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love belongs to those who do the feeling --an exciting collection of new and selected poetry by Judy Grahn. The book contains selections from Judy's entire body of poetic work from The Work of a Common Woman , The Queen of Wands and The Queen of Swords , to new poems written between 1997 and 2008. Judy's poetry is rangy and provocative. It has been written at the heart of so many of the important social movements of the last forty years that the proper word is foundational--Judy Grahn's poetry is foundational to the spirit of movement. People consistently report that Judy's poetry is also uplifting--an unexpected side effect of work that is aimed at the mind as well as the heart. Judy continues to insist that love goes beyond romance, to community, and that community goes beyond the everyday world, to the connective worlds of earth and spirit.

Product Identifiers

PublisherRed Hen Press

ISBN-101597091219

ISBN-139781597091213

eBay Product ID (ePID)70186815

Product Key Features

Number of Pages272 Pages

LanguageEnglish

Publication NameLove Belongs to Those Who Do the Feeling

Publication Year2008

SubjectGeneral

Subject AreaPoetry

AuthorJudy Grahn

FormatTrade Paperback

Dimensions

Item Height0.8 in

Item Weight12.8 Oz

Item Length9 in

Item Width6 in

Additional Product Features

LCCN2018-031076

ReviewsJudy Grahn takes her title from a poem commemorating the death of her first lover, but love belongs to those who do the feeling is far from elegiac. It bursts with life energy. Grahn writes of the erotic as "a force between artists...an enfusion of energy fueling the desire for change." "Belly dancers," she adds, "express love and spiritual community this way as well." Another brilliant California poet, Jack Spicer, remarked that poems must "echo and reecho against each other": "they cannot live alone any more than we can." It is such echoing and reechoing that we find in this selected poems. "The will to change"--Charles Olson's phrase--animates everything. Grahn's mentor Gertrude Stein insisted that the poet had to work "in the excitingness of pure being"; she must "get back that intensity into the language." Such intensity is always present in the work of this "common woman" who commonly achieves the miracle of accessibility without simplification. In our warmongering culture, the figure of the "warrior" is put forth by both men and women as the emblem of spiritual activity. (The "woman warrior.") No poems are more "active" than Judy Grahn's, but cultural change is already present in her choice of metaphor: she chooses the dancer, not the warrior . The poems in love belongs to those who do the feeling might be thought of as the longing for community, but if you read them carefully you will see that in fact they are themselves community. "They cannot live alone any more than we can." --Jack Foley, Judy Grahn takes her title from a poem commemorating the death of her first lover, butlove belongs to those who do the feelingis far from elegiac. It bursts with life energy. Grahn writes of the erotic as "a force between artistsâ€¦an enfusion of energy fueling the desire for change." "Belly dancers," she adds, "express love and spiritual community this way as well." Another brilliant California poet, Jack Spicer, remarked that poems must "echo and reecho against each other": "they cannot live alone any more than we can." It is such echoing and reechoing that we find in this selected poems. "The will to change"-Charles Olson's phrase-animates everything. Grahn's mentor Gertrude Stein insisted that the poet had to work "in the excitingness of pure being"; she must "get back that intensity into the language." Such intensity is always present in the work of this "common woman" who commonly achieves the miracle of accessibility without simplification. In our warmongering culture, the figure of the "warrior" is put forth by both men and women as the emblem of spiritual activity. (The "woman warrior.") No poems are more "active" than Judy Grahn's, but cultural change is already present in her choice of metaphor:she chooses the dancer, not the warrior. The poems inlove belongs to those who do the feelingmight be thought of as the longing for community, but if you read them carefully you will see that in fact they are themselves community. "They cannot live alone any more than we can." --Jack Foley, I am thrilled that Judy Grahn's amazing poetry will once again become available to a new generation. She is a phenomenon--a fierce poet of witness and action, a visionary, with a tough and compassionate heart and a piercing intelligence, rooted in a spirituality that locates the sacred in the belly of the profane. And what a writer! Look at her wit, her compression, her ear for rhythms and sounds, her instinct for dialogic tension, her ability to compose large structures held together as in music by expected and unexpected recurrences, her common woman's twentieth century vocabulary along with ancient and archaic uses of language: naming as ritual, cursing, keening, spell- casting. Anyone who reads Grahn will be changed for life. Repeat: for life. --Alicia Ostriker, Judy Grahn takes her title from a poem commemorating the death of her first lover, but love belongs to those who do the feeling is far from elegiac. It bursts with life energy. Grahn writes of the erotic as "a force between artists...an enfusion of energy fueling the desire for change." "Belly dancers," she adds, "express love and spiritual community this way as well." Another brilliant California poet, Jack Spicer, remarked that poems must "echo and reecho against each other": "they cannot live alone any more than we can." It is such echoing and reechoing that we find in this selected poems. "The will to change"--Charles Olson's phrase--animates everything. Grahn's mentor Gertrude Stein insisted that the poet had to work "in the excitingness of pure being"; she must "get back that intensity into the language." Such intensity is always present in the work of this "common woman" who commonly achieves the miracle of accessibility without simplification. In our warmongering culture, the figure of the "warrior" is put forth by both men and women as the emblem of spiritual activity. (The "woman warrior.") No poems are more "active" than Judy Grahn's, but cultural change is already present in her choice of metaphor: she chooses the dancer, not the warrior . The poems in love belongs to those who do the feeling might be thought of as the longing for community, but if you read them carefully you will see that in fact they are themselves community. "They cannot live alone any more than we can." --Jack Foley, Judy Grahn takes her title from a poem commemorating the death of her first lover, but love belongs to those who do the feeling is far from elegiac. It bursts with life energy. Grahn writes of the erotic as "a force between artists...an enfusion of energy fueling the desire for change." "Belly dancers," she adds, "express love and spiritual community this way as well." Another brilliant California poet, Jack Spicer, remarked that poems must "echo and reecho against each other": "they cannot live alone any more than we can." It is such echoing and reechoing that we find in this selected poems. "The will to change"--Charles Olson's phrase--animates everything. Grahn's mentor Gertrude Stein insisted that the poet had to work "in the excitingness of pure being"; she must "get back that intensity into the language." Such intensity is always present in the work of this "common woman" who commonly achieves the miracle of accessibility without simplification. In our warmongering culture, the figure of the "warrior" is put forth by both men and women as the emblem of spiritual activity. (The "woman warrior.") No poems are more "active" than Judy Grahn's, but cultural change is already present in her choice of metaphor: she chooses the dancer, not the warrior . The poems in love belongs to those who do the feeling might be thought of as the longing for community, but if you read them carefully you will see that in fact they are themselves community. "They cannot live alone any more than we can." --Jack Foley, Judy Grahn takes her title from a poem commemorating the death of her first lover, but love belongs to those who do the feeling is far from elegiac. It bursts with life energy. Grahn writes of the erotic as "a force between artistsâ€¦an enfusion of energy fueling the desire for change." "Belly dancers," she adds, "express love and spiritual community this way as well." Another brilliant California poet, Jack Spicer, remarked that poems must "echo and reecho against each other": "they cannot live alone any more than we can." It is such echoing and reechoing that we find in this selected poems. "The will to change"-Charles Olson's phrase-animates everything. Grahn's mentor Gertrude Stein insisted that the poet had to work "in the excitingness of pure being"; she must "get back that intensity into the language." Such intensity is always present in the work of this "common woman" who commonly achieves the miracle of accessibility without simplification. In our warmongering culture, the figure of the "warrior" is put forth by both men and women as the emblem of spiritual activity. (The "woman warrior.") No poems are more "active" than Judy Grahn's, but cultural change is already present in her choice of metaphor: she chooses the dancer, not the warrior . The poems in love belongs to those who do the feeling might be thought of as the longing for community, but if you read them carefully you will see that in fact they are themselves community. "They cannot live alone any more than we can." --Jack Foley, Judy Grahn takes her title from a poem commemorating the death of her first lover, but love belongs to those who do the feeling is far from elegiac. It bursts with life energy. Grahn writes of the erotic as "a force between artists&an enfusion of energy fueling the desire for change." "Belly dancers," she adds, "express love and spiritual community this way as well." Another brilliant California poet, Jack Spicer, remarked that poems must "echo and reecho against each other": "they cannot live alone any more than we can." It is such echoing and reechoing that we find in this selected poems. "The will to change"-Charles Olson's phrase-animates everything. Grahn's mentor Gertrude Stein insisted that the poet had to work "in the excitingness of pure being"; she must "get back that intensity into the language." Such intensity is always present in the work of this "common woman" who commonly achieves the miracle of accessibility without simplification. In our warmongering culture, the figure of the "warrior" is put forth by both men and women as the emblem of spiritual activity. (The "woman warrior.") No poems are more "active" than Judy Grahn's, but cultural change is already present in her choice of metaphor: she chooses the dancer, not the warrior . The poems in love belongs to those who do the feeling might be thought of as the longing for community, but if you read them carefully you will see that in fact they are themselves community. "They cannot live alone any more than we can." --Jack Foley, I am thrilled that Judy Grahn's amazing poetry will once again become available to a new generation. She is a phenomenon--a fierce poet of witness and action, a visionary, with a tough and compassionate heart and a piercing intelligence, rooted in a spirituality that locates the sacred in the belly of the profane. And what a writer! Look at her wit, her compression, her ear for rhythms and sounds, her instinct for dialogic tension, her ability to compose large structures held together as in music by expected and unexpected recurrences, her common woman's twentieth century vocabulary along with ancient and archaic uses of language: naming as ritual, cursing, keening, spell- casting. Anyone who reads Grahn will be changed for life. Repeat: for life. --Alicia Ostriker, I am thrilled that Judy Grahn's amazing poetry will once again become available to a new generation. She is a phenomenon--a fierce poet of witness and action, a visionary, with a tough and compassionate heart and a piercing intelligence, rooted in a spirituality that locates the sacred in the belly of the profane. And what a writer! Look at her wit, her compression, her ear for rhythms and sounds, her instinct for dialogic tension, her ability to compose large structures held together as in music by expected and unexpected recurrences, her common woman's twentieth century vocabulary along with ancient and archaic uses of language: naming as ritual, cursing, keening, spell- casting. Anyone who reads Grahn will be changed for life. Repeat: for life. --Alicia Ostriker

Target AudienceScholarly & Professional

Lc Classification NumberPs3558.A3238l67 2018

Table of ContentTable of Contents Introduction Acknowledgements Dedication: To the Mother of All Bowls (2004) selections from Edward the Dyke and Other Poems (1966-1970) Asking for Ruthie the harvest spider the centipede''s poem in the place where If you lose your lover The Marilyn Monroe Poem Vietnamese woman speaking to an American soldier I''m not a girl Elephant Poem A History of Lesbianism the big horse woman The Common Woman Poems (1969) I. Helen, at 9 am, at noon, at 5:15 II. Ella, in a square apron, along Highway 80 III. Nadine, resting on her neighbor''s stoop IV. Carol in the park, chewing on straws V. Detroit Annie, hitchhiking VI. Margaret, seen through her picture window VII. Vera, from my childhood selections from She Who (1972-1974) She Who She Who continues Sheep parting on the left She Who increases/what can be done the enemies of She Who call her various names She who bears it the many minnows bowl of blood A Geology Lesson The woman in three pieces--one The woman in three pieces--two The woman in three pieces--three the most blonde woman in the world Carol and her crescent wrench I am the wall at the lip of the water Foam on the rim of the glass a funeral/ plainsong from a younger woman to an older woman Slowly: a plainsong from an older woman to a younger woman the woman whose head is on fire selections from Confrontations with the Devil in the Form of Love (1975) what do I have if not my 2 hands Love came along and saved me saved me you are what is female Love is a space which is attracted Love came along and saved me Venus, ever since they knocked Love, you wicked dog Look at my hands Love came along and saved Venus, dear, where are your arms Ah Love, you smell of petroleum Love rode 1500 miles on a grey This is what is so odd The poverty of Love is when Young Love I only have one reason for living After the boss took over: Love said: My name is Judith, meaning selections from The Queen of Wands (1980-1982) They say she is veiled The land that I grew up on is a rock A dream of Helen The meanings in the pattern Queen Helen Paris and Helen One for Helen Helen''s lover Old Helen In the tower of the crone Helen in Hollywood The Inheritance Frigga with Wuotan Frigga with Hela The Queen of Wands The good weef is both Knit the knot: a riddle But I mean any kind of thief Spider Webster''s declaration: He is singing the end of the world again Helen your beauty: a chorus Like a woman in childbirth wailing Beauty, sleeping (Who shall wake us?) Grand Grand Mother is returning selections from The Queen of Swords (1986-1987) Everyone wants Love to be his own It isn''t easy being Nothing Nature doesn''t give a damn Crow Chorus with Helen The sky is a sheet of crystal on a day like this There is more to standing Amazon chorus (As for what we do with horses) Her shadow falls across me I, Boudica I am Ildreth remembering A woman among motorcycles Descent to the Butch of the Realm Ever wish upon a star? Thoughts are points of sound/light The mother of trees is dirt The Ice Queen I fell through a hole/in the eye of death We''ll laugh it off to burrow (in a lighter cloth of time) Is this what dying is really like? Dancing in Place New Poems (1987-2006) The Vampires of Empire (from women are tired of the ways men bleed ) Forest, forest Gratitude to you for the food of our abundance Think what a butterfly (from "Mental") Talkers in a Dream Doorway Margedda''s hair (from Mundane''s World ) Inside Passage Goddess of wind Kira and Pete in the ninth month News Mothers, fathers, clasp the children (from women are tired of the ways men bleed ) Gloria, child of Yemanya When you walk down this road lunarchy may we embrace