Pat Parker was born on this day in 1944 (to June 19, 1989) She was an influential African-American lesbian and feminist poet and activist.
Given the name Patricia Cooks at birth, Pat Parker was born in Houston, Texas, the youngest of four daughters in a Black working class family. Her mother, Marie Louise Cooks, was a domestic worker, and her father, Ernest Nathaniel Cooks supported the family by re-treading tires.
Urged by her father to take "the freedom train of education," Parker left home at seventeen and moved to Los Angeles, California, earning her undergraduate degree at Los Angeles City College, and followed that with a graduate degree at San Francisco State College. She married playwright Ed Bullins in 1962, but they separated after four years. Pat Parker settled in Oakland, California, in the early 1970s to pursue work, writing and opportunities for activism. She married a second time, to Berkeley, California writer Robert F. Parker, but decided that the "idea of marriage... wasn't working" for her.
Pat Parker began her service as the medical coordinator at the Oakland Feminist Women's Health Center, which grew from one clinic to six sites during her tenure from 1978 to 1987. Pat Parker also participated in political activism ranging from early involvement with the Black Panther Party and Black Women's Revolutionary Council to formation of the Women's Press Collective. She was involved in wide-ranging activism in gay and lesbian organizations and held positions of national leadership regarding women's health issues, especially concerning domestic and sexual violence. In 1979 she toured with the “Varied Voices of Black Women”, a group of poets and musicians which included Linda Tillery, Mary Watkins & Gwen Avery.
Parker gave her first public reading of her poetry in 1963 while married to playwright Ed Bullins. The challenge of "competing in a male poetry scene" as the wife of a writer, Parker notes, helped develop not only her voice but also her willingness to write about contemporary issues -- about civil rights and Vietnam as well as an emerging African-American lesbian feminist perspective on love and lust. Reading before women's groups beginning in 1968 brought Parker notice and satisfaction, especially as she joined Judy Grahn, a white working class Bay Area poet, to read lesbian poetry in public, arranging readings not only at women's bookstores, but also intermixing poetry with musical performances at local women's bars, coffeehouses and festivals.
Pat Parker and Audre Lorde first met in 1969 and became close friends. They continued to exchange letters and visits for twenty years, until Parker's death in 1989.
The ‘Goat Child’ of “Child of Myself,” Parker's first collection, chafes at the confinement and conformity she's expected to learn in marriage, and then tentatively comes out as a lesbian via several love poems to women. Often a bold speaker, the poet opens “Pit Stop,” a 1974 publication, with the line "My lover is a woman" in a poem that addresses interracial relationships. She also offers readers the sweet "I Kumquat You" and strident "Bitch! / I want to scream" in love poems that line up before the collection's long title poem addressing alcoholism: "a pit is a coward's suicide / a hearty drink to anything. " Pit Stop is also infused with dreams, "not [just] Martin's" or Malcolm's or those of political allies, but "a simple dream" that juxtaposes the dreams of human/racial equality with gay liberation: "In my dream - / I can walk the streets / holding hands with my lover" without fear of retaliation or disdain.
From all these stages of her life, Parker developed a narrative poetry, often taking on a call and response form recognizable in black oral traditions, and speaking of generations of women and men engaged in human rights battles. Parker's poetry generally escapes didacticism because of her deft use of humor, insistence on frank language, presentations of events long silent, and sharp analysis of injustices. The goal, Parker said is to "try to put the poetry in the language that we speak, to use that language, take those simple works and make out of them something that is moving, that is powerful, that is there."
Parker's five collections of poetry take their central images and process of self-creation as well as political analysis from autobiographical moments in Parker's life and from publicized incidents or community discussions related to race, class, gender, sexuality. The Firebrand Books' edition of “Movement in Black” - with its title poem and a collection of poems from three earlier Parker collections - is the only work by Parker that remains consistently in print. A well-crafted compilation, “Movement in Black“ reflects key patterns in Parker's work: "It is the moment of her creative impulse to communicate: the love, the anger, the fear, that powerful sense of justice (and injustice) the cynicism, the humor that she gives us," noted critic Cheryl Clarke notes in a review of this collection.
Pat Parker wrote "Womanslaughter" after the murder of her sister by her husband and places the reader alongside Parker as the poet's older sister is murdered and the sister's soon-to-be ex-husband is put on trial. Convicted not of murder but of "womanslaughter" because "Men cannot kill their wives. / They passion them to death. " For this murder in Texas, Parker’s former brother-in-law served one year in a work-release program; three years after this murder in Texas, Parker vows "I will come to my sisters / not dutiful, / I will come strong. " Parker brought this crime to the International Tribunal on Crimes against Women in 1976 in Brussels.
Finally, “Jonestown and Other Madness”, considers what isn't - what love isn't, what liberation isn't, what justice isn't; and what is - love and alliances, family legacies and strength. This last collection was published before Parker's death in 1989 from breast cancer, and ends both with a desire for more time to write and a legacy to her daughters. At her death, Pat Parker was survived by her long-time partner Marty Dunham and two daughters, Cassidy Brown and Anastasia Dunham Parker. In "Maybe I Should Have Been a Teacher," Parker chronicles her struggles, and writes:
“Take the strength that you may wage a long battle.
Take the pride that you can never stand small.
Take the rage that you can never settle for less.”
The Pat Parker/Vito Russo Center Library at New Yorks LGBT Community Center was named in honor of Parker and fellow writer, Vito Russo. The Pat Parker Poetry Award is awarded each year for a free verse, narrative poem or dramatic monologue by a black lesbian poet.
We remember Pat Parker on this day in celebration of the 70th anniversary of her birth, and in deep appreciation for her thoughtful poetry, her feminist advocacy, and her many contributions to our community.