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Sunday, April 27, 2014

The Empowered Woman


With special thanks to the Wild Woman Sisterhood*  for posting this on Facebook
The Empowered Woman

The Empowered Woman, she moves through the world
with a sense of confidence and grace.
Her once reckless spirit now tempered by wisdom. Quietly, yet firmly, she speaks her truth without doubt or hesitation and the life she leads is of her own creation.


She now understands what it means to live and let live.
How much to ask for herself and how much to give. She has a strong, yet generous heart.. and the inner beauty she emanates truly sets her apart.

Like the mythical Phoenix, she has risen from the ashes and soared to a new plane of existence, unfettered by the things that once that posed such resistance.

Her senses now heightened, she sees everything so clearly. She hears the wind rustling through the trees; beckoning her to live the dreams she holds so dearly. She feels the softness of her hands and muses at the strength that they possess. Her needs and desires she has learned to express. She has tasted the bitter and savored the sweet fruits of life, overcome adversity and pushed past heartache and strife.

And the one thing she never understood, she now knows to be true, it all begins and ends with You.

Sonny Carroll
*http://wildwomansisterhood.blogspot.com/
Stephanie Doty
Women’s Issues Matter
April 27, 2014

http://creativecommons.org/licenses/by-nc-nd/3.0/
  

Friday, April 25, 2014

Not yet ready for the trip to the boneyard --

A dear Facebook friend, Jane White, shared a posting by Elizabeth Gilbert [EG] that I read today in my news feed.  Since I feel passionate about what EG wrote, I have decided to share the posting with you, although I have neither written to Elizabeth Gilbert, requesting permission nor have I received permission to share this most wonderful piece.  

However, I am a strong believer in sharing the riches I discover.  By the same token, it is NEVER my intention to be disrespectful of the creator of anything I share; I would also never want to be perceived as misleading anyone that the original effort is mine when it most assuredly is not.

Aging is a critical issue for me -- especially now that I am 65.  I have become bone-weary of the vapid attitudes that older people are relics only to be shunned, endured until we die and/or shuffled off to the boneyard to await whatever it is we  'should be' waiting for instead of being vital, fully engaged denizens of living.  Onward . . . .
IN PRAISE OF THE INNER CRONE!

OK, we all know about the "inner child", right? The innocent being who still lives inside of us, who needs and deserves love and care, and whom we sometimes have to channel in order to learn self-compassion?

I'm a big fan of the notion of the inner child. It can be a really healing construct. Once, when I was going through a particularly dark season of self-loathing, I taped a sweet photo of myself (age 2) on my mirror, and taught myself that any harm I did to me, I also did to HER. It made me kinder and more tender to myself. Imagining other people's inner children makes me kinder and more tender to them.

So the Inner Child is a good thing.

These days, though, I spend less time thinking about my Inner Child lately, and more time focused on my INNER CRONE — the old lady who lives inside me, whom I hope to someday be. 
Because she's a serious bad-ass.

The really old ladies always are bad-asses. I'm talking about the real survivors. The women who have been through everything already, so nothing scares them anymore. The ones who have already watched the world fight itself nearly to death a dozen times over. The ones who have buried their dreams and their loved ones and lived through it. The ones who have suffered pain and lived through it, and who have had their innocence challenged by ten thousand appalling assaults...and who lived through all of it. 

The world is a frightening place. But you simply cannot frighten The True Crone.
Some might consider the word "crone" to be derogatory, but I don't in the least. I honor it. The crone is a classic character from myth and folklore, and she often the bearer of great wisdom and supernatural power. She is sometimes a guardian to the underworld. She has tremendous vision, even if she is blind. She has no fear of death, which means: NO FEAR.

I keep a wall of photos of some of my favorite crones, for inspiration. The photo below is of a Ukrainian Babushka who lives in (get this) Chernobyl. There are a group of such women — all tough elderly peasants — who have all recently moved back to the radioactive area around Chernobyl.
You know why they live there? Because they like it. 

They like Chernobyl because that's where they came from. They are natural-born farmers. They hated being refugees.They resented being shunted off their land after the catastrophe. They hated living in the shabby and crime-infiltrated and stress-inducing government housing in the city, and they much prefer the independence of living off the land in the most contaminated nuclear site on earth. They have formed a stupendously resilient retirement community there, in what some would call the world's most terrifying landscape.

Is it safe? Of course not. Or, whatever. After 90 years of hard living, what does "safe" even mean? They drink the water. These women plant vegetables in that radioactive soil and eat them. They butcher the wild pigs that scavenge around the old nuclear power plant, and eat them, too. Their point is: "We are old. What do have to fear from radioactivity? At this age? Who cares?"

All they want is their freedom. So they take care of themselves and each other. They cut and haul their own wood. They make their own vodka. They get together and drink and laugh about the hardships of World War II and the evils of the Stalin years. They laugh about everything, then they go outside and butcher another radioactive boar and make sausage out of him. 

I would put these women in a Bad-Ass Contest against any cocky young alleged Bad Ass you've got going, and I guarantee you — the Chernobyl crones would win, hands down. 

We live in a society that romanticizes youth. We live in a culture where youth is considered a real accomplishment. You look at a seriously powerful classic crone like the woman in this photo and you see foolish we are — to imagine that the young offer much for us to aspire to, or learn from. No wisdom like the wisdom of survival. No equanimity like the equanimity of somebody who plants a garden right on top of a nuclear disaster and gets on with it.

So these days, when my Inner Child gets all fluttery with the panic of living, I just ask myself: " WWMICD?"

"What Would My Inner Crone Do?"

Ask yourself that same question. See what she tells you.

One thing I can promise you she will never say? She will never say: "WORRY.
She will more likely tell you this: "ENDURE."

Hang in there, all you future awesome crones!

LG
Stephanie Doty
Women’s Issues Matter
April 25, 2014

http://creativecommons.org/licenses/by-nc-nd/3.0/
 

Thursday, April 24, 2014

A word to the wise

 Stephanie Doty
Women’s Issues Matter
April 24, 2014

http://creativecommons.org/licenses/by-nc-nd/3.0/

A WORTHY RECIPIENT | 'Because it was the right thing to do"

To commemorate and honor the life and work of Professor Wangari Maathai, the Collaborative Partnership on Forests (CPF) opened Forest Day 5, one of the most intensive and influential annual global events on forests, with a short video about the Nobel Laureate.

This film was commissioned by UNEP, ICRAF and CIFOR on behalf of the CPF.

Special thanks to Isabelle Pierrard from UNEP for her work on the production. Also thanks to Abbie Sharp from Tin Roof Productions.
 Stephanie Doty
Women’s Issues Matter
April 24, 2014

http://creativecommons.org/licenses/by-nc-nd/3.0/

Wednesday, April 23, 2014

The Sacred Feminine Today by Llewellyn Vaughan-Lee

"As we awaken from the repressions of the patriarchy we need to reclaim the sacred feminine both for our individual spirituality and for the well being of the planet. Our ecological devastation points to a culture that has forgotten the sacredness of the earth and the divine mother, as well as denied the feminine's deep understanding of the wholeness and interconnectedness of all of life. And our individual life, so often caught in addictions and starved of real meaning, has a hunger to reconnect with the soul, which has always had a feminine quality. And linking our own journey and that of the world is the ancient feminine figure of the World Soul, the Anima Mundi, the spiritual presence within creation."
Stephanie Doty
Women’s Issues Matter
April 23, 2014

http://creativecommons.org/licenses/by-nc-nd/3.0/

The Role of the Feminine & The Reemergence of the World Soul




The feminine has a central part to play in the work of global healing and transformation. Her natural consciousness holds a deep understanding of the interconnections of life, how all the different parts relate together: how this awakening oneness can unfold. And every woman has in her spiritual centers the sacred substance of creation that is necessary for life’s regeneration. Without the full participation of the feminine nothing new can be born.

A relationship to the feminine is also necessary for the reemergence of the Anima Mundi, the soul of the world. Buried by masculine consciousness, the world’s soul is crying out for our attention. She has the ancient wisdom and understanding of life’s oneness that we need if the world is to be redeemed.

Over the past two decades Llewellyn Vaughan-Lee has been given different teachings on the feminine and the Anima Mundi. They are compiled here for the first time.

Stephanie Doty
Women’s Issues Matter
April 23, 2014
http://creativecommons.org/licenses/by-nc-nd/3.0/

Tuesday, April 22, 2014

The Andrea Dworkin Theater Project

The Andrea Dworkin Theater Project
A new one-woman theater piece based on an unpublished work by Andrea Dworkin, author of Woman Hating, Pornography, Intercourse, and other powerful feminist works.
The piece will be performed in New York City six times only: Thursday through Saturday, May 1–3 and May 8–10, 2014. Performances will be free and open to the public, with general-admission seating by ticketed reservation only.
To make a reservation go to 
tinyurl.com/AndreaDworkinReading
https://www.artful.ly/media2change/store/events

The text by Dworkin contains all the hallmarks of her searing prose: fierce and irreverent, bold and tender, mordantly witty and emotionally raw. Whether already familiar with Dworkin's work or not, audiences will hear and experience her profoundly personal and political voice in a dramatic new form.

This project originated with John Stoltenberg, Dworkin’s surviving partner and executor of her estate. The director and dramaturg is Adam Thorburn, an award-winning playwright. Thorburn collaborated with Stoltenberg and Dworkin in 1998 in the creation of Freed Speech, a staged reading of testimony from public hearings on pornography and civil rights. Freed Speech was performed at the New School for Social Research in New York City for one night only with Dworkin as an onstage panelist in a post-performance talkback.

Because there will be no ticket revenue, donations are needed in order to bring this unique theater piece to a live audience (to rent space and lights, pay Actors Equity cast, promote performances, purchase required insurance, etc.). The Andrea Dworkin Theater Project is a sponsored project of Fractured Atlas, a nonprofit arts service organization, so contributions made payable to Fractured Atlas are fully tax deductible.
Sponsored since Nov 30, 2013

Stephanie Doty
Women’s Issues Matter
April 22, 2014

http://creativecommons.org/licenses/by-nc-nd/3.0/

Silicon Valley Needs To Start Investing in Women




BY KIM GORDON AND SHAMBHAVI KADAM
There’s a vast amount of value waiting to be unlocked in Silicon Valley, and it’s not hiding under the Tahoe hills in veins of silver like the Comstock lode. Today’s new billions are no longer dug out of the ground, they’re realized by viewing the world in a different way—seeing things differently to other people and capitalizing on opportunity by investing ahead of the curve. That’s how money is made in Silicon Valley.

Strange, then, in a world where women are leaders at some of the most powerful and recognisable organizations in the world (Facebook, Yahoo, Lockheed Martin, the IMF) — generating billions of dollars in revenue — that we’re not investing in them early.

Women receive only 5-10% of venture capital. They’re seriously underinvested in by Silicon Valley’s angels and institutions. There are urgent and necessary debates in Silicon Valley around objectification, misogyny in the workplace, and how hard it is for women to be leaders without being labeled "bossy."

What’s equally clear is that we’re not funding female founders, and billions are being left on the table. There’s been no female equivalent for the meteoric rise to success enjoyed by Mark Zuckerberg, Larry Page, Sergey Brin, or Elon Musk, and right now in the Valley there’s a vicious cycle. Without a success story featuring a woman there’s a strong confirmation bias that women don’t have what it takes.
And with no one investing in women — seeing an opportunity no-one else has and capitalizing on it, which is what investors are supposed to do — it’s unlikely we’ll see one of these stories anytime soon.

Stephanie Doty
Women’s Issues Matter
April 22, 2014 
http://creativecommons.org/licenses/by-nc-nd/3.0/

Monday, April 21, 2014

Celebrating diversity

THIS represents reality -- NOT Barbie

Stephanie Doty
Women’s Issues Matter
April 21, 2014
http://creativecommons.org/licenses/by-nc-nd/3.0/

Wednesday, April 16, 2014

Goblin Market by Christina Rosetti

Morning and evening
Maids heard the goblins cry:
"Come buy our orchard fruits,
Come buy, come buy:
Apples and quinces,
Lemons and oranges,
Plump unpecked cherries,
Melons and raspberries,
Bloom-down-cheeked peaches,
Swart-headed mulberries,
Wild free-born cranberries,
Crab-apples, dewberries,
Pine-apples, blackberries,All ripe together
In summer weather,—
Morns that pass by,
Fair eves that fly;
Come buy, come buy;
Our grapes fresh from the vine,
Pomegranates full and fine,
Dates and sharp bullaces,
Rare pears and greengages,
Damsons and bilberries,
Taste them and try:
Currants and gooseberries,
Bright-fire-like barberries,
Figs to fill your mouth,
Citrons from the South,
Sweet to tongue and sound to eye,
Come buy, come buy."

Evening by evening
Among the brookside rushes,
Laura bowed her head to hear,
Lizzie veiled her blushes:
Crouching close together
In the cooling weather,
With clasping arms and cautioning lips,
With tingling cheeks and fingertips.
"Lie close," Laura said,
Pricking up her golden head:
"We must not look at goblin men,
We must not buy their fruits:
Who knows upon what soil they fed
Their hungry thirsty roots?"
"Come buy," call the goblins
Hobbling down the glen.
"Oh," cried Lizzie, "Laura, Laura,
You should not peep at goblin men."
Lizzie covered up her eyes
Covered close lest they should look;
Laura reared her glossy head,
And whispered like the restless brook:
"Look, Lizzie, look, Lizzie,
Down the glen tramp little men.
One hauls a basket,
One bears a plate,
One lugs a golden dish
Of many pounds weight.
How fair the vine must grow
Whose grapes are so luscious;
How warm the wind must blow
Thro' those fruit bushes."
"No," said Lizzie, "No, no, no;
Their offers should not charm us,
Their evil gifts would harm us."
She thrust a dimpled finger
In each ear, shut eyes and ran:
Curious Laura chose to linger
Wondering at each merchant man.
One had a cat's face,
One whisked a tail,
One tramped at a rat's pace,
One crawled like a snail,
One like a wombat prowled obtuse and furry,
One like a ratel tumbled hurry scurry.
She heard a voice like voice of doves
Cooing all together:
They sounded kind and full of loves
In the pleasant weather.

Laura stretched her gleaming neck
Like a rush-imbedded swan,
Like a lily from the beck,
Like a moonlit poplar branch,
Like a vessel at the launch
When its last restraint is gone.

Backwards up the mossy glen
Turned and trooped the goblin men,
With their shrill repeated cry,
"Come buy, come buy."
When they reached where Laura was
They stood stock still upon the moss,
Leering at each other,
Brother with queer brother;
Signalling each other,
Brother with sly brother.
One set his basket down,
One reared his plate;
One began to weave a crown
Of tendrils, leaves, and rough nuts brown
(Men sell not such in any town);
One heaved the golden weight
Of dish and fruit to offer her:
"Come buy, come buy," was still their cry.
Laura stared but did not stir,
Longed but had no money:
The whisk-tailed merchant bade her taste
In tones as smooth as honey,
The cat-faced purr'd,
The rat-paced spoke a word
Of welcome, and the snail-paced even was heard;
One parrot-voiced and jolly
Cried "Pretty Goblin" still for "Pretty Polly;"—
One whistled like a bird.

But sweet-tooth Laura spoke in haste:
"Good folk, I have no coin;
To take were to purloin:
I have no copper in my purse,
I have no silver either,
And all my gold is on the furze
That shakes in windy weather
Above the rusty heather."
"You have much gold upon your head,"
They answered all together:
"Buy from us with a golden curl."
She clipped a precious golden lock,
She dropped a tear more rare than pearl,
Then sucked their fruit globes fair or red:
Sweeter than honey from the rock,
Stronger than man-rejoicing wine,
Clearer than water flowed that juice;
She never tasted such before,
How should it cloy with length of use?
She sucked and sucked and sucked the more
Fruits which that unknown orchard bore,
She sucked until her lips were sore;
Then flung the emptied rinds away
But gathered up one kernel-stone,
And knew not was it night or day
As she turned home alone.

Lizzie met her at the gate
Full of wise upbraidings:
"Dear, you should not stay so late,
Twilight is not good for maidens;
Should not loiter in the glen
In the haunts of goblin men.
Do you not remember Jeanie,
How she met them in the moonlight,
Took their gifts both choice and many,
Ate their fruits and wore their flowers
Plucked from bowers
Where summer ripens at all hours?
But ever in the moonlight
She pined and pined away;
Sought them by night and day,
Found them no more but dwindled and grew grey;
Then fell with the first snow,
While to this day no grass will grow
Where she lies low:
I planted daisies there a year ago
That never blow.
You should not loiter so."
"Nay, hush," said Laura:
"Nay, hush, my sister:
I ate and ate my fill,
Yet my mouth waters still;
Tomorrow night I will
Buy more:" and kissed her:
"Have done with sorrow;
I'll bring you plums tomorrow
Fresh on their mother twigs,
Cherries worth getting;
You cannot think what figs
My teeth have met in,
What melons, icy-cold
Piled on a dish of gold
Too huge for me to hold,
What peaches with a velvet nap,
Pellucid grapes without one seed:
Odorous indeed must be the mead
Whereon they grow, and pure the wave they drink,
With lilies at the brink,
And sugar-sweet their sap."


Golden head by golden head,
Like two pigeons in one nest
Folded in each other's wings,
They lay down in their curtained bed:
Like two blossoms on one stem,
Like two flakes of new-fall'n snow,
Like two wands of ivory
Tipped with gold for awful kings.
Moon and stars gazed in at them,
Wind sang to them lullaby,
Lumbering owls forbore to fly,
Not a bat flapped to and fro
Round their rest:
Cheek to cheek and breast to breast
Locked together in one nest.

Early in the morning
When the first cock crowed his warning,
Neat like bees, as sweet and busy,
Laura rose with Lizzie:
Fetched in honey, milked the cows,
Aired and set to rights the house,
Kneaded cakes of whitest wheat,
Cakes for dainty mouths to eat,
Next churned butter, whipped up cream,
Fed their poultry, sat and sewed;
Talked as modest maidens should:
Lizzie with an open heart,
Laura in an absent dream,
One content, one sick in part;
One warbling for the mere bright day's delight,
One longing for the night.

At length slow evening came:
They went with pitchers to the reedy brook;
Lizzie most placid in her look,
Laura most like a leaping flame.
They drew the gurgling water from its deep;
Lizzie plucked purple and rich golden flags,
Then turning homeward said: "The sunset flushes
Those furthest loftiest crags;
Come, Laura, not another maiden lags,
No wilful squirrel wags,
The beasts and birds are fast asleep."
But Laura loitered still among the rushes
And said the bank was steep.

And said the hour was early still,
The dew not fall'n, the wind not chill:
Listening ever, but not catching
The customary cry,
"Come buy, come buy,"
With its iterated jingle
Of sugar-baited words:
Not for all her watching
Once discerning even one goblin
Racing, whisking, tumbling, hobbling;
Let alone the herds
That used to tramp along the glen,
In groups or single,
Of brisk fruit-merchant men.
Till Lizzie urged, "O Laura, come;
I hear the fruit-call, but I dare not look:
You should not loiter longer at this brook:
Come with me home.
The stars rise, the moon bends her arc,
Each glowworm winks her spark,
Let us get home before the night grows dark:
For clouds may gather even
Tho' this is summer weather,
Put out the lights and drench us thro';
Then if we lost our way what should we do?"

Laura turned cold as stone
To find her sister heard that cry alone,
That goblin cry,
"Come buy our fruits, come buy."
Must she then buy no more such dainty fruit?
Must she no more such succous pasture find,
Gone deaf and blind?
Her tree of life drooped from the root:
She said not one word in her heart's sore ache;
But peering thro' the dimness, naught discerning,
Trudged home, her pitcher dripping all the way;
So crept to bed, and lay
Silent till Lizzie slept;
Then sat up in a passionate yearning,
And gnashed her teeth for baulked desire, and wept
As if her heart would break.

Day after day, night after night,
Laura kept watch in vain,
In sullen silence of exceeding pain.
She never caught again the goblin cry:
"Come buy, come buy;"—
She never spied the goblin men
Hawking their fruits along the glen:
But when the noon waxed bright
Her hair grew thin and gray;
She dwindled, as the fair full moon doth turn
To swift decay and burn
Her fire away.

One day remembering her kernel-stone
She set it by a wall that faced the south;
Dewed it with tears, hoped for a root,
Watched for a waxing shoot,
But there came none;
It never saw the sun,
It never felt the trickling moisture run:
While with sunk eyes and faded mouth
She dreamed of melons, as a traveller sees
False waves in desert drouth
With shade of leaf-crowned trees,
And burns the thirstier in the sandful breeze.
She no more swept the house,
Tended the fowls or cows,
Fetched honey, kneaded cakes of wheat,
Brought water from the brook:
But sat down listless in the chimney-nook
And would not eat.

Tender Lizzie could not bear
To watch her sister's cankerous care
Yet not to share.
She night and morning
Caught the goblins' cry:
"Come buy our orchard fruits,
Come buy, come buy:"—
Beside the brook, along the glen,
She heard the tramp of goblin men,
The voice and stir
Poor Laura could not hear;
Longed to buy fruit to comfort her,
But feared to pay too dear.

She thought of Jeanie in her grave,
Who should have been a bride;
But who for joys brides hope to have
Fell sick and died
In her gay prime,
In earliest Winter time,
With the first glazing rime,
With the first snow-fall of crisp Winter time.
Till Laura dwindling
Seemed knocking at Death's door:
Then Lizzie weighed no more
Better and worse;
But put a silver penny in her purse,
Kissed Laura, crossed the heath with clumps of furze
At twilight, halted by the brook:
And for the first time in her life
Began to listen and look.

Laughed every goblin
When they spied her peeping:
Came towards her hobbling,
Flying, running, leaping,
Puffing and blowing,
Chuckling, clapping, crowing,
Clucking and gobbling,
Mopping and mowing,
Full of airs and graces,
Pulling wry faces,
Demure grimaces,
Cat-like and rat-like,
Ratel and wombat-like,
Snail-paced in a hurry,
Parrot-voiced and whistler,
Helter skelter, hurry skurry,
Chattering like magpies,
Fluttering like pigeons,
Gliding like fishes,—
Hugged her and kissed her,
Squeezed and caressed her:
Stretched up their dishes,
Panniers, and plates:
"Look at our apples
Russet and dun,
Bob at our cherries
Bite at our peaches,
Citrons and dates,
Grapes for the asking,
Pears red with basking
Out in the sun,
Plums on their twigs;
Pluck them and suck them,
Pomegranates, figs."—

"Good folk," said Lizzie,
Mindful of Jeanie,
"Give me much and many:"—
Held out her apron,
Tossed them her penny.
"Nay, take a seat with us,
Honor and eat with us,"
They answered grinning;
"Our feast is but beginning.
Night yet is early,
Warm and dew-pearly,
Wakeful and starry:
Such fruits as these
No man can carry;
Half their bloom would fly,
Half their dew would dry,
Half their flavor would pass by.
Sit down and feast with us,
Be welcome guest with us,
Cheer you and rest with us."—
"Thank you," said Lizzie; "But one waits
At home alone for me:
So, without further parleying,
If you will not sell me any
Of your fruits tho' much and many,
Give me back my silver penny
I tossed you for a fee."—
They began to scratch their pates,
No longer wagging, purring,
But visibly demurring,
Grunting and snarling.
One called her proud,
Cross-grained, uncivil;
Their tones waxed loud,
Their looks were evil.
Lashing their tails
They trod and hustled her,
Elbowed and jostled her,
Clawed with their nails,
Barking, mewing, hissing, mocking,
Tore her gown and soiled her stocking,
Twitched her hair out by the roots,
Stamped upon her tender feet,
Held her hands and squeezed their fruits
Against her mouth to make her eat.
White and golden Lizzie stood,
Like a lily in a flood,
Like a rock of blue-veined stone
Lashed by tides obstreperously, --
Like a beacon left alone
In a hoary roaring sea,
Sending up a golden fire, --
Like a fruit-crowned orange-tree
White with blossoms honey-sweet
Sore beset by wasp and bee, --
Like a royal virgin town
Topped with gilded dome and spire
Close beleaguered by a fleet
Mad to tear her standard down.

One may lead a horse to water,
Twenty cannot make him drink.
Tho' the goblins cuffed and caught her,
Coaxed and fought her,
Bullied and besought her,
Scratched her, pinched her black as ink,
Kicked and knocked her,
Mauled and mocked her,
Lizzie uttered not a word;
Would not open lip from lip
Lest they should cram a mouthful in:
But laughed in heart to feel the drip
Of juice that syruped all her face,
And lodged in dimples of her chin,
And streaked her neck which quaked like curd.
At last the evil people,
Worn out by her resistance
Flung back her penny, kicked their fruit
Along whichever road they took,
Not leaving root or stone or shoot.
Some writhed into the ground,
Some dived into the brook
With ring and ripple,
Some scudded on the gale without a sound,
Some vanished in the distance.

In a smart, ache, tingle,
Lizzie went her way;
Knew not was it night or day;
Sprang up the bank, tore through the furze,
Threaded copse and dingle,
And heard her penny jingle
Bouncing in her purse,
Its bounce was music to her ear.
She ran and ran
As if she feared some goblin man
Dogged her with gibe or curse
Or something worse:
But not one goblin skurried after,
Nor was she pricked by fear;
The kind heart made her windy-paced
That urged her home quite out of breath with haste
And inward laughter.

She cried "Laura," up the garden,
"Did you miss me?
Come and kiss me.
Never mind my bruises,
Hug me, kiss me, suck my juices
Squeezed from goblin fruits for you,
Goblin pulp and goblin dew.
Eat me, drink me, love me;
Laura, make much of me:
For your sake I have braved the glen
And had to do with goblin merchant men."

Laura started from her chair,
Flung her arms up in the air,
Clutched her hair:
"Lizzie, Lizzie, have you tasted
For my sake the fruit forbidden?
Must your light like mine be hidden,
Your young life like mine be wasted,
Undone in mine undoing,
And ruined in my ruin,
Thirsty, cankered, goblin-ridden?"
She clung about her sister,
Kissed and kissed and kissed her:
Tears once again
Refreshed her shrunken eyes,
Dropping like rain
After long sultry drouth;
Shaking with aguish fear, and pain,
She kissed and kissed her with a hungry mouth.

Her lips began to scorch,
That juice was wormwood to her tongue,
She loathed the feast:
Writhing as one possessed she leaped and sung,
Rent all her robe, and wrung
Her hands in lamentable haste,
And beat her breast.
Her locks streamed like the torch
Borne by a racer at full speed,
Or like the mane of horses in their flight,
Or like an eagle when she stems the light
Straight toward the sun,
Or like a caged thing freed,
Or like a flying flag when armies run.

Swift fire spread thro' her veins, knocked at her heart,
Met the fire smouldering there
And overbore its lesser flame;
She gorged on bitterness without a name:
Ah! fool, to choose such part
Of soul-consuming care!
Sense failed in the mortal strife:
Like the watch-tower of a town
Which an earthquake shatters down,
Like a lightning-stricken mast,
Like a wind-uprooted tree
Spun about,
Like a foam-topped waterspout
Cast down headlong in the sea,
She fell at last;
Pleasure past and anguish past,
Is it death or is it life ?

Life out of death.
That night long Lizzie watched by her,
Counted her pulse's flagging stir,
Felt for her breath,
Held water to her lips, and cooled her face
With tears and fanning leaves:
But when the first birds chirped about their eaves,
And early reapers plodded to the place
Of golden sheaves,
And dew-wet grass
Bowed in the morning winds so brisk to pass,
And new buds with new day
Opened of cup-like lilies on the stream,
Laura awoke as from a dream,
Laughed in the innocent old way,
Hugged Lizzie but not twice or thrice;
Her gleaming locks showed not one thread of gray,
Her breath was sweet as May,
And light danced in her eyes.
Days, weeks, months, years
Afterwards, when both were wives
With children of their own;
Their mother-hearts beset with fears,
Their lives bound up in tender lives;
Laura would call the little ones
And tell them of her early prime,
Those pleasant days long gone
Of not-returning time:
Would talk about the haunted glen,
The wicked, quaint fruit-merchant men,
Their fruits like honey to the throat,
But poison in the blood;
(Men sell not such in any town:)
Would tell them how her sister stood
In deadly peril to do her good,
And win the fiery antidote:
Then joining hands to little hands
Would bid them cling together,
"For there is no friend like a sister,
In calm or stormy weather,
To cheer one on the tedious way,
To fetch one if one goes astray,
To lift one if one totters down,
To strengthen whilst one stands."

Original illustration for the cover of Christina Rossetti's Goblin Market and Other Poems (1862), by her brother, Dante Gabriel Rossetti.


Christina Rossetti

 In 1830, Christina Rossetti was born in London, one of four children of Italian parents. Her father was the poet Gabriele Rossetti; her brother Dante Gabriel Rossetti also became a poet and a painter. Rossetti's first poems were written in 1842 and printed in the private press of her grandfather. In 1850, under the pseudonym Ellen Alleyne, she contributed seven poems to the Pre-Raphaelite journal The Germ, which had been founded by her brother William Michael and his friends.

Rossetti is best known for her ballads and her mystic religious lyrics. Her poetry is marked by symbolism and intense feeling. Rossetti's best-known work, Goblin Market and Other Poems, was published in 1862. The collection established Rossetti as a significant voice in Victorian poetry. The Prince's Progress and Other Poems, appeared in 1866 followed by Sing-Song, a collection of verse for children, in 1872 (with illustrations by Arthur Hughes).

By the 1880s, recurrent bouts of Graves' disease, a thyroid disorder, made Rossetti an invalid, and ended her attempts to work as a governess. While the illness restricted her social life, she continued to write poems. Among her later works are A Pageant and Other Poems (1881), and The Face of the Deep (1892). Rossetti also wrote religious prose works, such as Seek and Find (1879), Called To Be Saints (1881) and The Face of the Deep (1892). In 1891, Rossetti developed cancer, of which she died in London on December 29, 1894. Rossetti's brother, William Michael, edited her collected works in 1904, but the Complete Poems were not published before 1979.

Christina Rossetti is increasingly being reconsidered a major Victorian poet. She has been compared to Emily Dickinson but the similarity is more in the choice of spiritual topics than in poetic approach, Rossetti's poetry being one of intense feelings, her technique refined within the forms established in her time.


Stephanie Doty
Women’s Issues Matter
April 16, 2014
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