Super chill book review: This Bridge Called My Back (ed. Anzaldua & Moraga)

This one is an oldie, but a goodie. The book is This Bridge Called My Back: Writings by Radical Women of Color, edited by Cherríe Moraga and Gloria Anzaldúa, and it was originally published in 1981. It’s what it sounds like—an anthology of pieces written by lots of different women of color. I read the fourth edition, published in 2015.

A few thoughts:

1. I notice that, sometimes, when (white?) people want to diversify their reading, or predominantly white educational institutions want to diversify their syllabi, and that sort of thing, often the first (and/or only) authors added to a mostly-white reading list are Black. 

This was true of many of my seminary classes. The syllabi were full of white authors, and if any of the authors weren’t white, they were likely Black. 

Other classes featured a reading list full of white people and then, at the end of the quarter, a choice of one book among four or so options—often a Black (male) author, a Latino (male) author, an Asian or Asian-American (male) author, and a (white) female author. What an awful choice: you can learn from a woman, or you can learn from a person of color. And it erases women of color entirely.

But in the classes that actually assigned books written by people of color, these authors were usually Black.

On the one hand, that’s great. The more, the better. Most of us, as far as I can tell—Black, white, or otherwise—could use more Black writers in our lives. There’s nothing wrong—and everything right—about individuals reading, and institutions assigning, more work by Black authors. 

On the other hand, I think there is something wrong when Black authors are the only people of color being paid attention to. As I understand it, different racialized experiences tend to have some commonalities but are also very different. And there are brilliant people from every possible sort of ethnic and racial background, writing brilliant and wonderful things.

All this to say, one of the awesome things about This Bridge Called My Back is that the editors were clearly quite intentional about incorporating perspectives from a mix of brilliant Black, Latina, Asian, indigenous, and multiracial women. The authors of the different chapters that make up this book tend to draw on their own racially specific experience and also have things to say more broadly to women of color in general—as well as to white women, and to men of color, and the world as a whole. The book is rich, full, varied, and complex because of it.

2. In her memoir Recollections of My Nonexistence, Rebecca Solnit wrote, “When you pursue creative work, immortality is often held up as an ideal”; however, “there are two ways of making contributions that matter. One is to make work that stays visible before people’s eyes; the other is to make work that is so deeply absorbed that it ceases to be what people see and becomes how they see…Works of art that had an impact in their time sometimes look dated or obvious because what was fresh and even insurrectionary about them has become the ordinary way things are…They have been rendered obsolete by their success―which makes the relevance of even much nineteenth-century feminist writing a grim reminder that though we’ve come far, it’s not far enough” (pp. 221-2). 

I thought of this when I read lots of parts of This Bridge Called My Back. It’s striking how much of it—as in, basically all of it—feels relevant, timely, helpful, fruitful, and much-needed today, even though it was written forty or so years ago. A lot of its authors are saying things that activists and other antiracist and feminist leaders are still saying today. 

The authors say these things really well, beautifully, insightfully, and (appropriately) incisively—which makes the book, on the one hand, a fascinating and very worthwhile read. 

On the other hand, though, it’s one of those books that I very much wish had been “rendered obsolete by [its] success,” as Solnit would say, by now. I wish things had changed in our world such that the authors’ observations from another generation no longer felt so prescient. But here we are.

3. I loved that the editors sought out writing in many different forms. There are poems, mixed in with essays, mixed in with letters, and speeches, and transcripts of interviews. 

I thought a lot of the poems were especially striking. I’m sure I’m biased, because I write poems, but I do think that poetry is absolutely the right form for, well, a lot of important things. I feel like poems belong in books more often than we see them.

Plus, at least for me, it can be kind of hard to read a whole book of poetry all at once. But poems interspersed between essays and other things provide a nice break, a different way of thinking and processing information, a way of helping the reader engage from different angles. I really liked that about this book.

I also liked the interview transcripts. Kind of like a podcast, before podcasts were cool…or possible. By including interviews, I feel like the editors affirm that spoken words are important—that something doesn’t have to be an officially published essay or book to be worth paying attention to. Wisdom comes in lots of different forms. 

4. I feel, sometimes, that the feminist sisterhood—if there is or ever was one, and I know that some women of color would argue, very reasonably, that there has never really been one—is weak. Women of color are often (again, very reasonably) frustrated with white women, and white women often just don’t get it—or don’t want to get it, or aren’t willing to put in the work to get it. 

I think this book is full of the kind of work that can strengthen—or help build, help create—the multiracial (and multi-socioeconomic class) sisterhood. Its authors aren’t afraid to call out white feminists on our counterproductive nonsense. It felt honest, like no one was particularly mincing their words or catering to fragile white woman feelings. 

And, at the same time, I also felt called in—like I was being graciously shown how to embody a feminism that is actually relevant to all women. 

I don’t mean to say that I expect this from all women of color all the time. I hope to listen, regardless, even (or especially?) when what I hear puts me on the defensive rather than giving me warm fuzzy feelings of hope. So, without any particular implied criticism of any other work, I just wanted to say that this is how I felt about This Bridge Called My Back—like I was being shown and taught a lot of unvarnished truth, and also being given hope of a more genuine and fruitful sisterhood that can be built. 

For more on this kind of thing, by the way—on what it’ll take for feminism to be a movement of/with/for all women, not just relatively well-to-do white women—I thought Mikki Kendall’s book Hood Feminism: Notes from the Women a Movement Forgot was really great.

5. I feel like sometimes (white and/or male) people make excuses about why they’re still just reading and listening to the same old white dude stuff. They say they can’t find female authors or authors of color, let alone female authors of color—for their book club, or course syllabus, or Sunday school class, church group, etc.

I feel like this is the kind of book that takes away excuses. It’s not the only thing out there, of course, or anywhere near it. But it may be a place to start. 

Because it’s an anthology that a lot of writers contributed to, it’s a way to learn the names of some of the brilliant women of color who were writing in a recent generation, some of whom are still writing today. And there have been so many more in the meanwhile. 

There’s really no excuse not to seek them out. We all need their vision for what a freer, healthier, more sustainable world could look like. 

6. One of the essays in this book is The Master’s Tools Will Never Dismantle the Master’s House, by Audre Lorde. This is a phrase I had heard before, but I didn’t know where it came from. Now I know.

 From Lorde’s essay:

“Those of us who stand outside the circle of this society’s definition of acceptable women; those of us who have been forged in the crucibles of difference; those of us who are poor, who are lesbians, who are black, who are older, know that survival is not an academic skill. It is learning how to stand alone, unpopular and sometimes reviled, and how to make common cause with those other identified as outside the structures, in order to define and seek a world in which we can all flourish. It is learning how to take our differences and make them strengths. For the master’s tools will never dismantle the master’s house. They may allow us temporarily to beat him at his own game, but they will never enable us to bring about genuine change. And this fact is only threatening to those women who still define the master’s house as their only source of support” (p. 95).

We can “take our differences and make them strengths,” rejecting all hierarchies and all twisted notions of winning and losing, and instead learn to live as equals and build a better kind of house together. “Divide and conquer, in our world, must become define and empower” (p. 96).

7. In a preface to the 2015 edition of this book, Cherríe Moraga writes, “I watch how desperately we need political memory, so that we are not always imagining ourselves the ever-inventors of our revolution; so that we are humbled by the valiant efforts of our foremothers; and so, with humility and a firm foothold in history, we can enter upon an informed and re-envisioned strategy for social/political change in decades ahead” (xix). 

I think this book does all that really well. I like the idea of reading older stuff—previous generations’ insights and struggles and wisdom—mixed in with recently published books, so that we are not, in Moraga’s words, ever-inventing ideas and practices that previous generations have already developed. We want to build on previous generations’ work. 

Sometimes we tend to forget quickly, to over-value new things and under-value old things, to assume that the progress our society has achieved must have rendered older work irrelevant. And, of course, most of our schools and other institutions actively suppress revolutionary things (or oversimplify, over-sanitize, and otherwise distort them, as has been done to the Civil Rights movement).

We need books like this to help us develop a better memory together. They help us realize that a lot of our struggles are not new. They help us learn from previous generations and refuse to forget their work and wisdom. 

Holler with your thoughts, on this book or anything related!

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