The poem “Who said it was simple” by Audre Lorde is a perfect fit for a visual text or music since it strikes a deep chord with the complexities of intersecting and the complex relationships of oppression. The poem combines Lorde’s criticism of racism, misogyny, and homophobia in a seemingly simple yet powerful story, a serious analysis of the planned injustices experienced by oppressed people.
The 1967 work of art “Die” by Faith Ringgold goes well with this poetry. The picture by Ringgold is a part of her “American People Series”, and shows a bloody and gloomy scenario of racial and gender conflict where black and white people fight against each other. The connections of racism, gender, and violence in society are discussed in both Lorde’s poetry and Ringgold’s artwork, emphasizing how these systems aren’t separate but rather support one another.
The main character in Lorde’s “Who Said It Was Simple” starts by seeing women at a feminist gathering. As they talk about equality and freedom, the women’s repetition is clear, but their privilege stops them from seeing the layers of oppression that extends beyond their close circle. “But I who am bound by my bed as well as my mirror see causes in colo as well as sex,” says Lorde, Ringgold’s “Die”, which portrays the overlapping, violent battles of race and gender inside an ordinary visual space, also reflects this line’s clear criticism of the lack of racial and economic concerns in popular feminist discourse. The contradictions and layered misery that Lorde criticizes in her poem are reflected in the painting’s chaos.
The focus of both pieces is on the political and personal consequences of ignoring interconnected systems of oppression. Together, the poem’s eerie yet devastating criticism and the painting’s raw cruelty show how systematic injustice grows when society attempts to isolate these problems.
The combination of RInggold’s artwork and Lorde’s poem is an invite for action that goes beyond simply facing inequality in society. Both pieces force viewers to face the disturbing fact that the injustice and brutality they portray are sustained by ignorance and silence. While Ringgold’s artwork portrays a vivid portrayal of such neglect, Lorde’s insightful critique of selective feminism compels readers to consider how privilege frequently causes people to be ignorant to the hardships of others. Collectively, they call for a deeper understanding of how race, gender, and class are intertwined and urge society to eliminate these systems, rather than ignore them.
Additionally, the poem and the painting’s pure emotional strength is in their capacity to provoke discomfort and reflection. Ringgold’s disorganized artwork reflects the chaos brought on by societal oppression, while Lorde’s poetry employs direct, moving language that encourages readers to become self aware. These pieces demonstrate that recognizing intersectionality is a moral requirement as well as an intellectual activity. By putting these works in conversation, viewers are reminded that fighting inequality necessitates being prepared to face privilege, acknowledge our common humanity, and push for reform everywhere. Collectively, they provide a timeless and pressing message of justice and solidarity.