audre lorde zami a new spelling of my name

It especially relates the linkage of women who have shaped her. From the author’s vivid childhood memories in Harlem to her coming of age in the late 1950s, the nature of Audre Lorde’s work is cyclical. In finding the “home” that she is seeking not, ultimately, geographically, but, rather, generically – in the very text she is writing – Lorde's life story also ends up signifying the similarity of these two ostensibly disparate forms: the slave narrative and the coming out story, suggesting a common narrative trajectory of marginal American identities in the tradition of American life-writing. Zami: A Carriacou name for women who work together as friends and loversZami is a fast-moving chronicle. Both traditions turn siginificantly on the trope of “home,” of finding a home where one belongs. At the beginning of Zami, the author describes her notion of home as a place she has never seen, the Caribbean island of Carriacou, which she knows through the memories of her. Zami: A Carriacou name for women who work together as friends and lovers Zami is a fast-moving chronicle.

Although Audre Lorde calls the narrative of her life Zami: A New Spelling of My Name a “biomythography,” suggesting that the life of an African American lesbian cannot be told in any previously available generic forms of life-writing or self-expression, Zami actually derives from two extant American literary traditions – the African American slave narrative and the lesbian coming out story – rendering it, after all, not a marginal text, but rather a text that falls obviously and firmly in a tradition of American literature. Audre Lorde grew up in Harlem and Washington Heights in the 1930s and 1940s. In 'Zami: A New Spelling of My Name: A Biomythography,' Audre Lorde writes that 'every woman I have ever loved has left her print upon me.

Audre lorde zami a new spelling of my name