Poet Adrienne Rich leaves behind a brilliant anthology emphasizing the oppression of women and lesbians arguing along with the late Betty Friedan that women’s disenfranchisement at the hands of men must end.
A Poet of Unswerving Vision at the Forefront of Feminism
The New York Times
By MARGALIT FOX
Published: March 28, 2012
Adrienne Rich, a poet of towering reputation and towering rage, whose work — distinguished by an unswerving progressive vision and a dazzling, empathic ferocity — brought the oppression of women and lesbians to the forefront of poetic discourse and kept it there for nearly a half-century, died on Tuesday at her home in Santa Cruz, Calif. She was 82.
The cause was complications of rheumatoid arthritis, with which she had lived for most of her adult life, her family said.
Widely read, widely anthologized, widely interviewed and widely taught, Ms. Rich was for decades among the most influential writers of the feminist movement and one of the best-known American public intellectuals. She wrote two dozen volumes of poetry and more than a half-dozen of prose; the poetry alone has sold nearly 800,000 copies, according to W. W. Norton & Company, her publisher since the mid-1960s.
Triply marginalized — as a woman, a lesbian and a Jew — Ms. Rich was concerned in her poetry, and in her many essays, with identity politics long before the term was coined.
She accomplished in verse what Betty Friedan, author of “The Feminine Mystique,” did in prose. In describing the stifling minutiae that had defined women’s lives for generations, both argued persuasively that women’s disenfranchisement at the hands of men must end.
For Ms. Rich, the personal, the political and the poetical were indissolubly linked; her body of work can be read as a series of urgent dispatches from the front. While some critics called her poetry polemical, she remained celebrated for the unflagging intensity of her vision, and for the constant formal reinvention that kept her verse — often jagged and colloquial, sometimes purposefully shocking, always controlled in tone, diction and pacing — sounding like that of few other poets.
All this helped ensure Ms. Rich’s continued relevance long after she burst genteelly onto the scene as a Radcliffe senior in the early 1950s.
Her constellation of honors includes a MacArthur Foundation “genius” grant in 1994 and a National Book Award for poetry in 1974 for “Diving Into the Wreck.” That volume, published in 1973, is considered her masterwork.