I am a feminist, and what that means to me is much the same as the meaning of the fact that I am Black: it means that I must undertake to love myself and to respect myself as though my very life depends upon self-love and self-respect.

South Africa used to seem so far away. Then it came home to me. It began to signify the meaning of white hatred here. That was what the sheets and the suits and the ties covered up, not very well. That was what the cowardly guys calling me names from their speeding truck wanted to happen to me, to all of me: to my people. That was what would happen to me if I walked around the corner into the wrong neighborhood. That was Birmingham. That was Brooklyn. That was Reagan. That was the end of reason. South Africa was how I came to understand that I am not against war; I am against losing the war.

I wrote those poems for myself, as a way of being a soldier here in this country. I didn't know the poems would travel. I didn't go to Lebanon until two years ago, but people told me that many Arabs had memorized these poems and translated them into Arabic.

We survive our love because we go on loving.

My heart is not peripheral to me.

The neglected legacy of the Sixties is just this: unabashed moral certitude, and the purity -- the incredibly outgoing energy -- of righteous rage.

In America, you can segregate the people, but the problems will travel. From slavery to equal rights, from state suppression of dissent to crime, drugs and unemployment, I can't think of a supposedly Black issue that hasn't wasted the original Black target group and then spread like measles to outlying white experience.