Audre Lorde, Chapter 4 from Zami: A New Spelling of My Name


1. In the title of her "biomythography," Audre Lorde adopts "Zami," a Carriacou name for women who work together as friends and lovers, as the "new spelling" of her name. What is the connection between this act of self-naming and Lorde’s observation at the beginning of this story that she "grew up feeling like an only planet, or some isolated world in a hostile, or at best, unfriendly, firmament," or her concluding statement that "eventually, her [Toni’s] image receded into that place from which all my dreams are made"?

2. Lorde’s account of her experiences at age four is strikingly and sensuously detailed. Identify the points in the text at which the description is particularly "thick." Why should her memories of certain things (e.g., of the vanilla she uses to color and scent her flour-clay dolls, of herself bundled up by her mother in "arctic gear," and most of all, of Toni and her stylish outfit) be so clear and intense, even after all these years?

3. In many ways, this excerpt from Zami explores the gulf between a child and her mother. What would explain the difference between how Audre sees Toni, as "the most beautiful little girl I had ever seen alive in my life," and how her mother sees her, as "such a skinny little thing . . . out in this weather with no snowsuit or a stitch of leggings on her legs"? Why does Audre feel compelled to "make sure [Toni] was real"? If Audre’s mother had seen this attempt to verify Toni’s "realness," how might she have understood it differently? Why does Audre’s mother respond to her request to have a red coat like Toni’s with the apparent non sequitur "How many times I tell you not to call me Mommy on the street?"