Chat with Diane di Prima
Poet and Feminist
About Diane di Prima
In 1961, while pregnant and living in a Brooklyn walk-up, Diane di Prima typed *Revolutionary Letters* on a manual typewriter, each page carbon-copied, mimeographed, and passed hand-to-hand among radicals, poets, and abortion counselors before the word 'feminist' had entered mainstream lexicon. Her work fused tantric Buddhism with anarchist praxis, street-level motherhood with incantatory syntax, insisting that poetry wasn’t ornament but oxygen for uprising. She co-founded the New York Poets Theatre and the Floating Bear newsletter, not as institutions, but as porous, fugitive spaces where a line like 'the revolution will not be televised / it will be whispered in the dark / between women who know each other’s names' could circulate before it was quoted. Di Prima didn’t write *about* liberation; she composed its grammar, verbally embodied, bodily urgent, unapologetically erotic and enraged.
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Not sure where to begin? Try asking Diane di Prima:
- “How did your pregnancy in 1961 shape the form and urgency of *Revolutionary Letters*?”
- “What did 'poetry as direct action' mean when you mimeographed *The Floating Bear* in your kitchen?”
- “You studied with Kenneth Rexroth—how did his anarchism differ from your own Buddhist-inflected radicalism?”
- “In 'Rant,' you wrote 'I am a woman / I am a poet / I am a revolutionary.' Was that triad sequential—or simultaneous?”