Court of Aldermen, Repertory 14, 1558-9 Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="https://cwrc.ca/islandora/object/cwrc%3A5d5159ce-8710-4717-b977-cc528dedc25e/datastream/SCHEMA/view" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/REEDLondon/documentation/main/rlo_leaf.css"?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title type="main">REED London Online</title> <funder> <orgName>Andrew W. Mellon Foundation<address> <addrLine>140 E. 62nd Street</addrLine> <addrLine>New York, NY 1006</addrLine> <addrLine>United States of America</addrLine> </address> </orgName> <date from-iso="2018-01-01" to-iso="2018-12-31">NHPRC-Mellon Planning Grant</date> <date from-iso="2020-01-01" to-iso="2022-12-31">NHPRC-Mellon Implementation Grant</date> </funder> <!-- The following persons participated in the second phase of REED London Online, funded by an NHPRC-Andrew W. Mellon Digital Edition Publishing Cooperatives Implementation Grant, 2020-22 --> <respStmt> <persName xml:id="JAKA1">Diane K. Jakacki</persName> <orgName>Bucknell University</orgName> <resp>Principal Investigator, REED London Online</resp> <resp>Records of Early English Drama (REED) Executive Board</resp> </respStmt> <respStmt> <persName xml:id="CB">Carolyn Black</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>Project Manager, REED</resp> <resp>NHPRC-Mellon Project Team Member, 2018-Present</resp> </respStmt> <respStmt> <persName>Susan Brown</persName> <orgName>University of Guelph</orgName> <resp>Lead Investigator, Canadian Writing Research Collaboratory (CWRC)</resp> <resp>NHPRC-Mellon Project Team Member, 2018-Present</resp> </respStmt> <respStmt> <persName xml:id="JC">James Cummings</persName> <orgName>Newcastle University</orgName> <resp>NHPRC-Mellon Project Team Member, 2018-Present</resp> <resp>Records of Early English Drama (REED) Executive Board</resp> </respStmt> <respStmt> <persName>Mihaela Ilovan</persName> <orgName>CWRC</orgName> <resp>Project Manager, CWRC</resp> </respStmt> <respStmt> <persName>Sally-Beth MacLean</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>Director of Research and General Editor</resp> <resp>NHPRC-Mellon Project Team Member, 2018-Present</resp> </respStmt> <respStmt> <persName>Kim Martin</persName> <orgName>University of Guelph</orgName> <resp>NHPRC-Mellon Project Team Member, 2018-Present</resp> <resp>Linked Data Consultant</resp> </respStmt> <respStmt> <persName>Rachel Millio</persName> <orgName>Bucknell University</orgName> <resp>Research Assistant, 2018-Present</resp> </respStmt> <respStmt> <persName>Charlotte Simon</persName> <orgName>Bucknell University</orgName> <resp>Research Assistant, 2018-Present</resp> </respStmt> <!-- The following additional persons participated in the first phase of REED London, funded by an NHPRC-Andrew W. Mellon Digital Edition Publishing Cooperatives Planning Grant, 2018 --> <respStmt> <persName>John Bradley</persName> <resp>NHPRC-Mellon Project Team Member, 2018</resp> </respStmt> <respStmt> <persName>Kathy Chung</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>REED Research Associate, NHPRC-Mellon Project Consultant, 2018</resp> </respStmt> <respStmt> <persName>Matthew Davies</persName> <orgName>University of London, Birkbeck College</orgName> <resp>Records of Early English Drama (REED) Executive Board</resp> <resp>NHPRC-Mellon Project Team Member, 2018</resp> </respStmt> <respStmt> <persName>David Kathman</persName> <resp>NHPRC-Mellon Project Team Member, 2018</resp> </respStmt> <respStmt> <persName>Maureen Maclean</persName> <orgName>Bucknell University</orgName> <resp>REED London Research Assistant, 2018-2020</resp> </respStmt> <respStmt> <persName>Christopher Matusiak</persName> <orgName>Ithaca College</orgName> <resp>NHPRC-Mellon Project Team Member, 2018</resp> </respStmt> <respStmt> <persName>Dorothy Porter</persName> <orgName>University of Pennsylvania</orgName> <resp>NHPRC-Mellon Project Team Member, 2018</resp> </respStmt> <respStmt> <persName>Suzanne Westfall</persName> <orgName>Lafayette College</orgName> <resp>Records of Early English Drama (REED) Executive Board Member</resp> <resp>NHPRC-Mellon Project Team Member, 2018</resp> </respStmt> <!-- The following persons are editors of REED print collections considered in REED London Online --> <respStmt> <persName>John R. Elliott Jr.</persName> <resp>Editor, Inns of Court</resp> </respStmt> <respStmt> <persName>Mary C. Erler</persName> <resp>Editor, Ecclesiastical London</resp> </respStmt> <respStmt> <persName>Anne Lancashire</persName> <resp>Editor, Civic London to 1558</resp> </respStmt> <respStmt> <persName>Alan H. Nelson</persName> <resp>Editor, Inns of Court</resp> </respStmt> <!-- The following persons are members of the REED Executive Board (2020-2021) --> <respStmt> <persName>Carolyn Black</persName> <orgName>University of Toronto</orgName> <resp>Project Manager</resp> </respStmt> <respStmt> <persName>John Craig</persName> <orgName>Simon Fraser University</orgName> <resp>Chair</resp> </respStmt> <respStmt> <persName>James Cummings</persName> <orgName>Newcastle University</orgName> <resp>Board Member</resp> </respStmt> <respStmt> <persName>Matthew Davies</persName> <orgName>University of London</orgName> <resp>Board Member</resp> </respStmt> <respStmt> <persName>Alexandra Gillespie</persName> <orgName>University of Toronto</orgName> <resp>Board Member</resp> </respStmt> <respStmt> <persName>Peter Greenfield</persName> <orgName>University of Puget Sound</orgName> <resp>Secretary</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <orgName>Bucknell University</orgName> <resp>Board Member</resp> </respStmt> <respStmt> <persName>Alexandra F. Johnston</persName> <orgName>University of Toronto</orgName> <resp>Founder and Senior Consultant</resp> </respStmt> <respStmt> <persName>Sally-Beth MacLean</persName> <orgName>University of Toronto</orgName> <resp>Director of Research and General Editor</resp> </respStmt> <respStmt> <persName>C.E. McGee</persName> <orgName>St Jerome’s University</orgName> <resp>Board Member</resp> </respStmt> <respStmt> <persName>Alan H. Nelson</persName> <orgName>University of California, Berkeley</orgName> <resp>Board Member</resp> </respStmt> <respStmt> <persName>Paul Stevens</persName> <orgName>University of Toronto </orgName> <resp>Chair of English, ex officio</resp> </respStmt> <respStmt> <persName>Suzanne Westfall</persName> <orgName>Lafayette College</orgName> <resp>Board Member</resp> </respStmt> <respStmt> <persName>Matthew Woodcock</persName> <orgName>University of East Anglia</orgName> <resp>Board Member</resp> </respStmt> <respStmt> <persName>John Bradley</persName> <orgName>King’s College London</orgName> <resp>Senior Digital Advisor</resp> </respStmt> <respStmt> <persName>J.J. McGavin</persName> <orgName>University of Southampton</orgName> <resp>Corresponding Advisor</resp> </respStmt> <!-- The following persons were REED directors and editorial staff involved in the print publication of Civic London to 1558, Ecclesiastical London, and Inns of Court --> <respStmt> <persName>Carolyn Black</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>Associate Editor</resp> </respStmt> <respStmt> <persName>Jason Boyd</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>Patrons Researcher, Inns of Court</resp> </respStmt> <respStmt> <persName>Patrick Gregory</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>Associate Editor, Civic London to 1558 and Inns of Court</resp> </respStmt> <respStmt> <persName>Tanya Hagen</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>Bibliographer</resp> </respStmt> <respStmt> <persName>Alexandra F. Johnston</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>Director</resp> </respStmt> <respStmt> <persName>Milton Kooistra</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>Associate Bibliographer, Inns of Court</resp> </respStmt> <respStmt> <persName>Maria Lau</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>Typesetter, Civic London to 1558 and Inns of Court</resp> </respStmt> <respStmt> <persName>Sally-Beth MacLean</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>Associate Director/Executive Editor</resp> </respStmt> <respStmt> <persName>Gord Oxley</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>Typesetter, Civic London to 1558 and Ecclesiastical London</resp> </respStmt> <respStmt> <persName>Arleane Ralph</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>Associate Editor, Ecclesiastical London</resp> </respStmt> <respStmt> <persName>Abigail Ann Young</persName> <orgName>Records of Early English Drama (REED)</orgName> <resp>Associate Editor</resp> </respStmt> </titleStmt> <editionStmt> <edition>version 2, released <date when-iso="2020-01-01">1 January 2020</date></edition> </editionStmt> <publicationStmt> <authority> <orgName>Records of Early English Drama (REED)</orgName> <address> <addrLine>University of Toronto</addrLine> <addrLine>170 St George Street, Suite 810</addrLine> <addrLine>Toronto, Ontario, Canada</addrLine> <addrLine>M5R 2M8</addrLine> </address> </authority> <availability> <p>Copyright <orgName>Records of Early English Drama (REED)</orgName>, <date>2020</date></p> <licence target="https://creativecommons.org/licenses/by-nc-sa/4.0/">Distributed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence.</licence> </availability> </publicationStmt> <seriesStmt> <title>Records of Early English Drama</title> </seriesStmt> <sourceDesc> <p>This publication constitutes a remediation of the printed REED collections - Inns of Court, Ecclesiastical London, and Civic London to 1558. 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<expan>wayt<ex>es</ex></expan> of this Cytie shalbe warned to be here the nexte <expan>Co<ex>u</ex>rte</expan> daye/</ab> <gap reason="omitted"/> </div> <div> <head> <supplied>ff 90v-1 (<date when="1558-11-19">19 November</date>)</supplied> </head> <pb type="folio" n="90v"/> <gap reason="omitted"/> <note place="margin_left" type="marginal"><expan>Co<ex>men</ex></expan> <expan>consil<ex>ium</ex></expan></note> <ab><expan>It<ex>e</ex>m</expan> yt was agreid that there shalbe a <expan>Co<ex>m</ex>en</expan> counseyll here holden vpon <date when-iso="1588-11-21"><date when="1558-11-21">Mondaye nexte</date> comyng</date> at ix of the clock for the grauntyng of ij xv<hi rend="superscript">nes</hi> for the <expan>p<ex>re</ex>sent</expan> that is to be geven to the quenes <expan>ma<ex>ies</ex>tie</expan> by <placeName ref="https://commons.cwrc.ca//reed:465d3392-c68a-4f48-9529-fcce5ba406eb" key="London" cert="high">the Cytie</placeName> att the tyme of her <expan>coronac<ex>i</ex>on</expan> & for <note place="margin_left" type="marginal">ij xv<hi rend="superscript" >nes</hi></note>the <expan>p<ex>ro</ex>vysion</expan> of <objectName type="other">wood</objectName> & other necessaries for the <expan>co<ex>m</ex>i<ex>n</ex>altye</expan> of the seid Cytie/</ab> <note place="margin_left" type="marginal"><expan>p<ex>ar</ex>ishe</expan> <expan>Clerk<ex>es</ex></expan> & <expan>Mynstrell<ex>es</ex></expan></note> <ab><expan>It<ex>e</ex>m</expan> the wardeyns bothe of the <expan>p<ex>ar</ex>ishe</expan> <expan>clerk<ex>es</ex></expan> & also of the <expan>mynstrell<ex>es</ex></expan> of this Cytie were here <expan>p<ex>rese</ex>ntlye</expan> charged to call <expan>seu<ex>er</ex>allye</expan> their hole ffelowships togither & to put theym <expan>self<ex>es</ex></expan> <expan>w<ex>i</ex>th</expan> all convenyent Spede in good & <expan>p<ex>er</ex>fytt</expan> redynes to do the beste & moste <expan>co<ex>m</ex>m<del>en</del>lye</expan> <expan>s<ex>er</ex>vyce</expan> that they can for the <expan>hono<ex>ur</ex></expan> of the seid Cytie/ att <date when="1558-11-28">the quenes <expan>ma<ex>ies</ex>ties</expan> fyrste comynge</date><note type="foot">accession entry of Elizaabeth I</note> vnto the same/ And <persName><expan>m<ex>r</ex></expan> Altham</persName> <persName><expan>m<ex>r</ex></expan> Malorye</persName> <persName><expan>m<ex>r</ex></expan> Marten</persName> & <persName><expan>m<ex>r</ex></expan> Rowe</persName> <persName><expan>Aldrem<ex>en</ex></expan></persName> were assigned by the <expan>Co<ex>ur</ex>te</expan> to appoynt their <expan>stondyng<ex>es</ex></expan> & <expan>plac<ex>es</ex></expan> & to take order <expan>w<ex>i</ex>th</expan> theym for their decent <expan>behauo<ex>ur</ex></expan> in the doinge of their seid <expan>s<ex>er</ex>vyce</expan> & to geve theym notyce of the tyme therof/</ab> <note place="margin_left" type="marginal">The shreves of london to Receyve the quene at her <expan>grac<ex>es</ex></expan> first Entre in to <expan>Midd<ex>lesex</ex></expan>/</note> <note place="margin_right" type="marginal" ><handShift/>In<ex>tratur</ex><handShift/></note> <ab><expan>It<ex>e</ex>m</expan> ys was agreid that bothe <expan>M<ex>aster</ex></expan> Shreves of this Cytie shall Receyve the quenes <expan>Ma<ex>ies</ex>tie</expan> att the vtter <expan>p<ex>ar</ex>te</expan> of the Shere of <expan>Midd<ex>lesex</ex></expan> wherof they be also Shreves at the tyme of her highnes entree into the same <pb type="folio" n="91"/> Shere in their <objectName type="costume">Cotes of velvett</objectName> <expan>w<ex>i</ex>th</expan> their Chaynes of gold aboute their <expan>neck<ex>es</ex></expan> and whyte Roddes in their <expan>hand<ex>es</ex></expan> whiche roddes they muste kysse and delyuer theym ioyntlye to her grace & Receyving theym bak ageyn from her grace the order is that they muste place theym <expan>self<ex>es</ex></expan> amongest the gentlemen and so ryde furthe before <persName ref="https://commons.cwrc.ca//reed:4f8027fb-e9fa-436a-a60c-ae85e41cb6cd" key="Elizabeth I" cert="high" type="real">her Maiestie</persName> tyll she come vnto the<del>ym</del> ^<add place="above"><handShift/>mayer & <expan>Aldr<ex>em</ex>en</expan><handShift/></add> and then they to take their places <expan>w<ex>i</ex>th</expan> my maisters the Aldermen/</ab> <gap reason="omitted"/> </div> <div> <head> <supplied>ff 97-8 (<date when="1558-12-07">7 December</date>)</supplied> </head> <pb type="folio" n="97"/> <gap reason="omitted"/> <note place="margin_right" type="marginal" ><expan>Recogn<ex>icio</ex></expan></note> <ab><expan>It<ex>e</ex>m</expan> <expan>will<ex>elmus</ex></expan> Aston <expan>hab<ex>er</ex>d<ex>asher</ex></expan> <expan>r<ex>ecognovit</ex></expan> se debere <expan>Ioh<ex>anni</ex></expan> Sturgeon <expan>Cam<ex>erario</ex></expan> xl li. bone &c. <expan>sol<ex>uit</ex></expan> &c.</ab> <note place="margin_right" type="marginal">Aston</note> <ab>The <expan>Condic<ex>i</ex>on</expan> &c. that if the saide <expan>Recognito<ex>ur</ex></expan> at any tyme hereafter do not <expan>p<ex>er</ex>myt</expan> or suffer any <expan>mann<ex>er</ex></expan> of enterlude or stage play to be made or played <expan>w<ex>i</ex>thin</expan> his <expan>mansyo<ex>n</ex></expan> howse yarde garden or other place or <expan>plac<ex>es</ex></expan> that he nowe keapethe and hathe or that he hereafter shall holde occupy or keape <expan>w<ex>i</ex>thin</expan> the Cytey of London or the <expan>Lib<ex>er</ex>tyes</expan> thereof vnles he shalbe lycensyd by the Lorde <expan>Mayo<ex>u</ex>r</expan> of the sayde Cyty for the tyme beynge So to do that then &c.</ab> <gap reason="omitted"/> <note place="margin_right" type="marginal"><expan>Co<ex>m</ex>yners</expan> apoyntyd to devyse <expan>pagea<ex>u</ex>ntes</expan> against the quenes <expan>ma<ex>ies</ex>tes</expan> <expan>Coronac<ex>ion</ex></expan> /</note> <ab><expan>It<ex>e</ex>m</expan> this day the worshipfull <expan>Co<ex>m</ex>y<ex>n</ex>ers</expan> herevnder namyd were <expan>no<ex>m</ex>y<ex>n</ex>atyd</expan> appoyntyd & chardgid by the hole Courte to take the chardge Travell & paynes to cause at the Cytyes <expan>cost<ex>es</ex></expan> and <expan>chardg<ex>es</ex></expan> all the <expan>plac<ex>es</ex></expan> hereafter <expan>menc<ex>i</ex>o<ex>n</ex>yd</expan> to be very well and semely <expan>try<ex>m</ex>myd</expan> & deckyd <pb type="folio" n="97v" /> for the <expan>hono<ex>ur</ex></expan> of the Cyty agaynste the <expan>co<ex>m</ex>mynge</expan> of <expan>o<ex>u</ex>r</expan> <expan>Sou<ex>er</ex>aigne</expan> Lady <persName ref="https://commons.cwrc.ca//reed:4f8027fb-e9fa-436a-a60c-ae85e41cb6cd" key="Elizabeth I" cert="high" type="real">the Quenes maiesty</persName> that nowe is to her <expan>Coronac<ex>i</ex>on</expan> thorroughe the Cyty <expan>w<ex>i</ex>th</expan> <expan>pageaunt<ex>es</ex></expan> fyne payntynge and Riche clothes of arras <expan>sylu<ex>er</ex></expan> and golde in suche and lyke <expan>mann<ex>er</ex></expan> & sorte as they were <expan>try<ex>m</ex>myd</expan> agaynst the <expan>co<ex>m</ex>myng</expan> of <expan>o<ex>u</ex>r</expan> late <expan>Sou<ex>er</ex>aigne</expan> lady <persName ref="https://commons.cwrc.ca//reed:8764eda7-0a8c-46c4-9a4b-71de45851de0" key="Mary I" cert="high" type="real">Quene mary</persName> to her <expan>Coronac<ex>i</ex>on</expan> and moche better if it <expan>co<ex>n</ex>veynyently</expan> may be done where vnto they agreinge grauntyd to do theire Indeavors That is to sey</ab> <table> <row> <cell>Phylyp Gunter</cell> <cell/> <cell/> </row> <row> <cell>Thomas Hunt</cell> <cell><expan>Skynn<ex>ers</ex></expan></cell> <cell>for <placeName ref="https://commons.cwrc.ca//reed:5ae5616d-fccd-42d5-8ea6-630b5de4059c" cert="high">the Condyt in Cornehill</placeName> and the <expan>Stok<ex>es</ex></expan>/</cell> </row> <row> <cell>Thoams Bannyster</cell> <cell/> <cell/> </row> <row> <cell>myles mordyng</cell> <cell/> <cell/> </row> <row> <cell>Iohn Traves <expan>m<ex>er</ex>chauntt<ex>aylor</ex></expan></cell> <cell/> <cell/> </row> </table> <table> <row> <cell>Roland Haywarde <expan>clothework<ex>e</ex>r</expan></cell> <cell/> <cell/> </row> <row> <cell>Richard Barnys <expan>m<ex>er</ex>c<ex>er</ex></expan></cell> <cell/> <cell>for <placeName ref="https://commons.cwrc.ca//reed:4399d823-7213-438f-a680-5eada9ebd43a" cert="high">the Standard in Cheape</placeName>/</cell> </row> <row> <cell><expan>Rob<ex>er</ex>te</expan> Offley <expan>hab<ex>er</ex>d<ex>asher</ex></expan> &</cell> <cell/> <cell/> </row> <row> <cell>Richard Stockbrydge <expan>m<ex>er</ex>c<ex>er</ex></expan></cell> <cell/> <cell/> </row> </table> <table> <row> <cell>Geoffray walkeden <expan>Skynn<ex>er</ex></expan></cell> <cell/> <cell/> </row> <row> <cell><expan>Cleme<ex>n</ex>t</expan> Cornewall <expan>Iremo<ex>n</ex>g<ex>er</ex></expan></cell> <cell/> <cell/> </row> <row> <cell>Thomas Pyerson <expan>Skryven<ex>er</ex></expan></cell> <cell/> <cell>for the <placeName ref="https://commons.cwrc.ca//reed:519965b1-b715-4bff-a439-abed27f5e7d0" cert="high">greate Condyt in Cheape</placeName></cell> </row> <row> <cell>Henry Bukfolde gyrdeler</cell> <cell/> <cell/> </row> <row> <cell>Thomas Marston <expan>hab<ex>er</ex>d<ex>asher</ex></expan> &</cell> <cell/> <cell/> </row> <row> <cell><expan>ffraunc<ex>es</ex></expan> Barneham <expan>drap<ex>er</ex></expan></cell> <cell/> <cell/> </row> </table> <table> <row> <cell>Thomas pycket <expan>groc<ex>er</ex></expan></cell> <cell/> <cell/> </row> <row> <cell>Rob<ex>er</ex>te wygge <expan>aur<ex>ifaber</ex></expan></cell> <cell/> <cell>for the <placeName ref="https://commons.cwrc.ca//reed:d89cbd09-3e9c-44f8-ac60-58b7ef8ce372" cert="high">Crosse in Cheape</placeName></cell> </row> <row> <cell>Iohn Iackeson founder &</cell> <cell/> <cell/> </row> <row> <cell>Edwarde Gylberd <expan>aur<ex>ifaber</ex></expan></cell> <cell/> <cell/> </row> </table> <table> <row> <cell>Richard Buckeland <expan>hab<ex>er</ex>d<ex>asher</ex></expan></cell> <cell/> <cell/> </row> <row> <cell>Thomas browne <expan>hab<ex>er</ex>d<ex>asher</ex></expan></cell> <cell/> <cell>for the <placeName ref="https://commons.cwrc.ca//reed:8b0a8dcd-8f79-4e04-a08f-70e1824c3bbc" cert="high">lyttle Condyt in Cheape</placeName>/</cell> </row> <row> <cell><del>Richard</del> <add place="above">Iohn</add> Harryson <expan>aur<ex>ifaber</ex></expan></cell> <cell/> <cell/> </row> <row> <cell>Richard Grace <expan>aur<ex>ifaber</ex></expan> </cell> <cell/> <cell/> </row> <pb type="folio" n="98"/> <row> <cell>Thomas <expan>Sponer</expan> <expan>aur<ex>ifaber</ex></expan></cell> <cell/> <cell/> </row> <row> <cell>Iohn hulson <expan>Skryven<ex>er</ex></expan></cell> <cell/> <cell/> </row> <row> <cell>Richard <expan>fferro<ex>ur</ex></expan> grocer</cell> <cell/> <cell/> </row> <row> <cell><expan>will<ex>ia</ex>m</expan> <expan>mortym<ex>er</ex></expan> carpenter</cell> <cell/> <cell>for the <placeName ref="https://commons.cwrc.ca//reed:7fe34a9c-03f9-4ae2-98ab-5523901e1d64" cert="high">Condyt in ffletestrete</placeName>/</cell> </row> <row> <cell>Iohn Craythorne Cutler</cell> <cell/> <cell/> </row> <row> <cell>Laurence <expan>Tayllo<ex>u</ex>r</expan> Cutler</cell> <cell/> <cell/> </row> <row> <cell><expan>ffraunc<ex>es</ex></expan> Barker</cell> <cell/> <cell/> </row> <row> <cell>Garrard Lee Drap<ex>er</ex></cell> <cell/> <cell/> </row> </table> <table> <row> <cell>George Heaton <expan>m<ex>er</ex>chauntt<ex>aylor</ex></expan></cell> <cell/> <cell/> </row> <row> <cell><expan>Will<ex>ia</ex>m</expan> Petreson <expan>hab<ex>er</ex>d<ex>asher</ex></expan></cell> <cell/> <cell>for <placeName ref="https://commons.cwrc.ca//reed:daed2e97-430d-40b2-8391-5c199612e7f1" key="Fenchurch Street" cert="high" >ffanchurche</placeName>/</cell> </row> <row> <cell>Richard <expan>Tayllo<ex>ur</ex></expan> <expan>groc<ex>er</ex></expan></cell> <cell/> <cell/> </row> <row> <cell>Thomas Castell <expan>Drap<ex>er</ex></expan></cell> <cell/> <cell/> </row> </table> <table> <row> <cell>Henry Nayler <expan>clothework<ex>er</ex></expan></cell> <cell/> <cell/> </row> <row> <cell>George Allyn <expan>Skynn<ex>er</ex></expan></cell> <cell/> <cell>for <placeName ref="https://commons.cwrc.ca//reed:2b5b5695-d1d7-4a61-a25c-c4336c5c8ab6" key="Ludgate" cert="high">Ludgate</placeName></cell> </row> <row> <cell>Thomas nycoll goldesmyth</cell> <cell/> <cell/> </row> <row> <cell>Iohn Lacy Clotheworker</cell> <cell/> <cell/> </row> </table> <table> <row> <cell><expan>William</expan> Iames <expan>m<ex>er</ex>cauntt<ex>aylor</ex></expan></cell> <cell/> <cell/> </row> <row> <cell>Richarde Totehill <expan>Stacyon<ex>er</ex></expan></cell> <cell/> <cell/> </row> <row> <cell>Gyles Atkynson <expan>m<ex>er</ex>chauntt<ex>aylor</ex></expan></cell> <cell/> <cell>for <placeName ref="https://commons.cwrc.ca//reed:fec3a1e3-a2e7-4ab9-9842-ffe48903183a" key="Temple Bar" cert="high">Temple barre</placeName>/</cell> </row> <row> <cell>Barthilmewe broskerby <expan>Skryven<ex>er</ex></expan></cell> <cell/> <cell/> </row> <row> <cell>Richard Broune <expan>m<ex>er</ex>chauntt<ex>aylor</ex></expan></cell> <cell/> <cell/> </row> </table> </div> <div> <head> <supplied>f 99</supplied> </head> <pb type="folio" n="99"/> <gap reason="omitted"/> <note place="margin_right" type="marginal" ><expan>pageaunt<ex>es</ex></expan></note> <ab><expan>It<ex>e</ex>m</expan> <date when-iso="1588-12-13">this day</date> Richarde Grafton <note type="foot">printer and historian</note> and <expan>ffraunc<ex>es</ex></expan> Robynson grocers Richard <expan>Hill<ex>es</ex></expan> <expan>m<ex>er</ex>chaunttayllo<ex>ur</ex></expan> and Lyonell ducket <expan>m<ex>er</ex>cer</expan> were assignyd and apoyntyd by the Courte here to <expan>s<ex>u</ex>rvey</expan> the <expan>doyng<ex>es</ex></expan> and devyses of all the other <expan>Co<ex>myn</ex>ers</expan> of this Cyty <expan>w<ex>hi</ex>ch</expan> are already apoyntyd to make and devyse suche <expan>pageaunt<ex>es</ex></expan> in sundry <expan>plac<ex>es</ex></expan> of this Cytye agaynste the quenes <expan>maiest<ex>es</ex></expan> <expan>co<ex>m</ex>mynge</expan> to her <expan>Coronac<ex>i</ex>on</expan> as heretofore hathe byn accustomyd at the lyke tyme and to reforme alter or adde vnto the same as they <expan>w<ex>i</ex>th</expan> thadvyse of suche as they shall call vnto them shall think good and to make reporte here the nexte Courte day by a platte of all theire opynyons and <expan>doyng<ex>es</ex></expan> therein and then to vnderstande here what some of money the Cyty hathe in a redynes <expan>toward<ex>es</ex></expan> the doynge therein</ab> </div> <div> <head> <supplied>ff 103v-4</supplied> </head> <pb type="folio" n="103v"/> <gap reason="omitted"/> <note place="margin_left" type="marginal">pageaunt<ex>es</ex> & playne</note> <ab><expan>It<ex>e</ex>m</expan> forasmoche as the paynters of this Cyty dyd vtterly refuse to newe paynte and trym <placeName ref="https://commons.cwrc.ca//reed:519965b1-b715-4bff-a439-abed27f5e7d0" key="Great Conduit Cheapside" cert="high">the greate Condyt in Cheape</placeName> agaynste the Quenes <expan>Maiest<ex>es</ex></expan> comynge to her Coronac<ex>i</ex>on for the Some of xx<hi rend="superscript" >ty</hi> <expan>mark<ex>es</ex></expan> yt was therefore Orderyd and agryed by the Courte here <date when-iso="1588-12-21" when="1588-12-21">thys day</date> that the <expan>S<ex>u</ex>rveyo<ex>u</ex>rs</expan> of the same shall cause it to be <expan>cou<ex>er</ex>yd</expan> <expan>w<ex>i</ex>th</expan> Clothes of arras and suche other Ryche Clothes as they can geat and cause certayne Scutchins of the quenes highenes armys to be fynely made & set vpon the same and david playne hed warden of the paynters was <expan>co<ex>m</ex>maundyd</expan> to attende vpon the said <expan>S<ex>ur</ex>veyors</expan> of the Condyt & the <expan>S<ex>ur</ex>veyors</expan> of all the other <expan>pageaunt<ex>es</ex></expan> of the Cyty & to help them <expan>w<ex>i</ex>th</expan> his Advyse & workemen for reasonable <expan>wag<ex>es</ex></expan> to the best of his powre wherevnto he wyllyngely agryed & <expan>p<ex>ro</ex>mysyd</expan> so to do/ <pb type="folio" n="104"/> <expan>It<ex>e</ex>m</expan> yt was Orderyd and agryed that Richard Bucland <expan>hab<ex>er</ex>d<ex>asher</ex></expan> shall cause the Carpenter to set vp the Skafold in <placeName ref="https://commons.cwrc.ca//reed:e8baab7a-2625-4a79-8856-3427e0d539bf" cert="high">Saynte Dunstanes Churcheyard</placeName><lb/> <note place="margin_left" type="marginal">London & lez pore/</note> in <placeName ref="https://commons.cwrc.ca//reed:91ba01de-454a-4fd7-8463-a5795a81eacd" key="Fleet Street" cert="high">ffletestrete</placeName> for the childern of the howse of the pore by the day & not be greate and that he se that he and his men do <expan>labo<ex>ur</ex></expan> honestly and that he kepe well the Reconynge of theire <expan>chardg<ex>es</ex></expan> </ab> <note place="margin_left" type="marginal">Bachilers of the <expan>m<ex>er</ex>cers</expan> Company</note> <ab><expan>It<ex>e</ex>m</expan> yt was agryed that the bachelers of the <expan>m<ex>er</ex>cers</expan> <expan>Co<ex>m</ex>pany</expan> shalbe permyttyd to stande Togither in <placeName ref="https://commons.cwrc.ca//reed:8d85f5e6-565f-4b2b-8c07-584eff831a75" key="Cheapside" cert="high">Chepe syde</placeName> dyrectely <expan>ou<ex>er</ex></expan> agaynste the <expan>M<ex>asters</ex></expan> of the same <expan>Co<ex>m</ex>pany</expan> on the further syde of the Strete there at the Quenes <expan>co<ex>m</ex>mynge</expan> to her <expan>Coronacion</expan></ab> <gap reason="omitted"/> </div> </div> <div type="endnote"> <div> <head><supplied>Endnotes</supplied></head> <p>For Williamson (f 87v), see also <ref target="https://cwrc.ca/islandora/object/reed%3A78d19320-05a7-4f26-808e-81db9332b479" >Repertory 14, ff 61v and 63v</ref> (under 1557–8). This record may be biographical only but is included here because of the earlier records. For the common council order, referred to on f 90v, for two fifteenths to be collected for the city’s costs at Elizabeth I’s coronation, see the transcription immediately above from <ref target="https://cwrc.ca/islandora/object/reed%3Abaa67c64-f77c-436a-be4c-7948ccb0b424" >Journal 17, 1558–9, f 101</ref>. The ff 90v–1 records deal above all, however, with Elizabeth’s accession entry on 28 November 1558, for which, see the 'Formal Entries' section in <ref target="https://cwrc.ca/islandora/object/reed%3A5dc160f8-44b2-423e-9f75-09835b2838fb" >Drama, Music, and Ceremonial Customs</ref>, and Appendix 1 under 1558–9. On f 97 there is a modern pencil note beside the first entry transcribed, in the right margin: ‘Stage Plays.’ For other 1558 records related to the January 1558/9 coronation, see ff 102 (15 December, the fence around the Cheapside Cross to be taken down) and 102v (coronation-day dinner service).</p> <p>For printer and historian Richard Grafton (f 99), see endnote to <ref target="https://cwrc.ca/islandora/object/reed%3Aa974818d-7fcb-495a-ad78-bc5792c9c93f" >Repertory 13(1), 1553–4</ref>. The mayor in 1558–9, Thomas Leigh, was a mercer, hence the special mention on ff 103v–4 of the bachelors of the Mercers’ Company. The children of the house of the poor (f 104) were either from St Bartholomew’s Hospital or from Christ’s Hospital.</p> </div> </div> </body> </text> </TEI>
Skyscraper Seduction, Skyscraper Rape Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Skyscraper Seduction, Skyscraper Rape</title> <author>Dolores Hayden</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Lyndon Beier</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-Present)</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Patterns of Communicating and Space Among Women</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> </teiHeader> <text> <body> <pb/> <div type="essay"> <pb n="108" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_108.jpg"/> <head>Skyscraper Seduction Skyscraper Rape</head> <byline>Dolores Hayden</byline> <epigraph> <p>Once you learn to look upon architecture not merely as an art, more or less well, more or less badly, done, but as a social manifestation, the critical eye becomes clairvoyant, and obscure and unnoted phenomena become illuminated.</p> </epigraph> <cit> <ref>—Louis Sullivan, Kindergarten Chats, 1901</ref> </cit> <div> <p> The skyline of Manhattan tells the dynamic story of the growth of American capitalism in the past century; we see a few lively Gothic and Art Deco towers marked with the names of individual tycoons, then many bland International-style office towers built by industrial corporations, real estate developers, and the government; and finally, a limited number of super towers, remote and anonymous, like the multi-national corporations or multi-jurisdictional bureaucracies which inhabit them. A complex national symbol, the American skyscraper has been associated with military force and corporate expansion during various phases of American economic and urban growth. In popular culture, skyscrapers have also symbolized personal social mobility and personal sexuality for those who commission, design, or use these buildings. In the history of world architecture, the skyscraper ranks as America's most distinctive technical innovation; in the history of human settlements, the skyscraper dominated city is America's legacy to the world. For a century most American architectural historians have busily rationalized the aesthetic, functional, and social distress the skyscraper creates, nurturing the prevalent belief that the skyscraper is a glorious triumph of engineering, a natural part of urban life, and an inevitable result of urban concentration.</p> <note>1. For an aesthetic justification, see Louis Sullivan, "The Tall Office Building Artistically Considered,"" in <title>Kindergarden Chats and Other Writings</title> (New York: Wittenborn, 1947). For an aesthetic analysis focusing on analogies with classical columns, see Winston Weisman, "A New View of Skyscraper History," in Edgar Kauffman, ed., <title>The Rise of an American Architecture</title> (New York: Praeger, 1970). Diana Agrest, in "Le Ciel est la limite," adds to this with a discussion about towers reaching into outer space, <title>L'Architecture d'aujourd'hui</title> (sky-scraper issue) (March-April 1975), pp. 55-64. Cass Gilbert, in his intro duction to Skyscrapers of New York by Vernon Howe Bailey (New York: Rudge, 1928), goes on about "Mt. Woolworth" and the "Singer-horn," viewing skyscrapers as mountains and cliffs created in the city. Many other architects take up this last image, Hugh Ferriss and Raymond Hood being notable examples. Manfredo Tafuri has criticized it in the <title>L'Architecture d'aujourd'hui</title> issue. A brief article which provides welcome relief from the usual romanticization is by Elizabeth Lindquist Cock and Estelle Jussim, "Machismo in American Architecture," <title>Feminist Art Journal</title> (Spring 1974), pp. 8-10, but the authors conclude, "...at what cost these expressions of machistic corporate power? ... Perhaps it is time to in sist that women be given the chance to design our buildings." This suggestion bypasses the economic demand for skyscrapers rather naively, assuming that female architects employed by large corporations would actually be in a position to create real alternatives. Gertrude Kerbis, Chicago architect, makes a more realistic assessment of the small changes possible when she states that men have designed high-rises as sexual symbols and that if she got a chance to design a skyscraper, it would have some air spaces for wind to pass through. On Kerbis, see Donna Joy Newman, "High-rise-ing Women, Making a Mark on the Skyline," <title>Chicago Tribune</title> (August 8, 1976), Sec. 5, p. 7.</note> <p>While the skyscraper is a cultural artifact reflecting the economic developments of the past century, it is also a building type designed to affect both economic activity and social relations. As a result, a fuller history of the skyscraper reveals a century of struggles and protests against the tendency to build ever higher. The builders' fantasies alternate with grim reality. Each new argument in favor of the skyscraper may incorporate some response to previous urban protests against it. Yet there is no escape from the contradictions of the capitalist city; as an instrument for enhancing land values and corporate eminence, the sky scraper consumes human lives, lays waste to human settlements, and ultimately overpowers the urban economic activities which provided its original justification.</p> <p>Perhaps the metaphor of rape suggested by the strongly phallic form of the skyscraper can illuminate the process by which American urban residents and workers have, at times, resigned themselves to this oppressive architectural form. In our literature, as in our judicial system, rape has often been presented as seduction. The aggressor "couldn't help himself," we are told, or the victim "really wanted it." The skyscraper is justified by builders with the same rhetoric: developers "can't help themselves," or the city "really wants it," despite the economic and social anguish it brings. A brief review of skyscraper history illuminates a painful dialectical process with alternating themes of reality and fantasy, rape and seduction. </p> </div> <div> <head>First Fantasy: "Manifest Destiny"</head> <p>The earliest tall structures in the United States, monumental military obelisks and columns like the Bunker Hill Battle Monument (completed in 1843), provided symbolic as well as technological precedents for skyscraper construction. These monuments usually included observatories which became popular spots for surveying the surrounding urban and rural landscape. Such grand vistas were associated with the cry for westward expansion or "manifest destiny" accepted by many patriotic Americans as a political goal during the mid-nineteenth century. John Zukowsky has described the experience of the ascending observers, ...afforded seemingly endless panoramic views, and visual participation in those expansionist concepts without facing the dangers, hardships, and expense of physical relocation west." He adds that "the military connotations inherent in those monuments reminded all that this westward expansion would be protected, and policies of Manifest Destiny upheld through force if necessary."</p> <note>2. John Zukowsky, "Monumental American Obelisks—Centennial Vistas," unpublished paper (1975).</note> <p>The symbolic imagery of military monuments was first transformed into a vision of the American city by Erastus Salisbury Field, an itinerant painter from westem Massachusetts. His Historical Monument of the American Republic combined in one large canvas ten columns which implied "visual participation in expansionist concepts, as well as militarism appropriate to the 1876 centennial celebration of American independence. He composed these columns, usually seen as isolated monuments, into a spectacular urban design with an elevated railway linking the observatories at their tops. During the following decade, the American city began to evolve dramatically in the direction Field had whimsically imagined.</p> <p>In the 1850s, 1860s and early 1870s, the elevator and the cast iron frame boosted the size of commercial buildings, which still tried to conceal their height under gawky mansard roof lines; in the 1880s and 1890s, such traditional roof lines were abandoned in favor of competition for height, and steel-framed towers began to fill the business districts of New York and Chicago. Some of these tall buildings included observatories similar to those atop the traditional monuments, so visitors to skyscrapers could also have panoramic views. Private offices, conference rooms, and clubs were also located at the tops of the towers, from which executives could overlook the cities their enterprises dominated. Just as the centennial obelisks and columns had been decorated with statues of heroes, so the new skyscrapers often bore the names of tycoons, and, sometimes, their statues looming against the sky, proclaiming not the patriotic warriors' slogan, "manifest destiny," but the corporate imperative, "survival of the fittest." </p> </div> <pb n="109" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_109.jpg"/> <div> <head>Reality: Workers' Funerals</head> <p>The social Darwinist motto, "survival of the fittest," was an accurate description of the skyscraper construction process. At the turn of the century, competition for height and eagerness to realize a return on investments led builders to encourage architects and engineers to strain the limits of existing technology with each new tower. "Survival of the fittest" in the builders' world of financial speculation thus became the excuse for casual attitudes toward safety conditions for construction workers. One British reporter lugubriously observed public reactions to the deaths of workers on the Woolworth Building, constructed between 1911 and 1913: "Anybody in America will tell you without tremor (but with pride) that each story of a skyscraper means a life sacrificed. Twenty stories—twenty men snuffed out; thirty stories thirty men. A building of some sixty stories is now going up sixty corpses, sixty funerals, sixty domestic hearths to be slowly rearranged." <note>3. Arnold Bennett, "Your United States," quoted in Harlan Paul Douglas, <title level="m">The Suburban Trend</title> (New York: Century Co., 1925), p. 305.</note> By 1930, Fortune magazine claimed that this estimate was no longer correct, commenting, "In general, deaths run from three to eight on sizable buildings," but conceded that "a bloodless building is still a marvel."</p> <note>4. "Skyscrapers: Builders and Their Tools," in <title level="m">The Skyscraper</title>, reprinted from <title level="j">Fortune</title> magazine (New York: American Institute of Steel Construction, 1930), p. 29.</note> <p>Ironworkers (who erect structural steel) endure the greatest risks. Often builders and journalists use the language of militaristic, romanticized machismo to describe the "raw danger" of a "daredevil" ironworker's job, and the Stars and Stripes is always unfurled whenever a building is topped out suggesting a patriotic conquest. Yet ironworkers themselves may feel fearful, since Mike Cherry reports in his autobiography, <title level="m">On High Steel</title>, that one out of fifteen dies within ten years of entering this risky trade. <note>5. Mike Cherry, <title level="m">On High Steel: The Education of an Ironworker</title> (New York: Ballantine Books, 1975), p. 27.</note> Cherry recounts his gut reaction to a look at the New York skyline: "the anxiety that I'd thought I'd conquered came running back at me all over again. ..The city had never struck me as so tall before.. .I drove past several buildings that were nearing completion, twice pulling over to the curb to stare at them, developing a slight case of the shakes."</p> <note>6. Ibid., p. 169.</note> <p>Theodore James, author of a recent history of the Empire State Building, constructed between 1929 and 1931, recalls the days when ironworkers were called by the condescending, romantic nickname, "sky-boys," (perhaps relating them to military air heroes called fly-boys), yet he passes lightly over the fourteen fatalities and numerous injuries that occurred during the building process. <note>7. Theodore James, Jr., <title level="m">The Empire State Building</title> (New York: Harper and Row, 1975), p. 68. In contrast to many American projects, the Eiffel Tower, a tall and complex engineering project, was built in Paris in 1889 without a single fatality; the effort and resources expended on safety equipment matched the desire for spectacular height.</note> Cherry has a grimmer view of the trade in New York in those years, claiming that foremen could insist on work in hazardous wet weather, or cut off a man's pay at the moment of an accident. He states that during the Depression "gangs of out-of-work ironworkers hung about on the streets around job sites, so that when a man fell, they would be instantly available to take his place." <note>8. Cherry, pp. 26-27.</note> In the 1930s, the best workers in each building trade, alive and walking at the end of a skyscraper job, were awarded Certificates of Superior Craftsmanship" and gold buttons for their skill by a building contractors' association, but both union and insurance company safety campaigns got nowhere because of the developers' pressure to build quickly.</p> <note>9. Fortune, p. 29.</note> <p>Today, construction workers' unions are stronger. No one has to work in the rain, and a fallen worker (or his widow) at least gets paid for a full day's work. Still the grim process of building a skyscraper continues to take its toll of lives, as Cherry described a death on a New York job in 1972: "Somehow, Timmy, in hurrying from one side of the bay to the other, managed to put his inside foot down an inch to the right of where he should have, and the plank, which had a slight warp in it, rocked...He fell in silence, and no sound from the impact of his body on the concrete plaza reached up to us." <note>10. Cherry, p. 232.</note> Some of the highly skilled, agile iron workers willing to endure the risks of this trade are American Indians, and in their employment the symbolism of manifest destiny turns in an ironic circle. Descendants of the native Americans who survived the white man's self-righteous westward ex pansion in the nineteenth century, they build the secular monuments of a redefined, corporate, manifest destiny.</p> </div> <div> <head>Second Fantasy: "Procreant Power</head> <p>In the late nineteenth and early twentieth centuries, while tycoons battled for top positions on the skyline, and "sky-boys' fell to their deaths, skyscraper architects began to use the imagery of male sexuality to describe these buildings. The earlier monuments had celebrated military conquests, and now towers did the same for economic conquests. Just as American authors like Theodore Dreiser and Henry James used the imagery of male potency to enhance the moneymaking activities of fictional entrepreneurs like Frank Cowperwood or Caspar Goodwood, so many American architects began to express the economic power of their corporate clients through metaphors of sexual power. Thus the <pb n="110" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_110.jpg" /> imagery of war and patriotic death was overlaid with an imagery of fecundity and generative power. However, as skyscraper architects added the office tower to the procession of phallic monu ments in history—including poles, obelisks, spires, columns, and watchtowers—very few designers asked what the effects would be of insisting that ordinary people regularly inhabit such extraordinary, tall, erect structures.</p> <p>In 1901 Louis Sullivan praised the design of a commercial building (which was not a skyscraper) by H. H. Richardson: "...here is a man for you to look at. ..a real man, a manly man; a virile force...an entire male. ..a monument to trade, to the organized commercial spirit, to the power and progress of the age...a male...it sings the song of procreant power...." <note>11. Louis Sullivan, <title level="m">Kindergarden Chats</title>, pp. 29-30. He refers to the Marshall Field Wholesale Warehouse, Chicago.</note> As Sullivan himself and other architects built commercial skyscrapers, this language of male identification was extended. One designer saw skyscrapers as "symbols of the American spirit—that ruthless, tireless, energeticism delightedly proclaiming What a great boy am I!'" <note>12. Claude Bragdon, "Skyscrapers, in <title level="m">The Architecture Lectures</title>, (Chicago: Creative Age Press, 1942), p. 103.</note> In 1936 Le Corbusier identified himself with America's vital economic forces, using phrases which recalled Sullivan's "song of procreant power." He observed "an erect Manhattan, the drives of Chicago, and so many clear signs of youthful power." Viewing the skyline of New York, he wrote, "Feeling comes into play; the action of the heart is released; crescendo, allegro, fortissimo. We are charged with feeling, we are intoxicated, legs strengthened, chest expanded, eager for action, we are filled with a great confidence. <note>13. Le Corbusier, "I Am an American," in <title level="m">When All the Cathedrals Were White</title> (1936) (New York: McGraw Hill, 1964), pp. 90, 149</note> The architectural historian Vincent Scully carried this celebration of skyscrapers, money and sex into the 1960s when he praised Rockefeller Center as ...one of the few surviving public spaces in America that look as if they were designed and used by people who knew what stable wealth was and were not ashamed to enjoy it. Flags snap, high heels tap: a little sex and aggression, the city's delights."</p> <note>14. Vincent Scully, <title level="m">American Architecture and Urbanism</title> (New York: Praeger, 1969), p. 154.</note> <p>The erotic charge of the skyscraper was more explicitly related to phallic erection and penetration in formal discussions of towers as including base, shaft, and tip, and in graphic visions of the skyscraper. A rendering of Louis Sullivan and Dankmar Adler's Fraternity Temple scheme of 1891 shows a phallic tower on a broad base with a pointed tip piercing the sky. Many architectural renderers of the 1920s, such as Hugh Ferriss, often utilized perspective to convey a sense of upward thrust, enhanced by strong lighting from below. Lighting could suggest ejaculation as well as erection, as in a view of the Chrysler Building ejaculating light into the night. (Its articulated tip anticipates today's skyscrapers with brightly lit revolving restaurants, where diners can rotate tirelessly in the night skies above American cities.)</p> <p>Architects' words and graphics encouraged their clients to phallic, urban displays, but occasionally architects might do more. A 1931 photograph shows seven men positioned in an irregular line, wearing cloth costumes banded with vertical or horizontal stripes. Tall cones or ziggurats cover their heads. Six levels of sharp-edged points culminate in an eighteen-inch rod atop the leader's mask, making his total stature nine feet. Are <pb n="111" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_111.jpg" /> these tribesmen about to execute some primitive ritual celebrating male fertility? Below the photograph the caption reads: "Famous architects forming a miniature skyline of New York as they don their Beaux Arts costumes." The symbolic predilections of skyscraper architects have rarely been shown so clearly: urban professional men require a social occasion to turn themselves into a Dionysian landscape, a miniature version of the revenue-generating skyline they promote in their daily work.</p> </div> <div> <head>Reality: Urban Bankruptcy</head> <p>Whatever the myths about their phallic power, towers have proved economically powerful, but in a negative as well as a positive way. The glorification of the "procreant power" of the skyscraper serves to obscure the drain on municipal finances which towers create. Many urban historians have described the American urban downtown as a three-dimensional graph of land speculation, and locating clusters of towers is a quick way to guess at land values. Yet although tall buildings reflect the desire for maximizing private investment in a city based upon private land ownership, skyscrapers are not always profitable for their developers. For whom is skyscraper revenue generated? And how is it calculated?</p> <p>A need for immediate usable space is never enough reason for building a skyscraper. The construction cost of several low-rise buildings is almost always less than the cost of equivalent space in a skyscraper since expensive foundations and unusable space for elevators and mechanical equipment increase as the tower goes higher. Land cost, rather than building cost, is the justification: a very expensive piece of downtown land may be said to "require" a skyscraper to explain its price. <note>15. One example of the older literature describing economic "rationality" is William C. Clark and J. L. Kingston, <title level="m">The Skyscraper, A Study in the Economic Height of Modern Office Buildings</title> (New York: American Institute of Steel Construction, 1930). Clark and Kingston rationalize a profitable 75 stories. During this period 75 stories was often exceeded and the Empire State Building was under construction including 102 stories.</note> But the height of such a skyscraper will not be calculated on the city's needs, nor even on the current value of the land and the existing density of the area. Rather, a developer calculates the rising land values created by present and future skyscrapers, and makes a guess about how much more land speculation the neighborhood will bear. Developers who try to profit from the inflation of urban land values in this way almost always leverage their capital with large bank loans. Banks of course receive large amounts of interest. Developers therefore attempt to minimize their indebtedness by hastening the construction process (with the hazardous consequences for workers previously described) and by taking advantage of the federal tax structure and selling tax "shelters" (derived from real estate tax loopholes) to profit-making industrial corporations.</p> <p>While banks and large tax-sheltered, industrial corporations can always profit from the "procreant power" of the skyscraper, real estate developers hope for rising land values to justify their investments. Meanwhile, taxpayers bear the huge public costs of infrastructure and services for skyscraper developments. As Stephen Zoll argues in "Superville," "an increasing CBD (central business district) bulk becomes, itself, the principal sink in the municipal treasury." <note>16. Stephen Zoll, "Superville: New York, Aspects of Very High Bulk, <title level="m" >Massachusetts Review</title> (Summer 1973), p. 538. Zoll provides an eloquent discussion of political and economic factors in skyscraper construction with an extended bibliography. A former New York City employee, he sees the need for cities to reform their accounting systems and show the social costs of CBD density.</note> His persuasive historical analysis of high rise economics in New York explains why skyscraper construction is disastrous for the city's budget: municipal tax revenues never catch up with the spiraling costs of infrastructure which the city must provide. Attempts to control urban density through zoning or to raise taxes are usually met with corporate threats to leave the city altogether, which would cause unemployment. Caught between financial drain and the skyscraper and the threat of unemployment, the city loses either way.</p> <p>The tactics of land speculation and of transferring infrastructure costs to the city budget explain some of the reasoning behind the craze for skyscraper height, but there is still more to explore. Since the turn of the century many developers, aware of the economically and technologically "optimal" level of speculation on a given parcel of urban land, have chosen to build ever higher, and urban officials have accepted this. The builders have sacrificed high economic returns in order to enter a citywide, nationwide, or worldwide competition for height and prestige. <note>17. Many cities are engaged in such symbolic battles. Perhaps the most extreme ironies are the deliberately misleading understatements issued by builders during construction, in order to fool competitors into thinking that the new structure is less tall than it really will be. Suzanne Zwarun, in "The Calgary Tower," <title level="m">Interlude</title> (Oct.-Nov. 1976), p. 9, writes about Calgary's Husky Tower. The developers lied, she explains, boasting of 613 feet when all the time the structure was 626 feet. "The developers kept thirteen extra feet in reserve to protect the image of the Canadian west.....They knew some dirty rat would toss a few more feet on a project somewhere, just so it would out-tower the Husky Tower... Take that, San Antonio.</note> In terms of monopoly capitalism, although the tallest building in town may not be quantitatively efficient as office space or housing it is qualitatively efficient in promoting dominance over an urban region: towers are landmarks which can be seen from many distant viewpoints. They become symbols of corporate dominance over the city as well as the city's dominance over the region.</p> <p>The goal in building these extremely tall skyscrapers is psychological "procreant power" or awe. Awareness of the power this kind of architecture offers is reflected by the skyline of Washington, D.C., where skyscrapers over 90 feet tall are forbidden by law, so that the Capitol reigns as the highest structure. For many years, beginning in 1931, the Empire State Building was the tallest in the world; its pretentious name and an overbearing lobby mural showing the building dominating a map of New York, "the Empire State," enhanced its awesomeness. The World Trade Center rose higher in 1969. Its even more imperial name reflected an obvious attempt to supercede the Empire State Building. Yet in both cases symbolic posturing concealed unrented space, as these hulking developments were planned to exceed all calculations of needed office space in the city. Knowing that the World Trade Center was not fully rented, the owners of the Empire State threatened to build just enough extra structure to overtop them in the 1970s, and triumph again. They didn't pursue this competition however, and as a result the 1976 version of the film <title level="m">King Kong</title> transferred the symbolic confrontation of the "natural" ape and the "civilized" capitalists from the Empire State, where it was set in 1933, to the World Trade Center, now the tallest structure in New York.</p> </div> <div> <head>Third Fantasy: "Tm Taking the Town!"</head> <p>While municipal governments struggle with the high costs of the skyscraper, and builders seek both financial and psychological "procreant power," popular novels and films employ skyscraper imagery to create fantasies about sexual power and upward mobility for "ordinary" people in capitalist society. In the 1970s, women may be cast as executives or stockbrokers in these fables of success. A fashion advertisement compresses many strains of oppressive imagery—militarism, sexual power, false social mobility. Two models wearing suits with military tailoring pose holding statuettes of the Empire State Building. "Thinking positive... The way to make things happen in the city where everything's possible," reads the copy. "In soft, smokey officer's pink, I'm in my element, making strides and taking them.... My head's in the clouds and the view's terrific. Officer's pink in sleek new shapes, that are budding with potential. I'm perfectly suited to the pace of The City...." The dialogue concludes, "I'm <emph>taking the town</emph>...."</p> <p>In the movies of the 1920s and 1930s, it was more common to see women encountering skyscrapers as stage-struck young things coming to the big city to seek stardom. Sustaining individual competitiveness in times of collective difficulty, the most successful films of the Depression years, as Martin Pawley has observed, "dealt with the random access to power and influence in high society of 'ordinary' people." <note>18. Martin Pawley, <title level="m">The Private Future</title> (London: Pan Books, 1974), p. 30.</note> Often such hopeful movie romances occurred in skyscraper offices, skyscraper penthouses, and skyscraper night clubs.</p> <p>In a production number from the 1933 film musical <title>42nd Street</title>, miniature skyscraper tips, glowing with colored lights, saluted Ruby Keeler as a sweet kid who managed to become a <pb n="112" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_112.jpg" /> star, and the manipulation of skyscraper scale made her seem larger than life. A film critic recently commented on the effects of this process: "...life in New York is made more than bearable by the fine romance this city has always had with the movies. We have been exalted by a Hollywood version of ourselves that is often no closer to reality than this scene. This is Big Flick City— and welcome to it." <note>19. "New York's Love Affair with the Movies," <title level="j">New York</title> (Dec. 29, 1975), p. 33.</note> Another Ruby Keeler film, <title>Go Into Your Dance</title> (1936), elaborates the cinematic process by which New York's hostile environment is "made more than bearable" by the association of the skyscraper with themes of personal success and imperialist corporate expansion. In a night club at the top of a New York tower, Al Jolson in blackface sings, "She's a Latin from Manhattan," about the fantasy of one "ordinary" person making it in the big city. Then Ruby Keeler and other performers in evening dress engage in a dance routine of world domination, climbing up and down a globe, tap dancing on various countries of the Northern Hemisphere to the tune of the title song with its catchy Depression lyrics, "When you feel sad and blue now, go into your dance!"</p> <p>While these examples show women succeeding, most American skyscraper fantasies have dealt with male success and mo bility, suggesting that an industrious young fellow may develop a personal empire of banks, shipping lines and factories, and build a skyscraper from which to look down on them. Architect Howard Roark, hero of Ayn Rand's novel, <title level="m">The Fountainhead</title>, and of the 1949 film based on it, endows this plot with an artistic rather than an entrepreneurial tone. Roark, played by Gary Cooper, stands for the survival of the fittest. A poor boy who made good, he fights the "creeping socialism" of his time by designing buildings for tycoons so he can develop his creative genius. At the film's end, Roark stands, remote and supreme, atop a new skyscraper he designed. He is joined there by Dominique Francon, an architectural critic who has been moved to ecstasy by an elevator ride up the side of this building. Roark "takes" both the town and the world of cultured society Francon represents; in fact, early in the story he rapes her and she is rapturous.</p> <p>Skyscraper restaurants and hotels trade on the renewal of this sort of cinematic fantasy. For the price of a drink or a meal, you can share the reflected power of a skyscraper location. One nationwide chain of penthouse restaurants advertises, "Make a top decision," <note>20. Make a Top Decision," Stouffer advertisement, <title>Mainliner</title> (United Airlines' Magazine, Nov. 1976), p. 100.</note> implying executive success for those who dine at at the top of a tower. Woody Guthrie made fun of such aspirations when he sang about the Rockefeller Center bar and grill, This Rainbow Room is up so high/ That John D.'s spirit comes a-driftin' by.. " <note>21. Woody Guthrie, <title level="m">Bound for Glory</title> (New York: New American Library, 1970), p. 292.</note> but this did nothing to affect its popularity. Although the tip of a skyscraper is an especially charged location, the rest of the skyscraper also has powerful symbolic associations: one foreign resort hotel advertises its advantages to New Yorkers with a photograph of a phallic building superimposed on the bikini-bared torsos of three models. <note>22. Smack-Dab in the Middle," advertisement for Rio Orthon Palace, <title level="j">New York</title> (Dec. 13, 1976), p. 139.</note> Whether they want to be chief executives or simply sophisticated playboys, clients of skyscraper restaurants or hotels are encouraged in their fantasies of power and control.</p> </div> <div> <head>Reality: Urban Oppression</head> <p>In the romantic world of popular films and advertisements, life in the skyscrapers is a whirl of money, power and sex. But as more and more people of all economic classes live and work in skyscrapers, the oppressiveness of these environments cannot be denied. In the 1960s and 1970s, community groups and workers' organizations began to detail the social and physical problems of skyscraper life. Injuries to workers building skyscrapers continued, accompanied by the problems created by the completed skyscrapers themselves.</p> <p>Ever more gigantic skyscrapers, when placed in urban plazas, could create dangerous wind forces (up to 175 m.p.h.) that hurled pedestrians off their feet. The towers themselves had to be designed to resist wind forces, but unforeseen difficulties could occur, as in the John Hancock Tower in Boston, where winds wrenched gigantic sections of mirror glass from the curtain wall, hurling them to the sidewalks below, terrorizing citizens with resounding smashes. Amazingly, there were no pedestrian fatalities.</p> <p>Urban residents also complained of enormous skyscraper shadows darkening whole neighborhoods and changing the ecology of local parks. Motorists and pedestrians found shadows were only half the problem with mirror glass buildings which, on their sunny sides, reflected blinding flashes of light into cars and homes. Community groups in San Francisco documented such difficulties when they fought construction of the Transamerica Building and other high-rises. <note>23. Greggar Sletteland and Bruce Brugmann, eds., <title level="m">The Ultimate Highrise: San Francisco's Rush toward the Sky</title> (San Francisco: San Fran cisco Bay Guardian, 1971).</note> In Boston, community groups have slowed but not halted construction of the Park Plaza project, whose shadows will darken the Public Garden.</p> <p>Workers inside the towers have added their complaints to those articulated by urban residents. Endlessly repeated sky-scraper floor plans reflect hierarchical design which allots interior fluorescent-lit spaces to predominantly female clerical workers, and exterior offices with natural light and views to predominantly male executives. New trends in office landscaping" using low partitions and plants may mute the most obvious effects of such plans, but light and space are always assigned according to status. In the John Hancock Tower, formal rules allow a senior vice president 406 square feet of space compared to a clerical worker's 55. <note>24. Susan Quinn, "My Desk Is Bigger Than Your Desk: Playing the New Office Status Game," <title level="j">Boston</title> (March 1977), p. 78.</note> If clerical workers constitute the majority of the towers' populations during the day, cleaners work predominantly at night—squads of men and women, poor white, black and foreign born workers. The best paid have extremely perilous daytime jobs washing windows or polishing facades, hanging on scaffolds as high above the streets as the ironworkers. The night shift works for lower wages, and the thrill of seeing the city lit up at night is, after all, the frisson of watching thousands of these cleaners at work.</p> <p>One of the most serious hazards to all workers in high-rise buildings, by day or by night, is fire. The skyscraper is constructed to resist fire, but if faulty wiring or a smoldering cigarette causes a blaze, then escape from a burning tower can be extremely difficult. Stairwells may fill with smoke, elevator shafts can act like <pb n="113" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_113.jpg" /> chimneys, and traditional firefighting ladders cannot reach the upper floors. The Towering Inferno, a film about skyscraper conflagration, was playing in New York on the evening of Valentine's Day, 1975, when a moderately serious fire broke out in one of the two World Trade Center buildings there. Because the fire took place at night, most of the thirty injured were fire fighters and cleaners. Building officials managed to calm the thousands of daytime workers, who were unnerved to learn that New York fire codes had not been followed in the construction of the complex. But as skyscraper fires occur every few months around the country, one expects protests to increase. <note>25. Trade Center Fire Stirs Row," <title level="j">New York Daily News</title> (February 15, 1975), p. 1.</note></p> <p>Since the skyscraper has been established in popular culture as a place for "taking the town," personnel in skyscraper offices are exposed increasingly to scenes of conflict at skyscraper tips, which are harrowing to the police, firemen, or passing workers who are involved. Bomb threats are not infrequent in corporate towers, and sometimes there are explosions and kidnappings as well. A <title level="j">Los Angeles Times</title> story for December 7, 1976, headlined "Gunman Holds Hostage Atop Skyscraper: Youth Gives Up After Antismoking Message Is Read On Radio," tells the sad story of a youth trying to attract attention in his crusade against lung cancer by "taking the town" with a weapon and a hostage.</p> </div> <div> <head>Fourth Fantasy: "Within the City, Without the City's Problems"</head> <p>In the movies the skyscraper was first presented as a place for dramatic encounters, celebrations, and awe, but as it became the standard building in the center city, the alienation of workers and residents increased. Pre-war fantasies of beautiful, shining tower cities—such as Hugh Ferriss' romantic renderings and Le Corbusier's plans for a Radiant City—led to extensive urban renewal programs in the 1950s and 1960s, when office towers and upper-class housing were joined by the grim, stripped-down tower in a field of asphalt as the preferred solution for public housing, a vertical filing cabinet for the urban poor. While such programs added towers to the already densely built-up cities of New York and Chicago, other American cities like Boston and San Francisco were "Manhattanized," developing predominantly skyscraper skylines for the first time. During these years the expanded activities of many American corporations and American architects abroad led to the exportation of the skyscraper, promoting corporate visibility and land speculation from Paris to Nairobi.</p> <p>The builders of this era succeeded in realizing the goal of an earlier generation of architects—a city composed largely of towers. As a result, they multiplied the economic problems of the metropolis and the social problems of skyscraper workers and urban residents, but the next generation of fantasizers never let up. Although the city was being turned into a field of towers, the supertower could still stand above it. Frank Lloyd Wright produced a plan for a mile-high skyscraper in 1956. Urban mega- structures proliferated on drafting boards in the 1960s, and in the 1970s, Paolo Soleri continues to lead the utopian skyscraper architects with endless plans for "Arcologies" with towers hung upon towers. (He uses the Empire State Building as a scale symbol to dramatize the size of structures many times its height.) The World Trade Center in New York, the Transamerica Building in San Francisco, and the Sears Tower in Chicago have all set new records for skyscraper height in these cities, but the quest for architectural dominance does not rest with the supertower which is the tallest building in town.</p> <p>The 1970s have brought a new kind of skyscraper which simply swallows up the city. Instead of a tower being presented as the typical building in the center city, it becomes a substitute for the city. More and more resources and activities are concentrated inside, while problems—wind, shadows, glare, utilities, transportation—are left outside for the municipality to deal with as best it can. In New York, Rockefeller Center anticipated this trend with offices, shops, restaurants, pedestrian spaces, and a skating rink. The World Trade Center is a city of 50,000 within a city of 8,000,000. With its own police force, newspaper, and restaurants, the complex is in many ways a private urban realm of government agencies and corporations set down in the public city of New York. This is a workaday complex, even more deserted at night than Rockefeller Center. Chicago's John Hancock tower, in contrast, functions as a 24-hour skyscraper city, providing housing as well as stores, restaurants and offices. Some residents may rarely emerge; others call the doorman to check the weather (which they live above) before they venture down from the clouds into the real Chicago below.</p> <p>The ultimate skyscraper development goes even further than these giant towers, incorporating urban landscape as well as residential, commercial, and recreational facilities into its interior design. John Portman's hotels in Atlanta, Cambridge, and San Francisco are hollow towers or pyramids advertised as being as exciting as (and implicitly safer than) the city outside. Interior courtyards and glass elevators allow for the traditional skyscraper observation to occur within rather than outside of the tower. The visitor experiences the thrill of riding to the top of the tower, but the views are carefully controlled vistas of the circumscribed, artificial, urban life within the hotel. Going them one better, two new Atlanta complexes include a lake and an ice skating rink as private skyscraper landscapes on their ground floors. Other build ings reveal the same privatization of landscape. The Ford Foundation Building in New York surrounds an interior garden. The penthouse farm of Stewart Mott, with its "natural" earth loaded onto a New York tower, shows that"nature" can be put on top of a skyscraper rather than left in a public place.</p> <p>As the American city is economically drained and environmentally destroyed by the skyscraper, developers of tower apartments, hotels, and office blocks sell back a limited, guarded version of urban life to those who can afford it. (This is, after all, what Disney and the'developers of "adventure parks" have done, selling synthetic American rural and small town landscapes.) The new, private tower cities exclude the poor, minorities, the aged, and the unemployed. Fortified by private police forces and by the best technology industrial security firms can supply, these private towers recall the militarism associated with the centennial obelisks and military watchtowers. They pose an extreme answer to urban oppression, selling the urban experience without an urban <pb n="114" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_114.jpg" /> reality. They want customers to "take the town," and since the real town is too far gone, they offer a substitute.</p> <p>While urban escapism flourishes and builders construct skyscrapers of the present decade, satirists and science fiction writers have provided strong critical images of a world of urban towers being erected amid urban rubble. "Superstudio, a collective of Italian architects, mocks the trend in their "Twelve Cautionary Tales," with a design for a skyscraper factory stretching around the earth, churning out new towers as fast as the old ones cruble. <note>26. Superstudio, "Twelve Cautionary Tales for Christmas: Premonitions of the Mystical Rebirth of Urbanism," <title level="j" >Architectural Design</title> (Dec. 1971), pp. 737-742.</note> On the same theme, J.G. Ballard's story, "Build-Up, describes a world where high-rises cover the earth, except for blacked-out spaces where they have collapsed, and subways and high-speed trains are replaced by vertical and horizontal ele vators. <note>27. J. G. Ballard, "Build-up," in <title>Cronopolis</title> (New York: 1971), pp. 218-240.</note> For every such satirist, there are many more individuals planning new supertowers, perhaps justifying their projects with the rhetoric of a New York housing developer who advertises his expensive high-rise apartment block as being "within the city but without the city's problems." <note>28. The Century, ""Look Up, New York!" advertisement, <title level="j">New York</title> (Nov. 22, 1976), p. 45.</note> Skidmore Owings and Merrill offers the perfect architectural expression of this slogan in two of their newest commercial blocks on 57th and 42nd Streets in Manhattan. On each building, a concave facade covered in mirror glass manipulates the view so it appears from below that all the rest of the city is toppling, giving a doomsday twist to the perennial competition for skyscraper size as well as reinforcing the idea that the only city worth experiencing is inside, not out side, the skyscraper.</p> </div> <div> <head>Making Changes—Fantasy and Reality</head> <p>Criticizing the design of skyscrapers will not make them disappear, whether the criticism comes from a revisionist historian, an outraged citizen, or a pragmatic urban budget analyst. Patterns of corporate growth and patriarchy have determined the <pb n="115" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_115.jpg" /> history of the skyscraper. The economics of urban land development today make it impossible to effect major changes in present building trends without a political revolution to socialize all urban land. In the meantime, at least some attempts in changing consciousness can begin. To understand the skyscraper and its place in the American city, we need the perceptions of all skyscraper workers and urban residents, women and men, as well as the specialized insights of architects, artists, and social critics.</p> <p>As a nation, we have exported the skyscraper around the world. Like pre-Copernicans who dismissed anyone who disputed the place of the earth as center of the solar system, today's American design professionals often exclude from serious architectural and urban discourse anyone who refuses to accept the importance of the skyscraper to "rational" urban design. Romantic notions of military preparedness and "manifest destiny, dreams of economic conquest and "survival of the fittest," fantasies of social mobility and sexual power, all have been marshaled in support of the skyscraper during the past century. All still flourish as skyscraper fantasies today. Designed first as urban monuments, then as typical urban buildings, then as synthetic cities, American skyscrapers attest to the power of fantasy to confuse our perceptions of urban reality. If we look up, we can read in the skyscrapers' looming shapes a reminder that our culture depends on false hopes of economic mobility as well as on rigid hierarchy, and that it thrives on social seduction as well as on architectural rape.</p> </div> <div> <p> I presented a preliminary version of this paper at the Woman's Building in Los Angeles in March 1974 at a conference on Women and Design. I would like to thank Whitney Chadwick, Robert Manoff, David Hodgdon, Peter Marris, Jean Strouse and Susana Torre, who made extensive com ments on early drafts, as well as Sheila de Bretteville, David Gordon, Rosaria Hodgdon, Jane McGroarty, and Gwen Wright, all of whom sup plied encouragement, material or important perspectives. Klaus Roesch did expert photographic research; Ets Otomo and Thea Muscat typed with precision and speed; members of the Heresies staff helped enormously with the final version. Copyright 1977. Please do not quote without written per mission of the author.</p> </div> </div> </body> <back> <p> Dolores Hayden is a fellow at the Radcliffe Institute and assistant professor of architecture and history at MIT in Cambridge. This essay is part of a book in progress that deals with contemporary American cityscapes, entitled The Dream at the End of the Line.</p> </back> </text> </TEI>
From the Pink and Yellow Books Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>From the Pink and Yellow Books</title> <author>Poppy Johnson</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Lyndon Beier</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-Present)</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Patterns of Communicating and Space Among Women</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> </teiHeader> <text> <body> <pb/> <div> <pb n="93" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_093.jpg"/> <head>From the Pink and Yellow Books</head> <byline>Poppy Johnson</byline> <epigraph> <p>The context of my writing is the performance situation which I set up at Artists' Space, the Leo Castelli Gallery, and the Whitney Downtown, where a video camera on a tripod behind me instantaneously transmitted the image of the letters, words, sentences as they were written to a video monitor across the room. The pink book was written in anticipation of performing, the yellow book is one-third performance and the blue and sub sequent books consist only and totally of material written in performance.</p> </epigraph> <div> <head>Pink Book</head> <p>Beginning at the beginning. Which is rock bottom. To be an artist who has not made any art for two years is very depressing. I have been very happy and absorbed. I had two perfect little bodies come out of my body. My body was huge and soft and full of milk. I held and nursed and fondled and fed and dressed and undressed and talked to and listened to my babies in an unending orgy of interdependence. Since Mira and Bran were born I have had no time to myself except sleep. But now I have been hired by Carl Andre to do this job of sitting for three hours a day in an old green space with a sign eight feet from my right eye about possibilities for art production.... So Carl is unwittingly my first patron (this work), my inspiration and my competition. My materials were paper and pen, now I have a typewriter here so that what I am doing now is part typing what I have already written and part writing now and it all has to do with the future. My economic resources are not vast, but neither are my needs. I figure I need $500 a month to support myself and half of two children which works out to $8.20 an hour if I work three hours a day five days a week which is all I want to spare right now from my children. The economic resource I have right now from this job is really time. The rest is all my subjective characteristics which will be manifest in the work which is to write whatever I am thinking publicly so that it can be simultaneously read. I am not being particularly clear, but this is the boring part where I am trying to elicit interest and support and collaboration or patronage or whatever. Already I feel a need to rewrite the beginning. This work is writing about this work.</p> <p>Writing about this work is this work. I am keeping my private journal publicly. I am the Delphic oracle. I am studying to be a shopping-bag lady. I am redefining art. I want to be in a public room with a typewriter and some machinery, maybe video, that could shoot a written page of 8½ by 11" paper and project the image of it on a wall or screen, but so it is easily legible. The room is somewhat dark except for a good light on my typewriter. I am writing down whatever I am thinking as fast and completely and well as I can. People come in and watch and read. There is a xerox machine somewhere so that xeroxes of pages may be made. I want to find out what and how I think. I want the publicness of it to interact with the process of finding out. I like using machines although I am not technically proficient and comfortable with them because they and art are the two metaphors for the mind that I am always bumping up against ... It isn't terror. It isn't joy. It's some sort of physical sensation which starts from the very top of my head and ripples down to my buttocks since I'm sitting. If I were standing it would ripple to my feet and make my insteps tingle. I'm stoned. If I thought it were terror I would be terrified. If I thought it were joy I might be still and meditative and happy, but that is different from this absorbed state of working that I am in. This is where there is that possibility of inarticulableness, either stoned or orgasming or making or con templating art or mystical experiences. There is the temptation of feigning speechlessness because of fearing the inadequacy of words. It can't be the words that are at fault, but my laziness.</p> <p>Outside there is a New York sirocco blowing hot restless moving air all around my legs and hair. It's exciting but disturbing since I'm wearing only a light short cotton dress and a pair of under pants. A pair of underpants is only one thing unlike a pair of mittens. I feel naked and lustful and agitated. I just thought about Gertrude Stein and Jill Johnston as heroines, but I didn't like to think it because it broke my other train of thought. I'd rather stay physical today. While digging in my purse for cigarettes (a man wouldn't have written that) I found a three-inch high light gray plastic horse, missing its flowing tail but complete with flowing darker mane and red indented nostrils and lips, that belongs to my children. Well, I bought it for them but it's questionable if children actually own things at all.... I remember Lambie, a big soft stuffed white lamb I slept with, and later used to dust with my mother's perfumed talcum powder to make him white again. Funny that I thought he was male. I wonder when I started dividing the world that way and what arbitrary rules did I make up in unknown gender cases like toy animals and why.</p> <p>I did write a list of the first hundred words the babies spoke, but I haven't written them a journal of their daily activities. That's their bedtime story every night anyway so I suppose I could tape it and save it for them for eternity. “Once upon a time there was a little boy named Bran and a little girl named Mira and this morning they woke up very early and woke up their mommy and daddy and had eggs for breakfast and...." Every once in a while I get conscious of switching the order girl/boy, boy/girl, every alternate night, but often slide back to Bran/Mira several nights in a row. I even started telling it “Once upon a time there were two children, one named Mira and one named Bran... so that there wouldn't even be the boy/girl differentiation at all, but I'm afraid that they and I are already conditioned that way. Bran is masculine and Mira is feminine and they get more and more different every day. I hope that Mira won't hate me when she grows up. I hope that all the femininity that I have inevitably inculcated in her will be perceived as positive and valuable instead of the degrading powerlessness I have often been made to feel. The only way I can attempt to assure that is to make sure she grows up with good images of female power surrounding her, starting with my own self. And that means not totally answering her current demands of all my time and affection and attention so that I can go out and get myself powerful and make sure that I feel it and feel good about it. Which is difficult to do.</p> <p>Which I'm not pretending to do for her sake, but knowing that it is also for her makes me stronger. It's for Bran too but not as empathetically. For a long time I was taught to see my mother, and she was being convinced to see herself, as a mean, castrating, frigid, evil bitch. I don't blame her for that, but I would blame myself if I let Mira suffer the same thing. She will have to suffer something else. Some new pattern. In my mother's family one only talks about the women, at least as far back as the civil war, because they were the interesting ones and/or they lived longer.</p> <p>Anyway it is the female line that is traced. I read a diary of my mother's mother's mother's mother who was a southern belle named Emma Munnerlin, daughter of a rice plantation and slave owner, who married Charles Stocking, a yankee whose family had been long settled in the Connecticut River valley. He made a small fortune and then the civil war broke out and his brothers <pb n="94" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_094.jpg" /> and cousins were all fighting for the union. He got wiped out financially and went catatonic for a while and then just psychotically morbid and depressed and afunctional. Emma's brothers and father were killed and ruined so she had to move north with two infant daughters and a crazy husband and support every body by giving french and music lessons to the local yankee daughters. She didn't complain in her diaries and they are not too exciting to read unless you already know the story and empathize a lot. She had been brought up with a personal slave companion, a girl a little older than herself, who brushed her long hair for her every morning and every night. They must have started out like twins or best friends or lovers and been trained to accept their difference in status. Her slave would have been the real child of the black woman who suckled her and the reason the woman was still full of milk for the little white baby. It is easier to imagine the rage that the black baby girl woman might have felt but probably didn't than to understand what subtle unconscious mixtures of interdependence and guilt and affection and tyranny Emma might have felt. Either way there's no record of it. Only imaginings based on experience or literature or movies. One of my best friends throughout high school was a very brilliant, angry, tricky and unfathomable black girl, one of the three or four blacks in the whole hypocritical elitist bourgeois school. I am a complex and conscious racist. I wish I weren't a racist at all, but l am a racist and a sexist and would probably be a capitalist imperialist if I had the chance. Fighting those things personally can either give or take away the strength to fight them on a political level....</p> <p>When Eva Hesse died, some friends of mine were moving into her place on the Bowery, and they knew how poor I was, and they said I could have any of the materials I could salvage from the heaps on the floor. I took inks and charcoals and water color sets and oilpaints and cords and tubing and strings and bits of rubber and everything. I figured it might be magic and I needed all the money I was making (working for a real estate agent in Brooklyn) for food anyway. I can never have too many bottles of half-evaporated foul-smelling multicolored Higgins ink and little wads of used art gum erasers. I carry it all with me from studio to studio. First to the 5th floor of 323 Greenwich St, then to Mulberry St, then to the country, then to the 4th floor of 323 Greenwich St, then to 319 Greenwich St. It comes in handy. Except for the horrid little nose masks for working with plastic.</p> <p>One time I used a whole lot of that material plus other stuff to make work in the woods. I was reading a lot about shamanism at the time and, while thinking, I would spend all day in the woods, one late summer into fall, making things from painted strings and painted wood and the trees that were there and the rocks and a brook and rubber slingshots and the works were visible enough to be photographed but invisible enough to be magical traps. Nobody ever saw them except the man I lived with and the man who used to own the woods and still walked his dogs there and perhaps an occasional hunter. I always wore red when I worked so I wouldn't be shot at. And big rubber boots so the copperheads and rattlesnakes wouldn't bite me. One weekend some people were coming to visit. A critic and a painter. I was very excited because I wanted them to come see my work. I worked hard on Friday afternoon in the woods (after cleaning the house and shopping and making beds etc.). They arrived for supper and it was dark. I woke early Saturday morning from excitement and anxiety and went walking to the woods to see everything once more alone before it became public and found everything I had done wantonly destroyed and stolen and dragged away and gone. This art is writing about this art.</p> <p>Writing about this art is this art. I love grammar but I don't understand its relation to meaning. If thoughts are born in words, as words, then the grammar is part of their initial existence. If thoughts are born not words, then the words come next and then the grammar is invented for them that puts them in the best order. My daughter has just invented or discovered a sentence that she says all the time which is the question “What is the -doing? -being any noun she knows, mommy, truck, daddy, brother, cookie, kitty, chair, table, toy, etc. I answer the question as best I can when it refers to anything capable of action (doing) but I get confused by "what is the cookie doing?" Sometimes I just say "it is" or "it is being a cookie" or 'the cookie is sitting on the chair where Mira left it, waiting for Mira to hurry up and eat it before Poppy or Bran does" or "I don't know, Mira, what is the cookie doing?" to which she replies "UH." She has three answers to the kind of questions that I don't know the answers to myself, No, Yes, and uh. It is not grammar, anyway, which is only a structure, but the enormous number of words and then the mathematical infinity of combining any two, three, seven, twenty-four, thirty-three of them in one sentence that staggers the imagination....</p> <p>I've been thinking about Suzanne Harris' work <title>Locus Up.</title> It is experientially describable as a saint approaching death. It is made of sand and stucco walls. Suzanne looks to me like a combination of Joan of Arc and Saint Sebastian by various renaissance masters. I think she is very beautiful. That may not be relevant but I wrote it anyway. The saint approaches her death. She walks slowly in the sandy desert and the horizon melts away as the sand rises symmetrically on either side of her progress. She won't look back which is the only way to see the world and people and life she is leaving behind. She looks straight ahead at a narrow dark doorway cut into the mound of sand ahead. Inside is a cool, dark but short passageway that immediately and clearly opens into a bright round limited space. In the center of the bright round space, so huge that it takes up three-fourths of the space is an implacable white cube. The saint looks up into the blue sky above. She has left everything else behind and entered into her own metaphor for her soul, hermetic and infinite. She is not afraid.</p> <p>I wrote a very long list of all the women who I think are beautiful that I have been in the same room with. This is all related. I have been trained by art at the service of society to see certain things as beautiful: sunsets, flowers, stars, jewels, fruit, oceans, shells, trees, mountains, circles, colors, sunrises, and rocks and mothers with children and gold and sunlight and eyes and animals and glass and wood and shiny things; calligraphy and birds and structure and dragons and hills; stars and moon light, boats, flags, crucifixions and repetition and liquids, flight and the lives of the saints, altruism and patriotism and irony, rhythm and power and women. This list could be short if it were generalized and long if it were particularized. Very few of the women on my list are mothers, so why did I want to be a mother? I thought of two ways to be useful on this earth. One is to alleviate human suffering which would make one want to be a saint a scientist a revolutionary a doctor a politician a nurse a teacher a social worker a mass murderer a saint a mother an artist an entertainer a whore a mathematician or to add to human joy by being.</p> </div> <div> <head>Yellow Book</head> <p>It might be possible to believe that Chang Ching truly tried to revolutionize culture or the relationship between people and culture and that is why the bureaucrats who seem to be in power now are afraid of her. The New York Times says her revolu tionary operas were rigidly propagandistic but they see propa <pb n="95" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_095.jpg" /> ganda as a pejorative word and what do they know anyway? It interests me that she was an actress and perhaps an adventuress and I imagine she has been made to suffer because Mao sent his loyal wife of the Long March, who bore him children given to peasants on the route and then lost, off to Moscow and then divorced her so he could marry young Chang Ching. My son is crying in his room. It is ten o'clock at night and he is supposed to be learning to go to bed without me lying beside him or singing songs or telling stories until he goes to sleep. If I do all or any of those things his father gets mad at me. If I don't he cries and his father gets mad at him and then at me because it is my fault he cries and it takes hours before everyone calms down because I get mad too. All that writing was interrupted by my going and lying down beside Bran and holding his hand and within five minutes he fell asleep. The other night both children were in the bathtub and I gave them two roses from the dozens given me at my performance to play with. I dethorned them first. I got in the bathtub with them and they were pulling the petals off the roses and we all decorated each other with rose petals. But I worry about Chang Ching. What if both she and Mao had been mythologized together, as an inseparable passionate toward each other and passionate to the revolution pair. He would seem less a father if he were also seen as a lover. Wasn't it Justinian and Theodora who ran such an ideal government and she had been a dancing girl or something. I know I used to think that all men were republicans and all women democrats. (My daughter sometimes declares that all girls have blue eyes and all boys have brown eyes, but now she has a blue-eyed doll with a penis so her faith is a bit shaken.) (She also knows her brown-eyed halfsister has a cunt which is the word used opposite penis in this house because vagina is just not one of my favorite words and cunt is despite its frequent misuse as an insult.) I was taught that men were republicans because they had to worry about money and they didn't like to give it to poor people and that women, because they didn't have to work and are naturally extravagant and generous and soft-hearted, are democrats and fuzzy-headed liberals. Also because women can afford to be idealistic and hopeful whereas men have to be cynical to survive in the jungle. There is probably no demographic truth in that, it was only my own family. I am registered and almost always vote as a democrat but my real party is the changchingist communist party, which is entirely feminist and attempts to integrate art and life in a truly revolutionary manner. This party has only just now been imagined by me and its inspiration is languishing under house arrest in Peking on the other side of this funny round world, but the...</p> <p>Our loft is very odd now. You walk in and are confronted with what is either called a what-not or a marbletop, being an elaborately carved wooden object with a mirror and knobs for hanging coats and bags and a marble tabletop for throwing keys and letters and a drawer for lint brushes and miscellany, very victorian and handy. Then you turn right into a wall giving you three choices. December 2nd. You see, yesterday was short and unsatisfactory. There was a chinese piano tuner and a dinner party, the place I live in was not described, a tiny baby and very cold weather. My eyes are heavy-lidded, always have been. I don't look innocent. I have of course been told that my eyes are beautiful, but they aren't. They are hooded and abandoned and of a blue more organic than mineral. They feel tired except when I remember they are round balls mostly inside my head. They are not just what they appear. Once I saw a short accompanying a movie which was made for german children to explain the physiology and physics of the eye. I especially remember the waves of color, the red short and angry jumping and the blue long and peaceful wavy like the ocean. Then they made gray rosebushes turn all red. Would that it were that simple. I hate mysteries. I would truly like to know everything. I'd like to begin with all the most important things and then all the subsidiary facts would just fall into place in an orderly way and wouldn't be worrisome instead of just accumulating a lot of small things and reasoning out their places to build a structure I cannot imagine the shape of until I have finished building. I would like some blinding flashes like Einstein had on the trolley. I would like not to have to work so hard and be so heavy-lidded. I would also like not to think that I have to read a lot of books, that there I might find enough details for my constructions. No, I scream at myself, that is not where it is found these days, politely hiding on a quiet page, you might find it in the bathtub with your body or in socratic dialogues with your peer group or even in a cultural manifestation, but, no, never just sitting in a book. </p> </div> </div> </body> <back> <p> Poppy Johnson is an artist who lives in New York. </p> </back> </text> </TEI>
She Sees in Herself a New Woman Everyday Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>She Sees n Herself a New Woman Every Day</title> <author>Martha Rosler</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Lyndon Beier</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-Present)</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Patterns of Communicating and Space Among Women</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> </teiHeader> <text> <body> <pb/> <div> <pb n="90" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_090.jpg"/> <head>SHE SEES IN HERSELF A NEW WOMAN EVERY DAY</head> <byline>MARTHA ROSLER</byline> <p> I called you today, we spoke a long time, you and I. You were in a good mood, a mellow one. You'd just seen your sister, your brother-in-law was having his eighty-first birthday. Your sister was married to him for 49 years this January. You asked me how my new house was, how my job was, did I have enough money Somewhere in the conversation you said, "After all, you're standing on your own two feet now.... You said it, you said I'm standing on my own two feet.... I remember when I was little, I'd want to stay home from school—I hated the yeshiva, I hated it for eight years, in the fourth grade I said, thank you God, thank you God, only four more years of this I used to want to stay home but you wouldn't let me. Daddy would let me stay home... but he would never want to tell you. He would tell me, "A lie of omission is not the same as a lie of commission. You used to come home from teaching school at three o'clock in the afternoon, but the yeshiva didn't let out until 4:30. You used to come in and go out again because you were very busy —you were a very busy woman — you had a lot to do. So—Daddy had a very simple solution. At five to three I would hide in the closet in my bedroom. He would hide me in the closet. I would hide there until almost four o'clock. I would hide in the closet so you wouldn't know I wasn't in school. The closet had a closet inside it —I know this is very peculiar now, but I didn't know it then. In the front part of the closet were a lot of clothes, and my father's graduation picture, his graduation from law school: St. Lawrence University, Brooklyn Law School, 1932. That meant he went to law school at night. I used to look at his picture in the closet — his diploma too — and wonder why it was there. In the front part of the closet with his picture were a lot of clothes. And in the back, past the first clothes rack, was a smaller closet, a creep-in closet. And in between the two, on a kind of sill, were a lot of shoes, old shoes. Your old shoes. You used to wear really serviceable, cheap shoes when you taught. Every day you wore sensible, cheap, serviceable and sturdy shoes but in the closet there were wonderful shoes —silver dancing shoes with high heels and buckles, silver dancing shoes from the 1920s or 30s, laced with thin silver laces. I used to wonder what they'd be like on your feet —you had such sturdy legs, sturdy, serviceable sensible legs.... I'd hide in the closet, and I'd look at your shoes, and I'd sit down among them and wait for you to walk out the door.</p> <p>You always thought that dressing up was very important. I'm sure you believe that clothes make the man—and the woman—but I always felt that shoes made the woman. You'd always dress me up for photos, in costumes that other people gave you. I always wore everyone else's hand-me-downs, it was such a sensible thing to do. You'd dress me up for photos, I remember. I remember one I still have it, or you do I was wearing a scotch plaid dress, a little blonde jewish girl with a dutch haircut in a scotch plaid dress —you made me hold it out in a semicircle as though I were squaredancing - and on my head was a little scotch cap. I was smiling, Ihad a tooth missing. I was wearing plain brown shoes, laced oxfords. You were not very interested in the shoes I wore for these photos. You always insisted I had to get sensible ones, so my feet would grow right, and I always wore Stride Rite shoes. But once you took me, when I was five or six, to get a pair of mary-janes that had—a buckle. Two buckles —that's it, they had two straps and two buckles. And the two straps lay across my feet like two hard fingers grip- <pb n="91" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_091.jpg" /> ping them, in such a way that the bone between them was pressed upward. They pressed on this bone in the most peculiar way and I'd say, "mommy, mommy, mommy —these're, these're pressing on my feet, they're pressing on my feet and my feet are getting to be shaped funny. You said, "No, these shoes are good. They're expensive shoes. These are good shoes. These shoes are good for you. And so I have, on each foot, a bone that protrudes on the top, because of these shoes that pressed my feet into a funny shape.</p> <p>I remember once, the teacher called you from school and said, “Her boots don't fit. And you said, “But they're new boots." But those boots —those boots were someone else's boots, they were hand-me-down boots. I think they were hand-me-down boots, or maybe they were new boots. They were size 8. You always bought me things very large, so I would grow into them. Now you want me to dress my child in enormous clothing, so he'Il grow into it. These boots were size 8. I wore size 4. “Never mind," you said, "you'll grow into them." I wear size 6 today. But you were sure I'd grow into those size 8 red rain boots. The teacher called to say, "She can't walk in her boots, they keep doubling up under her feet every time she takes a step; maybe she's got the wrong boots. You'd better come get her, it's raining out and she needs her boots."</p> <p>There were times that I recall being at your feet, on my hands and knees. From the time I was about 10, you and I used to be alone all week in the country house together, in your sister's country house, while Dad worked in the city. I'd always want to stay up at night and read. I read a lot, I loved to read. It was my one chance for privacy. All day I was away, swimming. I'd swim in the lake from early morning till lunch, hop out, climb up the bank, eat some lunch, and hop back in. Creeping, as it were, past you, doing the crawl. But I'd have to come out at dinner time and endure all through dinner. In the evening I just wanted to read. But you always wanted to go to bed early. There were four bedrooms in the house, but you always insisted that we sleep in the same one, so as not to get the others dirty. You always reminded me that it wasn't our house. So, at about 9:30 or 10 we'd have to get into bed, you into yours and I into mine, and turn out the light and go to sleep. But I'd never be tired. So I'd lie there, and count your breaths: Listen, and listen, and listen and... I'd sli-i-ide down the side of my bed, cre-e-ep on my hands and knees —holding the book, try ing to get out the door and into the bathroom, where I would read by the night light you always left burning. MOST of the time, though, you'd give a start and: "what's that, what's that?" You'd get up, see me, grab me, and knock me around. You used to threaten to get your shoe, but you always made do with your fist, some times you'd choke me a bit. When I got a little older I wasn't so interested in read ing; I'd set my hair every night with bobby pins and little rollers, the way my girlfriend Rosemarie taught me. On warm evenings we'd pretend to take a walk together but really we'd stand by the side of the road, in the driveway, with our chests puffed out and our bellies sucked in, in short shorts and little clingy jerseys, barefoot or in sandals. We'd strike bathing-beauty poses and stand stock-still, waiting for the boys in their low-slung souped-up cars to drive by and whistle and leer and make the sound of kisses. </p> <p> I remember once seeing your shoe, as it came up to hit me in the ear. I was about 17, and I thought you were out of the house. I was on the telephone to my girl friend. She was somebody I liked a lot but I was kind of afraid of her because she went to the High School of Music and Art where I'd wanted to go but you wouldn't let me because it was too far away —and you were probably right — it was too far away — to travel from Brooklyn almost to the Bronx —or so it seemed, that it was too far —anyway, I was on the phone, and I thought you had stepped out, and I was lying on the floor in my room, talking on my phone. It was my phone because once my brother called up to speak to me and Daddy answered the phone and he didn't know who it was, and he said, "Who is this?" and Larry, realizing that he didn't know it was his own son, said, "Is Martha home?" And Dad said, "WHO IS THIS?? WHY DO YOU WANT TO SPEAK TO HER? WHADDOYOU, WHADDOYOU WANT WITH HER?" ...And so Larry got me a phone; he was upset by that kind of behavior. He thought it was an invasion of privacy. I thought it was normal. Anyway...so there I was, on my phone, on my floor, smoking a cigarette. See, that was the kicker —I was smoking a cigarette. I was forbidden to smoke. I can understand, I'm a mother too, that you were protecting my health. Anyway, you came in and you saw me lying on the floor and you kicked me in the head. I'm sure you were aiming at the cigarette, but you got me right in the ear. Luckily, I wasn't deafened. However. I never spoke to that friend again.</p> <p>I used to really believe that shoes made the woman. I would buy a new pair of high-heeled shoes, you know the kind that people —that women — wore when I was growing up, do you remember those? Very high, very high pointy spike heels with pointy toes? And I'd buy 'em and I'd think, “Tonight's the night...a date... romance...dance... and I'd go out. And they'd be fine. They'd be fine for a while and then I'd realize they were pressing on a nerve; they always pressed on a nerve. They were fine in the shoe store, and I always thought, “These are better, these are different, these really feel fine, and I'd make it about, oh, a quarter of the way through the evening and I'd have to take my shoes off. Now, if there's one thing that a woman wasn't supposed to be, it was flat-footed on her own two feet; I mean, flats were for lower-class girls; nobody wore flats. And nobody walked around without their shoes, not if you wanted to keep your reputation. So there I was, spending the evening at a dance without my shoes and having to go home, through the streets of New York City, freezing cold in tattered stockings and I'd say..."I made that mistake again."</p> <p>Cinderella was oppressed; she was treated badly. She was given only crusts and scraps to eat and old cast-offs to wear. Often she had to go without shoes. She had to perform endless household chores. The chill and the lack of food made her light-headed. She was very unhappy and could only escape through daydreams. Nobody thought of training her to be a lady.</p> <p>Her stepsisters were given all the advantages; their every move was scrutinized and corrected, their diets were watched. They had the fanciest clothes, the most fashionable little slippers and boots. Their mother planned to make them ladies who would rise above her own station. When the prince's emissary brought around the mysterious lost slipper, Cinderella's stepmother made her older daughter cut off her heel and her younger daughter cut off her big toe to try to fit the test.</p> <p>This piece was originally presented as a performance.</p> </div> </body> <back> <p>Martha Rosler is an artist living in Encinitas, California, who works with photography, video, texts and postcards. Her book, Service: A trilogy on colonization, is being published by Printed Matter Inc.</p> </back> </text> </TEI>
Homeless Women Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Homeless Women</title> <author>Ann Marie Rousseau</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Lyndon Beier</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-Present)</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Patterns of Communicating and Space Among Women</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> </teiHeader> <text> <body> <pb/> <div> <pb n="85" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_85.jpg"/> <head>Homeless Women</head> <byline>ANN MARIE ROUSSEAU</byline> <p> Who are the homeless women huddled in the doorways, train stations and parks of New York City? Called shopping-bag ladies because they carry all their possessions in bags, they roam the streets—alone, isolated and without the basic necessity of shelter. In a world where myths of marriage and motherhood tell us women are protected in the home, these women symbolize our worst fears about women who do not, or cannot, fit into a society that values production and work.</p> <p>The Shelter Care Center for Women is a temporary residence for homeless women in New York City. It costs the city over 560 a day per woman to keep 47 women at the Shelter. This pays for the rent of the building and for a full-time staff of 50 who provide social work and other services.</p> <p>In connection with a community arts project sponsored by the Metropolitan Museum, I have been teaching an art class at the Shelter. The following excerpts are from taped conversations with some of the women staying there. The photographs were taken by the women who participated in my classes.</p> <p>Adele Raiffen, found sleeping on the subways, was brought to the Shelter by the police. She comes from Boston, where her father was a lawyer, and unlike many of the Shelter women, Adele went to college. She majored in religion and managed her life reasonably well until her last year in school. </p> <quote> When I started reading the New Testament I certainly wasn't seeking God and probably 95 percent of my fellow students weren't either. But I began hearing the words of Jesus and I saw that I was not cleansed in the eyes of the Lord. I started to get really upset and I found I couldn't cope. It was at this time that l decided to jump out of the window. This was pretty dumb, but it was a very definite decision. I had definitely given up on life. I thought I was mad. I ended up staying in the local infirmary for a while and then they put me in a mental hospital for two years. </quote> <p> About five years ago a government policy turned out thousands of people from state mental hospitals in the name of hu manity and reform. People who had spent years passively being cared for in institutions were abruptly left to fend for themselves on welfare. </p> <quote> When they let me out I moved into a hotel and lived there for a number of years. I had a great many emotional problems and a chronic drinking problem that had been going on for five years. I <pb n="86" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_086.jpg" /> was pretty unhappy. Everyone was a chronic alcoholic like myself and the discipline wasn't very great. Most of the people came and went out of the local hospital. </quote> <p> Most of the women cannot find or hold jobs. Often they are placed in welfare hotels where their checks are lost or stolen or they are unsuccessful in budgeting their money. These city-financed hotels are poorly kept places of despair and misery. Pimps, addicts and junkies hang out in the lobbies and the women fear being robbed and assaulted. Worst of all is the loneliness. There are few programs to reach the many people isolated inside their rooms. Without treatment or any kind of community or family support, problems of mental illness intensify. </p> <quote> I felt that I had already accepted Jesus as the truth and the only salvation, so I was drawn to visit a church fellowship house that was nearby. This was a nationally organized Christian fel lowship house where people lived together in very tight communal situations where they could receive the word of God. Pretty soon I decided to move in. It was a good move. They knew that living together in a tight situation often makes somebody grow very fast, and I did that for a while. I grew very fast, but after two weeks l had to go into the hospital again.</quote> <quote>When I came out, I decided to go back to this same house and things went pretty well until two weeks later when I started another drinking binge by drinking all of the vanilla in the house. When I did that, I ran out and ran down the street and I thought, "Well, I've replaced vanilla bottles on a Sunday morning before. This is no sweat. This is real easy." And that was it. I couldn't stand one more moment of hunting down vanilla bottles. I guess it was the love l had for other people. So I prayed, "God, I'm too tired to drink anymore. You just gotta do something about it, and I turned around and I ran home and told my pastor about it. From that day forward I didn't take a drink in that house.</quote> <quote>After a while I decided to leave that house because I had obviously been cured and no longer needed the fellowship of Christian people. I thought I could do well enough on my own and I wanted my own life. I came to New York to visit friends and I stayed with my sister and her family.</quote> <quote> Ithink I was pretty unhappy at the time. Pretty lost at sea. think a lot of people come to New York to be alone with them- selves or something; to cut off ties with people they know. It's kind of a self-destructive thing to do, to come to New York without any concrete plans and I might have been doing that.</quote> <quote>My sister is pretty happily married and sometimes we've been very close, but I was not finding a way to live with the contentions going on around me. I wasn't able to cope with people who had never met Jesus. My sister was one of those people, and it became very hard for me to cope. You see I'm basically a back-sliding Christian. For about a year now I've felt God's kind of deserted me, but His word is still pretty faithful, and in my sister's house I wasn't finding a way to live, so essentially I guess I ran away. I just upped and left one day. </quote> <p> While it is estimated that there are as many as 3,000 home less women wandering around New York City, the Women's Shelter has only 47 beds. Last year more than 2,000 women were turned away. Close to 800 were accepted and stayed anywhere from one day to several months. </p> <quote> I stayed in the park and I wandered around for a I don't remember how I found the Shelter. Maybe through the grapevine. Iwasn't thinking too clearly then. Im hoping to get on welfare, or maybe I could get a job as a salesgirl somewhere. For tunately or unfortunately I don't drink anymore. It doesn't seem to be a problem. There are too many other things to occupy my mind. Occasionally when I get desperate, I head for a bar or something, but usually Istop in midstream and change my mind. </quote> <p> The goal of the Shelter is to provide a short-term residence where women can be helped and then returned to the community or placed in an appropriate institution, but the recidivism rate runs to 50 percent. The women do not get the kind of help they need at the Shelter or anywhere else. </p> <p> Selma Lyons is 46. She has spent most of her life in mental institutions or nursing homes. </p> <quote> You see the thing was like my mother. She had a problem drinking, and she didn't get along with my dad. So when they split up the family they just made the kids wards of the court. There were nine of us and I was right in the middle.</quote> <quote>My younger brothers and sisters went to the orphan home, but I got sent up. You know youre supposed to get a trial of some sort before they send you to state hospital, but I didn't get none.! never seen the judge. They just decided to send me up. They didn't say why. They didn't say much of anything. They just said something about going for a long nice ride and enjoying the scenery. You know they don't tell you nothing. They took me up there and when we got there they told me where it was after they locked me up.</quote> <quote>After I got there, the doctors that talked to me got maddel than hell for them to bring me there because I was only fourteen and the patients that were there were mostly either forty or fifty. <pb n="87" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_087.jpg" /> and he said he liked to have the person that sent me there for one hour and call him dirty names. Most of the patients there were old people. I was the only young one. That makes a big difference being a young person and then being with so many old people.</quote> <quote>I stayed in the hospital that first time three or four months until they asked me a lot of questions and they figured I was okay. Then they sent me back to a nursing home in Quincy. See, in Illinois when people get out of state hospitals sometimes they send them to nursing homes with full privileges and all.</quote> <quote>But my mother started coming round and asking for my money and stuff. She told me to come over and see her, so I went and brought her a sack of groceries. She didn't like me staying at the home, and I just figured, well, I'll stay at my mother's. So I stayed at my mother's house and all of a sudden a policeman came down saying he was going to take me to jail because I was still a ward of the court, see. And I wasn't supposed to be at my mother's. Course I didn't know cause the law don't tell kids anything anyway.</quote> <quote>So they took me to jail and they had a new judge. Came in. He said, "You ain't guilty of nothing, there's no charges against you," and he said, "I got some real nice people where you can live with them, real nice, that'Il treat you right, treat you decent and everything. So he introduced me to the Parsons, see, and the Parsons decided to get me a job. He was a guy that worked for the state and he went around helping teenagers get jobs. He just loved teenagers, working day and night to help them. He got me a job at the Pepsi-Cola plant working on an assembly line sorting bottles. Istayed there about four months and then the boss said l wasn't able to keep up, you know, work fast enough. So he said that being he liked me he'd keep me a month longer because he hated to, you know, see me go.</quote> <p>The only alternative to the streets available for many people is an institution.</p> <quote>Later on when I was older they let me go to St. Louis to live with my mother in the boarding house she ran. I lived there for a while but my mother had a drinking problem. I couldn't understand her too well. So one night I decided to go to Kansas. When they picked me up they found out that I once was at the state hospital by questioning, so they kept me in the hospital in Kansas for three months and then they transferred me back to the hospital in Illinois.</quote> <quote>At the hospital they sent me out to a workshop where I folded bags and put them in a little packet. I got $18 a month but l didn't keep my money. I did good deeds. See, I lived on a ward where nobody had soda or cigarettes, nothing. I'd go out and bring back somebody a jar of coffee and we'd have coffee and play cards. I don't like no kind of institution but I figure if l'm going to live there I'm going to do good to the patients.</quote> <quote>One time I decided to go to San Francisco. I cashed in my Social Security check and got a bus. It was a nice trip. I went to look at the ocean, sat on the beach for a while and had me a cheese sandwich with several different kinds of cheese and French bread. That was real nice, but when I was in the bus station I left my purse on the bench and went over to look out the window. When I came back it was gone, so I didn't have another cent left to me. After a while a policeman came over to me, real nice, and he says, "Anything I can do for ya?" I says, "No, I don't want to tell you my problems. I don't want to cause you no trouble, but back home everybody talks about California. How great California is." He said, "You'd better believe California's great." He said, "We help people, the people help us. He said, "Now is there anything I can do for you?" and I told him that I lost my purse and he said, "Well, I'll just send you over to this Catholic place. They'll keep you till your check comes, or else they'll send you to another place till you can get back on your feet."</quote> <quote>So I went over to the Catholic place and they kept me for a while, but then they sent me back to Illinois, to the home.</quote> <quote>It's horrible in the home. When they put you in an institution they practically destroy your life completely. When you're young and you have to be around people that are old. You figure you can be classified, say, with them. It gets to you. Here I am. Ain't done nothing. Ain't been nowhere. Course I've done a few things, but if I have to spend all my life in institutions, well, I won't be putting nothing into life. I won't be getting nothing out of life.</quote> <quote>One of the patients in the home used to talk about San Francisco, so l'd been to San Francisco, and there was another patient who talked a lot about New York, so I thought, well, I'll go to New York. l'd always heard about a store called Macy's. I heard it was a block long and I thought l'd like to see that!</quote> <quote>The buses had a 550 special. Usually it costs about $100 to go to New York, but they had a special where you can go anywhere for S50 or less. I thought I'm not going to have this bargain <pb n="88" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_088.jpg" /> probably never again in my life so I might as well take it now. I cashed in my SSI check again and came to New York.</quote> <quote>I didn't pack much. I just took what I wanted to take and left everything there. I didn't tell no one, cause every time you'd start to talk about doing something they'd talk you out of it. So I never mentioned nothing. Every time anyone gets inspired to do some thing or be something at the home they'd talk so much that you're not going to be anything or do anything, and that's why you'd give up. So I never talked much.</quote> <p> There are no outreach programs to contact the many homeless women who don't know about the Shelter. When a woman does not qualify or when the Shelter is full, the only alternative for someone without funds or a place to stay is the Emergency Assistance Unit of the Department of Social Services. There, a woman can sit on a chair all night. </p> <quote> My money was stolen on the bus I think. See, I forgot to close my purse and I left it on the chair next to me, and there was a kid right across. Later on, about ten minutes later, I was gonna smoke a cigarette and I looked in my purse and the money was gone. All I had was a dollar bill.</quote> <quote>When I got to New York I went up to an officer and told him my money was stolen, so he referred me to a place where people sit all night long. It was a small room with people sleeping on chairs. The next morning they sent me to welfare, but welfare refused to help me because I was on SSI. Eventually I found the Women's Shelter, I couldn't get in at first, but I did after a few days. </quote> <p> Homeless men are treated differently. At the Men's Shelter they are given chits entitling them to a free meal and a flophouse bed. Although the flophouse hotels may not be as institutionally neat and clean as the Women's Shelter, there is room for thousands of men. They are almost never denied a bed. </p> <p> At one time if a woman with children found herself without a place to stay, she was allowed to keep her children with her in a family shelter. Now, a mother who needs help and has nowhere to live must put her children in placement until she can get on welfare or find some means of supporting herself and her children.</p> <p>Hanna Schaeffler was born in Brooklyn. She was adopted when she was two and knows nothing about her real parents. Her adoptive parents separated when she was five. </p> <quote>At first I lived with my mother. She was having a great many personal problems at that time and couldn't cope with anything. so when I was in the sixth grade she sent me to Bay Shore to live with her sister. That was a nice home life for me and I stayed there for two years. I don't really know what my mother's problems were. She couldn't straighten out her life, her bills, her boyfriend.</quote> <quote>When I came back she had gotten rid of her boyfriend, but something had happened to me. I didn't want to go to school be cause I was getting pimples. I became silent and quiet and wouldn't take a bath or anything. My mother didn't understand then. It got to the point where I practically couldn't do anything and my mother didn't make me. When I went to school I kept dropping.to the bottom. I had no interest. I was a very confused person.</quote> <quote>My mother later signed me out to go to work.</quote> <quote>I lived at the Simmons House for a few years and during that time I had several office jobs, but I was never really happy.I started becoming depressed and having a lot of problems. It was at that time that I met the man l've been living with for the past three years. He used to hang around the Simmons House looking for girls. When I met him, I had just left my last boyfriend and was very lonely. He insisted I move in with him right away. I didn't want to but I gave in. I was very weak then. I had no mind of my own and would allow myself to be led any way withou really knowing what I wanted.</quote> <quote>Things were okay for a while, but then I got pregnant and that messed everything up. I had to give up my job and I began staying home. My boyfriend really wanted to have me like maid in the house and to have other women outside. Sometimes he would stay away the whole weekend and not say anything about where he had been. At night I never knew if he would be coming home or not. When I asked him what he did, he said it was none of my business. Getting women seemed to be all he thought about. I once heard him telling his friends that his biggest dream is to get an answering service and to come home and turn on his answering service and then go out with whoever he wants.</quote> <quote>I felt like I was going crazy because I had no outlet. My only girlfriend is in the building, and then I found out that my boy friend was trying to turn everyone against me. He was telling her that I never did anything, even the laundry, and that I was lazy and good for nothing. When I found that out, I was so hurt about the way he spoke about me, about the way he was getting a car and locking me in that I didn't know what to do.</quote> <quote>Everything got to be too much. That's when I tore up the furniture. One morning I took a knife and tore it all to pieces. couldn't take it anymore. I tried to get out, but there was no choice. Ihad stood it for as long as I could and then that morning I ripped everything to shreds. My mind was very calm. I don't even remember where my little boy was at that moment. Some times I wonder what he saw. I know he knew something was up because later I saw him looking at the couch, just staring, like he knew something was wrong.</quote> <quote>The police said I should go see a social worker, but I didn't know where to go. After that my boyfriend was saying he was <pb n="89" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_089.jpg" /> going to beat me up. Iheard about a free community legal service voar where I lived so I went over there. They told me I should go to family court. It was difficult. Iwas very mixed up and I didn't know what to do. I did a lot of things wrong. I took out a paternity suit and they took away my birth certificates. I was twing to get myself on welfare at the same time—going from place to place carrying the children. I couldn't get welfare because they said I was being supported by my boyfriend and then I didn't have my birth certificates because they were at the court, and I was running all over waiting in this place and that one with the babies in my arms.</quote> <quote>The social worker said I should come to the Women's Shelter and put the boys in foster care until I got more straightened out, solthought that would be the best thing to do. It was pretty hard to give them up. I placed them to get self-sufficient.</quote> <quote>The first time I got to visit my boy after he was placed in foster care was like I was in another world. When I saw him I suddenly couldn't even hear what the people around me were saying and I was looking at him. Then I had to go into the bathroom to hide my crying.</quote> <quote>My oldest boy acted shy at first, like he didn't recognize me, but then I played with him a little and he was better. They say that the first few nights he didn't eat or sleep at all. They had a lot of trouble with him because he was so upset.</quote> <quote>The little baby seemed to be okay. He didn't really recognize me but sometimes I used to make a funny little noise at him with mythroat, and he always made the noise back. This time when I made the noise he looked at me and he made it back, so I guess he did recognize that.</quote> <p>Some women spend lifetimes in a cycle moving from mental hospitals to the Women's Shelter to welfare hotels, to the street and back into a hospital or the Shelter. For other women, there is perhaps a small hope that through luck or endurance they will eventually carve out a reasonable life for themselves. These are the women who have left within themselves some resources of strength and enough will to fight for the scraps of help offered by individuals and social agencies.</p> <p>Adele was placed on welfare and expects to go into a welfare hotel.</p> <quote> I'm not very happy about going into the hotel, but there aoesn't seem to be anything else I can do. I'll be okay as long as my drinking problem doesn't come back. I'm waiting for the will ofthe Lord. </quote> <p> Selma would like to get a job, but with little education and no skills, she has little hope. </p> <quote> If I can't get an apartment and a part-time job in New York, I guess I'll have to go back to the home. I don't know if I'll be able woget a job or not. It's like you have to give up or something. Like there's nothing you can do. It's practically impossible for me to get out of this situation. My only choice is to be in the home with bunch of mental patients in a workshop, and that's not a real job. That's nothing. There ain't really nothing for me, just institu </quote> <p> Hanna is struggling to establish a home for her children. </p> <quote> I won't get them back until I have something to stand on—a job. The children's agency is helping me. Maybe I could get into a nurses aid program or something, as long as I don't have to go back to him. I never want to get married or to live with any man again. I don't think men are necessary for me. I just want my children back and to have a home and a dog and to go to church on Sunday. The whole bit. I hope I'll get everything straightened out. I'm tired of suffering and going around in circles. </quote> </div> </body> <back> <p> Ann Marie Rousseau is an artist living in New York. She has worked at the Woman's Shelter for several years and is a member of the anti-catalog committee. The photographs reproduced here will be exhibited with others by women from the Shelter at the Metropolitan Museum of Art this summer. </p> </back> </text> </TEI>
Prosepoems for Old Women Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Prose Poems for Old Women</title> <author>May Stevens</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Lyndon Beier</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-Present)</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Patterns of Communicating and Space Among Women</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> </teiHeader> <text> <body> <pb/> <div> <pb n='84' facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_84.jpg"/> <head>Prose Poems for Old Women</head> <byline>May Stevens</byline> <lg> <head>SITTING STILL</head> <l>Some people died who never died before she said</l> <l>They died iust now she said readine The Times</l> <l>Her skin was pink her flesh concealed the bones</l> <l>inside She pretended she was a chair</l> <l>hoping death would flash past sat still as a sofa</l> <l>A dress laid over two shoes neatly placed.</l> </lg> <lg> <head>WOMAN WAITING</head> <l>My mother sits at a window watching the field.</l> <l>When I come after six months, a vear, she waves.</l> <l>Moving from chair to bed to table she opens the</l> <l>door to the field, waits to receive words of praise</l> <l>and affection. The days of no figure crossing the</l> <l>field have moved to this moment. We are together.</l> <l>We drive off. She has nothing to say. She is humming.</l> </lg> <lg> <head>ALICE DICK b. NEW BRUNSWICK. CANADA 1895</head> <l>As children in Chatham Alice and her sister Mary</l> <l>went for picnics on a boat down the River Miramichi</l> <l>as far as Bav de Vin and Burnt Church where the boat</l> <l>turned around. They caried sandwiches and lemon</l> <l>meringue pie homemade by Nelle Morn who hooked</l> <l>five or six rugs a vear, took in laundry, baked</l> <l>and sold fresh bread in herstore, made all the</l> <l>familv s clothes and delivered milk to her neishbors.</l> <l>Three of her four children were girls but they never</l> <l>learned to do allthe things their mother did. She</l> <l>had no time to teach them.</l> <l>Alice was in the second grade when Nellie Morn threw</l> <l>a log from the top of the woodpile into Alice's left</l> <l>eye. Her blue dress turned red.</l> <l>Alice was twelve when her father died. She went to work</l> <l>as mothers helper for the Snowballs and the Steeds</l> <l>who lived in the big house on the hill. Thev owned the</l> <l>pulp mill.</l> <l>Later she came to Boston, got a job in a Chinese</l> <l>restaurant where she waited on True N. Stevens half-</l> <l>owner of Stevens and Greene Groceries and his boy Ralph</l> <l>who flirted with her. Asked what A.D. on the bill stood</l> <l>for she said after dinner. They got married. She was</l> <l>twenty-four. I was the first of their two children</l> <l>the one who lived.</l> <l>She is nearly eighty now. She has a pink-gummed smile</l> <l>incredibly innocent and sweet without the least inflec-</l> <l>tion of twenty vears confinement in the back wards of</l> <l>state mental hospitals. The light in the one eye that</l> <l>sees has never gone out.</l> </lg> <lg> <head>OLD WOMAN BATHING</head> <l>Loosened strands slip down deep divided back.</l> <l>Buttocks shelfslides to creasing thighs. Knees</l> <l>keep a partial crouch. Belly slings body center</l> <l>forward over a hairless pouch. She lifts each breast</l> <l>soaping the smell of age. She (matter self-propelled</l> <l>mushrooms pink and lavender, lustful, greedy, feeding)</l> <l>steps into air, hands stroking space, trusting someone</l> <l>is there to towel her drv, pin remnant hair, give back</l> <l>her name, her watch, her storv. She loves being clean</l> <l>but who has time to wash her every day? Is she a baby</l> <l>with a future? She loves hair dresed but fears over</l> <l>handling may make it thin. Dampish stil, flushed,</l> <l>talced, her body blooming, she swings foot, hums</l> <l>nightgowned beside the bed, waits for milk and pills.</l> <l>Glasses folded under pillow, sheet clutched high,</l> <l>one hand slipped between her thighs, she sleeps a</l> <l>sleep she will denv, in tongues converses with</l> <l>familiars, unshareable. No she did not speak she lies</l> <l>keeping her secret garden, loving the long continuous</l> <l>dialog, absorbing, obsessing, warm and sweet as ex-</l> <l>crement newly made, unspeakable, but hers, and real.</l> </lg> <lg> <head>ADDIE, ALICE</head> <l>Aunt Addie went to the hospital for a three day checkup</l> <l>came out with a clean billof health rejoiced at eighty-three</l> <l>ay-yah she savs Maine voice unaided eyes <caesura/> family proud <caesura/>race proud</l> <l>discipline proud <caesura/>straight square proud <caesura/>spareness dryness proud</l> <l>awkward proud <caesura/>truth proud. <caesura/>Addie; <caesura/>You start out with nothing</l> <l>you end up with nothing. <caesura/>My traveling days are over. <caesura/>I</l> <l>remember Souza's band and Burton Holmes' lectures. <caesura/>In fact I</l> <l>heard Winston Churchill telling his experiences in the Boer War</l> <l>the winter of nineteen <caesura/>hundred and one. <caesura/>Making blouses for</l> <l>April <caesura/>pajamas for Ramona <caesura/>distant granddaughters <caesura/>putting up</l> <l>pears for the winter of nineteen hundred and seventy-two. <caesura/>Aunt</l> <l>Addie s house is bare of suffering as her face <caesura/> in which suffering</l> <l>would be an indulgence eves no feling showing <caesura/>asking Maine</l> <l>voice slightly rasped edges <caesura/>knowing but not dwelling <caesura/>what did</l> <l>you expect?</l> <l>In Istanbul a woman of one hundred and one is lifted out of bed</l> <l>into bed <caesura/>mind clear in a crooked cage <caesura/>telling how the sultan</l> <l>was deposed and another came in the palace.</l> <l>Mary had a sister Alice <caesura/>pleasingly plump <caesura/>white calves</l> <l>hairless armpits <caesura/>clear brow <caesura/>still eyes. Alice lost an eye</l> <l>when wood was thrown from the woodpile. <caesura/>Blood ran down her</l> <l>dress. Alice lost a son flu caried him off. <caesura/>Alice lost</l> <l>a daughter who married a Jewish artist. <caesura/>Alice lost a husband</l> <l>when she grew fat and mad. <caesura/>Twenty years after <caesura/>one-eyed</l> <l>burnt-out schizophrenic <caesura/>Alice sees three figures swarm through</l> <l>glass doors <caesura/>daughter <caesura/>husband <caesura/>her husband? <caesura/>son <caesura/>her son? <caesura/>to</l> <l>take her outside. <caesura/>She smiles <caesura/>says well declare <caesura/>gets up</l> <l>goes to the door <caesura/>where coat hat bag <caesura/>are hanging <caesura/>and turns</l> <l>ready.</l> </lg> </div> </body> <back><p> May Stevens is a New York painter.</p></back> </text> </TEI>
Ways of Change Reconsidered Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Contributors</title> <author>Collective</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Lyndon Beier</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-Present)</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Patterns of Communicating and Space Among Women</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> </teiHeader> <text> <body> <pb/> <div> <pb n='80'/> <p> <lb facs='#facs_80_r_1_1_tl_1' n='N001'/>WAYS OF CHANGE RECONSIDERED: <lb facs='#facs_80_r_1_1_tl_2' n='N002'/>AN OUTLINE AND COMMENTARY <lb facs='#facs_80_r_1_1_tl_3' n='N003'/>ON WOMEN AND PEACE IN NORTHERN IRELAND <lb facs='#facs_80_r_1_1_tl_4' n='N004'/>SARAH CHARLESWORTH </p> <p> <lb facs='#facs_80_r_2_1_tl_1' n='N001'/>Compared to the devoted and laborious build-up that <lb facs='#facs_80_r_2_1_tl_2' n='N002'/>took place before all the other peace rallies that I have at <lb facs='#facs_80_r_2_1_tl_3' n='N003'/>tended in Belfast — the advertising, the canvassing, the care <lb facs='#facs_80_r_2_1_tl_4' n='N004'/>fully balanced composition of the platform party —here <lb facs='#facs_80_r_2_1_tl_5' n='N005'/>there was apparently no planning at all. No platform, no <lb facs='#facs_80_r_2_1_tl_6' n='N006'/>loudspeakers, no stewards, no prepared order of service. Just <lb facs='#facs_80_r_2_1_tl_7' n='N007'/>a vast throng of women, gathered at the spot where shortly <lb facs='#facs_80_r_2_1_tl_8' n='N008'/>before, the war between the terrorists and the army had cost <lb facs='#facs_80_r_2_1_tl_9' n='N009'/>the lives of three children.... One had a gnawing uneasiness <lb facs='#facs_80_r_2_1_tl_10' n='N010'/>that nothing more was going to happen <lb facs='#facs_80_r_2_1_tl_11' n='N011'/>What did happen was a sudden burst of derisive yells <lb facs='#facs_80_r_2_1_tl_12' n='N012'/>and taunts from a band of youths defiantly brandishing the <lb facs='#facs_80_r_2_1_tl_13' n='N013'/>tricolour flag from a vantage point on the roof of a nearby <lb facs='#facs_80_r_2_1_tl_14' n='N014'/>garage. At that moment perhaps nothing could more effec <lb facs='#facs_80_r_2_1_tl_15' n='N015'/>tively have rallied the rally." Suddenly it seemed we knew <lb facs='#facs_80_r_2_1_tl_16' n='N016'/>what we were there to do. From one to another the word <lb facs='#facs_80_r_2_1_tl_17' n='N017'/>threaded like quicksilver through the crowds: “We’re goin <lb facs='#facs_80_r_2_1_tl_18' n='N018'/>to walk down to the Falls." And walk we did—pushchairs <lb facs='#facs_80_r_2_1_tl_19' n='N019'/>and all —along the road that has become so notorious for <lb facs='#facs_80_r_2_1_tl_20' n='N020'/>violence and anger. Here and there spectators jeered ana <lb facs='#facs_80_r_2_1_tl_21' n='N021'/>flaunted the slogans of hatred, but calmly and steadily the <lb facs='#facs_80_r_2_1_tl_22' n='N022'/>column of women — in the most casual fashion — walked on. <lb facs='#facs_80_r_2_1_tl_23' n='N023'/>As we walked, we talked. “They say," said the woman <lb facs='#facs_80_r_2_1_tl_24' n='N024'/>beside me, "that there's Protestants walking with us."“That's <lb facs='#facs_80_r_2_1_tl_25' n='N025'/>right," said I... "Tm one of them." The response was im <lb facs='#facs_80_r_2_1_tl_26' n='N026'/>mediate: hands shot out to grasp mine, heart-warming <lb facs='#facs_80_r_2_1_tl_27' n='N027'/>ejaculations of welcome fell on my ears. I felt simultaneously <lb facs='#facs_80_r_2_1_tl_28' n='N028'/>the reality of the division and the unity. </p> <p> <lb facs='#facs_80_r_3_1_tl_1' n='N001'/>In August 1976, there emerged in Belfast, Northern Ireland <lb facs='#facs_80_r_3_1_tl_2' n='N002'/>apparently quite "spontaneously,” a movement, which althougl <lb facs='#facs_80_r_3_1_tl_3' n='N003'/>it was later to be dubbed “The People for Peace” movement, was <lb facs='#facs_80_r_3_1_tl_4' n='N004'/>quite without a doubt a women’s movement, initiated, supported <lb facs='#facs_80_r_3_1_tl_5' n='N005'/>and sustained primarily by women. From the perspective of cla <lb facs='#facs_80_r_3_1_tl_6' n='N006'/>sic political forms, it was and is both extremely traditional and <lb facs='#facs_80_r_3_1_tl_7' n='N007'/>profoundly radical, and it is particularly within the context o <lb facs='#facs_80_r_3_1_tl_8' n='N008'/>Irish politics that it becomes so. <lb facs='#facs_80_r_3_1_tl_9' n='N009'/>My initial interest in the peace movement grew out of a feel <lb facs='#facs_80_r_3_1_tl_10' n='N010'/>ing of solidarity and empathy with both the frustration and the <lb facs='#facs_80_r_3_1_tl_11' n='N011'/>positive vision these women revealed. As I followed its progress <lb facs='#facs_80_r_3_1_tl_12' n='N012'/>my interest began to turn increasingly to its larger political and <lb facs='#facs_80_r_3_1_tl_13' n='N013'/>social implications, not simply in relation to the situation of <lb facs='#facs_80_r_3_1_tl_14' n='N014'/>Northern Ireland, but also in regard to basic issues posed by femi <lb facs='#facs_80_r_3_1_tl_15' n='N015'/>nism in relation to traditional patriarchal political analysis an <lb facs='#facs_80_r_3_1_tl_16' n='N016'/>practice. What became increasingly apparent as I continued my <lb facs='#facs_80_r_3_1_tl_17' n='N017'/>research was the fact that the peace movement could not be <lb facs='#facs_80_r_3_1_tl_18' n='N018'/>understood and evaluated either on the basis of the primar, <lb facs='#facs_80_r_3_1_tl_19' n='N019'/>social-political traditions of Northern Ireland or from the per <lb facs='#facs_80_r_3_1_tl_20' n='N020'/>spective of an abstract marxist or feminist analysis. These model <lb facs='#facs_80_r_3_1_tl_21' n='N021'/>must themselves be continually measured against the social reali <lb facs='#facs_80_r_3_1_tl_22' n='N022'/>ties which they presume to appraise. <lb facs='#facs_80_r_3_1_tl_23' n='N023'/>The peace movement, to the extent to which it can be called <lb facs='#facs_80_r_3_1_tl_24' n='N024'/>a "women’s movement,” is interesting precisely because it is not <lb facs='#facs_80_r_3_1_tl_25' n='N025'/>in any sense "sophisticated.” Its values and the forms of its <lb facs='#facs_80_r_3_1_tl_26' n='N026'/>organization are a direct manifestation of the attitudes of womer </p> <p> <lb facs='#facs_80_r_4_1_tl_1' n='N001'/>Peace women hit Ulster streets despite threats </p> <p> <lb facs='#facs_80_r_5_1_tl_1' n='N001'/>BELFAST, Northern Ireland <lb facs='#facs_80_r_5_1_tl_2' n='N002'/>(AP)- The Peace Women of this <lb facs='#facs_80_r_5_1_tl_3' n='N003'/>turbulent British province take <lb facs='#facs_80_r_5_1_tl_4' n='N004'/>to the streets of violence-scarred <lb facs='#facs_80_r_5_1_tl_5' n='N005'/>Belfast Saturday, defying <lb facs='#facs_80_r_5_1_tl_6' n='N006'/>terrorist death threats in their <lb facs='#facs_80_r_5_1_tl_7' n='N007'/>campaign to end seven years of <lb facs='#facs_80_r_5_1_tl_8' n='N008'/>sectarian bloodshed <lb facs='#facs_80_r_5_1_tl_9' n='N009'/>“There’s no way we’re going <lb facs='#facs_80_r_5_1_tl_10' n='N010'/>to give up now,” declared Mrs. <lb facs='#facs_80_r_5_1_tl_11' n='N011'/>Betty Williams, the Roman <lb facs='#facs_80_r_5_1_tl_12' n='N012'/>Catholic housewife <lb facs='#facs_80_r_5_1_tl_13' n='N013'/>launched the burgeoning <lb facs='#facs_80_r_5_1_tl_14' n='N014'/>movement 10 days ago after <lb facs='#facs_80_r_5_1_tl_15' n='N015'/>three children were killed by <lb facs='#facs_80_r_5_1_tl_16' n='N016'/>Irish Republican Army gunmen <lb facs='#facs_80_r_5_1_tl_17' n='N017'/>fleeing British troops. <lb facs='#facs_80_r_5_1_tl_18' n='N018'/>Thousands of Catholic and <lb facs='#facs_80_r_5_1_tl_19' n='N019'/>Protestant women, setting aside <lb facs='#facs_80_r_5_1_tl_20' n='N020'/>the centuries-old hatreds that <lb facs='#facs_80_r_5_1_tl_21' n='N021'/>have separated Northern <lb facs='#facs_80_r_5_1_tl_22' n='N022'/>freland’s feuding communities, <lb facs='#facs_80_r_5_1_tl_23' n='N023'/>were expected to gather for a <lb facs='#facs_80_r_5_1_tl_24' n='N024'/>rally in Ormeau park in <lb facs='#facs_80_r_5_1_tl_25' n='N025'/>Protestant East Belfast <lb facs='#facs_80_r_5_1_tl_26' n='N026'/>The attendance at the rally <lb facs='#facs_80_r_5_1_tl_27' n='N027'/>will be a crucial test of the <lb facs='#facs_80_r_5_1_tl_28' n='N028'/>strength of the campaign, the <lb facs='#facs_80_r_5_1_tl_29' n='N029'/>latest in a long string of peace <lb facs='#facs_80_r_5_1_tl_30' n='N030'/>movements in Ulster. All the <lb facs='#facs_80_r_5_1_tl_31' n='N031'/>earlier campaigns fizzled out <lb facs='#facs_80_r_5_1_tl_32' n='N032'/>Last Saturday, more than </p> <p> <lb facs='#facs_80_r_6_1_tl_1' n='N001'/>10,000 women and a handful of <lb facs='#facs_80_r_6_1_tl_2' n='N002'/>men attended a peace rally <lb facs='#facs_80_r_6_1_tl_3' n='N003'/>organized by Mrs. Williams in <lb facs='#facs_80_r_6_1_tl_4' n='N004'/>Belfast’s staunchly Catholic <lb facs='#facs_80_r_6_1_tl_5' n='N005'/>Andersonstown suburb at the <lb facs='#facs_80_r_6_1_tl_6' n='N006'/>spot where the three children <lb facs='#facs_80_r_6_1_tl_7' n='N007'/>were slain. <lb facs='#facs_80_r_6_1_tl_8' n='N008'/>Mrs. Williams, 32, and many <lb facs='#facs_80_r_6_1_tl_9' n='N009'/>other Catholic women at that <lb facs='#facs_80_r_6_1_tl_10' n='N010'/>rally were branded “touts <lb facs='#facs_80_r_6_1_tl_11' n='N011'/>terrorist parlance for informers <lb facs='#facs_80_r_6_1_tl_12' n='N012'/>and pro-British collaborators - <lb facs='#facs_80_r_6_1_tl_13' n='N013'/>by the IRA’s “Provisional <lb facs='#facs_80_r_6_1_tl_14' n='N014'/>wing <lb facs='#facs_80_r_6_1_tl_15' n='N015'/>Young IRA supporters last <lb facs='#facs_80_r_6_1_tl_16' n='N016'/>week tried to burn Mrs. <lb facs='#facs_80_r_6_1_tl_17' n='N017'/>Williams’ house down. She and <lb facs='#facs_80_r_6_1_tl_18' n='N018'/>other women received death <lb facs='#facs_80_r_6_1_tl_19' n='N019'/>threats from the mainly <lb facs='#facs_80_r_6_1_tl_20' n='N020'/>Catholic “provos” who are <lb facs='#facs_80_r_6_1_tl_21' n='N021'/>fighting to end British rule and <lb facs='#facs_80_r_6_1_tl_22' n='N022'/>Protestant domination in Ulster <lb facs='#facs_80_r_6_1_tl_23' n='N023'/>Despite the threats, the peace <lb facs='#facs_80_r_6_1_tl_24' n='N024'/>movement has spread. <lb facs='#facs_80_r_6_1_tl_25' n='N025'/>Williams said groups in other <lb facs='#facs_80_r_6_1_tl_26' n='N026'/>parts of the province have <lb facs='#facs_80_r_6_1_tl_27' n='N027'/>voiced support and local peace <lb facs='#facs_80_r_6_1_tl_28' n='N028'/>committees have sprung up in <lb facs='#facs_80_r_6_1_tl_29' n='N029'/>both Catholic and Protestant <lb facs='#facs_80_r_6_1_tl_30' n='N030'/>quarters <lb facs='#facs_80_r_6_1_tl_31' n='N031'/>But the violence has continued <lb facs='#facs_80_r_6_1_tl_32' n='N032'/>unabated. At least six persons </p> <p> <lb facs='#facs_80_r_7_1_tl_1' n='N001'/>have been killed since the peace <lb facs='#facs_80_r_7_1_tl_2' n='N002'/>campaign began and dozens <lb facs='#facs_80_r_7_1_tl_3' n='N003'/>have been wounded by gunfire <lb facs='#facs_80_r_7_1_tl_4' n='N004'/>and bombings <lb facs='#facs_80_r_7_1_tl_5' n='N005'/>Government <lb facs='#facs_80_r_7_1_tl_6' n='N006'/>officials <lb facs='#facs_80_r_7_1_tl_7' n='N007'/>community <lb facs='#facs_80_r_7_1_tl_8' n='N008'/>leaders <lb facs='#facs_80_r_7_1_tl_9' n='N009'/>experienced observers who have <lb facs='#facs_80_r_7_1_tl_10' n='N010'/>seen earlier movements fail are <lb facs='#facs_80_r_7_1_tl_11' n='N011'/>still sceptical that Mrs. <lb facs='#facs_80_r_7_1_tl_12' n='N012'/>Williams campaign will change <lb facs='#facs_80_r_7_1_tl_13' n='N013'/>anything. <lb facs='#facs_80_r_7_1_tl_14' n='N014'/>The sad truth is <lb facs='#facs_80_r_7_1_tl_15' n='N015'/>said <lb facs='#facs_80_r_7_1_tl_16' n='N016'/>Catholic community leader Tom <lb facs='#facs_80_r_7_1_tl_17' n='N017'/>Conaty, a onetime adviser to the <lb facs='#facs_80_r_7_1_tl_18' n='N018'/>British administration in the <lb facs='#facs_80_r_7_1_tl_19' n='N019'/>province, “that the IRA and the <lb facs='#facs_80_r_7_1_tl_20' n='N020'/>Protestant paramilitary groups <lb facs='#facs_80_r_7_1_tl_21' n='N021'/>do not depend on popular <lb facs='#facs_80_r_7_1_tl_22' n='N022'/>support for their survival <lb facs='#facs_80_r_7_1_tl_23' n='N023'/>“They have shown this in the <lb facs='#facs_80_r_7_1_tl_24' n='N024'/>past and, despite <lb facs='#facs_80_r_7_1_tl_25' n='N025'/>courageous display by <lb facs='#facs_80_r_7_1_tl_26' n='N026'/>women, I believe they will be <lb facs='#facs_80_r_7_1_tl_27' n='N027'/>around for a long time. <lb facs='#facs_80_r_7_1_tl_28' n='N028'/>However, IRA sources said <lb facs='#facs_80_r_7_1_tl_29' n='N029'/>the guerrillas' leaders are <lb facs='#facs_80_r_7_1_tl_30' n='N030'/>taking the emotion-charged <lb facs='#facs_80_r_7_1_tl_31' n='N031'/>campaign “seriously. <lb facs='#facs_80_r_7_1_tl_32' n='N032'/>provisionals have cracked up <lb facs='#facs_80_r_7_1_tl_33' n='N033'/>their well-oiled propaganda <lb facs='#facs_80_r_7_1_tl_34' n='N034'/>machine in a bid to counter the <lb facs='#facs_80_r_7_1_tl_35' n='N035'/>movement’s growing support. </p> <p> <lb facs='#facs_80_r_8_1_tl_1' n='N001'/>The Republican news, the <lb facs='#facs_80_r_8_1_tl_2' n='N002'/>provisionals' mouthpiece in <lb facs='#facs_80_r_8_1_tl_3' n='N003'/>Ulster, Friday vowed: “the <lb facs='#facs_80_r_8_1_tl_4' n='N004'/>struggle goes on.” The headline <lb facs='#facs_80_r_8_1_tl_5' n='N005'/>was printed over a big photo of a <lb facs='#facs_80_r_8_1_tl_6' n='N006'/>hooded <lb facs='#facs_80_r_8_1_tl_7' n='N007'/>gunman <lb facs='#facs_80_r_8_1_tl_8' n='N008'/>brandishing a U.S. <lb facs='#facs_80_r_8_1_tl_9' n='N009'/>made <lb facs='#facs_80_r_8_1_tl_10' n='N010'/>armalite automatic rifle <lb facs='#facs_80_r_8_1_tl_11' n='N011'/>The Andersonstown news, a <lb facs='#facs_80_r_8_1_tl_12' n='N012'/>flourishing newssheet that has <lb facs='#facs_80_r_8_1_tl_13' n='N013'/>supported the provisionals in the <lb facs='#facs_80_r_8_1_tl_14' n='N014'/>past, stridently attacked the <lb facs='#facs_80_r_8_1_tl_15' n='N015'/>peace-at-any-price brigade. <lb facs='#facs_80_r_8_1_tl_16' n='N016'/>Both papers published articles <lb facs='#facs_80_r_8_1_tl_17' n='N017'/>and letters denouncing the <lb facs='#facs_80_r_8_1_tl_18' n='N018'/>peace campaign as pro-British. <lb facs='#facs_80_r_8_1_tl_19' n='N019'/>However <lb facs='#facs_80_r_8_1_tl_20' n='N020'/>Mrs. <lb facs='#facs_80_r_8_1_tl_21' n='N021'/>Williams <lb facs='#facs_80_r_8_1_tl_22' n='N022'/>stressed that her movement is <lb facs='#facs_80_r_8_1_tl_23' n='N023'/>not just opposed to the IRA, but <lb facs='#facs_80_r_8_1_tl_24' n='N024'/>Protestant <lb facs='#facs_80_r_8_1_tl_25' n='N025'/>terrorist <lb facs='#facs_80_r_8_1_tl_26' n='N026'/>organizations as well as Ulstei <lb facs='#facs_80_r_8_1_tl_27' n='N027'/>police officers and British troops <lb facs='#facs_80_r_8_1_tl_28' n='N028'/>who “commit cowardly acts. <lb facs='#facs_80_r_8_1_tl_29' n='N029'/>sympathizers <lb facs='#facs_80_r_8_1_tl_30' n='N030'/>Provisional <lb facs='#facs_80_r_8_1_tl_31' n='N031'/>have <lb facs='#facs_80_r_8_1_tl_32' n='N032'/>organized <lb facs='#facs_80_r_8_1_tl_33' n='N033'/>counter-demonstration in south <lb facs='#facs_80_r_8_1_tl_34' n='N034'/>Armagh, an IRA stronghold, at <lb facs='#facs_80_r_8_1_tl_35' n='N035'/>the spot where a 12-year-old <lb facs='#facs_80_r_8_1_tl_36' n='N036'/>Catholic girl was killed, <lb facs='#facs_80_r_8_1_tl_37' n='N037'/>apparently by army fire, last <lb facs='#facs_80_r_8_1_tl_38' n='N038'/>Saturday. </p> <pb n='81'/> <p> <lb facs='#facs_81_r_1_1_tl_1' n='N001'/>bistorically isolated from one another within a social structure <lb facs='#facs_81_r_1_1_tl_2' n='N002'/>over which they exercise minimal control. Within the context of <lb facs='#facs_81_r_1_1_tl_3' n='N003'/>American feminism, the questions posed by the peace movement <lb facs='#facs_81_r_1_1_tl_4' n='N004'/>are relevant to the extent to which they underline and elaborate <lb facs='#facs_81_r_1_1_tl_5' n='N005'/>some of the more complex issues pertaining to the gender bias <lb facs='#facs_81_r_1_1_tl_6' n='N006'/>inherent in the very “logic" of commonly accepted politica <lb facs='#facs_81_r_1_1_tl_7' n='N007'/>norms. As Michelle Zimbalist Rosaldo points out: <lb facs='#facs_81_r_1_1_tl_8' n='N008'/>Since women must work within a social system that ob- <lb facs='#facs_81_r_1_1_tl_9' n='N009'/>scures their goals and interests, they are apt to develop <lb facs='#facs_81_r_1_1_tl_10' n='N010'/>ways of seeing, feeling, and acting that seem to be "in <lb facs='#facs_81_r_1_1_tl_11' n='N011'/>tuitive” and "unsystematic"—with a sensitivity to other <lb facs='#facs_81_r_1_1_tl_12' n='N012'/>people that permits them to survive. They may, then, be <lb facs='#facs_81_r_1_1_tl_13' n='N013'/>"expressive." But it is important to realize that cultural <lb facs='#facs_81_r_1_1_tl_14' n='N014'/>stereotypes order the observer’s own perceptions. It is <lb facs='#facs_81_r_1_1_tl_15' n='N015'/>because men enter the world of articulated social rela <lb facs='#facs_81_r_1_1_tl_16' n='N016'/>tions that they appear to us as intellectual, rational, or <lb facs='#facs_81_r_1_1_tl_17' n='N017'/>instrumental; and the fact that women are excluded <lb facs='#facs_81_r_1_1_tl_18' n='N018'/>from that world makes them seem to think and behave <lb facs='#facs_81_r_1_1_tl_19' n='N019'/>in another mode. </p> <p> <lb facs='#facs_81_r_3_1_tl_1' n='N001'/>The Province of Ulster was born in conflict. The partition of <lb facs='#facs_81_r_3_1_tl_2' n='N002'/>lreland was a highly artificial solution to an age-old problem. The <lb facs='#facs_81_r_3_1_tl_3' n='N003'/>question of whether the current crisis is a religious war, a class <lb facs='#facs_81_r_3_1_tl_4' n='N004'/>war, or a war of national liberation is in many ways a false one. It <lb facs='#facs_81_r_3_1_tl_5' n='N005'/>is all of these at once. The peculiar complexity of the situation <lb facs='#facs_81_r_3_1_tl_6' n='N006'/>stems from the fact that the political and religious identity of each <lb facs='#facs_81_r_3_1_tl_7' n='N007'/>community is coincident in broad terms, and it is with these poli <lb facs='#facs_81_r_3_1_tl_8' n='N008'/>tical and religious groups that individuals have from birth learned <lb facs='#facs_81_r_3_1_tl_9' n='N009'/>to define themselves. <lb facs='#facs_81_r_3_1_tl_10' n='N010'/>The sources of bigotry in Ireland as well as the mechanisms <lb facs='#facs_81_r_3_1_tl_11' n='N011'/>of its maintenance are ancient. In the Protestant community, <lb facs='#facs_81_r_3_1_tl_12' n='N012'/>patriotic songs and yearly festivals celebrate the siege of London <lb facs='#facs_81_r_3_1_tl_13' n='N013'/>derry and the assent of Protestant rule. These are matched in <lb facs='#facs_81_r_3_1_tl_14' n='N014'/>Catholic culture by a heritage which stresses the heroism and <lb facs='#facs_81_r_3_1_tl_15' n='N015'/>glory of national revolt as well as an almost mystical alliance <lb facs='#facs_81_r_3_1_tl_16' n='N016'/>with the church. According to the Irish Republican tradition to <lb facs='#facs_81_r_3_1_tl_17' n='N017'/>which the modern Provisionals are heir, “Ireland unfree shall <lb facs='#facs_81_r_3_1_tl_18' n='N018'/>never be at peace. <lb facs='#facs_81_r_3_1_tl_19' n='N019'/>The Catholic population in general has tended traditionally <lb facs='#facs_81_r_3_1_tl_20' n='N020'/>to identify with a united and independent Ireland and was in fact <lb facs='#facs_81_r_3_1_tl_21' n='N021'/>instrumental in winning support for the Home Rule Bill by which <lb facs='#facs_81_r_3_1_tl_22' n='N022'/>the Republic of Ireland was established in 1922. The Protestants, <lb facs='#facs_81_r_3_1_tl_23' n='N023'/>who form a minority within Ireland as a whole, had been success <lb facs='#facs_81_r_3_1_tl_24' n='N024'/>ful in their violent opposition to what they termed "the papist <lb facs='#facs_81_r_3_1_tl_25' n='N025'/>state, which led to Britain’s partition of Ireland in an attempt to <lb facs='#facs_81_r_3_1_tl_26' n='N026'/>pacify loyalist Protestants in the North. The long-term and <lb facs='#facs_81_r_3_1_tl_27' n='N027'/>blatant suprematism of the Protestants concentrated in Northern </p> <p> <lb facs='#facs_81_r_4_1_tl_1' n='N001'/>Ireland, their overt domination of political and civil institutions, <lb facs='#facs_81_r_4_1_tl_2' n='N002'/>is countered by a Republican commitment to “victory through <lb facs='#facs_81_r_4_1_tl_3' n='N003'/>physical force” — a form of patriotism which finds its most ex <lb facs='#facs_81_r_4_1_tl_4' n='N004'/>treme manifestation in the IRA tradition of blood sacrifice, in <lb facs='#facs_81_r_4_1_tl_5' n='N005'/>which each death only serves further to legitimize the unques <lb facs='#facs_81_r_4_1_tl_6' n='N006'/>tioned heroism and “justice” of the nationalist cause. <lb facs='#facs_81_r_4_1_tl_7' n='N007'/>With the outbreak of widespread and violent sectarian riot <lb facs='#facs_81_r_4_1_tl_8' n='N008'/>ing in 1969, the collapse of the repressive Protestant-controlled <lb facs='#facs_81_r_4_1_tl_9' n='N009'/>Stormont Government was achieved only through the further <lb facs='#facs_81_r_4_1_tl_10' n='N010'/>intervention of the British, “justified" at the time by continuing <lb facs='#facs_81_r_4_1_tl_11' n='N011'/>paramilitary violence and the threat of civil war. This was to <lb facs='#facs_81_r_4_1_tl_12' n='N012'/>mark the beginning of a period of intense segregation and eco <lb facs='#facs_81_r_4_1_tl_13' n='N013'/>nomic disintegration in Northern Ireland, during which a climate <lb facs='#facs_81_r_4_1_tl_14' n='N014'/>of hostility, combined with a complete lack of dialogue and a <lb facs='#facs_81_r_4_1_tl_15' n='N015'/>military standoff, has made the possibility of further political and <lb facs='#facs_81_r_4_1_tl_16' n='N016'/>social development virtually impossible. <lb facs='#facs_81_r_4_1_tl_17' n='N017'/>When the IRA split in 1969, the Official IRA (increasingly <lb facs='#facs_81_r_4_1_tl_18' n='N018'/>concerned with developing economic and class consciousness) <lb facs='#facs_81_r_4_1_tl_19' n='N019'/>apparently dwindled in effectiveness. The "Provisionals, on the <lb facs='#facs_81_r_4_1_tl_20' n='N020'/>other hand, with their more traditional focus on militarism and <lb facs='#facs_81_r_4_1_tl_21' n='N021'/>nationalism, were able to take advantage of the already tense <lb facs='#facs_81_r_4_1_tl_22' n='N022'/>political climate, playing into and further aggravating sectarian <lb facs='#facs_81_r_4_1_tl_23' n='N023'/>hostilities. They became self-appointed "people’s protectors,” like <lb facs='#facs_81_r_4_1_tl_24' n='N024'/>the Protestant paramilitaries in their own districts. The British <lb facs='#facs_81_r_4_1_tl_25' n='N025'/>policy of internment and torture of IRA militants only served to <lb facs='#facs_81_r_4_1_tl_26' n='N026'/>further escalate guerrilla activities. The vicious circle was com <lb facs='#facs_81_r_4_1_tl_27' n='N027'/>plete. <lb facs='#facs_81_r_4_1_tl_28' n='N028'/>During the last seven years, continued paramilitary and mili <lb facs='#facs_81_r_4_1_tl_29' n='N029'/>tary violence have all but wrecked large sections of both the resi <lb facs='#facs_81_r_4_1_tl_30' n='N030'/>dential and commercial areas of Belfast, Derry and Armagh. <lb facs='#facs_81_r_4_1_tl_31' n='N031'/>Industry has declined and unemployment is soaring. Meanwhile, <lb facs='#facs_81_r_4_1_tl_32' n='N032'/>among the general population, apathy, fear, frustration and <lb facs='#facs_81_r_4_1_tl_33' n='N033'/>poverty have begun to flourish. Amid invariably righteous claims <lb facs='#facs_81_r_4_1_tl_34' n='N034'/>to the representation of “justice, hatred and despair have in <lb facs='#facs_81_r_4_1_tl_35' n='N035'/>creasingly come to dominate “political" life in the Northern State. <lb facs='#facs_81_r_4_1_tl_36' n='N036'/>While numerous "brave and valiant" soldiers have lost their lives, <lb facs='#facs_81_r_4_1_tl_37' n='N037'/>countless ordinary citizens, often women and children, have also <lb facs='#facs_81_r_4_1_tl_38' n='N038'/>been the victims of this ancient and unending cycle of fear, <lb facs='#facs_81_r_4_1_tl_39' n='N039'/>recrimination and violence. The deaths of the three McGuire chil <lb facs='#facs_81_r_4_1_tl_40' n='N040'/>dren, killed on August 10 by an IRA getaway car in Belfast's <lb facs='#facs_81_r_4_1_tl_41' n='N041'/>Andersontown district, were just another "accident." It was, how- <lb facs='#facs_81_r_4_1_tl_42' n='N042'/>ever, to have a resounding effect. Betty Williams, an Anderson <lb facs='#facs_81_r_4_1_tl_43' n='N043'/>town resident who had witnessed the incident, and Mairead <lb facs='#facs_81_r_4_1_tl_44' n='N044'/>Corrigan, the children’s aunt, “had had enough." Within hours <lb facs='#facs_81_r_4_1_tl_45' n='N045'/>they began organizing their neighbors to protest the senseless <lb facs='#facs_81_r_4_1_tl_46' n='N046'/>violence of a war which had long since become a way of life. <lb facs='#facs_81_r_4_1_tl_47' n='N047'/>The peace movement was from the start fueled by an emo <lb facs='#facs_81_r_4_1_tl_48' n='N048'/>tional commitment which was not without its own particular <lb facs='#facs_81_r_4_1_tl_49' n='N049'/>rationality. To the skeptics who denied the possibility of a peace- <lb facs='#facs_81_r_4_1_tl_50' n='N050'/>ful resolution to a feud stemming from deeply ingrained attitudes <lb facs='#facs_81_r_4_1_tl_51' n='N051'/>and opposing loyalties, the women replied that three hundred <lb facs='#facs_81_r_4_1_tl_52' n='N052'/>years of warfare had likewise accomplished nothing, that the <lb facs='#facs_81_r_4_1_tl_53' n='N053'/>Northern Irish people had been for too long divided against them- <lb facs='#facs_81_r_4_1_tl_54' n='N054'/>selves. <lb facs='#facs_81_r_4_1_tl_55' n='N055'/>Thank God l’m still angry enough to do this, because <lb facs='#facs_81_r_4_1_tl_56' n='N056'/>l’d march anywhere in Northern Ireland. I don’t give <lb facs='#facs_81_r_4_1_tl_57' n='N057'/>a darn what the fellow’s beliefs are. Everybody has <lb facs='#facs_81_r_4_1_tl_58' n='N058'/>got a right to believe in exactly what they want to be- <lb facs='#facs_81_r_4_1_tl_59' n='N059'/>lieve in, but there is no one in this whole wide world has <lb facs='#facs_81_r_4_1_tl_60' n='N060'/>any right to kill for it. So, when l’d seen the children die <lb facs='#facs_81_r_4_1_tl_61' n='N061'/>or the awful accident—my daughter also witnessed this <lb facs='#facs_81_r_4_1_tl_62' n='N062'/>—she has screamed about it since, my five-year-old <lb facs='#facs_81_r_4_1_tl_63' n='N063'/>daughter who was unfortunately in the car with me at </p> <pb n='82'/> <p> <lb facs='#facs_82_r_1_1_tl_1' n='N001'/>the time—I went home and sat down. Did you ever get <lb facs='#facs_82_r_1_1_tl_2' n='N002'/>sick inside, so sick that you didn’t even know what was <lb facs='#facs_82_r_1_1_tl_3' n='N003'/>wrong with you? I couldn’t cook a dinner. I couldn’t <lb facs='#facs_82_r_1_1_tl_4' n='N004'/>think straight. I couldn’t even cry, and as the night went <lb facs='#facs_82_r_1_1_tl_5' n='N005'/>on I got angrier and angrier. And my sister came up <lb facs='#facs_82_r_1_1_tl_6' n='N006'/>She lives quite close to where I live, and I had a cousin <lb facs='#facs_82_r_1_1_tl_7' n='N007'/>in the house at the time. And I just said—and I don't <lb facs='#facs_82_r_1_1_tl_8' n='N008'/>mean to swear, l’m very sorry—I said, "Damn it, we <lb facs='#facs_82_r_1_1_tl_9' n='N009'/>have got to do something. And my husband was at sea, <lb facs='#facs_82_r_1_1_tl_10' n='N010'/>and I an air-mail writing pad, and I went right <lb facs='#facs_82_r_1_1_tl_11' n='N011'/>up into the heart of provisional IRA territory in Ander <lb facs='#facs_82_r_1_1_tl_12' n='N012'/>sontown and I didn’t knock at that door very nicely, by <lb facs='#facs_82_r_1_1_tl_13' n='N013'/>the way, I didn’t say, "Excuse me. Would you like to <lb facs='#facs_82_r_1_1_tl_14' n='N014'/>sign this? We all want peace." I was spitting angry, and I <lb facs='#facs_82_r_1_1_tl_15' n='N015'/>banged the woman’s door and she came. I frightened the <lb facs='#facs_82_r_1_1_tl_16' n='N016'/>life out of her. I really did. <lb facs='#facs_82_r_1_1_tl_17' n='N017'/>When she came out, I said, “Do you want peace?" She <lb facs='#facs_82_r_1_1_tl_18' n='N018'/>said "Yes! <lb facs='#facs_82_r_1_1_tl_19' n='N019'/>"Yes, then sign that." It sort of started off like that, <lb facs='#facs_82_r_1_1_tl_20' n='N020'/>and it went on...further down the street, every door <lb facs='#facs_82_r_1_1_tl_21' n='N021'/>you knocked. All the women felt that way. I just lifted <lb facs='#facs_82_r_1_1_tl_22' n='N022'/>the lid. They all poured out. I mean, I ended up rather <lb facs='#facs_82_r_1_1_tl_23' n='N023'/>like the Pied Piper of Hamlin because I had a hundred <lb facs='#facs_82_r_1_1_tl_24' n='N024'/>women in provie territory collecting signatures for <lb facs='#facs_82_r_1_1_tl_25' n='N025'/>peace. <lb facs='#facs_82_r_1_1_tl_26' n='N026'/>We had 3,000 or 6,000 signatures in three hours. We <lb facs='#facs_82_r_1_1_tl_27' n='N027'/>went back to my home. They were in the lounge. They <lb facs='#facs_82_r_1_1_tl_28' n='N028'/>were in the living room. They were in the kitchen. They <lb facs='#facs_82_r_1_1_tl_29' n='N029'/>were in the hall. They were lined up the stairs. They <lb facs='#facs_82_r_1_1_tl_30' n='N030'/>were in the bathroom, the two bedrooms. There just <lb facs='#facs_82_r_1_1_tl_31' n='N031'/>wasn’t enough room to hold them all, and they were all <lb facs='#facs_82_r_1_1_tl_32' n='N032'/>just as angry as I was...that we had let this go on for so <lb facs='#facs_82_r_1_1_tl_33' n='N033'/>long. <lb facs='#facs_82_r_1_1_tl_34' n='N034'/>(Betty Williams4 </p> <p> <lb facs='#facs_82_r_2_1_tl_1' n='N001'/>You see, unfortunately, in a long time in Northern <lb facs='#facs_82_r_2_1_tl_2' n='N002'/>Irish society and, indeed, in the world we have glorified <lb facs='#facs_82_r_2_1_tl_3' n='N003'/>the man with the guns. Do you know we sit in our clubs <lb facs='#facs_82_r_2_1_tl_4' n='N004'/>and we sing about the brave man who took life? Now, <lb facs='#facs_82_r_2_1_tl_5' n='N005'/>we’re going to say in Northern Ireland, we want a com <lb facs='#facs_82_r_2_1_tl_6' n='N006'/>plete new change of society. The hero in Northern Ire <lb facs='#facs_82_r_2_1_tl_7' n='N007'/>land is going to be the guy who stands up against the <lb facs='#facs_82_r_2_1_tl_8' n='N008'/>man with a gun in his hand and said, "You’re not speak <lb facs='#facs_82_r_2_1_tl_9' n='N009'/>ing for me. I haven’t got a gun. l’m not prepared to take <lb facs='#facs_82_r_2_1_tl_10' n='N010'/>your life, but you’re most certainly not speaking for me. <lb facs='#facs_82_r_2_1_tl_11' n='N011'/>The guy who gets involved with the man next door, <lb facs='#facs_82_r_2_1_tl_12' n='N012'/>with the old-age pensioner; the guy who recognizes the <lb facs='#facs_82_r_2_1_tl_13' n='N013'/>Protestant and the Shankhill to be his brother or the <lb facs='#facs_82_r_2_1_tl_14' n='N014'/>black man across the road to be his brother. The man, </p> <p> <lb facs='#facs_82_r_6_1_tl_1' n='N001'/>who, in society, acknowledges his brother. ..the man <lb facs='#facs_82_r_6_1_tl_2' n='N002'/>next door to be his brother. This is the kind of whole <lb facs='#facs_82_r_6_1_tl_3' n='N003'/>new society that we want to create in Northern Ireland, <lb facs='#facs_82_r_6_1_tl_4' n='N004'/>Indeed, we want to say that we have led the world in <lb facs='#facs_82_r_6_1_tl_5' n='N005'/>guerrilla warfare for years; we are going to lead the war <lb facs='#facs_82_r_6_1_tl_6' n='N006'/>in peace and we say to the people of the world, “Watch <lb facs='#facs_82_r_6_1_tl_7' n='N007'/>us." Because we are going to do it, and not only watch <lb facs='#facs_82_r_6_1_tl_8' n='N008'/>us but imitate us because the whole world is led by vio <lb facs='#facs_82_r_6_1_tl_9' n='N009'/>lence and it doesn’t pay. One thousand six hundred <lb facs='#facs_82_r_6_1_tl_10' n='N010'/>people dead in Northern Ireland. <lb facs='#facs_82_r_6_1_tl_11' n='N011'/>My sister was lying in a hospital after losing three <lb facs='#facs_82_r_6_1_tl_12' n='N012'/>babies, and do you know her major concern? There was <lb facs='#facs_82_r_6_1_tl_13' n='N013'/>a bomb the previous week in a bar where a guy had <lb facs='#facs_82_r_6_1_tl_14' n='N014'/>gone out to have a drink—and he was lying across the <lb facs='#facs_82_r_6_1_tl_15' n='N015'/>ward from her—one of those open plan wards, and he <lb facs='#facs_82_r_6_1_tl_16' n='N016'/>had no legs, seventeen years of age—he had no legs and <lb facs='#facs_82_r_6_1_tl_17' n='N017'/>he kept squealing all day, "Please take my hands off. My <lb facs='#facs_82_r_6_1_tl_18' n='N018'/>hands hurt so much." That is only one awful incident of <lb facs='#facs_82_r_6_1_tl_19' n='N019'/>what’s going on in Northern Ireland with guns coming <lb facs='#facs_82_r_6_1_tl_20' n='N020'/>into Northern Ireland. That’s got to stop. That’s no an <lb facs='#facs_82_r_6_1_tl_21' n='N021'/>swer, but to the gunman we say, "We acknowledge that <lb facs='#facs_82_r_6_1_tl_22' n='N022'/>the gunman in Northern Ireland has taken guns perhaps <lb facs='#facs_82_r_6_1_tl_23' n='N023'/>because of their political ideals, perhaps because they <lb facs='#facs_82_r_6_1_tl_24' n='N024'/>were never offered a way, but there’s a new way. There’s <lb facs='#facs_82_r_6_1_tl_25' n='N025'/>another way, and we say to them, "Put up your guns, <lb facs='#facs_82_r_6_1_tl_26' n='N026'/>and if you really care for the people, come into society. <lb facs='#facs_82_r_6_1_tl_27' n='N027'/>Let’s talk about it." We’re not telling them to "get lost <lb facs='#facs_82_r_6_1_tl_28' n='N028'/>or go under the carpet because it’Il fester in thirty years, <lb facs='#facs_82_r_6_1_tl_29' n='N029'/>but let’s talk about it. Let’s hear what you are saying, <lb facs='#facs_82_r_6_1_tl_30' n='N030'/>but not by the gun. <lb facs='#facs_82_r_6_1_tl_31' n='N031'/>Mairead Corrigan 5) </p> <p> <lb facs='#facs_82_r_7_1_tl_1' n='N001'/>During the weeks that followed the initial demonstration at <lb facs='#facs_82_r_7_1_tl_2' n='N002'/>the site of the McGuire children’s death, Betty Williams and Mai <lb facs='#facs_82_r_7_1_tl_3' n='N003'/>read Corrigan continued to publicize the incident and organize <lb facs='#facs_82_r_7_1_tl_4' n='N004'/>for an all-out assault on violence. This took the form of massive <lb facs='#facs_82_r_7_1_tl_5' n='N005'/>demonstrations for peace. The first demonstration (August 14) <lb facs='#facs_82_r_7_1_tl_6' n='N006'/>drew 10,000 women, both Protestant and Catholic, to the Catho <lb facs='#facs_82_r_7_1_tl_7' n='N007'/>lic Andersontown district. Provo supporters jeered the rally and <lb facs='#facs_82_r_7_1_tl_8' n='N008'/>denounced Williams as a traitor, but she was not dissuaded and <lb facs='#facs_82_r_7_1_tl_9' n='N009'/>the following week brought 20,000 people together in one of Bel <lb facs='#facs_82_r_7_1_tl_10' n='N010'/>fast’s few remaining “mixed" neighborhoods. The third weekend <lb facs='#facs_82_r_7_1_tl_11' n='N011'/>the peace movement returned to the hard-core Protestant Shan- <lb facs='#facs_82_r_7_1_tl_12' n='N012'/>kill Road area where close to 30,000 demonstrators showed up. <lb facs='#facs_82_r_7_1_tl_13' n='N013'/>The fourth rally was held in Derry, Ulster’s second largest city, <lb facs='#facs_82_r_7_1_tl_14' n='N014'/>on Craigavon Bridge, which connects the Protestant and Catho- <lb facs='#facs_82_r_7_1_tl_15' n='N015'/>lic sections of town. Again approximately 30,000 people turned <lb facs='#facs_82_r_7_1_tl_16' n='N016'/>out. By this time the Provos were saying that they did not oppose <lb facs='#facs_82_r_7_1_tl_17' n='N017'/>the peace movement, but supported “Peace with justice." Mean- <lb facs='#facs_82_r_7_1_tl_18' n='N018'/>while, in Dublin, the capital of the Irish Republic, a march by <lb facs='#facs_82_r_7_1_tl_19' n='N019'/>20,000 was organized in support and smaller marches were held <lb facs='#facs_82_r_7_1_tl_20' n='N020'/>in Corm, Galway, Carlon and Castlebar. <lb facs='#facs_82_r_7_1_tl_21' n='N021'/>The unexpected popularity and energetic style of these initial <lb facs='#facs_82_r_7_1_tl_22' n='N022'/>marches contributed to their dramatic impact. Both support and <lb facs='#facs_82_r_7_1_tl_23' n='N023'/>criticism abounded. Within weeks of the first rally, smaller com <lb facs='#facs_82_r_7_1_tl_24' n='N024'/>munity "peace” groups began to spring up throughout the pro <lb facs='#facs_82_r_7_1_tl_25' n='N025'/>vince, with no apparent orientation other than a commitment to <lb facs='#facs_82_r_7_1_tl_26' n='N026'/>peace, to furthering dialogue within the community and to con <lb facs='#facs_82_r_7_1_tl_27' n='N027'/>structive non-sectarian local action. <lb facs='#facs_82_r_7_1_tl_28' n='N028'/>Provisional "support," however, was to prove short-lived. <lb facs='#facs_82_r_7_1_tl_29' n='N029'/>The weekly marches were disrupted on October 2 by small IRA <lb facs='#facs_82_r_7_1_tl_30' n='N030'/>counter-marches in which several of the peace marchers were <lb facs='#facs_82_r_7_1_tl_31' n='N031'/>assaulted. Death threats against Betty and Mairead were occa <lb facs='#facs_82_r_7_1_tl_32' n='N032'/>sionally found scrawled on Belfast walls. The Provos, claiming <lb facs='#facs_82_r_7_1_tl_33' n='N033'/>that there had been an increase in British army raids, arrests and <lb facs='#facs_82_r_7_1_tl_34' n='N034'/>harassment, issued a statement warning that if any women from <lb facs='#facs_82_r_7_1_tl_35' n='N035'/>the peace movement cooperated with security forces, they would <lb facs='#facs_82_r_7_1_tl_36' n='N036'/>be treated as informers and shot. </p> <pb n='83'/> <p> <lb facs='#facs_83_r_1_1_tl_1' n='N001'/>From the onset there has been confusion in the press about <lb facs='#facs_83_r_1_1_tl_2' n='N002'/>the attitude of the peace marchers toward the British and the RUC <lb facs='#facs_83_r_1_1_tl_3' n='N003'/>(Royal Ulster Constabulary — the “legitimate” police who have <lb facs='#facs_83_r_1_1_tl_4' n='N004'/>been theoretically neutral but effectively on the side of the Pro <lb facs='#facs_83_r_1_1_tl_5' n='N005'/>testants). While the peace leaders have been extremely outspoken <lb facs='#facs_83_r_1_1_tl_6' n='N006'/>in their criticism of the Provisionals and of the UDA and the UVF <lb facs='#facs_83_r_1_1_tl_7' n='N007'/>(Ulster Defense Association and Ulster Volunteer Force, the Pro <lb facs='#facs_83_r_1_1_tl_8' n='N008'/>testant paramilitary equivalents of the Provisional IRA), they <lb facs='#facs_83_r_1_1_tl_9' n='N009'/>have been less direct in their denunciation of the British and of the <lb facs='#facs_83_r_1_1_tl_10' n='N010'/>legitimate" Ulster security forces. Though they have consistently <lb facs='#facs_83_r_1_1_tl_11' n='N011'/>condemned all “men of violence, their position on “legal” mili <lb facs='#facs_83_r_1_1_tl_12' n='N012'/>tary forces is more ambiguous. While this is a crucial issue and <lb facs='#facs_83_r_1_1_tl_13' n='N013'/>one on which the peace leaders are perhaps most vulnerable to <lb facs='#facs_83_r_1_1_tl_14' n='N014'/>criticism, IRA supporters have consistently twisted its signifi <lb facs='#facs_83_r_1_1_tl_15' n='N015'/>cance to imply that they are pro-British — unlikely, as the move <lb facs='#facs_83_r_1_1_tl_16' n='N016'/>ment is both Catholic-led and strongly backed by non-violent <lb facs='#facs_83_r_1_1_tl_17' n='N017'/>Catholic Nationalists. There is in fact a simple and rational ex <lb facs='#facs_83_r_1_1_tl_18' n='N018'/>planation for their hedging on the question of British interven <lb facs='#facs_83_r_1_1_tl_19' n='N019'/>tion. Since one of the main thrusts of the movement is its anti <lb facs='#facs_83_r_1_1_tl_20' n='N020'/>sectarian character, and since it is the first major popular grass <lb facs='#facs_83_r_1_1_tl_21' n='N021'/>roots movement uniting both Catholics and Protestants, its very <lb facs='#facs_83_r_1_1_tl_22' n='N022'/>existence is dependent on widespread support from both camps. <lb facs='#facs_83_r_1_1_tl_23' n='N023'/>The vast majority of Protestants (two-thirds of the population in <lb facs='#facs_83_r_1_1_tl_24' n='N024'/>Northern Ireland) for the most part do not favor British with <lb facs='#facs_83_r_1_1_tl_25' n='N025'/>drawal, and many Catholics, including the Official IRA Sinn <lb facs='#facs_83_r_1_1_tl_26' n='N026'/>Fein° do not advocate an immediate withdrawal, so that any <lb facs='#facs_83_r_1_1_tl_27' n='N027'/>public position in regard to either imperialism or British "secur <lb facs='#facs_83_r_1_1_tl_28' n='N028'/>ity" forces is indeed difficult and problematic. Due to this fact, as <lb facs='#facs_83_r_1_1_tl_29' n='N029'/>well as to the general diversity of political sentiment within the <lb facs='#facs_83_r_1_1_tl_30' n='N030'/>movement, the leaders have confined themselves to taking gen <lb facs='#facs_83_r_1_1_tl_31' n='N031'/>eral positions against violence, encouraging local initiative <lb facs='#facs_83_r_1_1_tl_32' n='N032'/>toward peace and speaking in very broad terms about the need <lb facs='#facs_83_r_1_1_tl_33' n='N033'/>for the "Northern Irish" people to resolve their own differences <lb facs='#facs_83_r_1_1_tl_34' n='N034'/>"from the bottom up. <lb facs='#facs_83_r_1_1_tl_35' n='N035'/>Although heavy criticism from both the Provisionals and <lb facs='#facs_83_r_1_1_tl_36' n='N036'/>extremist Protestant groups may have slightly affected the move <lb facs='#facs_83_r_1_1_tl_37' n='N037'/>ment’s popularity, demonstrations, rallies and meetings through- <lb facs='#facs_83_r_1_1_tl_38' n='N038'/>out the fall of 1976 continued to draw wide support. Several sup <lb facs='#facs_83_r_1_1_tl_39' n='N039'/>portive demonstrations were organized by feminist groups in <lb facs='#facs_83_r_1_1_tl_40' n='N040'/>Germany and the Netherlands; a rally in London on November <lb facs='#facs_83_r_1_1_tl_41' n='N041'/>28 drew a crowd of approximately 15,000. <lb facs='#facs_83_r_1_1_tl_42' n='N042'/>The movement now has a magazine (Peace by Peace), a <lb facs='#facs_83_r_1_1_tl_43' n='N043'/>small office in Belfast, and over 125 local groups “organizing for <lb facs='#facs_83_r_1_1_tl_44' n='N044'/>peace” in Northern Ireland. "Support,” however, is not what the <lb facs='#facs_83_r_1_1_tl_45' n='N045'/>movement is all about. In terms of opening up effective channels <lb facs='#facs_83_r_1_1_tl_46' n='N046'/>of discourse and creating a climate in which constructive non <lb facs='#facs_83_r_1_1_tl_47' n='N047'/>sectarian political development can occur, there is no way at <lb facs='#facs_83_r_1_1_tl_48' n='N048'/>present to estimate its success. <lb facs='#facs_83_r_1_1_tl_49' n='N049'/>The current peace movement is not the first of its kind in Ire <lb facs='#facs_83_r_1_1_tl_50' n='N050'/>land. Two others in the recent past have attempted to dispel sec <lb facs='#facs_83_r_1_1_tl_51' n='N051'/>tarian violence by non-violent and non-sectarian means. Both <lb facs='#facs_83_r_1_1_tl_52' n='N052'/>times they were eclipsed by British military escalations which ral <lb facs='#facs_83_r_1_1_tl_53' n='N053'/>lied Catholics to the IRA. In 1971, an organization called "Wom <lb facs='#facs_83_r_1_1_tl_54' n='N054'/>en Together” gained considerable support, but lost ground when <lb facs='#facs_83_r_1_1_tl_55' n='N055'/>the British introduced internment. Another movement sprang up <lb facs='#facs_83_r_1_1_tl_56' n='N056'/>in Derry in 1972. After a British soldier had killed a Catholic <lb facs='#facs_83_r_1_1_tl_57' n='N057'/>youth, the IRA "executed" a young man from Derry who had <lb facs='#facs_83_r_1_1_tl_58' n='N058'/>joined the British army. That was the last straw for Margaret <lb facs='#facs_83_r_1_1_tl_59' n='N059'/>Doherty, who organized her neighbors to demonstrate their <lb facs='#facs_83_r_1_1_tl_60' n='N060'/>anger. This was effective to the extent that the Official IRA de <lb facs='#facs_83_r_1_1_tl_61' n='N061'/>clared a cease-fire which they maintain to this day. The 1972 <lb facs='#facs_83_r_1_1_tl_62' n='N062'/>movement collapsed however, when the British invaded the </p> <p> <lb facs='#facs_83_r_2_1_tl_1' n='N001'/>Catholic no-go areas in what was known as “Operation Motor <lb facs='#facs_83_r_2_1_tl_2' n='N002'/>man. Once again the Provisionals were vindicated by British <lb facs='#facs_83_r_2_1_tl_3' n='N003'/>actions. With the rebirth of the peace forces this year, Margaret <lb facs='#facs_83_r_2_1_tl_4' n='N004'/>Doherty, who had been viciously harassed for her peace activities <lb facs='#facs_83_r_2_1_tl_5' n='N005'/>in 1972, again came forward and has participated in the organiza <lb facs='#facs_83_r_2_1_tl_6' n='N006'/>tion of the present campaign. <lb facs='#facs_83_r_2_1_tl_7' n='N007'/>Even these recent interventions on the part of women are not <lb facs='#facs_83_r_2_1_tl_8' n='N008'/>unique in Irish history. In 1921, during the struggle for Home <lb facs='#facs_83_r_2_1_tl_9' n='N009'/>Rule, the British section of the Women’s International League for <lb facs='#facs_83_r_2_1_tl_10' n='N010'/>Peace and Freedom, headed by Jane Addams, sent their own <lb facs='#facs_83_r_2_1_tl_11' n='N011'/>commission to study Irish self-rule, clearly opposing the interests <lb facs='#facs_83_r_2_1_tl_12' n='N012'/>of their own government. The Irish section of the WILPF, led by <lb facs='#facs_83_r_2_1_tl_13' n='N013'/>Louie Bennett, was active in organizing women to employ <lb facs='#facs_83_r_2_1_tl_14' n='N014'/>passive-resistance techniques in a struggle against the British. <lb facs='#facs_83_r_2_1_tl_15' n='N015'/>Their view as women was that human life was precious and that <lb facs='#facs_83_r_2_1_tl_16' n='N016'/>war was an outmoded way of dealing with imperialist rivalries. <lb facs='#facs_83_r_2_1_tl_17' n='N017'/>While the women supporters of the 1921 struggle were largely <lb facs='#facs_83_r_2_1_tl_18' n='N018'/>middle-class suffragettes organized internationally behind a paci- <lb facs='#facs_83_r_2_1_tl_19' n='N019'/>fist ideology, the current peace campaign is indigenous, widely <lb facs='#facs_83_r_2_1_tl_20' n='N020'/>supported by both middle- and working-class people, and rela <lb facs='#facs_83_r_2_1_tl_21' n='N021'/>tively "unorganized." <lb facs='#facs_83_r_2_1_tl_22' n='N022'/>The peace movement, as Bernadette Devlin has pointed out, <lb facs='#facs_83_r_2_1_tl_23' n='N023'/>is not a feminist movement. There is in fact virtually no feminism <lb facs='#facs_83_r_2_1_tl_24' n='N024'/>in Ireland in the sense in which we as Americans understand it. <lb facs='#facs_83_r_2_1_tl_25' n='N025'/>While there have been several notable female political activists in <lb facs='#facs_83_r_2_1_tl_26' n='N026'/>the Republican movement (Bernadette Devlin, now associated <lb facs='#facs_83_r_2_1_tl_27' n='N027'/>with the Irish Republican Socialist Party, Marin de Burca, joint <lb facs='#facs_83_r_2_1_tl_28' n='N028'/>general secretary of Sinn Fein, and Maire Drumm, the recently <lb facs='#facs_83_r_2_1_tl_29' n='N029'/>assassinated Provisional IRA spokeswoman), the vast majority of <lb facs='#facs_83_r_2_1_tl_30' n='N030'/>Irish women, oppressed as they are by poverty, war, extremely <lb facs='#facs_83_r_2_1_tl_31' n='N031'/>discriminatory employment and pay practices, and perhaps most <lb facs='#facs_83_r_2_1_tl_32' n='N032'/>importantly, by a strong religious and patriarchal family struc <lb facs='#facs_83_r_2_1_tl_33' n='N033'/>ture, have, by and large, remained unorganized as women. <lb facs='#facs_83_r_2_1_tl_34' n='N034'/>For Catholic women, a very intense religious indoctrination <lb facs='#facs_83_r_2_1_tl_35' n='N035'/>which places a strict taboo on birth control, abortion and divorce <lb facs='#facs_83_r_2_1_tl_36' n='N036'/>is still a major obstacle. While as citizens of a Commonwealth <lb facs='#facs_83_r_2_1_tl_37' n='N037'/>nation, Northern Irish women are technically entitled to equal <lb facs='#facs_83_r_2_1_tl_38' n='N038'/>pay, and according to an anti-discrimination law passed at West <lb facs='#facs_83_r_2_1_tl_39' n='N039'/>minster in December 1976, they are protected against job dis <lb facs='#facs_83_r_2_1_tl_40' n='N040'/>crimination, the fact is that women’s employment opportunities <lb facs='#facs_83_r_2_1_tl_41' n='N041'/>lag far behind not only those of men, but behind those of most <lb facs='#facs_83_r_2_1_tl_42' n='N042'/>European women as well. While the legal status of Ulster women <lb facs='#facs_83_r_2_1_tl_43' n='N043'/>is superior to that of women in the Catholic Republic of Ireland <lb facs='#facs_83_r_2_1_tl_44' n='N044'/>where women still have almost no independent legal rights, a <lb facs='#facs_83_r_2_1_tl_45' n='N045'/>very strong patriarchal ideology still prevails throughout Ireland, <lb facs='#facs_83_r_2_1_tl_46' n='N046'/>and Northern Irish women are for the most part still politically <lb facs='#facs_83_r_2_1_tl_47' n='N047'/>subservient to their husbands as well as being educationally and <lb facs='#facs_83_r_2_1_tl_48' n='N048'/>economically disadvantaged. While these conditions can ulti <lb facs='#facs_83_r_2_1_tl_49' n='N049'/>mately be traced to the relatively low level of industrial and eco <lb facs='#facs_83_r_2_1_tl_50' n='N050'/>nomic development of Ireland as a whole, and to the powerful <lb facs='#facs_83_r_2_1_tl_51' n='N051'/>religious infrastructure, they do underline some of the reasons <lb facs='#facs_83_r_2_1_tl_52' n='N052'/>why feminism has failed to develop, as well as the crucial impor <lb facs='#facs_83_r_2_1_tl_53' n='N053'/>tance of independent women’s organizations. <lb facs='#facs_83_r_2_1_tl_54' n='N054'/>How then can we evaluate the effectiveness of the peace <lb facs='#facs_83_r_2_1_tl_55' n='N055'/>movement from a feminist perspective? While its prevailing atti <lb facs='#facs_83_r_2_1_tl_56' n='N056'/>tudes are traditional, in that they are not activist from a feminist <lb facs='#facs_83_r_2_1_tl_57' n='N057'/>or socialist perspective, the movement does potentially represent <lb facs='#facs_83_r_2_1_tl_58' n='N058'/>an important step forward in both of these directions. The self <lb facs='#facs_83_r_2_1_tl_59' n='N059'/>initiated emergence into the political sphere of a large sector of <lb facs='#facs_83_r_2_1_tl_60' n='N060'/>the female population which has heretofore remained inactive, or <lb facs='#facs_83_r_2_1_tl_61' n='N061'/>at best has existed in an exclusively supportive role in relation to <lb facs='#facs_83_r_2_1_tl_62' n='N062'/>those very male modes of political activity which they are now so <lb facs='#facs_83_r_2_1_tl_63' n='N063'/>explicitly criticizing, is not without significance to the develop <lb facs='#facs_83_r_2_1_tl_64' n='N064'/>ment of either. </p> <pb n='84'/> <p> <lb facs='#facs_84_r_1_1_tl_1' n='N001'/>The rallies do help to get rid of a certain amount of <lb facs='#facs_84_r_1_1_tl_2' n='N002'/>fear. You are going to such-and-such a place and at one <lb facs='#facs_84_r_1_1_tl_3' n='N003'/>time you would have been frightened to go there. But at <lb facs='#facs_84_r_1_1_tl_4' n='N004'/>the rally you’re a bit frightened but you just go on. Each <lb facs='#facs_84_r_1_1_tl_5' n='N005'/>time you come back from a rally, you have more cour <lb facs='#facs_84_r_1_1_tl_6' n='N006'/>age to keep going. It’s because you’re meeting with <lb facs='#facs_84_r_1_1_tl_7' n='N007'/>people <lb facs='#facs_84_r_1_1_tl_8' n='N008'/>Let’s face it, for seven years we went about the city <lb facs='#facs_84_r_1_1_tl_9' n='N009'/>and sat in our homes, all the time wrapped up in our <lb facs='#facs_84_r_1_1_tl_10' n='N010'/>own family and our own home and our own constant <lb facs='#facs_84_r_1_1_tl_11' n='N011'/>worry that something would happen to them. You felt it <lb facs='#facs_84_r_1_1_tl_12' n='N012'/>was just yourself had all this worry. Going out to the <lb facs='#facs_84_r_1_1_tl_13' n='N013'/>rallies is making people realize that other people have <lb facs='#facs_84_r_1_1_tl_14' n='N014'/>the same fears and the same worries. We are able to talk <lb facs='#facs_84_r_1_1_tl_15' n='N015'/>to each other about it. It’s bringing a new closeness. <lb facs='#facs_84_r_1_1_tl_16' n='N016'/>JJune Campion, member of a local peace group in Knok <lb facs='#facs_84_r_1_1_tl_17' n='N017'/>nagoney' <lb facs='#facs_84_r_1_1_tl_18' n='N018'/>It is also important to remember that the current peace <lb facs='#facs_84_r_1_1_tl_19' n='N019'/>movement is at present not a political organization; it is perhaps <lb facs='#facs_84_r_1_1_tl_20' n='N020'/>misleading to consider it as such. While plans for the future in <lb facs='#facs_84_r_1_1_tl_21' n='N021'/>clude meetings designed to develop a more explicit form of <lb facs='#facs_84_r_1_1_tl_22' n='N022'/>organization, the movement as yet has no formal structure and <lb facs='#facs_84_r_1_1_tl_23' n='N023'/>no official platform. It is a phenomenon that can accurately be <lb facs='#facs_84_r_1_1_tl_24' n='N024'/>termed "spontaneous” in that it has not been planned and the <lb facs='#facs_84_r_1_1_tl_25' n='N025'/>form it has taken to date can be regarded primarily as a demon <lb facs='#facs_84_r_1_1_tl_26' n='N026'/>stration of solidarity around a commitment to peace. <lb facs='#facs_84_r_1_1_tl_27' n='N027'/>The three most visible leaders at present are Betty Williams, <lb facs='#facs_84_r_1_1_tl_28' n='N028'/>Mairead Corrigan and Ciaran McKeown, a journalist who has <lb facs='#facs_84_r_1_1_tl_29' n='N029'/>given up his newspaper position to support the women in their <lb facs='#facs_84_r_1_1_tl_30' n='N030'/>struggle. The organizational network as a whole, however, is <lb facs='#facs_84_r_1_1_tl_31' n='N031'/>neither centralized nor highly controlled by those who are <lb facs='#facs_84_r_1_1_tl_32' n='N032'/>apparently most prominent. Indeed, there has been a consistent <lb facs='#facs_84_r_1_1_tl_33' n='N033'/>effort by all concerned to systematically locate the basis for par <lb facs='#facs_84_r_1_1_tl_34' n='N034'/>ticipation and direction within the numerous communities where <lb facs='#facs_84_r_1_1_tl_35' n='N035'/>peace groups have been emerging. <lb facs='#facs_84_r_1_1_tl_36' n='N036'/>While direct support for the movement is clearly widespread <lb facs='#facs_84_r_1_1_tl_37' n='N037'/>(estimates range from 170,000 to 250,000 people in Northern Ire <lb facs='#facs_84_r_1_1_tl_38' n='N038'/>land alone), it is extremely hard to gauge its size or class composi <lb facs='#facs_84_r_1_1_tl_39' n='N039'/>tion on the basis of mass rallies and demonstrations. When I criti <lb facs='#facs_84_r_1_1_tl_40' n='N040'/>cized the somewhat naive character of some of the statements by <lb facs='#facs_84_r_1_1_tl_41' n='N041'/>movement leaders, an American woman who had gone to North- <lb facs='#facs_84_r_1_1_tl_42' n='N042'/>ern Ireland to participate in one of their rallies told me that it was <lb facs='#facs_84_r_1_1_tl_43' n='N043'/>precisely this tone that contributed to the movement’s popularity <lb facs='#facs_84_r_1_1_tl_44' n='N044'/>among working-class women. It is certainly true that there has <lb facs='#facs_84_r_1_1_tl_45' n='N045'/>been a very deliberate attempt by the peace people to avoid direct <lb facs='#facs_84_r_1_1_tl_46' n='N046'/>affiliation with any specific political groups, and certain of the <lb facs='#facs_84_r_1_1_tl_47' n='N047'/>more politically “sophisticated" women supporters have delib <lb facs='#facs_84_r_1_1_tl_48' n='N048'/>erately remained in the background, not wishing to “take over’ <lb facs='#facs_84_r_1_1_tl_49' n='N049'/>or divert the movement from its primary focus, that is, bringing <lb facs='#facs_84_r_1_1_tl_50' n='N050'/>an end to violence and encouraging local initiative toward non <lb facs='#facs_84_r_1_1_tl_51' n='N051'/>sectarian community development. <lb facs='#facs_84_r_1_1_tl_52' n='N052'/>Marin de Burca, a socialist and leader of Sinn Fein (Official <lb facs='#facs_84_r_1_1_tl_53' n='N053'/>IRA) spoke of the peace movement in an interview during a re <lb facs='#facs_84_r_1_1_tl_54' n='N054'/>cent tour of the U.S.: “We go to the marches as individuals. It <lb facs='#facs_84_r_1_1_tl_55' n='N055'/>would be the kiss of death if we openly supported them. We have <lb facs='#facs_84_r_1_1_tl_56' n='N056'/>issued statements supporting them, but I don’t agree with trying <lb facs='#facs_84_r_1_1_tl_57' n='N057'/>to move in and take them over." <lb facs='#facs_84_r_1_1_tl_58' n='N058'/>De Burca believes that if the British withdrew the Provos <lb facs='#facs_84_r_1_1_tl_59' n='N059'/>would be politically undermined. She argues that unification of <lb facs='#facs_84_r_1_1_tl_60' n='N060'/>the country is still the solution but that it can be achieved only <lb facs='#facs_84_r_1_1_tl_61' n='N061'/>through unification of the various factions around initially mod <lb facs='#facs_84_r_1_1_tl_62' n='N062'/>est reforms. <lb facs='#facs_84_r_1_1_tl_63' n='N063'/>The demand for peace is not Marxist, but in the context <lb facs='#facs_84_r_1_1_tl_64' n='N064'/>of Northern Ireland it is very revolutionary at the mo <lb facs='#facs_84_r_1_1_tl_65' n='N065'/>ment... The reason we’re looking for peace is to allow <lb facs='#facs_84_r_1_1_tl_66' n='N066'/>us to operate openly and intensively in a political way </p> <p> <lb facs='#facs_84_r_2_1_tl_1' n='N001'/>to unite Protestants and Catholics. If we have to look <lb facs='#facs_84_r_2_1_tl_2' n='N002'/>for something that sounds as reactionary as peace, then <lb facs='#facs_84_r_2_1_tl_3' n='N003'/>we look for it. If people can’t see behind the facade to <lb facs='#facs_84_r_2_1_tl_4' n='N004'/>the reality then it’s their problem. <lb facs='#facs_84_r_2_1_tl_5' n='N005'/>When Marin de Burca speaks of working in a political way <lb facs='#facs_84_r_2_1_tl_6' n='N006'/>to unite Catholics and Protestants, she is speaking as a marxist <lb facs='#facs_84_r_2_1_tl_7' n='N007'/>attempting to organize working people to assume greater econo <lb facs='#facs_84_r_2_1_tl_8' n='N008'/>mic control. While, as a member of the Official IRA, de Burca <lb facs='#facs_84_r_2_1_tl_9' n='N009'/>definitely supports an anti-imperialist struggle, she feels that in <lb facs='#facs_84_r_2_1_tl_10' n='N010'/>the long run the sectarian disputes dividing the Catholic and Prot- <lb facs='#facs_84_r_2_1_tl_11' n='N011'/>estant working populations are perhaps an even greater obstacle <lb facs='#facs_84_r_2_1_tl_12' n='N012'/>to the struggle for self-determination. As the situation exists now, <lb facs='#facs_84_r_2_1_tl_13' n='N013'/>separate Catholic and Protestant labor unions render the labor <lb facs='#facs_84_r_2_1_tl_14' n='N014'/>movement as a whole relatively ineffectual, and continued eco <lb facs='#facs_84_r_2_1_tl_15' n='N015'/>nomic disintegration due to sectarian violence has left large sec <lb facs='#facs_84_r_2_1_tl_16' n='N016'/>tions of the Catholic and Protestant population unemployed. <lb facs='#facs_84_r_2_1_tl_17' n='N017'/>It is interesting to note the difference between de Burca's <lb facs='#facs_84_r_2_1_tl_18' n='N018'/>marxist analysis, which views the entire Irish working class as the <lb facs='#facs_84_r_2_1_tl_19' n='N019'/>oppressed class and the type of marxist analysis supported by <lb facs='#facs_84_r_2_1_tl_20' n='N020'/>other Republicans, which views the Catholic minority in the <lb facs='#facs_84_r_2_1_tl_21' n='N021'/>North as the oppressed class. The Provisionals, who are not nec <lb facs='#facs_84_r_2_1_tl_22' n='N022'/>essarily socialists but prefer to think of themselves as consistently <lb facs='#facs_84_r_2_1_tl_23' n='N023'/>on the left, persist in opposing both the British and the Protestan <lb facs='#facs_84_r_2_1_tl_24' n='N024'/>paramilitary and are engaged in a constant struggle for unifica <lb facs='#facs_84_r_2_1_tl_25' n='N025'/>tion with the Catholic South. Bernadette Devlin, a socialist and <lb facs='#facs_84_r_2_1_tl_26' n='N026'/>an aggressive Republican, generally supports this form of analysis <lb facs='#facs_84_r_2_1_tl_27' n='N027'/>where class—purely in economic terms—is secondary to anti <lb facs='#facs_84_r_2_1_tl_28' n='N028'/>imperialism and a class analysis stressing the political and eco <lb facs='#facs_84_r_2_1_tl_29' n='N029'/>nomic discrimination that the Catholic population as a whole has <lb facs='#facs_84_r_2_1_tl_30' n='N030'/>suffered at the hands of a Protestant-controlled government and <lb facs='#facs_84_r_2_1_tl_31' n='N031'/>industry. <lb facs='#facs_84_r_2_1_tl_32' n='N032'/>The complexity of the situation and the relative inadequacy <lb facs='#facs_84_r_2_1_tl_33' n='N033'/>of this approach is apparent when one considers, even in crude <lb facs='#facs_84_r_2_1_tl_34' n='N034'/>terms, the economic composition of the Catholic and Protestant <lb facs='#facs_84_r_2_1_tl_35' n='N035'/>population. While it is definitely true that the Protestant majori- <lb facs='#facs_84_r_2_1_tl_36' n='N036'/>ty, as a group, has greater economic control, and that the high <lb facs='#facs_84_r_2_1_tl_37' n='N037'/>est levels of unemployment in the North are in Catholic districts, <lb facs='#facs_84_r_2_1_tl_38' n='N038'/>the large majority of the Protestant population is also working <lb facs='#facs_84_r_2_1_tl_39' n='N039'/>class. It is, in fact, the youths of these two communities who are <lb facs='#facs_84_r_2_1_tl_40' n='N040'/>fighting one another, while the small minority of Protestants who <lb facs='#facs_84_r_2_1_tl_41' n='N041'/>are wealthy maintain an economic advantage and have an inter <lb facs='#facs_84_r_2_1_tl_42' n='N042'/>est in continuing sectarian hostilities for precisely this reason. <lb facs='#facs_84_r_2_1_tl_43' n='N043'/>It would be a mistake, however, to attempt to evaluate the <lb facs='#facs_84_r_2_1_tl_44' n='N044'/>significance of the peace movement on the basis of its potential <lb facs='#facs_84_r_2_1_tl_45' n='N045'/>effectiveness in furthering the cause of other political movements. <lb facs='#facs_84_r_2_1_tl_46' n='N046'/>It is perhaps more useful to consider the way in which the peace <lb facs='#facs_84_r_2_1_tl_47' n='N047'/>movement is indicative of an entirely different struggle for self <lb facs='#facs_84_r_2_1_tl_48' n='N048'/>determination, as well as a profoundly different approach to these <lb facs='#facs_84_r_2_1_tl_49' n='N049'/>issues. It is significant that what is being questioned by the peace <lb facs='#facs_84_r_2_1_tl_50' n='N050'/>people is not the ends of political struggle so much as the means <lb facs='#facs_84_r_2_1_tl_51' n='N051'/>by which ideas, opinions and interests are both culturally rein <lb facs='#facs_84_r_2_1_tl_52' n='N052'/>forced and socially imposed. <lb facs='#facs_84_r_2_1_tl_53' n='N053'/>The critical issue which is the historical source of internal <lb facs='#facs_84_r_2_1_tl_54' n='N054'/>Irish conflict is that of the relationship between Ireland and the <lb facs='#facs_84_r_2_1_tl_55' n='N055'/>British Empire. This has not only kept Catholics and Protestants <lb facs='#facs_84_r_2_1_tl_56' n='N056'/>feuding for generations, but has also led to innumerable splits <lb facs='#facs_84_r_2_1_tl_57' n='N057'/>within both camps. It is paradoxical that within this contex <lb facs='#facs_84_r_2_1_tl_58' n='N058'/>British imperialism is the one issue on which the peace campaign <lb facs='#facs_84_r_2_1_tl_59' n='N059'/>has most consistently refused to take a stand. This is not because <lb facs='#facs_84_r_2_1_tl_60' n='N060'/>individual participants have no opinions on this question, but <lb facs='#facs_84_r_2_1_tl_61' n='N061'/>rather because the movement locates the "solution” in people, in <lb facs='#facs_84_r_2_1_tl_62' n='N062'/>a process of interaction and definition rather than in abstrac <lb facs='#facs_84_r_2_1_tl_63' n='N063'/>"positions. </p> <pb n='85'/> <p> <lb facs='#facs_85_r_1_1_tl_1' n='N001'/>For the peace people, the question of the relative legitimacy <lb facs='#facs_85_r_1_1_tl_2' n='N002'/>of opposing traditions is momentarily suspended. What is reveal <lb facs='#facs_85_r_1_1_tl_3' n='N003'/>ed instead is the logical perfection of institutionalized conflict. <lb facs='#facs_85_r_1_1_tl_4' n='N004'/>Military, political and even religious leaders are themselves to <lb facs='#facs_85_r_1_1_tl_5' n='N005'/>blame, claim the peace organizers, not because of this or that <lb facs='#facs_85_r_1_1_tl_6' n='N006'/>’position" in relation to government, but because they have kept <lb facs='#facs_85_r_1_1_tl_7' n='N007'/>the Irish people divided among themselves. “Rationality” is for <lb facs='#facs_85_r_1_1_tl_8' n='N008'/>them not merely a question of “right" and “wrong,” but rather <lb facs='#facs_85_r_1_1_tl_9' n='N009'/>begins with the realization of how two non-dialectical visions of <lb facs='#facs_85_r_1_1_tl_10' n='N010'/>"right" are sustained by a culture which is imperialist and author <lb facs='#facs_85_r_1_1_tl_11' n='N011'/>itarian in its very mode of thought. <lb facs='#facs_85_r_1_1_tl_12' n='N012'/>Problems arise, claim the peace workers, because we have <lb facs='#facs_85_r_1_1_tl_13' n='N013'/>lost sight of a basic respect for the individual." "Solutions," they <lb facs='#facs_85_r_1_1_tl_14' n='N014'/>assert, cannot be artificially constructed and then imposed but <lb facs='#facs_85_r_1_1_tl_15' n='N015'/>must arise through a process of creative interaction in which gov <lb facs='#facs_85_r_1_1_tl_16' n='N016'/>ernment does not exist to control people, to violently suppress <lb facs='#facs_85_r_1_1_tl_17' n='N017'/>dissent, but rather as an extension of the more or less clearly arti <lb facs='#facs_85_r_1_1_tl_18' n='N018'/>culated needs and desires of all the people. <lb facs='#facs_85_r_1_1_tl_19' n='N019'/>These concepts, while they may reveal an element of political <lb facs='#facs_85_r_1_1_tl_20' n='N020'/>naiveté which translates as liberalism, are not rhetorical. The <lb facs='#facs_85_r_1_1_tl_21' n='N021'/>practical orientation of the movement to date, with its emphasis <lb facs='#facs_85_r_1_1_tl_22' n='N022'/>on open and careful discussion and a decentralized approach to <lb facs='#facs_85_r_1_1_tl_23' n='N023'/>developing democratic forms, is indicative of this fact. <lb facs='#facs_85_r_1_1_tl_24' n='N024'/>From this perspective we might examine Bernadette Devlin's <lb facs='#facs_85_r_1_1_tl_25' n='N025'/>claim that the peace movement is “dangerous" because it “dulls <lb facs='#facs_85_r_1_1_tl_26' n='N026'/>consciousness. “We were stupid,” she claims, “never to have or <lb facs='#facs_85_r_1_1_tl_27' n='N027'/>ganized the women."10 Both the truth and the potential fallacy of <lb facs='#facs_85_r_1_1_tl_28' n='N028'/>this statement are apparent. From the standpoint of almost any <lb facs='#facs_85_r_1_1_tl_29' n='N029'/>traditional political perspective, assertions of the sanctity of life, <lb facs='#facs_85_r_1_1_tl_30' n='N030'/>of respect for the individual and of a genuine “creative form of <lb facs='#facs_85_r_1_1_tl_31' n='N031'/>democracy" must appear naive without a "program” or a defini <lb facs='#facs_85_r_1_1_tl_32' n='N032'/>tion of the specific conditions under which such values can be <lb facs='#facs_85_r_1_1_tl_33' n='N033'/>realized. The peace people, however, do not qualify these condi- <lb facs='#facs_85_r_1_1_tl_34' n='N034'/>tions; the values themselves must define the very process of po <lb facs='#facs_85_r_1_1_tl_35' n='N035'/>litical interaction. If this is the case, how then can we interpret <lb facs='#facs_85_r_1_1_tl_36' n='N036'/>Bernadette’s regret at not having "organized" the women? Is it <lb facs='#facs_85_r_1_1_tl_37' n='N037'/>conceivable that the women supporting the peace movement are <lb facs='#facs_85_r_1_1_tl_38' n='N038'/>not in fact organizing themselves, organizing in such a way as to <lb facs='#facs_85_r_1_1_tl_39' n='N039'/>deny the legitimacy of those very political forms into which <lb facs='#facs_85_r_1_1_tl_40' n='N040'/>others seek to recruit them? <lb facs='#facs_85_r_1_1_tl_41' n='N041'/>A supportive statement by the Provisionals, in which the <lb facs='#facs_85_r_1_1_tl_42' n='N042'/>peace movement is described as a "spontaneous overreaction led <lb facs='#facs_85_r_1_1_tl_43' n='N043'/>by the photogenic Mrs. Betty Williams" reveals both the con <lb facs='#facs_85_r_1_1_tl_44' n='N044'/>descension and lack of reflexivity which typify those attitudes the <lb facs='#facs_85_r_1_1_tl_45' n='N045'/>women are most directly challenging. <lb facs='#facs_85_r_1_1_tl_46' n='N046'/>We are not necessarily in opposition to the peace people. <lb facs='#facs_85_r_1_1_tl_47' n='N047'/>But we want to explain to the people that there cannot <lb facs='#facs_85_r_1_1_tl_48' n='N048'/>be peace without justice. We just want to explain to the <lb facs='#facs_85_r_1_1_tl_49' n='N049'/>people turning out to these marches what the true posi <lb facs='#facs_85_r_1_1_tl_50' n='N050'/>tion is and show them the road to real peace.1 <lb facs='#facs_85_r_1_1_tl_51' n='N051'/>This raises the most subtle and yet critical issue of the peace <lb facs='#facs_85_r_1_1_tl_52' n='N052'/>movement’s significance. The whole notion of a “true position” is <lb facs='#facs_85_r_1_1_tl_53' n='N053'/>what the peace movement calls into question—it is not the politi <lb facs='#facs_85_r_1_1_tl_54' n='N054'/>cal views of the opposing factions that are being attacked; even <lb facs='#facs_85_r_1_1_tl_55' n='N055'/>the "violence” the movement condemns is but a manifestation of <lb facs='#facs_85_r_1_1_tl_56' n='N056'/>something far more profoundly significant. The peace people are, <lb facs='#facs_85_r_1_1_tl_57' n='N057'/>in my opinion, not reacting simply to a specific incident of vio <lb facs='#facs_85_r_1_1_tl_58' n='N058'/>lence, nor even to violence in the abstract. They are (perhaps <lb facs='#facs_85_r_1_1_tl_59' n='N059'/>naively but nevertheless insightfully) challenging a whole tradi <lb facs='#facs_85_r_1_1_tl_60' n='N060'/>tion. What is fundamentally being questioned is the legitimacy of <lb facs='#facs_85_r_1_1_tl_61' n='N061'/>the imposition of the will of one group upon another. “Justice” is <lb facs='#facs_85_r_1_1_tl_62' n='N062'/>not being challenged so much as how justice is socially defined. <lb facs='#facs_85_r_1_1_tl_63' n='N063'/>imperialism, in this context, is not simply a question of national <lb facs='#facs_85_r_1_1_tl_64' n='N064'/>or international conquest. Imperialism is the imposition of a so </p> <p> <lb facs='#facs_85_r_2_1_tl_1' n='N001'/>cial order, whether through military force or political manipula <lb facs='#facs_85_r_2_1_tl_2' n='N002'/>tion, by those with power on those without. The very question of <lb facs='#facs_85_r_2_1_tl_3' n='N003'/>how Northern Ireland can be governed, says Ciaran McKeown, <lb facs='#facs_85_r_2_1_tl_4' n='N004'/>"is an imperialist question” because it implies the imposition of <lb facs='#facs_85_r_2_1_tl_5' n='N005'/>political forms by politicians on people who are for the most part <lb facs='#facs_85_r_2_1_tl_6' n='N006'/>excluded from the process of a creative democracy. Thus all ex <lb facs='#facs_85_r_2_1_tl_7' n='N007'/>tant political solutions are inevitably violent, whether the vio <lb facs='#facs_85_r_2_1_tl_8' n='N008'/>lence is “legal"1 or "illegal," because they require military force <lb facs='#facs_85_r_2_1_tl_9' n='N009'/>to secure them. <lb facs='#facs_85_r_2_1_tl_10' n='N010'/>From this perspective, British colonialism, Protestant politi <lb facs='#facs_85_r_2_1_tl_11' n='N011'/>cal suprematism and IRA military violence can be seen as identi <lb facs='#facs_85_r_2_1_tl_12' n='N012'/>cal in their implicit attitudes toward the imposition of social or <lb facs='#facs_85_r_2_1_tl_13' n='N013'/>der. In every case, whether justified or not, “justice” is an exten <lb facs='#facs_85_r_2_1_tl_14' n='N014'/>sion of self-interest and democracy is a rhetorical, not a methodo <lb facs='#facs_85_r_2_1_tl_15' n='N015'/>logical phenomenon. While it would be absurd to consider the <lb facs='#facs_85_r_2_1_tl_16' n='N016'/>peace movement as a feminist or a socialist movement, it express <lb facs='#facs_85_r_2_1_tl_17' n='N017'/>es values that are fundamentally in accordance with both socialist <lb facs='#facs_85_r_2_1_tl_18' n='N018'/>and feminist thought, in that it addresses the whole issue of power <lb facs='#facs_85_r_2_1_tl_19' n='N019'/>and questions the way the right of self-determination has been <lb facs='#facs_85_r_2_1_tl_20' n='N020'/>eclipsed, not only by those in power, but by those who conceive <lb facs='#facs_85_r_2_1_tl_21' n='N021'/>of power alone—economic, military or political—as the just de <lb facs='#facs_85_r_2_1_tl_22' n='N022'/>terminant of social order. <lb facs='#facs_85_r_2_1_tl_23' n='N023'/>Perhaps it’s been our fault, you see, because we have sat <lb facs='#facs_85_r_2_1_tl_24' n='N024'/>back—as ordinary people—which is the fault every- <lb facs='#facs_85_r_2_1_tl_25' n='N025'/>where—where the ordinary people sat back and let a <lb facs='#facs_85_r_2_1_tl_26' n='N026'/>few extremists say, "We are speaking and we are work- <lb facs='#facs_85_r_2_1_tl_27' n='N027'/>ing for the people." We should have long ago stood up <lb facs='#facs_85_r_2_1_tl_28' n='N028'/>and said, “They’re not speaking for us." I mean, people <lb facs='#facs_85_r_2_1_tl_29' n='N029'/>have been coming out from Ireland representing the <lb facs='#facs_85_r_2_1_tl_30' n='N030'/>people—the ordinary people, perhaps people like our <lb facs='#facs_85_r_2_1_tl_31' n='N031'/>selves, who never had the nerve. I mean, just to be here <lb facs='#facs_85_r_2_1_tl_32' n='N032'/>takes all the courage one has got, you know. [Mairead <lb facs='#facs_85_r_2_1_tl_33' n='N033'/>Corrigan 13 </p> <p> <lb facs='#facs_85_r_3_1_tl_1' n='N001'/>1. Margaret McNeil, “They Say That There’s Protestants Walking With <lb facs='#facs_85_r_3_1_tl_2' n='N002'/>Us, The Friend (London, Sept. 1976) <lb facs='#facs_85_r_3_1_tl_3' n='N003'/>2. Daily American (Rome, Aug. 22, 1976). <lb facs='#facs_85_r_3_1_tl_4' n='N004'/>3. Michelle Zimbalist Rosaldo, Woman, Culture, and Society, ed. <lb facs='#facs_85_r_3_1_tl_5' n='N005'/>Michelle Z. Rosaldo and Louise Lamphere (Stanford, Calif.: Stanford <lb facs='#facs_85_r_3_1_tl_6' n='N006'/>University Press, 1974). <lb facs='#facs_85_r_3_1_tl_7' n='N007'/>4. Betty Williams on Woman program, moderator Sandra Elkin (Buffalo: <lb facs='#facs_85_r_3_1_tl_8' n='N008'/>WNEDTV, Oct. 1976). <lb facs='#facs_85_r_3_1_tl_9' n='N009'/>5. Mairead Corrigan on Woman program (Buffalo: WNED TV, Oct. <lb facs='#facs_85_r_3_1_tl_10' n='N010'/>1976). <lb facs='#facs_85_r_3_1_tl_11' n='N011'/>6. Sinn Fein (means “we ourselves”), founded in 1916, has functioned <lb facs='#facs_85_r_3_1_tl_12' n='N012'/>since the 1930s mainly as the political wing of the IRA. In the 1960s it <lb facs='#facs_85_r_3_1_tl_13' n='N013'/>swung to the left as did the IRA and became involved in social and eco <lb facs='#facs_85_r_3_1_tl_14' n='N014'/>nomic agitation and in 1970 split along the same lines as the IRA into <lb facs='#facs_85_r_3_1_tl_15' n='N015'/>Sinn Fein, Kevin Street (Provisional) and Sinn Fein, Gardiner Street <lb facs='#facs_85_r_3_1_tl_16' n='N016'/>(Official). The names come from the streets in Dublin where they have <lb facs='#facs_85_r_3_1_tl_17' n='N017'/>their headquarters. Both groups use the name Sinn Fein, however, in <lb facs='#facs_85_r_3_1_tl_18' n='N018'/>spite of the fact that their views are widely divergent. The Provisionals <lb facs='#facs_85_r_3_1_tl_19' n='N019'/>are more militant and nationalist while the Officials are marxist and <lb facs='#facs_85_r_3_1_tl_20' n='N020'/>not militant. <lb facs='#facs_85_r_3_1_tl_21' n='N021'/>7. June Campion, quoted in Peace by Peace (Belfast, Oct. 16, 1976). <lb facs='#facs_85_r_3_1_tl_22' n='N022'/>8. Marin de Burca, quoted by David Moberg, In These Times (Jan. 1977). <lb facs='#facs_85_r_3_1_tl_23' n='N023'/>9. Ibid. <lb facs='#facs_85_r_3_1_tl_24' n='N024'/>10. Bernadette Devlin, quoted by Lucinda Franks, “We Want Peace, Just <lb facs='#facs_85_r_3_1_tl_25' n='N025'/>Peace,” New York Times Magazine (Dec. 19, 1975). <lb facs='#facs_85_r_3_1_tl_26' n='N026'/>11. Irish Republican Information Service (Dublin, Oct. 14, 1976). Italics <lb facs='#facs_85_r_3_1_tl_27' n='N027'/>the author’s. <lb facs='#facs_85_r_3_1_tl_28' n='N028'/>12. Ciaran McKeown, “The Price of Peace” (Belfast, 1976). <lb facs='#facs_85_r_3_1_tl_29' n='N029'/>13. Mairead Corrigan on Woman program (Buffalo: WNED TV, Oct. <lb facs='#facs_85_r_3_1_tl_30' n='N030'/>1976). <lb facs='#facs_85_r_3_1_tl_31' n='N031'/>Sarah Charlesworth is an artist and photographer who lives and works in <lb facs='#facs_85_r_3_1_tl_32' n='N032'/>New York. Her previously published writings have dealt with art and social <lb facs='#facs_85_r_3_1_tl_33' n='N033'/>theory. She was a founding editor of The Fox and is a member of the anti <lb facs='#facs_85_r_3_1_tl_34' n='N034'/>catalog collective. </p> </div> </body> </text> </TEI>
The Raised Voices of Women in Mid-Nineteenth Century France Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>The Raised Voices of Women in Mid-Nineteenth Century France</title> <author>Cäcilia Rentmister</author> <editor>Judith Lee (translator)</editor> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Lyndon Beier</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-Present)</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Patterns of Communicating and Space Among Women</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> </teiHeader> <text> <body> <pb/> <div> <pb n="52" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_052.jpg"/> <head>The Raised Voices of Women in Mid-Nineteenth Century France</head> <byline>Cäcilia Rentmeister</byline> <byline>Translated by Judith Lee</byline> <p> * Excerpted from <title>Honoré Daumier und die ungelosten Probleme der bur gerlichen Gesellschaft: Katalog zur Ausstellung der Neuen Gesellschaft für bildende Kunst,</title> Berlin, Schloss Charlottenburg, 1974. </p> <p> These are the questions: With what weapons did women in the mid-nineteenth century actually fight? Did they have allies? Was their enemy simply the male? What goals did they fight for? How were women affected by the reactions to the first French Revolution in 1789, and what laws controlled them? Why did they seek to join the early socialist groups and why were they rejected or disciplined as soon as they asserted their own interests? Why did their hopes in such apostles as Saint-Simon, Fourier, Cabet, George Sand or in the workers' alliances turn out to be illusions? How is it that women of all classes were able to unite, so as to form an autonomous women's movement?...</p> <div> <head>1789: The Pioneers</head> <p>The women's movement of 1848 sought victory in a battle in which, since the Great Revolution of 1789, it had only experienced defeat. In 1789 women had left their homes, had climbed down from the allegorical pedestals of freedom and fatherland to fight for these values with weapons in their hands. The "amazon of freedom," Théroigne de Méricourt, and her sisters throughout France formed amazon corps. It was women who advanced on Versailles to bring the royal couple and the crown prince — "the baker, the baker's wife and the baker's little boy"— to Paris. <note>1. Cf. Simone de Beauvoir, <title>The Second Sex</title> (New York: Knopf, 1953); Léon Abensour, <title>Histoire Générale du Féminisme</title> (Paris, 1921); Clara Zetkin, <title>Zur Geschichte der proletarischen Frauenbewegung Deutschlands</title> (Berlin, DDR, 1958); Sheila Rowbotham, <title>Hidden from History</title> (London, 1973).</note> As long as they integrated themselves into the fighting lines and subordinated themselves to common goals, they were accepted. But when they followed the men's example and established clubs to demand civil rights and freedom of economic activity for themselves, then the amazons of freedom became hateful Megaeras. As a companion to the “Declaration of the Rights of Man, Olympe de Gouges proposed in 1789 a “Declaration of the Rights of Women": “A woman has the right to go to the gallows; she must also have the right to mount the speaker's platform."</p> <p>In the same declaration she concluded, "Oh women, women! When will you stop being blind? What advantages have you gained through the Revolution? Greater contempt, more flagrant disregard. In the centuries of corruption the only thing you controlled was men's weaknesses. Your empire has been destroyed. What is there left? The conviction that men are unjust...."</p> <note>2. Quoted from Daniel Stern, <title>Histoire de la Révolution de 1848</title> (Paris, 1878), II, pp. 378-379. Cf. also d'Agoult (Daniel Stern), <title>Mémoires 1833-1854</title> (Paris, 1877).</note> <p>Even though in 1790 the Constituent Assembly introduced a law enabling daughters to inherit property and, in 1792, a divorce law, it was only the wives and daughters of wealthy men whose lot improved. Women's more basic demands for education, the free exercise of an occupation and political rights were rejected. Napoleon's “Civil Code” of 1804 stated outright: “A wife owes obedience to her husband" (Article 1). Although Article 488 of the code states that all unmarried women of legal age are“...absolute mistresses of their person and property” and are able to carry out all acts of civil life, <note>3. Cf. <title>Gazette des femmes</title>, no. 53, 10. 10. 1846.</note> as long as a single adult woman was not able to support herself through her own work, she would hardly pass her twenty-first year unmarried. By 1826 the restoration government had rescinded the divorce law; the women's clubs had already been banned in 1793 by the revolutionary government's Committee of Public Safety. </p> </div> <div> <head>Women's Emancipation between Revolutions: The Apostles</head> <p>In spite of the setbacks, women had perceived the possibilities for freedom. Soon after the turn of the century the social utopians appeared before the public with plans for a new social order. Searching for a new identity and lacking their own theories, women believed they had finally found their place in Saint Simon's Association universelle. Here man and woman would form the future “social unit" in a structure free of all enslavement. However, Saint-Simon himself provided only general formulations. The exegesis of his gospel was left to his apostle Père Enfantin. <note>4. Cf. Edith Thomas, <title>Les femmes en 1848</title> (Paris, 1948), pp. 7ff.</note> And Enfantin again placed woman on the very throne that had always stood in the way of her liberation: she became an ideal figure to be worshipped. Enfantin and his numerous followers, men and women of all classes, awaited the appearance of the Mère—the female messiah who, with the Père, was supposed to form the Saint-Simonian papal couple, the “Divine Androgyne." This "Mother" was also supposed to break the "seal" on the shackles of women. But despite an intensive search, which included expeditions to the Orient, this worthy woman was never found. The seal on women's chains remained.</p> <p>Enfantin loosened one bond, however, with his réhabilitation de la chair—the "liberation of the flesh" from the bonds of Christianity's aversion to the carnal. This meant the moral relaxation of the bonds of marriage to the very boundaries of promiscuity and was first perceived by Saint-Simonian women as progressive. However, it proved to be neither a theoretical nor a practical step toward their liberation. The dualism of body and soul was maintained. Woman continued to be flesh, but her corporeality was elevated as a means of dignifying the male spirit. By making the body divine, woman could be sexually exploited that much more easily. In addition, no women sat in Enfantin's Conseil suprême, and in 1851 they were completely excluded from the hierarchy.</p> <p>A great many women learned a lesson from these disappointments. They began to search for a new apostle. Former supporters of Saint-Simon wrote in the first issue of their women's journal, Femme libre (1832):</p> <quote>When everyone is concerned about freedom and the proletariat demands liberation, in the face of this great movement of social emancipation taking place before our very eyes, shall women remain inactive?...Is our lot so fortunate that we have no demands to make? Up to now woman has been exploited and tyrannized. This tyranny, this exploitation must cease. Like men we are born free; one half of the human race cannot be sujected to the other without injustice. <note>5. Ibid., p. 10.</note> </quote> <pb n="53" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_053.jpg"/> <p> Women saw themselves here not as a minority, but as one half of humanity. If the male proletariat, numerically a smaller group, could demand liberation, why not women?...</p> <p>Yet women were not in a position to create an autonomous emancipation movement. For too long they had been forceably prevented from gaining any insight into social relationships. Before 1848, no matter what family and social role the women's rightists envisioned for themselves, they always viewed their liberation in conjunction with that of the most oppressed classes. However, even these classes, which the women held to be their natural allies, rejected them as soon as they demanded the end of sexual domination.</p> <p>Flora Tristan, for example, led a lifelong battle for the cause of women and workers because of the dual oppression she had her self experienced. After the early death of her father she went to work as an illuminator. Her youthful marriage to her employer was unhappy; Tristan left her husband and took her children with her. According to the law at that time the marriage could not be dissolved and the husband was able to persecute his wife for many years without punishment. <note>6. For the following ef. Zetkin, pp. 161ff. and Thomas, pp. 18ff.</note></p> <p>Tristan's major work, The Union of Labor, appeared in 1843, shortly before her death. Long before Marx she proposed and expounded her idea that although the emancipation of workers must be achieved by the workers themselves, it would only remain an illusion without the emancipation of women. Tristan also suggested to the workers the text for a declaration which ends, “We, the French proletariat...recognize...that the neglect and disregard which men have shown for the natural rights of women is the sole reason for unhappiness in the world....Sons of 1789, this is the task that your fathers have given you to do!"</p> <p>Because of this declaration and especially because of her portrayal of the misery of proletarian marriages, Tristan did not meet with sympathy from her public. Marriage and family were the last reserves where the worker could exercise control on account of his sex. Thus labor and trade associations recognized Tristan's work belatedly, if at all. In a letter to Considérant she writes with disappointment, “Almost everyone is against me. The men, because I demand the emancipation of women, the property owners, because I demand the emancipation of wage earners." <note>7. Thomas, p. 29.</note> </p> </div> <div> <head>The Bluestockings Corrupt the Moral Tradition of Marriage</head> <p>The Bluestockings (Les Bas-bleus) were not a specific organization. Originally the term referred to a group of female scholars and writers who owed their nickname to a certain blue-stockinged Mrs. Stillingfleet, a literary lady prominent in London around 1780.<note>8. Brockhaus, <title>Kl. [eines] Konversationslex.[ikon]</title> (Leipzig, 1886).</note> By the mid-nineteenth century, Daumier and his contemporaries used the term to mean any emancipated woman from the bourgeois class, which, being their own class, posed the greatest threat and inspired the strongest defenses.</p> <p>Since bourgeois married women revolted naturally not against employers, but against their husbands (who were not recognized as employers since housework was unpaid), marriage was the focal point of the emancipation efforts of the caricaturists' Bluestockings. In Daumier's series Conjugal Mores (1839), the battle between the sexes took place in the parlor or bedroom, the target the flaws of a lower- or middle-class marriage. The sixth plate of the series points clearly to the Bluestockings. A husband in his underwear holds out his torn pants to his wife, who is reading, and complains that George Sand keeps wives from mending their husbands' trousers: "Either we should make divorce legal again or outlaw this lady writer!" <note>9. Charivari, 6. 30. 1839; [Loys] Delteil, [<title>Honoré Daumier</title>, 10 vols. (Paris, 1925-1930)], no. 629.</note> This print evokes the three chief complaints against the Bas-bleus: wives refuse to mend trousers and even want to dress themselves in this symbol of their husbands' power; marriage and family are neglected in favor of the woman's own interests; and George Sand—"that woman writer who has inspired literary ambitions in the heads of faithful wives -is the source of all evil.</p> <p>What did George Sand really want and what kind of views did Daumier credit to her blue-stockinged followers? <note>10. Cf. G. Sand, <title>Gefahrten von der Frankreichwanderschaft [Compagnon du tour de France]</title> (Berlin, DDR, 1954), with an afterword by Rita Schober; Edith Thomas, George Sand (Paris, 1959); Jean Larnac, <title>G.[eorge] S.[and] als Revolutionarin [George Sand as a Revolutionary)</title>.</note> In 1831 the Baroness Dudevant had left her husband and experienced her first success as a feuilletonist for Le Figaro under the pseudonym George Sand. Soon after that, in her novels Indiana and Lelia, she created heroines who protested the tyranny of marriage. The subsequent development of Sand's political consciousness was similar to that of countless other women. She moved from the Saint-Simonians, who wanted her to be their “Mother," to the social utopians and Lamennais and eventually, at the end of the 1830s, she converted to the views of Pierre Leroux, who fought capitalism through forced development of new methods of agricultural production. George Sand took Leroux's position in her so-called social novels written after 1840. She made farmers and workmen her protagonists and declared them to be the determining social force, paralleling the actual historical role of these classes from 1830 to 1850. Her opinions placed her in the left wing of the petit bourgeois democrats.</p> <p>As for the women's question, Sand—like Leroux—did not expect a solution until a new social order could be established. But it is not only because of this blind faith in automatic change that the women's question is peripheral in her “social” novels. From her extensive work with society and politics she could have come to a clearer analysis of the present and future role of women in society. But Sand was no longer concerned with the women's question. Having been accepted as one of their own by the most influential men of her time, she believed she had attained emancipation and was, indeed, already beyond it. She had become a man out of conviction and had nothing but contempt for her former sex. Thus even in 1848 she disassociated herself very clearly from the women's rightists.</p> <p>The George Sand who is the central figure in Daumier's Bluestocking series is still the early Sand, opposing marriage, although by the time the series appeared in 1844 she had already begun the development described above. Sand was the perfect model even for Daumier's travesty of emancipation—portrayed simply as the imitation and exchange of sexual roles. She dressed like a man, smoked, used male gestures...Daumier's Bluestockings have only first names, which makes them anonymous and insignificant. Among the precursors of these Eudoxies, Ismenes and Arsinoes are the French précieuses of the seventeenth century, whose legacy is visible today in the petites bourgeoises who imagine themselves to be leading intellectuals..</p> <p>When intellect and creativity, considered to be masculine qualities, are appropriated by daring women, they supposedly be come—if not men—then at least sexless creatures. Thus, in the first plate of Daumier's series, an unattractive Bluestocking gazing at her own likeness in a mirror takes comfort in Madame de Stael's words, “Genius has no sex." <note>11. <title>Charivari</title>, 1. 30. 1844. Delteil, nos. 1221-1260.</note> Nevertheless, Daumier's Bluestockings still have families and still assume the duties of production and reproduction of manpower, although because of their intellectual predilections, they are unwilling to do housework. Indeed the very existence of the family is in danger, when the children are always falling into the bathwater or when the husband must care for them while his wife writes an “Ode to Motherhood." It escaped Daumier's notice that the traditional division of roles gives far more occasion for comedy when the husband is writing an ode praising the joys of motherhood while the wife keeps the children out of his way.</p> <p>In contrast to the women in Conjugal Mores, whose activities were limited to the domestic sphere, ambition drives Daumier's <pb n="54" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_054.jpg" /> Bluestockings to take the first steps out of the house and found organizations limited only to their own sex. They are either gaped at or hooted at as salon socialists; they change the function of the ladies' tea party and meet as a circle of drinking companions who parrot revolutionary ideologies. Daumier deals with the real, and more threatening, women's newspapers and clubs only twice. At a meeting to found their journal The Women's Literary Sans Culotte, Bluestocking journalists discuss the contents of their first issue: "What do we want to wreck first? For a beginning, let's smash everything!" And in the second print— the chaotic meeting of a women's club—it is typical of Daumier that once again the ironic caption speaks only of women's incapability of working as an organization. The observer learns nothing about the reason for the meeting or the topic of discussion. These sheets do not give the vaguest notion of the explosive power that the women's movement was about to develop in the February Revolution of 1848.</p> </div> <div> <head>The Women's Movement in 1848: Goals and Organization</head> <p>The February Revolution again called women to the battlefield. Again the overthrow of an old social order loosened their bonds, and for a short time in the anarchy of law and morals they escaped the control of their masters. Since 1789 they had expanded their demands and made them more precise: without the complete abolition of the domination of one sex by the other, the revolution could not be victorious. Their common goals were the right to work, the autonomous organization of wage-earning women, abolition of educational privileges, and the procurement of political and civil rights (suffrage, divorce).</p> <p>So that men could hear them, these working and bourgeois women gained the right to speak in democratic and socialist men's clubs like the Club Lyonnais or the Club de l'émancipation des peuples. At best the men tolerated or smiled at the women's presentations. Once again women learned from these experiences; they organized themselves autonomously. They came together from homes and factories to form their own clubs and editorial boards. “The natural agent for your liberation is woman," points out one of the women's papers. <note>12. <title>Voix [desfemmes]</title>, 4. 20. 1848.</note> The two largest women's clubs in Paris were the Club de l'émancipation des femmes, founded by Jeanne Deroin and Dr. Malatier, and the Club des femmes, founded by Eugénie Niboyet. Clubs founded newspapers, newspapers founded clubs. Thus Jeanne Deroin published the Opinion des femmes <note>13. The successor to the paper <title>Politique des femmes</title>.</note> and Niboyet the Voix des femmes. To properly evaluate the achievements and significance of the women's newspapers, it must be kept in mind that they appeared daily and that newspapers were the only form of mass communication.</p> <note>14. There were countless other journals for women, but often only a few issues appeared because of the special difficulties involved (financing, organization, marketing and distribution, quality).</note> <p>Among the editors of the Voix, Niboyet had worked for a long time on women's newspapers, <note>15. She was editor from 1833 to 1834 in Lyon of the pro-Fourier <title>Conseiller des femmes</title>.</note> and Deroin was a teacher who wrote for the Opinion des femmes as well. Désirée Gay was a worker and later founder of a women laundry workers' union. A large number of other writers for the paper signed their articles with first name and occupation only. With its first issue on March 20, 1840, the Voix called for support of the aforementioned demands of the women's organizations.</p> <p>The battle dealt primarily with the right to vote and the right to work. On March 5, 1848, the provisional government had proclaimed “universal suffrage." The next day it specified exactly who was allowed to vote — all men over twenty-one years of age who enjoyed the rights of citizenship. Mentally retarded people and minors were not permitted to vote. The women belonged to this group.</p> <p>Women rose up in arms. In an address to the provisional government on March 16, women artists, workers, writers and teachers demanded equal political rights for both sexes. Delegations from the “Committee for Women's Rights" went to Marrast at City Hall and insisted on the right to vote because the voting law failed to specifically exclude women. The Jacobin Club released a trial balloon with the nomination of George Sand as a candidate for the National Assembly. The women's clubs enthusiastically endorsed the nomination. The Voix des femmes of April 16 proclaimed, “We have nominated George Sand!" A woman in the National Assembly, one whom men had declared to be a genius, would have to be heard! But in the newspaper La Réforme Sand clearly disassociated herself from the movement. She admitted that freedom of opinion was the right of both sexes, but protested the unsolicited support of women whom she did not know and with whom she did not wish to associate.</p> <p>Eugénie Niboyet had realized that Sand was no women's rightist. In the Voix on April 10, 1848, she returned the affront. The candidacy of Madame George Sand was decided by men in clubs where women are not permitted.... The republic has not done away with the privileges of the talented, but it has limited them by imposing responsibilities." In the election on April 23 George Sand was defeated. One half of the French people still had no voice.</p> </div> <div> <head>Organizing by Women</head> <p>The right to work meant economic independence, a fundamental step towards women's liberation. Finding work for women had nothing to do with charity. “Under a republican government privilege is replaced by equality, just as charity becomes fraternity...." (commentary in the Voix on April 3, 1848). The <pb n="55" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_055.jpg" /> women's demands were presented before the Commission du travail of the provisional government in a very general and rather feeble form. An address directed to Louis Blanc, the commission chairman, read:</p> <quote>Many women are in a desperate situation.... Good morals build republics and it is the women who are responsible for good morals! Let the nation praise wom en's labor through your voice. We hope that through our will work done by women will have a status in the present reorganization of labor and that you will urge that the fundamental principle of association be applied to the kinds of work that are carried out by women.</quote> <note>16. Stern, II, p. 161.</note> <p>In a postscript the woman writing this appeal demanded auxiliary protective measures to make it possible for women to work and to make their work easier, such as the establishment of "national restaurants, state laundries, day-care centers and so forth.</p> <note>17. <title>Voix des femmes</title>, 3.2. 1848.</note> <p>The women's movement sought to organize female workers in two ways. First, through the creation of associations at existing places of work. Second, by demanding that the state set up national workshops for women to reduce unemployment.</p> <p>Workers' associations already existed under the July Monarchy in embryonic forms, but they were constantly exposed to persecution by Louis-Philippe's government. However, with the February Revolution of 1848, the concept of an "association' took on an almost magical significance, for it represented both an end to all exploitation and a "brotherliness” which would be real ized in all social realms. <note>18. Edith Thomas, <title>Pauline Roland</title> (Paris, 1956), p. 127.</note> Women also formed associations. Pauline Roland founded an association for socialist teachers. The alliance of midwives, Sages femmes unies, demanded medical training, better care for the working classes and state wages. The Voix des femmes added that women should reclaim gynecology and no longer surrender their bodies to profit-seeking, incompetent doctors.</p> <note>19. <title>Voix des femmes</title>, 4.20. 1848.</note> <p>The Voix also founded an association for domestic workers, Association des femmes à gages, to eliminate the isolation inherent in domestic work. In October, 1848, Jeanne Deroin launched the Association des ouvrières lingères. The female laundry workers organized their businesses themselves, from soliciting orders to delivery. One quarter of the profit was paid out in wages, one quarter went into a relief fund for the workers and the other half went back into production. <note>20. Thomas, <title>Les femmes en 1848</title>, pp. 71ff.</note> Finally, in August 1848, Deroin founded a central French labor union movement. In answer to her call delegates from a large number of associations met in Paris to discuss suggestions for a federation — 140 associations formed the alliance. In 1850 Deroin was imprisoned for half a year as an enemy of property, individualism and male domination in the state and in the family.</p> <p>In March 1848, the suggestion was first made, in the Voix des femmes, that the government's National Workshops also be established for women. In the course of their campaign, delegates of female workers finally established Ateliers des femmes (work shops for women) through the Commission du travail. Désirée Gay, a worker and editorial writer for the Voix, was chosen as a delegate by the female workers of the second arrondissement of Paris. She gave regular reports in the Voix about the organization and development of the newly opened workshops in the second district, and from her reports we get an idea of what was happen ing in other ateliers.</p> <p>Every 100 female workers were under the command of a division leader (daily wage: 3 francs). Every ten women were in turn assigned to a brigade leader (daily wage: 1.50 francs). On March 20, 1848, the Voix published figures on the average earnings of seamstresses: for a twelve-hour day they could earn at the most 1 franc in the city, in the country no more than 60 centimes. In general, women earned only about one-third of what men earned. Female workers sewed national guard shirts for the government and received piece-wages. Since most of them were un trained, many barely received 30 centimes a day, far below the subsistence minimum. The substantial wage differences within the ateliers also made women unhappy. The complaints multiplied. An editorial in the Voix on April 14, 1848, declared:</p> <quote>Why do women revolt? Because women's workshops are controlled by men, because favoritism brings higher wages than work accomplished, finally, because some have too much and others too little. What the female worker wants is not an organized hand-out, but rather a just reward for work done.... We want all people to be able to make a living from their labor....</quote> <p>On April 18 Désirée Gay wrote:</p> <quote>Female workers are dying of hunger. The work that they are given to do is only bait. The organization of women's work is only despotism under a new name The appointment of women's delegates is a false pretense thought up by men who want to get women off their backs.</quote> <p>Because of her energetic advocation of women's rights, Désirée Gay was fired as division leader several days later. The government threatened to imprison her and close the ateliers, if there was an uprising among women workers.</p> <p>In the government decree of June 23, 1848, on the closing of the National Workshops, the ateliers des femmes did not even need to be mentioned. They had already become ineffectual due to the participation of women in the June insurrection.</p> <note>21. Ibid., p. 56.</note> <p>The most infamous society of female workers formed for the liberation of women was a paramilitary group, a feminist “militia," called the Vesuviennes. The members adopted this nick name, mockingly applied by the public, and gave it their own interpretation. Actually it described their situation superbly: like long dammed-up lava, they would cause social upheaval. With weapons clashing, the Vésuviennes marched in front of the City Hall and at the Place Vendôme under the command of Josephine Frenouillet. This was grist for the mill of Charivari. From the end of March onwards, the house caricaturist Cham was already lashing out at the “Vesuvian marriage” under the weekly heading Revue comique de la semaine. He had the husband of a Vésuvienne sigh while minding the children, “Since early morning my wife has been in front of City Hall at a proclamation ceremony and here little Gugusse has been proclaiming for two hours that she wants to be fed!"</p> <note>22. <title>Charivari</title>, 4.2. 1848.</note> <p>The ideal “Vesuvian marriage" is presented in the “constitution" of the Vésuviennes. <note>23. Thomas, <title>Les femmes en 1848</title>, pp. 59-60.</note> Divorce is permitted—but every woman over twenty-one and every man over twenty-six is obliged to marry. If a woman should refuse to marry, or if it is proved that she is adopting her husband's political views, she will lose all her rights as a female citizen, rights which she otherwise enjoys without restriction from the age of fifteen. In a Vesuvian marriage”...the spouses are partners, united by interest and feelings. Neither one is allowed to dominate." Both marriage partners are to be gainfully employed; housework is shared. If the husband refuses to do housework, he must then serve in his wife's place in the Civil Guard as well as his own in the National Guard. It is a program of equality consistent to the last degree: even sex-related clothing was gradually to disappear.</p> <pb n="56" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_056.jpg"/> <p>In the face of such goals, it is no wonder that the Vésuviennes were the favorite butt of satirical attacks. While Daumier's Divorce Rightists" series did not appear until August 1848, Charivari had already been printing the twenty-plate series Les Vésuviennes by E. de Beaumont since the first of May. Beaumont pictured the Vésuviennes almost exclusively as capricious young girls, as ballet pupils upon the drill field, their rifles held, as if by accident, in delicate hands.</p> <p>The relationship between the Vésuviennes and other women's organizations was probably strained due to methods rather than goals. Except for a few stones thrown through the Charivari windows, the socialist women rejected violence as a political instrument.</p> </div> <div> <head>The "Socialist Women"</head> <p>After the June (1848) insurrection, all political activities, above all the organization of clubs, were forbidden to women. The Voix des femmes had to cease publication. These measures were based on a decree by the Assemblée, which was initially worded: "Women and minors may not be members of a club nor attend club meetings." After protests against the defamatory way in which women and minors were put in the same category, minors were eliminated from the decree, but the ban against women remained.</p> <note>24. Ibid., pp. 57ff.</note> <p>As a consequence, women turned to political banquets (bankettes), which because of their inflammatory nature, partially replaced the clubs. At the beginning of 1849 Proudhon protested against the participation of women in a banquet presided over by Pierre Leroux. Daumier referred to this on January 25, 1849, in Charivari. A woman in one of his caricatures complains, "And Proudhon does not want us to go to socialist banquets...the unfortunate man has never been in love...otherwise he would realize that a woman graces any occasion by her very presence!”</p> <note>25. Delteil, no. 1794.</note> <p>The conspiracy against husbands, the resistance to obedience and the neglect of the home are once again presented as the chief goals of Daumier's Femmes Socialistes. <note>26. Delteil, nos. 1916-1927.</note> In this series, however, he also addresses himself for the first time to contemporary events: the closing of the clubs, the banquets, and the election campaign of Jeanne Deroin, who had intended to capitalize on the fact that there was no law which made women ineligible for public office. At the meetings of the Democrat-Socialists she took the floor and demanded that she be nominated, explaining, “They are Democrat-Socialists, they desire the end of exploitation of one man by another and of women by men, they want a complete and radical abolition of all privileges of sex, race, birth, class and property.... It is in the name of these principles that I present myself as a candidate for the legislative assembly and request the support of the party...."</p> <note>27. Thomas, <title>Les femmes en 1848</title>, pp. 63ff. on the candidacy of Deroin.</note> <p>As a political candidate she went directly to the voters of the Seine district: “A legislative assembly which is made up only of men is just as incapable of making laws to govern a society of men and women as an assembly of privileged persons would be to decide on the interests of the workers, just as an assembly of capitalists would be incapable of upholding the honor of the father land." When the Democrat-Socialists tried to prevent her from speaking at a meeting, she took the floor anyway and asked what had happened to the principles of those “... who demand the abolition of privilege' but still try to keep that privilege which they hold in common with the privileged, that privilege which is the source of all privilege and of all social injustice: the domination of man over woman?" Although she was finally suggested as a candidate for the Democrat-Socialists, Deroin received only a few votes.</p> <p>George Sand was also suggested and rejected as a candidate. Again she demonstrated that she did not think of herself as a woman, for she disapproved of both active and passive suffrage for members of her own sex. In Sand's view women were political minors, incapable of making decisions because of their fundamental disenfranchisement. The women's movement could only cause promiscuity and put the home in danger. Only in the distant future, under changed social conditions, would women be able to participate in politics and share in the decision-making process.</p> <p>On the subject of Deroin's candidacy, Proudhon again spoke out, in the journal Le Peuple, taking a strong position against women's emancipation: “What woman must free herself from is not man. In our modern society there is little progress to be made in this respect. As with the proletariat, it is capitalist despotism which tyrannizes her heart and throws her into the milieu of the workshop where slowly her morale and her body are destroyed.</p> <p>And Jeanne Deroin replied in her paper, L'Opinion des femmes: "Pardon me, Monsieur, women are trying to free them selves from men.... it is not so much a question of getting women out of the workshop as a need to change the workshop itself and to ennoble it both for women and for the proletarian worker, since it is the source of work and independence."</p> <note>28. Ibid., pp. 68-69.</note> </div> </div> </body> <back> <p> Cäcilia Rentmeister is an art historian from Berlin. She teaches at the Hochschule für Bildende Kunst and is completing her doctoral disserta tion, “Woman as Sphinx,” on nineteenth-century painting. </p> </back> </text> </TEI>
