Braderman, Joan

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				<author>Joan Braderman</author>
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<head>WE ARE SOLICITING MATERIAL FOR THE NEXT THREE ISSUES OF HERESIES</head>
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Juggling Contradictions

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 <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>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. 
 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.
 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.
 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. 
 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?
 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.
 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.
 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.
 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?
 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?
 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. 
 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.
 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.
 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>
 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.
 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.
 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.
 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."
 
 <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?
 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.
 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.
 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>
 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.
 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. 
 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. 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?
 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. 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.
 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.
 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.
 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.
 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.</div>
			</div>
 </body>

<back>
			<div>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. </div>
		</back>

</text>
</TEI>

From the First-Issue Collective

<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_004.jpg"/>
				<head>From the First-Issue Collective</head>
				<epigraph>
					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.
					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.
					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.
				</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>
				 Feminism—Art—Politics. What is their connection? In theory? In reality?
				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...
				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...
				I did not fit their concept of a feminist and therefore I was dangerous.

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.
				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.
				Lesbian. Radical feminist. Activist. Mother. Artist.
				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.
				Lesbian. Radical feminist. Activist. Mother. Artist.
				Together they form my feminism. Feminism is my politics. My art both is formed by
					and is a statement of my feminism.
				<signed>H.H.</signed>
			</div>
			<div>
				 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.
				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.
				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.
				
				<signed>A.L.</signed>
			</div>
			<div>
				 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.
				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.
				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.
				<signed>E.H.</signed>
			</div>

<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_005.jpg"/>
			<div>
				 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."
				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.
				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.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.)
				<signed>L.R.L.</signed>
				<signed/>
			</div>
			<div>
				 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.
				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.
				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>
				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.
				<signed>J.B.</signed>
			</div>
			<div>
				 What kind of socialist-feminist-artist am I?
				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?
				What kind of feminist artist sees pink as a private color to be sparingly
					used?
				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.
				Socialism without feminism is still patriarchy. But more smug. Try to imagine a
					classless society run by men. 
				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.
				I believe every woman's life is a little better because of what we are doing.
				<signed>M.S.</signed>
			</div>
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Juggling Contradictions: Feminism, the Individual and What’s Left

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 	<div><pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_090.jpg"/>
 <head><title level="a">Juggling Contradictions: Feminism, the Individual and What's Left</title></head>
 <byline><persName>Joan Braderman</persName></byline></div>
 <div>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. 
 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 Heresies 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.
 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 essen- tial 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.
 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. 
 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?
 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 teminist
 academic, professional, journalist, TV persona; the feminist token with that "feminist
 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 woman in a world that calls people "mankind." That is, "equality"
 for women still equals inequality for women. This is a contradiction.
 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 are members of the bourgeoisie.
 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"><persName key="Juliet Mitchell" ref="http://www.wikidata.org/entity/Q453560">Mitchell, Juliet</persName>, "<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 concept of equality 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 as if
 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.
 Radical feminism has tried to take on this contradiction indeed proclaimed it the
 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?
 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?
 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 (for a price), 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. 
 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 ideology. 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 the contradiction which <persName key="Marxism" ref="http://dbpedia.org/resource/Marxism" type="real"><orgName key="Marxist" ref="http://www.wikidata.org/entity/Q12716775">Marxists</orgName></persName> claim moves history, because it produces class struggle: the
 power of masses of people to labor becomes the power to revolt.
 This contradiction has 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.
 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"><persName key="Sheila Rowbotham" ref="http://www.wikidata.org/entity/Q432851">Rowbotham, Sheila</persName>,
 <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 <persName key="Fourier, Charles" ref="http://vocab.getty.edu/ulan/500069988" type="real">la 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>
 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 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>, <orgName key="Vintage Books" ref="http://www.wikidata.org/entity/Q3560313">Vintage Books</orgName> (<placeName key="New York City" ref="http://www.wikidata.org/entity/Q60">New York</placeName>, 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"/> per se 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.
 When feminists claim that "the personal is political<seg type="keyword">personal is political</seg>" 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.
 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 key="Mitchell, Juliet, 1940-. | Psychoanalysis and feminism" ref="http://viaf.org/viaf/4238151051781333530003/">Feminism and
 Psychoanalysis</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
 can exist.
 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."
 
 <persName key="Friedrich Engels" ref="http://www.wikidata.org/entity/Q34787">Engels</persName>, <persName key="Karl Marx" ref="http://www.wikidata.org/entity/Q9061">Marx</persName> 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?
 Not significantly; not yet. The major 20th-century socialist revolutions have made some
 progress, removing, as in <placeName key="People's Republic of China" ref="http://www.wikidata.org/entity/Q148">China</placeName>, 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 <persName key="Joseph Stalin" ref="http://www.wikidata.org/entity/Q855">Stalin</persName>ist 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 <orgName key="Soviet Union" ref="http://www.wikidata.org/entity/Q15180">U.S.S.R.</orgName>, 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.
 The <orgName key="Communist Party USA" ref="http://www.wikidata.org/entity/Q308714">American Communist Party</orgName> reflects this tendency, still defending the
 "fighting family unit" as a revolutionary force—in <placeName key="United States of America" ref="http://www.wikidata.org/entity/Q30">America</placeName>, a reactionary notion. In
 fact. mothers have been strong revolutionaries. The strength of the women of <placeName key="Vietnam" ref="http://www.wikidata.org/entity/Q881">Vietnam</placeName> in
 the long battle to defeat American imperialism is a case in point. But, as in <placeName key="Algeria" ref="http://www.wikidata.org/entity/Q262">Algeria</placeName>,
 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 <persName key="Bolsheviks" ref="http://www.wikidata.org/entity/Q83372" type="real"><orgName key="Bolsheviks" ref="http://www.wikidata.org/entity/Q83372">Bolsheviks</orgName></persName> 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.
 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>
 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.
 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. 
 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">Ms. Magazine</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. 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?
 Witness a little linguistic contradiction and the issues it raises for us in Heresies.
 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<term/> 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. 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 mas-
 tery of machine technology. For women, that technology and the authority it connotes has
 been historically taboo. There are exceptions in the history of film <note type="scholarNote">I and others have written elsewhere about the history of women
 directors. See my article in <title><title key="Artforum" ref="http://www.wikidata.org/entity/Q386599">Artforum</title></title> (Sept.
 1972) and <persName key="Sharon Smith Kane" ref="http://www.wikidata.org/entity/Q110231123" type="real">Sharon
 Smith</persName>'s <title><title><title>Women Who Make Movies</title></title></title>,
 Hopkinson and Black (New York, 1975).</note> 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.
 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><title key="Film and the Radical Aspiration" ref="http://www.focorevistadecinema.com.br/FOCO8-9/michelsonradicaldveng.htm">Film and the
 Radical Aspiration</title></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 from within patriarchal capitalism actually threaten it? This
 has been and will be an area of debate for many political estheticians and ar- tists and
 can hardly be answered here.
 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 depend- ence. 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"><persName key="Julia Reichert" ref="http://www.wikidata.org/entity/Q1711898">Julia Reichert</persName></persName>, <persName key="Yvonne Rainer" ref="http://www.wikidata.org/entity/Q452238"><persName key="Yvonne Rainer" ref="http://www.wikidata.org/entity/Q452238">Yvonne Rainer</persName></persName>, <persName key="Barbara Kopple" ref="http://www.wikidata.org/entity/Q449349" type="real"><persName key="Barbara Kopple" ref="http://www.wikidata.org/entity/Q449349">Barbara
 Kopple</persName></persName>, <persName key="Chantal Akerman" ref="http://www.wikidata.org/entity/Q239823"><persName key="Chantal Akerman" ref="http://www.wikidata.org/entity/Q239823">Chantal Ackerman</persName></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 <orgName key="New Day Films" ref="http://www.wikidata.org/entity/Q16253555">New
 Day Films</orgName>, are beginning to form; they are collectives like Heresies. 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.
 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.
 Several feminist strategies for such a realignment of women with the broader struggle
 for freedom are presented in this issue of Heresies (see "<title>Toward
 Socialist-Feminism</title>" and "<title key="Wages for housework" ref="http://www.wikidata.org/entity/Q7959525">Wages for Housework</title>"). 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.</div>
 </body>

<back>
			<div>Joan Braderman is completing her doctorate in film and political theory at
					<orgName key="New York University" ref="http://www.wikidata.org/entity/Q49210">N.Y.U.</orgName>, writes theory and criticism and makes 16mm films. She teaches
				film at <orgName key="School of Visual Arts" ref="http://www.wikidata.org/entity/Q1279835">The School of Visual
					Arts</orgName> in <placeName key="New York City" ref="http://www.wikidata.org/entity/Q60">New York City</placeName>, is a
				political activist and likes to sing. </div>
		</back>

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