The following are given passages.
Passage 1:
Woman on the Edge of Time
Woman on the Edge of Time is a 1976 novel by American writer Marge Piercy. It is considered a classic of utopian speculative science fiction as well as a feminist classic. The novel was originally published by Alfred A. Knopf. Piercy draws on several inspirations to write this novel such as utopian studies, technoscience, socialization, and female fantasies. One of Piercy's main inspirations for her utopian novels is Plato's Republic. Piercy describes the novel as, "if only…" Piercy even compares Woman on the Edge of Time and another one of her utopian novels He, She, and It when discussing the themes and inspirations behind it.

Plot summary
In the 1970s, an impoverished and intelligent thirty-seven-year-old Mexican-American woman Consuelo "Connie" Ramos, a resident of Spanish Harlem, is unfairly incarcerated in a New York mental hospital due to her supposed violent criminal tendencies. She had been recently released from a previous voluntary commitment in a mental institution after an episode of drug-related child neglect, which led her also to lose custody of her daughter. Connie is caught within the government welfare and child custody labyrinth of 1970s New York City. She is after the first scene recommitted involuntarily by her niece's pimp on grounds of violent behavior, after she strikes him in the course of protecting her niece, Dolly (Dolores), from him. Dolly had sought Connie's protection because she was being forced by the pimp into having an illegal abortion. 
One of Connie's chief abilities is her perceptiveness and empathy. As a result, before being committed, Connie had for some time begun to communicate with ("receive" from) a figure from the future: an androgynous young woman named Luciente. Connie retains her visions and her connection, which become more and more real, even while heavily drugged in the mental hospital in New York, based loosely on Bellevue and other mental institutions from that period. Luciente is time-traveling from a future (the date is given as 2137), in which a number of goals of the political and social agenda of the late sixties' and early seventies' radical movements have been fulfilled. Environmental pollution, patriarchy, homelessness, homophobia, racism, ethnocentrism, phallogocentrism, sexism, class-subordination, food injustice, consumerism, imperialism, and totalitarianism have been effectively dealt with in this world, which is governmentally decentralized in a loose version of anarchism. 
In contrast to the contemporary 1970s setting in an abusive mental institution where patients are labelled "violent," "incapable," "irrational," etc. on the basis of their response to an unjust and harshly stratified class-, race-, and gender-ridden society, future dwellers experience enormous personal freedom and train one another in self-control and ways of producing win-win results in all social situations. In particular, the subjects of volition and free will, mental institutionalization, and interference in others' willed actions are key to the vision of the utopian future. Connie is introduced by Luciente to the agrarian, communal community of Mattapoisett, where children grow up in a culture where they are encouraged to know themselves and their own minds and emotions thoroughly through practicing a type of meditation from an early age ("in-knowing"), in the service of social harmony and the ability to communicate with others without domination or subservience. 
This classless, gender-neutral (non-gendered pronouns are used, notably "per" or "person" for he or she), racial-difference-affirming society is sketched in detail, including meeting and discussion structures that eliminate power differentials as much as possible, the extensive use of technology only for social goods, the replacement of business and corporate agendas with general planning for social justice and respect for all human beings' individuality. Disputes between towns and regions are settled peacefully through discussion and merit-based competition of ideas, with the winning parties being obliged to "throw a big party for" or otherwise conciliate the losers in each case, in order to maintain friendly relations. 
A 1970s emphasis on individual freedom can be seen at times: each person lives in a private tent or one-room home, and children develop outside the womb of an individual and are adopted by three "mothers" (of any gender) who guard and teach them only until puberty; every person chooses their own name, and can also choose their field of study and work, as well as when to disengage from their community, or join a new one; total freedom also applies to one's mental and emotional choices—in this future world one can check oneself into and out of the equivalent of a sanitorium at will, go into or out of various kinds of therapy, or take a mental break in some other way, and no other person has the right to choose this on one's behalf. One's field of work is self-chosen, and dicta apply to both one's life path and one's mental or emotional desires, needs, and capacities: "Per must not do what per cannot do" and "Per must do what per needs to do" are applied to both personal/emotional and professional life choices insofar as possible. There are limits to this utopia, which threaten always at the margins: the death penalty is imposed on occasion, and war is in the background, but both are considered extreme and unusual measures.
Connie learns tools of emotional and physical survival from Luciente and the future population of Mattapoisett, and comes to feel that she is living at an important time in history, and that she herself is in a pivotal position; her actions and decisions will determine the course of history. In particular, it is slowly revealed that Luciente's utopia is only one possible future; alternate futures are a possibility, and the novel shows us one example— a future consumerist, hyper-capitalist, environmentally sick and strictly classist, racist, and gender-stratified society in which a wealthy elite live on space platforms, sustaining themselves by dominating and exploiting the majority of the population through total control of knowledge and technology, personal control extending to physical "farming" of bodies (harvesting organs regularly) and the surgical control of moods through the use of psychotropic drugs. Women in this intensely violent, misogynistic and homophobic world are valued and "grown" solely for appearance and sexuality, and plastic surgery that gives women grotesquely exaggerated sexual features is commonplace.
It does not decide for the reader whether Connie's visions are by-products of her mental instability or are literal time-travel, but ultimately, Connie's confrontation with the future inspires her to violent revolt against her institutional captors. She uses her limited means, despite her very restricted situation, in a desperate and apparently heroic way to prevent the dissemination of the mind-control technology that makes the future dystopia possible, putting an end to the mind-control experiments and prevents the lobotomy operation that had been planned for her and hundreds of other imprisoned patients. Connie acts in the tradition of revolts by oppressed or subaltern classes to put a wrench into the system of oppression within which she is caught. Though her revolutionary action ensures her own permanent incarceration and possible death sentence, and may not ensure the existence of the Mattapoisett future, Connie nevertheless sees her act as a victory, and perhaps the reader is encouraged to agree: "I'm a dead woman now too. … But I did fight them. … I tried."

Major themes
Social transformation
The essence of Piercy's utopian vision is social transformation achieved after the existing civilization had been destroyed through environmental degradation and war. "The transformation of existing society into utopia is a precarious enterprise attainable only through a process of making choices and crossing boundaries." Descriptions of Mattapoisett, the potential future society described in the novel, emphasize that collective struggle has led to their egalitarian lifestyle and collective action is how they get along so well. "What is most important in Piercy's concern with activism is the basic connection between personal action and historical change itself. The revolution is not inevitable. It is a process of change that may require appropriate conditions and happen more readily at particular historical moments, but it will not happen at all without personal commitment and struggle." The reader is left to decide whether Mattapoisett and the self-determination of its inhabitants are real or figments of Connie's imagination. "By couching the reality of Connie's visions in ambiguity, the text questions the idealism of utopian thinking while showing that social change nevertheless starts in the realm of ideas." The novel criticizes mental institutions and hospitalization of its time extensively, and brings the problem of free will to the forefront as well as suggesting alternative routes to mental wellness and social reform. Throughout the novel, Piercy demonstrates that violence is the key to getting change to occur. Connie's revolt against the system may have been unsuccessful, but it had inspired others to continue to fight. This overarching theme ties into real life as feminists and other activist groups have fought for social change during the 1970s.

Feminism
Piercy has described Mattapoisett as not a utopia "because it's accessible. There's almost nothing there except the brooder not accessible now. So it's hardly a utopia; it is very intentionally not a utopia because it is not strikingly new. The ideas are the ideas basically of the women's movement."  Each character in Mattapoisett has a counterpart in Connie's present world, juxtaposing differences in personal power hence, opportunities for self-actualization. For example, Connie's friend Skip who has been committed to the mental institution by his father for being gay reminds her of Jackrabbit, a bisexual person who is not only accepted but very popular in Mattapoisett. In stark contrast to the mental hospital where the doctors are all men, in Mattapoisett, women have a special tradition and role in healing, and positions of power rotate among men and women alike. Even traditional parental power has been done away with, and the experience of motherhood is shared among women and men, as technology has been developed to gestate babies in a mechanical brooder and men have been enabled to breast-feed. Motherhood is seen as a duty to be shared equally by each parent, regardless of gender. "In addition, critics have treated the novel as an allegory for the conflict in academia between dogmatic feminism and the commitment to motherhood." "The deconstruction of power structures is continued on a linguistic level, where Piercy deletes the dimorphism of the objective and possessive pronouns 'his' and 'her,' which have been replaced with the unisex 'per' referencing the single personal pronoun 'person.'" Feminist futurists argue that Piercy's nonlinear and complex structure of the novel leads to a more broad argument in regards to feminism. This idea is arguing to show that in order to deal with feminist solutions for the future, that there are problems from the past that must be addressed.

LGBTQIA+ equality
The idea of queer characters can be seen throughout the novel with Skip, Jackrabbit, and Luciente. Piercy shows the Skip going to a mental hospital for being gay showcasing her continuation of struggle other individuals. Also, Luciente has a queer relationship with her friend Diana. Piercy through this novel shows through the struggles of queer characters that there is progress to be made for those who are queer. Connie goes through a journey in Mattiposett in regards to the queer characters as she associates gendered roles to parents of the children. This is disproven by Luciente as they have both masculine and feminine qualities while in a queer relationship. Connie soon adapts to this idea by and begins to embrace homosexuality casting aside her patriarchal ideals from her present time. Through Piercy's portrayal of Connie's adaptation to Mattipoisett's homosexual relationships, it continues to show Piercy's point of queer progress in the novel.

Publication history
Literary significance and reception
Early reviews called the novel absorbing and exciting and beautifully written, but also polemical and didactic. Piercy's utopia was noted for "literally embodying every ideal of the counterculture/Movement: ecological wisdom, community, androgyny, ritual, respect for madness, propertylessness, etc." At the time, leaving the Sixties behind, American novels generally shared a post-apocalyptic feeling, asking "what are to be the new social and spiritual arrangements now that the old ones are completely shattered?" In that context, Roger Sale, in the New York Times, found nothing new in Woman on the Edge of Time, calling the book imitative and derivative, and pointing out that "the major instruments … are terribly familiar pieces of apparatus, the mental hospital and a utopian community of the future." Academic reviews, however, placed the novel among the important innovative fiction of the mid-1970s, characteristically works of social realism, all in some way describing a "new consciousness," "even though they don't always use the techniques of verisimilitude, and despite the mythical dimension of their representative characters."Combining feminist ideals with utopian visions of a future society based on principles of community and equality, Piercy imagined a post-apocalyptic world that established Woman on the Edge of Time as an early feminist innovation in the traditionally male genre of dystopian fiction. Depictions of sexuality and relations between the genders were already recognized as useful elements in depicting the conflict between individual and societal demands. "For example, the governments of dystopian societies like those described in We, Brave New World, and 1984 all focus on sexuality as a crucial matter for their efforts at social control. And it is also clear that this focus comes about largely because of a perception on the part of these governments that sexuality is a potential locus of powerful subversive energies." Woman on the Edge of Time "finely counterpoints the utopianism of Mattapoisset with the dystopian realism with which Connie's actual world is represented." The novel has been analyzed as a dystopia, as speculative fiction, and as realist fiction with fantastic episodes. "By her vivid and coherent descriptions of new social institutions, Piercy has answered the famous Cold War dystopias like 1984 and Brave New World which lament that there is no possibility of imagining an anti-totalitarian society." The book is often compared with other feminist utopian or dystopian fantasies such as Ursula K. Le Guin's The Dispossessed and The Left Hand of Darkness, Joanna Russ's The Female Man, Angela Carter's The Passion of New Eve, and Margaret Atwood's The Handmaid's Tale.
Passage 2:
He, She and It
He, She and It (retitled Body of Glass in the United Kingdom) is a 1991 cyberpunk novel by Marge Piercy. It won the Arthur C. Clarke Award for Best Science Fiction novel in 1993. Set in a post-apocalyptic America, the novel follows the romance between a human woman and a cyborg created to protect her community from corporate raiders, while interweaving a secondary narrative of the creation of a golem in 17th century Prague. Like Piercy's earlier novel Woman on the Edge of Time (1976), He, She and It also examines themes such as gender roles, political economy, and environmentalism.

Plot summary
The main story of He, She and It is situated in North America in the near future of the year 2059. At that time, the economic and political power is held by a few multis—huge multi-national enterprises with their own social hierarchy that have produced an affluent society. The main part of the population, however, lives in the glop outside of the multis' enclaves within an environment that has mainly been destroyed. Here, life is dominated by poverty, gangs and the law of the stronger man. An exception to this is the so-called free towns that are able to sell their technologies to the multis but remain autonomous. Communication is handled via a network which allows the participants to project themselves into Cyberspace.
When the protagonist Shira loses custody of her son Ari to her ex-husband Josh, she returns from her multi Yakamura-Stichen (Y-S) to her hometown Tikva (Hope in Hebrew) - a Jewish freetown.  There, she starts working on the socialization of the cyborg Yod (the tenth letter in Hebrew and a symbol for God in Kabbalah), who has been created illegally by Avram to protect the city. Yod is the tenth cyborg (a robot with human appearance and programmed human characteristics) in a row of previously failed experiments whose programming has partially been completed by Malkah, Shira's grandmother. While Shira and Yod build up a (sexual) relationship, Shira's childhood sweetheart Gadi, Avram's son, also comes back to Tikva. Gadi returns due to his banishment for sleeping with a young girl. When Malkah is working on a chimaera (security software) to protect the city from online attack, she is attacked by Y-S. Yod, however, is able to prevent the attack. Eventually, Y-S invites Shira to a new hearing concerning the custody of her son. Shira is accompanied by Yod, her mother Riva, and  Nili, a biotechnologically enhanced woman from a nuclear-devastated Israel, when the situation escalates. The Y-S delegation and Riva die in the fight. Thereupon Shira, Malkah and Yod decide to infiltrate the Y-S network base. They manage to get hold of personnel files revealing a conspiracy against Shira and Tikva.
As the next step, Shira and Yod are accompanied by Nili and Gadi into the Glop. Here, they get in contact with an organized underground group in which they discover Riva is still alive and participating in resistance activities.  From the Glop, they travel into the Y-S enclave in Nebraska to kidnap Ari. There, Josh is killed by Yod. Back to Tikva, Shira's family spends some quiet time until Y-S invites them to a further meeting on the net. Y-S demands that Yod be handed over, for Y-S to acquire its technology. Avram agrees to the deal with the hope of creating another cyborg. So, Yod agrees to destroy him/itself when sent to the enclave. However, Yod made sure that his own explosion would cause a synchronous explosion in Avram's lab. As Avram dies in this accident and all his notes are destroyed, the creation of a further cyborg becomes impossible.
Finally, Malkah leaves Tikva with Nili to visit a secret town in post-nuclear holocaust Israel and to profit from the possible biotechnological enhancements. Shira is integrated into Tikva's society further. When she discovers copies of the notes concerning Yod, she initially plans on recreating Yod; ultimately she respects Yod's wishes and destroys them.
The main plot is interwoven with a story Malkah tells Yod that deals with Rabbi Judah Loew who Malkah depicts as her ancestor living in the ghetto of Prague around 1600. To protect the Jewish community from the Christian mob, Loew uses the knowledge of Kabbalah to create the golem Joseph from clay. His granddaughter Chava, a highly educated woman, teaches Joseph to read and write. Joseph successfully protects the ghetto and begins to think of himself as human and makes a plea for his right to a human existence. However, when the pogrom climate calms down, Loew returns Joseph to clay. The two stories are mutually illuminating, both asking what it means to be human both from the perspective of the man-made life and that of those who love the artificial lives.
Passage 3:
December (magazine)
December is an independent nonprofit literary magazine that was founded in 1958. The journal was part of both the little magazine and the small press movements of the 1950s and was revived in 2012. December publishes original prose, poetry, and art submitted by new writers and artists, as well as previously unpublished work by distinguished literary figures.  Former and current contributors include Joyce Carol Oates, James Wright, Marvin Bell, Marge Piercy, and Raymond Carver. December's mission is to promote unheralded writers and artists, celebrate fresh work from more seasoned voices, and advocate for its contributors in local literary and art communities.

History
December was founded in Iowa City in 1958 at the Iowa Writers' Workshop, and moved to Chicago in 1962, where it was passed to Curt Johnson, a short story writer and novelist.  Johnson privately funded december and published the journal until his death in 2008. During this time, december featured the early work of many unknown artists and writers, most notably Raymond Carver, who first appeared in december in 1963 with his short story "Furious Seasons." Writers who published some of their first work in december include 5 U.S. Poets Laureate, 6 Pulitzer Prize winners, 8 National Book Award winners, 5 O. Henry Award winners, and 9 Guggenheim fellows.

Revival
December was revived in 2012 by journalist and fiction writer Gianna Jacobson, and Volume 24 was released in December 2013.  December releases two issues per year.  The revival issue features new material from several of december's original contributors as well as from some contemporary authors and artists. December also has two contests each year, the Curt Johnson Prose Awards, judged in 2015 by Joyce Carol Oates and Albert Goldbarth, and the Jeff Marks Memorial Poetry Prize. It accepts submissions and only publishes original, previously unpublished work.

See also
List of literary magazines
Passage 4:
Vida (novel)
Vida is a 1979 novel by Marge Piercy.

Summary
The eponymous heroine is a 1960s anti-war and pro-environmental activist who has in the modern day (1980s—when the novel was written and is partially-set) become part of an illegal underground revolutionary network which resembles the real Weatherman (later known as the Weather Underground). The story is told in the then present-day and in flashbacks to the 1960s. Vida struggles to maintain a double life; still having contacts with legitimate members of society, notably her lover Leigh, while continuing to carry out illegal actions against the government.

The novel is notable for describing what everyday-life was like for 60s radical fugitives living "underground", as Jo Walton writes:Vida here is realising that the choices she has made have left her  irrelevant not just politically but personally—her husband is marrying and having a baby with someone else, she is trapped with the other fugitives she increasingly dislikes, writing position papers nobody reads. She has false papers, a false name, she uses codes on the phone with her sister, she constantly has to appease people who are helping her. It’s very hard for her not to feel useless, because in fact she is useless, the revolution she was waiting for never happened, and she can’t be with the people she loves. And the other characters are just as real and well developed, even the minor characters.

Reception
John Leonard wrote in the New York Times:Vida is feisty, she is also emblematic. Marge Piercy, in her sixth novel, employs Vida to tell us exactly how it was in the lofts of the Left as the 1960s turned into the 1970s, as the massive peace marches turned into a tantrum of the cadres. This is the way everybody sounded, as if translated by thumb from the German and the Russian and the Chinese, at the endless meetings to establish policy. This is the way everybody behaved, in games of faction and musical beds. Here are the people who sold out -- to the media, the academy, the cops and medical school -- and those who persevered, in their purity and rage.
There is no reason to doubt that underground life for the radical fugitives is exactly as Miss Piercy describes it -- with pay phones ringing on prearranged hours on prearranged days, the switching of subways, the mail drop and the "safe house," the motel room and the Brooklyn Botanical Garden, the commune in Los Angeles and the A-frame in Vermont... 
Cynthia Macdonald wrote in the Washington Post:MARGE PIERCY's strong, complex yet lucid political  novel is a flame-opus, not soap-opera, saved from being the latter by its incandescence... I welcome this book's complexities: solutions are struggled for in a way which not only illuminates but makes the reader think and feel.

External links
Vida on Marge Piercy's website
Passage 5:
Marge Piercy
Marge Piercy (born March 31, 1936) is an American progressive activist, feminist, and writer. Her work includes Woman on the Edge of Time; He, She and It, which won the 1993 Arthur C. Clarke Award; and Gone to Soldiers, a New York Times Best Seller and a sweeping historical novel set during World War II. Piercy's work is rooted in her Jewish heritage, Communist social and political activism, and feminist ideals.

Life
Family and early life
Marge Piercy was born in Detroit, Michigan to Bert (Bunnin) Piercy and Robert Piercy. While her father was non-religious from a Presbyterian background, she was raised Jewish by her mother and her Orthodox Jewish maternal grandmother, who gave Piercy the Hebrew name of Marah.On her childhood and Jewish identity, Piercy said: "Jews and blacks were always lumped together when I grew up. I didn’t grow up 'white.' Jews weren't white. My first boyfriend was black. I didn't find out I was white until we spent time in Baltimore and I went to a segregated high school. I can't express how weird it was. Then I just figured they didn't know I was Jewish."An indifferent student in her early childhood, Piercy developed a love of books when she came down with the German measles and rheumatic fever in her mid-childhood and could do little but read. "It taught me that there's a different world there, that there were all these horizons that were quite different from what I could see".

Education
Upon graduation from Mackenzie High School, Piercy became the first in her family to attend college, studying at the University of Michigan where she received a B.A. degree in 1957. Winning a Hopwood Award for Poetry and Fiction (1957) enabled her to finish college and spend some time in France. She earned an M.A. from Northwestern University in 1958.

Adulthood
After graduating college, Piercy and her first husband went to France, then returned to the United States. They divorced when Piercy was 23. Living in Chicago, she supported herself working various part-time jobs while unsuccessfully trying to get her novels published. It was during this time that Piercy realized she wanted to write fiction that focused on politics, feminism, and working-class people. After her second marriage, Piercy became involved in the organization Students for a Democratic Society. In 1968, Piercy's first book of poetry, Breaking Camp, was published, and her first novel was accepted for publication that same year.

Personal life and relationships
At a young age Marge Piercy was married to her first husband, a French Jewish physicist. However, the marriage failed when she was 23; Piercy attributes this to his expectations of gender roles in marriage. In 1962 she married her second husband, Robert Shapiro, a computer scientist. They divorced, and Piercy married her current husband, Ira Wood. She and her husband live in Wellfleet, MA. Piercy designed their home, where the couple have been living since the 1970s.

Politics
Piercy was involved in the civil rights movement, New Left, and Students for a Democratic Society. She is a feminist, environmentalist, Marxist, social, and anti-war activist.In 1977, Piercy became an associate of the Women's Institute for Freedom of the Press (WIFP), an American nonprofit publishing organization that works to increase communication between women and connect the public with forms of women-based media.
In 2013, Piercy signed an open letter, described as an "open statement from 48 radical feminists from seven countries." The letter endorses TERF ideology and defends the right to exclude transgender women from "women-only conferences."

Writing
Piercy is the author of more than seventeen volumes of poems, among them The Moon Is Always Female (1980, considered a feminist classic) and The Art of Blessing the Day (1999). She has published fifteen novels, one play (The Last White Class, co-authored with her current—and third—husband Ira Wood), one collection of essays (Parti-colored Blocks for a Quilt), one non-fiction book, and one memoir. She contributed the pieces "The Grand Coolie Damn" and "Song of the Fucked Duck" to the celebrated anthology Sisterhood Is Powerful: An Anthology of Writings from The Women's Liberation Movement, edited by Robin Morgan.Her novels and poetry often focus on feminist or social concerns, although her settings vary. While Body of Glass (published in the United States as He, She and It) is a science fiction novel that won the Arthur C. Clarke Award, City of Darkness, City of Light was set during the French Revolution. Other novels, such as Summer People and The Longings of Women are set during modern times. All of her books share a focus on women's lives.
Woman on the Edge of Time (1976) mixes a time travel story with issues of social justice, feminism, and the treatment of the mentally ill. This novel is considered a classic of utopian "speculative" science fiction as well as a feminist classic. William Gibson has credited Woman on the Edge of Time as the birthplace of Cyberpunk, as Piercy mentions in an introduction to Body of Glass. Body of Glass (He, She and It, 1991) itself postulates an environmentally ruined world dominated by sprawling mega-cities and a futuristic version of the Internet, through which Piercy weaves elements of Jewish mysticism and the legend of the Golem, although a key story element is the main character's attempts to regain custody of her young son.
Many of Piercy's novels tell their stories from the viewpoints of multiple characters, often including a first-person voice among numerous third-person narratives. Her World War II historical novel, Gone to Soldiers (1987) follows the lives of nine major characters in the United States, Europe and Asia. The first-person account in Gone to Soldiers is the diary of French teenager Jacqueline Levy-Monot, who is also followed in the third person after her capture by the Nazis.Piercy's poetry tends to be highly personal free verse and often centered on feminist and social issues. Her work shows commitment to social change—what she might call, in Judaic terms, tikkun olam, or the repair of the world. It is rooted in story, the wheel of the Jewish year, and a range of landscapes and settings.
Piercy contributed poems to the journal Kalliope: A Journal of Women's Art and Literature. Piercy also contributed to the collection of essays by women leaders in the climate movement, All We Can Save.

Works
Novels
Going Down Fast, 1969
Dance The Eagle To Sleep, 1970
Small Changes, 1973
Woman on the Edge of Time, 1976
The High Cost of Living, 1978
Vida, 1979
Braided Lives, 1982
Fly Away Home, 1985
Gone To Soldiers, 1987
Summer People, 1989
He, She And It (aka Body of Glass), 1991
The Longings of Women, 1994
City of Darkness, City of Light, 1996
Storm Tide, 1998 (with Ira Wood)
Three Women, 1999
The Third Child, 2003
Sex Wars, 2005

Short stories
The Cost of Lunch, Etc., 2014

Poetry collections
Breaking Camp, 1968
Hard Loving, 1969
"Barbie Doll", 1973
4-Telling (with Emmett Jarrett, Dick Lourie, Robert Hershon), 1971
To Be of Use, 1973
Living in the Open, 1976
The Twelve-Spoked Wheel Flashing, 1978
The Moon is Always Female, 1980
Circles on the Water, Selected Poems, 1982
Stone, Paper, Knife, 1983
My Mother's Body, 1985
Available Light, 1988
Early Ripening: American Women's Poetry Now (ed.), 1988; 1993
Mars and her Children, 1992
What are Big Girls Made Of, 1997
Early Grrrl, 1999.
The Art of Blessing the Day: Poems With a Jewish Theme, 1999
Colours Passing Through Us, 2003
The Hunger Moon: New and Selected Poems, 1980-2010, 2012
Made in Detroit, 2015
On the Way Out, Turn Off the Light, 2020

Collected other
"The Grand Coolie Damn" and "Song of the fucked duck" in Sisterhood is Powerful: An Anthology of Writings From The Women's Liberation Movement, 1970, edited by Robin Morgan
The Last White Class, (play co-authored with Ira Wood), 1979
Parti-Colored Blocks For a Quilt, (essays), 1982
The Earth Shines Secretly: A book of Days, (daybook calendar), 1990
So You Want to Write, (non-fiction), 2001
Sleeping with Cats, (memoir), 2002
My Life, My Body (Outspoken Authors), (essays, poems & memoir), 2015

Awards and honors
Arthur C. Clarke Award for science fiction, 1992
Bradley Award, New England Poetry Club, 1992
Brit ha-Dorot Award, Shalom Center, 1992
May Sarton Award, New England Poetry Club, 1991
Golden Rose Poetry Prize, New England Poetry Club, 1990
Carolyn Kizer Poetry Prize, 1986, 1990
National Endowment for the Arts award, 1978
Honorary Doctor of Humane Letters degree from the Hebrew Union College, Cincinnati, Ohio, 2004
Passage 6:
Richard Aldington
Richard Aldington (born Edward Godfree Aldington; 8 July 1892 – 27 July 1962) was an English writer and poet. He was an early associate of the Imagist movement. He was married to the poet Hilda Doolittle (H. D.) from 1911 to 1938. His 50-year writing career covered poetry, novels, criticism and biography. He edited The Egoist, a literary journal, and wrote for The Times Literary Supplement, Vogue, The Criterion and Poetry. His biography of Wellington (1946) won him the James Tait Black Memorial Prize. His contacts included writers T. S. Eliot, D. H. Lawrence, Ezra Pound, W. B. Yeats, Lawrence Durrell, C. P. Snow, and others. He championed Hilda Doolittle as the major poetic voice of the Imagist movement and helped her work gain international notice.

Early life and marriage
Aldington was born in Portsmouth, the eldest of four children and the son of a solicitor. Both his parents wrote and published books, and their home held a large library of European and classical literature. As well as reading, Aldington's interests at this time, all of which continued in later life, included butterfly-collecting, hiking, and learning languages – he went on to master French, Italian, Latin, and ancient Greek. He was educated at Mr. Sweetman's Seminary for Young Gentlemen, St Margaret's Bay, near Dover. His father died of heart problems at age 56.Aldington attended Dover College, followed by the University of London. He was unable to complete his degree because of the financial circumstances of his family caused by his father's failed speculations and ensuing debt. Supported by a small allowance from his parents, he worked as a sports journalist, started publishing poetry in British journals, and gravitated towards literary circles that included poets William Butler Yeats and Walter de la Mare.In 1911 Aldington met society hostess Brigit Patmore, with whom he had a passing affair. At the time he was described as "tall and broad-shouldered, with a fine forehead, thick longish hair of the indefinite colour blond hair turns to in adolescence, very bright blue eyes, too small a nose, and a determined mouth." Through her he met American poets Ezra Pound and Hilda Doolittle, who had previously been engaged to each other. Doolittle and Aldington grew closer and in 1913 travelled together extensively through Italy and France, just before the war. On their return to London in the summer they moved into separate flats in Churchwalk, Kensington, in West London. Doolittle lived at No. 6, Aldington at No. 8, and Pound at No. 10. In the presence of Pound and the Doolittle family, over from America for the summer, the couple married. They moved to 5 Holland Place Chambers into a flat of their own, although Pound soon moved in across the hall.The poets were caught up in the literary ferment before the war, where new politics and ideas were passionately discussed and created in Soho tearooms and society salons. The couple bonded over their visions of new forms of poetry, feminism, and philosophy, emerging from the wake of staid Victorian mores. The couple were fed by a sense of peership and mutualism between them, rejecting hierarchies, beginning to view Pound as an intruder and interloper rather than a literary igniter.The couple met influential American poet Amy Lowell and she introduced them to writer D. H. Lawrence in 1914, who would become a close friend and mentor to both.

Early career
Aldington's poetry was associated with the Imagist group, championing minimalist free verse with stark images, seeking to banish Victorian moralism. The group was key in the emerging Modernist movement. Ezra Pound coined the term imagistes for H. D. and Aldington (1912). Aldington's poetry forms almost one third of the Imagists' inaugural anthology Des Imagistes (1914). The movement was heavily inspired by Japanese and classical European art. Aldington shared T. E. Hulme's conviction that experimentation with traditional Japanese verse forms could provide a way forward for avant-garde literature in English.

Pound sent three of Aldington's poems to Harriet Monroe's magazine Poetry and they appeared in November 1912. She notes "Mr Richard Aldington is a young English poet, one of the "Imagistes", a group of ardent Hellenists who are pursuing interesting experiments in vers libre."She considered the poem "Choricos" to be his finest work, "one of the most beautiful death songs in the language" "a poem of studied and affected gravity".H.D. became pregnant in August 1914, and in 1915 Aldington and H.D. relocated from their home in Holland Park near Ezra Pound to Hampstead close to D. H. Lawrence and Frieda. They felt calmer out of the bustle of the city, with more space and green. The pregnancy ended in a stillborn daughter, which traumatised the couple and put a great strain on the relationship; H.D. was 28 and Aldington 22. The outbreak of war in 1914 deeply disturbed Aldington, though no draft was in place at this time. H.D. felt more distant from the melee, not having a close affinity to the European landscape, geographical or political. This rift also put pressure on the marriage. Unhappy, Aldington dreamed of escape to America and began to have affairs. He began a relationship with Florence Fallas, who had also lost a child.Between 1914 and 1916 Aldington was literary editor and a columnist at The Egoist. He was assistant editor with Leonard Compton-Rickett under Dora Marsden. Aldington knew Wyndham Lewis well and reviewed his work in The Egoist. He was also an associate of Ford Madox Ford's, helping him with a propaganda volume for a government commission in 1914 and taking dictation for The Good Soldier.

First World War and aftermath
Aldington joined up in June 1916 and was sent for training at Wareham in Dorset. H.D. moved to be closer to her husband. He then was sent to a camp near Manchester. They found the duality of their lives harsh, and the gruelling, regimented nature of the training felt hard for the sensitive professional poet. He felt fundamentally different from the other men, more given to intellectual pursuits than unending physical labour that left him little time to write. Their sporadic meetings were emotionally wrenching and the couple could make no plans for their future together. He encouraged H.D. to return to America where she could make a safer and more stable home. They both watched news come in of heavy troop losses in France at the Somme and on other battlefields. She could not have information given on her husband's future postings overseas, all held to be secret. Rationing and the forced draft began as the war turned against the British.When Aldington was sent to the front in December 1916, the couple's relationship became epistolary. He wrote that he'd managed to complete 12 poems and three essays since joining up and wanted to work on producing a new book, in order to keep his mind on literature, despite his work of digging graves. He found the soldier's life degrading, living with lice, cold, mud and little sanitation. His encounters with gas on the front would affect him for the rest of his life. He was given leave in July 1917 and the couple enjoyed a reunion during this brief reprieve. He felt distant from old Imagist friends like Pound who had not undergone the tortuous life of the soldiers on the front and could not imagine the living conditions.Aldington joined up in the 11th Leicestershires and was later commissioned as a second lieutenant in the Royal Sussex Regiment (November 1917). He finished the war as a signals officer and temporary captain, being demobilised in February 1919. He may never have completely recovered from the war, writing of his own field experiences in the collections Images of War and Images of Desire (1919), which were suffused with a new melancholy. He ended the war feeling disconsolate about his own talent as a poet. Exile and Other Poems (1923) also dealt with the process of trauma. A collection of war stories Roads to Glory, appeared in 1930. After this point he became known as a critic and biographer.Towards the end of the war H.D. lived with composer Cecil Gray, a friend of D. H. Lawrence's. They had a daughter together in March 1919, the pregnancy much complicated by H.D.'s catching pneumonia towards the end. Neither Gray nor Aldington wanted to accept paternity. By the time of Aldington's return H.D. was involved with the female writer Bryher. H.D. and Aldington formally separated and had relationships with other people, but they didn't divorce until 1938. They remained friends for the rest of their lives. He destroyed all the couple's pre-1918 correspondence.Aldington helped T. S. Eliot by persuading Harriet Shaw Weaver to appoint Eliot as Aldington's successor at The Egoist magazine. In 1919 he introduced Eliot to the editor Bruce Richmond of The Times Literary Supplement. Aldington was on the editorial board of Chaman Lall's London literary quarterly Coterie (published 1919–1921), accompanied by Conrad Aiken, Eliot, Lewis and Aldous Huxley. Eliot had a job in the international department of Lloyds Bank and well-meaning friends wanted him full-time writing poetry. Ezra Pound, plotting a scheme to "get Eliot out of the bank", was supported by Lady Ottoline Morrell, Leonard Woolf and Harry Norton Aldington began publishing in journals such as the Imagist The Chapbook. In reply to Eliot's The Waste Land, Aldington wrote A Fool i' the Forest (1924).

Aldington suffered a breakdown in 1925. His interest in poetry waned, and he developed an animosity towards Eliot's celebrity. Aldington grew closer to Eliot but gradually became a supporter of Vivienne Eliot in the troubled marriage. Aldington satirised her husband as "Jeremy Cibber" in Stepping Heavenward (1931). He had a relationship with writer Valentine Dobrée and a lengthy and passionate affair with Arabella Yorke, a lover since Mecklenburgh Square days, coming to an end when he went abroad.Aldington helped Irene Rathbone publish her semi-autobiographical novel We That Were Young in 1932. They had an affair that ended in 1937. Rathbone dedicated her 1936 novel They Call it Peace to him, and she wrote a long poem, Was There a Summer?: A Narrative Poem, in 1943 about their relationship.

Exile
Aldington went into self-imposed exile in 1928. He lived in Paris for years, living with Brigit Patmore and fascinated by Nancy Cunard, whom he met in 1928. Following his divorce in 1938 he married Netta, née McCullough, previously Brigit's daughter-in-law.
Death of a Hero (1929), which Aldington called a "jazz novel," was his semi-autobiographical response to the war. He started writing it almost immediately after the armistice was declared. The novel condemned Victorian materialism as a cause of the tragedy and waste of the war. Rejectionist, an "Expressionist scream", it was commended by Lawrence Durrell as "the best war novel of the epoch". It was developed mostly while Aldington was living on the island of Port-Cros in Provence, building on the manuscript from a decade before. Opening with a letter to the playwright Halcott Glover, the book takes a satirical, cynical, and critical stance on Victorian and Edwardian cant. Published in September 1929, by Christmas it had sold more than 10,000 copies in England alone, part of a wave of war remembrances from writers such as Remarque, Sassoon, and Hemingway. The book was quickly translated into German and other European languages. In Russia the book was taken to be a wholesale attack on bourgeois politics, "the inevitable result of the life which had preceded it", as Aldington wrote. "The next one will be much worse". It was praised by Gorky as revolutionary, and the book, along with Aldington's later fiction, received huge Russian distribution. Aldington was, however, fiercely non-partisan in his politics, despite his passion for iconoclasm and feminism.The character of George Winterbourne is loosely based on Aldington as an artist (Winterbourne a painter rather than writer), having a mistress before and through the war, and the novel portrays locations strongly resembling those he had travelled to. One of these locations, fictionally named "The Chateau de Fressin," strongly resembled a castle he wrote about in a letter to H. D.Death of a Hero, like many other novels published around this time about the war, suffered greatly from censorship. Instead of changing or cutting parts of his novel, he replaced objectionable words with asterisks. Although they looked awkward on the page, Aldington, among others, wanted to call attention to censoring by publishers.In 1930 Aldington published a translation of The Decameron and then the romance All Men are Enemies (1933). In 1942, having relocated to the United States with his new wife Netta, he began to write biographies, starting with Wellington: The Duke: Being an Account of the Life & Achievements of Arthur Wellesley, 1st Duke of Wellington (1943). It was followed by works on D. H. Lawrence: Portrait of a Genius, But ... (1950), Robert Louis Stevenson: Portrait of a Rebel (1957), and T. E. Lawrence: Lawrence of Arabia: A Biographical Inquiry (1955). Under financial pressure, he also worked as a Hollywood screenwriter.
Aldington's excoriating biography of T. E. Lawrence caused a scandal on its publication in 1955. In the spirit of iconoclasm, he was the first to bring public notice to Lawrence's illegitimacy and asserted that he was a homosexual, a liar, a charlatan, an "impudent mythomaniac", a "self-important egotist", a poor writer and even a bad motorcyclist. The biography dramatically coloured popular opinion of Lawrence. Foreign and War Office files concerning Lawrence's career were released during the 1960s and further biographies continued to analyse the 'British hero'. There was speculation that Aldington's spite was driven by jealousy and a sense of exclusion by the British establishment. Lawrence had attended Oxford, and his father was a baronet; Aldington suffered in the bloodbath of Europe during the First World War while Lawrence gained a heroic reputation in the Middle Eastern theatre and became an international celebrity, a homosexual icon, as Aldington saw it. Robert Graves noted in a review of the book, "instead of a carefully considered portrait of Lawrence, I find the self-portrait of a bitter, bedridden, leering, asthmatic, elderly hangman-of-letters."

Last years
Aldington lived in Sury-en-Vaux, Cher, France, from 1958. His last significant book was a biography of the Provençal poet and winner of the Nobel Prize in Literature, Frédéric Mistral (1956).Aldington died in Sury on 27 July 1962, shortly after being honoured in Moscow on the occasion of his seventieth birthday and the publication of some of his novels in Russian translation. He was fêted in the USSR, "even if some of the fêting was probably because he had, in his writings, sometimes suggested that the England he loved could, in certain of its aspects, be less than an earthly paradise." He is buried in the local cemetery in Sury. He left one daughter, Catherine, the child of his second marriage; she died in 2010.

Legacy
On 11 November 1985 Aldington was among 16 Great War poets commemorated in stone at Westminster Abbey's Poet's Corner. The inscription on the stone is a quotation from the work of a fellow Great War poet, Wilfred Owen. It reads: "My subject is War, and the pity of War. The Poetry is in the pity."

Style and bitterness
Alec Waugh described Aldington as having been embittered by the war, but took it that he worked off his spleen in novels like The Colonel's Daughter (1931) rather than letting it poison his life. Douglas Bush describes his work as "a career of disillusioned bitterness." His novels contained thinly veiled portraits of some of his friends, including Eliot, Lawrence and Pound; the friendship not always surviving. Lyndall Gordon characterises the sketch of Eliot in Aldington's memoirs Life for Life's Sake (1941) as "snide." As a young man, he was cutting about Yeats, but they remained on good terms.
Aldington's obituary in The Times of London in 1962 described him as "[a]n angry young man of the generation before they became fashionable ... who remained something of an angry old man to the end".

Works
Images (1910–1915) (The Poetry Bookshop, London, 1915) & (historical reproduction by Bibliobazaar ISBN 978-1-113-27518-9) 2009
Images Old and New (Four Seas Co., Boston, 1916) & (historical reproduction by Bibliobazaar ISBN 978-1-113-39283-1) 2009
The Poems of Anyte of Tegea (1916) translator
The Little Demon, by Feodor Sologub, authorised translation by John Cournos and Richard Aldington (London: Martin Secker, 1916).
Images of Desire (Elkin Mathews, 1919) & (historical reproduction by Bibliobazaar) ISBN 978-1-115-45071-3) 2009
Images of War, A Book of Poems (Beaumont Press, London, 1919) & (historical reproduction by Bibliobazaar) ISBN 978-1-171-58428-5) 2009
War and Love: Poems 1915–1918 (1919)
Greek Songs in the Manner of Anacreon (1919) translator
Hymen (Egoist Press, 1921) with H.D.
Medallions in Clay (1921)
The Good-Humoured Ladies: A Comedy by Carlo Goldoni (1922) translator, with Arthur Symons
Exile and Other Poems (1923)
Literary Studies and Reviews (1924) essays
Sturly, by Pierre Custot (1924) translator
The Mystery of the Nativity: Translated from the Liegeois of the XVth Century (Medici Society, 1924) translator
A Fool i' the Forest: A Phantasmagoria (1924) poem
A Book of 'Characters' from Theophrastus, Joseph Hall, Sir Thomas Overbury, Nicolas Breton, John Earle, Thomas Fuller, and Other English Authors; Jean de La Bruyère, Vauvenargues, and Other French Authors, compiled and translated by Richard Aldington, with an introduction and notes (1924)
Voltaire (1925)
French Studies and Reviews (1926)
The Love of Myrrhine and Konallis: and other prose poems (1926)
Cyrano De Bergerac, Voyages to the Moon and the Sun (1927) translator
D.H. Lawrence: An Indiscretion (1927) (34-page pamphlet)
Letters of Madame de Sévigné to Her Daughter and Her Friends, selected, with an introductory essay, by Richard Aldington (1927) translator
Letters of Voltaire and Frederick the Great (1927) translator
Candide and Other Romances by Voltaire (1928) translator with Norman Tealby
Collected Poems (1928)
Fifty Romance Lyric Poems (1928) translator
Hark the Herald (Hours Press, 1928)
Remy de Gourmont: Selections From All His Works Chosen and Translated by Richard Aldington (1928)
Remy de Gourmont: A Modern Man of Letters (1928)
The Treason of the Intellectuals (La Trahison des Clercs), by Julien Benda (1928) translator
Death of a Hero: A Novel (1929)
The Eaten Heart (Hours Press, 1929) poems
A Dream in the Luxembourg: A Poem (1930)
Euripides' Alcestis (1930) translator
At All Costs (William Heinemann, Ltd., 1930) 45-page story
D.H. Lawrence (1930) (43-page pamphlet; its contents are identical to D.H. Lawrence: An Indiscretion (1927), except for the dropping of the subtitle and the addition of a one-paragraph note following the title page.)
Last Straws (Hours Press, 1930)
Medallions from Anyte of Tegea, Meleager of Gadara, the Anacreontea, Latin Poets of the Renaissance (1930) translator
The Memoirs of Marmontel (1930) editor, with Brigit Patmore
Roads to Glory (1930) stories
Tales from the Decameron (1930) translator
Two Stories (Elkin Mathews, 1930): "Deserter" and "The Lads of the Village"
Letters to the Amazon, by Remy de Gourmont (1931) translator
Balls and Another Book for Suppression (1931) (13 pages)
The Colonel's Daughter: A Novel (1931)
Stepping Heavenward: A Record (1931) satire aimed at T. S. Eliot
Aurelia by Gérard de Nerval (1932) translator
Soft Answers (1932) five short novels
All Men Are Enemies: A Romance (1933)
Last Poems of D.H. Lawrence (1933) edited with Giuseppe Orioli
Poems of Richard Aldington (1934)
Women Must Work: A Novel (1934)
Artifex: Sketches and Ideas (1935) essays
D.H. Lawrence: A complete list of his works, together with a critical appreciation by Richard Aldington (1935) (22-page pamphlet)
The Spirit of Place (1935), editor, D.H. Lawrence prose anthology
Life Quest (1935) poem
Life of a Lady: A Play in Three Acts (1936) with Derek Patmore
The Crystal World (1937)
Very Heaven (1937)
Seven Against Reeves: A Comedy-Farce (1938) novel
Rejected Guest (1939) novel
W. Somerset Maugham: An Appreciation (1939)
Life for Life's Sake: A Book of Reminiscences (1941)
Poetry of the English-Speaking World (1941) anthology, editor
The Duke: Being an account of the life & achievements of Arthur Wellesley, 1st Duke of Wellington (1943). Later edition: Wellington: Being an account of the life & achievements of Arthur Wellesley, 1st Duke of Wellington (1946).
A Wreath for San Gemignano (1945) with illustrations by Netta Aldington and sonnets of Folgóre da San Gimignano titled The Garland of Months and translated by Richard Aldington
Great French Romances (1946) novels by Madame de La Fayette, Choderlos De Laclos, Abbé Prévost, Honoré de Balzac
Oscar Wilde: Selected Works (1946) editor
The Romance of Casanova: A Novel (1946)
Complete Poems (1948)
Four English Portraits, 1801–1851 (1948) (The four are the Prince Regent, the young Disraeli, Charles "Squire" Waterton, and the young Dickens.)
Selected Works of Walter Pater (1948)
Jane Austen (1948)
Decameron of Giovanni Boccaccio (two volumes) (1949) translator
The Strange Life of Charles Waterton, 1782–1865 (1949)
A Bibliography of the Works of Richard Aldington from 1915 to 1948 (1950) with Alister Kershaw
Selected Letters of D.H. Lawrence (1950) editor
The Indispensable Oscar Wilde (1950) editor
Portrait of a Genius, But . . . (The Life of D.H. Lawrence, 1885–1930) (1950)
D.H. Lawrence: An Appreciation (1950) (32-page pamphlet, which borrows from the 1927, 1930, and 1935 pamphlets on Lawrence listed above)
The Religion of Beauty: Selections from the Aesthetes (1950) anthology, editor
Ezra Pound and T. S. Eliot: A Lecture (Peacocks Press, 1954) (22 pages)
Lawrence L'imposteur: T. E. Lawrence, the Legend and the Man (1954) Paris edition; also published as Lawrence of Arabia: A Biographical Enquiry (1955)
Pinorman: Personal Recollections of Norman Douglas, Pino Orioli and Charles Prentice (1954)
A. E. Housman and W. B. Yeats: Two Lectures (Hurst Press, 1955)
Introduction to Mistral (1956) (biography of French poet Frédéric Mistral)
Frauds (1957)
Portrait of a Rebel: The Life and Work of Robert Louis Stevenson (1957)
The Viking Book of Poetry of the English-Speaking World, Volume II (1958) editor
"The Composite Biography as Biography," in Moore, Harry T., ed., A D.H. Lawrence Miscellany, Southern Illinois University Press (1959) and William Heinemann Ltd (1961), pp. 143-152. "[This] essay serves as the Introduction of Vol. 3 of Edward Nehls's D.H. Lawrence: A Composite Biography, copyright, 1959, by the University of Wisconsin Press...," p. 143 n.
Larousse Encyclopedia of Mythology (1960) translator with Delano Ames
Switzerland (1960)
Famous Cities of the World: Rome (1960)
A Tourist's Rome (1961)
Richard Aldington: Selected Critical Writing, 1928–1960 (1970) edited by Alister Kershaw. Contains chapters on ten writers: Remy de Gourmont, Aldous Huxley, Wyndham Lewis, Somerset Maugham, Oscar Wilde, Walter Pater, Jane Austen, Roy Campbell, Lawrence Durrell, and D. H. Lawrence.
A Passionate Prodigality: Letters to Alan Bird from Richard Aldington, 1949–1962 (1975) edited by Miriam J. Benkovitz
Literary Lifelines: The Richard Aldington and Lawrence Durrell Correspondence (1981)
In Winter: A Poem (Typographeum Press, 1987)
Austria/L'Autriche/Österreich: A Book of Photographs, with an introduction by Richard Aldington. London: Anglo-Italian Publication, [1950-1960?]
France/La France/Frankreich: A Book of Photographs, with an introduction by Richard Aldington. London: Anglo-Italian Publications, [1950-1965?]
Italy/L'Italie/Italien: A Book of Photographs, with an introduction by Richard Aldington. London: Anglo-Italian Publications, [1958?]
Passage 7:
Ivan Coyote
Ivan E. Coyote (born August 11, 1969) is a Canadian spoken word performer, writer, and LGBT advocate. Coyote has won many accolades for their collections of short stories, novels, and films. They also visit schools to tell stories and give writing workshops. The CBC has called Coyote a "gender-bending author who loves telling stories and performing in front of a live audience." Coyote is non-binary and uses singular they pronouns. Many of Coyote's stories are about gender, identity, and social justice. Coyote currently resides in Vancouver, British Columbia.

Career
Coyote started performing spoken word in 1992, and their work deals with contemporary issues of family, class gender, identity and social justice. In 1996, Coyote co-founded the queer performance group Taste This with Anna Camilleri, Zoe Eakle, and Lyndell Montgomery. Taste This was a multi-genre performance that incorporated live music, poetry and story-telling. The group disbanded in 2000. In 2001, Coyote briefly taught short fiction at Capilano University in North Vancouver. In 2010, Coyote, Camilleri and Montgomery regrouped as Swell, and premiered at the 2010 Vancouver Pride in Art Festival.They joined Arsenal Pulp Press in 2000 and have published 10 books with them. Coyote regularly combines storytelling and music and has worked with a number of musicians including Veda Hille, Dan Mangan and Rae Spoon. Coyote has been a columnist for the LGBTQ+ magazines Xtra! and Xtra! West  and regularly contributes to The Georgia Straight and CBC Radio.Coyote has been writer-in-residence for Carleton University in 2007, Vancouver Public Library in 2009, the University of Winnipeg in 2011, and the University of Western Ontario in 2012. They also served on the jury of the 2012 Dayne Ogilvie Prize, a literary award for emerging LGBT writers in Canada, selecting Amber Dawn as that year's winner.In 2009, their performanceYou Are Here was scheduled for a cabaret run at Hysteria: A Festival of Women at Buddies in Bad Times Theatre, but was cancelled in January of that year.In 2008 they performed spoken word at Montreal's Edgy Women festival and taught a writing workshop.In 2012, Coyote and Spoon collaborated on Gender Failure, a touring multimedia show in which they performed music and spoken word pieces about their failed attempts at fitting into the gender binary. A performance of Gender Failure, as performed at the 27th London Lesbian & Gay Film Festival, is also available on YouTube. A book based on the show was published by Arsenal Pulp Press in 2014.On November 14, 2015 Coyote did a TED talk in Vancouver entitled "We all need a safe place to pee," where they discuss the need to have gender neutral bathrooms in all public places.In 2016, they delivered the Florence Bird Lecture at Carleton University. Their lecture was titled "Neither, Nor: How to Circumnavigate the Gender Binary in Seven Thousand Easy Steps".In 2020, Coyote performed as part of CBC Gem's Queer Pride Inside special.

Writing
Coyote has written eleven books: one with Press Gang Publishers and ten with Arsenal Pulp Press. Common themes in their work involve identity, gender, community, and class.
Coyote's first book, Boys Like Her (Press Gang Publishers, 1998), was adapted from a live show that was performed by their theater troop, Taste This.Close to Spiderman (Arsenal Pulp Press, 2000) and One Man's Trash (Arsenal Pulp Press, 2002) are both collections of stories told by Coyote's grandmother and written by Coyote.Missed Her (Arsenal Pulp Press, 2010) is another book of compiled short stories. The works were first published in columns with Xtra Vancouver.One in Every Crowd (Arsenal Pulp Press, 2012) is an anthology of Coyote's work that was put together by the request of high school teachers and librarians who wanted to share Coyote's writing with students. Without more mature parts of their writing, their works could be accepted by school administration and parents. It was specifically composed for queer youth.Tomboy Survival Guide (Arsenal Pulp Press, 2016), has won the Stonewall Book Award Honor—an award given to outstanding LGBT literature—and has been long-listed for the BC National Award for Canadian Non-Fiction in 2017.Rebent Sinner (Arsenal Pulp Press, 2019) is a collection of stories and personal essays that has been favourably received. Coyote toured in 2019 with musician Sarah MacDougall, performing selections from the book along with music.Care Of (Penguin Random House, 2021) is a collection of communications Coyote has received from audience members and the responses they have written in return.

Reception
Coyote has made significant contributions to the representation of queerness in Canadian literature. Their first collection of short stories, Close to Spider Man, was a finalist for the Danuta Gleed Literary Award for short fiction, and it received widespread acclaim across the Canadian critical community for its semi-autobiographical depiction of young, queer women growing up in the Yukon. Although their short stories received no awards recognition until their collection The Slow Fix was shortlisted for the Lambda Literary Award in 2008, and their collections One Man's Trash and Loose End received similar recognition as their debut, with outlets such as Herizons and the Lambda Book Report which praised the brevity and directness of Coyote's writing as it relates to depictions of the complexities of gender, sexuality, and identity.Bow Grip, Coyote's only full-length novel, was the winner of the 2007 ReLit Award for Best Fiction and the Stonewall Honor Book Award, as well as being shortlisted for the Ferro Grumley Award. Their 2016 autobiography Tomboy Survival Guide also garnered numerous accolades, having been long-listed for the British Columbia's National Award for Canadian Non-Fiction and winning the 2017 Stonewall Book Award.

Bibliography
Passage 8:
Going Down Fast
Going Down Fast (ISBN 0-449-24480-6) is a 1969 novel by Marge Piercy. It tells the story of Anna, a woman living with multiple losses; Rowley, a blue-eyed soul singer; Leon, an underground film-maker; and Caroline, a woman with a dark secret. They all live in an area of an unnamed city where a swathe of blocks are being demolished to make way for a university.

Reception
A New York Times book review said that "Piercy burns anger and conviction".

External links
"Marge Piercy Papers (1958-2004, bulk 1966-2003)." University of Michigan.
"Piercy, Marge 1936-." Encyclopedia.com.
Passage 9:
Barbie Doll (poem)
"Barbie Doll" is a narrative poem written by American writer, novelist, and social activist Marge Piercy. It was published in 1971, during the time of second-wave feminism. It is often noted for its message of how a patriarchal society puts expectations and pressures on women, partly through gender role stereotyping. It tells a story about a girl who dies trying to meet the unrealistic expectations that society holds for her. It starts off talking about a little girl, and then continues chronologically through the girl’s life. Using strong diction, purposeful syntax, and various rhetorical devices, the poem hits on prominent feminist issues such as gender stereotypes, sexism, and the effect of a patriarchal society.

Background
Marge Piercy wrote this poem during an era of second wave feminism, a time in which women were concerned about sexuality, family, and the workplace. The poem expresses the stereotypes, sexism, and patriarchal influences that women were submitted to during the 1960s. Not only were women subjected to poor treatment because of their gender, women also experienced discrimination and unequal treatment because of their race. While this poem discusses the topic of gender and gender stereotypes, it is important to recognize that the development of the doll that inspired the poem has brought up the racial discrepancies woman faced during this time. According to Elizabeth Chin, “These toys were designed and marketed specifically to reshape a territory dominated by an assumption of whiteness, but paradoxically, they have integrated the toy world while at the same time fixing racial boundaries more firmly.  Although not addressed in this poem, the racial discrepancies that arose after the creation of the Barbie Doll, such as "hair type, facial features, and skin color” have been addressed throughout the years. Therefore, the purpose of the poem was to display the struggle women faced because of these societal issues in hopes of changing them. The poem shows the idealist view that is created by the appearance of the doll that causes people to question social norms and expectations that seem to exist in society.

Analysis
First stanza
The first stanza begins with a girl being born, fitting perfectly into a mold provided by the society she was born into. The stanza lists toys that any little girl might play with, such as dolls and miniature GE stoves and irons. She was also given lipstick, compared to cherry candy using a metaphor. 
 In a patriarchal society, women hold the positions of cooking and cleaning in the household. This, along with the makeup she was given, shows that from a very young age this girl was taught to conform to a specific gender stereotype, without even realizing it. The doll is also an important part of this stanza, as well as the entire poem. The Barbie Doll has been a cultural icon since it was created in 1959, a little over 10 years before this poem was published. It is somewhat controversial whether it is viewed as a “role model for young girls, an icon of American culture, and a model of aesthetic perfection” or on the other hand “a tool of racism, classism, and sexism, and disparaged as a contemporary epitomization of the cult of thinness.”   In the context of this poem, the Barbie Doll ends up being a negative aspect of the girl’s life, creating a poor self-body image among other problems. 
  At the end of this stanza, the girl goes through puberty. Someone in the girl’s class commented negative things about her body, saying she had a large nose and fat thighs. This is the point in the poem at which her insecurities have been grounded. Throughout the rest of the poem, she grows up striving to meet unattainable societal standards that her Barbie doll  represents.

Second stanza
The next stanza talks about the girl in terms of what attributes she held, but also how she and society did not see them. She was described as healthy, smart, strong, sexually able, and fast, yet she did not see any of these things. According to Robert Perrin, Barbie is described using "robust terms" throughout this stanza; however, she immediately apologizes for her positive attributes as if she was not good enough in the eyes of society.  She had learned from the time when she was a just a child that she had imperfections and was not good enough. She compared herself to her doll, and therefore apologized to society for her imperfections. She did not see the good in herself, only the comparison between what she was and what society says she should be. In this stanza, her qualities are listed one after another, which is then followed by her disapproval. This syntax helps the reader see all of the good aspects of the girl all at once, which then makes the reader question why the girl does not see them. The stanza finishes with saying everyone, meaning society, only sees her for her fat nose and thick legs, the same thing she was told by her classmate when she was a child.

Third stanza
The third stanza talks about the sexist expectations that patriarchal society has placed upon her. As a girl, “she was advised to play coy, exhorted to come on hearty, exercise, diet, smile and wheedle.” 
  This list shows the expectations that are placed upon women in society. The patriarchal power within the society is what is responsible for the belief of certain “standards” of women. Women are expected to play nice, come across as good girls, be skinny, eat little, and be happy all of the time. Because of external pressures, they try to do all of it. There is sexism represented in these lines because only women have lengthy expectations to meet. Piercy’s diction in this stanza “create[s] a powerful vision of the way people exert their influence on impressionable young women, as well as undermine young women who, at heart, want to resist the influences of the dominant culture.”  The girl in the poem is easily influenced because she has conformed to society since she was a little girl. Because of this, she aims to meet all of these expectations, but cannot sustain them. She is worn down further and further “like a fan belt."
 and eventually kills herself trying to become as perfect as society wants her to be. She finally gave society her nose and legs because she could not live in this way anymore.

Fourth stanza
The fourth and final stanza talks about the girl’s death. She ultimately died trying to be as perfect as her Barbie Doll, a cookie cutter woman molded by society. She died trying to reach something that was unattainable, yet encouraged, which is where the real problem in lies. She was displayed in her casket, all dolled up. Society had finally made her who it wanted her to be but at the cost of her life. Now that she was covered in makeup, reconstructed, and nicely dressed, she was considered pretty. The stanza finishes with the line “to every woman a happy ending." 
 This shows that in the end, this was all the girl wanted. She strove and strove to meet society’s unrealistic expectations and when she died trying, she finally did. Being viewed as pretty by society was her goal, and she accomplished it.

Conclusion
The girl in the poem was born in innocence and labeled "girlchild" but because of the society she was born and raised in to, she became corrupted. This poem shows a sad case of girl who lived trying to be perfect and died trying. From the very beginning she was taught to cook, clean, and be who she was “supposed” to be, or in other words, who society told her she was. Because of these sexist and patriarchal influences, she was never completely satisfied with herself. The tortures of society cost the girl her life.

Other analyses of the poem
Barbie Doll’ and ‘G. I. Joe’: Exploring Issues of Gender
Robert Perrin uses his students to examine Marge Piercy's poem. " Perrin provides insight into how younger generations are affected by the stereotyping that is shown by the Barbie Doll itself. This journal gives an analysis on Marge Piercy's poem that can help the reader better understand her criticism.

Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What occupation is shared by both Marge Piercy and Richard Aldington?



Answer: poet