The study of silence has long engrossed me. The matrix of a poet's work consists not only of what is there to be absorbed and worked on, but also of what is missing, desaparecido, rendered unspeakable, thus unthinkable. It is through these invisible holes in reality that poetry makes it way - certainly for women and other other marginalized subjets and for disemowered and colonized peoples generally, but ultimately for all who practice any art at its deeper levels. The impulse to create begins - often terribly and fearfully - in a tunnel of silence. Every real poem ins the breaking of an existing silence, and the first quesion we might ask any poem is, What kind of voice is breaking silence, and what kind of silence is being broken?
And yet I need to say here that silence is not always or necessarily oppressive, it is not always or necessarily a denial or extinguishing of some reality. It can be ferilizing, it can bathe the imagination, it can, as in great open spaces - I think of those plains stretching far below the Hopi mesas in Arizona - be the nimbus of a way of life, a condition of vision. Such living silences are more and more endangered throughout the world, by commerce and appropriation. Even in conversation, here in North America, we who so eagerly unpack our most private concerns before strangers dread the imaginative space that silence might open between two people or within a group. Television, obviously, abhors such silence.
- Adrienne Rich, in Arts of the Possible, 1997
{image: John on Alligator Lake trails in Columbia County}