Audre Lorde was an American writer, professor, philosopher, intersectional feminist, poet and civil rights activist. She was a self-described "black, lesbian, feminist, socialist, mother, warrior, poet," who dedicated her life and talents to confronting all forms of injustice, as she believed there could be "no hierarchy of oppressions".
Postcolonial feminism is a form of feminism that developed as a response to feminism focusing solely on the experiences of women in Western cultures and former colonies. Postcolonial feminism seeks to account for the way that racism and the long-lasting political, economic, and cultural effects of colonialism affect non-white, non-Western women in the postcolonial world. Postcolonial feminism originated in the 1980s as a critique of feminist theorists in developed countries pointing out the universalizing tendencies of mainstream feminist ideas and argues that women living in non-Western countries are misrepresented.
Lesbian feminism is a cultural movement and critical perspective that encourages women to focus their efforts, attentions, relationships, and activities towards their fellow women rather than men, and often advocates lesbianism as the logical result of feminism. Lesbian feminism was most influential in the 1970s and early 1980s, primarily in North America and Western Europe, but began in the late 1960s and arose out of dissatisfaction with the New Left, the Campaign for Homosexual Equality, sexism within the gay liberation movement, and homophobia within popular women's movements at the time. Many of the supporters of Lesbianism were actually women involved in gay liberation who were tired of the sexism and centering of gay men within the community and lesbian women in the mainstream women's movement who were tired of the homophobia involved in it.
Intersectionality is an analytical framework for understanding how individuals' various social and political identities result in unique combinations of discrimination and privilege. Intersectionality identifies multiple factors of advantage and disadvantage. Examples of these factors include gender, caste, sex, race, ethnicity, class, sexuality, religion, disability, weight, and physical appearance. These intersecting and overlapping social identities may be both empowering and oppressing. However, little good-quality quantitative research has been done to support or undermine the theory of intersectionality.
Black feminism, also known as Afro-feminism chiefly outside the United States, is a branch of feminism that focuses on the African-American woman's experiences and recognizes the intersectionality of racism and sexism. Black feminism also acknowledges the additional marginalization faced by black women due to their social identity.
Barbara Smith is an American lesbian feminist and socialist who has played a significant role in Black feminism in the United States. Since the early 1970s, she has been active as a scholar, activist, critic, lecturer, author, and publisher of Black feminist thought. She has also taught at numerous colleges and universities for 25 years. Smith's essays, reviews, articles, short stories and literary criticism have appeared in a range of publications, including The New York Times Book Review, The Black Scholar, Ms., Gay Community News, The Guardian, The Village Voice, Conditions and The Nation. She has a twin sister, Beverly Smith, who is also a lesbian feminist activist and writer.
Kitchen Table: Women of Color Press was an activist feminist press that was closely related to the National Black Feminist Organization (NBFO) which was started in 1980 following a phone conversation between Barbara Smith and at the suggestion of her friend, poet Audre Lorde. Beverly and Barbara Smith and their associate Demita Frazier together cofounded the Combahee River Collective (CRC). The Kitchen Table: Women of Color Press was most active beginning in 1981, but the Press became inactive soon after Audre Lorde's death in 1992. Smith explains how the motivation for starting a press run by and for women of color was that "as feminist and lesbian of color writers, we knew that we had no options for getting published, except at the mercy or whim of others, whether in the context of alternative or commercial publishing, since both are white-dominated."
Cheryl L. Clarke is an American lesbian poet, essayist, educator and a Black feminist community activist who continues to dedicate her life to the recognition and advancement of Black and Queer people. Her scholarship focuses on African-American women's literature, black lesbian feminism, and the Black Arts Movement in the United States. For over 40 years, Cheryl Clarke worked at Rutgers, the State University of New Jersey, and maintains a teaching affiliation with the Graduate Faculty of the Department of Women and Gender Studies, though retired. In addition, Clarke serves on the board of the Newark Pride Alliance. She currently lives in Hobart, New York, the Book Village of the Catskills, after having spent much of her life in New Jersey. With her life partner, Barbara Balliet, she is co-owner of Bleinheim Hill Books, a new, used, and rare bookstore in Hobart. Actively involved in her community, Clarke along with her sister Breena Clarke, a novelist, organizes the Hobart Festival of Women Writers each September
Azalea: A Magazine by Third World Lesbians was a quarterly periodical for Black, Asian, Latina, and Native American lesbians published between 1977 and 1983 by the Salsa Soul Sisters, Third World Wimmin Inc Collective. The Collective also published the Salsa Soul Sisters/Third World Women's Gay-zette.
Conditions was a lesbian feminist literary magazine that came out biannually from 1976 to 1980 and annually from 1980 until 1990, and included poetry, prose, essays, book reviews, and interviews. It was founded in Brooklyn, New York, by Elly Bulkin, Jan Clausen, Irena Klepfisz and Rima Shore.
The Combahee River Collective (CRC) ( kəm-BEE) was a Black feminist lesbian socialist organization active in Boston, Massachusetts from 1974 to 1980. The Collective argued that both the white feminist movement and the Civil Rights Movement were not addressing their particular needs as Black women and more specifically as Black lesbians. Racism was present in the mainstream feminist movement, while Delaney and Manditch-Prottas argue that much of the Civil Rights Movement had a sexist and homophobic reputation.
This Bridge Called My Back: Writings by Radical Women of Color is a feminist anthology edited by Cherríe Moraga and Gloria E. Anzaldúa, first published in 1981 by Persephone Press. The second edition was published in 1983 by Kitchen Table: Women of Color Press. The book's third edition was published by Third Woman Press until 2008, when it went out of print. In 2015, the fourth edition was published by State University of New York Press, Albany.
Pat Parker was an American poet and activist. Both her poetry and her activism drew from her experiences as an African-American lesbian feminist. Her poetry spoke about her tough childhood growing up in poverty, dealing with sexual assault, and the murder of a sister. At eighteen, Parker was in an abusive relationship and had a miscarriage after being pushed down a flight of stairs. After two divorces she came out as lesbian "embracing her sexuality" and said she was liberated and "knew no limits when it came to expressing the innermost parts of herself".
Sister Outsider: Essays and Speeches is a collection of essential essays and speeches written by Audre Lorde, a writer who focuses on the particulars of her identity: Black woman, lesbian, poet, activist, cancer survivor, mother, and feminist. This collection, now considered a classic volume of Lorde's most influential works of non-fiction prose, has had a groundbreaking impact in the development of contemporary feminist theories. In fifteen essays and speeches dating from 1976 to 1984, Lorde explores the complexities of intersectional identity, while explicitly drawing from her personal experiences of oppression to include sexism, heterosexism, racism, homophobia, classism, and ageism. The book examines a broad range of topics, including love, self-love, war, imperialism, police brutality, coalition building, violence against women, Black feminism, and movements towards equality that recognize and embrace differences as a vehicle for change. With meditative conscious reasoning, Lorde explores her misgivings for the widespread marginalization deeply-rooted in the United States' white patriarchal system, all the while, offering messages of hope. The essays in this landmark collection are extensively taught and have become a widespread area of academic analysis. Lorde's philosophical reasoning that recognizes oppressions as complex and interlocking designates her work as a significant contribution to critical social theory.
The Erotic, as defined and discussed by educator and poet, Audre Lorde, is a profound resource of feminine power housed within the spiritual plane of women's existence. This power, as she describes in her 1978 essay "Uses of the Erotic: The Erotic as Power", is a sense of deep satisfaction – beyond the sexual deceptively portrayed in the pornographic – elevated by a profound feeling that lives in the joy and fulfillment of a woman's being. This fulfillment becomes, as Lorde describes, the conscious decision in a woman's work, the power that embodies and manifests change in the fight against the oppression of women, especially Black women and women of color. This power of the erotic is a lifestyle, a potentiality that has been recognized as a threat, treated as suspect, and therefore suppressed out of fear. Lorde writes, "women so empowered are dangerous". Lorde demonstrates in redefining and reclaiming the erotic – a profound feeling of knowing, an empowering knowledge, "a lens through which we scrutinize all aspects of our existence" – that the erotic is a critical element in dismantling the social and political hierarchy situated in a white patriarchal power structure that reproduces the erotic as pornographic.
Intersectionality is the interconnection of race, class, and gender among an individual or group. This is often related to an experience of discrimination or a disadvantage. This definition came from Kimberlé Crenshaw. Kimberlé Crenshaw, a feminist scholar, is widely known for coining the term intersection in her 1989 essay, which sheds light on the oppression black women have been exposed to, especially during the slavery period. Crenshaw's analogy of intersection to traffic flow explains, "Discrimination, like traffic through an intersection, may flow in one direction, and it may flow in another. If an accident happens in an intersection, it can be caused by cars traveling from any number of directions and, sometimes, from all of them. Similarly, if a Black woman is harmed because she is in the intersection, her injury could result from sex discrimination or race discrimination."
Queer of color critique is an intersectional framework, grounded in Black feminism, that challenges the single-issue approach to queer theory by analyzing how power dynamics associated race, class, gender expression, sexuality, ability, culture and nationality influence the lived experiences of individuals and groups that hold one or more of these identities. Incorporating the scholarship and writings of Audre Lorde, Gloria Anzaldúa, Kimberlé Crenshaw, Barbara Smith, Cathy Cohen, Brittney Cooper and Charlene A. Carruthers, the queer of color critique asks: what is queer about queer theory if we are analyzing sexuality as if it is removed from other identities? The queer of color critique expands queer politics and challenges queer activists to move out of a "single oppression framework" and incorporate the work and perspectives of differently marginalized identities into their politics, practices and organizations. The Combahee River Collective Statement clearly articulates the intersecting forces of power: "The most general statement of our politics at the present time would be that we are actively committed to struggling against racial, sexual, heterosexual, and class oppression, and see as our particular task the development of integrated analysis and practice based upon the fact that major systems of oppression are interlocking. The synthesis of these oppressions creates the conditions of our lives." Queer of color critique demands that an intersectional lens be applied queer politics and illustrates the limitations and contradictions of queer theory without it. Exercised by activists, organizers, intellectuals, care workers and community members alike, the queer of color critique imagines and builds a world in which all people can thrive as their most authentic selves- without sacrificing any part of their identity.
Black lesbian literature is a subgenre of lesbian literature and African American literature that focuses on the experiences of black women who identify as lesbians. The genre features poetry and fiction about black lesbian characters as well as non-fiction essays which address issues faced by black lesbians. Prominent figures within the genre include Ann Allen Shockley, Audre Lorde, Cheryl Clarke, and Barbara Smith.
All the Women Are White, All the Blacks Are Men, But Some of Us Are Brave (1982) is a landmark feminist anthology in Black Women's Studies printed in numerous editions, co-edited by Akasha Gloria Hull, Patricia Bell-Scott, and Barbara Smith.
Mouths of Rain: An Anthology of Black Lesbian Thought is a nonfiction debut anthology edited by Briona Simone Jones. It includes essays, poetry, and other writings by Black lesbian feminists such as Audre Lorde, Cheryl Clarke, and Bettina Love. The book was published by The New Press on February 1, 2021. The book received the Judy Grahn Award and the Lambda Literary Award for Anthology.
