
and her big hands fill the air like smoke.
She's a mud-chinked cabin in the slums,
sitting on the doorstep counting
rats and raising 15 children,
half of them her own. The neighborhood
would burn itself out without her;
one of these days she'll strike the spark herself.
She's made of grease
and metal, with a hard head
that makes the men around her seem frail.
The common woman is as common as
a nail.

(Three Graces, photo by Tee Corinne)

IV: CAROL, IN THE PARK, CHEWING ON STRAWS

She has taken a woman lover
whatever shall we do
she has taken a woman lover
how lucky it wasnt you
And all the day through she smiles and lies
and grits her teeth and pretends to be shy,
or weak, or busy. Then she goes home
and pounds her own nails, makes her own
bets, and fixes her own car, with her friend.
She goes as far
as women can go without protection
from men.
On weekends, she dreams of becoming a tree;
a tree that dreams it is ground up
and sent to the paper factory, where it
lies helpless in sheets, until it dreams
of becoming a paper airplane, and rises
on its own current; where it turns into a
bird, a great coasting bird that dreams of becoming
more free, even, than that -- a feather, finally, or
a piece of air with lightning in it.
she has taken a woman lover
whatever can we say
She walks around all day
quietly, but underneath it
she's electric;
angry energy inside a passive form.
The common woman is as common
as a thunderstorm.

V. DETROIT ANNIE, HITCHIKING

Her words pour out as if her throat were a broken
artery and her mind were cut-glass, carelessly handled.
You imagine her in a huge velvet hat with a great
dangling black feather,
but she shaves her head instead
and goes for three-day midnight walks.
Sometimes she goes down to the dock and dances
off the end of it, simply to prove her belief
that people who cannot walk on water
are phonies, or dead.
When she is cruel, she is very, very
cool and when she is kind she is lavish.
Fishermen think perhaps she's a fish, but they're all
fools. She figured out that the only way
to keep from being frozen was to
stay in motion, and long ago converted
most of her flesh into liquid. Now when she
smells danger, she spills herself all over,
like gasoline, and lights it.
She leaves the taste of salt and iron
under your tongue, but you dont mind
The common woman is as common
as the reddest wine.

VI. MARGARET, SEEN THROUGH A PICTURE WINDOW

After she finished her first abortion
she stood for hours and watched it spinning in the
toilet, like a pale stool.
Some distortion of the rubber
doctor with their simple tubes and
complicated prices
still makes her feel guilty.
White and yeasty.
All her broken bubbles push her down
into a shifting tide, where her own face
floats above her like the whle globe.
She lets her life go off and on
in a slow stroe.
At her last job she was fired for making
strikes, and talking out of turn;
now she stays home, a little blue around the edges.
Counting calories and staring at the empty
magazine pages, she hates her shape
and calls herself overweight.
Her husband calls her a big baboon.
Lusting for changes, she laughs through her
teeth, and wanders from room to room.
The common woman is as solemn as a monkey
or a new moon.

(Woman workers on B-17 bomber at Douglas Aircraft factory, Long Beach, California, October 1942, photo by Alfred T. Palmer)

VII. VERA, FROM MY CHILDHOOD

Solemnly swearing, to swear as an oath to you
who have somehow gotten to be a pale old woman;
swearing, as if an oath could be wrapped around
your shoulders
like a new coat:
For your 28 dollars a week and the bastard boss
you never let yourself hate;
and the work, all the work you did at home
where you never got paid;
For your mouth that got thinner and thinner
until it disappeared as if you had choked on it,
watching the hard liquor break your fine husband down
into a dead joke.
For the strange mole, like a third eye
right in the middle of your forehead;
for your religion which insisted that people
are beautiful golden birds and must be preserved;
for your persistent nerve
and plain white talk --
the common woman is as common
as good bread
as common as when you couldnt go on
but did.
For all the world we didnt know we held in common
all along
the common woman is as common as the best of bread
and will rise
and will become strong -- I swear it to you
I swear it to you on my own head
I swear it to you on my common
woman's
head

Read More...

Summary only...

HELP SAVE TEXAS' ONLY FEMINIST BOOKSTORE

In the summer of 1976, I lived in Denton, Texas, but I got a monthly newsletter from the Austin Lesbian Organization. Austin lesbians were known to be among the most radical in the country at that time, and the only women's bookstore between Atlanta, Georgia and Tempe, Arizona was in Austin. It was called Common Woman Books then, after the series of Common Woman poems by Judy Grahn -- "The common woman is as common / as a common loaf of bread / and will rise."

I'd read about an album of music written by women for women called Lavendar Jane Loves Women, by Alix Dobkin. I wanted to know what women's music might sound like. The only hope I had of getting my hands on that album was in Austin.

(Lavendar Jane Loves Women album by Alix Dobkin)


So one blazing Saturday I drove five hours down from Denton in my 1966 Pontiac LeMans, which had no air conditioning, and managed to find the bookstore on Guadalupe, two rooms over a haircut store. But once parked on the Drag, I faced the prospect of walking from my car to the stairs that led up to Common Woman Books. For a space of a few feet, I would be out in the open, visibly walking toward the entrance of the only known lesbian business in all of Texas. If you weren't a dyke alive then, I don't think you can really know the courage it took to be publicly out. Being a visible lesbian meant risking your life, maybe not in every circumstance but you never knew when the circumstances would be against you. As Alix Dobkin wrote in one of her songs, we "pacify the people for they won't defend a woman who's indifferent to men".

(Logo from the original Common Woman Books, with a line from a Judy Grahn poem)

I was 19, and I had to sit in my sweltering car for over an hour before I found the courage to leave its anonymity and cross that sidewalk to the bookstore. I was soaked through, but it was not just the summer heat. I got my album, and it literally changed my life -- every path I've chosen since was influenced by the information on that album. I've gone on being brave. It gets easier. And when I moved back to Texas in 1989 from San Francisco, it was Austin I settled in -- because that bookstore was still here, renamed BookWoman.

Now BookWoman is in dire trouble. I got the following e-mail yesterday:

(Susan Post, surviving owner of BookWoman, June 2001)

Dear Supporters of BookWoman:

As you know, BookWoman is on a turnaround campaign to keep the doors open and also looking to move to a less expensive space after the first of the year. In the couple of weeks we've been fundraising, the response has been tremendous -- there's been about $10,000 in cash/checks/credit card donations come in-house, and sales have increased by 33%.

That's the good news. Women have come in the store almost in tears at the prospect of the store closing -- so, we've got to find a way to make sure the store stays open -- it's too valuable a women's community resource, for all women and their allies, to shut down. And, we have to make sure that we not only shop now, but also keep shopping after the first of the year, to sustain the store. There is a small committee meeting to work on a long-term sustainability plan, but first things first -- we must raise the capital to pay off the old debt.

Every small or large contribution makes a difference -- there's a website, Save BookWoman where people can donate online. Please send this out to your friends and family and request they make a contribution. Bring out-of-town friends into the store to shop. Send the request to feminists and their supporters you know outside Texas who want to support one of the last 13 remaining feminist, independent-owned and operated bookstores in existence in the US.

The silent auction is up in the store and bids are being accepted. We've got a few events scheduled you can see on the website, including a fabulous event on Sunday, November 18th, "Books We Love" -- be sure and check it out! At least one house concert has been scheduled for December and we're working on a "Turning The Tables" type of event, also for December. More are in the works and we'll keep you posted.

Working together, we can make this happen.

To all of you who are reading this -- I request you take one action right now that will support us in moving the project forward.

Cheers,
Debbie Winegarten
......................
Be a BookWoman!
.....................
BookWoman
918 West 12th Street
Austin Texas 78703
Texas' only feminist bookstore, serving the women's community for 30 years.

You can place orders with them through their website at BookWoman or call them at 512 472-2785 to order in person.

And, as a treat, here's one of the Common Woman poems by Judy Grahn:

(Judy Grahn)

ELLA, IN A SQUARE APRON,
ALONG HIGHWAY 80

She’s a copperheaded waitress,
tired and sharp-worded, she hides
her bad brown tooth behind a wicked
smile, and flicks her ass
out of habit, to fend off the pass
that passes for affection.
She keeps her mind the way men
keep a knife—keen to strip the game
down to her size. She has a thin spine,
swallows her eggs cold, and tells lies.
She slaps a wet rag at the truck drivers
if they should complain. She understands
the necessity for pain, turns away
the smaller tips, out of pride, and
keeps a flask under the counter. Once,
she shot a lover who misused her child.
Before she got out of jail, the courts had pounced
and given the child away. Like some isolated lake,
her flat blue eyes take care of their own stark
bottoms. Her hands are nervous, curled, ready to scrape.
The common woman is as common
as a rattlesnake.

Read More...

Summary only...