Word: sisterhoods
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Gawky Swan. In Act I a sisterhood of suffering assembles, and more verbal feline ferocity has not gone zinging across a Broadway stage since Clare Boothe Luce wrote The Women. Three divorcees have arranged for their ex-husbands to take the children for an outing in honor of the day. Louise (Brenda Vaccaro) is an earthy exactress with a tongue like a wood file. Marian (Marian Seldes) is a gawky swan of a woman who can deliver lines with the edgily lethal politesse of a Boston blueblood. Estelle (Jennifer Salt) is the quintessential waif, an orphan who married an orphan...
...brief digression before the argument concludes. A piece of biographical data (which may or may not be at all to the point) found in an appendix to Sisterhood Is Powerful, an anthology of writings from the Women's Liberation Movement...
...women's center is a process; it is the social praxis of a strong women's consciousness. It is an opportunity, an incredible chance for us as women to break out of the definitions that define us and confine us and to find, in sisterhood and in solidarity, the strength to liberate ourselves from these definitions and from the emptiness of our lives. The center is "out of bounds"; it is totally separate from the male-dominated world we live in. It is continually and essentially becoming what it is, what we are making it, what we want...
...lives. It is the beginning of putting into practice the women's consciousness which rejects all definitions and systems that are oppressive and repressive and unfulfilling and alienating. It is a consciousness based on anger at oppression and love for the oppressed. It is the experience of sisterhood, of building strength, of building the power to destroy the systems and ideologies of oppression and to build new systems based on love and self-realization. It is the negation of what is and the celebration of what could be. It is building towards a community of free independent strong women taking...
Quietly Awful. But reader, beware. Behind this quiet, well-taught Garden Party-girl behavior, Atwood conceals the kick of a perfume bottle converted into a Molotov cocktail. She is one of the new sisterhood-like Novelist Joan Didion and Poet Anne Sexton-who seem to have sprung full-grown from condemned-property dollhouses. Hyper-observant, dangerously polite waifs, they look at the world with large, bruised eyes and gently whisper of loneliness, emptiness and casual cruelty...