Juxtapositions of Silence

paired with “Transformation of Silence into Language and Action

Weaving together five different women’s approaches to silence, this activity could be used as a primer to an in-class discussion or as an extended writing prompt.

Introduction

ET: Audre Lorde’s “Transformation of Silence into Language and Action” directly names silence in the title and addresses the pain it manifests but doesn’t necessarily assuage either. Her activist stance on the power of speaking and the need to speak brought me to consider all the many mentions of silence in other pieces in this reader, where silence appears at various volumes. This comes at the heels of being especially frustrated at how few students wanted to engage with Anzaldúa’s section on the silence of women in particular. Gathering what the many women have to say about silence then is a personal moment of reckoning, but otherwise, leaving students to consider these passages without context will hopefully leave them space to consider the many meanings, motives, and positions they might take on the value and the pain of silence.

Guide

Close Read: Collection of Silences

Audre Lorde’s “The Transformation of Silence into Language and Action”

I was going to die, if not sooner then later, whether or not I had ever spoken. My silences had not protected me. Your silence will not protect you. But for every real word spoken, for every attempt I had ever made to speak those truths for which I am still seeking, I had made contact with other women while we examined the words to fit a world in which we all believed, bridging our differences. And it was the concern and caring of all those women which gave me strength and enabled me to scrutinize the essentials of my living.

***

For those of us who write, it is necessary to scrutinize not only the truth of what we speak, but the truth of that language by which we speak it. For others, it is to share and spread also those words that are meaningful to us. But primarily for us all, it is necessary to teach by living and speaking those truths which we believe and know beyond understanding. Because in this way alone we can survive, by taking part in a process of life that is creative and continuing, that is growth.

And it is never without fear – of visibility, of the harsh light of scrutiny and perhaps judgment, of pain, of death. But we have lived through all of those already, in silence, except death. And I remind myself all the time now that if I were to have been born mute, or had maintained an oath of silence my whole life long for safety, I would still have suffered, and I would still die. It is very good for establishing perspective.

***

We can learn to speak when we are afraid in the same way we have learnt to work and speak when we are tired. For we have been socialized to respect fear more than our own needs for language and definition, and while we wait in silence for that final luxury of fearlessness, the weight of that silence will choke us.

The fact that we are here and that I speak these words in an attempt to break that silence and bridge some of those differences between us, for it is not difference that which immobilizes us, but silence. And there are so many silences to be broken.

Yiyun Li’s “To Speak is to Blunder”

During my second hospital stay, in New York, a group of nursing students came to play bingo one Friday night. A young woman, another patient, asked if I would join her. Bingo, I said, I’ve never in my life played that. She pondered for a moment, and said that she had played bingo only in the hospital. It was her eighth hospitalization when I met her; she had taken middle-school courses for a while in the hospital, when she was younger, and, once, she pointed out a small patch of fenced-in green where she and other children had been let out for exercise. Her father often visited her in the afternoon, and I would watch them sitting together playing a game, not attempting a conversation. By then, all words must have been inadequate, language doing little to help a mind survive time.

Yet language is capable of sinking a mind. One’s thoughts are slavishly bound to language. I used to think that an abyss is a moment of despair becoming interminable; but any moment, even the direst, is bound to end. What’s abysmal is that one’s erratic language closes in on one like quicksand: “You are nothing. You must do anything you can to get rid of this nothingness.” We can kill time, but language kills us.

In my relationship with English, in this relationship with the intrinsic distance between a nonnative speaker and an adopted language that makes people look askance, I feel invisible but not estranged. It is the position I believe I always want in life. But with every pursuit there is the danger of crossing a line, from invisibility to erasure.

***

I often sat next to this lonesome Dorothy. Was I eavesdropping? Perhaps, but her conversation was beyond encroachment. That one could reach a point where the border between public and private language no longer matters is frightening. Much of what one does—to avoid suffering, to seek happiness, to stay healthy—is to keep a safe space for one’s private language. Those who have lost that space have only one language left. My grandmother, according to my mother and her siblings, had become a woman who talked to the unseen before she was sent to the asylum to die. There’s so much to give up: hope, freedom, dignity. A private language, however, defies any confinement. Death alone can take it away.

***

In an ideal world, I would prefer to have my mind reserved for thinking, and thinking alone. I dread the moment when a thought trails off and a feeling starts, when one faces the eternal challenge of eluding the void for which one does not have words. To speak when one cannot is to blunder. I have spoken by having written—this piece or any piece—for myself and against myself. The solace is with the language I chose. The grief, to have spoken at all.

Gloria Anzaldúa’s “How to Tame a Wild Tongue”

 OVERCOMING THE TRADITION OF SILENCE

Ahogadas, escupimos el oscuro.

Peleando con nuestra propia sombra

el silencio nos sepulta.

En boca cerrada no entran moscas. “Flies don’t enter a closed mouth” is a saying I kept hearing when I was a child. Ser habladora was to be a gossip and a liar, to talk too much. Muchachitas bien criadas, well-bred girls don’t answer back. Es una falta de respeto to talk back to one’s mother or father. I remember one of the sins I’d recite to the priest in the confession box the few times I went to confession: talking back to my mother, hablar pa’ ‘tras, repelar. Hocicona, repelona, chismosa, having a big mouth, questioning, carrying tales are all signs of being mal criada. In my culture they are all words that are derogatory if applied to women – I’ve never heard them applied to men.

The first time I heard two women, a Puerto Rican and a Cuban, say the word “nosotras,” I was shocked. I had not known the word existed. Chicanas use nosotros whether we’re male or female. We are robbed of our female being by the masculine plural. Language is a male discourse.

***

So, if you want to really hurt me, talk badly about my language. Ethnic identity is twin skin to linguistic identity – I am my language. Until I can take pride in my language, I cannot take pride in myself. Until I can accept as legitimate Chicano Texas Spanish, Tex-Mex, and all the other languages I speak, I cannot accept the legitimacy of myself. Until I am free to write bilingually and to switch codes without having always to translate, while I still have to speak English or Spanish when I would rather speak Spanglish, and as long as I have to accommodate the English speakers rather than having them accommodate me, my tongue will be illegitimate.

I will no longer be made to feel ashamed of existing. I will have my voice: Indian, Spanish, white. I will have my serpent’s tongue – my woman’s voice, my sexual voice, my poet’s voice. I will overcome the tradition of silence.

My fingers

move sly against your palm

Like women everywhere, we speak in code….

                                 – MELANIE KAVE/KANTROWITZ

Ada Limón “The Contract Says: We’d Like the Conversation to be Bilingual

 

Don’t read the one where you

are just like us. Born to a green house,

 

garden, don’t tell us how you picked

tomatoes and ate them in the dirt

 

watching vultures pick apart another

bird’s bones in the road. Tell us the one

Robin Wall Kimmerer “Asters and Goldenrod”

But my advisor said, “It’s not science,” not what botany was about. I wanted to know why certain stems bent easily for baskets and some would break, why the biggest berries grew in the shade and why they made us medicines, which plants are edible, why those little pink orchids only grow under pines. “Not science,” he said, and he ought to know, sitting in his laboratory, a learned professor of botany. “And if you want to study beauty, you should go to art school.” He reminded me of my deliberations over choosing a college, when I had vacillated between training as a botanist or as a poet. Since everyone told me I couldn’t do both, I’d chosen plants. He told me that science was not about beauty, not about the embrace between plants and humans.

I had no rejoinder; I had made a mistake. There was no fight in me, only embarrassment at my error. I did not have the words for resistance. He signed me up for my classes and I was dismissed to go get my photo taken for registration. I didn’t think about it at the time, but it was happening all over again, an echo of my grandfather’s first day at school, when he was ordered to leave everything–language, culture, family–behind. The professor made me doubt where I came from, what I knew, and claimed that his was the right way to think. Only he didn’t cut my hair off.

Write: Complicating Silences

Take any two of the five passages above and put their versions of silence in conversation with one another. Where do they accentuate one another’s points? Where do they conflict with one another? How do those different voices complicate your view of the silence’s impact?

From there, bring in a third passage or a moment of silence you’ve experienced or heard of. How does that addition bring more complexity or urgency to the subject of silence?

definition

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Polyphony: Reader and Explorations for First-Year Writing Copyright © 2024 by Jennie Snow, Elise Takehana, Diego Ubiera is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, except where otherwise noted.

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