I look everywhere for signs of that fusion I have glimpsed in the women's movement, and most recently in Nicaragua. I turn to Toni Cade Bambara's The Salt Eaters or Ama Ata Aidoo's Our Sister Killjoy or James Baldwin's Just above My Head...This kind of art-like the art of so many others uncanonized in the dominant culture-is not produced as a commodity, but as part of a long conversation with the elders and with the future. Such artists draw on a tradition in which political struggle and spiritual continuity are meshed. Nothing need be lost, no beauty sacrificed. The heart does not turn to a stone.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "I look everywhere for signs of that fusion I have glimpsed in the women's movement, and most recently in Nicaragua. I turn to Toni Cade Bambara's The Salt Eaters or Ama Ata Aidoo's Our Sister Killjoy or James Baldwin's Just above My Head...This kind of art-like the art of so many others uncanonized in the dominant culture-is not produced as a commodity, but as part of a long conversation with the elders and with the future. Such artists draw on a tradition in which political struggle and spiritual continuity are meshed. Nothing need be lost, no beauty sacrificed. The heart does not turn to a stone." in the context of "Adrienne Rich Arts of the Possible (2001)" to mean that wisdom is timeless.