English | LEAF

Alone

<byline><persName>Deborah Hiller</persName></byline>

<lg>
            <l>She who walks alone and dreams</l>
            <l>will remain lonely.</l>
         </lg>
         <lg>
            <l>She who sleeps with her pillow</l>
            <l>only dreams of her pillow as partner.</l>
         </lg>
         <lg>
            <l>But she who sits in her cell,</l>
            <l>and writes</l>
            <l>will master this world.</l>
         </lg>
      </body>

<back><p>From <title>Songs from a Free Space/Writings</title> by Women in Prison, edited by <persName key="Carol Muske-Dukes" ref="http://www.wikidata.org/entity/Q5044485">Carol Muske</persName> and <persName>Gail Rosenblum</persName>, New
				York, n. d.
			</p></back>

</text>
</TEI>

Astrology Hype

<lg>
           <l> While in prison six months</l>
				<l>my horoscope predicted:</l>
				<l>"Travel to exciting places.</l>
				<l>New career opportunities.</l>
				<l>Romance and adventure."</l>
         </lg>
         <lg>
				<l>So far—I've traveled from jail</l>
				<l>to Manhattan Supreme Court.</l>
				<l>My pay scale has increased from 10 to 25¢ per hour.</l>
				<l>Numerous other inmates have made</l>
				<l>overtly sexual advances to me</l>
				<l>in vacant stairwells.</l>
         </lg>
         <lg>
				<l>Honey,</l>
				<l>that's not my idea of a rising sign.</l>
			</lg>
      </body>
   </text>
</TEI>

Ten Ways of Looking at Prison Lunch

<head><title>Ten Ways of Looking at Prison Lunch</title></head>
				<byline><persName><persName>Gloria Jensen</persName></persName></byline>
				<note>(With apologies to <persName key="Wallace Stevens" ref="http://www.wikidata.org/entity/Q166835">Wallace Stevens</persName>)</note>
			
         <list>
				<item>1. With both hands over your eyes, releasing
				one hand slowly to peep.</item>
				<item>2. Through the eyes of a friend you have by
				the hand—who reads braille.</item>
				<item>3. In the bing [solitary] where you can refuse
				to have the thing brought in at all and just lie
				there and sleep.</item>
				<item>4. From across the steam line, where people
				marvel at your petite body (if only they knew
				it's not by <emph>choice</emph> you prefer to remain frail and
				cautious).</item>
				<item>5. From a prison visitor's point of view — when
				suddenly, miraculously, all one sees is steak,
				greens and potatoes.</item>
				<item>6. From your window late at night as you
				watch one man run with a rake, followed by
				another with a sack, followed by a corrections
				officer, followed by a ruckus you've not seen
				but heard — then all three returning, dragging
				a heavy sack.</item>
				<item>7. Witnessing something come ashore in the
				bay and thinking: my, but it gave up a great
				fight.</item>
				<item>8. Wondering why they have signs saying DO
				NOT PEE ON THE GRASS. Then seeing the
				kitchen girls go out, mow it down and bring it in.</item>
				<item>9. Good Friday—when all the world's
				generous and the relief truck pulls up to the
				kitchen door to drop off loads of potatoes they
				couldn't unload anywhere else.</item>
				<item>10. Seeing more clearly the lunch of steak,
				greens and potatoes—as you attack the steak
				first and realize the fight you witnessed (#6) is
				not yet over, for the beast is biting you now too.</item>
			</list>
      </body>
         <back>
            <p>
				*From <title>Songs from a Free Space/Writings by Women in</title>, edited by <persName key="Carol Muske-Dukes" ref="http://www.wikidata.org/entity/Q5044485">Carol Muske</persName> and <persName key="Rosenblum, Gail" ref="http://viaf.org/viaf/162983592/">Gail Rosenblum</persName>, New
				York, n. d.
			</p>
         </back>

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Notes From the First Year

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					<persName>Haley Beardsley</persName>
					<resp>Editor, encoder</resp>
				</respStmt>
				<respStmt>
					<persName>Erica Delsandro</persName>
					<resp>Investigator, editor</resp>
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				<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>
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					<name>Bucknell University</name>
					<address>
						<street>One Dent Drive</street>
						<settlement>Lewisburg</settlement>
						<region>Pennsylvania</region>
						<postCode>17837</postCode>
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				<availability>
					<licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial
						4.0 International (CC BY-NC 4.0)</licence>
					<licence>Heresies journal: © Heresies Collective</licence>
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							<publisher>HERESIES: A Feminist Publication on Art and
								Politics</publisher>
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									<name>Heresies</name>
									<postBox>P.O. Boxx 766, Canal Street Station</postBox>
									<settlement>New York</settlement>
									<region>New York</region>
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			<head><title type="main">Notes From the First Year</title></head><head>
				<title type="sub">(for my sisters, a trilogy of revolution)</title></head>
			<byline><persName key="Susan Edith Saxe" ref="http://www.wikidata.org/entity/Q7647784">Susan Saxe</persName></byline><div type="poem" n="I"><head>Patience</head>

<lg>
					<l>There is no need now to rush about my life,</l>
					<l>I have time, each day, to unfold</l>
					<l>carefully, my rage —</l>
					<l>no longer impotent,</l>
					<l>But the most powerful force in the universe.</l>
					<l>(Do you hear me, Mother?)</l>
					<l>Slowly like a sunflower, like a tree,</l>
					<l>Revolution unfolds before me:</l>
					<l>Newspaper pages beginning with world news,</l>
					<l>and ending with the comics,</l>
					<l>and classified ads announcing the end</l>
					<l>of things as we know them.</l>
					<l>Inevitably the world, the nation, the city,</l>
					<l>the arts, society, sports</l>
					<l>and personals</l>
					<l>will be recycled</l>
					<l>By patient origamists, armed with love.</l>
				</lg>
			</div>

<div type="poem" n="II">
				<head>Questionnaire</head>
				<lg>
					<l>There is unfeminine (but oh, so Female)</l>
					<l>sureness in my hands,</l>
					<l>checking "No." to every question</l>
					<l>in the Harris poll, <title key="Reader's Digest" ref="http://www.wikidata.org/entity/Q371820">Reader's Digest</title>,</l>
					<l><title key="Mademoiselle" ref="http://www.wikidata.org/entity/Q738294">Mademoiselle</title>,</l>
					<l>I am an outlaw, so none of that applies to me:</l>
					<l>I do not vote in primaries, do not wish to increase</l>
					<l>my spending power, do not take birth control</l>
					<l>pills.</l>
					<l>I do not have a legal residence, cannot tell you</l>
					<l>my given name or how (sometimes very) old</l>
					<l>I really am.</l>
					<l>I do not travel abroad, see no humor in uniforms,</l>
					<l>and my lips are good enough for my lover</l>
					<l>as they are.</l>
					<l>Beyond that, no one heads my household, I would not</l>
					<l>save my marriage if I had one, or anybody else's</l>
					<l>if I could.</l>
					<l>I do not believe that politicians need me, that Jesus</l>
					<l>loves me, or that short men are particularly sexy.</l>
					<l>Nor do l want a penis.</l>
					<l>What else do you have to offer?</l>
				</lg>
			</div>

<div type="poem" n="III">
				<head>I Argue My Case</head>
				<lg>
					<l>Gentlemen of the Jury:</l>
					<l>I have had the time and opportunity to appear</l>
					<l>before you in the guise</l>
					<l>(disguise) of every woman:</l>
					<l>to you, sir, I was the dumb hand</l>
					<l>that wiped your</l>
					<l>table,</l>
					<l>to you, sir, a flimsy black</l>
					<l>skirt on legs,</l>
					<l>to you, some hard</l>
					<l>down-on-me woman who might</l>
					<l>(or might not) yet</l>
					<l>be downed again.</l>
					<l>To him, an ass,</l>
					<l>to him, a breast, a leg</l>
					<l>to him.</l>
					<l>To that one, just another working bitch.</l>
					<l>To each, another history, to each</l>
					<l>another (partial) lie.</l>
					<l>We women are liars, you say.</l>
					<l>(It is written.)</l>
					<l>But you have made us so.</l>
					<l>We are too much caught up in cycles, you say.</l>
					<l>But your gods cannot prevent that.</l>
					<l>So we act out our cycles,</l>
					<l>one or many,</l>
					<l>in the rhythm of what has to be</l>
					<l>(because we say so)</l>
					<l>our common destiny.</l>
					<l>And so, before you are taken in by one of our</l>
					<l>perfect circles,</l>
					<l>remember also that we are in perfect</l>
					<l>motion.</l>
					<l>And when you (and you will)</l>
					<l>run counter to the flow of revolution,</l>
					<l>the wheel of women will continue to turn,</l>
					<l>and grind you</l>
					<l>so fine.</l>
				</lg>
			</div>
		</body>
		<back>
			<p>Susan Saxe wrote this and other poems while she was living underground as a fugitive
				for 4½ years, during which time she was on the F.B.I.'s. <title key="FBI Ten Most Wanted Fugitives" ref="http://www.wikidata.org/entity/Q1386729">Ten Most Wanted List</title> for
				"overall radical activities." On March 27, 1975, she was arrested in Philadelphia
				and since then has been tried for allegedly taking part in a Boston bank robbery 7
				years ago in which a policeman was killed. Saxe became "a feminist, a lesbian, a
				woman-identified woman" while underground. She is now in prison awaiting
				sentence.</p>
			<p>Reprinted from <title>Talk Among the Womanfolk</title>, Susan Saxe, Philadelphia, Pa., 1976. Susan
				Saxe. </p>
		</back>

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Dead in Bloody Snow

<head><title><title>Dead in Bloody Snow</title></title></head>
				<byline><persName key="Meridel Le Sueur" ref="http://www.wikidata.org/entity/Q1921674">Meridel LeSueur</persName></byline>
			
         <lg>
         	<l>I am an Indian woman</l>
				<l>Witness to my earth</l>
				<l>Witness for my people.</l>
				<l>I am the nocturnal door,</l>
				<l>The hidden cave of your sorrow,</l>
				<l>Like you hidden deep in furrow</l>
				<l>and dung</l>
				<l>of the charnel mound,</l>
				<l>I heard the craven passing of the</l>
				<l>white soldiers</l>
				<l>And saw them shoot at Wounded Knee</l>
				<l>upon the sleeping village,</l>
				<l>And ran with the guns at my back</l>
				<l>Until we froze in our blood on the snow</l>
         </lg>
				<lg>
					<l>I speak from old portages</l>
				<l>Where they pursued and shot into the river crossing</l>
				<l>All the grandmothers of <persName key="Black Hawk" ref="http://www.wikidata.org/entity/Q714534" type="real">Black Hawk</persName>.</l>
				<l>I speak from the smoke of grief,</l>
				<l>from the broken stone,</l>
				<l>And cry with the women crying from the marsh</l>
				<l>Trail and tears of drouthed women,</l>
				<l>O bitter barren!</l>
				<l>O barren bitter!</l>
				<l>I run, homeless.</l>
				<l>I arrive</l>
				<l>in the gun sight,</l>
				<l>beside the white square houses</l>
				<l>of abundance.</l>
				<l>My people starve</l>
				<l>In the time of the bitter moon.</l>
				<l>I hear my ghostly people crying</l>
				<l>A hey a hey a hey.</l>
				</lg>
				<lg>
					<l>Rising from our dusty dead the sweet grass,</l>
				<l>The skull marking the place of loss and flight.</l>
				<l>I sing holding my severed head,</l>
				<l>to my dismembered child,</l>
				<l>A people's dream that died in bloody snow.</l>
				</lg>
      </body>
			
         <back><p>Meridel LeSueur defines herself as "a 76-year-old Midwestern writer," something of an understatement since she
				has published 12 books and innumerable stories, articles
				and poems. "Dead in Bloody Snow" is reprinted from <emph><title key="Rites of Ancient Ripening" ref="http://viaf.org/viaf/183693430">Rites of Ancient Ripening</title></emph> (<orgName>Vanilla Press</orgName>, Minneapolis, 1975) in
				which she says, "Slogan for 76: Survival is a form of resistance."
			</p></back>
 
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The Empress Anastasia in New York

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		<body>
			<pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_062.jpg" generatedBy="human" xml:space="default" n="60"/>

<head><title>the empress anastasia in new york</title></head>
			<byline><persName key="Jan Clausen" ref="http://www.wikidata.org/entity/Q23900389">Jan Clausen</persName></byline>

<lg>
				<l><persName key="Grand Duchess Anastasia Nikolaevna of Russia" ref="http://www.wikidata.org/entity/Q151130">Anastasia</persName> was long rumored</l>
				<l>to be the only member of</l>
				<l>the Russian imperial family</l>
				<l>to escape execution</l>
				<l>by the Bolsheviks.</l><l>1. </l>
			</lg>
			<lg n="1">
				<lg>
					<l>it has begun</l>
					<l>the rain</l>
				</lg>

<lg>
					<l>the rain-</l>
					<l>shaped sleep</l>
					<l>of women who nod in doorways</l>
				</lg>

<lg>
					<l>dreaming of good times</l>
					<l>bars and indian</l>
					<l>summer</l><l>2. </l>
				</lg>
			</lg>
			<lg n="2">
				<l>in the dream</l>
				<l>picture it is</l>
				<l>august i am</l>
				<l>standing on the grass</l>
				<l>beside blue water</l>
				<l>i am sixteen</l>
				<l>full of zen and</l>
				<l>existentialism</l>
				<l>acid lust wearing</l>
				<l>a two piece</l>
				<l>bathing suit i</l>
				<l>had my body then</l>
				<l>browned, frowning</l>
				<l>bored as havana</l>
				<l>before the revolution</l><l>3. </l>
			</lg>
			<lg n="3">
				<l>in my mother's house there are</l>
				<l>shelves well stocked with</l>
				<l>cans, mixes, paper products.</l>
				<l>dreams of land. dreams</l>
				<l>of flight to the country.</l>
				<l>these white-skinned dreams</l>
				<l>of cities without color,</l>
				<l>catastrophes we do not name,</l>
				<l>these dreams of dreamless sleep,</l>
				<l>remembering nothing.</l><l>4.</l>
			</lg>
			<lg n="4">
				<l>she hid joints of mutton</l>
				<l>beneath her skirt</l>
				<l>her pockets bulged</l>
				<l>pounds of butter</l>

<l>whole hams in her suit-</l>
				<l>case the good bitter</l>
				<l>taste of real coffee</l>
				<l>in her mouth she roamed</l>
				<l>streets freely</l>
				<l>the soldiers never</l>
				<l>caught her the jews</l>
				<l>trooped off to treblinka</l><l>5. </l>
			</lg>

<lg>

<lg>
					<l>in vietnam arthritis</l>
					<l>is common due to</l>
					<l>months years spent crouched</l>
					<l>in damp bomb shelters</l>
				</lg>
				<lg>
					<l>and i remember my</l>
					<l>mother's soft</l>
					<l>face skin with the</l>
					<l>fallout scare</l>
					<l>shelter with the</l>
					<l>shelves lined with</l>
					<l>canned peaches</l>
					<l>jugs of water</l>
					<l>the nuclear family</l>
					<l>in the atomic age and</l>
					<l>SAC is in the air</l>
				</lg>
				<lg>
					<l><rs>the bay of pigs</rs> cuban</l>
					<l>missile crisis got stuck in my childhood</l>
					<l>throat my mother</l>
					<l>moved the iron</l>
					<l>back and forth she</l>
					<l>listened about suez</l>
					<l>on the radio</l>
				</lg>
				<lg>
					<l>and mother still writes how she</l>
					<l>hopes, keeps her shelves</l>
					<l>stocked, how she helps</l>
					<l>these expatriate vietnamese</l>
					<l>who can't find jobs</l>
					<l>in their adopted country</l><l>6.</l>
				</lg>
			</lg>
			<lg n="6">
				<lg>
					<l>please give me a little piece</l>
					<l>of meat for</l>
					<l>i cannot eat your bread</l>
					<l>your unhulled rice</l>
				</lg>
				<lg>
					<l>for i am a princess</l>
					<l>in my own right</l>
					<l>country</l>
				</lg>
				<lg>
					<l>my grandmother's face</l>
					<l>was famous</l>
					<l>in the nineties</l>
					<l>(and <persName key="Fidel Castro" ref="http://www.wikidata.org/entity/Q11256">castro</persName> hid</l>
					<l>in the mountains</l>
					<l>the jungles covered</l>
					<l><persName key="Ho Chi Minh" ref="http://www.wikidata.org/entity/Q36014">ho chi minh</persName></l>
					<l>and <persName key="Mao Zedong" ref="http://www.wikidata.org/entity/Q5816">mao</persName> is whispered</l>
					<l>change from out of the north</l>
					<l>and <persName key="Vladimir Lenin" ref="http://www.wikidata.org/entity/Q1394">lenin</persName> rode east</l>
					<l>in a sealed train</l>
					<l>and iskra means</l>
					<l>a single spark</l>
					<l>can start a prairie fire)</l>
				</lg>
				<lg>
					<l>and we came</l>
					<l>unto neon</l>
					<l>dollar signed</l>
					<l>miami</l><l>7.</l>
				</lg>
			</lg>
			<lg n="7">
				<lg>
					<l/><l>the years</l>
					<l>her mother singing</l>
					<l>in her hair</l>
				</lg>
				<lg>
					<l>you are the rightful</l>
					<l>empress</l>
					<l>anastasia</l>
				</lg>
				<lg>
					<l>but she wakes in nightmare</l>
					<l>screaming this word</l>
					<l>"pretender"</l>
				</lg>
				<lg>
					<l>mother</l>
					<l>what really happened</l>
					<l>in that cellar</l><l>8.</l>
				</lg>
			</lg>
			<lg n="8">
				<lg>
					<l>the streets get colder</l>
					<l>she grows more weary</l>
					<l>of lies, potatoes,</l>
					<l>her mother</l>
					<l>still mourning the <persName key="Nicholas II of Russia" ref="http://www.wikidata.org/entity/Q40787" cert="high" type="real">tsar</persName>.</l>
				</lg>
				<lg>
					<l>her room looks out</l>
					<l>on an airshaft. the carpet</l>
					<l>is worn. the bronx</l>
					<l>is burning. she never saw the neva.</l>
				</lg>
				<lg>
					<l>she pawns the last</l>
					<l>of the icons.</l><l>9.</l>
				</lg>
			</lg>
			<lg n="9">
				<l>in spring she crosses</l>
				<l>over, joins</l>
				<l>the resistance.</l>
			</lg>

<pb n="61"/>
			<lg n="10">
				<lg>
					<l>10.</l><l>this november</l>
					<l>city is up</l>
					<l>tight. in midtown</l>
					<l>the ibm selectrics</l>
					<l>have been bolted</l>
					<l>to the desks</l>
					<l>of secretaries</l>
					<l>who are afraid, now</l>
					<l>to change jobs.</l>
					<l>the druggists refuse</l>
					<l>to fill medicaid</l>
					<l>prescriptions.</l>
					<l>a man has been shot</l>
					<l>for going</l>
					<l>over the turnstiles.</l>
				</lg>
				<lg>
					<l>we slept overnight</l>
					<l>on long island,</l>
					<l>all the way out.</l>
					<l>i saw each grain</l>
					<l>of sand a different</l>
					<l>color, stuffed shells</l>
					<l>in my coat. i walked</l>
					<l>as before toward rain</l>
					<l>down a beach shining</l>
					<l>white through the storm,</l>
					<l>watched the tide</l>
					<l>turn once.</l>
				</lg>
				<lg>
					<l>locked into the city,</l>
					<l>i plan to quit my job.</l>
					<l>i must get a jacket</l>
					<l>with a working</l>
					<l>zipper, call</l>
					<l>the exterminator,</l>
					<l>have a gate installed</l>
					<l>on the fire escape</l>
					<l>access window.</l>
				</lg>
			</lg>

<note>(Thanksgiving, 1975)</note>
		</body>
		<back>
			<p> Jan Clausen writes poetry, fiction, and critical prose. She is the author of a book
				of poems, <title><emph><title>After Touch</title></emph></title> (Out and Out Books, 1975) and "The Politics of Publishing and the Lesbian Community" (<emph><title key="Sinister Wisdom" ref="http://www.wikidata.org/entity/Q7524444">Sinister Wisdom</title></emph>, no. 2, 1977). With friends, she edits
				<title key="Conditions" ref="http://www.wikidata.org/entity/Q5159294">Conditions</title>, a magazine of women's writing with emphasis on work by lesbians. </p>
		</back>

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Toward Socialist Feminism

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				<head>
					<title>Toward Socialist Feminism</title></head>
				<byline><persName key="Barbara Ehrenreich"
						ref="http://www.wikidata.org/entity/Q283659">Barbara
					Ehrenreich</persName></byline>
			</div>
			<note type="researchNote">Versions of this article have been presented at the Socialst
				Feminist Conference, Yellow Springs, Ohio, July 1975; at Women's Week, Brown
				University, April, 1976; and in WIN (June 3, 1976) as "What is Socialist
				Feminism?"</note>
			<div>
				<p> At some level, perhaps not too well articulated, socialist feminism has been
					around for a long time. You are a woman in a capitalist society. You get pissed
					off: about the job, about the bills, about your husband (or ex), about the kids'
					school, the housework, being pretty, not being pretty, being looked at, not
					being looked at (and either way, not listened to), etc. If you think about all
					these things and how they fit together and what has to be changed, and then you
					look around for some words to hold all these thoughts together in abbreviated
					form, you'd almost have to come up with something like "socialist feminism." </p>
				<p>A lot of us came to socialist feminism in just that way: we were reaching for a
					word/term/phrase that would begin to express <emph>all</emph> of our concerns,
					all of our principles in a way that neither "socialist" nor "feminist" seemed
					to. I have to admit that most socialist feminists I know are not too happy with
					the term "socialist feminist" either. On the one hand it is too long (I have no
					hopes for a hyphenated mass movement); on the other hand it is much too short
					for what is, after all, really socialist internationalist anti-racist
					anti-heterosexist feminism.</p>
				<p>The trouble with taking a new label of any kind is that it creates an instant
					aura of sectarianism. "Socialist feminism" becomes a challenge, a mystery, an
					issue in and of itself. We have speakers, conferences, articles on "socialist
					feminism"—though we know perfectly well that either "socialism" or "feminism" is
					too huge and too inclusive to be a subject for any sensible speech, conference,
					or article. People, including avowed socialist feminists, ask themselves
					anxiously, "What <emph>is</emph> socialist feminism?" There is a kind of
					expectation that it is (or is about to be at any moment, maybe in the next
					speech, conference or article) a brilliant synthesis of world historical
					proportions—an evolutionary leap beyond <persName key="Karl Marx"
						ref="http://www.wikidata.org/entity/Q9061">Marx</persName>, <persName
						key="Sigmund Freud" ref="http://www.wikidata.org/entity/Q9215"
						>Freud</persName> and <persName key="Mary Wollstonecraft"
						ref="http://www.wikidata.org/entity/Q101638">Wollstonecraft</persName>. Or
					that it will turn out to be nothing, a fad seized on by a few disgruntled
					feminists and female socialists, a temporary distraction.</p>
				<p>I want to try to cut through some of the mystery which has grown up around
					socialist feminism. Here I am going to focus on our "theory"—the way we look at
					and analyze the world. I am not going to deal with our total outlook as
					socialist feminists because I want to stick as closely as possible to the
					interface of the two main traditions we grow out of—socialism and feminism. </p>
				<p> A logical way to start is to look at socialism and feminism separately. How does
					a socialist—more precisely a Marxist—look at the world? How does a feminist look
					at the world? To begin with, Marxism and feminism have something important in
					common: they are <emph>critical</emph> ways of looking at the world. Both rip
					away popular mythology and "common-sense wisdom'' and force us to look at
					experience in a new way. Both seek to understand the world—not in terms of
					static balances and symmetries (as in conventional social science), but in terms
					of <emph>antagonisms</emph>. So they lead to conclusions which are jarring and
					disturbing at the same time that they are liberating. There is no way to have a
					Marxist or a feminist outlook and remain a spectator. To understand the reality
					laid bare by these analyses is to move into action to change it.</p>
				<p>Here I am going to restrict myself to what I see as the core insights of Marxism
					and feminism, and state these as briefly and starkly as possible: Marxism (in 20
					words or less) addresses itself to the class dynamics of capitalist society.
					Every social scientist knows that capitalist societies are characterized by more
					or less severe, systemic inequality. Marxism understands this inequality to
					arise from processes which are <emph>intrinsic</emph> to capitalism as an
					economic system. A minority of people (the capitalist class) own all the
					factories/energy sources/resources on which everyone else depends in order to
					live. The great majority (the working class) must, out of sheer necessity, work,
					under conditions set by the capitalists, for the wages the capitalists pay.
					Since the capitalists make their profits by paying less in wages than the value
					of what the workers actually produce, the relationship between these two classes
					is necessarily one of irreconcilable antagonism: the capitalist class owes its
					very existence to the continued exploitation of the working class. What
					maintains this system of class rule is, in the last analysis, force. The
					capitalist class controls (directly or indirectiy) the means of organized
					violence represented by the state—policemen, jails, etc. Only by waging a
					revolutionary struggle aimed at the seizure of state power can the working class
					free itself, and, ultimately, all people.</p>
				<p>Feminism addresses itself to another familiar inequality. All human societies are
					marked by some degree of inequality between the sexes. If we survey human
					societies at a glance, sweeping through history and across continents, we see
					that they have commonly been characterized<pb
						facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_007.jpg"
					/>by: the subjugation of women to male authority, both within the family and in
					the community in general; the objectification of women as a form of property; a
					sexual division of labor in which women are confined to such activities as
					childraising, performing personal services for adult males and specified
					(usually low-prestige) forms of productive labor. </p>
				<p>Feminists, struck by the near-universality of these things have looked for
					explanations in the biological "givens" which underlie all human social
					existence: men are physically stronger than women on the average, especially
					compared to pregnant women or women who are nursing babies. Furthermore, men
					have the power to make women pregnant. Thus the forms that sexual inequality
					takes—however various they may be from culture to culture—rest, in the last
					analysis, on what is clearly a physical advantage males hold over females. That
					is to say, they rest on violence, or the threat of violence.</p>
				<p>The ancient, biological roots of male supremacy—the fact of male violence—are
					commonly obscured by the laws and conventions which regulate the relations
					between the sexes in any particular culture. But they are there, according to a
					feminist analysis. The possibility of male assault stands as a constant warning
					to "bad" (rebellious, aggressive) women, and drives "good" women into complicity
					with male supremacy. The reward for being "good" ("pretty," submissive) is
					protection from random male violence and, in some cases, economic security.</p>
				<p>I hope I have written these capsule summaries of Marxism and feminism in such a
					way that some similarities of approach show through. Marxism rips away the myths
					about "democracy" and "pluralism" to reveal a system of class rule that rests on
						<emph>forcible</emph> exploitation. Feminism cuts through myths about
					"instinct" and romantic love to expose male rule as a rule of force. Both
					analyses compel us to look at a fundamental injustice. If either, or both, make
					you uncomfortable, they were meant to! The choice is to reach for the comfort of
					the myths or as Marx put it, to work for a social order which does not require
					myths to sustain it. </p>
				<p>Having gone to the trouble to provide these thumbnail sketches of Marxism and
					feminism, the obvious thing to do would be just to add them up and call the sum
					"socialist feminism." In fact, this is probably how most socialist feminists
					operate most of the time—as a kind of hybrid, pushing feminism in socialist
					circles, socialism in feminist circles. Practically speaking, I think this is a
					perfectly reasonable way to operate a lot of the time. One trouble with leaving
					things like that, though, is that it keeps people wondering "Well, what is she
						<emph>really</emph>?" or demanding of us "What is the principal
					contradiction?" Such questions often stop us in our tracks: It sounds so
					compelling and authoritative and logical: "Make a choice! Be one or another!"
					Yet we know that there is a political consistency to socialist feminism. We are
					not hybrids or fence-sitters.</p>
				<p>To get to that political consistency we have to go beyond the capsule versions of
					Marxism and feminism I laid out. We have to differentiate ourselves, as
					feminists from other kinds of feminists, and as Marxists from other kinds of
					Marxists. We have to stake out a socialist feminist kind of feminism and a
					socialist feminist kind of socialism. Only then is there a possibility that
					things will "add up" to something more than an uneasy juxtaposition. </p>
				<p> First, what is our outlook as feminists and how is it different from that of
					other feminists? I think most radical feminists and socialist feminists would
					agree with my capsule characterization of feminism <emph>as far as it
						goes</emph>. The trouble with radical feminism from a socialist feminist
					point of view, is that it doesn't go any farther: it remains transfixed by the
					universality of male supremacy: things have never really changed; all social
					systems are "patriarchies"; imperialism, militarism and capitalism are all
					simply expressions of innate male aggressiveness. And so on. </p>
				<p>The problem with this is not only that it leaves out men (and the possibility of
					reconciliation with them on a truly human and egalitarian basis) but that it
					leaves out an awful lot about women. For example, to discount a socialist
					country such as China as a "patriarchy"—as I have heard some radical feminists
					do—is to ignore the real struggles and achievements of millions of women.
					Socialist feminists, while agreeing that there is something timeless and
					universal about women's oppression, have insisted that it takes different forms
					in different settings, and that the <emph>differences</emph> are of vital
					importance. There is a difference between a society in which sexism is expressed
					by female infanticide and a society in which sexism takes the form of unequal
					representation on the Central Committee. And the difference is worth dying for. </p>
				<p>One of the historical variations on the theme of sexism which ought to concern
					all feminists is the set of changes that came with the transition from an
					agrarian society to industrial capitalism. This is no academic issue. The social
					system which industrial capitalism replaced was in fact a
						<emph>patriarchal</emph> one, and I am using that term now in its original
					sense to mean a system in which production is centered in the household and is
					presided over by the oldest male. The fact is that industrial capitalism came
					along and tore the rug out from under that system: production went into the
					factories; individuals broke off from the family to become "free" wage earners.
					To say that capitalism disrupted the patriarchal organization of production and
					family life is not, of course, to say that capitalism abolished male supremacy!
					But the particular<pb
						facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_008.jpg"
					/>forms of sex oppression we experience today are, to a significant degree,
						<emph>recent</emph> developments. A huge historical discontinuity lies
					between us and true patriarchy. If we are to understand our experience as women
					today, we must move beyond the biological invariants of human experience to a
					consideration of <emph>capitalism</emph> as a system. </p>
				<p>There are other ways I could have gotten to the same point. I could have said
					simply that as feminists we are most interested in the most oppressed women—poor
					and working-class women, third-world women—and for <emph>that</emph> reason we
					are led to a need to comprehend and confront captialism. I could have said that
					we need to address ourselves to the class system simply because women are
					members of classes. But I am trying to bring out something else about our
					perspective: that there is no way to understand sexism as it acts on our
					lives—never mind class oppression for a minute!—without putting it in the
					historical context of capitalism. </p>
				<p>Now let's go on to our outlook as Marxists. Again, I think most socialist
					feminists would agree with my capsule summary <emph>as far as it goes</emph>.
					And the trouble again is that there are a lot of people (I'll call them
					"mechanical Marxists") who do not go any further. To these people, the only
					"real" and important things that go on in capitalist society are those that
					relate to the productive process or the conventional political sphere. From such
					a point of view, every other part of experience and social existence—education,
					sexuality, recreation, the family, art, music, housework (you name it)—is
					peripheral to the central dynamics of social change; it is part of the
					"superstructure" or "culture."</p>
				<p>Socialist feminists are in a very different camp. We (along with many Marxists
					who are not feminists) see capitalism as a social and cultural
						<emph>totality</emph>. We understand that, in its search for markets,
					capitalism is driven to penetrate every nook and cranny of social existence.
					Especially in the monopoly capitalism phase, the realm of consumption is every
					bit as important, just from an economic point of view as the realm of
					production. So we cannot understand class struggle as something confined to
					issues of wages and hours, or confined only to workplace issues. Class struggle
					occurs in every arena where the interests of the classes conflict, and that
					includes education, health, the arts, etc. We aim to transform not only the
					ownership of the means of production, but the totality of social existence.</p>
				<p>So, as Marxists, we come to feminism from a completely different place than the
					"mechanical Marxists." Because we see monopoly capitalism as a
					political/economic/cultural totality, we have room within our
						<emph>Marxist</emph> framework for feminist issues which have nothing
					ostensibly to do with production or "politics," issues that have to do with
					"private" life. </p>
				<p> Furthermore, in our brand of Marxism, there is no "woman question," no big
					mystery about women—because we never compartmentalized women off to the
					"superstructure“ in the first place. Marxists of a mechanical bent continually
					ponder the issue of the unwaged woman (the housewife): is she really a member of
					the working class? That is, does she really produce surplus value? We say, of
					course housewives are members of the working class—<emph>not</emph> because we
					have some elaborate proof that they really do produce surplus value—but because
					we understand a class as being composed of <emph>people</emph>, and as having a
						<emph>social</emph> existence quite apart from the capitalist-dominated
					realm of production. When we think of class in this way, then we see that in
					fact the women who seemed most peripheral, the housewives, are at the very heart
					of their class—raising children, holding together families, maintaining the
					culture and social networks of the community. </p>
				<p> So we are coming out of a kind of feminism and a kind of Marxism whose interests
					quite naturally flow together. I think we are in a position now to see why it is
					that socialist feminism has been such a great mystery. It is a paradox only as
					long as what you mean by socialism is really "mechanical Marxism" and what you
					mean by feminism is an ahistorical kind of radical feminism. These things don’t
					add up; they have nothing in common.</p>
				<p> But if you put together another kind of socialism and another kind of feminism,
					as I have tried to define them, you do get some common ground. And that is one
					of the most important things about socialist feminism today: that it is a
					space—free from the constrictions of a truncated kind of feminism and a
					truncated version of Marxism—a space in which we can develop the kind of
					politics that address the political/economic/cultural <emph>totality</emph> of
					monopoly capitalist society. We could go only so far with the available
					feminisms, the conventional Marxism, and then we had to break out to something
					that is not so restrictive and so incomplete in its view of the world. We had to
					take a new name, "socialist feminism," in order to assert our determination to
					comprehend the <emph>whole</emph> of our experience and to forge a politics that
					reflects the totality of that comprehension.</p>
				<p> At that I may have fulfilled my mission of demystifying socialist feminism, but
					I don't want to leave this theory as a "space" or a common ground. Things are
					beginning to grow in that ground. We are closer to a synthesis in our
					understanding of sex and class, capitalism and male domination, than we were a
					few years ago. Here l will indicate very sketchily one such line of thought:</p>
				<list>
					<item>1. The Marxist/feminist understanding that class and sex domination rest
						"ultimately" on force is correct, and this remains the most devastating
						critique of sexist/capitalist society. But there is a lot to that
						"ultimately.'' In a <pb n="7"
							facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_009.jpg"
						/> day-to-day sense, most people acquiesce to sex and class domination
						without being held in line by the threat of violence, and often without even
						the threat of material deprivation. </item>
					<item>2. It is very important, then, to figure out what, if not the direct
						application of force, keeps things going. In the case of class, a great deal
						has been written already about why the American working class lacks militant
						class consciousness. Certainly ethnic divisions especially the Black/white
						division, are a key to the answer. But, I would argue, in addition to being
						divided, the working class has been socially <emph>atomized</emph>:
						working-class neighborhoods have been destroyed and allowed to decay; life
						has become increasingly privatized and inward-looking; skills once possessed
						by the working class have been expropriated by the capitalist class;
						capitalist-controlled "mass culture'' has edged out almost all indigenous
						working class culture and institutions. Instead of collectivity and
						self-reliance as a class there is mutual isolation and collective
							<emph>dependency</emph> on the capitalist class. </item>
					<item>3. The subjugation of women, in ways characteristic of late capitalist
						society, has been a key to this process of class atomization. To put it
						another way: the forces which have atomized working-class life and promoted
						cultural/material dependency on the capitalist class are the
							<emph>same</emph> forces which have served to perpetuate the subjugation
						of women. It is women who are most isolated in what has become an
						increasingly privatized family existence (even when they work outside the
						home too). It is, in many instances, women's skills (productive skills,
						healing, midwifery) which have been discredited or banned to make way for
						commodities. It is, above all, women who are required to be utterly
						passive/uncritical/dependent (i.e. "feminine") in the face of the pervasive
						capitalist penetration of private life. Historically, late capitalist
						penetration of working-class life has singled out women as prime targets of
						pacification (or "feminization") because <emph>women are the culture-bearers
							of their class</emph>. </item>
					<item>4. It follows that there is a fundamental interconnectedness between
						women's struggle and what is traditionally conceived as class struggle. Not
						all women's struggles have an inherently anti-capitalist thrust
						(particularly not those which seek only to advance the power and wealth of
						special groups of women), but all those which build
							<emph>collectivity</emph> and <emph>collective confidence</emph> among
						women are vitally important to the building of class consciousness.
						Conversely, not all class struggles have an inherently anti-sexist thrust
						(especially not those which cling to pre-industrial patriarchal values) but
						all those which seek to build the social and cultural autonomy of the
						working class are necessarily linked to the struggle for women's
						liberation.</item>
				</list>
				<p>This is one direction which socialist feminist analysis is taking. No one is
					expecting a synthesis to emerge which will collapse socialist and feminist
					struggles into the same thing. The capsule summaries I gave earlier retain their
					"ultimate" truth: there are crucial aspects of capitalist domination (such as
					racial oppression) which a purely feminist perspective simply cannot account for
					or deal with—without bizarre distortions, that is. There are crucial aspects of
					sex oppression (such as male violence within the family) into which socialist
					thought has little insight—again without a lot of stretching and distortion.
					Hence the need to continue to be socialists <emph>and</emph> feminists. But
					there is enough of a synthesis, both in what we think and what we do, for us to
					begin to develop a self-confident identity as <emph>socialist feminists</emph>.
				</p>
			</div>
		</body>
		<back>
			<p>Barbara Ehrenreich is the co-author, with <persName key="Deirdre English"
					ref="http://www.wikidata.org/entity/Q5252562">Deirdre English</persName>, of
					<title>Witches, Midwives and Nurses: A History of Women Healers</title>, and
					<title>Complaints and Disorders: The Sexual Politics of Sickness</title>
				(Feminist Press, New York). She is a member of HealthRight (a New York women's
				health collective), Action for Women in Chile, and New American Movement.</p>
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<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_004.jpg"/>
				<head>From the First-Issue Collective</head>
				<epigraph>
					<p>The editorial collective of this first issue of <title key="Heresies: A Feminist Publication on Art and Politics" ref="http://www.wikidata.org/entity/Q17022558"><emph>Heresies</emph></title> shares not a
						political line but a commitment to the development of coherent feminist
						theory in the context of practical work. The time for reformulating old
						positions or merely attacking sexism is past. Now we must take on the most
						problematic aspects of feminist theory, esthetic theory and political
						theory. We are not only analyzing our own oppression in order to put an end
						to it, but also exploring concrete ways of transforming society into one
						that is socially just and culturally free.</p>
					<p>The role of the arts and the artist in the political process is our specific
						arena. By confronting the very real differences in our own attitudes towards
						art and politics, which reflect those in the wider, feminist community, we
						have uncovered networks connecting a broad range of forms and ideologies. As
						material for the first issue came in to us, we found that no hard line could
						be drawn between texts and visual material. There are, therefore, few
						"illustrations" here, but independent statements expressed visually,
						verbally, or in combination, sharing the same power and the same intent, and
						indicating that word and image can be equal ingredients in politically
						effective art.</p>
					<p>We found no solutions to the issues raised, but we are finding approaches
						that feel fresher and more satisfying. Working together toward collective
						decisions was entirely different from working alone or as part of
						conventional hierarchies. Each of us worked on every page of this magazine,
						a slow and frustrating process, but one from which we learned a great deal
						about each other, about editorial and mechanical skills, about the
						collective process itself, about our subject—feminism, art and politics— and about what it means to be political in a real, active, living
						situation. We mean to go on from these beginnings and we look to the larger
						feminist community for participation, response and criticism. Together we
						can work toward some answers. We have nothing to lose but our illusions.</p>
				</epigraph>
				<byline><persName key="Joan Braderman" ref="http://www.wikidata.org/entity/Q28911659">Joan Braderman</persName>, <persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName>, <persName key="Elizabeth Hess" ref="http://www.wikidata.org/entity/Q106878848">Elizabeth Hess</persName>, <persName key="Arlene Ladden" ref="http://www.wikidata.org/entity/Q106878856">Arlene Ladden</persName>, <persName key="Lucy R. Lippard" ref="http://www.wikidata.org/entity/Q137115">Lucy
					Lippard</persName>, <persName key="May Stevens" ref="http://www.wikidata.org/entity/Q6796587">May Stevens</persName>.</byline>
				<p> Feminism—Art—Politics. What is their connection? In theory? In reality?</p>
				<p>Once there was a women's art center that was very excited about an "Art as Work"
					seminar I proposed. They wanted a short personal resumé to follow the course
					description in the catalogue — to let students know who I was, where I was
					coming from: Harmony Hammond is
					a lesbian feminist artist who has exhibited at Gallery X and Gallery Z and
					taught at R. University and C. University. They wanted my labels and then did
					not like them. No seminar. Really, I was coming on too strong. Couldn't I use a
					different word? Or just not say it at all? Would I be teaching art or politics?
					They were an "Art" center. They were afraid, they said, afraid I would
					jeopardize...</p>
				<p>Jeopardize what? Their art? Their teaching? Their students? Their bodies? Their
					minds? Their sexuality? Their politics? Their power? Their authority? Their
					thinking? They did not know, they were just afraid...</p>
				<p>I did not fit their concept of a feminist and therefore I was dangerous.</p>

<p>Labels. The meaninglessness of labels. The power of labels. The confining. What
					does it mean to be a lesbian, radical feminist, activist, mother, artist? I am
					all of these individually and combined. It means I am political. It means I want
					to change existing power relationships. A list of experiences. The power of
					labels is the power of ideas and action combined.</p>
				<p>The political mother, the political artist, the political feminist, and the
					political lesbian refuse to be second-class. They take action by ''doing.'' They
					refuse to be isolated into separatist stances, and they become a total whole.
					They add up to what <persName key="Charlotte Bunch" ref="http://www.wikidata.org/entity/Q5085869">Charlotte Bunch</persName> has called a ''non-aligned feminism"—not
					automatically attached to one line of feminism (socialist/left vs. reformist vs.
					cultural/spiritual) but rather evaluating each individual issue and situation
					from an independent feminist perspective.</p>
				<p>Lesbian. Radical feminist. Activist. Mother. Artist.</p>
				<p>The common denominator is woman. Women are oppressed as a class. This oppression
					underlies the patriarchal institutions of capitalism, imperialism, racism, and
					heterosexism. To end all forms of oppression we must first end the oppression of
					all women regardless ot sexuality or economic class, racial or cultural
					background.</p>
				<p>Lesbian. Radical feminist. Activist. Mother. Artist.</p>
				<p>Together they form my feminism. Feminism is my politics. My art both is formed by
					and is a statement of my feminism.</p>
				<signed>H.H.</signed>
			</div>
			<div>
				<p> While l'd always worked in social programs, I never considered myself a
					political person. Political groups so often revealed confused priorities that I
					inevitably ended up by questioning my own. But feminism was different–so much
					was personally at stake. If I questioned my commitment (how can I be amused by
					this or not outraged by that), I soon found I was not amused and I was outraged
					by things I might once have considered innocuous or simply unalterable. Feminism
					had become a persistent way of living and thinking and the most important
					awareness of my life.</p>
				<p>Today I trust the impulses calling out for radical change because they're rooted
					in a lifetime of self-analysis continuously and consistently validated by other
					women. Frustration, it seems, is being resolved in conviction and action and the
					awareness of this power has been startling to me. Needless to say, art which
					strengthens that awareness is exhilarating.</p>
				<p>I am a medievalist, I was attracted to the field by the escapist fantasies of
					folklore and romance. But I now feel that all art—whether ancient or modern—can
					be seen and judged within a feminist context.</p>
				<p/>
				<signed>A.L.</signed>
			</div>
			<div>
				<p> When pressed by the people who ask "What do you do?" at times I call myself an
					artist and then no one knows what to expect. The term is so vague and useless
					that it does not begin to identify a point of view. The fact that art work keeps
					the bourgeoisie in style, and the bourgeoisie keeps all the art, suggests that
					most artists don't bother with politics and ideology, instead they are united by
					a lifestyle: generally you must privatize your work, hang your head to the left
					late at night in the bars, and think deeply about how your work will be
					understood in the melancholic future; be concerned about your isolation from the
					community.</p>
				<p>It is difficult not to become a cynic. Opportunism knocks. Even the women's
					movement is another stepping stone towards critical recognition. Most people are
					more concerned with the objects we are producing than the world into which we
					place our work. I make abstract paintings and super-8 films—but not for a
					living. I work as an editor for a left news magazine called <title key="Seven Days" ref="http://www.wikidata.org/entity/Q27717194"><emph>Seven
							Days</emph></title>. This is where I learned the business of developing
					an audience and disseminating information. <emph>Heresies</emph>
					is an attempt to politicize the art world; a chance to attack the history of our
					work as opposed to "documenting" it.</p>
				<p>I have been a feminist it seems ever since I noticed I was living with great
					difficulty; it came out during the 1960s—but that's a long story. In the 1970s,
					feminism has tendencies which serve merely to push liberal institutions to their
					farthest extremes. This has left many women caught in a dubious struggle; a
					recognition of strength and an inability to act. The feminist movement should
					not work towards gaining economic power, but towards developing a coherent
					ideology if we are to participate in change and work towards socialism. (You
					knew I'd say that.) The point is that an understanding of feminism without an
					analysis of class is like a long-tailed cat in a room full of rocking chairs.
					Capitalism is so efficient that it can sustain its own alternatives; likewise
					the art world—one more radical magazine.</p>
				<signed>E.H.</signed>
			</div>

<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_005.jpg"/>
			<div>
				<p> I am a feminist first and a socialist second, rather than a Socialist-Feminist.
					Not because I don't care about what happens to the oppressed men in the world.
					Not because I'm against an ideally democratic socialism. But because women's
					oppression crosses economic-class lines. It's a matter of focus. Clearly the
					needs of welfare-class women are most urgent and those of upper-class women are
					least urgent. Some socialists say that getting rid of patriarchy won't change
					the world. I wonder. Even in revolutionary socialist movements women must
					maintain an autonomous base. Revolution for Every<emph>man</emph> isn't the same
					as real social change; it has taken place in the past without solving the "woman
					question."</p>
				<p>In the meantime, living in a capitalist country without a strong Socialist Party
					provokes an irresistible urge to kill time as a liberal feminist. Even though
					I'm aware of the dangers of opportunism, reformism, co-optation, and all the
					slimy horde, I often find myself working for reform rather than revolution
					because I can't bear to see nothing done.</p>
				<p>Within the art world, this means I work to get women artists into a system I
					oppose. Outside, in the real world, this means I want the ERA passed because its
					going to make a difference in women's lives. I want to see a politically aware
					feminist culture and I hope that <emph>Heresies</emph> will help create it and
					help destroy some of the boundaries that separate women from the power to make a
					better society that will fit our needs as well as men's.</p>
				<p>(P.S. Because I'm a critic, I've been called a "class enemy" of artists, which is
					bullshit. I'm exploited by publishers, and perhaps editors, just as artists are
					exploited by galleries, and perhaps critics. I identify with artists whether or
					not they identify with me because long experience has shown me that our lives
					are more or less the same.)</p>
				<signed>L.R.L.</signed>
				<signed/>
			</div>
			<div>
				<p> When we decided that each of us in the first issue collective should write an
					individual statement to put our political differences ''out front,'' I thought
					it was a fine idea. But trying to write one page about my notion of how feminism
					relates to Marxism relates to making theory and making films was easier said
					than done: too much to argue in too little space. So what I wanted to do was
					write, "please see my article on page x'' where I’ve tried to work out some of
					these problems in more analytical depth. But my sister-editors said, ''write
					something personal." They chided me for my rhetorical style and my obsessive?
					academic? commitment to making ''complete'' arguments. "Who are you in all
					that," they asked. O.K. I'm a woman, I'm white, I'm 28. I'm a film teacher, I'm
					a student, I'm a writer, theorist, critic, filmmaker. I do political work—in the
					feminist community and with a new Coalition (July 4th) thats building toward a
					mass, progressive peoples' movement in this country. I guess I'm what's come to
					be called a cultural worker.</p>
				<p>Often it seems there's just not enough time in each day to do all the things that
					have to be done. And to earn a living, and write a dissertation, and see the art
					I care about, and do the laundry, and talk with students, and be with the
					friends I love, and see the ocean sometimes. Putting it all together, I'd often
					like a few clones of myself to help out. I juggle what's possible with what's
					not.</p>
				<p>Where does the fight for women fit with fighting imperialism? Does working in
					collectives really help change our deeply entrenched American individualism? How
					can ''cultural workers'' best advance these struggles? I often argue esthetics
					with my political comrades. Films, I say, don't have to be simplistic to
					communicate with mass audiences. We're all subject to subtle propaganda from
					Hollywood and Madison Avenue. We're all jugglers of contradictions and need to
					see and hear and read about alternatives to what is. We have to make films that
					not only say something different but say it <emph>in a different way</emph>.
					They have to be made in a practical political context, in a coherent theoretical
					context, and they have to be able to recapture the imaginations of masses of
					people being lulled to sleep by the crap that's sold as ''mass art." We have to
					find strategies for making our alternate points of view visible, making peoples'
					voices heard, our ideas and films seen; find ways of fighting the commercial
					monopolies that own the air waves, the movie screens, the mass media, that own
						<emph>us.</emph></p>
				<p>I argue politics with my feminist sisters. No more separatism, I say. I work on
					HERESIES to say that and also because—another contradiction—l need community in
					a country that is in fragments. In short, and as labor people like my
					grandparents always said: women, artists, men, people; we've got to get
					organized.</p>
				<signed>J.B.</signed>
			</div>
			<div>
				<p> What kind of socialist-feminist-artist am I?</p>
				<p>What kind of socialist artist loves <persName key="Jean-Baptiste Camille Corot" ref="http://www.wikidata.org/entity/Q148475">Corot</persName> as well as
						<persName key="Gustave Courbet" ref="http://www.wikidata.org/entity/Q34618">Courbet</persName> and forgives oil painting its bourgeois origins and
					abstract expressionism its heraldry of U.S. imperialism?</p>
				<p>What kind of feminist artist sees pink as a private color to be sparingly
					used?</p>
				<p>To the women's movement I would like to bring, as to art, the subtlest
					perceptions. To political action, I would like to bring, as to art, a precise
					and delicate imagination. The personal is the political only if you make it so.
					The connections have to be drawn. Feminism without socialism can create only
					utopian pockets. And the lifespan of a collective is approximately two
					years.</p>
				<p>Socialism without feminism is still patriarchy. But more smug. Try to imagine a
					classless society run by men. </p>
				<p>Trying to be part of a collective is a little like being a chameleon set on
					plaid. I may split apart before I get the pattern right. But somehow it seems
					worth the pain because I believe community is the highest goal.</p>
				<p>I believe every woman's life is a little better because of what we are doing.</p>
				<signed>M.S.</signed>
			</div>
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Brewers' Company Wardens' Accounts, 1574-5

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               <title>Brewer’s Company Wardens’ Accounts, 1563-81</title>
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                  <supplied>f 128v (Payments)</supplied>
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                     <cell role="label">Paide to John draper and Cristopher butler stewardes for the dynner the morow after symon &amp; Jude</cell>
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                     <cell role="label">P<ex>ai</ex>d moore to hym for makinge cleane o<ex>u</ex>r barge</cell>
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Brewers' Company Court Minutes, 1574-5

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               <title>Brewers’ Company Court Minutes, 1573-79</title>
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                  <supplied>f 50v (7th October 1574)</supplied>
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               <ab>William Buston Also Spoken to for o<ex>ur</ex> barge /</ab>
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                     <cell role="label">P<ex>ai</ex>d to M<ex>aste</ex>r Drap<ex>er</ex> and
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                     <cell role="label">P<ex>ai</ex>d to William Burston our bargman for the hier of
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               <ab>Note that m<ex>aste</ex>r Stevens be warned for s<ex>er</ex>vinge of the barge in to temystreet</ab>
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