Feminist Abstract Art - A Political Viewpoint 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-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>Feminist Abstract Art–A Political Viewpoint</title> <author>Harmony Hammond</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</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>Heresies: Issue 1</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> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> 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Redstockings\n\t\t\t\t\t\t\t\t(New York,\n\t\t\t\t\t\t\t1975)." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": 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"https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/hammond_1_0_0_1_0_0_0_0_0_0.xml?note_annotation_20250430135831125", "type": "oa:Annotation", "dcterms:created": "2025-04-30T17:58:31.125Z", "dcterms:modified": "2025-04-30T17:58:31.125Z", "dcterms:creator": { "@id": "27", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Carrie Pirmann" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/hammond_1_0_0_1_0_0_0_0_0_0.xml?note_annotation_20250430135831125#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/hammond_1_0_0_1_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/hammond_1_0_0_1_0_0_0_0_0_0.xml?note_annotation_20250430135831125#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div/div/quote[6]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "Andrea Dworkin, Woman Hating (New York, 1974). " }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb n="66" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_068.jpg"/> <div> <head>Feminist Abstract Art—A Political Viewpoint</head> <byline><persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName> </byline> <div> <p>There are many articles written on feminist art which try to pinpoint and define a feminist sensibility. Few of these articles go beyond the recognition that feminist art is based on the personal experiences of women by beginning to question its larger political implications and the role it plays in feminist revolution. Most articles originating from the art world tend to be formal descriptive attempts at documenting what women are doing, and do not attempt a feminist analysis of function and meaning.</p> <p>In a reactionary escape from formalist criticism, most movement writing on feminist art deals with political issues, but lacks any real understanding of the creative process, how it functions for the artist and how it affects form and content. Without such an understanding it is impossible to evaluate the work as art. While feminist poets and writers comment on each other's work and write of their own processes, we visual artists tend to remain silent and let others do the writing for us. Our silence contributes to a lack of dialogue between artist and audience, to the lack of criticism from a feminist perspective, and ultimately to the misinterpretation of our work.</p> <p>In this article I wish to focus on abstract art and show that it can have a feminist basis and therefore be political. Feminists are not only people to attempt political or revolutionary art, but because certain ideas and issues occur over and over, they are of interest to us and worth exploring. I will focus on one area of abstract art by discussing concepts of marking and language in feminist drawing and painting—to show its origin, meaning, and political potential.</p> <p>In "Prime Time: Art and Politics"<note type="scholarNote">Alexa Freeman and Jackie MacMillan, "Prime Time: Art and Politics," <title key="Quest: A Feminist Quarterly" ref="http://www.wikidata.org/entity/Q105972288">Quest: A Feminist Quarterly</title> (Summer, 1975).</note> <persName key="Freeman, Alexa" ref="http://viaf.org/viaf/284775217/">Alexa Freeman</persName> and <persName>Jackie MacMillan</persName> look at how art is viewed in this capitalist, patriarchal society and criticize activists for reacting too quickly and overlooking the revolutionary potential of art. However, they in turn react to male estabishment myths about abstract (non-representational) art and exclude it from feminist and political potential. They view abstract art as private expression which is not understandable or analyzable to the audience, and therefore irrelevant to feminist political goals. Thus they incorrectly see elitism as a pre-condition of abstract art, rather than realizing that this is how abstract art has been used by men as a defense mechanism against the alienation of their own capitalist system; that as well as furthering the myth of artist as alienated and isolated genius, abstract art has offered an illusion of objectivity. Such notions suggest that the content of one's work can be separated from one's political beliefs. By sponsoring international exhibitions showing apolitical abstract paintings by former Communist Party members, the C.I.A. (via the Museum of Modern Art) has sought to impress other nations with the cultural freedom of the U.S.A. The way in which Abstract Expressionist art was defined and developed by the artists and then used by others to further cold war politics in the fifties is only one example of the manipulation of abstract art to create the illusory separation of art and politics.<note><persName key="Eva Cockcroft" ref="http://www.wikidata.org/entity/Q106308202">Eva Cockcroft</persName>, "Abstract Expressionism, Weapon of the Cold War," <title key="Artforum" ref="http://www.wikidata.org/entity/Q386599">Artforum</title> (June, 1974).</note> Thus when women continue to respond to abstract art as "apolitical," they are reinforcing and maintaining myths established by men.</p> <p>The Freeman/MacMillan article is typical in its analysis of art and politics. Abstract art has become taboo for most artists who consider themselves political feminists. Because of the history outlined above, it is difficult to determine abstract painting's relationship to feminist ideology. There are radical feminists who are making abstract art. Radical feminism operates from the belief that women as a class are oppressed, and that a mass political women's movement is necessary to overthrow male supremacy.<note><persName>Brooke</persName>, "The Retreat to Cultural Feminism," in <title>Feminist Revolution</title>, ed. Redstockings (New York, 1975).</note> Therefore, we might ask, how are the visions of radical feminists analyzed and portrayed in this art?</p> <p>It is necessary to break down the myths and fears surrounding abstract art and make it understandable. Women—artists and non-artists—need to talk about art, and talking about abstract art need not be more difficult than discussing portraits, nudes, vaginas, or whatever. Every work of art is understandable on many different levels. It is by talking about our work and work processes that we will not only begin to develop a new language for interpreting abstract art, but also to integrate this work with society. This language, which I see evolving from consciousness-raising techniques, will be able to be shared with any woman, regardless of class background. For artists, such a dialogue with the audience is essential, as it offers valuable feedback for the development of our art.</p> <p>I want to reclaim abstract art for women and transforrn it on our own terms. It is interesting to note that much of women's past creativity,<pb n="67" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_069.jpg"/> well as the art by women of non-western cultures, has been abstract. I'm thinking of the incredible baskets, pottery, quilts, afghans, lace and needlework women have created. Many of the motifs used were based on "the stitch" itself. The repetition and continuity of the stitch or weaver formed the individual shape and also the pattern resulting from its repetition. Usually these motifs and patterns were abstract and geometric. <persName key="Patricia Mainardi" ref="http://www.wikidata.org/entity/Q26924776">Patricia Mainardi</persName> points out that they had specific meaning for the women who made them, and in a sense formed a visual language in themselves:</p> <quote>In designing their quilts, women not only made beautiful and functional objects, but expressed their own convictions on a wide variety of subjects in a language for the most part comprehensible only to other women. In a sense, this was a secret language among women, for as the story goes, there was more than one man of Tory political persuasion who slept unknowingly under his wife's 'Whig Rose' quilt. Women named quilts for their religious beliefs...or their politics—at a time when women were not allowed to vote. The 'Radical Rose' design, which women made during the Civil War, had a black center for each rose and was an expression of sympathy with the slaves.<note>Patricia Mainardi, "Quilts: The Great American Art," <title key="Feminist Art Journal" ref="http://www.wikidata.org/entity/Q18207079">The Feminist Art Journal</title> (Winter, 1973).</note></quote> <p>As we examine some contemporary abstract art by women, it is important to develop a sense of identity and connection with our own past creativity rather than that of the oppressor who has claimed "fine art" and "abstract art" for himself. In fact, the patriarchal putdown of "decorative" traditional art and "craft" has outright racist, classist, and sexist overtones. <persName key="Elizabeth Weatherford" ref="http://www.wikidata.org/entity/Q106878888">Elizabeth Weatherford</persName> states:</p> <quote>Art history assigns creative products to two categories—fine arts and crafts—and then certifies as legitimate only the fine arts, thereby excluding those creative traditions of primitive people, peasants, women, and many other groups outside the mainstream of Western history.<note>Elizabeth Weatherford, "Craft for Art's Sake," <title key="Ms." ref="http://www.wikidata.org/entity/Q3656351">Ms. Magazine</title> (May, 1973).</note></quote> <p>Until recently, decorative art, or craft techniques and materials, have been valid only as sources for contemporary male artists. While women working with these ideas, techniques, and materials have been ignored (<persName key="Ann Wilson" ref="http://www.wikidata.org/entity/Q64532860">Ann Wilson</persName> first painted on quilts in 1958) or put down for doing "womens work," men like <persName key="Alan Shields" ref="http://www.wikidata.org/entity/Q2636828">Shields</persName>, <persName key="Claes Oldenburg" ref="http://www.wikidata.org/entity/Q156731">Oldenburg</persName>, <persName key="Frank Stella" ref="http://www.wikidata.org/entity/Q375268">Stella</persName>, and <persName key="Kenneth Noland" ref="http://www.wikidata.org/entity/Q527001">Noland</persName> are hailed as innovative. But times have changed. Today many female artists are connecting to a long line of creativity by proudly referring to women's traditional arts in their own work. They are recording the ritual of women's artmaking both in the past and the present, thereby reflecting a feminist concern not only with the end product but with the dally process and function of making art. Sewing techniques and materals as both process and content are used in a variety of ways in the abstract works of <persName key="Sarah Draney" ref="http://www.wikidata.org/entity/Q21289822">Sarah Draney</persName>, <persName key="Pat Lasch" ref="http://www.wikidata.org/entity/Q28553688">Pat Lasch</persName>, <persName key="Nina Yankowitz" ref="http://www.wikidata.org/entity/Q20642044">Nina Yankowitz</persName>, <persName key="Paula Tavins" ref="http://www.wikidata.org/entity/Q114223354">Paula Tavins</persName>, <persName key="Patsy Norvell" ref="http://www.wikidata.org/entity/Q28059096">Patsy Norvell</persName>, <persName key="Rosemary Mayer" ref="http://www.wikidata.org/entity/Q29024964">Rosemary Mayer</persName>, and many other women. <persName key="Barbara Kruger" ref="http://www.wikidata.org/entity/Q262284">Barbara Kruger</persName> says that she first learned to crochet and sew when she decided that these techniques could be used to make art.<note>Ibid.</note> For women, the meaning of sewing and knotting is "connecting"—connecting the parts of one's life, and connecting to other women—creating a sense of community and wholeness. Other women, drawing on women's traditional arts, make specific painterly reference to decoration and craft. <persName key="Miriam Schapiro" ref="http://www.wikidata.org/entity/Q542496">Miriam Schapiro</persName> utilizes remnants of fabric, lace, and ribbon along with handkerchiefs and aprons in large collages, thus making the very material of women's lives the subject of her art. <persName key="Joyce Kozloff" ref="http://www.wikidata.org/entity/Q6297552">Joyce Kozloff</persName> and <persName key="Mary Grigoriadis" ref="http://www.wikidata.org/entity/Q21643944">Mary Gregoriadis</persName> explore decoration as fine art, basing their paintings on the abstract patterning of Islamic architecture and tiles, Tantric art, Caucasian rugs, and Navaho weaving.</p> <p>The way many women <emph>talk</emph> about their work is revealing, in that it often denies formal art rhetoric. Women tend to talk first about their personal associations with the piece, and then about how these are implemented through visual means; in other words, how successful the piece is in its <emph>own</emph> terms. This approach to art and to discussing art has developed from the consciousness-raising experience. It deals primarily with the work itself, what it says and how it says it—rather than with an imposed set of esthetic beliefs.</p> <p>In her excellent catalogue introduction to "Changes," an exhibition by <persName key="Betsy Damon" ref="http://www.wikidata.org/entity/Q43078535">Betsy Damon</persName> and <persName key="Carole Fisher" ref="http://www.wikidata.org/entity/Q89643747">Carole Fisher</persName>, <persName key="Johnson, Kathryn C." ref="https://www.wikidata.org/wiki/Q125304964">Kathryn C. Johnson</persName> comments that "intent" is most important when defining feminist art. She states that it is "a powerful oneness of subject and content" that makes certain work feminist:</p> <quote>...Their work both <emph>is</emph> and tells <emph>about</emph> the pain of their life experiences. It is about pain and is painful, but does not present woman as passive victim. The pain is presented with deep understanding of its sources and effects, and the anger which follows confrontation with the hurt.<note>Kathryn C. Johnson, catalogue introduction to "Changes," exhibition by Betsy Damon and Carole Fisher at the College of St. Catherine (St. Paul, Minn., 1976).</note></quote> <p>Fisher writes:</p> <quote>Betsy looked at the work and recognized the fact that I worked to survive, to keep from growing crazy, and to keep the pain from becoming too great. She recognized the pain in my work instantly! This was something I had only come to recently recognize and acknowledge in my work. Like many women in our culture, I had become adept at hiding and covering my pain. I had gotten all the messages that to be vulnerable in our culture is to be weak and despised.<note type="scholarNote">Ibid</note>.</quote> <pb n="68" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_070.jpg"/> <p>It is this "oneness of subject and content" that carries their work through feminist consciousness beyond the personal to the political. It is also present in abstract paintings that seem superficially more related to the male modernist tradition than to women's creativity in that they involve the physically expressive manipulation of paint on a two-dimensional surface.</p> <p>In much of this work the reoccurring stitch of women's traditional artmaking becomes the repetitive mark, taking on a new form as a "visual diary." Such works are dally records of thoughts and are used as such by the artists. Just as the weaver continues from day to day, from one physical and psychic location to another, materials and dyes changing slighty, irregularities and tension showing, the painted marks also reveal daily emotional changes and tensions. They are a record of present feeling, a ritual giving in to the repetitive gesture, a language to reveal self—a woman's mantra.</p> <p><persName key="Jenny Snider" ref="http://www.wikidata.org/entity/Q62057437">Jenny Snider</persName>'s nervous lines recall ancient Chinese calligraphy, which has both a letter/character reference and a body/figure reference. Her drawings are made with and are about her nervousness and vulnerability. She "is" the mark, the line. As the marks are repeated and contained in different spaces (usually grids or rectangles suggesting fabric, rooms and houses), the quality and feeling of the line changes and she becomes more comfortable in some spaces than in others. She explores her self-image and feelings about her body in relationship to other people and spaces. Snider describes these works as "figurative." To me, it is the mark and its repetition that is most important. Her works are figurative in the sense that Chinese calligraphy is figurative—in having a direct body reference. Works are sometimes combined or used interchangeably with the markings, reinforcing Snider's commitment to the diaristic mode. As she says, "The words and lines come from the same psychological place and gesture and are not intended to describe or explain what the drawings are in terms of images—but rather express the fact that they come from a nervous hand and a yakking heart." Phrases such as "little sounds arose (and it showed)"; "Well, for one thing, never step on broken glass"; and "Remember when we saw the ocean? It was just like this, wasn't it?" tell where the drawing is coming from and what the drawing is about.</p> <p><persName key="Louise Fishman" ref="http://www.wikidata.org/entity/Q6688739">Louise Fishman</persName>'s paintings also function as a place for personal confrontation and as a statement directed towards other women. Earlier, Fishman ripped up her old paintings and reconnected them by sewing and knotting them together with fragile thread. Her past was used to make a statement about her present. The strips and connecting thread formed loose grids, transformed in later work to a series of strokes or marks repeated across the page of canvas or within the confines of a "particular felt shape" (a circle or a piece of irregularly cut masonite). The marks of paint, layered on top of each other, lead eventually to a rich sensuous surface. The top layer usually consists of strong marks holding the partially revealed undermarks to the painting surface—feelings revealed and hidden. Fishman has always talked about her work in terms of hiding, guilt, vulnerability, anger, and personal individuation.</p> <p>In a seven-panel reversible painting on unstretched canvas, Fishman deals with her feelings about her mother, also an artist. One side of each canvas is painted with calm strokes, while on the other side the marks explode into intensely scrawled letters reading "A letter to my mother about painting." Another canvas has the star of David and the words "I am a Jewish working-class dyke" scratched into the surface. Just as consciousness raising leads to political awareness; this work moves from the personal into the political. Titled <title><emph>Angry Jill</emph>, <emph>Angry Djuna</emph>, <emph>Angry Paula</emph>, <emph>Angry Sarah</emph></title>, and so on... they seem to be painted with the anger. When she made these "angry paintings" Fishman said that all she could feel was her rage. When she looked around at other women, she saw that they were crippled by their anger too. These paintings were made to force women to confront it rather than letting it turn inward and become self-destructive. Grouped together as a wall of women's anger, the paintings show a tremendous amount of energy that can now be redirected towards feminist creativity and revolution.</p> <p>These women as well as others (<persName key="Joan Snyder" ref="http://www.wikidata.org/entity/Q6205466">Joan Snyder</persName>, <persName key="Tardi, Carla" ref="https://viaf.org/en/viaf/96205548">Carla Tardi</persName>, and <persName key="Pat Steir" ref="http://www.wikidata.org/entity/Q7144042">Pat Steir</persName>, to name a few) have used words and marks fairly interchangeably as abstract gestures with concrete feminist meanings. Words are marks and marks are words; their repetition becomes not only an interior monologue but also a dialogue with other women. Like Damon and Fisher, these artists make individual feeling and experience the <emph>subject</emph> of their work, while the content deals with the difficulties and ambiguities of being a feminist artist in a patriarchal society.</p> <p>Their painting surfaces are often violated on mutilated; cut, gouged, ripped, scratched, or torn. The reversal of the usual additive process of painting refers to the violation of the traditional painting surface and also to the physical and psychic violation of women. The thick paint applied with a palette knife in Fishman's work, for instance, acts both as poultice for wounds and cement for holding self together. In Joan Snyder's recent work the marks, cuts and burning combine with words and color to make a passionate statement about sexuality.</p> <p>This work is certainly political. Yet Freeman and MacMillan, in their attempt to distinguish protest from political art, to show that specific forms are more conducive to one or another, <pb n="69" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_071.jpg"/> <pb n="70" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_072.jpg"/>still ignore the political potential of abstraction.<note type="scholarNote">Freeman and MacMillan, op. cit.</note> They accept male definitions of what art is, and do not deal with the evolution of a feminist creative process or feminist art forms. Theirs is a reformist approach to a revolutionary endeavor.</p> <p>I am reminded of <persName key="Andrea Dworkin" ref="http://www.wikidata.org/entity/Q241398">Andrea Dworkin</persName>'s "afterword"—"The Great Punctuation Typography Struggle"—in her book <title key="Woman Hating: A Radical Look at Sexuality" ref="http://www.wikidata.org/entity/Q8030692"><emph>Woman Hating</emph></title>, where she explains how the text was altered against her will by the publisher's insistence on uppercase letters and standard punctuation. She had wanted the book to be as empty of convention as possible, to create a new form that would merge with the content.</p> <quote>reading a text which violates standard form forces one to change mental sets in order to read. there is no distance. the new form, which is in some ways unfamiliar, forces one to read differently—not to read about different things, but to read in different ways.</quote> <quote>to permit writers to use forms which violate convention just might permit writers to develop forms which would teach people to think differently: not to think about different things, but to think in different ways. that work is not permitted.<note type="scholarNote">Andrea Dworkin, Woman Hating (New York, 1974). </note> </quote><p>The fact that innovative form is so feared by the male establishment shows that like content it has a power of its own. If our lives and our art are connected, and if "the personal is political" in the radical sense, then we cannot separate the content of our work from the form it takes.</p> <p>As abstract artists, we need to develop new abstract forms for revolutionary art.</p> <p>The women's work I've discussed here, and I include my own, is moving in this direction. We are not yet there. Hopefully, as we create art within the context of other women's art, and within the context of evolving feminist theory, we will develop a new visual language. Art in transition is political, for it both <emph>is </emph>our development and <emph>describes</emph> our development. In a sense we are coming out through our art, and the work itself is a record of the ongoing process of developing a feminist esthetic ideology. </p> </div> </div> </body> <back> <div> <p>Harmony Hammond is an artist living in New York who teaches, gives workshops, and has shown her work here and elsewhere. She has also studied martial arts, Tai Chi Ch'uan and Aikido.</p> </div> </back> </text> </TEI>
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"@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/muske_0_0_0_0_0_0_0_0_0_1_0_0_0_0_0_0.xml?work_annotation_20250410132044774#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[20]/emph/title" } }, "oa:hasBody": { "@type": "bf:Title", "@id": "http://www.wikidata.org/entity/Q106091070", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_032.jpg"/> <div><head><title>The Art of Not Bowing: Writing by Women in Prison</title></head> <byline><persName key="Carol Muske-Dukes" ref="http://www.wikidata.org/entity/Q5044485">Carol Muske</persName></byline></div> <div><lg> <l>Who the hell am l anyway</l> <l>Not to bow?</l> <l>(<persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Assata Shakur</persName>/<persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Joanne Chesimard</persName>)</l> </lg> <p>In July 1973 I wrote an article for <emph><title key="Village Voice" ref="http://www.wikidata.org/entity/Q876158">The Village Voice</title></emph> about a hunger strike then taking place at the Women's House of Detention (New York City Correctional Institution for Women, housing around 400 detention and sentenced women) on Riker's Island. I used a pseudonym for the article because I was working at the time at the prison as a mental health worker as well as teaching a poetry class, and I wanted to keep both occupations. Many of the women in my class were involved in the strike and were emphatic about the significance of their stand, although traditionally women at Riker's were notoriously apolitical, even downright reactionary. Strikes had taken place before, but on issues such as cosmetics (the women had wanted an Avon lady), more dances and recreation time or flashier products in commissary. </p> <p>This strike was different. The women were demanding, among other things, a legal library, an end to massive and lax prescription of "diagnostic" medication, decent food, and limitation of solitary confinement to three days. At the Women's House, where an old adage ran "all riots end at mealtime," this was pretty heady stuff.</p> <p>The article in <emph>The Village Voice</emph> (July 26, 1973) was supposed to get the world (or at least Manhattan) listening and to familiarize people with a woman's situation in prison: </p><p><quote>... incarceration for women is a somewhat different experience than it is for men. Male prisoners are expected to be political in one form or another, they are far better legally informed, and an atmosphere of "bonding" is prevalent. (They are also considered more "trainable"—more vocational rehab programs exist for men on Riker's Island.)</quote> </p> <p>The administration broke the back of the strike in its sixth day by separating the ringleaders, transferring them to different housing areas, or locking them in the "bing" (solitary). But it was too late. The article appeared and provoked a reaction from the community: pressure was put on the warden. A few of the women's demands were met: a legal library was established, kitchen conditions were improved, and other steps were taken. Someone from the class hand-printed a sign and put it up in the classroom: WORDS CAN TURN THEM AROUND. </p> <p>This was a milestone. I had been teaching the class for about a year and felt that although the women's response had been overwhelmingly enthusiastic, I was getting nowhere in the actual teaching of writing. It wasn't that the women were intimidated by the act of writing. Far from it. They wrote to keep mentally alive, to keep sane. When I first suggested the idea of a writing workshop to the warden, she scoffed at it. "These women don't write," she said. "They don't read. The overall educational level is poor. Reading, writing, comprehension... all very low." At the first class, I learned that all the women "wrote"—they came to class lugging diaries, journals, manuscripts full of long poems, ballads, stories. Everyone had a poem to "tell"; poetry was a tradition; poems were written, read, copied by hand, and passed around—a publishing network. No one owned a poem. All the poems rhymed, and all were either sentimental love/religious verse or political rhetoric. My failure had been the inability to let them see alternatives: a poem was not always an escape, a fantasy, or a slogan, but a way into yourself, an illumination. Somehow the article, which was about them, about their very real lives in clear, simple language, did it. Someone said that a poem could be like reporting on your life, telling the story of your life—journalism of the soul. They tried out this approach. <persName>Millie Moss</persName>, who sat all day in front of the television watching commercials about getting away from it all and listening to the planes (one every three minutes) take off from La Guardia a few hundred yards across the water from the prison, wrote the first. (Millie had been a "hearts and flowers" verse writer: her poems were filled with giggly sunsets"): </p> <lg> <head>Fly Me, I'm Mildred</head><head/> <l>Finger my earring as I lean low</l> <l>over your bomber cocktail</l> <l>I've been known</l> <l>to put you on a throne</l> <l>send you off alone (not united)</l> <l>through the tomb-boom roar</l> <l>you get what you’re asking for</l> <l>when you fly me, honey,</l> <l>I'm Mildred.</l> </lg> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_033.jpg"/> <lg> <head>Personally</head> <l> So you spoke to me in silence</l> <l>in the ice man's choir </l> <l>and I dangled all the while</l> </lg> <lg> <l>You said (in silence) </l> <l>live each day </l> <l>spittin' on Fifth Avenue </l> <l>fox-trottin' in hell... </l> </lg> <lg> <l>So we ain’t home— </l> <l>we're together </l> </lg> <lg> <l>Smile: </l> <l>I take it personally</l> </lg> <p>They were on fire. I told them about <persName key="Osip Mandelstam" ref="http://www.wikidata.org/entity/Q189950">Mandelstam</persName>, <persName key="Fyodor Dostoyevsky" ref="http://www.wikidata.org/entity/Q991">Dostoyevsky</persName>, the long tradition of writers in prison. I read them poems. Another woman, <persName cert="high" type="real">Elizabeth Powell</persName>, came to class with a poem about homosexuality which was explicit, honest, and skillfully done. The class praised it—Elizabeth left the class that night, made a sheaf of copies by hand, and passed it "on the vine." </p><p>The next time I arrived at the prison, I was called into the warden's office. A member of my class, the warden said, had written a poem about her "unique perversion" and had implied, she said, that there were also correction officers who were homosexual, one in particular. She spoke of libel, telling me that I should have confiscated the poem immediately, or at least made sure that it didn’t go beyond the class. (Though homosexuality was indeed common—the "only game" in the prison, the warden steadfastly refused to admit that she had any more than a few "deviants" on her hands, whom she described as hard-core—in other words, gay even on the outside. Actually, as is the case in most women's prisons, homosexual relationships were standard even for straights, for the simple reason that human beings need physical intimacy and affection when they are confined to correctional institutions and cut off from relationships available to them outside the walls.)</p><p>Definitions of personal sexuality tend to change behind bars. Upon release, some women remain "changed," while the majority of former prisoners return to heterosexual lifestyles. The warden deeply feared homosexuality; any manifestation of "butch" conduct was enough to tag an inmate a troublemaker and "male attire" was expressly forbidden in the rules guide. Correction officers were warned not to wear pants to work, and thus their uniform remained skirted. (Although many C.O.'s were, in fact, gay, the atmosphere reflected the warden's artificial notion of femininity.)</p> <p>After this incident, I was informed that the poem had been confiscated and that Elizabeth Powell had been placed in solitary confinement pending a hearing by the disciplinary board. I was told that I would be allowed to continue the poetry class for the time being, but that if another incident like this took place, I would be asked to leave the prison. The warden sincerely hoped that I had "learned a lesson."</p> <p>I had. It was just as I had told them: a dramatic testimony to the power of words—and, I thought, one of the stupidest things I have ever done. It was easy for me to drop in and talk about "getting it down right" and being honest in writing—I went home every night. For me, there was no danger of being thrown in solitary, having my personal papers raided, or worse. It occurred to me that even when I had written my ever-so-honest article, I had used a pseudonym to protect myself. There were obviously bigger risks than job loss at stake for women or men who chose to write while incarcerated; risks I had clearly not understood. Words could indeed turn around the authorities, but could also turn them into the oppressors they actually were.</p> <p>Elizabeth Powell was in the bing for three weeks. When she came back to class, she was ready to go another round (she had written 25 poems, all dealing with homosexuality, while in lock), but I had made a decision. I explained how I felt as an outsider, with no right to tell them how to write in this volatile situation, but I asked that they make a distinction between public and private poems to protect themselves from exactly this kind of censorship/punishment. Private poems were, obviously, ones you could get thrown in the bing for; public poems could be "published." At this point, I also went back to the warden and told her she should not be surprised at some "emotional" poems; I described the class as "therapy" and she agreed that that was a good way of viewing it.</p> <p>The class flourished. The women began to express <emph>themselves</emph>, to find words underneath and in the midst of the gloss of everyday language. Some discovered (recovered?) a subterranean language like subway graffiti: the poem became a Kilroy, a zap: "I was here."</p> <p>I had quit my mental health worker job and was concentrating on expanding FREE SPACE, as the class had come to be called. The NEA had given us some funding, as did Poets & Writers and some local banks. <persName>Linda Stewart</persName> of The Book-of-the-Month Club mailed boxes of overstocked paperback books; we amassed our own library and <persName cert="high" type="real">Ted Slate</persName> of <emph><title key="Newsweek" ref="http://www.wikidata.org/entity/Q188413">Newsweek</title></emph> donated supplies and equipment.</p> <p><persName key="Tom Weatherly" ref="https://en.wikipedia.org/wiki/Thomas_E._Weatherly_Jr.">Tom Weatherly</persName> taught a second poetry class, <persName>Gail Rosenblum</persName> taught fiction, and <persName cert="high" type="real">Fannie James</persName>, an ex-inmate, ex-student of the Space whom the warden actually allowed to come back to work with us, taught poetry and library skills. Each teacher learned to cope in his or her own way with the trials of trying to run a writing class in a prison. Each class was like a hypothetical leap: it would take place 1) IF the officer in <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_034.jpg"/> the housing area remembered to announce it; 2) IF the women were there and not a) in court b) in solitary c) in another part of the prison d) watching television e) sleeping and/or drugged f) transferred to another floor g) transferred to another prison h) out on bail (good news); 3) IF the officer on hall duty okayed the passes; 4) IF the warden had not scheduled something else in your classroom (usually a course in etiquette); 5) IF there was no "contraband," i.e., spiral notebooks (the wire is a potential weapon), chewing gum (jams locks), tweezers, or snap-top pens (another weapon—only ball points or pencils allowed).</p> <p>Somehow, the class took place and thrived. Visitors came to read and comment on student work: poets <persName key="Mae Jackson" ref="http://www.wikidata.org/entity/Q87410543">Mae Jackson</persName>, <persName key="Daniela Gioseffi" ref="http://www.wikidata.org/entity/Q5219218">Daniela Gioseffi</persName>, <persName key="Daniel Halpern" ref="http://www.wikidata.org/entity/Q55941553">Daniel Halpern</persName>, <persName key="Audre Lorde" ref="http://www.wikidata.org/entity/Q463319">Audre Lorde</persName>. For a long time, everyone learned. Information was taken in, absorbed—classes were spent writing and rewriting, letting off steam.</p> <p>Almost four years later, most of the women from the old class had been transferred or freed (detention women often spend two years waiting for trial), but emphasis was still placed on "getting along." We all stressed writing as craft. Classes were run as any <emph>outside</emph> workshop would be, except no one ever published anything.</p> <p>The poetry class at this time was full of women who were considered potential security threats—in other words, intelligent, outspoken, and funny. Some were "controversial" cases: <persName>Juanita Reedy</persName>, about to have her first child behind bars; <persName cert="high" type="real">Carole Ramer</persName> who had been busted with <persName key="Abbie Hoffman" ref="http://www.wikidata.org/entity/Q306514">Abbie Hoffman</persName> and who had a lot to say about everything; <persName>Gloria Jensen</persName>, whose imagination was like a vaudeville show; Assata Shakur/Joanne Chesimard—alleged leader of the Black Liberation Army, brilliant and talented, with a <emph><title key="Cool Hand Luke" ref="http://www.wikidata.org/entity/Q684150">Cool-Hand Luke</title></emph> aura of insouciance, compassion, and tenacity. (Assata was considered so dangerous that the prison required her to have a continual guard-escort.) These women were all good writers. They had learned craft and practiced it—and wanted more. They wanted to go further than "therapeutic" writing or workshop poems. They were writing dynamite.</p> <p>After four years, there was a huge pile of handwritten poems, Fannie's log with the names of every woman who had come to class, some incredible memories, and that was all. We went to the prison week after week and no one ever saw or heard what the women wrote: the voices were never heard outside, and on the inside, only in class. I began to feel that something had to give—no matter what risks were involved for the women (if they should decide to publish) and for FREE SPACE as a writing program. It was Catch 22—we were losing either way. At this stage, the women were denied the natural fulfillment of self-expression, which is publication. If we published their writing, however, we stood to lose the writing program itself. I began to fantasize about getting the word out: if people could only hear some of this stuff, I thought, no one would ever ask me again about either the <emph>quality</emph> of prisoners' writing or the reasons for running workshops in prisons. We would have evidence in writing. Best of all, the women would have the audience they deserved. I began to draft a rough script, a framework for some of the poems.</p> <p>What happened to Juanita Reedy made up everybody's mind about publication. Juanita went to Elmhurst Hospital to have her child and was treated so inhumanely that she refused to let prison doctors touch her upon her return. She wrote a poem about her experience, which she developed into a longer "Birth Journal." She published it in <emph><title key="Majority Report" ref="http://www.wikidata.org/entity/Q106091070">Majority Report</title></emph>, the feminist journal. In the same issue there was an article about FREE SPACE and a poem by Carole Ramer. The issue began to circulate in the prison. Assata, inspired by Juanita, wrote her own "Birth Journal" and sent it to a major magazine. One night in class she read this poem:</p> <lg> <head><title>Butch </title></head> <l>You should have told me </l> <l> About your dick </l> <l> Stashed inside your bureau drawer</l> <l>I woulda believed you</l> </lg> <lg> <l>Ya say ya wanna be my daddy </l> <l>Ya say ya wanna be my daddy </l> <l> Ya say ya wanna be my daddy</l> </lg> <lg> <l>Yeah! Run it! I'm ready! </l> <l> My mamma warned me about you</l> <l> She taught me about you </l> <l> She beat me about you</l> </lg> <lg> <l>But I thought you were a man...</l> </lg> <lg> <l>And I lower my eyes </l> <l> And I lower my back</l> <l> And I swivel my hips </l> <l> And I lighten my voice </l> <l> And I powder my nose </l> <l> And I blue up my eyes </l> <l> And I redden my cheeks </l> <l> And I jump when you call </l> <l> And I cook and I knit</l> </lg> <lg> <l>And I clean and I sew</l> <l> And it is all so cozy </l> <l> You lying in my arms</l> <l> (If I am not being too forward, </l> <l> too unladylike)</l> </lg> <lg> <l>But who will know, anyway, </l> <l> That you were in my arms </l> <l> Not me in yours</l> </lg> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_035.jpg"/> <lg> <l>And if it comes to it</l> <l> To save face </l> <l> You can lie </l> <l> I'll back you up </l> <l> I've gotten very good at it lately</l> </lg> <lg> <l>You should have told me </l> <l> About your status— </l> <l> I would have bowed to you </l> <l> What's one more bow, anyway?</l> </lg> <lg> <l>I bow to the dollar </l> <l> I bow to the scholar </l> <l> I bow to the white house </l> <l> I bow to the church mouse </l> <l> I bow to tradition </l> <l> I bow to contrition </l> <l> I bow to the butcher </l> <l> I bow to the baker </l> <l> I bow to the goddamn </l> <l> lightbulb maker—</l> </lg> <lg> <l>Who the hell am I anyway </l> <l> Not to bow?</l> </lg> <lg> <l>What else do I know how to do?</l> </lg> <lg> <l>But you should have told me baby </l> <l> You should have hipped me momma </l> <l> I didn’t know you would pull it out </l> <l> And strap it on</l> </lg> <lg> <l>Fucking me mercilessly </l> <l> Long stroking me </l> <l> So that even my shadow is moaning</l> </lg> <lg> <l>But damn baby </l> <l> I didn't know </l> <l> You coulda saved me the trip—</l> </lg> <lg> <l>I thought I was on my way </l> <l> To a garden </l> <l> Where fruit ain’t forbidden </l> <l> Where snakes do not crawl to seduce </l> <l> I thought for a second </l> <l> That earth was a good thing </l> <l> That acting had played out </l> <l> And cotillions were outlawed </l> <l> That bingo was over </l> <l> And ladies had drowned in their tea </l> </lg> <lg> <l>But now that I'm hip momma </l> <l> Come, fuck me.</l> </lg> <p>(Copyright Assata Shakur/Joanne Chesimard) </p> <p>Some of Assata's poems were accepted for publication in a literary magazine. Poets & Writers gave us a grant to do an anthology of students' writing which Gail and I compiled. We published it through the Print Center in Brooklyn and called it <emph><title>Songs from a Free Space: Writings by Women in Prison</title></emph>. The anthology was sold in New York bookstores and distributed to the women in the classes. It contained some of the best work done in the classes.</p> <p>By now I had handed over a rough script to the poetry class and an idea about doing some kind of theater piece. The women put together a revue of loosely scripted poems, songs, and vignettes called <emph><title>Next Time</title></emph>. They memorized lines and improvised costumes. <persName>Karen Sanderson</persName>, a friend and videotape expert, arrived at the prison one Sunday with a crew of women (after endless haggling for permission; we told the Corrections Department that we needed the videotape as a rehearsal tool for a play) and taped for nine hours straight. Finally, after months of editing, a half-hour tape emerged which documents the poems, songs, love, and exasperation of some of these incredible women. (This tape is available to anyone interested.)</p> <p>In September 1975, FREE SPACE merged with ART WITHOUT WALLS, another arts project for women in prison. Now we were able to offer graphic arts and dance, in addition to having a larger staff. The publishing idea had fulfilled itself, a renaissance. Juanita had begun a book about her experiences; another woman, <persName cert="high" type="real">Isabelle Newton</persName>, was collecting her poems in manuscript. Then Assata, who had been held in solitary for one year in New Jersey, whose cell was raided by guards every day in search of contraband, and who had been beaten by the prison goon squad on numerous occasions, completed her book of poems and wrote two chapters of a book, an account of her arrest and life in prison. The warden stopped me in the hall one day and told me that she knew we were collaborating on a book with Assata and Juanita. She told me she hadn't forgotten the Elizabeth Powell case.</p> <p>On November 26, 1975, Gail was preparing to leave home to go to her fiction class (filled with new students) when the phone rang. It was Deputy Freeman, the WHD Program Director, who advised her not to come to class: the program had been cancelled. We were not allowed to do anything after that except to pick up our books and any program belongings; we couldn’t say good-bye to anyone or discuss plans for any of their work.</p> <p>Naturally, we are contesting this decision, but there isn't much hope in appealing a warden's whim. It is, after all, her turf. Official reasons for the cancellation were said to be duplication of services (they stated that the public school provided the same type of classes) and irregularity of classes. The warden refused, however to put these reasons in writing for us. </p><p>It is clear that the writing classes were taken seriously only when the women wrote seriously about their lives and <emph>published</emph> those writings. Poetry is safe, women are safe until they begin to make sense and communicate. Still, ART <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_036.jpg"/> recognizes the possibilities of self-expression, perhaps the walls crack a little. Perhaps. Words can, indeed, turn them around, but sometimes having all the right words is small change. "Before despairing, speak of it," said a woman one day in class. Even when writing of despair there's the fact—named and held to the light for a moment—maybe even understood.</p> <p>WITHOUT WALLS/FREE SPACE is continuing to work at a children's center, a drug clinic, and another women’s prison. It’s important to maintain the lifelines between people on the outside and those inside.</p> <p>But what happened at the Women's House of Detention can easily happen again. Especially if publishing is, as it should be, part of the writing project. Prison writers have a right to be heard as does any writer. Their voices are too important to be missed. Publishing is part of the art of not bowing. Each time a man or woman in a cell</p> <lg> <head><title>Next Time </title> <lb/>(group poem from the videotape </head> <l>of the same name) </l> <l> You don’t hear me </l> <l> You don't see me </l> </lg> <lg> <l>I'm the one just a step behind </l><l>you </l> <l> a split second before the light changes on the</l> <l> corner. </l> <l> The face that breaks the glass without a sound </l> <l> The hands that take your money on a </l> <l> screaming train uptown.</l> </lg> <lg> <l>Ladies. I had nowhere to take myself tonight </l> <l> Except to myself </l> <l> To my own face </l> <l> Reflected in yours </l> <l> And my own voice </l> <l> telling me </l> <l> THERE IS NO NEXT TIME FOR ANY OF US </l> </lg> <lg> <l>Just the husbands and families waiting </l> <l> Just the habits and fast money waiting </l> </lg> <lg> <l>The kids in the street</l> <l>The kids in strangers' homes</l> <l>The kids in our bellies</l> <l>The kids we are inside</l> <l/><l>And the lies we tell ourselves</l> <l>To go on living</l> </lg> <lg> <l>LISTEN</l> <l>No one got over on you tonight</l> <l>No one lied here tonight</l><l/> <l>We told the truth</l> <l>And the truth is what you see before</l><l>your eyes</l><l/> <l>Ladies</l> <l>Before you forget, ladies,</l> <l>Till the "next time" My best.</l> </lg></div> </body> <back> <div><p>Carol Muske is a New York poet and assistant editor of Anteus. Her book, <title><emph>Camouflage</emph></title>, was published in 1975 (University of Pittsburgh Press). She directs the prison program Art Without Walls/Free Space at Bedford Hills Correctional Facility for Women.</p></div> </back> </text> </TEI>
Moratorium: Front Lawn: 1970 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-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>Moratorium: Front Lawn: 1970</title> <author>Kate Jennings</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</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>Heresies: Issue 1</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. 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You don't laugh at what your comrade brothers say, you wouldn’t laugh at the negroes, the black panthers. Many women are beginning to feel the necessity to speak for themselves, for their sisters. </p><p>I feel the necessity now.</p> <p>It's the moratorium. l would say, oh yes, the war is bad a pig bosses war may the nlf win, I also say VICTORY TO THE VIETNAMESE WOMEN. Now our brothers on the left in the peace movement will think that what I am about to say is not justified, this is a moratorium. It's justified anywhere. We've heard you loud and clear before, brothershits, we know we have to work towards the Revolution and then join the <orgName>ladies liberation auxiliary</orgName> if we have any time left over. I've worked my priorities out, I will work towards what I know about, what I feel, and I feel because I'm told ad infinitum that I'm a woman, I'm a second-class citizen, and I should shutup right now because my mind's between my legs. I say you think with your pricks. We should all get our priorities straight and organise around our own injustices, our own condition. There are a lot of people here who feel strongly about the Vietnam war. But how many of you, who can see so clearly the suffering and misery in Vietnam, how many of you can see at the end of your piggy noses the women who can't get abortions, how many of you would get off your fat piggy asses and protest against the killing and victimisation of women in your own country. Go check the figures, how many Australian men have died in Vietnam, and how many women have died from backyard abortions. Yes, that's cool, they're only women, and you'll perhaps worry if your own chickie gets pregnant. Can you think about all the unwanted children, or the discrimination against unmarried mothers. Illegal dangerous abortions are going to be performed regardless. So make them legal. And to these women who think an abortion campaign, or women's lib for that matter, is reformist, I quote "in fighting for our liberation we will not ask what is revolutionary or reformist, only what is good for women" some of us are revolutionaries, some of us are manhunting crazies, but we are all working toward one thing, the liberation of women, and most of us will recognise that this will only happen in a socialist society.</p> <p>We all feel very strongly about conscription and freedom of the individual, some go to great lengths to martyr themselves on the issue of the draft. I don't feel very strongly anymore about the ego scenes of the <persName>mike jones</persName>'s around me. I do feel strongly about my freedom and my sisters' freedom. Women are conscripted every day into their personalised slave kitchens, can you, with your mind filled with the moratorium, spare a thought for their freedom, identity, minds and emotions, they're women, and your stomach is full. It suits you to keep women in the kitchens, and underpaid menial jobs, and with the children. You, by your silence, apathy and laughter sanction the legislators, the pig parliamentarians, the same men who sanction the war in Vietnam. You won't make an issue of abortion, equal pay, and child minding centres, because they're women's matters, and under your veneer you are brothers to the pig politicians. And I say to all you highminded intellectual women who say you're liberated with such force and conviction, I say you make me sick. So women's lib doesn’t concern you. Ask your companion what he would prefer—to talk to you or fuck you? (and if you say you'd prefer to be fucked, you've absorbed your conditioning well). And the women in the suburbs are no concern of yours? Your mother is no concern of yours? so long as you think you're liberated, all's well. You and your sisters and the silent suburban women are all part of a capitalist PATRIARCHAL society which you cannot ignore.</p> <p>And don't start to trust the sympathetic men who want a socialist society. Where will the women be after the revolution? Go, ask them, the men on the left stink—they stink from their motherfucking socks to their long hair, from their jock straps to their mao and moratorium badges. The ones who pretend to espouse our aims are far worse than those who at least wear their true colors on their sleeves. And to my brothers on the drug scene. Grass is good. Oh yes, but instead of becoming happy and peaceful and oh so motherfucking loving all I can see is you sitting there, asserting, even grooving on your maleness, dominating every joint every puff. Chickies aren't very good at rapping, aren't clever or subtle enough. I mean, it's a male scene, isn't it, you fat arrogant farts.</p> <p>Okay, I've stopped trying to love and understand my oppressors.</p> <p>I know who my enemy is.</p> <p>I will tell you what I feel, as an individual, as a woman.</p> <p>I feel that there can be no love between men and women.</p> <p>Maybe after the revolution people will be able to love each other regardless of skin color, ethnic origin, occupation or type of genitals. But if that happens it will only happen if we make it happen. Starting right now.</p> <p>I feel hatred.</p> <p>I feel anger.</p> <p>Without indulging in an equality or marxist argument I say all power to women because that's what I feel.</p> <p>ALL POWER.</p> <p>And I say to every woman that every time you're put down or fucked over, every time they kick you cunningly in the teeth, go stand on the street corner and tell every man that walks by, every one of them a male chauvinist by virtue of HIS birthright, tell them all to go suck their own cocks. And when they laugh, tell them that they're getting bloody defensive, and that you know what size weapon to buy to kill the bodies that you've unfortunately laid under often enough.</p> <p>ALL POWER TO WOMEN.</p> </body> <back> <p>"Kate Jennings is a feminist. She believes in what <persName key="Jane Austen" ref="http://www.wikidata.org/entity/Q36322">Jane Austen</persName> recommended at fifteen: 'Run mad as often as you chuse; but do not.'" This "biography" appears on the jacket of Jennings' book of poems (from which "Moratorium" is reprinted)—<title><title><title cert="high" level="m">Come to Me My Melancholy Baby</title></title></title>. published in 1975 by <orgName>Outback Press</orgName>, Fitzroy (Victoria), in her native Australia. </p> </back> </text> </TEI>
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Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> 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"rdf:value": "TEI/text/body/byline/persName/persName" } }, "oa:hasBody": { "@type": "cwrc:NaturalPerson", "@id": "http://www.wikidata.org/entity/Q1670154", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_059.jpg" generatedBy="human" xml:space="default" n="57"/> <head><title>Do You Think</title></head> <byline><persName><persName key="Jayne Cortez" ref="http://www.wikidata.org/entity/Q1670154">Jayne Cortez</persName></persName></byline> <lg> <l>Do you think this is a sad day</l> <l> a sad night</l> <l>full of tequila full of el dorado</l> <l> full of banana solitudes</l> </lg> <lg> <l>And my chorizo face a holiday for knives</l> <l> and my arching lips a savannah for cuchifritos</l> <l>and my spit curls a symbol for you</l> <l> to overcharge overbill oversell me</l> <l>these saints these candles</l> <l> these dented cars loud pipes</l> <l>no insurance and no place to park</l> <l> because my last name is Cortez</l> </lg> <lg> <l>Do you think this is a sad night</l> <l> a sad day</l> </lg> <lg> <l>And on this elevator</l> <l> between my rubber shoes</l> <l>in the creme de menthe of my youth</l> <l> the silver tooth of my age</l> <l>the gullah speech of my one trembling tit</l> <l>full of tequila full of el dorado</l> <l> full of banana solitudes you tell me</l> <l>i use more lights more gas</l> <l> more telephones more sequins more feathers</l> <l>more iridescent head-stones</l> <l> you think i accept this pentecostal church</l> <l>in exchange for the lands you stole</l> </lg> <lg> <l>And because my name is Cortez</l> <l> do you think this is a revision</l> <l>of flesh studded with rivets</l> <l> my wardrobe clean</l> <l>the pick in my hair</l> <l> the pomegranate in my hand</l> <l>14th street delancey street 103rd street</l> <l> reservation where i lay my skull</l> <l>the barrio of need</l> <l> the police state in ashes</l> <l>drums full of tequila full of el dorado</l> <l> full of banana solitudes say:</l> <l>Do you really think time speaks english</l> <l> in the mens room</l> </lg> </body> <back> <p>Jayne Cortez was born in Arizona and grew up in the Watts Community of Los Angeles. She is the author of three books of poetry—<title key="Pissstained Stairs and the Monkey Man's Wares" ref="https://www.worldcat.org/title/pissstained-stairs-and-the-monkey-mans-wares/oclc/119044"><emph><title>Pissstained Stairs and the Monkey Man's Wares</title></emph></title> (1969), <emph><title>Festivals and Funerals</title></emph> (1971), <title><emph><title>Scarifications</title></emph></title> (1973), from which this poem is reprinted, and a recording — <title key="Celebrations and Solitudes" ref="https://www.discogs.com/release/1052679-Jayne-Cortez-Celebrations-And-Solitudes"><emph><title>Celebrations and Solitudes</title></emph></title> (Strata East Records, 1975).</p> </back> </text> </TEI>
Juggling Contradictions 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-stylesheet type="text/css" href="null"?> <TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader> <fileDesc> <titleStmt> <title>Juggling Contradictions: Feminism, the Individual and What's Left</title> <author>Joan Braderman</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</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 level="a">Juggling Contradictions: Feminism, the Individual and What's Left</title> <author> <surname>Braderman</surname> <forename>Joan</forename> </author> <date when="1977-01">January 1977</date> <textLang xml:lang="eng"/> </analytic> <monogr> <title level="j">Heresies #1: Feminism, Art and Politics</title> <imprint> <publisher ref="https://www.wikidata.org/wiki/Q20857976">The Heresies Collective</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> <biblScope unit="issue">1</biblScope> <biblScope unit="page">88-93</biblScope> </monogr> <series> <title level="s">Heresies: A Feminist Publication on Art and Politics</title> <idno type="Wikidata">https://www.wikidata.org/wiki/Q17022558</idno> <idno type="ISSN">0146-3411, 2469-4908</idno> </series> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/braderman_0_0_0_0_0_0.xml?person_annotation_20230409141506475", "type": "oa:Annotation", "dcterms:created": "2023-04-09T18:15:06.475Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:identifying", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/braderman_0_0_0_0_0_0.xml?person_annotation_20230409141506475#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/braderman_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/braderman_0_0_0_0_0_0.xml?person_annotation_20230409141506475#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div/byline/persName" } }, "oa:hasBody": { "@type": "cwrc:NaturalPerson", "@id": "http://www.wikidata.org/entity/Q28911659", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <div> <head>Juggling Contradictions: Feminism, the Individual and What's Left</head> <byline><persName key="Joan Braderman" ref="http://www.wikidata.org/entity/Q28911659">Joan Braderman</persName></byline> <div><p>In this essay, I would like to suggest where feminism can lead us and what myths must finally be left behind to get there. The nature of these myths—the myths of equality, individualism and democratic liberalism—which underwrite our humanist heritage, account for the weakest elements of feminist ideology. The recognition that feminism is an ideology, like <persName key="Karl Marx" ref="http://www.wikidata.org/entity/Q9061" type="real">Marx</persName>'s recognition that humanism is an ideology (i.e., not a discourse whose "truth" was inseparable from the world it described) is a necessary step in re-examining what feminism is and what it can do. </p> <p> I will use as a conceit the form of "the contradiction"—that underlying, dynamic mechanism of history—in a way that is sometimes more metaphorical than concrete. I take the liberty of using this model rhetorically at times to begin to establish a series of interrelationships between ideologies and their culture. I use it to suggest the many ways the several spheres of interest to <title key="Heresies: A Feminist Publication on Art and Politics" ref="http://www.wikidata.org/entity/Q17022558"><emph>Heresies</emph></title> readers—art, feminism and their political context—are subject to a set of analogous and mutually reinforcing ideological myths. Most feminists and artists alike are still held captive by the power of these seductive belief systems, although they threaten the coherence of our arguments, threaten our interests and threaten the very survival of the ideal of freedom.</p> <p> A confrontation between the facts and fictions which surround us becomes inevitable within an escalating spiral of contradictions. The first group to experience directly the essential contradictions of the society we live in is, of course, the lowest class: the unemployed, the poorest, least skilled, most exploited working people. Next, the marginal groups, in North America: people of color, immigrants, the elderly, etc. Artists are marginal too. They feel the economic squeeze in recessions, may even become politicized as a result. And across all these groups are women. As groups, then, women and artists have a low priority in the hierarchy of capital.</p> <p> To give up the humanist myths, those most cherished ideals of our own class, the bourgeoisie, which were forged when it was the revolutionary class, is difficult indeed. But give them up we must, for in the face of heightening contradictions–economic, biological, ideological—we have no choice. </p> <p>By 1976, the women's movement seems to have nearly as many political lines as there are women in it. This partly healthy, partly disturbing fact reflects with painful clarity both the strengths and implicit weaknesses of the feminist critique of society. What is feminist practice? What is it to be a feminist in 1976? Is it to be an individual woman "making it" in a man's world? Is it to recognize woman's historical oppression and, released from individual frustration and guilt, to take on collective responsibility? What is the nature of such a responsibility? Is it restricted to oneself? To oneself and the women one sees every week? Is this a responsibility to oneself, to women, to men, to history? In short, is feminism, as an ideology, fundamentally dangerous to the sexism it despises? If so, how?</p> <p> To many women, enmeshed in the growing contradictions of late capitalist society, feminism, by 1976, has proven as much a trap as a liberation. What seemed to so many of us as little as five years ago a potentially revolutionary force now appears to be virtually co-opted. The great capitalist commodity machine has produced a whole new catalogue of cultural commodities: the feminist writer, artist, poet; the feminist academic, professional, journalist, TV persona; the feminist token with that "<emph>feminist</emph> mystique." She is for sale in the cultural marketplace. She is tough, durable, tireless. She is "sexually liberated" (a great lay). She works harder than a man. She has to. She is still a <emph>woman</emph> in a world that calls people "mankind." That is, "equality" for women still equals inequality for women. This is a contradiction.</p> <p> What kind of contradiction? It is a contradiction between the ideology of bourgeois feminism and economic and biological fact. The economic facts of life for the great majority of women remain the same: unpaid domestic labor, ill-paid labor in the work force. Biological fact (which is gender difference along with its cultural baggage) proposes a contradiction, even for those of us who are female tokens of one sort or another, who <emph>are</emph> members of the bourgeoisie.</p> <p> Our psychosexual behavior, like our economic roles, is wholly determined by an inherited system of power relations, not only in the public sector, but at deeper levels, in the formation—within the family—of the psyche itself. Hence, as <persName key="Juliet Mitchell" ref="http://www.wikidata.org/entity/Q453560">Juliet Mitchell</persName> so carefully <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_091.jpg"/> describes, <note type="scholarNote">Mitchell, Juliet, "<title>Women and Equality</title>," in <orgName key="Partisan Review" ref="http://www.wikidata.org/entity/Q1930723">Partisan Review</orgName> (Summer, 1975)</note> it is the <emph>concept of equality</emph> which is invalid within our system. The abstract ideal of equality, she demonstrates, provides the philosophical basis for our laws. Our legal system, at its best, functions <emph>as if</emph> each of its individual constituents were equal. If some people have only their labor to sell, and this labor produces more value than it returns to the laborer, an unequal exchange has taken place. The laborer, then, and the owner of the means to produce that "surplus value" are not equal. If some people are denied, by virtue of their color, access even to the skills of labor, to whom are they equal? If half of all people have babies and half do not, are they all "equal"? Logical incompatabilities arise: what is different is not the same, and gender (among other things) means difference.</p> <p> Radical feminism has tried to take on this contradiction, indeed proclaimed it <emph>the</emph> essential contradiction in our form of social organization. Between biology and destiny, it proposes, stands consciousness. Woman's oppression vertically crosses class lines, crosses race lines; women, armed with "consciousness" would speak to each other across a history of divisions and change the world. Women's groups would not only clarify the areas of shared experience which foster that consciousness, but would serve as support communities. With sisterhood for strength, women would hit male supremacy where it lived: at home. Yet what, after all, has changed? The quality of life for a few privileged women—a small step. Was all that fervor, sisterhood and revolutionary idealism that was meant to reinvent the terms for a mass movement so easily engorged, packaged and recycled?</p> <p> For radical feminism too has been partially co-opted. Since it had already dropped out of the broader (sexist) political arena, it provided support systems for women, but toward an uncertain end. Seeing few alternatives and tantalized by a taste of power women often used that strength to re-enter the dominant culture to become as competitive, as "good" as men. Has the women's movement had so little concrete impact on most women's lives?</p> <p> Certainly the patriarchy was sufficiently threatened to let the feminist token into the limelight. (Why co-opt without advertising the co-opted product?) But she did not make it into the statistics. The economic facts so far as most women are concerned remain unchanged: unpaid domestic labor; ill-paid labor in the work force. The wage differential between men and women in fact is now greater than it was ten years ago. Even the hard-won victory of abortion (<emph>for a price</emph>), even the possibility of "equal rights" before the very laws which uphold a system of inequality, are a slap in the face to an ideology which aimed to alter the very "nature“ of human relationships. This too is a contradiction. </p> <p>What kind of contradiction? It is a contradiction between an ideology and a system; an ideology which has placed its profoundly humanist hope in individual consciousness as somehow separable from the structures in which that consciousness is created. Demystifying the contradictory elements of traditional feminism itself, then, is part of our task. In capitalist society, the process through which human labor is translated into commodity, then capital, is a process necessarily affecting not only the production of tractors and bombs but the production of <emph>ideology</emph>. This process puts intellectual labor, like esthetic labor, like factory labor, like reproductive labor, in the service of a system which generates a surplus of wealth for the few and subsistence for the many. This contradiction—between the forces of production (labor) and the property relations of production (ownership) is <emph>the</emph> contradiction which Marxists claim moves history, because it produces class struggle: the power of masses of people to labor becomes the power to revolt.</p> <p> This contradiction <emph>has</emph> moved history. But, feminists ask, has it altered the basic relation between woman and man, woman and childrearing, woman and psychosexual slavery? For the hypocrisy of bourgeois ideology in relation to bourgeois practice is paradigmatic within the structure of the family. Marriage, ostensibly a contractual agreement between consenting equals, is in fact a property relation between an owner and an exploited, isolated and powerless worker.</p> <p> It is the belief in the illusion that such social contracts can be fulfilled that has hung feminists on the horns of contradiction. Feminism was born in the 17th century along with the concept of equality of individuals. It was, as <persName key="Sheila Rowbotham" ref="http://www.wikidata.org/entity/Q432851">Sheila Rowbotham</persName> has documented, <note type="scholarNote">Rowbotham, Sheila, <title key="Rowbotham, Sheila. | Women, resistance and revolution" ref="http://viaf.org/viaf/7667153954881305680001/">Women, Resistance and Revolution</title>, Vintage Books (New York, 1974).</note> heated in the cauldron of bourgeois revolution and simmered in the idealism of 19th-century Utopianism à la <persName key="Charles Fourier" ref="http://www.wikidata.org/entity/Q181707" cert="high" type="real">Fourier</persName>, who claimed that "the change in historical epoch can always be determined by the progress of women toward freedom." <note type="scholarNote">Ibid., p. 51</note></p> <p>Bourgeois feminism has begun, then, in its history of leaps and starts, to identify and attack its sexist enemy, and taken a few long strides away from female feudalism for the benefit of some bourgeois women. But the heart of the problem remains. Feminists from <persName key="Tennessee Claflin" ref="http://www.wikidata.org/entity/Q7700030">Tennessee Claflin</persName> to <persName key="Isadora Duncan" ref="http://www.wikidata.org/entity/Q483512" cert="high" type="real">Isadora Duncan</persName> have scored high in locating it. "At the ballot box is not where the shoe pinches...It is at home where the husband is the supreme ruler that the little difficulty arises; he will not surrender this absolute power unless he is compelled," wrote Claflin in 1871. <note type="scholarNote"><persName key="Schneir, Miriam" ref="http://viaf.org/viaf/114917240/">Schneir, Miriam</persName>, ed., <title key="Feminism: The Essential Historical Writings" ref="http://www.wikidata.org/entity/Q104874805">Feminism: The Essential Historical Writings</title>, Vintage Books (New York, 1972), p. xviii.</note> Duncan, in her 1927 autobiography said, "Any intelligent woman who reads the marriage contract and then goes into it, deserves all the consequences." <note type="scholarNote">Ibid., p. XV.</note> Here is the confounding point. Monogamy asserts a situation in which one individual "owns" another. It is not ownership <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_092.jpg"/> <emph>per se</emph> that is in question now, but again, the mystification of what the individual is and can control. In participating in the compromised "equality" of marriage, each individual agrees to propagate the species in the context of the values of patriarchy. Values are learned, sexuality is formed, ideology is maintained—within the family.</p> <p>When feminists claim that "the personal is political" they refer, in a sense, to this problem. Their hypothesis is that one can generalize from the individual, internal dynamics of sexist oppression, to a general rule. <persName key="Sigmund Freud" ref="http://www.wikidata.org/entity/Q9215" type="real">Freud</persName>'s revelation of the structures of the unconscious confirms to an extent the validity of that enterprise. But up to now feminists have not taken it far enough. Having accepted the existence of subconscious structural analogues which mirror the differences between the sexes in the world, we can now proceed with the knowledge that, as a group, we are bound not only by the manifest political forms of our oppression but by these internal psychic monsters. In attempting to combat these monsters, however, feminists have often mistaken the cart for the horse. The personal is political—but with few exceptions, this invocation has simply generated a longer list of symptoms of the sexist disease. We must locate the causes of this disease if we are ever to cure it. We must exploit Freud's science of the mind, but only insofar as it is conjoined with the science of history; that is to say out of the context of individualism.</p> <p> Sisterhood is really powerful only insofar as it is armed with a coherent theory and a mass strategy. We are in and of our culture; so is the feminist ideal. We must pursue, with maximum scientific rigor, the vanguard theories of culture which culture has produced. We must use the best available tools to locate the incoherence—the contradictions—in extant phallocentric models and generate predictive models based in the experience of both halves of the human race. Feminists who wish to throw Freud out the window because of simplistic readings of "penis envy" current in popular psychology might well take a look at Mitchell's <title><emph>Feminism and Psychoanalysis</emph></title> for a re-examination of the usefulness of psychoanalysis to feminist analysis. Her effort there is exemplary. We cannot just look back nostalgically to ancient matriarchies. Indeed, fantasies about matriarchy in our era are pure science fiction. But their existence does suggest that alternate models for culture <emph>can</emph> exist.</p> <p> Recent controversy over Mitchell's book, among feminists and male psychoanalytic theorists here and abroad, suggests the "hotness" of this issue. Interestingly, this relation of sexuality to political economy is also being strongly developed outside a feminist context, most prominently on a major intellectual front—in the tradition of French structuralism. European feminists, especially in England and France, have thus been drawn to that tradition as heightened contradictions impel them to seek out means for their resolution. The main tendency in this area is necessarily phallocentric: it is still being written largely through the cipher of a male experience of the world. But if we as women don’t begin to write ourselves into history, who will? For so far, compared to the scope of the theoretical, strategic and practical task ahead, the "woman question" has really only been given lip service by the most advanced intellectual sciences —not surprising since they are "man-made."</p> <p> <persName key="Friedrich Engels" ref="http://www.wikidata.org/entity/Q34787">Engels</persName>, Marx and others have, of course, identified the monogamous, patriarchal family as the central prison for woman. Mechanistic Marxists therefore claim that releasing her from this singular prison into the work force (under socialism) must guarantee her freedom. Does it? Has it?</p> <p> Not significantly; not yet. The major 20th-century socialist revolutions have made some progress, removing, as in China, the most barbaric manifestations of sexist domination. Immediately following the Soviet revolution, <persName key="Vladimir Lenin" ref="http://www.wikidata.org/entity/Q1394" type="real">Lenin</persName>'s program included not only the training of women to join the work force at all levels, but the legalization of abortion, free, accessible divorce, communal daycare, etc. Within ten years, however, Stalinist backlash hit these family issues hardest; much harder, predictably, than the building of an extra-domestic women's work force. In China, with the Cultural Revolution and before, ideological struggle against the values of patriarchy has at least begun. But in the U.S.S.R., in the context of their drive to quickly meet economic priorites which created the bastard known as "state capitalism," it was easier to fall back on the ingrained behaviors of the traditional family unit for free work by women in the home.</p> <p> The American Communist Party reflects this tendency, still defending the "fighting family unit" as a revolutionary force—in America, a reactionary notion. In fact, mothers have been strong revolutionaries. The strength of the women of Vietnam in the long battle to defeat American imperialism is a case in point. But, as in Algeria, where fighting European imperialism also meant the reassertion of the heavily patriarchal values of Arab and Islamic culture, women's fate has most often been: off the battlefield and back to the kitchen. The contradictions of the double standard apparently are so heightened during periods of revolution that, as with Bolsheviks like <persName key="Alexandra Kollontai" ref="http://www.wikidata.org/entity/Q179558">Alexandra Kollontai</persName>, the preaching and practice of "free love" (and all it implies) becomes acceptable —for a brief time. Despite Lenin's great sympathy and work for women, his Victorianism won out in the area of sex. Even the Soviet woman engineer comes home to work that is still hers, and still never <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_093.jpg"/> done.</p> <p> In the U.S., too, anti-feminist backlash, somewhat reminiscent of the Stalinist attack on women's freedom, splits American feminism down its uncertain center. Though reformists suggest that there is room in a liberal America to heal the wounds of women, liberalism is particularly dangerous since it cleverly masks its own conservatism, its own investment in the status quo. Liberal ideology neatly instantiates the two-part form of the contradiction. "Its progressive side provides a rationale for defending the rights of individuals against the state. Its reactionary side emphasized that capitalism is not a system where one class exploits another but is rather a collection of individuals, any one of whom can succeed if he or she so decides."<note type="scholarNote"><persName key="Guettel, Charnie." ref="http://viaf.org/viaf/1981898/" type="real">Guettel, Charnie</persName>, <title><title>Marxism and Feminism</title></title>, Women's Educational Press (Ontario, Canada, 1974), p. 2.</note></p> <p> I hope it is becoming clear how ideologically messy liberalism really is from a post-humanist perspective in which the individual can no longer be seen as the subject of history. Liberalism is seen by leftists as a joke because it bears so tenuously the wan hopes of a bankrupt humanism and is ultimately, untenable. Even hardcore conservatism is more internally coherent. Conservatives and Marxists alike might describe capitalism as a system in which the "stronger" individuals make out. The difference, of course, is that conservatives say so approvingly, grounding their argument in the old dog-eat-dog theory of what they call human nature. Marxists have favored the idea that the industrial capitalist system tends to pervert or alienate what is potentially, or at a given historical moment "good" in human beings. Stated so simply, both are inadequate readings but at least they rehearse the consistency of these positions.</p> <p> The liberal wants to enjoy the fruits of his class privilege while salving his guilty conscience with a quasi-philosophic posture proposing that every individual (being protected by 'equality' before the law, by 'equal' opportunity measures, etc.) could theoretically be enjoying this same privilege if he or she were as hard-working and dauntless as him/herself. Thus the liberal buys off with a little charity or minimal social welfare all those who, by some extreme individual misfortune, can’t quite cut it.</p> <p>Here we return to the underbelly of co-optation. While a bill assuring equal rights before unequal laws is flung in our faces, and even defeated (adding insult to injury), the dominant media simultaneously declare the women's movement to be "over" or somehow "won" because of the presence of one and a half news anchor-women on TV or the financial viability of <title key="Ms." ref="http://www.wikidata.org/entity/Q3656351"><emph>Ms. Magazine</emph></title>. Capitalist propaganda demonstrates before our eyes that by inference, if one woman can do work that one man can do, women are the achieved "equals" of men. The responsibility for change is thus cleverly switched back onto the shoulders of <emph>individual</emph> women; to change the world, all you really must do is change yourself. And the mapping of contradictions comes full circle.</p> <p> The liberal feminist, like the liberal social democrat, learns to sate herself on the token goodies she is tendered. Or the radical feminist (who, lacking a viable mass strategy, is a liberal in disguise) tries to build a separatist island on which she and her sisters can be "free." It's a dilemma. I was, and in some ways still am, such a radical feminist. After all, I am a member of the women's group which publishes this magazine. We try to experiment with anti-oligarchic forms, collective practice. But what is an egalitarian island in a sea of capitalist contradictions but something doomed, as it were, to sinking?</p> <p> Witness a little linguistic contradiction and the issues it raises for us in <emph>Heresies</emph>. We are constituted as a collective. Adopting one of the stronger aspects of feminist practice, we attempt to chip away at the hierarchical authority structures of The System on a micro level by attempting to produce a theoretical magazine on a collective basis. The assumption here is that theory and practice must develop together in a dialectical relationship. But in order to function as a legal entity, we are transformed to Heresies Collective, Inc.; an incorporated collective. This is either redundant or ironic. The fact is, we don't even aspire to making profits but are completely dependent on the legal and business structures around us. This dependence relation, the impossibility of autonomy within a given economic structure, has meant about a two-year life-span for most American collectives before us, according to popular lore. </p><p>This dependence also means that artists, particularly those artists being forced by heightened economic contradictions to face political realities, must re-examine their place in our culture. The feminist filmmaker for example, has had to confront this issue head on. Film, more than any other artform, requires the mastery of machine technology. For women, that technology and the authority it connotes has been historically taboo. There are exceptions in the history of film but the percentage of women filmmakers is dramatically low for a 20th-century art. Feminists with the energy and support of their sisters in the movement have begun to break that taboo. But in doing so, they have been thrown against a major contradiction facing all "independent" filmmakers: the problem of capital. For to make films requires large amounts of capital, capital which is controlled by the ruling classes, middle-class liberals included.</p> <p> Advocates of independent filmmaking from <persName key="Maya Deren" ref="http://www.wikidata.org/entity/Q450382">Maya Deren</persName> in the 1940s (implicitly) to <persName key="Annette Michelson" ref="http://www.wikidata.org/entity/Q21176228" type="real">Annette Michelson</persName> in the 1960s (explicitly in her article "<title>Film and the Radical Aspiration</title>") <note type="scholarNote"><orgName>In <title key="Sitney, P. Adams. | Film culture reader" ref="http://viaf.org/viaf/6125154387351330970000/">Film Culture Reader</title></orgName>, ed., <persName key="P. Adams Sitney" ref="http://www.wikidata.org/entity/Q7117121">P. Adams Sitney</persName>, Praeger (New York, 1970).</note> have proposed that a stance outside of the commercial market is itself a "political" gesture. It is—to the <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_094.jpg"/><pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_095.jpg"/> extent that money can be garnered from liberals to make "art" as long as it is not fundamentally dangerous. But can any political art which attempts to attack the assumptions of The System <emph>from within</emph> patriarchal capitalism actually threaten it? This has been and will be an area of debate for many political estheticians and artists and can hardly be answered here.</p> <p> But we can and must confront the question. From what is the "independent" filmmaker or artist independent? She is not independent from the need to make a living. She is not independent from the need for capital—money which gives the power to make her films and distribute her films within a tight commercial media monopoly. When a feminist wonders why capitalists won’t hand over the money to make antisexist films, she, like her "independent" male counterpart, must face the terms of her dependence. She has begun to beg, borrow or steal (translated as win grants, go into debt, etc.) the capital to write herself into visual history, making films about the experience of women; viz: the films of <persName key="Julia Reichert" ref="http://www.wikidata.org/entity/Q1711898" type="real">Julia Reichert</persName>, <persName key="Yvonne Rainer" ref="http://www.wikidata.org/entity/Q452238">Yvonne Rainer</persName>, <persName key="Barbara Kopple" ref="http://www.wikidata.org/entity/Q449349" type="real">Barbara Kopple</persName>, <persName key="Chantal Akerman" ref="http://www.wikidata.org/entity/Q239823">Chantal Ackerman</persName>, and many others. But who actually sees these films? They are shown in women's festivals, in avant-garde and political forums in a few major cities. She is, in short, caught in that same economic trap. Cooperatives for pooling resources and sharing distribution efforts, such as New Day Films, are beginning to form; they are collectives like <emph>Heresies</emph>. But the absolute dependence on the inconsistent, discrimate charity of liberals is the underside of that ultimately romantic hope for "independence." The terms for independence, then, among artists and feminists, are the very terms of dependence. Yet another contradiction.</p> <p> I would like to convince all feminists that it is time to realign with the Left. Current economic realities, heightening contradictions, and the topography of world imperialism reaching its limits, are forcing many groups in America to confront their need for unity. The traditionally sectarian American Left itself is beginning to move toward coalition and alliance, toward unity across color lines, across race lines, across class lines <emph>and</emph> across gender lines. Within such a potential configuration women could speak to other women. We are beginning to recognize that all oppressed peoples within capitalism must come together if we are even to begin to be able to defend ourselves against the attacks and backlash of this system, much less to build a new one.</p> <p> Several feminist strategies for such a realignment of women with the broader struggle for freedom are presented in this issue of Heresies (see "Toward Socialist-Feminism" and "Wages for Housework"). This does not mean that women will not have to continue to force the priority of their own demands in relation to the needs of others. Women will need autonomy to develop theory and strategy accountable to our own needs within a broad movement, to avoid the failures of socialist experiments in the past. Thus, we must make our fight in the context of a movement we help to define and build, a movement that can take on the class contradiction as well as the racial and sexual contradictions implicit in the structures of the larger society. For, on these structures, the fate of all women, like it or not, is inextricably dependent. To wed feminism to the myths and false hopes of liberal idealism is to contribute to the systematic liquidation of its potential power.</p></div> </div> </body> <back> <div><p>Joan Braderman is completing her doctorate in film and political theory at N.Y.U., writes theory and criticism and makes 16mm films. She teaches film at The School of Visual Arts in New York City, is a political activist and likes to sing. </p></div> </back> </text> </TEI>
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Zelvin</persName></persName></byline> </div> <div> <lg> <l>twelve years later, how funny running into you</l> <l>i remember you in glasses and a bowtie</l> <l>before mad avenue bought space</l> <l>in the revolution</l> </lg> <lg> <l>you are conscientiously updated</l> <l>you have let your hair grow longer</l> <l>in that slick packaged heaven</l> <l>where good admen go</l> <l>you will play electric harp</l> </lg> <lg> <l>you have remembered every moment</l> <l>all this time</l> <l>and remind me of it over steak</l> <l>which you have paid for</l> <l>your revolution balks at going dutch</l> <l>mine will be vegetarian by next week</l> <l>but just this once i'll buy your buying me</l> <l>my steak</l> </lg> <lg> <l>i'm curious to remember how it feels</l> </lg> <lg> <l>i took my diaphragm everywhere in those days</l> <l>the only part i remember is when you said</l> <l>why don’t we go ahead, do what we’ve both been thinking</l> <l>but i hadn’t, honestly, or i would never</l> <l>have put my flannel nightgown on</l> <l>sorry, i don’t remember</l> <l>anything that happened after that</l> <l>it was all so long ago</l> <l>and meant so little</l> </lg> <lg> <l>twelve years ago, before the revolution</l> <l>it was usually too much trouble to say no</l> <l>especially when the man had bought you</l> <l>steak</l> </lg> <lg> <l>you are curious to remember how it feels</l> <l>but i have chewed and sat with downcast eyes</l> <l>letting you tell some patent Barbie me</l> <l>that i'm more womanly (sic) than your ex-wife</l> <l>and feel i've paid enough</l> <l>thanks for the steak, good seeing you again</l> <l>i mouth, let's get together soon</l> <l>i do not say, there’s been a revolution</l> <l>and there have been too many one night stands</l> </lg> </div> </body> <back> <p>Elizabeth Zelvin is a writer living in New York who has poems appearing in <title key="WomanSpirit" ref="http://www.wikidata.org/entity/Q48732990">Womanspirit</title> and <title key="13th Moon" ref="http://www.wikidata.org/entity/Q95584323">13th Moon</title>. She has recently completed a book about an alternative marriage, and among her other interests are "singing and song-writing, teaching creative movement, and trying to understand the synthesis of anarchism and feminism." </p> </back> </text> </TEI>
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"https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_025.jpg" generatedBy="human" xml:space="default" n="23"/> <div><head><title>Women and Honor: Some Notes on Lying</title></head> <byline><persName key="Adrienne Rich" ref="http://www.wikidata.org/entity/Q270705">Adrienne Rich</persName></byline></div> <div><p>(<emph>These notes are concerned with relationships between and among women. When "personal relationship" is referred to I mean a relationship between two women, it will be clear in what follows when I am talking about women's relationships with men.</emph>)</p> <p>The old, male idea of honor. A man’s ''word" sufficed—to other men—without guarantee.</p> <p>"Our Land Free, Our Men Honest, Our Women Fruitful"—a popular colonial toast in America.</p> <p>Male honor also having something to do with killing: <emph>I could not love thee, Dear, so much / Lov'd I not Honour more</emph> (''<title>To Lucasta, On Going to the Wars</title>''). Male honor as something needing to be avenged: hence, the duel.</p> <p>Women's honor, something altogether else: virginity, chastity, fidelity to a husband. Honesty in women has not been considered important. We have been depicted as generically whimsical, deceitful, subtle, vacillating. And we have been rewarded for lying.</p> <p>Men have been expected to tell the truth about facts, not about feelings. They have not been expected to talk about feelings at all.</p> <p>Yet even about facts they have continually lied. We assume that politicians are without honor. We read their statements trying to crack the code. The scandals of their politics: not that men in high places lie, only that they do so with such indifference, so endlessly, still expecting to be believed. We are accustomed to the contempt inherent in the political lie.</p> <p>To discover that one has been lied to in a personal relationship, however, leads one to feel a little crazy.</p> <p>Lying is done with words, and also with silence.</p> <p>The woman who tells lies in her personal relationships may or may not plan or invent her lying. She may not even think of what she is doing in a calculated way.</p> <p> A subject is raised which the liar wishes buried. She has to go downstairs, her parking-meter will have run out. Or there is a telephone call she ought to have made an hour ago.</p> <p>She is asked, point-blank, a question which may lead into painful talk: ''How do you feel about what is happening between us?'' Instead of trying to describe her feelings in their ambiguity and confusion, she asks, ''How do you feel?" The other, because she is trying to establish a ground of openness and trust, begins describing her own feelings. Thus the liar learns more than she tells.</p> <p>And she may also tell herself a lie: that she is concerned with the other's feelings, not with her own.</p> <p>But the liar is concerned with her own feelings.</p> <p>The liar lives in fear of losing control. She cannot even desire a relationship without manipulation, since to be vulnerable to another person means for her the loss of control.</p> <p>The liar has many friends, and leads an existence of great loneliness.</p> <p>The liar often suffers from amnesia. Amnesia is the silence of the unconscious.</p> <p>To lie habitually, as a way of life, is to lose contact with the unconscious. It is like taking sleeping pills, which confer sleep but blot out dreaming. The unconscious wants truth. It ceases to speak to those who want something else more than truth.</p> <p>In speaking of lies we come inevitably to the subject of truth. There is nothing simple or easy about this idea. There is no ''the truth,'' "a truth"—truth is not one thing, or even a system. It is an increasing complexity. The pattern of the carpet is a surface. When we look closely or when we become weavers, we learn of the tiny multiple threads unseen in the overall pattern, the knots on the underside of the carpet.</p> <p>This is why the effort to speak honestly is so important. Lies are usually attempts to make <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_026.jpg" generatedBy="human" xml:space="default" n="24"/> everything simpler—for the liar—than it really is, or ought to be.</p> <p>In lying to others we end up lying to ourselves. We deny the importance of an event, or a person, and thus deprive ourselves of a part of our lives. Or we use one piece of the past or present to screen out another. Thus we lose faith even with our own lives.</p> <p>The unconscious wants truth, as the body does. The complexity and fecundity of dreams come from the complexity and fecundity of the unconscious struggling to fulfill that desire. The complexity and fecundity of poetry come from the same struggle.</p> <p>An honorabie human relationship—that is, one in which two people have the right to use the word "love"—is a process, delicate, violent, often terrifying to both persons involved, a process of refining the truths they can tell each other.</p> <p>It is important to do this because it breaks down human self-delusion and isolation.</p> <p>It is important to do this because in so doing we do justice to our own complexity.</p> <p>It is important to do this because we can count on so few people to go that hard way with us.</p> <p>I come back to the question of women's honor. Truthfulness has not been considered important for women, as long as we have remained physically faithful to a man, or chaste.</p> <p>We have been expected to lie with our bodies: to bleach, redden, unkink or curl our hair, pluck eyebrows, shave armpits, wear padding in various places or lace ourselves, take little steps, glaze finger and toe nails, wear clothes that emphasize our helplessness.</p> <p>We have been required to tell different lies at different times, depending on what the men of the time needed to hear. The Victorian wife or the white southern lady, who were expected to have no sensuality, to "lie still"; the twentieth-century "free" woman who is expected to fake orgasms.</p> <p>We have had the truth of our bodies withheld from us or distorted; we have been kept in ignorance of our most intimate places. Our instincts have been punished: clitorectomies for "lustful'' nuns or for "difficult" wives. It has been difficult, too, to know the lies of our complicity from the lies we believed.</p> <p> The lie of the "happy marriage," of domesticity — we have been complicit, have acted out the fiction of a well-lived life, until the day we testify in court of rapes, beatings, psychic cruelties, public and private humiliations.</p> <p>Patriarchal lying has manipulated women both through falsehood and through silence. Facts we needed have been withheld from us. False witness has been borne against us.</p> <p>And so we must take seriously the question of truthfulness between women, truthfulness among women. As we cease to lie with our bodies, as we cease to take on faith what men have said about us, is a truly womanly idea of honor in the making?</p> <p>Women have been forced to lie, for survival, to men. How to unlearn this among other women?</p> <p>"Women have always lied to each other." "Women have always whispered the truth to each other.'' Both of these axioms are true.</p> <p>"Women have always been divided against each other." ''Women have always been in secret collusion." Both of these axioms are true.</p> <p>In the struggle for survival we tell lies. To bosses, to prison guards, the police, men who have power over us who legally own us and our children, lovers who need us as proof of their manhood.</p> <p>There is a danger run by all powerless people that we forget we are lying, or that lying becomes a weapon we carry over into relationships with people who do not have power over us.</p> <p>I want to reiterate that when we talk about women and honor or women and lying, we speak within the context of male lying, the lies of the powerful, the lie as a false source of power.</p> <p>Women have to think whether we want, in our relationships with each other, the kind of power that can be obtained through lying.</p> <p>Women have been driven mad, ''gaslighted," for centuries by the refutation of our experience and our instincts in a culture which validates only male experience. The truth of our bodies and our minds has been mystified to us. We therefore have a primary obligation to each other: not to undermine each other's sense of <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_027.jpg" generatedBy="human" xml:space="default" n="25"/> reality for the sake of expediency; not to gaslight each other.</p> <p>Women have often felt insane when cleaving to the truth of our experience. Our future depends on the sanity of each of us, and we have a profound stake, beyond the personal, in the project of describing our reality as candidly and fully as we can to each other.</p> <p>There are phrases which help us not to admit we are lying: "my privacy," "nobody's business but my own.'' The choices that underlie these phrases may indeed be justified; but we ought to think about the full meaning and consequences of such language.</p> <p>Women’s love for women has been represented almost entirely through silence and lies. The institution of heterosexuality has forced the lesbian to dissemble, or be labelled a pervert, a criminal, a sick or dangerous woman, etc., etc. The lesbian, then has often been forced to lie, like the prostitute or the married woman.</p> <p>Does a life "in the closet"—lying, perhaps of necessity, about ourselves to bosses, landlords, clients, colleagues, family, because the law and public opinion are founded on a lie—does this, can it, spread into public life, so that lying (described as <emph>discretion</emph>) becomes an easy way to avoid conflict or complication? Can it become a strategy so ingrained that it is used even with close friends and lovers?</p> <p>Heterosexuality as an institution has also drowned in silence the erotic feelings between women. I myself lived half a lifetime in the lie of that denial. That silence makes us all to some degree, into liars.</p> <p>When a woman tells the truth she is creating the possibility for more truth around her.</p> <p>The liar leads an existence of unutterable loneliness.</p> <p>The liar is afraid.</p> <p>But we are all afraid: without fear we become manic, hubristic, self-destructive. What is this particular fear that possesses the liar?</p> <p>She is afraid that her own truths are not good enough.</p> <p>She is afraid, not so much of prison guards or bosses, but of something unnamed within her.</p> <p>The liar fears the void.</p> <p> The void is not something created by patriarchy, or racism, or capitalism. It will not fade away with any of them. It is part of every woman.</p> <p>''The dark core,'' <persName key="Virginia Woolf" ref="http://www.wikidata.org/entity/Q40909">Virginia Woolf</persName> named it, writing of her mother. The dark core. It is beyond personality; beyond who loves us or hates us. </p><p>We begin out of the void, out of darkness and emptiness. It is part of the cycle understood by the old pagan religions that materialism denies. Out of death, rebirth; out of nothing, something.</p> <p>The void is the creatrix, the matrix. It is not mere hollowness and anarchy. But in women it has been identified with lovelessness, barrenness, sterility. We have been urged to fill our "emptiness" with children. We are not supposed to go down into the darkness of the core.</p> <p>Yet, if we can risk it, the something born of that nothing is the beginning of our truth.</p> <p>The liar in her terror wants to fill up the void with anything. Her lies are a denial of her fear; a way of maintaining control.</p> <p>Why do we feel slightly crazy when we realize we have been lied to in a relationship?</p> <p>We take so much of the universe on trust. You tell me: "In 1950 I lived on the north side of Beacon Street in Somerville.'' You tell me: ''She and I were lovers, but for months now we have only been good friends.'' You tell me: "It is seventy degrees outside and the sun is shining." Because l love you, because there is not even a question of lying between us, I take these accounts of the universe on trust: your address twenty-five years ago, your relationship with someone I know only by sight, this morning's weather. I fling unconscious tendrils of belief, like slender green threads, across statements such as these, statements made so unequivocally, which have no tone or shadow of tentativeness. I build them into the mosaic of my world. I allow my universe to change in minute, significant ways, on the basis of things you have said to me, of my trust in you.</p> <p>I also have faith that you are telling me things it is important I should know; that you do not conceal facts from me in an effort to spare me, or yourself, pain.</p> <p>Or, at the very least, that you will say, ''There are things l am not telling you."</p> <p>When we discover that someone we trusted can <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_028.jpg" generatedBy="human" xml:space="default" n="26"/> be trusted no longer it forces us to re-examine the universe, to question the whole instinct and concept of trust. For awhile, we are thrust back onto some bleak, jutting ledge, in a dark pierced by sheets of fire, swept by sheets of rain, in a world before kinship, or naming, or tenderness exist; we are brought close to formlessness.</p> <p>The liar may resist confrontation, denying that she lied. Or she may use other language: forgetfulness, privacy, the protection of someone else. Or she may bravely declare herself a coward. This allows her to go on lying, since that is what cowards do. She does not say, <emph>I was afraid</emph>, since this would open the question of other ways of handling her fear. It would open the question of what is actually feared.</p> <p>She may say, <emph>I didn't want to cause pain</emph>. What she really did not want is to have to deal with the other's pain. The lie is a short-cut through another’s personality.</p> <p>Truthfulness, honor, is not something which springs ablaze of itself; it has to be created between people.</p> <p>This is true in political situations. The quality and depth of the politics evolving from a group depends in very large part on their understanding of honor.</p> <p>Much of what is narrowly termed "politics" seems to rest on a longing for certainty even at the cost of honesty, for an analysis which, once given, need not be re-examined. Such is the dead-endedness—for women—of <rs key="Marxism" ref="http://www.wikidata.org/entity/Q7264">Marxism</rs> in our time.</p> <p>Truthfulness anywhere means a heightened complexity. But it is a movement into evolution. Women are only beginning to uncover our own truths; many of us would be grateful for some rest in that struggle, would be glad just to lie down with the sherds we have painfully unearthed, and be satisfied with those. Often I feel this like an exhaustion in my own body.</p> <p>The politics worth having, the relationships worth having, demand that we delve still deeper.</p> <p>The possibilities that exist between two people, or among a group of people, are a kind of alchemy. They are the most interesting things in life. The liar is someone who keeps losing sight of these possibilities.</p> <p>When relationships are determined by manipuation, by the need for control, they may possess a dreary, bickering kind of drama, but they cease to be interesting. They are repetitious; the shock of human possibility has ceased to reverberate through them.</p> <p>When someone tells me a piece of the truth which has been withheld from me, and which I needed in order to see my life more clearly, it may bring acute pain, but it can also flood me with a cold, sea-sharp wash of relief. Often such truths come by accident, or from strangers.</p> <p>It isn't that to have an honorable relationship with you, I have to understand everything, or tell you everything at once, or that I can know, beforehand, everything I need to tell you.</p> <p>It means that most of the time I am eager, longing for the possibility of telling you. That these possibilities may seem frightening, but not destructive, to me. That I feel strong enough to hear your tentative and groping words. That we both know we are trying, all the time, to extend the possibilities of truth between us.</p> <p>The possibility of life between us.</p> </div> </body> <back> <div><p>Adrienne Rich is a well-known poet and feminist who has published 9 books. The most recent one, <title key="Rich, Adrienne Cecile. | Of woman born" ref="http://viaf.org/viaf/9718159521652133070000/"><emph>Of Woman Born: Motherhood as Experience and Institution</emph></title> (W.W. Norton & Company), she described as coming "from the double need to survive and to work; and I wrote it in part for the young woman I once was, divided between body and mind, wanting to give her the book she was seeking...." </p></div> </back> </text> </TEI>
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community mural movement is much greater than is generally recognized. Major city-sponsored mural programs in Boston (<persName key="Adele Seronde" ref="http://www.wikidata.org/entity/Q117815820" cert="high" type="real">Adele Seronde</persName> and Summerthing), New York (<persName>Susan Shapiro-Kiok</persName> and Cityarts), and Los Angeles (<persName key="Judy Baca" ref="http://www.wikidata.org/entity/Q6304327">Judy Baca</persName> and Citywide) have been initiated and directed by women artists, who have given these programs much of their character and philosophy. Women have led school mural projects, mural collectives, and mural-work with street youth. Whether working as individual muralists, members of coalitions, or in collectives, women have increasingly dominated the mural movement as a force for non-elitism collectivity, and the practice of social philosophies ranging from humanism to Marxism.</p> <p>Murals on urban walls reflecting the aspirations of neighborhood residents began as part of the more general social upheaval of the 1960s. Artists found themselves dragged into the social arena and forced to consider questions beyond those of pure form. By the late 1960s they could no longer avoid confronting questions concerning the relevance, audience, and uses of their art. A number of movements arose that tried to enlarge the audience and scope of contemporary art. Minority-group and politically active artists felt both a demand and an opportunity to create an art responsive to their special heritage and relevant to their own ethnic group, community, or movement. Mainstream artists attempted to bring art out of the museums and into the cities in the form of urban super-graphics, environmental sculptures, streetworks, and happenings. Out of the coincidence of these social and artistic forces the community mural movement began in 1967-68.</p> <p>The mural movement took on different forms in different locations, depending on which particular combination of social forces spurred its beginnings. The first mural in Chicago, the 1967 <title key="Wall of Respect" ref="http://www.wikidata.org/entity/Q29641568"><emph>Wall of Respect</emph></title>, was painted by 21 Black artists from the Organization of Black American Culture (OBAC) and celebrated Black history and culture. It was a political-art happening involving musicians and poets who played and read as the painting progressed. Although women artists participated in the Wall of Respect, they were not among those who continued the movement in Chicago and went from the OBAC wall to paint in Detroit. </p> <p>For a long time <persName>Vanita Green'</persName>s <title><emph>Black Women</emph></title> (1970) served as the token of women's participation in the Chicago mural movement. Green was 17, a high school dropout, when she saw <persName key="William Walker" ref="http://www.wikidata.org/entity/Q8019912" cert="high" type="real">William Walker</persName> painting the <title cert="high"><emph>Peace and Salvation Wall of Understanding</emph></title> near the Cabrini-Green projects where she lived. After watching for a time, she asked Walker for paints and brushes and on a storage shed nearby painted portraits of famous Black women from <persName key="Nancy Green American model, cook, and activist (1834–1923)" ref="http://viaf.org/viaf/156370596">Aunt Jemima</persName> to <persName key="Angela Davis" ref="http://www.wikidata.org/entity/Q160456">Angela Davis</persName>. Almost immediately afterwards, the wall was defaced with large splashes of white paint, practically the only defacement in Chicago up to that time. When Green saw what the vandals had done, she commented, "Before, it was just a pretty picture, but it says more now." In general, though, during those early years women found their place largely as assistants and apprentices in one of the two major community-based Chicago mural groups: Public Art Workshop, led by <persName key="Rogovin, Mark" ref="http://viaf.org/viaf/43387406/">Mark Rogovin</persName>, and Chicago Mural Group, a multi-ethnic coalition led by William Walker and <persName key="Weber, John Pitman" ref="https://www.wikidata.org/wiki/Q61956555">John Weber.</persName> </p> <p>In Boston, on the other hand, women played an important role in introducing the mural idea. Boston artist Adele Seronde's proposal calling for the use of neglected city sites to transform the city into a museum was the start. Through the collaboration of <persName>Kathy Kane</persName> of the Mayor's Office of Cultural Affairs, the Institute of Contemporary Art, a number of Black artists, and Seronde, Summerthing was launched. It was the largest and most productive of the early mural programs, beginning in 1968 and peaking in 1970. The Summerthing program combined elements of three distinct phenomena which had emerged the preceding year—the renaissance in Black culture (<emph>Wall of Respect</emph>), the "Summer in the City Paint-in Festival" and various clean-up programs, and the desire of environmental artists to work in urban spaces. Summerthing sponsored Black Power murals, children's playground and pocket-park projects, and decorative walls—all within a framework allowing for neighborhood control. Under Seronde's direction, the program emphasized the sociological rather than the decorative aspect of public art. Many impressive walls were painted from 1968 to 1970, especially in the Black communities of Roxbury and South End–including the first women's wall, <persName key="Sharon Dunn" ref="http://www.wikidata.org/entity/Q107551786">Sharon Dunn</persName>'s <title><emph>Black Women</emph></title>, painted in 1970. Seronde is only one of many women who <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_017.jpg" xml:space="default" n="15"/> have made important contributions as organizers and administrators. <persName key="Judy Baca" ref="http://www.wikidata.org/entity/Q6304327">Judy Baca</persName>, a leading Chicana muralist in Los Angeles, obtained City funding for a similar neighborhood-oriented large-scale mural program (Citywide Murals) in 1974. <persName>Shelly Killen</persName> heads a program for murals in prisons in Rhode Island, which has operated in the correctional institutions there for the past two years. <persName>Sandy Rubin</persName>'s Alternate Graffiti Workshop in Philadephia pioneered techniques for developing the artistic potential of graffiti writers; several of her workshop graduates have become muralists in their own right. <persName key="Ruth Asawa" ref="http://www.wikidata.org/entity/Q7382874">Ruth Asawa</persName> and <persName>Nancy Thompson</persName> developed the Alvarado School-Community Program in San Francisco which brings community artists into the public schools to enrich the school experience and has heped to open the doors to "Artists in the Schools" programs around the country. In fact, at the present time, the majority of the mural programs throughout the nation are directed by women. </p> <p>The major influx of women artists into the mural movement did not take place until 1971-73 when news about the community walls had become better known outside the actual mural communities. This was also a time of expansion for the Women's Liberation Movement. Many women artists tried mural work, but not all of them became muralists. Community mural work, although highly rewarding, requires a certain kind of openness and great dedication. It also demands physical labor, community organizing, going to meetings, and an ability to deal with the great variety of people who come up to talk or make comments. However, a number of the women who did become involved in the early 1970s now identify themselves as muralists and are recognized for their artistic contributions. </p> <p>The development of <persName>Caryl Yasko,</persName> one of the best muralists in the nation and a leader of the Chicago Mural Group, illustrates this process. Like Green, Yasko was introduced to the mural movement through William Waker when she volunteered as a parent-assistant for a mural he was directing with children at her neighborhood school. After this experience, Yasko and her partner in a small art enterprise, <persName>Kathy Judge</persName>, a ceramicist, worked with small children to paint <title><emph>Walls of Hope</emph></title>. Vasko and Judge were then invited to join the Chicago Mural Group. In the summer of 1972, Yasko directed her first major project, <title><emph>Under City Stone</emph></title>, a mural that runs throughout the 55th Street underpass in Hyde Park. Painted from Yasko's design with the help of a team recruited from passers-by, it shows hundreds of figures walking around and, above them, the machinery, technology, and pollution of today's city. Yasko painted herself in the <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_018.jpg" xml:space="default" n="16"/> crowd—a slim young woman, paintbrushes in hand, a baby on her back. The following year Yasko painted in the heart of the Black-Belt South Side with a team of young Black people. Located on a prenatal clinic wall, this mural depicts statuesque, larger-than-life women with their children. In 1974 Yasko broke new ground for the Chicago muralists. Although murals had become commonplace in many areas of Chicago certain white working-class areas peopled by Polish and other Middle-European immigrants remained untouched. The question of whether murals were valid only for minority-group ghetto areas or would also be meaningful in white working-class neighborhoods was in the air. In those cities where the murals had begun with the Black Power thrust of the late sixties, a movement toward more general themes was beginning. In 1974 Yasko began a mammoth mural in the Logan Square area of Chicago. The mural uses symbolic figures and images to identify the values of the largely Polish and Bielorussian residents of the area and to depict them working together to maintain control in a highly technical, mechanized world. This major wall has opened the door for a number of other murals in this and similar neighborhoods Yasko, however, is only one of many women muralists who have made important artistic contributions. <persName>Lucy Mahler</persName>'s vivid mural at the Wright Brothers School in New York is one of the earliest murals on a public school building. <persName>Astrid Fuller</persName> with her distinctive combination <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_019.jpg" xml:space="default" n="17"/> of a primitive literalism with surrealist images, has created a series of ambitious underpass murals in the Hyde Park area of Chicago. <persName key="Highfill, Holly" ref="http://viaf.org/viaf/49182313/">Holly Highfill</persName>, who painted an anti-war mural in the Loop area of Chicago (1973), has gone on to do several succeeding walls with gang youth. <persName>Marie Burton</persName>, who with Highfill and Rogovin co-authored the <title><emph>Mural Manual</emph></title>, works primarily with teenagers. Her <title><emph>Bored of Education</emph></title> in Chicago (1971) and the <title>Celebration of Cultures</title> in Milwaukee (1975) are among the most impressive of the school murals. And these are just a few of the women muralists working on community walls in a way that might be called the Chicago model (others are <persName>Justine DeVan</persName>, <persName>Esther Charbit</persName>, <persName>Ruth Felton</persName>, and <persName>Celia Radek</persName>). </p> <p>In the Chicago model, the artist-leader of a mural team, using community and youth input, designs the wall and directs the painting of it. The community participates as a new class of patrons who help to pay for the mural and are consulted on the design. In spite of the change in patronage, and participation of community people as team members the Chicago model's emphasis on professionalism is fairly close to the mural tradition through the ages. Murals, after all, have rarely been painted by individuals; mostly they are done by a group of assistants working under a master. </p> <p>This hierarchical process has been challenged by several developments within the mural movement. One is the experimentation with women muralists have come into the movement as organizers or members of a collective group. The mutual support and shared responsibility the collective offers an individual is often necessary to provide the courage to attempt a first mural (and some of the labor power to finish it). Especially in the case of women this factor can be decisive. </p> <p>Within the Latin culture, <emph>machismo</emph> often reaches rather extreme forms yet this is countered by a strong communal tradition. It is not surprising therefore that in 1974 a group of Latin American women muralists--Mujeres Muralistas--was formed in San Francisco. Most of the women were students of recent graduates of the San Francisco Art Institute and connected with the Galeria de La Raza, the center for Chicano artists in the Mission district. Their philosophy was simple and very positive: </p> <quote>Our cultures, our images are strong. It is important that the atmosphere of the world be plagued with color and life. Throughout history there have been very few women who have figured in art. What you see is proof that women, too, can work at this level. That we can put together scaffolding and climb it. We offer you the colors that we make. </quote> <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_021.jpg" xml:space="default" n="19"/> <p>Their two best-known walls, <title>Latinoámerica</title> and the <title>Paco's Tacos Stand</title> mural were both done in the spring and summer of 1974. They celebrate the beauty and richness of the Latin tradition. For Latinoamerica, the four women comprising the original core of Mujeres Muralistas-<persName key="Patricia Rodriguez" ref="http://www.wikidata.org/entity/Q24007838">Patricia Rodriguez</persName>, <persName key="Méndez Castillo, Consuelo." ref="http://viaf.org/viaf/33155224423584371184/">Consuelo Mendez Castillo</persName>, <persName key="Irene Pérez" ref="http://www.wikidata.org/entity/Q109674442">Irene Perez</persName>, and <persName key="Carrillo de López, Graciela" ref="http://viaf.org/viaf/58093996/">Graciela Carrillo de Lopez</persName>--worked together to create the design. Different parts of the mural are painted by each artist in her individual style; yet the mural succeeds as a unified work because of the clean organization, and the distinctively bright, clean color that is characteristic of the group. In the Paco's Tacos mural the unity is more tenuous. The wall divides into two distinctly different halves reflecting the different artistic styles of Consuelo Mendez Castillo and Graciela Carrillo de Lopez. In many ways Mujeres Muralistas was never really a "collective," but rather a group of women who came together to work on a particular wall mural. An almost instant fame forced them into a prematurely formalized existence as a "collective group," while leaving them little time to resolve differences in political consciousness between members of the group, or cultural differences between Chicana and Latin American women. The problem of individualism was never really tackled, although there was an attempt to make decisions by a consensus of the group. Internal differences caused the group to dissolve formally early in 1976. The women who comprised Mujeres Muralistas are now working as individual muralists. </p> <p>Many mural-painting collectives, including most of those that grew out of the largely white-counterculture and anti-war movements, either start with women who then invite male artists in, or simply include both women and men. Often led by women with roots in Marxism and feminism, these collectives tend to be strongly anti-sexist, anti-imperialist, and to use overtly political images in their artwork. One of these groups was the People's Painters of New Jersey, who "muralized" Livingston College from 1972 to 1974. Modeled after the <persName key="Ramona Parra" ref="http://www.wikidata.org/entity/Q7289930" cert="high" type="real">Ramona Parra</persName> Brigades of Allende's Chile, the People's Painters were concerned equally with the political effects of their murals and with trying to overcome individualism and a sense of personal ego. Their first wall was for the Livingston Women's Center which was very appropriate since the founders of the group —<persName>Julia Smith</persName>, <persName>Kathy Jones</persName>, and myself—considered ourselves activists in the Women's Liberation Movement. We worked on the design collectively, discussing ideas first and then finding the images. We chose to work in a simple style, using heavy black outlines and flat color so that the women at the Center could help us paint. We also consciously worked over parts of the mural that others had originated to combat the tendency to say at the end of the project, "And this part is mine." While we did not wholly succeed in eliminating our sense of personal ego, we did find that by consciously emphasizing collectivity in our work we could overcome personal insecurities and achieve stronger political and artistic results. We went on to incorporate men into our group and painted eight other murals before agreeing to disperse in 1974, when some of our members graduated and others decided to go on to other things. </p> <p>The Haight-Ashbury Muralists in San Francisco, a collective led by <persName key="Jane Norling" ref="http://www.wikidata.org/entity/Q29024307">Jane Norling</persName>, see themselves as "anti-imperialist cultural workers." Their first mural, <title><emph>Rainbow People</emph></title>, was painted in 1972 as part of a large anti-war demonstration. A Haight landmark, <emph>Rainbow People</emph> was repainted and updated in 1974. <title><emph>Unity Eye</emph></title> (1973) diagrams the ingredients for creating a revolutionary culture in the United States. The mural shows a revolution peopled and led by women, and was painted by an all-female team. Most recently, the Haight-Ashbury Muralists have been working on a 300-foot-long history of the class struggle in San Francisco. </p> <p>The most radical and problematic challenge to tradition has been the development of collective murals in which non-artist members of a community work with an artist-facilitator who helps them to create their own mural. While a strong emphasis on community participation characterizes all community mural projects, this particular emphasis reflects an attempt to create a "people's art" in every sense of the word. Simply providing paint and a wall to teenagers and young adults is not the answer. There must be a direction, a method for working cooperatively, and a technique that makes it possible to bypass the need for years of study of drawing and design. </p> <p>The most complete method, and the model for much related work elsewhere in the nation, was developed by Susan Shapiro-Kiok and the Cityarts staff in New York City. This method begins with a number of concept meetings during which the theme is discussed. In the early Cityarts Workshop murals, scenes were acted out and developed, photographed, and then projected and traced. When the mock-up was complete, it was enlarged by an opaque projector and painted in. <title><emph>Black Women of Africa Today</emph></title> (1971), designed and executed by teenage girls at the Smith housing project on the lower East Side, is typical of the early sithouette style. Later murals became more complex as the technique came to include the use of drawings and slides as well as photographs and the opaque projector. The Jewish ethnic mural at the Bialystoker Old People's Home is a collage of images designed and painted by a group of Jewish teenagers under the direction of <persName>Susan Caruso-Green</persName> (current director of Cityarts Workshop). </p> <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_022.jpg" xml:space="default" n="20"/> <p>Two other collective walls were painted in 1974 and 1975 by Lower East Side women under the direction of <persName key="Tomie Arai" ref="http://www.wikidata.org/entity/Q16729470">Tomie Arai</persName>. <title><emph>The Wall of Respect for Women</emph></title> (1974) epitomizes the non-antagonistic type of feminism portrayed on non-white community walls dealing with the theme of woman. Rather than condemning more traditional womens roles (e.g. mother, telephone operator), this mural celebrates all the roles played by women. The second wall, <title><emph>Women Hold Up Half the Sky</emph></title> (1975), painted by many of the same women who worked or the earlier wall, as well as some men, portrays women's oppression within the context of the larger social struggle. Although most of the images come from a generalized women's experience, the figures breaking out of oppression are of both sexes. In both walls women are shown performing their traditional jobs and, with few exceptions this is the way women are portrayed in community walls. </p> <p>Some murals about women emphasize the biological factor and almost all include the mother-child theme. Yet these would be considered highly conservative images by the Women's Liberation Movement. The use of such stereotypical images of women is not the result of ignorance on the part of women muralists. In part it reflects the goals of Third World feminism, in which women's rights are seen as one part of the more general social struggle, and great care is taken to keep feminism from appearing to be a divisive force. </p> <p>Within political organizations like the Puerto Rican Socialist Party (PSP), political education courses discuss the need to overcome <emph>machismo</emph> and the oppressive role definitions which make it difficult for men and women to work together as <emph>compañeros</emph>. Some of the verses from the song "<title>Quiero decirte</title>" (I Want to Tell You Something), written collectively by <persName key="Suni Paz" ref="http://www.wikidata.org/entity/Q7640272" cert="high" type="real">Suni Paz</persName>, <persName>Juana Diaz</persName>, and other Puerto Rican sisters in 1972 and often sung at political rallies and community events, state the changes in the male-female relationship for which they are struggling: </p> <lg> <l>A la mujer me dirijo: </l> <l>tu también debes luchar </l> <l>para salir de una vez </l> <l>de tu gran pasividad. </l> </lg> <lg> <l>Al hombre le toca ahora: </l> <l>entiende que la mujer </l> <l>sabe pensar y sentir </l> <l>y tiene derechoa ser.</l> <note type="scholarNote">from "Brotando del Silencio" (Breaking Out ofthe Silence), songs by Suni Paz, Paredon P-1016, Paredon Records, Box889, Brooklyn, N.Y. 11202.</note> </lg> <lg> <l>(To the woman I say </l> <l>you must struggle to abandon </l> <l>your conditioned passivity </l> <l>and to leave it behind.</l> </lg> <lg> <l>To the man I say </l> <l>try to understand </l> <l>that a woman can think and feel, </l> <l>and hasa right to exist.) </l> </lg> <p>The mother in Latin culture is seen as the moral leader of the household and the authority in the education of her children. The forced sterilization of women by the U.S. government in Puerto Rico and other Latin American countries (as well as the poor at home) has served to intensify the felt need for women to bear children in order to preserve their race. This creates certain differences in attitude about populaton control and the family structure between Third World feminism and the rest of the Women's Liberation Movement. </p> <p>Overtly feminist murals are found primarlly on Women's Center walls within the university world, and in certain selected city neighbor hoods—Haight-Ashbury, for example—where a base of support exists. Most often, the feminist consciousness of women muralists is expressed bythesubstitution of female for male as asymbolic or heroic figure, or even by the mere inclusion of women as active figures in any mural.</p> <p>The problem of responsibility to the permanent<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_023.jpg"/><pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_024.jpg"/>audience, those who have to live with art, is one with which the community muralist is constantly faced. The ideal is to work constantly at the cutting edge of issues–neither too far ahead nor too far behind. This is a continual struggle involving a constant series of difficult decisions and has been a direct part of my own recent experience as a muralist. After several years of working in a relatively radicalized university setting, I undertook some murals in a very different environment–a conservative small town in the Adirondack mountains. My problem was how to paint a bicentennial mural that would be accepted by the permanent residents as their history and yet not violate my convictions, or the truth. Just as I began work in early 1976, the very town authorities who were my sponsors whitewashed a youth mural on ecology I had directed in 1974, which was critical of the town's dumping sewage into the Schroon River. I conceived my design as a compromise: the ancestors of the present residents are shown as workers in the logging industry, the saw mill, and the textile factories-a working-class history, but one with only positive images. I began painting the wall with great misgivings. It was the reaction of the "locals," and their enthusiastic hunger for their own history, that made me realize that it is not just minority-group people or urban ghetto residents who have been deprived of their history and their right to their own art expression, but every segment of America's working people. </p> <p>Communication between muralists around the nation has increased greatly since 1974. Three major mural conferences have occurred and the exchange of information and techniques has furthered experimentation. Many muralists who previously worked alone have begun to experiment with collective techniques and vice versa. In 1975, for example, five muralists from the Chicago Mural Group (Caryl Yasko, <persName>Mitchell Caton</persName>, Celia Radek, Justine DeVan, and <persName>Lucyna Radycki</persName>) worked on a collectively designed and painted wall, <title><emph>Prescripton for Good Heath Care</emph></title>. The muralists were a mixed group—racially, sexually, and in terms of previous mural experience. This was their first collectively designed wall, although they had helped each other to paint on other walls. The location at 5th and Kedzie is near the headquarters of the American Nazi Party in Chicago. Initially, there was some fear that racial attacks might prevent the group from working, but there were no disturbances during the time the mural was being painted. Acceptance in this white working-class neighborhood of a racially mixed group of muralists reflects the prestige that murals have achieved in Chicago. </p> <p>The continuing attempt at collectivity and away from the individualistic "genius" concept of the artist prevalent in the art world has been one of the major distinctions pioneered by women in the mural movement; it derives at least in part from the influence of th Women's Liberation Movement. The non-hierarchical structures of the early women's organizations as well as the direct experience of consciousness-raising groups with the sisterhood and support they provided, became a part of the outlook of a number of the women muralists. The changes resulting from their individual experiences with Women's Liberation led them to bring the same egalitarian and collective practices to the mural groups they joined or helped found. </p> <p>While ideas from feminism and Marxism are implicit in the attempt to create a peoples art–especially in murals by women–the level of politicization and consciousness among muralists varies greatly. Most community muralists, however, if they were familiar with <persName key="Mao Zedong" ref="http://www.wikidata.org/entity/Q5816">Mao</persName>'s words at the Yenan forum, would agree that:</p> <quote>In the world today all culture, all literature and art belong to definite classes and are geared to definite political lines. There is in fact no such thing as Art for arts sake, art that stands above classes, art that is detached from or independent of politics. </quote> <p>If that is true, one must choose-and they have chosen. </p></div> </div> </body> <back><div><p>Eva Cockcroft is a muralist and co-author (with John Weber and <persName key="Cockcroft, Jim" ref="http://viaf.org/viaf/202455277/">Jim Cockcroft</persName>) of the forthcoming book, <title><emph>Towards a People's Art: The Contemporary Mural Movement</emph></title> (E.P. Dutton) </p></div></back> </text> </TEI>
Tijuana Maid Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="https://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-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader> <fileDesc> <titleStmt> <title>Tijuana Maid</title> <author>Martha Rosler</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</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 level="a">Juggling Contradictions: Feminism, the Individual and What's Left</title> <author> <surname>Braderman</surname> <forename>Joan</forename> </author> <date when="1977-01">January 1977</date> <textLang xml:lang="eng"/> </analytic> <monogr> <title level="j">Heresies #1: Feminism, Art and Politics</title> <imprint> <publisher ref="https://www.wikidata.org/wiki/Q20857976">The Heresies Collective</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> <biblScope unit="issue">1</biblScope> <biblScope unit="page">88-93</biblScope> </monogr> <series> <title level="s">Heresies: A Feminist Publication on Art and Politics</title> <idno type="Wikidata">https://www.wikidata.org/wiki/Q17022558</idno> <idno type="ISSN">0146-3411, 2469-4908</idno> </series> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"/></xenoData></teiHeader> <text> <body> <pb n="8" facs="https://raw.githubusercontent.com/djakacki/heresies/refs/heads/main/issue01/images/01_010.jpg"/> <div type="prose"> <head>Tijuana Maid</head> <byline>Mortho Rosler</byline> <note>The third part of a trilogy sent out as postcard novels, that also includes a budding gourmet and McTowers Maid; to be published early 1977 as Service: A trilogy on colonization by Printed Matter Inc., New York.</note> <div type="card" n="1"> <p> Crucé por primera vez cuando tenia 22 anos. Hacía 6 meses que habïa llegado a Tijuana, viniendo de mi pueblo. Como había poco trabajo y mi hermana tenía amigas que estaban trabajando de criadas en San Diego, estaba segura de que sería fäcil arreglarlo. Dejaría a Rosita y Juanito con ella, y ella tambíen my ayudaría a buscar la manera de cruzar la frontera y obtener empleo. Prefiero no discutir los detalles de como llegué aquí. Había unos hombres que me pedían mucho dinero, pero prometían conseguirme empleo muy pronto y luego la tarjeta verde. Pero nunca recibí la tarjeta. Querían $350 por una falsa, pero casi siempre uno no pasa más allá de los inspectores con éstas. Firmé un papel diciendo que les daría la mitad de mi sueldo por 3 meses y entonces me cruzaron. Por todo Tijuana hay hombres con carros americanos, muy lustrosos y bonitos, esperando y prometiendo empleos. Ellos cruzan a cientos, miles de mujeres cada año. No lo sabía entonces. (1)</p> </div> <div type="card" n="2"> <p> Estaba aterrorizada: yo estaba segura de que nos iban a encontrar, también tenía mucho miedo de ir a un país extranjero. Sólo sabía unas pocas palabras de inglés. ¡Qué sola me encontraría, especialmenta sin mis niños! Muchas mujeres cruzan a diario con la mica, una tarjeta para ir de compras solamente. Ellas se toman el Greyhound para el centro de San Diego y de allií se van en un camión urbano a sus trabajos. El Greyhound es muy caro, casi $1. Oí decir a alguien que la ciudad quería poner una ruta por 25 centavos, pero la Greyhound logró que la corte los parara. Si yo cruzara a diario, podría estar con mis niños en las noches, pero las que lo hacen se cansan mucho: trabajan para la patrona todo el día y durante la noche se ocupan de sus familias. En fin, los hombres me dijeron que sólo podía trabajar viviendo con una familia. Me pagarían menos, pero siquiera no cruzaría la frontera, con sus inspectores, a diario. Son impredecibles, como los jaguares; te dejan cruzar a diario, cada semana, y de repente te quitan la tarjeta. (2)</p> </div> <div type="card" n="3"> <p> Los hombres me conseguieron un empleo con una familia muy rica, el patrón era hombre de negocios. La patrona era buena, realmente. Ella me enseño como funcionaban las cosas en su casa y me ayudó con el idioma inglés. Ella me dijo que sólo contaba con que duraría unos 8 meses con ella, lo suficiente para aprender inglés, como vestirme y peinarme para poder conseguir un empleo en una oficina. ¡Estaba tan sorprendida! Sólo le daban gracias a Dios por haberme conseguido empleo. Ellos suponian que trabajaría los 7 días de la semana, pero cuando les conté de Rosita y Juanito ellos me dieron un día y medio de descanso.</p><p> La mujer me dió un libro para que lo estudiara, llamado <title level="m">Home Maid Spanish Cook Book</title>. El libro dice "Our aim is not to teach the Mexican or Spanish speaking maid how to make her own native dishes. She can do that to perfection and without our help. We want to have her help Y O U in the kitchen. To do things Y O U R way" El libro tiene un dibujo de una cocina americana con el nombre de todas las cosas en español. Este libro trae tambíen recetas de comidas típicas americanas, tal como las Hamburguesas, los Hot Dogs, Guisado de Atun, Bistecs, Lomo Asado y Pastel de Manzanas.</p> <p>Te enseñá como hacer botanas para las fiestas de los patrones, como Galletas con Caviar, y tambíen como preparar los tragos. Los favoritos de mis patrones eran Los Martinis y los Old Fashioneds. (3)</p> </div> <pb n="9" facs="https://raw.githubusercontent.com/djakacki/heresies/refs/heads/main/issue01/images/01_011.jpg"/> <div type="card" n="4"> <table> <row> <cell>PEANUT BUTTER & JELLY SANDWICH</cell> <cell>EMPAREDADO DE JALEA Y MANTEQUILLA DE CACAHUATE</cell> </row> <row> <cell>Butter 2 slices of bread. Spread one slice generously with peanut butter and top with a layer of jelly. Cover with remaining slice of bread; cut in half. Serve with a large glass of milk for a hearty lunch.</cell> <cell>Unte de mantequilla 2 rebanadas de pan. Unte generosamente 1 rebanada con mantequilla de cacahuate y luego con la jalea. Cúbrala con la otra rebanada de pan y corte a la mitad (diagonal). Sirva con un vaso grande de leche.</cell> </row> </table> <p>El libro contiene una lista de frases en inglés y en español:</p> <table> <row> <cell>Sweep the kitchen floor.</cell> <cell>Barra el piso de la cocina.</cell> </row> <row> <cell>scrub</cell> <cell>Estregue</cell> </row> <row> <cell>wax and polish</cell> <cell>encere y saque brillo</cell> </row> <row> <cell>We like breakfast served at -----.</cell> <cell>Nos gusto que nos sirva el desayuno a las-----.</cell> </row> <row> <cell>Have you ever shopped in a supermarket?</cell> <cell>Ha ido usted al super-mercado?</cell> </row> </table> <p> etcetera, etcetera, y contiene una frase que oía siempre:</p> <p> Will you cook a Mexican dinner for us sometime? </p> <p>Nos cocina una comida mexicana para nosotros alguna vez? (4)</p> </div> <div type="card" n="5"> <p> Había bastante que hacer, con tres chamacos muy cochinos, la casa grande, y muchas fiestas con bastante de limpiar después. La señora trataba de hablarme en espanol pero su accento estaba tan mal que apenas podía entenderle. El señor casi no me hablaba, nomas para preguntarme de cuándo iba a hacer chile con carne, que no es un platillo mexicano, o para preguntarme cuándo iba a hacerles unos tamales. Me hacía la mal entendida. No me daban ganas de hacer tamales. No esperaba cocinar tanto, pero no iba a durar si me quejaba. Entonces hacía tacos. No sabía que me disgustaba más, si cocinar las comidas americanas tan aburridas que les gustaban, o los tacos una vez a la semana. Mi hermana me platicó de una muchacha de nuestro pueblo que fué llevada a Laguna Beach por una pareja para cuidar sus niños, pero pasaba todo el día limpiando y cocinando. La tenian cocinando platillos mexicanos bastante picantes para sus amigos, luego la sacaban de la cocina para que los amigos la vieran. Estaba muy joven, sola y no podía hablar inglés. Ella se suicidó--claro, se mató.</p> <p>Bueno, mis patrones me dejaban comer lo que yo queria después que ellos acababan, iyo nunca había comido tanta carne en mi vida! Hacía $30 por semana de los cuales la mitad iba a los hombres, mi cuarto era chica y mal aluzado, pero tenía trabajo, y comía a tiempo. (5)</p> </div> <div type="card" n="6"> <p> Hicimos un trato y acabé de pagarles a los hombres. Era verano y los ninos estaban en el campo y la patrona se fué de visita por unos días. Estaba leyendo en mi cuarto una noche cuando tocó el patron la puerts. Le dije que esperara porque tenía que vestirme pero de todos modos entró y se recargó sobre mi. Traté de escapar, me agarrô fuerte y peleamos. Estaba tratando de besarme y me tiró a la cama. Rompió mi ropa interior. Empezó a forzarme pero me zafé y corrí al bano y cerre la puerta con candado. Insistía casi tumbando la puerta y yo comencé a llorar. Aún después de que acabo tenia miedo de abrir la puerta pensando que él podría estar escondido en qualquier parte en el cuarto. Sabía que no tenía esperanza de ayuda con la polecía porque yo era ilegal y porque este tipo de gente tiene plata suficiente para zafarse. Finalmente oí la puerta de enfrente cerrar, el carro prendió y se fué. Salí corriendo a mi cuarto. Recogí todas mi cosas y me fuï. Tome un camión al centro de San Diego y me pase la noche esperando el camion a la frontera.</p> <p>Después de este incidente he conocido a 4 mujeres que han sido violadas por sus patrones, una de ellas salió embarazada. Después de todo tuve suerte. (6)</p> </div> <div type="card" n="7"> <p> Después de un tiempo regresé a San Diego con mi mica. Esta vez sabia buscar en el periódico como encontrar chamba. Obtuve una con un profesor y su esposa en La Jolla. Me pagaban sólo $25 a la semana pero la casa era más chica y sólo 2 ninos siempre se la pasaban enfrente de la televisión. Había muchas estatuas y pinturas, y alfombras lindas y mucho que desempolvar y pasar la aspiradora. Tenían muchas vasijas antiguas de barro y muchas estatuas hechas por los indios de México. La comida era mejor, apreciaban mis comidas mexicanas, asi es que no me estorbaba cocinar tanto. Todos estos gringos quieren comer la comida de los pobres. La esposa se sonreía conmigo, pero me hablaba como que fuera una niña o bien estúpida. También tenían todos los libros de "Spanish Maid."</p> <p>Esta gente era muy mala cuando se trataba de pagarme. Una vez se atrasaron con 5 semanas y cuando les pedí que me pagaron dijeron que no podían porque tenían muchas cuentas. Me enoje y les dije que le iba a hablar a la polecía, que fué ridiculo porque se enojaron y dijeron que le iban a echar la migra. Estaba asustada y dejé el empleo. (7)</p> </div> <pb n="10" facs="https://raw.githubusercontent.com/djakacki/heresies/refs/heads/main/issue01/images/01_012.jpg"/> <div type="card" n="8"> <p> Mi siguiente trabajo también era en La Jolla, con un doctor y su familia, ¡por $55 a la semana! Tenía que cocinar todas las comidas, cuidar a los niños y hacer toda la limpieza y quedarme 7 días de la semana, asi es que no podía ver a mis niños. ¡Gaste bastante de mi dinero llamandoles por telefono! Después de casi un ano oí decir de un señor tal y tal pagaba $35 a la semana para que alguien viviera allí 5 días a la semana. Nos empleó a 2 y hizo arreglos donde comprabamos toda la comida con nuestros sueldos. Le dábamos de comer y limpiábamos para él y sus amigos y además dejaba tener otros trabajos durante el día. Llegué a conocer bastante gente cruel de esta manera. No sé cuales son peores, los que realmente demandan o los que aunque sean buenos creen que nos estan dando limosna. A este tiempo ya tenía fama por hacer buena comida mexicana para fiestas, asi es que hacía además de la limpieza.</p> <p>Pero hace 6 semanas el senor entró al cuarto cuando nos estabamos desvestiendo y nos comenzo a manosear, no salimos y nos movimos a un hotel barato en el centro de San Diego. Hago $100 a la semana cocinando y limpiando para diferente gente, 6 días a la semana. Es muchísimo dinero, pero trabajo muy duro. Y soy independiente. (8)</p> </div> <div type="card" n="9"> <head>Chlles Rellenos con Salsa para una fiesta. </head> <list> <item>30 chiles verdes</item> <item>3 libras de queso fresco</item> <item>1 libra de queso amarillo</item> <item>1 docena de huevos, separados</item> <item>1 taza de pasas</item> <item>harina</item> <item>aceite para freír</item> <item>1 cebolla, picada</item> <item>8 tazas de salsa de jitomate</item> <item>orégano, sal y pimienta</item> <item><hi rend="underline">salsa de jitomate</hi></item> <item>6 libras de jitomates</item> <item>1 libra de pasas</item> <item>libra de almendras, peladas</item> <item>3 dientes de ajo</item> <item>2 onzas de jengibre</item> <item>1 onza de polvo de chile</item> <item>1 libra de azúcar</item> <item>1 cuarto de vinagre</item> <item>sal</item> </list> <p>Ase los chiles sobre el fuego hasta que la piel se desprenda. Envuelva en un trapo por 10 minutos, pélelos. Abralos por un lado, saque las semillas y venas. Deje los tallos. Rellene con queso y pasas. Bata las claras de huevos al punto de merengue. Agregue las yemas y bata hasta que estén espesos. Agregue la sal. Enharine los chiles, páselos por el huevo. Se fríen hasta que estén dorados. Fria las cebollas y la salsa de jitomate preparada anteriormente. Agregue el orégano y la sal y pimienta. Hierva a fuego lento por 5 minutos.</p> <p>(Para preparar la salsa de jitomate, corte los jitomates, agregue un poco de agua, hierva por una 1/2 hora. Pase por un colador. Muela las pasas, almendras, ajos, jengibres y chiles. Agregue a los jitomates. Agregue el azúcar, vinagre, sal. Hierva hasta que espese.) (9)</p> </div> <div type="card" n="10"> <p> Hay una senora en La Jolla que trató de organizar las criadas, cocineras y los jardineros, los legales en el país, porque hacen menos de $2 la hora sin tener seguridad de sus trabajos. Si se llegan a enfermar o los patrones se van de vacaciones no hay trabajo. Hasta he ido a unas de las juntas, aquí es donde llegué a aprender varias cosas. Aprendí que los inspectores ya no pagaban $50 por los mojados y que no les importaban las mujeres, solamente los hombres. Algunos de ellos, mismos tienen criadas ilegales. Aunque asi sea, todos sabemos que por cada una de nosotros hay cienes de gente en México hambreadas y desesperadas que con gusto tomarían nuestro trabajo por la mitad del sueldo. Especialmenta hoy, con tiempos tan malos. Yo sé, yo era una de ellas.</p> <p>Ahora que soy independiente podía haber pasado más tiempo con mis niños pero hace 2 semanas mi temor fué confirmada porque me quitaron mi mica. Nos quitaron 20 o 30 cuando yo estaba hay, todas a la vez, sin preguntar nada. Nos dijeron que nos las iban a regresar después que las chequeaban, pero casi nunca las regresan y ahora son difíciles encontrar. Misti trabajo por días, finalmente les pague $50 a los hombres con carros. Esta vez nos pasaron a varias, una a la vez, de un hombre a otro parados en la frontera. Habían tantas víboras que creía que me iba a picar una antes que acabara de cruzar. (10)</p> </div> <div type="card" n="11"> <p> Ahora busco trabajo con una familia que me deje traer a mis hijos. Sé que haré menos, pero vale la pena. Tengo una amiga que se casó con un gringo que aunque no lo ama, pero él quiere una buena mujer mexicana y cocinera, Prefiero vivir en y él adoptó a su hija. México pero no hay trabajo con que me puedo sorportar con mis hijos. Si encuentro un trabajo en los Estados Unidos donde puedo tener a los niños, no iba a tener que enfrentar los problémas en la frontera. Es sierto que siempre me voy a preocupar de otras cosas, como los cochineros de otra gente, o las senoras que me preguntan a veces en inglés o a veces en español, ¿que si les voy a cocinar una cena mexicana? O también los esposos que no preguntan pero que quieren otras cosas de mí. (11)</p> </div> <pb n="11" facs="https://raw.githubusercontent.com/djakacki/heresies/refs/heads/main/issue01/images/01_013.jpg"/> <div type="annotation"> <p> I first came across when I was 22. It was 6 months since I came to Tijuana from my village. There was little work and my sister had friends who were working as maids in San Diego, and she was sure it would be easy to arrange —I would leave Rosita and Juanito with her and she would help me find out how to get across the border and get a job. I'd rather not discuss the details of how I got here. There were men who demanded a lot of money from me, but they promised to get me a job right away and a green card later. But I never got the card. They wanted $350 for a fake one, but those usually don’t get past the inspectors. I signed a paper saying I would give them half my salary for 3 months, and they took me across. All over Tijuana there are men with beautiful, shiny American cars, waiting, promising jobs. They take hundreds, thousands of women across every year. I didn't know this then. (1)</p> <p>I was terrified — was sure I'd be caught, and I was also very afraid to go to a foreign country. I knew only a few words of English. How lonely I'd be, especially without my kids! Many women cross every day with the mica, a pass only for shopping. They take the Greyhound to downtown San Diego and then take a city bus to work. The Greyhound is very expensive, almost $1. I heard someone say that the city wanted to have a bus to the border for 25¢, but Greyhound got the court to stop them. If I went across every day I could be with my kids at night, but the ones who do that are always tired - working for the patrona all day and caring for their families at night. But anyway, the men said I could only get a job living in with a family. It would pay less but at least I wouldn’t have to pass the border, with its inspectors, every day. They are unpredictable, like aguars; they let you pass every day, every week, and then all of a sudden they take your card away. (2)</p> <p>The men got me a job with a very rich family; the boss was a business executive. The patrona was kind, really. She showed me how things worked in her house and helped me with English. She said she expected that I would only stay about 8 months with her, long enough to learn English and how to dress and do my hair, so I could get an office job. I was so surprised! I was just thanking God to have a job. They expected me to work 7 days a week, but when I told them about Rosita and Juanito they gave me a day and a half off. The woman gave me a book to study called <title level="m">Home Maid Spanish Cook Book</title>. The book said, "Our aim is not to teach the Mexican or Spanish-speaking maid how to make her own native dishes. She can do that to perfection and without our help. We want to have her help Y O U in the kitchen. To do things Y O U R way." The book has drawings of an American kitchen with everything named in Spanish. This book also gives recipes for typical American foods, like Hamburger Sandwiches, Hot Dogs, Tuna Casserole, Steak, Meat Loaf, and Apple Pie. It tells how to make things for the bosses' parties, like Caviar Crackers, and also how to make drinks. My bosses' favorites were Martinis and Old Fashioneds. (3)</p> </div> <div type="translation"> <table> <row> <cell>Peanut Butter & Jelly Sandwich</cell> <cell>Emparedado de Jalea y Mantequilla de Cacahuate</cell> </row> <row> <cell>Butter 2 slices of bread. Spread one slice generously with peanut butter and top with a layer of jelly. Cover with remaining slice of bread; cut in half. Serve with a large glass of milk for a hearty lunch.</cell> <cell>Unte de mantequilla 2 rebanadas de pan. Unte generosamente 1 rebanada con mantequilla de cacahuate y luego con la jalea. Cúbrala con la otra rebanada de pan y corte a la mitad (diagonal). Sirva con un vaso grande de leche.</cell> </row> </table> <p>The book has a list of phrases in English and Spanish, like:</p> <table> <row> <cell>Sweep the kitchen floor.</cell> <cell>Barra el piso de la cocina.</cell> </row> <row> <cell>scrub</cell> <cell>Estregue</cell> </row> <row> <cell>wax and polish</cell> <cell>encere y saque brillo</cell> </row> <row> <cell>We like breakfast served at -----.</cell> <cell>Nos gusto que nos sirva el desayuno a las-----.</cell> </row> <row> <cell>Have you ever shopped in a supermarket?</cell> <cell>Ha ido usted al super-mercado?</cell> </row> </table> <p> etcetera, etcetera, and it has a phrase that I heard often:</p> <p> Will you cook a Mexican dinner for us sometime? </p> <p>Nos cocina una comida mexicana para nosotros alguna vez? (4)</p> <p>There was a lot to do, with three kids messy like pigs, the huge house, and many parties to clean up after. The señora tried to speak to me in Spanish, but her accent was so bad that I could hardly understand her. The señor hardly spoke to me at all, except to ask me when I was going to make chile con carne, which isn’t a Mexican dish, or to ask me when I was going to make them some tamales. I'd pretend I didn’t understand. I didn’t want to make tamales for them. didn’t expect to do so much cooking, but I would not last if I complained. So I made tacos. I don’t know which I disliked more, cooking the boring American foods they loved or the tacos once a <pb n="12" facs="https://raw.githubusercontent.com/djakacki/heresies/refs/heads/main/issue01/images/01_014.jpg"/> week. My sister told me about a girl from our village who was taken to Laguna Beach by a couple to care for their children, but all day they had her cooking and cleaning. They had her cook very spicy Mexican dishes for their friends, and then they would bring her out to show to the guests. She was very young and alone and couldn’t speak English. She committed suicide—she killed herself.</p> <p>Well, my patrones let me eat what I wanted when they were done, and I never ate so much meat in my life! I made $30 a week, half of it went to the men, my room was tiny and badly lit, but I had work, and I was eating regularly. (5)</p> <p>We settled into a routine and I finished paying the men. It was spring and the kids were in camp and the patrona went on a visit for a few days. I was reading in my room one night when the patron knocked on the door. I told him to wait because I had to get dressed but he came in anyway and leaned over me. I tried to escape, he grabbed me and we struggled. He was trying to kiss me and shove me onto the bed. He ripped my underwear. He began to force me but I pulled away and ran to the bathroom and locked the door. He pounded, almost breaking the door and I began to cry. Even after he stopped I was afraid to open the door thinking he could be hidden somewhere in the room. I knew I had no hope of help from the police because I was illegal and because that type of guy has enough money to get himself off. Finally I heard the front door close, the car start up and drive away. I ran to my room. I gathered all my things and ran off. I took a bus downtown and spent the night waiting for the bus to the border.</p> <p>Since that incident I have met four women who were raped by their bosses; one of them was made pregnant. So I was lucky after all. (6)</p> <p>After a while I went back to San Diego with my mica. This time I knew to look in the newspaper to find a job. I got one with a professor and his wife in La Jolla. They paid me only $25 a week but the house was smaller and there were only 2 kids, who spent all their time before the TV. There were many statues and paintings and beautiful rugs and much to dust and vacuum. They had a lot of old pottery and statues made by the Indians of Mexico. The food was better, they appreciated my Mexican food, and so I didn’t mind cooking so much. All these gringos want to eat the food of the poor. The wife smiled at me a lot, but she spoke to me as though I were a child or very stupid. They also had all the "Spanish Maid" books.</p> <p>These people were very bad about paying me. Once they got 5 weeks behind and when I asked them to pay they said they couldn't because they had a lot of bills. I got angry and told them I was going to call the police, which was ridiculous because they got angry and said they were going to call immigration. I was terrified and left the job. (7)</p> <p>My next job was also in La Jolla, with a doctor and his family, for $55 a week! I had to cook all the meals, take care of the kids, do all the cleaning, and stay 7 days a week, so I couldn’t see my kids. I spent so much money calling them on the phone! After almost a year I heard of a Mr. So-and-so who would pay $35 a week for someone to live there 5 days a week. He hired 2 of us and made an arrangement where we bought all the food with our salaries, we fed and cleaned up after him and his friends, and he let us take other jobs during the day. I met some awfully mean people that way. I don’t know which are worse, the ones who are real demanding or the kind ones who think they are giving you charity. By then I had a reputation for making good Mexican food for parties, sol did that as well as cleaning for people.</p> <p>But 6 weeks ago the señor came into our room while we were undressing and started getting fresh, so we left and moved to a cheap hotel downtown. I make $100 a week cooking and cleaning for different people, 6 days a week. That's a lot of money, but I work very hard. And I’m independent. (8)</p> <list> <head>Stuffed Chili Peppers with Sauce for a party</head> <item>30 green chilis</item> <item>3 pounds of cream cheese</item> <item>1 pound of yellow cheese</item> <item>1 dozen eggs, separated</item> <item>1 cup of raisins</item> <item>flour</item> <item>oil for frying</item> <item>1 onion, chopped</item> <item>8 cups of tomato sauce</item> <item>oregano, salt and pepper</item> <item>tomato sauce</item> <item>6 pounds of tomatoes</item> <item>1 pound of raisins</item> <item>½ pound of almonds, blanched</item> <item>3 cloves of garlic</item> <item>2 ounces of ginger</item> <item>1 ounce of dried, ground chilis</item> <item>1 pound of sugar</item> <item>1 quart of vinegar</item> <item>salt</item> </list> <p> Broil the peppers over the fire until the skin blisters. Wrap them in a cloth for 10 minutes, then peel them. Slit one side, remove seeds and veins. Leave the stems. Stuff them with cheese and raisins. Beat the egg whites until they are thick. Add the yolks and beat again until they are fluffy. Add the salt. Dredge the chilis and dip them in the egg. Fry them until they are golden. Fry the onion and add the tomato <pb n="13" facs="https://raw.githubusercontent.com/djakacki/heresies/refs/heads/main/issue01/images/01_015.jpg"/> sauce you have prepared earlier. Add the oregano and the salt and pepper. Cook over a low flame for 5 minutes.</p> <p>(To make the tomato sauce, cut up the tomatoes, add a little water, cook for ½ hour. Put through a sieve. Grind the raisins, nuts, garlic, ginger, and chilis. Add to the tomatoes. Add sugar, vinegar, salt. Cook until thick.) (9)</p> <p>There is a woman in La Jolla who tried to organize the maids, cooks, and gardeners, the legal ones, because even they make less than $2 an hour without any job security. If they get sick or their bosses go on vacation there is no work. I have even gone to some of their meetings, and it was there that I found out various things. earned that the inspectores no longer pay $50 for information about illegals and that they do not care about the women, only the men. Some of them have illegal maids themselves. But even so, we all know that for each one of us there are hundreds of hungry and desperate people in Mexico who would gladly take our jobs for half the pay. Especially now, with such hard times. I was one of them. </p><p>Now that I’m independent I could have spent more time with my kids but two weeks ago my big fear was realized because they took away my mica. They took 20 or 30 away from us while I was there, all at once, without asking any questions. They said we would get them back after they were checked, but almost never are they returned and now they are hard to get. I missed work for days, and finally I paid $50 to those men with cars. This time they passed a bunch of us, one at a time, from one man to the other along the border. There were so many snakes that I thought I'd get bitten before I made it across. (10)</p> <p>Now I'm looking for a job with a family that will let me bring my kids. I know I'll make less, but it's worth it. I have a friend who is marrying a gringo she does not love, but he wants a good Mexican wife and cook, and he will adopt her daughter. I would rather live in Mexico but there is no work by which I can support myself and my kids. If I get a job in the U.S. where I can keep my kids I won’t have to face the border troubles. It is true I will still have the other things to worry about, like other people’s messes, or the señoras who ask me, sometimes in English and sometimes in Spanish, am I going to cook them a Mexican dinner? Or like their husbands, who don’t ask but who wish to get from me something else. (11)</p> </div> <div> <p>Bien Cocina la moza, pero mejor la bolsa.</p> <p>(The maid cooks well, but the pocketbook cooks better.)</p> <p>— Mexican saying, quoted in <title>Elena's Mexican Cookbook</title></p> <table> <row> <cell>TITLE:</cell> <cell>Tijuana Maid food novel</cell> <cell>3</cell> </row> <row> <cell>COST: </cell> <cell>postcards: paper</cell> <cell>$10.77</cell> </row> <row> <cell/> <cell>postage</cell> <cell>$300.</cell> </row> <row> <cell/> <cell>printing:</cell> <cell>$20.</cell> </row> <row> <cell/> <cell>miscellaneous:</cell> <cell>$5.</cell> </row> </table> <p>11 units, run of approx. 350; originally printed by the artist on ElectroGestetner and by Moonlite Blueprint, La Jolla. Orig. cost, about $1/set.</p> <p>SOURCES: Women's stories as represented in articles by Laurie Becklund in the San Diego Evening Tribune of Oct. 10 & 11, 1973; talks with Josefina Foulks, Laurie Becklund, Cecilia Duarte, Iris Blanco & others on both sides of the mistress-servant relationship, some of whom can’t be named; many "Mexican" cookbooks for Americans among them George Booth's <title level="m">Food & Drink of Mexico</title> and Elinor Burt's <title>Olla Podrida</title>; and of couse, <title level="m">Home Maid Spanish</title> and <title>Home Maid Spanish Cook Book</title>.</p> <p>ATTRIBUTIONS: Margaret Storm & Elsie Ginnett, <title level="m">Home Maid Spanish Cook Book</title>, Apron Pocket Press, La Jolla, 1968.</p> <p>Homage to Ousmane Sembene's film <title>Black Girl</title> (Senegal, 1966).</p> <p>Translated with Oscar Chavez, Victor Zamudio, and Norma Quintero-Peters; and Cecilia Duarte, Alda Blanco, Iris Blanco and Esther Guerrero-Catarrivas.</p> <p>"Recent converts to the Chicano movement, like gringos, want to learn tortilla making from a cookbook recipe. Impossible!"—Jose Angel Gutierrez, <title level="m">Gringo Manual on How to Handle Mexicans</title>.</p> </div> </div> </body> <back> <p> Martha Rosler is an artist living in Encinitas. She writes: "I grew up in Brooklyn, in a lower-middle-class milieu. I have lived in Manhattan and, for most of the past 8 years, in California. Much of my work centers on women's roles and occupations, particularly on how consciousness and language reflect social circumstance. I have paid special attention to the use of food in the context of affluent bourgeois culture, looking at the producers as well as the consumers. I work with video, photos, texts, and film; I do some critical writing and I teach movie and photo criticism." </p> </back> </text> </TEI>
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ref="http://www.wikidata.org/entity/Q112492894">Elizabeth Zelvin</persName></persName></byline> </div> <div> <lg> <l>the zucchini crouches</l> <l>behind a broad green leaf</l> <l>patient in her camouflage</l> </lg> <lg> <l>imperialist tentacles of vine</l> <l>are taking over the garden</l> <l>shouting <emph>mine mine</emph></l> </lg> <lg> <l>like a woman waiting</l> <l>for the revolution</l> <l>the zucchini bides her time</l> </lg> <lg> <l>rain falls in the night</l> <l>first stealthy</l> <l>then triumphant like a coup d'état</l> </lg> <lg> <l>come morning</l> <l>the zucchini squats</l> <l>swollen in the sunlight</l> </lg> <lg> <l>proud of her belly</l> <l>covering the earth</l> <l>with a yellow flower behind her ear</l> </lg> </div> </body> <back> <p>Elizabeth Zelvin is a writer living in New York who has poems appearing in <orgName key="WomanSpirit" ref="http://www.wikidata.org/entity/Q48732990"><title key="WomanSpirit" ref="http://www.wikidata.org/entity/Q48732990">Womanspirit</title></orgName> and <orgName key="13th Moon" ref="http://www.wikidata.org/entity/Q95584323"><title key="13th Moon" ref="http://www.wikidata.org/entity/Q95584323">13th Moon</title></orgName>. She has recently completed a book about an alternative marriage, and among her other interests are "singing and song-writing, teaching creative movement, and trying to understand the synthesis of anarchism and feminism." </p> </back> </text> </TEI>
