1. Preface

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         <p>I was first introduced to the work of Diane di Prima in an undergraduate
         Beat literature class. She was not a part of the syllabus ad the only reason 
         I had discovered her poetry was because I was asigned a project in which I 
         had the freedom to study any Beat writer of my choice. The class did not cover 
         any female Beats and I wanted to bring a woman's voice into the Beat literature 
         conversation. As I worked on the project for the class I noticed two things: One 
         was that I was the only student to focus on a woman writer. The second was that I 
         was begining to fall deeply in love with the poetry of Diane di Prima.</p>
         <p> The first of di Prima's poems I read was "An Exercise in Love" and the second
         poem I read of her's was "Brass Furnace Going Out: Song, After an Abortion". When 
         I compared the two poems, I saw that one expressed the pleasure of having a body
         while the other expressed the pain of having a body. However, both of these poems 
         also expressed the strength, beauty, and perseverance of women. As I read and 
         studied more of her work, it became clear to me that di Prima is a women's woman.
         She is not afraid to write about the realities of being a woman. She writes about 
         love, intimacy, beauty, and sensualism all while writing about pain, oppression,
         bitterness, and realism. She wrote bravely. When I finally read di Prima's master 
         work, Loba, I knew that I was reading a very special and important literary piece. 
         It was an interesting academic venture, but also a deeply personal read.</p> 
         <p>Reading Loba for the first time was a special moment; the moment became spiritual
         and the poem felt like a meditation. Whenever I return to that work, I still feel
         as though I am seeking guidance from an ancient, religious text: even though the 
         first draft of the poem wasn't fully conceived until 1973. Despite her young age of 
         forty-five, di Prima's great mother wolf goddess easilly could have been guiding 
         the women of the world for thousads of years. Loba represents the vigin, the mother,
         the warrior, the boss-lady, the teacher, the prostitute, the crazy-cat-lady, the 
         priestess, and the crone. She has no race, age, or sexual preference. Loba is simply
         the noble, feminine spirit. The entire poem--whether you read the completed, 300 page
         work, or the small and humble pre-first edition publication--is a celebration of 
         women and the human spirit. It celebrates all women without judgment, which is why 
         the piece is so important, personal, and powerful.</p>
         <p>I go back to Loba more often than most other literary texts. I think about the Loba
         when I walk down the street alone. I think about her when I am with my closest female 
         friends. I think about her when I lead rituals. The Loba comes to me when I need
         protection, love, courage, and leadership. She has become sybolic of my own heart, but 
         also symbolic of how I respect and connect to other women.</p>
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Title

Publication Information

Information about the source

I was first introduced to the work of Diane di Prima in an undergraduate Beat literature class. She was not a part of the syllabus ad the only reason I had discovered her poetry was because I was asigned a project in which I had the freedom to study any Beat writer of my choice. The class did not cover any female Beats and I wanted to bring a woman's voice into the Beat literature conversation. As I worked on the project for the class I noticed two things: One was that I was the only student to focus on a woman writer. The second was that I was begining to fall deeply in love with the poetry of Diane di Prima.

The first of di Prima's poems I read was "An Exercise in Love" and the second poem I read of her's was "Brass Furnace Going Out: Song, After an Abortion". When I compared the two poems, I saw that one expressed the pleasure of having a body while the other expressed the pain of having a body. However, both of these poems also expressed the strength, beauty, and perseverance of women. As I read and studied more of her work, it became clear to me that di Prima is a women's woman. She is not afraid to write about the realities of being a woman. She writes about love, intimacy, beauty, and sensualism all while writing about pain, oppression, bitterness, and realism. She wrote bravely. When I finally read di Prima's master work, Loba, I knew that I was reading a very special and important literary piece. It was an interesting academic venture, but also a deeply personal read.

Reading Loba for the first time was a special moment; the moment became spiritual and the poem felt like a meditation. Whenever I return to that work, I still feel as though I am seeking guidance from an ancient, religious text: even though the first draft of the poem wasn't fully conceived until 1973. Despite her young age of forty-five, di Prima's great mother wolf goddess easilly could have been guiding the women of the world for thousads of years. Loba represents the vigin, the mother, the warrior, the boss-lady, the teacher, the prostitute, the crazy-cat-lady, the priestess, and the crone. She has no race, age, or sexual preference. Loba is simply the noble, feminine spirit. The entire poem--whether you read the completed, 300 page work, or the small and humble pre-first edition publication--is a celebration of women and the human spirit. It celebrates all women without judgment, which is why the piece is so important, personal, and powerful.

I go back to Loba more often than most other literary texts. I think about the Loba when I walk down the street alone. I think about her when I am with my closest female friends. I think about her when I lead rituals. The Loba comes to me when I need protection, love, courage, and leadership. She has become sybolic of my own heart, but also symbolic of how I respect and connect to other women.

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Title

Publication Information

Information about the source

I was first introduced to the work of Diane di Prima in an undergraduate Beat literature class. She was not a part of the syllabus ad the only reason I had discovered her poetry was because I was asigned a project in which I had the freedom to study any Beat writer of my choice. The class did not cover any female Beats and I wanted to bring a woman's voice into the Beat literature conversation. As I worked on the project for the class I noticed two things: One was that I was the only student to focus on a woman writer. The second was that I was begining to fall deeply in love with the poetry of Diane di Prima.

The first of di Prima's poems I read was "An Exercise in Love" and the second poem I read of her's was "Brass Furnace Going Out: Song, After an Abortion". When I compared the two poems, I saw that one expressed the pleasure of having a body while the other expressed the pain of having a body. However, both of these poems also expressed the strength, beauty, and perseverance of women. As I read and studied more of her work, it became clear to me that di Prima is a women's woman. She is not afraid to write about the realities of being a woman. She writes about love, intimacy, beauty, and sensualism all while writing about pain, oppression, bitterness, and realism. She wrote bravely. When I finally read di Prima's master work, Loba, I knew that I was reading a very special and important literary piece. It was an interesting academic venture, but also a deeply personal read.

Reading Loba for the first time was a special moment; the moment became spiritual and the poem felt like a meditation. Whenever I return to that work, I still feel as though I am seeking guidance from an ancient, religious text: even though the first draft of the poem wasn't fully conceived until 1973. Despite her young age of forty-five, di Prima's great mother wolf goddess easilly could have been guiding the women of the world for thousads of years. Loba represents the vigin, the mother, the warrior, the boss-lady, the teacher, the prostitute, the crazy-cat-lady, the priestess, and the crone. She has no race, age, or sexual preference. Loba is simply the noble, feminine spirit. The entire poem--whether you read the completed, 300 page work, or the small and humble pre-first edition publication--is a celebration of women and the human spirit. It celebrates all women without judgment, which is why the piece is so important, personal, and powerful.

I go back to Loba more often than most other literary texts. I think about the Loba when I walk down the street alone. I think about her when I am with my closest female friends. I think about her when I lead rituals. The Loba comes to me when I need protection, love, courage, and leadership. She has become sybolic of my own heart, but also symbolic of how I respect and connect to other women.