Upcoming Issues Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="https://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?> <?xml-model href="https://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="https://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css"?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Upcoming Issues</title> <author>Joan Braderman</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title level="a">Juggling Contradictions: Feminism, the Individual and What's Left</title> <author> <surname>Braderman</surname> <forename>Joan</forename> </author> <date when="1977-01">January 1977</date> <textLang xml:lang="eng"/> </analytic> <monogr> <title level="j">Heresies #1: Feminism, Art and Politics</title> <imprint> <publisher ref="https://www.wikidata.org/wiki/Q20857976">The Heresies Collective</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> <biblScope unit="issue">1</biblScope> <biblScope unit="page">88-93</biblScope> </monogr> <series> <title level="s">Heresies: A Feminist Publication on Art and Politics</title> <idno type="Wikidata">https://www.wikidata.org/wiki/Q17022558</idno> <idno type="ISSN">0146-3411, 2469-4908</idno> </series> </biblStruct> </sourceDesc> </fileDesc> </teiHeader> <text> <body> <div> <pb n="113" facs="https://raw.githubusercontent.com/djakacki/heresies/refs/heads/main/issue01/images/01_115.jpg"/> <head>WE ARE SOLICITING MATERIAL FOR THE NEXT THREE ISSUES OF HERESIES</head> <p>Patterns of Communication and space Among Women: architectural, social and sexual networks; interactions (past and present) between women — letters, diaries, conversations, groups; the politics of fashion and the body; use and experience of space, narrative, and art; women as a politically demonstrative force; questioning the public / private dichotomy; science fiction, humor, photography, film. <emph>Deadline: mid-February</emph>.</p> <p>Lesbian Art and Artists: the political implica- tions of lebian art forms; the image of lesbians in art; collectivity— getting rid of the male ego; the relationship between eroticism and the intellect; the lesbian as monster; androgyny; passionate friendships; research, documentation and analysis of past lesbian artists and their work; dialogue between contemporary lesbian visual and literary artists; class analysis of lesbian models; lesbian art, form and content: hotography; creative writing. <emph>Deadline: mid-April</emph></p> <p>Women's Traditional Arts and Artmaking: decoration, pattern, ritual, repetition, opulence, self-ornamentation; arts of non-Western women; breaking down barriers between the fine and the decorative arts; the effect of industrialization on women's work and work processes; the exclusion of women's traditional arts from the mainsteam of art history. <emph>Deadline: mid-October.</emph></p> </div> <div> <head>Guidelines for Prospective Contributors:</head> <p>The HERESIES collective wishes to solicit material for future issues. Themes and deadlines for these issues will be announced well in advance. Manuscripts (1,000-5,000 words) should be typewritten, double spaced on 8½ x 11“ paper, and submitted in duplicate. We welcome for consideration either outlines or description of articles, or finished manuscripts with bibliographic foot notes (if necessary) at the end of the paper in numerical order. Writers should feel free to inquire about the possibility of an article. If you are submitting visual material, please send a photograph, xerox, or description ( please do not send the original). All manuscripts and visional material must be accompanied by a stamped self-addressed envelope. HERESIES will pay a fee of $5-$50, as our budget allows, for published material, and it is our hope to offer higher fees in the future. There will be no commissioned articles and we cannot guarantee acceptance of submitted material. We will not include reviews or monographs on contemporary women.</p> </div> </body> </text> </TEI>
She Sees in Herself a New Woman Everyday Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>She Sees n Herself a New Woman Every Day</title> <author>Martha Rosler</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Lyndon Beier</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-Present)</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Patterns of Communicating and Space Among Women</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> </teiHeader> <text> <body> <pb/> <div> <pb n="90" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_090.jpg"/> <head>SHE SEES IN HERSELF A NEW WOMAN EVERY DAY</head> <byline>MARTHA ROSLER</byline> <p> I called you today, we spoke a long time, you and I. You were in a good mood, a mellow one. You'd just seen your sister, your brother-in-law was having his eighty-first birthday. Your sister was married to him for 49 years this January. You asked me how my new house was, how my job was, did I have enough money Somewhere in the conversation you said, "After all, you're standing on your own two feet now.... You said it, you said I'm standing on my own two feet.... I remember when I was little, I'd want to stay home from school—I hated the yeshiva, I hated it for eight years, in the fourth grade I said, thank you God, thank you God, only four more years of this I used to want to stay home but you wouldn't let me. Daddy would let me stay home... but he would never want to tell you. He would tell me, "A lie of omission is not the same as a lie of commission. You used to come home from teaching school at three o'clock in the afternoon, but the yeshiva didn't let out until 4:30. You used to come in and go out again because you were very busy —you were a very busy woman — you had a lot to do. So—Daddy had a very simple solution. At five to three I would hide in the closet in my bedroom. He would hide me in the closet. I would hide there until almost four o'clock. I would hide in the closet so you wouldn't know I wasn't in school. The closet had a closet inside it —I know this is very peculiar now, but I didn't know it then. In the front part of the closet were a lot of clothes, and my father's graduation picture, his graduation from law school: St. Lawrence University, Brooklyn Law School, 1932. That meant he went to law school at night. I used to look at his picture in the closet — his diploma too — and wonder why it was there. In the front part of the closet with his picture were a lot of clothes. And in the back, past the first clothes rack, was a smaller closet, a creep-in closet. And in between the two, on a kind of sill, were a lot of shoes, old shoes. Your old shoes. You used to wear really serviceable, cheap shoes when you taught. Every day you wore sensible, cheap, serviceable and sturdy shoes but in the closet there were wonderful shoes —silver dancing shoes with high heels and buckles, silver dancing shoes from the 1920s or 30s, laced with thin silver laces. I used to wonder what they'd be like on your feet —you had such sturdy legs, sturdy, serviceable sensible legs.... I'd hide in the closet, and I'd look at your shoes, and I'd sit down among them and wait for you to walk out the door.</p> <p>You always thought that dressing up was very important. I'm sure you believe that clothes make the man—and the woman—but I always felt that shoes made the woman. You'd always dress me up for photos, in costumes that other people gave you. I always wore everyone else's hand-me-downs, it was such a sensible thing to do. You'd dress me up for photos, I remember. I remember one I still have it, or you do I was wearing a scotch plaid dress, a little blonde jewish girl with a dutch haircut in a scotch plaid dress —you made me hold it out in a semicircle as though I were squaredancing - and on my head was a little scotch cap. I was smiling, Ihad a tooth missing. I was wearing plain brown shoes, laced oxfords. You were not very interested in the shoes I wore for these photos. You always insisted I had to get sensible ones, so my feet would grow right, and I always wore Stride Rite shoes. But once you took me, when I was five or six, to get a pair of mary-janes that had—a buckle. Two buckles —that's it, they had two straps and two buckles. And the two straps lay across my feet like two hard fingers grip- <pb n="91" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_091.jpg" /> ping them, in such a way that the bone between them was pressed upward. They pressed on this bone in the most peculiar way and I'd say, "mommy, mommy, mommy —these're, these're pressing on my feet, they're pressing on my feet and my feet are getting to be shaped funny. You said, "No, these shoes are good. They're expensive shoes. These are good shoes. These shoes are good for you. And so I have, on each foot, a bone that protrudes on the top, because of these shoes that pressed my feet into a funny shape.</p> <p>I remember once, the teacher called you from school and said, “Her boots don't fit. And you said, “But they're new boots." But those boots —those boots were someone else's boots, they were hand-me-down boots. I think they were hand-me-down boots, or maybe they were new boots. They were size 8. You always bought me things very large, so I would grow into them. Now you want me to dress my child in enormous clothing, so he'Il grow into it. These boots were size 8. I wore size 4. “Never mind," you said, "you'll grow into them." I wear size 6 today. But you were sure I'd grow into those size 8 red rain boots. The teacher called to say, "She can't walk in her boots, they keep doubling up under her feet every time she takes a step; maybe she's got the wrong boots. You'd better come get her, it's raining out and she needs her boots."</p> <p>There were times that I recall being at your feet, on my hands and knees. From the time I was about 10, you and I used to be alone all week in the country house together, in your sister's country house, while Dad worked in the city. I'd always want to stay up at night and read. I read a lot, I loved to read. It was my one chance for privacy. All day I was away, swimming. I'd swim in the lake from early morning till lunch, hop out, climb up the bank, eat some lunch, and hop back in. Creeping, as it were, past you, doing the crawl. But I'd have to come out at dinner time and endure all through dinner. In the evening I just wanted to read. But you always wanted to go to bed early. There were four bedrooms in the house, but you always insisted that we sleep in the same one, so as not to get the others dirty. You always reminded me that it wasn't our house. So, at about 9:30 or 10 we'd have to get into bed, you into yours and I into mine, and turn out the light and go to sleep. But I'd never be tired. So I'd lie there, and count your breaths: Listen, and listen, and listen and... I'd sli-i-ide down the side of my bed, cre-e-ep on my hands and knees —holding the book, try ing to get out the door and into the bathroom, where I would read by the night light you always left burning. MOST of the time, though, you'd give a start and: "what's that, what's that?" You'd get up, see me, grab me, and knock me around. You used to threaten to get your shoe, but you always made do with your fist, some times you'd choke me a bit. When I got a little older I wasn't so interested in read ing; I'd set my hair every night with bobby pins and little rollers, the way my girlfriend Rosemarie taught me. On warm evenings we'd pretend to take a walk together but really we'd stand by the side of the road, in the driveway, with our chests puffed out and our bellies sucked in, in short shorts and little clingy jerseys, barefoot or in sandals. We'd strike bathing-beauty poses and stand stock-still, waiting for the boys in their low-slung souped-up cars to drive by and whistle and leer and make the sound of kisses. </p> <p> I remember once seeing your shoe, as it came up to hit me in the ear. I was about 17, and I thought you were out of the house. I was on the telephone to my girl friend. She was somebody I liked a lot but I was kind of afraid of her because she went to the High School of Music and Art where I'd wanted to go but you wouldn't let me because it was too far away —and you were probably right — it was too far away — to travel from Brooklyn almost to the Bronx —or so it seemed, that it was too far —anyway, I was on the phone, and I thought you had stepped out, and I was lying on the floor in my room, talking on my phone. It was my phone because once my brother called up to speak to me and Daddy answered the phone and he didn't know who it was, and he said, "Who is this?" and Larry, realizing that he didn't know it was his own son, said, "Is Martha home?" And Dad said, "WHO IS THIS?? WHY DO YOU WANT TO SPEAK TO HER? WHADDOYOU, WHADDOYOU WANT WITH HER?" ...And so Larry got me a phone; he was upset by that kind of behavior. He thought it was an invasion of privacy. I thought it was normal. Anyway...so there I was, on my phone, on my floor, smoking a cigarette. See, that was the kicker —I was smoking a cigarette. I was forbidden to smoke. I can understand, I'm a mother too, that you were protecting my health. Anyway, you came in and you saw me lying on the floor and you kicked me in the head. I'm sure you were aiming at the cigarette, but you got me right in the ear. Luckily, I wasn't deafened. However. I never spoke to that friend again.</p> <p>I used to really believe that shoes made the woman. I would buy a new pair of high-heeled shoes, you know the kind that people —that women — wore when I was growing up, do you remember those? Very high, very high pointy spike heels with pointy toes? And I'd buy 'em and I'd think, “Tonight's the night...a date... romance...dance... and I'd go out. And they'd be fine. They'd be fine for a while and then I'd realize they were pressing on a nerve; they always pressed on a nerve. They were fine in the shoe store, and I always thought, “These are better, these are different, these really feel fine, and I'd make it about, oh, a quarter of the way through the evening and I'd have to take my shoes off. Now, if there's one thing that a woman wasn't supposed to be, it was flat-footed on her own two feet; I mean, flats were for lower-class girls; nobody wore flats. And nobody walked around without their shoes, not if you wanted to keep your reputation. So there I was, spending the evening at a dance without my shoes and having to go home, through the streets of New York City, freezing cold in tattered stockings and I'd say..."I made that mistake again."</p> <p>Cinderella was oppressed; she was treated badly. She was given only crusts and scraps to eat and old cast-offs to wear. Often she had to go without shoes. She had to perform endless household chores. The chill and the lack of food made her light-headed. She was very unhappy and could only escape through daydreams. Nobody thought of training her to be a lady.</p> <p>Her stepsisters were given all the advantages; their every move was scrutinized and corrected, their diets were watched. They had the fanciest clothes, the most fashionable little slippers and boots. Their mother planned to make them ladies who would rise above her own station. When the prince's emissary brought around the mysterious lost slipper, Cinderella's stepmother made her older daughter cut off her heel and her younger daughter cut off her big toe to try to fit the test.</p> <p>This piece was originally presented as a performance.</p> </div> </body> <back> <p>Martha Rosler is an artist living in Encinitas, California, who works with photography, video, texts and postcards. Her book, Service: A trilogy on colonization, is being published by Printed Matter Inc.</p> </back> </text> </TEI>
On Woman's Refusal to Celebrate Male Creativity Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>On Woman's Refusal to Celebrate Male Creativity</title> <author>Rivolta Femminile</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic><title>Heresies: Issue 1</title></analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. 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"Lucy Wadsworth" }, "oa:motivatedBy": "oa:identifying", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/rivolta2_0_0_0.xml?work_annotation_20250422144035358#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/rivolta2_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/rivolta2_0_0_0.xml?work_annotation_20250422144035358#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div/quote/title" } }, "oa:hasBody": { "@type": "bf:Title", "@id": "http://www.wikidata.org/entity/Q42245141", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" }, "cwrc:hasCertainty": "cwrc:high" }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <front> </front> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_102.jpg"/> <body> <div><head><title>On Woman's Refusal to Celebrate Male Creativity</title></head> <byline>Rivolta Femminile</byline> <note type="scholarNote">Text written by Rivolta Femminile, March 1971; free translation by <persName key="Arlene Ladden" ref="http://www.wikidata.org/entity/Q106878856">Arlene Ladden</persName> from Carla Lonzi, Sputiamo su Hegel: La Donna clitoridea e la donna vaginale e altri scritti, Scritti di Rivolta Femminile, 1, 2, 3, Milan, 1974.</note> <quote> Rivolta Femminile is an Italian group of radical feminists founded in Rome in July 1970, now associated with other feminist groups in Milan, Turin, Genoa and Florence. They have consistently resisted hierarchal structures and male-dominated institutions and their development of feminist theory has been detailed in publications such as <persName key="Carla Lonzi" ref="http://www.wikidata.org/entity/Q3658850">Carla Lonzi</persName>'s <title key="Sputiamo su Hegel" ref="http://www.wikidata.org/entity/Q42245141" cert="high">Sputiamo su Hegel</title> (1970) and <title level="m">La Donna clitoridea e la donna vaginale</title> (1977), the collective's <title><emph>Sessualita femminile e aborto</emph></title> (1977) and <persName key="Carla Accardi" ref="http://www.wikidata.org/entity/Q2939027">Carla Accardi</persName>'s <title><emph>Superiore e inferiore</emph></title> (1972). The latter records the author's dismissal from her job after discussing the Rivolta Femminile manifesto with her female high school students. All publications are available from Rivolta Femminile, Via del Babuino 16, Rome, Italy.</quote> <div><p>We in Rivolta Femminile refuse to pay tribute to male creativity because we are aware that in the patriarchal world—that is, in a world made by men and for men—even the liberating force of creativity is the prerogative of men. Woman—in so many ways a subsidiary being—is denied every role which could effect a recognition of these inequities. For her, there is no prospect of liberation.</p> <p>The creativity of men speaks to the creativity of other men while woman, as client and spectator of that dialogue, is assigned a status which excludes competition. Woman is locked into a role which, <lang><emph>a priori</emph></lang>, assures the male artist an audience. While <emph>creating</emph> art is seen to have a liberating function, art as an institution insists that woman be the neutral witness to the work of others. Man's energy, even in art, is spent by competing with other men. Only the contemplation of art invites woman's involvement.</p> <p>This is the nature of patriarchal creativity: to depend upon aggressive competition with male rivals and on the passive appreciation of women. Man, the artist, feels abandoned by woman as soon as she abandons her archetypal spectator's role; their mutual solidarity rests solely on <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_103.jpg"/> the conviction that, as a spectator gratified by creativity, woman reaches the highest possible point in the evolution of her species.</p> <p>But, on the contrary, woman is discovering that the patriarchal world <emph>needs</emph> her—that man's self-liberating efforts absolutely depend on her—and that <emph>woman's</emph> liberation can only be realized independent of patriarchal previsions and the dynamics by which men liberate themselves. The artist depends upon woman to glorify his work and she, until she begins her own liberation, is happy to oblige. The work of art cannot afford to lose the security inherent in her exclusively receptive role.</p> <p>Once aware of her position in relation to male creativity, woman is left with two possibilities: the first—until now, the only available option—of distinguishing herself within the creative hierarchy historically defined by men (which alienates her from other women while men recognize her only indulgently); or—the feminist alternative—of autonomously recovering her own creativity, nourished by her awareness of past oppression.</p> <p>To celebrate male creativity is ultimately to submit to the historic sovereignty of men, to that patriarchal strategy which deliberately subjugates us. But let woman remove herself, and the struggle for male supremacy becomes not man lording it over woman, but merely a struggle between individual men.</p> <p>By refusing to celebrate male creativity, we are not judging creativity, nor are we contesting it. Rather, with our absence, we are refusing to accept it as defined; we are challenging the concept of art as something which men graciously hand down to us. By ceasing to believe in a refracted liberation, we are unleashing creative energy from patriarchal bonds.</p> <p>With her absence, woman performs a dramatic act of awareness, creative because it <emph>is</emph> liberating. </p> </div> </div> </body> </text> </TEI>
Fays, Floozies and Philosophical Flaws Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>Fays, Floozies and Philosophical Flaws</title> <author>Arlene Ladden</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic><title>Heresies: Issue 1</title></analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118738", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.738Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118738#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118738#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "\"An Exhortation to Theodore after His Fall,\" in A Select Library of the Nicene and Post-Nicene Fathers, ed. Philip Schaff et al. (New York, 1889), IX, 103-104." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118739", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.739Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118739#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118739#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[2]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "From the Carmen de Mundi contemptu, quoted in Not in God’s Image, ed. J. Ofaolain and L. Martines (New York, Harper and Row 1973), p. xlij. St. Odo of Cluny had earlier phrased this with almost identical wording in his Collationes, lib. 2, cap. 9 (in J. P. Migne’s Patrologia Latina (Paris, 1844-82). CXXXIII, 556), while Ancrene Riwle (below) directly refers to a similar expression in St. Bernard's Meditationes Plissimae de Cognitione Humanae Conditionis, cap. 3 (Migne, op, cit., ClXXXIN 489); The key phrases are \"stercoris saccum” and saccus stercorum” —literally, a bag of shit." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118740", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.740Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118740#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118740#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[3]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "The Early English Text Society's Ancrene Riwle, ed. E. J. Dobson (London, 1972), pp. 202-203; author's translation." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118740", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.740Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118740#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118740#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[3]/note[2]" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Salimbene, in From St. Francis to Dante: Translations from the Chronicle of the Franciscan Salimbene (1221-1288). 2nd ed., ed. and trans. G.G. Coulton (London, 1907), p. 97. and Tertullian, quoted in G.L. Simon's A History of Sex (London, New English Library, 1970). p. 71" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118741", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.741Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118741#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118741#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[3]/note[3]" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": " From La Clef d'amor and La Cour d'aimer in Nina Epton's Love and the French (London, 1959), pp. 30ff " }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118742", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.742Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118742#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118742#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[8]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "For troubadour biographies, I have consulted Jehan de Nostredame, Les Vies des Plus Celebres et Ancien: Poetes Provencaux, ed. Camille Chabaneau (1913; rpt Geneve, 1970—first published in 1575); La Curne de Sainte-Pelaye, Histoire Litteraire des Troubadours (1774 rpt. 3 vols. in 1, Genève, 1967); and Victor Balaguer, Los Trovadores, 2nded. (Madrid, 1883). 4 vol." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118742", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.742Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118742#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118742#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[10]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Jaufre was not the onty fatality of romance. Andrieu of France—eulogized by at least six troubadours —also fell victim to “too much love\" and hed never set eyes on his lady either. See Jehan de Nostredame, op. cit., pp. 166, 180" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118743", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.743Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118743#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118743#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[12]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Plutarch’s Lives, trans. Langhorne (London, Frederick Warne, n.d.). IV, 37" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118743", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.743Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118743#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118743#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[14]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Ovid's Remedia Amoris, line 405; Rolfe Humphries' translation in The Art of Love (Bloomington, 1957) p. 193" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?person_annotation_20230423153503042", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:35:03.042Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:identifying", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?person_annotation_20230423153503042#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?person_annotation_20230423153503042#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[4]/persName" } }, "oa:hasBody": { "@type": "cwrc:NaturalPerson", "@id": "http://www.wikidata.org/entity/Q4340", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?person_annotation_20230423153745957", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:37:45.957Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:identifying", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?person_annotation_20230423153745957#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": 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angels laughed at me from the heavens (Raimbaut d'Orange, while some less gracious ladies chuckled from the wings.)</caption></figure> <p>The attitudes in <emph>True Romances</emph> (and in most of our pasts) originally shone forth from 12th-century troubadour poetry and even then they were a little tarnished. Chaste, idealistic and upper-class, medieval troubadour poetry supposedly countered a strong tradition of misogyny. It also supposedly elevated woman by upholding that same feminine mystique which, for centuries, the Christian fathers had diligently tried to demolish: "Corporeal beauty is nothing else but phlegm, and blood, and humor, and bile, and the fluid of masticated food...." said <persName key="John Chrysostom" ref="http://www.wikidata.org/entity/Q43706">John Chrysostom</persName>, a saint, in the 4th century. "When you see a rag with any of these things on it, such as phlegm, or spittle, you cannot bear to touch it even with the tips of your fingers. . . . Are you in a flutter of excitement about the storehouses and depositories of these things?" <note type="researchNote">"An Exhortation to Theodore after His Fall," in <title key="Nicene and Post-Nicene Fathers" ref="http://www.wikidata.org/entity/Q16152258" level="m">A Select Library of the Nicene and Post-Nicene Fathers</title>, ed. <persName key="Philip Schaff" ref="http://www.wikidata.org/entity/Q115922" type="real">Philip Schaff</persName> et al. (New York, 1889), IX, 103-104.</note></p> <p>Woman was so many layers of mucous membrane. And writings from 6 and 7 centuries later attest to the muddy strides saints and clerics had taken in the interim: "If her bowels and flesh were cut open, you would see what filth is covered by her white skin. If a fine crimson cloth covered a pile of foul dung, would anyone be foolish enough to love the dung because of it?" <note type="researchNote">From the <emph>Carmen de Mundi contemptu</emph>, quoted in <title><emph>Not in God’s Image</emph></title>, ed. <persName key="Julia O'Faolain" ref="http://www.wikidata.org/entity/Q6306620">J. Ofaolain</persName> and <persName key="Lauro Martines" ref="http://www.wikidata.org/entity/Q63718996">L. Martines</persName> (New York, Harper and Row 1973), p. xlij. <persName key="Odo of Cluny" ref="http://www.wikidata.org/entity/Q454553">St. Odo of Cluny</persName> had earlier phrased this with almost identical wording in his <emph>Collationes</emph>, lib. 2, cap. 9 (in <persName key="Jacques Paul Migne" ref="http://www.wikidata.org/entity/Q326431">J. P. Migne</persName>’s <title key="Patrologia Latina" ref="http://www.wikidata.org/entity/Q548044" level="m">Patrologia Latina</title> (Paris, 1844-82). CXXXIII, 556), while Ancrene Riwle (below) directly refers to a similar expression in St. Bernard's <title>Meditationes Plissimae de Cognitione Humanae Conditionis</title>, cap. 3 (Migne, op, cit., ClXXXIN 489); The key phrases are "stercoris saccum” and saccus stercorum” —literally, a bag of shit.</note> Now, woman was simply so much manure smattered across the coprophagous pages of Christian doctrine.</p> <p> The wheels of progress kept on turning. A 13th-century work addressed itself specifically to women—three worthy recluses: "What fruit does your flesh yield from all its openings?" began their catechism. "Between the taste of mouth and smell of nose, aren’t there holes like two privy holes? Aren't you born of foul slime? Aren't you worm-food?" <note type="researchNote">The Early English Text Society's <title key="Ancrene Wisse" ref="http://www.wikidata.org/entity/Q489442" level="m">Ancrene Riwle</title>, ed. <persName key="Dobson, James E." ref="http://viaf.org/viaf/187144782706114501587/">E. J. Dobson</persName> (London, 1972), pp. 202-203; author's translation.</note> To the Church, woman was simply full of shit. Yet this was the legacy bequeathed to the Middle Ages where the love of woman was a cult—an absolute prerequisite for respectability. And love flourished. Of course, misogyny continued to flourish too. Woman would still be called "a stinking rose" and "glittering mud” and "a temple built over a sewer." <note type="researchNote"><persName key="Salimbene" ref="http://www.wikidata.org/entity/Q108446705">Salimbene</persName>, in <title>From St. Francis to Dante: Translations from the Chronicle of the Franciscan Salimbene</title> (1221-1288). 2nd ed., ed. and trans. <persName key="Coulton, G.G. (George Gordon), 1858-1947" ref="https://www.wikidata.org/wiki/Q1998582">G.G. Coulton</persName> (London, 1907), p. 97. and <persName key="Tertullian" ref="http://www.wikidata.org/entity/Q174929">Tertullian</persName>, quoted in G.L. Simon's <title level="m">A History of Sex</title> (London, New English Library, 1970). p. 71</note> But, as sister to <persName key="Mary" ref="http://www.wikidata.org/entity/Q345" type="real">Mary</persName>, she was also the mystical elevator of the masculine soul which, by its nature, gravitated toward perfection. By merely contemplating woman in her golden radiance, man could rise to spiritual heights in a kind of "gilt" by association. For somewhere between the muddy slime and the hazy castle spire, a new woman had been spawned. Like the enchanted fay (fairy) of Celtic lore, she moved softly, gliding over but never touching terra firma, surrounded by auras so fragile that they were better left unpenetrated. But these were beautiful, mysterious and promising auras, and scribes feverishly copied down the formulas for keeping them intact: "If you have ugly teeth, don't laugh with your mouth open." "Practice making pretty speeches." "Dye your hair; wear false hair if you have lost your own." <note type="researchNote"> From L<title>a Clef d'amor and La Cour d'aimer</title> in <persName key="Nina Epton" ref="http://www.wikidata.org/entity/Q18705131">Nina Epton</persName>'s <title>Love and the French</title> (London, 1959), pp. 30ff </note></p> <p> <persName key="Andreas Capellanus" ref="http://www.wikidata.org/entity/Q4340">Andreas Capellanus</persName>, <persName key="Jacques D'Amiens" ref="https://www.wikidata.org/wiki/Q95795577">Jacques D'Amiens</persName>, <persName key="Robert de Blois" ref="http://www.wikidata.org/entity/Q1774110">Robert le Blois</persName>, <persName key="Garin lo Brun" ref="http://www.wikidata.org/entity/Q1778218">Garin le Brun</persName>, <persName key="Drouart la Vache" ref="http://www.wikidata.org/entity/Q54834439">Drouart la Vache</persName>, <persName key="Pierre Ermangaud" ref="http://www.wikidata.org/entity/Q20922145">Ermangaud</persName> and <persName key="Richard de Fournival" ref="http://www.wikidata.org/entity/Q2121581">de Fournival</persName> —all added their instructions to the heap: Lie. Cheat. Drop names, if you have to. Drop dead, if you have to. Anything.</p> <p> Maintaining the mystique was the important thing, and that meant keeping the distance. It meant the ecstasy was in the wooing while sex lay in the winding down. Even the ladies understood that attainment decreased their value, and many who loftily kept their suitors well below thigh level would rather have had it otherwise. After all, as even the ladies knew: a <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_045.jpg"/> lover is a vision surrounded by auras. But flesh and blood is flesh and blood... and phlegm and dung and mucous and bile and etc.</p> <p> Once woman ceased to be a symbol, she became a person, a passion, a robber of reason–a literal and metaphorical scum-bag.</p> <p> No wonder the ladies were afraid to submit. With submission, love and its raison d'être became the discarded backdrop for a fait accompli. The love was no longer ennobling (ergo: the animal soul pawed and dragged down its rational counterpart), and the woman was no longer mounted on a pedestal (ergo: with the man on top, she was mounted, period). And man's desire—well, that often died along with his suffering.</p> <p> It's natural, then, that the really legendary lovers chose the most distant and unattainable objects they could conceive of. <persName key="Guilhem de la Tor" ref="http://www.wikidata.org/entity/Q3779564">Guilhem de la Tour</persName>, for instance, loved the woman he lived with. <note type="researchNote">For troubadour biographies, I have consulted <persName key="Jean de Nostredame" ref="http://www.wikidata.org/entity/Q1218411">Jehan de Nostredame</persName>, <title>Les Vies des Plus Celebres et Ancien: Poetes Provencaux</title>, ed. <persName key="Camille Chabaneau" ref="http://www.wikidata.org/entity/Q1029137">Camille Chabaneau</persName> (1913; rpt Geneve, 1970—first published in 1575); <title>La Curne de Sainte-Pelaye</title>, <title key="La Curne de Sainte-Palaye, Jean-Baptiste de, 1697-1781. | Histoire littéraire des troubadours" ref="http://viaf.org/viaf/516154387331530970006/">Histoire Litteraire des Troubadours</title> (1774 rpt. 3 vols. in 1, Genève, 1967); and <persName key="Víctor Balaguer i Cirera" ref="http://www.wikidata.org/entity/Q713246">Victor Balaguer</persName>, <title>Los Trovadores</title>, 2nded. (Madrid, 1883). 4 vol.</note> Now such women were worn on everyday occasions and were inevitably mundane. But Guilhem's enamorata was unearthly; in fact, she was dead. On the eve of her burial, Guilhem visited her grave and, after ten days of morbid embracing and poignant conversation (she was a good listener), he went home firm in the belief that she would rise from her tomb and come back to him. She didn't. But for years, it was only <persName>Beatrix</persName> he longed for. She was the perfect lover—mystical ethereal and unobtrusive. It was a passion that rivaled even <persName key="Jaufré Rudel" ref="http://www.wikidata.org/entity/Q5260">Jaufre Rudel</persName>'s.</p> <p> Jaufre Rudel was ingenious. In an age which valued prolonged desire, he contrived a wonderful device. He fell in love with the <persName key="Hodierna of Jerusalem" ref="http://www.wikidata.org/entity/Q53114">Countess of Tripoli</persName>—a woman he had never seen but whose beauty had filled his imagination so enchantingly that southern France became a glorious vantage point. And so it remained for several years until, despite the protests of his friends and patron, he resolved at last to cross the ocean to be near her. </p> <p>Maybe he just got sick. Or maybe, as his biographers prefer to believe, the anticipation of seeing her was too much for his little heart to bear. In any case, as the boat was approaching Tripoli, he apparently expired. But only apparently. For as the countess rushed to his side, her presence revived him and he pronounced himself fulfilled at last and died again in her arms— a self-extinction metaphorically equivalent to orgasm, but which Jaufre seems to have taken much too literally, since <persName key="Petrarch" ref="http://www.wikidata.org/entity/Q1401">Petrarch</persName> and other chroniclers affirm that this time he actually did die, and in all probability with his pants on. <note type="researchNote">Jaufre was not the onty fatality of romance. Andrieu of France—eulogized by at least six troubadours —also fell victim to “too much love" and hed never set eyes on his lady either. See Jehan de Nostredame, op. cit., pp. 166, 180</note> </p> <p> True, Jaufre was a strange and nearly legendary breed. But while to him sex must have seemed an unspeakable defilement, most were not so theoretical. Even troubadours who constantly reminded women that sex was debasing and honor was all had an ultimately sensua physicality in mind. Woman was like a fine wine. A man twirls it about, observes its color, its clarity, savoring its bouquet and rolling it around on his languishing taste-buds. And though the swallow is only the means to the end, the end is still very definitely in view. Most pleas for chastity were only lip-service. Even <persName key="Sordello" ref="http://www.wikidata.org/entity/Q665165">Sordello</persName>, a troubadour who repeatedly swore he'd rather die than see a lady even taint her honor, happened to kidnap a Veronese countess and that didn't help her honor a bit. Nor did it discredit his poetry. Such scandal was irrelevant. In fact, women were irrelevant. Love was the important thing and the trick was to keep it alive as long as possible, feeding it little by ever-so-little in an extended and delicious tease. Men could nudge at the gates to the ovarian fortress, but entrance, they knew should be delayed. The ultimate object was sex; men wanted what they waited for. They just didn't want it right away. And this largely explains why other men's wives proved such suitable candidates for adoration. Forbidden, illicit, deliciously dangerous—yet slightly damaged, they promised all the more to be ultimately affordable. They were perfectly fashioned for desire.</p> <p> Desire is a tricky business. In Greece <persName key="Plutarch" ref="http://www.wikidata.org/entity/Q41523">Plutarch</persName> had admired Spartan marriages where, for years, man approached his wife in darkness in secret and in haste "so as not to be satiated... there was still place for unextinguished desire." <note type="researchNote"><title key="Parallel Lives" ref="http://www.wikidata.org/entity/Q842337">Plutarch’s Lives,</title> trans. Langhorne (London, Frederick Warne, n.d.). IV, 37</note> It was a useful formula and was later picked up in the Middle Ages when the notion of infrequent and clandestine meetings was embraced a lot more than the ladies were. The medieval magic of love was uncertainty. Even the romances preserved this ideal. The lady could be snatched away at any moment by a darkening scandal or a jealous husband, or be absorbed into the ethers which spawned her disappearing into the mist on a white palfrey. The knight wanted her like that: distant, pure, mysterious, virginal —a blonde Mary ascending into <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_046.jpg"/> heaven, looming over the castle horizon with only a little soot on her feet suggesting that she didn’t belong there.</p> <p> Never mind that the only pure-white creature was the post-menopausal albino rabbit—or that even the ladies depicted in romance were potentially swivers of heroic proportions. Since sex distinguished the distant fay from the dung-filled floozy, relatively sexless love became prevalent, and many women—whether they liked it or not—played along.</p> <p> There were advantages, of course. Love became a rare delicacy whereas before it had been something like yesterday's leftovers. As <persName key="Ovid" ref="http://www.wikidata.org/entity/Q7198">Ovid</persName>'s classical formula goes: "Pleasure coming slow is the best"; <note type="researchNote"><title key="Remedia amoris" ref="http://www.wikidata.org/entity/Q1236392">Ovid's Remedia Amoris</title>, line 405; <persName key="Rolfe Humphries" ref="http://www.wikidata.org/entity/Q7360825">Rolfe Humphries</persName>' translation in <title>The Art of Love</title> (Bloomington, 1957) p. 193</note> meaning, the longer the foreplay the better the orgasm; meaning, some courtly couples, when they finally did come, must very nearly have blown their brains out.</p> <p> But some, for sure, were disappointed. Women were dropped, men bumbled like <persName key="Percival" ref="http://www.wikidata.org/entity/Q728510" type="fictional">Perceval</persName> or—like some knights in the bawdier tales— they'd win their ladies with lots of pomp and peter out before they could even open the package, their worlds ending not with a bang but a whimper. These were particularly grateful for courtly love.</p> <p> Courtly love was a game of foreplay whose rule was often touch and go; it was an answer (and a spur) to impotence. Some knights were barely post-pubescent and many were sexually insecure, preferring rich expectations to poor reputations and one-night stands. Better to tilt about the countryside, flaunting a passion and flailing a sword (the sword had always been a metaphor for penis—"vagina" is merely Latin or "sheath"), imagining a truly magnificent sexual prowess when the real thing was maybe limp by comparison. Love by its very nature was a test, and knights were afraid to take the exam. Or sometimes, it was better to put it off than to put it in.</p> <p> Love became formalized. The knight waxed and grew pale, and waxed, and waxed, and waxed. It was blissful and aggrandizing anticipation. Too bad if a lady sometimes felt cheated—if watching her knight charging and gleaming, she secretly wished hed get off his high horse and get down to business. What could the women do? Their iron-clad men performed in the tournaments. Ramming, sweating, thrusting and galloping. . . . Ah, those impervious men in the metal suits.</p> <p> ...The only things naked were their swords.</p></div> </body> <back> <div><p>Ariene Ladden is a poet, scholar and medievalist who teaches at LaGuardia Community College in New York. She is interested in "the forces motivating culture—especially the more absurd ones," and in this spirit is now working on a cultural history of sex and power. She is also co-authoring a textbook series on literature and creative writing for children.</p></div> </back> </text> </TEI>
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"https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_056.jpg"/> <div><head><title>ABCS</title></head> <byline><persName><persName key="Susan Yankowitz" ref="http://www.wikidata.org/entity/Q19517707" cert="high" type="real">Susan Yankowitz</persName></persName></byline></div> <div type="letter" n="a"> <head>AN APPLE</head> <p>Manuelo Manchik admires the apple before devouring it. He cups the thing in the palm of his hand, turning it this way and that; the light bounces off the curves of its golden skin. O golden delicious, you make a mouth water! The fruit is round and firm and fully packed; unlike the mealy banana, it will resist his teeth just a little. Again his mouth waters as he delays the coming pleasure. He cups the thing in the palm of one hand, stroking it with the other; it is smooth and cool beneath his fingers. O golden delicious, you do tempt a man! Yes there is no doubt, you were made to be eaten. He opens his mouth wide and chomps through to the core in a single bite. Two black seeds slither in a rill of juice down his chin.</p> </div> <div type="letter" n="b"> <head>BREASTS</head> <p>At a gathering of talents, artistic and profane, MM had spotted across the crowded room his own dreamed-of Olympia, half-reclining on a fat settee. The exquisite naturalness of her <persName key="Édouard Manet" ref="http://www.wikidata.org/entity/Q40599" cert="high" type="real">Manet</persName> pose enchanted him no less than her near nudity. Under her see-through blouse her breasts were classic. O wonder. O no wonder that they pushed out the silk (or was it cheap nylon?) of her blouse exactly like breasts; that to exploring hands (at other hours of course for now she was half-reclining naturally alone) they were as round and firm and full as round firm full breasts; and that the nipples which tipped these breasts resembled nothing so much as the nipples which tip such breasts. In short and in sum, her breasts were truly like breasts. But MM had no interest in the obvious. He was a man of imagination, of poetry even. The excesses of similitude multiplied by their exact number his pleasures. He saw what he saw: Olympia with breasts which were breasts and at the same time various other roundnesses not breasts. And roundness was all, preferable even to that commonplace of literature, ripeness. Only one fact was crucial and he had ascertained it, subtly brushing his fingers against her shoulders: she was not made of wax. So when MM opened his mouth wide one night days later and bit with gusto into the breast on the left, that same breast bled. Damn, he had erred in his distinctions! But Manuelo Manchik was not a man to hang fire. With a gesture of magnificent unconcern, he wiped his chin and continued eating.</p> </div> <div type="letter" n="c"> <head>CHYME</head> <p>Olympia had accepted that name, accepted too the play of tongue and teeth, accepted even the discomfort of her body crushed beneath him when poing! she was punctured. Too late to cry foul! she fell, undone by mastication. Softened by saliva she travelled in mouthfuls through his gullet and into the fat sac of his stomach. There she lodges, divided against herself. </p><p>Fool, she chides herself, to have come to chyme!</p> <p>Her head is separated from her body. Her legs, each in one long piece, are severed from her crotch and from each other, Her two loose breasts bounce from wall to wall, free-floating, as his stomach contracts and dilates in digestion. Pressed against the locked pyloric door she is grateful at least that she will not be further fractured by the cleaving peristaltic actions of his intestine. There is no disguising the situation: she is split, sundered, she is not in one piece. If she does not want to sour in his belly (and why would she desire such a fate?) she must somehow (but how?) reverse the process herself. But herself is not. From deep inside Manuelo's stomach, she surveys the chaos of her members and thinks: I must pull myself together! </p> </div> <div type="letter" n="d"> <head>DREAM?</head> <p>Maybe it's all a dream, she reasons reasonably enough, and when I wake up I'll find myself me again, just me, no one's Olympia, in toto. And so she falls to sleep so she can fall awake. This is the dream she finds: she is standing in water being fucked in the ass by the shameless beak of a crane. His long legs pinion her hips. He wades and fishes, taking his time. It hurts. What can she do but submit? Her name is not Leda; the power is all his.</p> </div> <div type="letter" n="e"> <head>ESCAPE</head> <p>She wakes up gagging with her left foot in her mouth. No use sucking on the toes, they're not sour balls, they won't dissolve or sweeten her palate. Her mouth is dry with sleep and anxiety; she could have suffocated during that nighttime shift. There is no escaping the fact now: she must escape! But how? She wags her head a few times to float the foot free as she ponders the ins and outs. The nearest exit is the rear. Can she deliver herself through there? MM is <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_057.jpg"/> notoriously tight-assed. She experiments, jamming her foot in the door; MM jumps. Assured of the flexibility of that aperture, she glances upward to the other hole, further away but far less foul. Keeping her foot wedged in the crack she sticks a finger up his throat; MM gags. Both routes are open to her. Which out should she take?</p> </div> <div type="letter" n="f"> <head>FLATULENCE</head> <p>MM ejects a fart and holds his nose in indignation. The cream of the art world thins around him. Many noses are held. How could she, the bitch, upset him so? He excuses himself gracefully from the room, leaving his smell behind. Is he stuck with her forever? Must he pay with his immaculate reputation for one night's overindulgence? O she is lodged there in his gut, forcing him to take strong measures.</p> </div> <div type="letter" n="g"> <head>GLUTTONY</head> <p>"I'd like to eat you up," he had said. She had been enthusiastic. Whose sin was it then? Definitely food for thought, his and hers.</p> </div> <div type="letter" n="h"> <head>HIS AND HERS</head> <p>HIS: She tempted me. <lb/> HERS: He ate.</p> </div> <div type="letter" n="i"> <head>INDIGESTION</head> <p>"I'm carrying her around. She weighs me down. Really, I'm not a free man anymore," Manuelo confided to his friend the doctor, picking his teeth with an indigestible sliver of fingernail. "You must get her out of your system," replied the learned doc. "May I prescribe a laxative?" </p> </div> <div type="letter" n="j"> <head>JUSTICE MORE OR LESS POETIC</head> <p>She hadn't cared who drove into her. He had had a full set. It was good sport yes. And what a ball! He had swung hard, lifted high and, rimming the cup first with a brilliant display of control, had dropped right in: hole in one, Manuelo Manchik was not the sort to putter around. Well, neither was she.</p> <p>"You're a real swinger," he complimented her.</p> <p>"Just par for the course," she replied, refering of course to her life.</p> <p>Now she was teed-off, finding herself in the trap. O she had been green in those green days, but she would lie in the roughage no longer. With a method to her madness she slices into his intestine with her teeth. MM howls then doubles over, squeezing her (according to plan) more closely together; his cramp adheres her. When he straightens up she delights to see the connections: her legs secured to her groin and her groin to her torso, o classic <persName key="Venus" ref="http://www.wikidata.org/entity/Q47652">venus</persName> though still not Olympia for her breasts and arms are still somewhere adrift. And her head, that obstinate be-bumped ball, is lying slightly offcourse, planning the next shot. </p> </div> <div type="letter" n="k"> <head>KIDDING</head> <p>When she reached twenty-five, her psychiatrist had said (though gently): "All kidding aside, my dear, you are no longer a child prodigy." </p><p>She had run home crying to her mother, blurting the tragic news. "So? What are you going to do with yourself?" mother had asked, heart-to-heart.</p> <p>"I gotta grow up sometime, ma. He's right. So here's what: I'm gonna have a baby!" </p><p>"What? What?" disbelieving ma had hollered, flinging her daughter from her sacked-out breast. "I'm going to have a bastard?" "No, ma, no," she calmed her mother. "<emph>I'm</emph> gonna have the bastard."</p> <p>The child was born crying and one gulp of air later, died. The bereaved not yet a mother invited her psychiatrist to the funeral and told him then and there that they were quits. That was how he would remember her: standing gravely at the grave, dressed all in black, a grown-up color.</p> </div> <div type="letter" n="l"> <head>LIKE</head> <p>"I like you," MM had said (as had others), thinking to flatter.</p> <p>"No you're not," she retorted almost at once, angry almost. "You're not like me at all."</p> </div> <div type="letter" n="m"> <head>MILK OF MAGNESIA</head> <p>He takes the prescribed dosage and waits.</p> </div> <div type="letter" n="n"> <head>NO ANSWERS</head> <p>In the park, Abigale is lying on her belly, waiting as pre-arranged for her best friend, the putative Olympia. She pokes with a spring twig at the underside of a caterpillar, trying to hurry it out of its skin.</p> <p>"Where are your wings, caterpillar?" she asks.</p> <p>"And where was I before I was born?"</p> <p>"And where, sky, do you get off, looking down on me?"</p> <p>Everything is mute. The silence is its own question.</p> </div> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_058.jpg"/> <div type="letter" n="o"> <head>OSCILLATIONS</head> <p>Suddenly everything starts churning. Using all anchored organs for ballast, she holds herself together; he will not shake her up, will not fragment her. His belly bloats with gases, goes into a rumble. So! He is trying to purge himself by purging her. The rejection infuriates her. She will come out when she is good and ready, and she will use the exit of her choice. Tough shit, Manuelo! She braces herself against his spasms.</p> </div> <div type="letter" n="p"> <head>P'S & Q'S</head> <p>"Mind them!" her mother had warned. But what were they? She had learned the alphabet thoroughly but the deeper meanings of p's and q's had eluded her. If she had gone further in her study of letters, would she have led a simpler life?</p> </div> <div type="letter" n="r"> <head>REFLECTION</head> <p>MM strains.</p> <p>O resists.</p> <p>The battle is in earnest. Some old words rise to the occasion. "The man who hates you and the woman who is hated are probably one and the same," her psychiatrist had suggested, maddening her (at the time) into silence.</p> <p>Was he speaking of suicide?</p> <p>Hers?</p> <p>The thought sobers her and sheds light. After all, it is almost spring out there. The crocuses are already beginning their day-open night-close ritual. She could if she chose walk outside without a coat, breathing sunlight. Someone, also without a coat, might be coming round the corner, fated to bump chests with her. Her mind too, she realizes, can turn corners. And certainly Abigale, her old friend, must be waiting for her in the park this very moment.</p> </div> <div type="letter" n="s"> <head>SURE IS</head> <p>His stomach is storming around her with a vengeance. She holds on for dear life. O yes, it is so so dear, good old life. It is indeed of the essence, hers in particular. Her imagination has never yet failed her. She will live! Out of the darkness, the closet, the belly of this male whale. The way is lighted by divine coincidence as MM opens his mouth widely to expel a belch. The light rays down his throat, a sign. Her route has been decided. Really, there are possibilities in everything, even a belch, she concludes.</p> </div> <div type="letter" n="t"> <head>TRANSLATION (AFTER <persName key="Rainer Maria Rilke" ref="http://www.wikidata.org/entity/Q76483">RILKE</persName>)</head> <p>Manuelo has thrown caution to the winds. "Do something," he pleads. "I need help."</p> <p>"Yes," agrees the doctor, "you must change your life."</p> <p>O but it hurts! His eyes are blind with tears.</p> <p>Manuelo weeps with the effort to restrain them.</p> </div> <div type="letter" n="u"> <head>UNITED SHE CAN</head> <p>He falls back into his chair, trying to relax, inadvertently giving her the room she needs to maneuver. She holds herself snugly in her own arms; they mate with their respective sockets, home at last. Now able to manipulate with her hands, the rest is easy. She catches her drifting breasts and fixes them onto her chest. She knows which is which, having observed in moments of self-criticism that the left is slightly larger than the right. It occurs to her at this juncture that nature is purposive in all plans. Nothing is very much like anything else, each thing is essentially itself and under no compulsion to be other. Goodbye then, Manuelo's Olympia! Goodbye velvet settee and languid pose! MM's ass presses down into the seat, squeezing her upward. Her body rises toward her head and miraculously naturally unites with it. He cannot keep her down. He does not want to. She is on her way.</p> </div> <div type="letter" n="v"> <head>VOYAGING</head> <p>Still afraid that she will fall apart — these connections are so tenuous, so untested — she kicks her feet, gingerly at first, then with increasing vigor as she finds to her elation that they will move her. She paddles upward toward his heart. O the current there is strong; she struggles bravely; she falters, sucked into its vortex; she kicks, she flails and manages, through stratagems newly known to science, to bypass the whole throbbing mass. The worst is over. She catches her breath at his lungs and then, with a great final spurt, dives through his esophagus.</p> </div> <div type="letter" n="w"> <head>WHOOPS!</head> <p>She spills out of his mouth.</p> <p>"Hi, Manuelo."</p> <p>"Olympia!"</p> <p>They stand gaping at each other, both of them messy with blood and other slime. She sets him straight at once. "My real name's Claire. Can I take a shower?"</p> </div> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_059.jpg"/> <div type="letter" n="x"> <head>x =</head> <p>Claire, not Olympia then. He looks at her in this new light as he scrubs her back. How could he not have noticed those pimples on her shoulders? Perhaps that is why he was unable to stomach her. But no, no, the mystery is more than skin deep.</p> <p>"Scrub harder, Manuelo."</p> <p>He does, marveling at the dead skin which peels off, flake by flake. How many layers are there? He stares into the skin, lost in ponderings beneath the surface and then, with a wild cry of exultation, realizes that he has found his calling. Dermatology will teach him the topography of the flesh. Through that mundane profession he will explore the twin mysteries of desire and disgust.</p> <p>"You're breaking the skin again!" shouts Claire.</p> <p>"Enough!"</p> </div> <div type="letter" n="y"> <head>YOU</head> <p>"You have helped me to find myself," they admit simultaneously and, with a tender embrace, part forever.</p> </div> <div type="letter" n="z"> <head>ZOON</head> <p>Shining in the sunlight which is shining too, she runs to the park. Abigale is asleep; a caterpillar is making a moustache on her upper lip. Claire picks it off and tosses it carelessly into the grass. It slithers away as Abigale wakes.</p> <p>"Where have you been?" drowsy A asks. Claire hesitates. What words could convey the absurdity, the enormity of her adventure? An attempt is necessary. She begins to stammer a reply but her stomach, miraculously to the rescue, speaks first: loudly it rumbles, fiercely it growls. Both women laugh. The noise suffices for response.</p> <p>Claire stretches out her hands to Abigale and, with a little tug, pulles her to her feet.</p> <p>"It's time for another beginning," Claire says.</p> <p>"It always was," Abigale grins.</p> <p>And off they go, old friends hand in hand, in search of apples.</p> </div> </body> <back> <div><p>Susan Yankowitz's first novel, <title ref="http://viaf.org/viaf/167148269718005230000">Silent Witness</title>, was published by Knopf in May. Her play, <title>Still Life</title>, will be produced in January at the Women's Interarts Theatre, and her published plays include <title ref="http://viaf.org/viaf/5179165271898210690008">Slaughterhouse Play</title>, <title><title>Terminal</title></title>, <title>Boxes</title>, and <title>The Prison Game</title>, among others.</p></div> </back> </text> </TEI>
Wages for Housework Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>Wages For Housework: The Strategy for Women's Liberation</title> <author>Pat Sweeney</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Heresies: Issue 1</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"/></xenoData></teiHeader> <text> <body> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_106.jpg"/> <div><head><title>Wages For Housework: The Strategy for Women's Liberation </title></head> <byline><persName>Pat Sweeney</persName></byline></div> <div><p>Many "feminist" writers have contributed to the ideology of housework. Radical-feminists, while recognizing the identification of housework with our female nature, have proposed sharing this work with a man and leaving the home for outside work. Socialist-feminists, describing housework as precapitalist, have proclaimed that our goal should be toward "industrialization," which would liberate our time for more work—but in a factory, if not a collective kitchen. Liberal feminists have defined our problem as "lack of consciousness," describing women as dupes of Madison Avenue ad-men. Finally, there are those feminists who, much to capitalists' rejoicing, have glorified our forced labor in the home as the embodiment of the best human potentials: our capacity to nurture and care, our very capacity to love. One thing they all agree on is that women should not be paid for this work, because this presumably would institutionalize us in the home, and extend the control of the state to "the one area of freedom we have in our lives."</p> <p>Contrary to these criticisms, the Wages for Housework Committee's perspective is based on the fact that housework is <emph>already controlled and institutionalized</emph> (Mother's Day is nothing less than the celebration of this institutionalization!) <emph>precisely because this work is unwaged</emph>. Society is organized to force us into this job, and the fact that we don’t receive a wage for the work continuously undermines our power to refuse it.</p> <p>That housework is unwaged means first of all that it appears not as <emph>work</emph>, but as part of our female nature. Thus, when we refuse part of this work—as, for example, lesbian women do in refusing to provide sexual services to men—we are branded as perverts, as if we were breaking some law of nature. We are divided into "good“ and "bad" women depending on whether or not we do the housework and whether or not we do it for free. In this society to be a good woman — or just to be a woman—is to be a good servant at everyone's disposal 24 hours a day; it means accepting that this work should not be paid because it supposedly fulfills our nature, and thus contains its own reward.</p> <p>Housework is not just washing dishes, scrubbing floors, or raising babies. What we do at home is <emph>produce and reproduce workers</emph>: every day we create and restore the capacity of others (and ourselves) to work, and to be exploited. It is ironic that as houseworkers we are not included in the nation's labor force, for without this work the workforce would not exist. The lack of a wage obscures the indispensability of our work to the functioning of this society. Housework makes every other work possible. No car could be produced, no coal could be dug, no office could be run, if there were not women at home servicing and reproducing those who make the cars, those who dig the coal, those who run the offices. <emph>This is the sexual division of labor</emph>: workers make cars, and women make the workers who make the cars. And to make a worker is a much more time- and energy-consuming job than to make a car! Not only do we "reproduce“ them physically— cooking their dinners, doing the shopping (shopping is work, not consumption as some "feminists" would have us believe). We also service workers emotionally—taking the brunt of their tiredness and frustration day after day. And we service workers sexually—the Saturday night screw keeps them going for yet another week at the assembly line or desk.</p> <p>It appears that we freely donate all this work to our husbands and children out of our love for them. In reality we are working for the same bosses, who are getting two workers for the price of one. Our lives are governed by the same work schedule as those we serve. When we cook dinner or when we "make love" is determined by the factory time-clock. Not only the quantity, but also the quality of workers we reproduce is controlled. If they don't need many workers, we are sterilized; if they need more workers we are denied access to contraceptives and are forced to resort to backstreet butchers (the right to life is never claimed for women). Likewise, if we are on welfare or we tend to produce "troublemakers," we are again sterilized.</p> <p>In every case, our sexuality is continuously under control to make sure that we use it productively. Lesbianism and teenage sex are illegal, and rape in the family (or the battered wife) is not a crime since readily available<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_107.jpg"/> money of our own that creates the battered wife or the closet lesbian and forces so many of us to remain in unwanted family situations. With money in our hands, we would have the power to walk out whenever we wanted. Men would certainly think twice before raising their hands to us if they knew that we could leave any minute, without the prospect of starving.</p> <p>Our wageless condition in the home is the material basis of our dependence on men. This weakness in the community, as wageless houseworkers, is ultimately the weakness of the entire class. Capitalism takes away from us in the community (through inflation—price hikes rent increases, fare increases, etc.) what we have gained through our power in the factory. Women pay a double price for this defeat. Higher prices mean an intensification of our work, since we are expected to absorb the cost of inflation with extra work.</p> <p>The struggle for wages for housework is a struggle for social power—for women first, but ultimately for the entire working class. In fact, by demanding wages for the work we already do, instead of demanding more work, we are posing the question of <emph>the immediate reappropriation of the wealth we have produced</emph>. Exploitation is the enforcement of unpaid labor the only source of capitalist profits. Thus to attack our wagelessness is to attack capitalism at its roots for capital is precisely the accumulated labor that has been robbed from workers generation after generation.</p> <p>In contrast, the strategy that has been offered to us by "feminists" and the left—the strategy to obtain more work-would only mean further enslavement to the present system. It is capital that poses work as the only natural destiny in our lives, not the working class, whose struggles are always directed toward gaining more money and less work. To pose the "right to work" as our road to liberation ignores that we are already working, and that housework does not wither away when we go out for a paid job. Our work at home simply intensifies: we do it at night when everybody is already asleep, or in the morning before everyone awakes or on weekends. Our wages remain low—and they quickly disappear in paying for day-care centers lunches, carfare, etc. Furthermore, with two jobs we have even less time to organize with other women. Unions have long accused women of being backward. But when did unions consider that we are not free to attend meetings after our second job is over because we must hurry to report back to our first one—picking up the kids at the day-care center or babysitter's getting to the supermarket before it closes, fixing dinner for the men who expect it to be ready when they come home from work?</p> <p>Another illusion is that to go "out to work" is to break our isolation and gain the possibility of a social life. Very often the isolation of a typing pool or a secretarial office matches our isolation in the home. We certainly aspire to a social life better than the one provided by an assembly line. But going out of the home is not much of a relief if we don’t have any money in our hands, or if we go out just for more work.</p> <p>We also reject the idea that sharing our exploitation in the home with a man can be a strategy for liberation. "Sharing the housework" is not an invention of the Women's Movement. Women have continuously tried to get men to share this work. Despite some victories, we have discovered that this battle also has many limitations. First, the man is not home most of the time. If he brings in the money, and we are economically dependent on him, we don't have the power to force him to do housework. In fact it is often more work for us to get the man to share the work than do it ourselves. Most importantly, this strategy confines us to an individual struggle which does not give us the power (or the protection) of a mass struggle. <emph>And it assumes that every woman has (or wants) a man with whom to share the work.</emph></p> <p>As for a possible rationalization of house work, we must immediately say that we are not interested in making our work more efficient or more productive for capital. We are interested in reducing our work, and ultimately refusing it altogether. But as long as we work in the home for nothing, no one really cares how long or how hard we work. For capital only introduces advanced technology to cut its costs of production after wage gains by the working class. Only if we make our work cost (i.e. only if we make it uneconomical) will capital "discover“ the technology to reduce it. At present, we often have to go out for a second shift of work to afford the dishwasher that should cut down our housework!</p> <p>Who will pay for this work?</p> <p>We demand wages for housework from the government for two major reasons. First, every sector of the economy benefits from our work we don’t work for one boss, we work for all the bosses. Consequently we demand the money from the state. Second, the government already is our boss. In every country the government is responsible for guaranteeing an adequate labor force to industry. This means that the government directly regulates and controls our work through the family, world population control, immigration laws, and finally by entering the community whenever we refuse to perform our work.</p> <p>The question "who will pay?" is usually posed so as to subvert the cause. It is assumed that the government is broke, and that our demand will only divide the working class by forcing the government to tax other workers to pay us a wage. In reality, by getting more power for ourselves, we will be giving more power not only to men (power not over us but with respect to their bosses) but to every sector (the young, the elderly, and the wageless in general). We will <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_108.jpg"/> begin to break the power relations which so far have kept us divided. Through a united working class we can force the government to tax the corporations, not other workers.</p> <p>A posture of defeat also ignores the struggles women have made against housework and what we have been able to win in relation to this work. It is no accident that after the massive struggles welfare mothers waged in the 1960s for more money from the government—the first money we have won for housework—the number of female-headed families has dramatically increased (doubling every decade) along with the number of divorces, particularly among women with children, and the number of young women who have been able to set up independent households. This is not to glorify welfare. Welfare does not even begin to pay for all our work—we need much more and we need it for all of us. But it is to recognize how even a little money has begun to break down some of the most powerful mechanisms of discipline which traditionally have kept us in line.</p></div> </body> <back> <div><p>Pat Sweeney is an active member of the Wages For House work Committee (288-8 8th Street, Brooklyn, N.Y. 11215) and one of the founders of the Nassau County Womens Liberation Center.</p></div> </back> </text> </TEI>
The Art of Not Bowing Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>The Art of Not Bowing: Writing by Women in Prison</title> <author>Carol Muske</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Heresies: Issue 1</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. 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"@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/muske_0_0_0_0_0_0_0_0_0_1_0_0_0_0_0_0.xml?work_annotation_20250410132044774#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[20]/emph/title" } }, "oa:hasBody": { "@type": "bf:Title", "@id": "http://www.wikidata.org/entity/Q106091070", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_032.jpg"/> <div><head><title>The Art of Not Bowing: Writing by Women in Prison</title></head> <byline><persName key="Carol Muske-Dukes" ref="http://www.wikidata.org/entity/Q5044485">Carol Muske</persName></byline></div> <div><lg> <l>Who the hell am l anyway</l> <l>Not to bow?</l> <l>(<persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Assata Shakur</persName>/<persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Joanne Chesimard</persName>)</l> </lg> <p>In July 1973 I wrote an article for <emph><title key="Village Voice" ref="http://www.wikidata.org/entity/Q876158">The Village Voice</title></emph> about a hunger strike then taking place at the Women's House of Detention (New York City Correctional Institution for Women, housing around 400 detention and sentenced women) on Riker's Island. I used a pseudonym for the article because I was working at the time at the prison as a mental health worker as well as teaching a poetry class, and I wanted to keep both occupations. Many of the women in my class were involved in the strike and were emphatic about the significance of their stand, although traditionally women at Riker's were notoriously apolitical, even downright reactionary. Strikes had taken place before, but on issues such as cosmetics (the women had wanted an Avon lady), more dances and recreation time or flashier products in commissary. </p> <p>This strike was different. The women were demanding, among other things, a legal library, an end to massive and lax prescription of "diagnostic" medication, decent food, and limitation of solitary confinement to three days. At the Women's House, where an old adage ran "all riots end at mealtime," this was pretty heady stuff.</p> <p>The article in <emph>The Village Voice</emph> (July 26, 1973) was supposed to get the world (or at least Manhattan) listening and to familiarize people with a woman's situation in prison: </p><p><quote>... incarceration for women is a somewhat different experience than it is for men. Male prisoners are expected to be political in one form or another, they are far better legally informed, and an atmosphere of "bonding" is prevalent. (They are also considered more "trainable"—more vocational rehab programs exist for men on Riker's Island.)</quote> </p> <p>The administration broke the back of the strike in its sixth day by separating the ringleaders, transferring them to different housing areas, or locking them in the "bing" (solitary). But it was too late. The article appeared and provoked a reaction from the community: pressure was put on the warden. A few of the women's demands were met: a legal library was established, kitchen conditions were improved, and other steps were taken. Someone from the class hand-printed a sign and put it up in the classroom: WORDS CAN TURN THEM AROUND. </p> <p>This was a milestone. I had been teaching the class for about a year and felt that although the women's response had been overwhelmingly enthusiastic, I was getting nowhere in the actual teaching of writing. It wasn't that the women were intimidated by the act of writing. Far from it. They wrote to keep mentally alive, to keep sane. When I first suggested the idea of a writing workshop to the warden, she scoffed at it. "These women don't write," she said. "They don't read. The overall educational level is poor. Reading, writing, comprehension... all very low." At the first class, I learned that all the women "wrote"—they came to class lugging diaries, journals, manuscripts full of long poems, ballads, stories. Everyone had a poem to "tell"; poetry was a tradition; poems were written, read, copied by hand, and passed around—a publishing network. No one owned a poem. All the poems rhymed, and all were either sentimental love/religious verse or political rhetoric. My failure had been the inability to let them see alternatives: a poem was not always an escape, a fantasy, or a slogan, but a way into yourself, an illumination. Somehow the article, which was about them, about their very real lives in clear, simple language, did it. Someone said that a poem could be like reporting on your life, telling the story of your life—journalism of the soul. They tried out this approach. <persName>Millie Moss</persName>, who sat all day in front of the television watching commercials about getting away from it all and listening to the planes (one every three minutes) take off from La Guardia a few hundred yards across the water from the prison, wrote the first. (Millie had been a "hearts and flowers" verse writer: her poems were filled with giggly sunsets"): </p> <lg> <head>Fly Me, I'm Mildred</head><head/> <l>Finger my earring as I lean low</l> <l>over your bomber cocktail</l> <l>I've been known</l> <l>to put you on a throne</l> <l>send you off alone (not united)</l> <l>through the tomb-boom roar</l> <l>you get what you’re asking for</l> <l>when you fly me, honey,</l> <l>I'm Mildred.</l> </lg> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_033.jpg"/> <lg> <head>Personally</head> <l> So you spoke to me in silence</l> <l>in the ice man's choir </l> <l>and I dangled all the while</l> </lg> <lg> <l>You said (in silence) </l> <l>live each day </l> <l>spittin' on Fifth Avenue </l> <l>fox-trottin' in hell... </l> </lg> <lg> <l>So we ain’t home— </l> <l>we're together </l> </lg> <lg> <l>Smile: </l> <l>I take it personally</l> </lg> <p>They were on fire. I told them about <persName key="Osip Mandelstam" ref="http://www.wikidata.org/entity/Q189950">Mandelstam</persName>, <persName key="Fyodor Dostoyevsky" ref="http://www.wikidata.org/entity/Q991">Dostoyevsky</persName>, the long tradition of writers in prison. I read them poems. Another woman, <persName cert="high" type="real">Elizabeth Powell</persName>, came to class with a poem about homosexuality which was explicit, honest, and skillfully done. The class praised it—Elizabeth left the class that night, made a sheaf of copies by hand, and passed it "on the vine." </p><p>The next time I arrived at the prison, I was called into the warden's office. A member of my class, the warden said, had written a poem about her "unique perversion" and had implied, she said, that there were also correction officers who were homosexual, one in particular. She spoke of libel, telling me that I should have confiscated the poem immediately, or at least made sure that it didn’t go beyond the class. (Though homosexuality was indeed common—the "only game" in the prison, the warden steadfastly refused to admit that she had any more than a few "deviants" on her hands, whom she described as hard-core—in other words, gay even on the outside. Actually, as is the case in most women's prisons, homosexual relationships were standard even for straights, for the simple reason that human beings need physical intimacy and affection when they are confined to correctional institutions and cut off from relationships available to them outside the walls.)</p><p>Definitions of personal sexuality tend to change behind bars. Upon release, some women remain "changed," while the majority of former prisoners return to heterosexual lifestyles. The warden deeply feared homosexuality; any manifestation of "butch" conduct was enough to tag an inmate a troublemaker and "male attire" was expressly forbidden in the rules guide. Correction officers were warned not to wear pants to work, and thus their uniform remained skirted. (Although many C.O.'s were, in fact, gay, the atmosphere reflected the warden's artificial notion of femininity.)</p> <p>After this incident, I was informed that the poem had been confiscated and that Elizabeth Powell had been placed in solitary confinement pending a hearing by the disciplinary board. I was told that I would be allowed to continue the poetry class for the time being, but that if another incident like this took place, I would be asked to leave the prison. The warden sincerely hoped that I had "learned a lesson."</p> <p>I had. It was just as I had told them: a dramatic testimony to the power of words—and, I thought, one of the stupidest things I have ever done. It was easy for me to drop in and talk about "getting it down right" and being honest in writing—I went home every night. For me, there was no danger of being thrown in solitary, having my personal papers raided, or worse. It occurred to me that even when I had written my ever-so-honest article, I had used a pseudonym to protect myself. There were obviously bigger risks than job loss at stake for women or men who chose to write while incarcerated; risks I had clearly not understood. Words could indeed turn around the authorities, but could also turn them into the oppressors they actually were.</p> <p>Elizabeth Powell was in the bing for three weeks. When she came back to class, she was ready to go another round (she had written 25 poems, all dealing with homosexuality, while in lock), but I had made a decision. I explained how I felt as an outsider, with no right to tell them how to write in this volatile situation, but I asked that they make a distinction between public and private poems to protect themselves from exactly this kind of censorship/punishment. Private poems were, obviously, ones you could get thrown in the bing for; public poems could be "published." At this point, I also went back to the warden and told her she should not be surprised at some "emotional" poems; I described the class as "therapy" and she agreed that that was a good way of viewing it.</p> <p>The class flourished. The women began to express <emph>themselves</emph>, to find words underneath and in the midst of the gloss of everyday language. Some discovered (recovered?) a subterranean language like subway graffiti: the poem became a Kilroy, a zap: "I was here."</p> <p>I had quit my mental health worker job and was concentrating on expanding FREE SPACE, as the class had come to be called. The NEA had given us some funding, as did Poets & Writers and some local banks. <persName>Linda Stewart</persName> of The Book-of-the-Month Club mailed boxes of overstocked paperback books; we amassed our own library and <persName cert="high" type="real">Ted Slate</persName> of <emph><title key="Newsweek" ref="http://www.wikidata.org/entity/Q188413">Newsweek</title></emph> donated supplies and equipment.</p> <p><persName key="Tom Weatherly" ref="https://en.wikipedia.org/wiki/Thomas_E._Weatherly_Jr.">Tom Weatherly</persName> taught a second poetry class, <persName>Gail Rosenblum</persName> taught fiction, and <persName cert="high" type="real">Fannie James</persName>, an ex-inmate, ex-student of the Space whom the warden actually allowed to come back to work with us, taught poetry and library skills. Each teacher learned to cope in his or her own way with the trials of trying to run a writing class in a prison. Each class was like a hypothetical leap: it would take place 1) IF the officer in <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_034.jpg"/> the housing area remembered to announce it; 2) IF the women were there and not a) in court b) in solitary c) in another part of the prison d) watching television e) sleeping and/or drugged f) transferred to another floor g) transferred to another prison h) out on bail (good news); 3) IF the officer on hall duty okayed the passes; 4) IF the warden had not scheduled something else in your classroom (usually a course in etiquette); 5) IF there was no "contraband," i.e., spiral notebooks (the wire is a potential weapon), chewing gum (jams locks), tweezers, or snap-top pens (another weapon—only ball points or pencils allowed).</p> <p>Somehow, the class took place and thrived. Visitors came to read and comment on student work: poets <persName key="Mae Jackson" ref="http://www.wikidata.org/entity/Q87410543">Mae Jackson</persName>, <persName key="Daniela Gioseffi" ref="http://www.wikidata.org/entity/Q5219218">Daniela Gioseffi</persName>, <persName key="Daniel Halpern" ref="http://www.wikidata.org/entity/Q55941553">Daniel Halpern</persName>, <persName key="Audre Lorde" ref="http://www.wikidata.org/entity/Q463319">Audre Lorde</persName>. For a long time, everyone learned. Information was taken in, absorbed—classes were spent writing and rewriting, letting off steam.</p> <p>Almost four years later, most of the women from the old class had been transferred or freed (detention women often spend two years waiting for trial), but emphasis was still placed on "getting along." We all stressed writing as craft. Classes were run as any <emph>outside</emph> workshop would be, except no one ever published anything.</p> <p>The poetry class at this time was full of women who were considered potential security threats—in other words, intelligent, outspoken, and funny. Some were "controversial" cases: <persName>Juanita Reedy</persName>, about to have her first child behind bars; <persName cert="high" type="real">Carole Ramer</persName> who had been busted with <persName key="Abbie Hoffman" ref="http://www.wikidata.org/entity/Q306514">Abbie Hoffman</persName> and who had a lot to say about everything; <persName>Gloria Jensen</persName>, whose imagination was like a vaudeville show; Assata Shakur/Joanne Chesimard—alleged leader of the Black Liberation Army, brilliant and talented, with a <emph><title key="Cool Hand Luke" ref="http://www.wikidata.org/entity/Q684150">Cool-Hand Luke</title></emph> aura of insouciance, compassion, and tenacity. (Assata was considered so dangerous that the prison required her to have a continual guard-escort.) These women were all good writers. They had learned craft and practiced it—and wanted more. They wanted to go further than "therapeutic" writing or workshop poems. They were writing dynamite.</p> <p>After four years, there was a huge pile of handwritten poems, Fannie's log with the names of every woman who had come to class, some incredible memories, and that was all. We went to the prison week after week and no one ever saw or heard what the women wrote: the voices were never heard outside, and on the inside, only in class. I began to feel that something had to give—no matter what risks were involved for the women (if they should decide to publish) and for FREE SPACE as a writing program. It was Catch 22—we were losing either way. At this stage, the women were denied the natural fulfillment of self-expression, which is publication. If we published their writing, however, we stood to lose the writing program itself. I began to fantasize about getting the word out: if people could only hear some of this stuff, I thought, no one would ever ask me again about either the <emph>quality</emph> of prisoners' writing or the reasons for running workshops in prisons. We would have evidence in writing. Best of all, the women would have the audience they deserved. I began to draft a rough script, a framework for some of the poems.</p> <p>What happened to Juanita Reedy made up everybody's mind about publication. Juanita went to Elmhurst Hospital to have her child and was treated so inhumanely that she refused to let prison doctors touch her upon her return. She wrote a poem about her experience, which she developed into a longer "Birth Journal." She published it in <emph><title key="Majority Report" ref="http://www.wikidata.org/entity/Q106091070">Majority Report</title></emph>, the feminist journal. In the same issue there was an article about FREE SPACE and a poem by Carole Ramer. The issue began to circulate in the prison. Assata, inspired by Juanita, wrote her own "Birth Journal" and sent it to a major magazine. One night in class she read this poem:</p> <lg> <head><title>Butch </title></head> <l>You should have told me </l> <l> About your dick </l> <l> Stashed inside your bureau drawer</l> <l>I woulda believed you</l> </lg> <lg> <l>Ya say ya wanna be my daddy </l> <l>Ya say ya wanna be my daddy </l> <l> Ya say ya wanna be my daddy</l> </lg> <lg> <l>Yeah! Run it! I'm ready! </l> <l> My mamma warned me about you</l> <l> She taught me about you </l> <l> She beat me about you</l> </lg> <lg> <l>But I thought you were a man...</l> </lg> <lg> <l>And I lower my eyes </l> <l> And I lower my back</l> <l> And I swivel my hips </l> <l> And I lighten my voice </l> <l> And I powder my nose </l> <l> And I blue up my eyes </l> <l> And I redden my cheeks </l> <l> And I jump when you call </l> <l> And I cook and I knit</l> </lg> <lg> <l>And I clean and I sew</l> <l> And it is all so cozy </l> <l> You lying in my arms</l> <l> (If I am not being too forward, </l> <l> too unladylike)</l> </lg> <lg> <l>But who will know, anyway, </l> <l> That you were in my arms </l> <l> Not me in yours</l> </lg> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_035.jpg"/> <lg> <l>And if it comes to it</l> <l> To save face </l> <l> You can lie </l> <l> I'll back you up </l> <l> I've gotten very good at it lately</l> </lg> <lg> <l>You should have told me </l> <l> About your status— </l> <l> I would have bowed to you </l> <l> What's one more bow, anyway?</l> </lg> <lg> <l>I bow to the dollar </l> <l> I bow to the scholar </l> <l> I bow to the white house </l> <l> I bow to the church mouse </l> <l> I bow to tradition </l> <l> I bow to contrition </l> <l> I bow to the butcher </l> <l> I bow to the baker </l> <l> I bow to the goddamn </l> <l> lightbulb maker—</l> </lg> <lg> <l>Who the hell am I anyway </l> <l> Not to bow?</l> </lg> <lg> <l>What else do I know how to do?</l> </lg> <lg> <l>But you should have told me baby </l> <l> You should have hipped me momma </l> <l> I didn’t know you would pull it out </l> <l> And strap it on</l> </lg> <lg> <l>Fucking me mercilessly </l> <l> Long stroking me </l> <l> So that even my shadow is moaning</l> </lg> <lg> <l>But damn baby </l> <l> I didn't know </l> <l> You coulda saved me the trip—</l> </lg> <lg> <l>I thought I was on my way </l> <l> To a garden </l> <l> Where fruit ain’t forbidden </l> <l> Where snakes do not crawl to seduce </l> <l> I thought for a second </l> <l> That earth was a good thing </l> <l> That acting had played out </l> <l> And cotillions were outlawed </l> <l> That bingo was over </l> <l> And ladies had drowned in their tea </l> </lg> <lg> <l>But now that I'm hip momma </l> <l> Come, fuck me.</l> </lg> <p>(Copyright Assata Shakur/Joanne Chesimard) </p> <p>Some of Assata's poems were accepted for publication in a literary magazine. Poets & Writers gave us a grant to do an anthology of students' writing which Gail and I compiled. We published it through the Print Center in Brooklyn and called it <emph><title>Songs from a Free Space: Writings by Women in Prison</title></emph>. The anthology was sold in New York bookstores and distributed to the women in the classes. It contained some of the best work done in the classes.</p> <p>By now I had handed over a rough script to the poetry class and an idea about doing some kind of theater piece. The women put together a revue of loosely scripted poems, songs, and vignettes called <emph><title>Next Time</title></emph>. They memorized lines and improvised costumes. <persName>Karen Sanderson</persName>, a friend and videotape expert, arrived at the prison one Sunday with a crew of women (after endless haggling for permission; we told the Corrections Department that we needed the videotape as a rehearsal tool for a play) and taped for nine hours straight. Finally, after months of editing, a half-hour tape emerged which documents the poems, songs, love, and exasperation of some of these incredible women. (This tape is available to anyone interested.)</p> <p>In September 1975, FREE SPACE merged with ART WITHOUT WALLS, another arts project for women in prison. Now we were able to offer graphic arts and dance, in addition to having a larger staff. The publishing idea had fulfilled itself, a renaissance. Juanita had begun a book about her experiences; another woman, <persName cert="high" type="real">Isabelle Newton</persName>, was collecting her poems in manuscript. Then Assata, who had been held in solitary for one year in New Jersey, whose cell was raided by guards every day in search of contraband, and who had been beaten by the prison goon squad on numerous occasions, completed her book of poems and wrote two chapters of a book, an account of her arrest and life in prison. The warden stopped me in the hall one day and told me that she knew we were collaborating on a book with Assata and Juanita. She told me she hadn't forgotten the Elizabeth Powell case.</p> <p>On November 26, 1975, Gail was preparing to leave home to go to her fiction class (filled with new students) when the phone rang. It was Deputy Freeman, the WHD Program Director, who advised her not to come to class: the program had been cancelled. We were not allowed to do anything after that except to pick up our books and any program belongings; we couldn’t say good-bye to anyone or discuss plans for any of their work.</p> <p>Naturally, we are contesting this decision, but there isn't much hope in appealing a warden's whim. It is, after all, her turf. Official reasons for the cancellation were said to be duplication of services (they stated that the public school provided the same type of classes) and irregularity of classes. The warden refused, however to put these reasons in writing for us. </p><p>It is clear that the writing classes were taken seriously only when the women wrote seriously about their lives and <emph>published</emph> those writings. Poetry is safe, women are safe until they begin to make sense and communicate. Still, ART <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_036.jpg"/> recognizes the possibilities of self-expression, perhaps the walls crack a little. Perhaps. Words can, indeed, turn them around, but sometimes having all the right words is small change. "Before despairing, speak of it," said a woman one day in class. Even when writing of despair there's the fact—named and held to the light for a moment—maybe even understood.</p> <p>WITHOUT WALLS/FREE SPACE is continuing to work at a children's center, a drug clinic, and another women’s prison. It’s important to maintain the lifelines between people on the outside and those inside.</p> <p>But what happened at the Women's House of Detention can easily happen again. Especially if publishing is, as it should be, part of the writing project. Prison writers have a right to be heard as does any writer. Their voices are too important to be missed. Publishing is part of the art of not bowing. Each time a man or woman in a cell</p> <lg> <head><title>Next Time </title> <lb/>(group poem from the videotape </head> <l>of the same name) </l> <l> You don’t hear me </l> <l> You don't see me </l> </lg> <lg> <l>I'm the one just a step behind </l><l>you </l> <l> a split second before the light changes on the</l> <l> corner. </l> <l> The face that breaks the glass without a sound </l> <l> The hands that take your money on a </l> <l> screaming train uptown.</l> </lg> <lg> <l>Ladies. I had nowhere to take myself tonight </l> <l> Except to myself </l> <l> To my own face </l> <l> Reflected in yours </l> <l> And my own voice </l> <l> telling me </l> <l> THERE IS NO NEXT TIME FOR ANY OF US </l> </lg> <lg> <l>Just the husbands and families waiting </l> <l> Just the habits and fast money waiting </l> </lg> <lg> <l>The kids in the street</l> <l>The kids in strangers' homes</l> <l>The kids in our bellies</l> <l>The kids we are inside</l> <l/><l>And the lies we tell ourselves</l> <l>To go on living</l> </lg> <lg> <l>LISTEN</l> <l>No one got over on you tonight</l> <l>No one lied here tonight</l><l/> <l>We told the truth</l> <l>And the truth is what you see before</l><l>your eyes</l><l/> <l>Ladies</l> <l>Before you forget, ladies,</l> <l>Till the "next time" My best.</l> </lg></div> </body> <back> <div><p>Carol Muske is a New York poet and assistant editor of Anteus. Her book, <title><emph>Camouflage</emph></title>, was published in 1975 (University of Pittsburgh Press). She directs the prison program Art Without Walls/Free Space at Bedford Hills Correctional Facility for Women.</p></div> </back> </text> </TEI>
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Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/jennings_0_0_0_0_0_0_0_0.xml?person_annotation_20250418122027714", "type": "oa:Annotation", "dcterms:created": "2025-04-18T16:20:27.714Z", "dcterms:creator": { "@id": "20", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Lucy Wadsworth" }, "oa:motivatedBy": "oa:identifying", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/jennings_0_0_0_0_0_0_0_0.xml?person_annotation_20250418122027714#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/jennings_0_0_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/jennings_0_0_0_0_0_0_0_0.xml?person_annotation_20250418122027714#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/byline/persName/persName" } }, "oa:hasBody": { "@type": "cwrc:NaturalPerson", "@id": "http://www.wikidata.org/entity/Q6375565", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" }, "cwrc:hasCertainty": "cwrc:high" }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_099.jpg" generatedBy="human" xml:space="default" n="97"/> <head><title>Moratorium: Front Lawn: 1970</title></head> <byline><persName><persName key="Kate Jennings" ref="http://www.wikidata.org/entity/Q6375565" cert="high" type="real">Kate Jennings</persName></persName></byline> <lg> <l>watch out! you may meet a real</l> <l>castrating female</l> <l>or</l> <l>you'll say I'm a manhating braburning</l> <l>lesbian member of the castration</l> <l>penisenvy brigade, which I am</l> </lg> <p>I would like to speak.</p> <p>I would like to give a tubthumpingtablebanging emotional rap AND be listened to, not laughed at. You don't laugh at what your comrade brothers say, you wouldn’t laugh at the negroes, the black panthers. Many women are beginning to feel the necessity to speak for themselves, for their sisters. </p><p>I feel the necessity now.</p> <p>It's the moratorium. l would say, oh yes, the war is bad a pig bosses war may the nlf win, I also say VICTORY TO THE VIETNAMESE WOMEN. Now our brothers on the left in the peace movement will think that what I am about to say is not justified, this is a moratorium. It's justified anywhere. We've heard you loud and clear before, brothershits, we know we have to work towards the Revolution and then join the <orgName>ladies liberation auxiliary</orgName> if we have any time left over. I've worked my priorities out, I will work towards what I know about, what I feel, and I feel because I'm told ad infinitum that I'm a woman, I'm a second-class citizen, and I should shutup right now because my mind's between my legs. I say you think with your pricks. We should all get our priorities straight and organise around our own injustices, our own condition. There are a lot of people here who feel strongly about the Vietnam war. But how many of you, who can see so clearly the suffering and misery in Vietnam, how many of you can see at the end of your piggy noses the women who can't get abortions, how many of you would get off your fat piggy asses and protest against the killing and victimisation of women in your own country. Go check the figures, how many Australian men have died in Vietnam, and how many women have died from backyard abortions. Yes, that's cool, they're only women, and you'll perhaps worry if your own chickie gets pregnant. Can you think about all the unwanted children, or the discrimination against unmarried mothers. Illegal dangerous abortions are going to be performed regardless. So make them legal. And to these women who think an abortion campaign, or women's lib for that matter, is reformist, I quote "in fighting for our liberation we will not ask what is revolutionary or reformist, only what is good for women" some of us are revolutionaries, some of us are manhunting crazies, but we are all working toward one thing, the liberation of women, and most of us will recognise that this will only happen in a socialist society.</p> <p>We all feel very strongly about conscription and freedom of the individual, some go to great lengths to martyr themselves on the issue of the draft. I don't feel very strongly anymore about the ego scenes of the <persName>mike jones</persName>'s around me. I do feel strongly about my freedom and my sisters' freedom. Women are conscripted every day into their personalised slave kitchens, can you, with your mind filled with the moratorium, spare a thought for their freedom, identity, minds and emotions, they're women, and your stomach is full. It suits you to keep women in the kitchens, and underpaid menial jobs, and with the children. You, by your silence, apathy and laughter sanction the legislators, the pig parliamentarians, the same men who sanction the war in Vietnam. You won't make an issue of abortion, equal pay, and child minding centres, because they're women's matters, and under your veneer you are brothers to the pig politicians. And I say to all you highminded intellectual women who say you're liberated with such force and conviction, I say you make me sick. So women's lib doesn’t concern you. Ask your companion what he would prefer—to talk to you or fuck you? (and if you say you'd prefer to be fucked, you've absorbed your conditioning well). And the women in the suburbs are no concern of yours? Your mother is no concern of yours? so long as you think you're liberated, all's well. You and your sisters and the silent suburban women are all part of a capitalist PATRIARCHAL society which you cannot ignore.</p> <p>And don't start to trust the sympathetic men who want a socialist society. Where will the women be after the revolution? Go, ask them, the men on the left stink—they stink from their motherfucking socks to their long hair, from their jock straps to their mao and moratorium badges. The ones who pretend to espouse our aims are far worse than those who at least wear their true colors on their sleeves. And to my brothers on the drug scene. Grass is good. Oh yes, but instead of becoming happy and peaceful and oh so motherfucking loving all I can see is you sitting there, asserting, even grooving on your maleness, dominating every joint every puff. Chickies aren't very good at rapping, aren't clever or subtle enough. I mean, it's a male scene, isn't it, you fat arrogant farts.</p> <p>Okay, I've stopped trying to love and understand my oppressors.</p> <p>I know who my enemy is.</p> <p>I will tell you what I feel, as an individual, as a woman.</p> <p>I feel that there can be no love between men and women.</p> <p>Maybe after the revolution people will be able to love each other regardless of skin color, ethnic origin, occupation or type of genitals. But if that happens it will only happen if we make it happen. Starting right now.</p> <p>I feel hatred.</p> <p>I feel anger.</p> <p>Without indulging in an equality or marxist argument I say all power to women because that's what I feel.</p> <p>ALL POWER.</p> <p>And I say to every woman that every time you're put down or fucked over, every time they kick you cunningly in the teeth, go stand on the street corner and tell every man that walks by, every one of them a male chauvinist by virtue of HIS birthright, tell them all to go suck their own cocks. And when they laugh, tell them that they're getting bloody defensive, and that you know what size weapon to buy to kill the bodies that you've unfortunately laid under often enough.</p> <p>ALL POWER TO WOMEN.</p> </body> <back> <p>"Kate Jennings is a feminist. She believes in what <persName key="Jane Austen" ref="http://www.wikidata.org/entity/Q36322">Jane Austen</persName> recommended at fifteen: 'Run mad as often as you chuse; but do not.'" This "biography" appears on the jacket of Jennings' book of poems (from which "Moratorium" is reprinted)—<title><title><title cert="high" level="m">Come to Me My Melancholy Baby</title></title></title>. published in 1975 by <orgName>Outback Press</orgName>, Fitzroy (Victoria), in her native Australia. </p> </back> </text> </TEI>
Do You Think Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>Do You Think</title> <author>Jayne Cortez</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Heresies: Issue 1</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> 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"https://leaf.bucknell.edu/sites/default/files/2025-03/cortez_0_0_0_0_0_0.xml?person_annotation_20221110203719321", "type": "oa:Annotation", "dcterms:created": "2022-11-11T01:37:19.321Z", "dcterms:creator": { "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Sophie McQuaide" }, "oa:motivatedBy": "oa:identifying", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-03/cortez_0_0_0_0_0_0.xml?person_annotation_20221110203719321#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-03/cortez_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-03/cortez_0_0_0_0_0_0.xml?person_annotation_20221110203719321#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/byline/persName/persName" } }, "oa:hasBody": { "@type": "cwrc:NaturalPerson", "@id": "http://www.wikidata.org/entity/Q1670154", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_059.jpg" generatedBy="human" xml:space="default" n="57"/> <head><title>Do You Think</title></head> <byline><persName><persName key="Jayne Cortez" ref="http://www.wikidata.org/entity/Q1670154">Jayne Cortez</persName></persName></byline> <lg> <l>Do you think this is a sad day</l> <l> a sad night</l> <l>full of tequila full of el dorado</l> <l> full of banana solitudes</l> </lg> <lg> <l>And my chorizo face a holiday for knives</l> <l> and my arching lips a savannah for cuchifritos</l> <l>and my spit curls a symbol for you</l> <l> to overcharge overbill oversell me</l> <l>these saints these candles</l> <l> these dented cars loud pipes</l> <l>no insurance and no place to park</l> <l> because my last name is Cortez</l> </lg> <lg> <l>Do you think this is a sad night</l> <l> a sad day</l> </lg> <lg> <l>And on this elevator</l> <l> between my rubber shoes</l> <l>in the creme de menthe of my youth</l> <l> the silver tooth of my age</l> <l>the gullah speech of my one trembling tit</l> <l>full of tequila full of el dorado</l> <l> full of banana solitudes you tell me</l> <l>i use more lights more gas</l> <l> more telephones more sequins more feathers</l> <l>more iridescent head-stones</l> <l> you think i accept this pentecostal church</l> <l>in exchange for the lands you stole</l> </lg> <lg> <l>And because my name is Cortez</l> <l> do you think this is a revision</l> <l>of flesh studded with rivets</l> <l> my wardrobe clean</l> <l>the pick in my hair</l> <l> the pomegranate in my hand</l> <l>14th street delancey street 103rd street</l> <l> reservation where i lay my skull</l> <l>the barrio of need</l> <l> the police state in ashes</l> <l>drums full of tequila full of el dorado</l> <l> full of banana solitudes say:</l> <l>Do you really think time speaks english</l> <l> in the mens room</l> </lg> </body> <back> <p>Jayne Cortez was born in Arizona and grew up in the Watts Community of Los Angeles. She is the author of three books of poetry—<title key="Pissstained Stairs and the Monkey Man's Wares" ref="https://www.worldcat.org/title/pissstained-stairs-and-the-monkey-mans-wares/oclc/119044"><emph><title>Pissstained Stairs and the Monkey Man's Wares</title></emph></title> (1969), <emph><title>Festivals and Funerals</title></emph> (1971), <title><emph><title>Scarifications</title></emph></title> (1973), from which this poem is reprinted, and a recording — <title key="Celebrations and Solitudes" ref="https://www.discogs.com/release/1052679-Jayne-Cortez-Celebrations-And-Solitudes"><emph><title>Celebrations and Solitudes</title></emph></title> (Strata East Records, 1975).</p> </back> </text> </TEI>
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The nature of these myths—the myths of equality, individualism and democratic liberalism—which underwrite our humanist heritage, account for the weakest elements of feminist ideology. The recognition that feminism is an ideology, like <persName key="Karl Marx" ref="http://www.wikidata.org/entity/Q9061" type="real">Marx</persName>'s recognition that humanism is an ideology (i.e., not a discourse whose "truth" was inseparable from the world it described) is a necessary step in re-examining what feminism is and what it can do. </p> <p> I will use as a conceit the form of "the contradiction"—that underlying, dynamic mechanism of history—in a way that is sometimes more metaphorical than concrete. I take the liberty of using this model rhetorically at times to begin to establish a series of interrelationships between ideologies and their culture. I use it to suggest the many ways the several spheres of interest to <title key="Heresies: A Feminist Publication on Art and Politics" ref="http://www.wikidata.org/entity/Q17022558"><emph>Heresies</emph></title> readers—art, feminism and their political context—are subject to a set of analogous and mutually reinforcing ideological myths. Most feminists and artists alike are still held captive by the power of these seductive belief systems, although they threaten the coherence of our arguments, threaten our interests and threaten the very survival of the ideal of freedom.</p> <p> A confrontation between the facts and fictions which surround us becomes inevitable within an escalating spiral of contradictions. The first group to experience directly the essential contradictions of the society we live in is, of course, the lowest class: the unemployed, the poorest, least skilled, most exploited working people. Next, the marginal groups, in North America: people of color, immigrants, the elderly, etc. Artists are marginal too. They feel the economic squeeze in recessions, may even become politicized as a result. And across all these groups are women. As groups, then, women and artists have a low priority in the hierarchy of capital.</p> <p> To give up the humanist myths, those most cherished ideals of our own class, the bourgeoisie, which were forged when it was the revolutionary class, is difficult indeed. But give them up we must, for in the face of heightening contradictions–economic, biological, ideological—we have no choice. </p> <p>By 1976, the women's movement seems to have nearly as many political lines as there are women in it. This partly healthy, partly disturbing fact reflects with painful clarity both the strengths and implicit weaknesses of the feminist critique of society. What is feminist practice? What is it to be a feminist in 1976? Is it to be an individual woman "making it" in a man's world? Is it to recognize woman's historical oppression and, released from individual frustration and guilt, to take on collective responsibility? What is the nature of such a responsibility? Is it restricted to oneself? To oneself and the women one sees every week? Is this a responsibility to oneself, to women, to men, to history? In short, is feminism, as an ideology, fundamentally dangerous to the sexism it despises? If so, how?</p> <p> To many women, enmeshed in the growing contradictions of late capitalist society, feminism, by 1976, has proven as much a trap as a liberation. What seemed to so many of us as little as five years ago a potentially revolutionary force now appears to be virtually co-opted. The great capitalist commodity machine has produced a whole new catalogue of cultural commodities: the feminist writer, artist, poet; the feminist academic, professional, journalist, TV persona; the feminist token with that "<emph>feminist</emph> mystique." She is for sale in the cultural marketplace. She is tough, durable, tireless. She is "sexually liberated" (a great lay). She works harder than a man. She has to. She is still a <emph>woman</emph> in a world that calls people "mankind." That is, "equality" for women still equals inequality for women. This is a contradiction.</p> <p> What kind of contradiction? It is a contradiction between the ideology of bourgeois feminism and economic and biological fact. The economic facts of life for the great majority of women remain the same: unpaid domestic labor, ill-paid labor in the work force. Biological fact (which is gender difference along with its cultural baggage) proposes a contradiction, even for those of us who are female tokens of one sort or another, who <emph>are</emph> members of the bourgeoisie.</p> <p> Our psychosexual behavior, like our economic roles, is wholly determined by an inherited system of power relations, not only in the public sector, but at deeper levels, in the formation—within the family—of the psyche itself. Hence, as <persName key="Juliet Mitchell" ref="http://www.wikidata.org/entity/Q453560">Juliet Mitchell</persName> so carefully <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_091.jpg"/> describes, <note type="scholarNote">Mitchell, Juliet, "<title>Women and Equality</title>," in <orgName key="Partisan Review" ref="http://www.wikidata.org/entity/Q1930723">Partisan Review</orgName> (Summer, 1975)</note> it is the <emph>concept of equality</emph> which is invalid within our system. The abstract ideal of equality, she demonstrates, provides the philosophical basis for our laws. Our legal system, at its best, functions <emph>as if</emph> each of its individual constituents were equal. If some people have only their labor to sell, and this labor produces more value than it returns to the laborer, an unequal exchange has taken place. The laborer, then, and the owner of the means to produce that "surplus value" are not equal. If some people are denied, by virtue of their color, access even to the skills of labor, to whom are they equal? If half of all people have babies and half do not, are they all "equal"? Logical incompatabilities arise: what is different is not the same, and gender (among other things) means difference.</p> <p> Radical feminism has tried to take on this contradiction, indeed proclaimed it <emph>the</emph> essential contradiction in our form of social organization. Between biology and destiny, it proposes, stands consciousness. Woman's oppression vertically crosses class lines, crosses race lines; women, armed with "consciousness" would speak to each other across a history of divisions and change the world. Women's groups would not only clarify the areas of shared experience which foster that consciousness, but would serve as support communities. With sisterhood for strength, women would hit male supremacy where it lived: at home. Yet what, after all, has changed? The quality of life for a few privileged women—a small step. Was all that fervor, sisterhood and revolutionary idealism that was meant to reinvent the terms for a mass movement so easily engorged, packaged and recycled?</p> <p> For radical feminism too has been partially co-opted. Since it had already dropped out of the broader (sexist) political arena, it provided support systems for women, but toward an uncertain end. Seeing few alternatives and tantalized by a taste of power women often used that strength to re-enter the dominant culture to become as competitive, as "good" as men. Has the women's movement had so little concrete impact on most women's lives?</p> <p> Certainly the patriarchy was sufficiently threatened to let the feminist token into the limelight. (Why co-opt without advertising the co-opted product?) But she did not make it into the statistics. The economic facts so far as most women are concerned remain unchanged: unpaid domestic labor; ill-paid labor in the work force. The wage differential between men and women in fact is now greater than it was ten years ago. Even the hard-won victory of abortion (<emph>for a price</emph>), even the possibility of "equal rights" before the very laws which uphold a system of inequality, are a slap in the face to an ideology which aimed to alter the very "nature“ of human relationships. This too is a contradiction. </p> <p>What kind of contradiction? It is a contradiction between an ideology and a system; an ideology which has placed its profoundly humanist hope in individual consciousness as somehow separable from the structures in which that consciousness is created. Demystifying the contradictory elements of traditional feminism itself, then, is part of our task. In capitalist society, the process through which human labor is translated into commodity, then capital, is a process necessarily affecting not only the production of tractors and bombs but the production of <emph>ideology</emph>. This process puts intellectual labor, like esthetic labor, like factory labor, like reproductive labor, in the service of a system which generates a surplus of wealth for the few and subsistence for the many. This contradiction—between the forces of production (labor) and the property relations of production (ownership) is <emph>the</emph> contradiction which Marxists claim moves history, because it produces class struggle: the power of masses of people to labor becomes the power to revolt.</p> <p> This contradiction <emph>has</emph> moved history. But, feminists ask, has it altered the basic relation between woman and man, woman and childrearing, woman and psychosexual slavery? For the hypocrisy of bourgeois ideology in relation to bourgeois practice is paradigmatic within the structure of the family. Marriage, ostensibly a contractual agreement between consenting equals, is in fact a property relation between an owner and an exploited, isolated and powerless worker.</p> <p> It is the belief in the illusion that such social contracts can be fulfilled that has hung feminists on the horns of contradiction. Feminism was born in the 17th century along with the concept of equality of individuals. It was, as <persName key="Sheila Rowbotham" ref="http://www.wikidata.org/entity/Q432851">Sheila Rowbotham</persName> has documented, <note type="scholarNote">Rowbotham, Sheila, <title key="Rowbotham, Sheila. | Women, resistance and revolution" ref="http://viaf.org/viaf/7667153954881305680001/">Women, Resistance and Revolution</title>, Vintage Books (New York, 1974).</note> heated in the cauldron of bourgeois revolution and simmered in the idealism of 19th-century Utopianism à la <persName key="Charles Fourier" ref="http://www.wikidata.org/entity/Q181707" cert="high" type="real">Fourier</persName>, who claimed that "the change in historical epoch can always be determined by the progress of women toward freedom." <note type="scholarNote">Ibid., p. 51</note></p> <p>Bourgeois feminism has begun, then, in its history of leaps and starts, to identify and attack its sexist enemy, and taken a few long strides away from female feudalism for the benefit of some bourgeois women. But the heart of the problem remains. Feminists from <persName key="Tennessee Claflin" ref="http://www.wikidata.org/entity/Q7700030">Tennessee Claflin</persName> to <persName key="Isadora Duncan" ref="http://www.wikidata.org/entity/Q483512" cert="high" type="real">Isadora Duncan</persName> have scored high in locating it. "At the ballot box is not where the shoe pinches...It is at home where the husband is the supreme ruler that the little difficulty arises; he will not surrender this absolute power unless he is compelled," wrote Claflin in 1871. <note type="scholarNote"><persName key="Schneir, Miriam" ref="http://viaf.org/viaf/114917240/">Schneir, Miriam</persName>, ed., <title key="Feminism: The Essential Historical Writings" ref="http://www.wikidata.org/entity/Q104874805">Feminism: The Essential Historical Writings</title>, Vintage Books (New York, 1972), p. xviii.</note> Duncan, in her 1927 autobiography said, "Any intelligent woman who reads the marriage contract and then goes into it, deserves all the consequences." <note type="scholarNote">Ibid., p. XV.</note> Here is the confounding point. Monogamy asserts a situation in which one individual "owns" another. It is not ownership <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_092.jpg"/> <emph>per se</emph> that is in question now, but again, the mystification of what the individual is and can control. In participating in the compromised "equality" of marriage, each individual agrees to propagate the species in the context of the values of patriarchy. Values are learned, sexuality is formed, ideology is maintained—within the family.</p> <p>When feminists claim that "the personal is political" they refer, in a sense, to this problem. Their hypothesis is that one can generalize from the individual, internal dynamics of sexist oppression, to a general rule. <persName key="Sigmund Freud" ref="http://www.wikidata.org/entity/Q9215" type="real">Freud</persName>'s revelation of the structures of the unconscious confirms to an extent the validity of that enterprise. But up to now feminists have not taken it far enough. Having accepted the existence of subconscious structural analogues which mirror the differences between the sexes in the world, we can now proceed with the knowledge that, as a group, we are bound not only by the manifest political forms of our oppression but by these internal psychic monsters. In attempting to combat these monsters, however, feminists have often mistaken the cart for the horse. The personal is political—but with few exceptions, this invocation has simply generated a longer list of symptoms of the sexist disease. We must locate the causes of this disease if we are ever to cure it. We must exploit Freud's science of the mind, but only insofar as it is conjoined with the science of history; that is to say out of the context of individualism.</p> <p> Sisterhood is really powerful only insofar as it is armed with a coherent theory and a mass strategy. We are in and of our culture; so is the feminist ideal. We must pursue, with maximum scientific rigor, the vanguard theories of culture which culture has produced. We must use the best available tools to locate the incoherence—the contradictions—in extant phallocentric models and generate predictive models based in the experience of both halves of the human race. Feminists who wish to throw Freud out the window because of simplistic readings of "penis envy" current in popular psychology might well take a look at Mitchell's <title><emph>Feminism and Psychoanalysis</emph></title> for a re-examination of the usefulness of psychoanalysis to feminist analysis. Her effort there is exemplary. We cannot just look back nostalgically to ancient matriarchies. Indeed, fantasies about matriarchy in our era are pure science fiction. But their existence does suggest that alternate models for culture <emph>can</emph> exist.</p> <p> Recent controversy over Mitchell's book, among feminists and male psychoanalytic theorists here and abroad, suggests the "hotness" of this issue. Interestingly, this relation of sexuality to political economy is also being strongly developed outside a feminist context, most prominently on a major intellectual front—in the tradition of French structuralism. European feminists, especially in England and France, have thus been drawn to that tradition as heightened contradictions impel them to seek out means for their resolution. The main tendency in this area is necessarily phallocentric: it is still being written largely through the cipher of a male experience of the world. But if we as women don’t begin to write ourselves into history, who will? For so far, compared to the scope of the theoretical, strategic and practical task ahead, the "woman question" has really only been given lip service by the most advanced intellectual sciences —not surprising since they are "man-made."</p> <p> <persName key="Friedrich Engels" ref="http://www.wikidata.org/entity/Q34787">Engels</persName>, Marx and others have, of course, identified the monogamous, patriarchal family as the central prison for woman. Mechanistic Marxists therefore claim that releasing her from this singular prison into the work force (under socialism) must guarantee her freedom. Does it? Has it?</p> <p> Not significantly; not yet. The major 20th-century socialist revolutions have made some progress, removing, as in China, the most barbaric manifestations of sexist domination. Immediately following the Soviet revolution, <persName key="Vladimir Lenin" ref="http://www.wikidata.org/entity/Q1394" type="real">Lenin</persName>'s program included not only the training of women to join the work force at all levels, but the legalization of abortion, free, accessible divorce, communal daycare, etc. Within ten years, however, Stalinist backlash hit these family issues hardest; much harder, predictably, than the building of an extra-domestic women's work force. In China, with the Cultural Revolution and before, ideological struggle against the values of patriarchy has at least begun. But in the U.S.S.R., in the context of their drive to quickly meet economic priorites which created the bastard known as "state capitalism," it was easier to fall back on the ingrained behaviors of the traditional family unit for free work by women in the home.</p> <p> The American Communist Party reflects this tendency, still defending the "fighting family unit" as a revolutionary force—in America, a reactionary notion. In fact, mothers have been strong revolutionaries. The strength of the women of Vietnam in the long battle to defeat American imperialism is a case in point. But, as in Algeria, where fighting European imperialism also meant the reassertion of the heavily patriarchal values of Arab and Islamic culture, women's fate has most often been: off the battlefield and back to the kitchen. The contradictions of the double standard apparently are so heightened during periods of revolution that, as with Bolsheviks like <persName key="Alexandra Kollontai" ref="http://www.wikidata.org/entity/Q179558">Alexandra Kollontai</persName>, the preaching and practice of "free love" (and all it implies) becomes acceptable —for a brief time. Despite Lenin's great sympathy and work for women, his Victorianism won out in the area of sex. Even the Soviet woman engineer comes home to work that is still hers, and still never <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_093.jpg"/> done.</p> <p> In the U.S., too, anti-feminist backlash, somewhat reminiscent of the Stalinist attack on women's freedom, splits American feminism down its uncertain center. Though reformists suggest that there is room in a liberal America to heal the wounds of women, liberalism is particularly dangerous since it cleverly masks its own conservatism, its own investment in the status quo. Liberal ideology neatly instantiates the two-part form of the contradiction. "Its progressive side provides a rationale for defending the rights of individuals against the state. Its reactionary side emphasized that capitalism is not a system where one class exploits another but is rather a collection of individuals, any one of whom can succeed if he or she so decides."<note type="scholarNote"><persName key="Guettel, Charnie." ref="http://viaf.org/viaf/1981898/" type="real">Guettel, Charnie</persName>, <title><title>Marxism and Feminism</title></title>, Women's Educational Press (Ontario, Canada, 1974), p. 2.</note></p> <p> I hope it is becoming clear how ideologically messy liberalism really is from a post-humanist perspective in which the individual can no longer be seen as the subject of history. Liberalism is seen by leftists as a joke because it bears so tenuously the wan hopes of a bankrupt humanism and is ultimately, untenable. Even hardcore conservatism is more internally coherent. Conservatives and Marxists alike might describe capitalism as a system in which the "stronger" individuals make out. The difference, of course, is that conservatives say so approvingly, grounding their argument in the old dog-eat-dog theory of what they call human nature. Marxists have favored the idea that the industrial capitalist system tends to pervert or alienate what is potentially, or at a given historical moment "good" in human beings. Stated so simply, both are inadequate readings but at least they rehearse the consistency of these positions.</p> <p> The liberal wants to enjoy the fruits of his class privilege while salving his guilty conscience with a quasi-philosophic posture proposing that every individual (being protected by 'equality' before the law, by 'equal' opportunity measures, etc.) could theoretically be enjoying this same privilege if he or she were as hard-working and dauntless as him/herself. Thus the liberal buys off with a little charity or minimal social welfare all those who, by some extreme individual misfortune, can’t quite cut it.</p> <p>Here we return to the underbelly of co-optation. While a bill assuring equal rights before unequal laws is flung in our faces, and even defeated (adding insult to injury), the dominant media simultaneously declare the women's movement to be "over" or somehow "won" because of the presence of one and a half news anchor-women on TV or the financial viability of <title key="Ms." ref="http://www.wikidata.org/entity/Q3656351"><emph>Ms. Magazine</emph></title>. Capitalist propaganda demonstrates before our eyes that by inference, if one woman can do work that one man can do, women are the achieved "equals" of men. The responsibility for change is thus cleverly switched back onto the shoulders of <emph>individual</emph> women; to change the world, all you really must do is change yourself. And the mapping of contradictions comes full circle.</p> <p> The liberal feminist, like the liberal social democrat, learns to sate herself on the token goodies she is tendered. Or the radical feminist (who, lacking a viable mass strategy, is a liberal in disguise) tries to build a separatist island on which she and her sisters can be "free." It's a dilemma. I was, and in some ways still am, such a radical feminist. After all, I am a member of the women's group which publishes this magazine. We try to experiment with anti-oligarchic forms, collective practice. But what is an egalitarian island in a sea of capitalist contradictions but something doomed, as it were, to sinking?</p> <p> Witness a little linguistic contradiction and the issues it raises for us in <emph>Heresies</emph>. We are constituted as a collective. Adopting one of the stronger aspects of feminist practice, we attempt to chip away at the hierarchical authority structures of The System on a micro level by attempting to produce a theoretical magazine on a collective basis. The assumption here is that theory and practice must develop together in a dialectical relationship. But in order to function as a legal entity, we are transformed to Heresies Collective, Inc.; an incorporated collective. This is either redundant or ironic. The fact is, we don't even aspire to making profits but are completely dependent on the legal and business structures around us. This dependence relation, the impossibility of autonomy within a given economic structure, has meant about a two-year life-span for most American collectives before us, according to popular lore. </p><p>This dependence also means that artists, particularly those artists being forced by heightened economic contradictions to face political realities, must re-examine their place in our culture. The feminist filmmaker for example, has had to confront this issue head on. Film, more than any other artform, requires the mastery of machine technology. For women, that technology and the authority it connotes has been historically taboo. There are exceptions in the history of film but the percentage of women filmmakers is dramatically low for a 20th-century art. Feminists with the energy and support of their sisters in the movement have begun to break that taboo. But in doing so, they have been thrown against a major contradiction facing all "independent" filmmakers: the problem of capital. For to make films requires large amounts of capital, capital which is controlled by the ruling classes, middle-class liberals included.</p> <p> Advocates of independent filmmaking from <persName key="Maya Deren" ref="http://www.wikidata.org/entity/Q450382">Maya Deren</persName> in the 1940s (implicitly) to <persName key="Annette Michelson" ref="http://www.wikidata.org/entity/Q21176228" type="real">Annette Michelson</persName> in the 1960s (explicitly in her article "<title>Film and the Radical Aspiration</title>") <note type="scholarNote"><orgName>In <title key="Sitney, P. Adams. | Film culture reader" ref="http://viaf.org/viaf/6125154387351330970000/">Film Culture Reader</title></orgName>, ed., <persName key="P. Adams Sitney" ref="http://www.wikidata.org/entity/Q7117121">P. Adams Sitney</persName>, Praeger (New York, 1970).</note> have proposed that a stance outside of the commercial market is itself a "political" gesture. It is—to the <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_094.jpg"/><pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_095.jpg"/> extent that money can be garnered from liberals to make "art" as long as it is not fundamentally dangerous. But can any political art which attempts to attack the assumptions of The System <emph>from within</emph> patriarchal capitalism actually threaten it? This has been and will be an area of debate for many political estheticians and artists and can hardly be answered here.</p> <p> But we can and must confront the question. From what is the "independent" filmmaker or artist independent? She is not independent from the need to make a living. She is not independent from the need for capital—money which gives the power to make her films and distribute her films within a tight commercial media monopoly. When a feminist wonders why capitalists won’t hand over the money to make antisexist films, she, like her "independent" male counterpart, must face the terms of her dependence. She has begun to beg, borrow or steal (translated as win grants, go into debt, etc.) the capital to write herself into visual history, making films about the experience of women; viz: the films of <persName key="Julia Reichert" ref="http://www.wikidata.org/entity/Q1711898" type="real">Julia Reichert</persName>, <persName key="Yvonne Rainer" ref="http://www.wikidata.org/entity/Q452238">Yvonne Rainer</persName>, <persName key="Barbara Kopple" ref="http://www.wikidata.org/entity/Q449349" type="real">Barbara Kopple</persName>, <persName key="Chantal Akerman" ref="http://www.wikidata.org/entity/Q239823">Chantal Ackerman</persName>, and many others. But who actually sees these films? They are shown in women's festivals, in avant-garde and political forums in a few major cities. She is, in short, caught in that same economic trap. Cooperatives for pooling resources and sharing distribution efforts, such as New Day Films, are beginning to form; they are collectives like <emph>Heresies</emph>. But the absolute dependence on the inconsistent, discrimate charity of liberals is the underside of that ultimately romantic hope for "independence." The terms for independence, then, among artists and feminists, are the very terms of dependence. Yet another contradiction.</p> <p> I would like to convince all feminists that it is time to realign with the Left. Current economic realities, heightening contradictions, and the topography of world imperialism reaching its limits, are forcing many groups in America to confront their need for unity. The traditionally sectarian American Left itself is beginning to move toward coalition and alliance, toward unity across color lines, across race lines, across class lines <emph>and</emph> across gender lines. Within such a potential configuration women could speak to other women. We are beginning to recognize that all oppressed peoples within capitalism must come together if we are even to begin to be able to defend ourselves against the attacks and backlash of this system, much less to build a new one.</p> <p> Several feminist strategies for such a realignment of women with the broader struggle for freedom are presented in this issue of Heresies (see "Toward Socialist-Feminism" and "Wages for Housework"). This does not mean that women will not have to continue to force the priority of their own demands in relation to the needs of others. Women will need autonomy to develop theory and strategy accountable to our own needs within a broad movement, to avoid the failures of socialist experiments in the past. Thus, we must make our fight in the context of a movement we help to define and build, a movement that can take on the class contradiction as well as the racial and sexual contradictions implicit in the structures of the larger society. For, on these structures, the fate of all women, like it or not, is inextricably dependent. To wed feminism to the myths and false hopes of liberal idealism is to contribute to the systematic liquidation of its potential power.</p></div> </div> </body> <back> <div><p>Joan Braderman is completing her doctorate in film and political theory at N.Y.U., writes theory and criticism and makes 16mm films. She teaches film at The School of Visual Arts in New York City, is a political activist and likes to sing. </p></div> </back> </text> </TEI>
