feminist theory

Authority Sources

Linked Infrastructure for Networked Cultural Scholarship Genre Vocabulary

Adman

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					<persName>Bri Perea</persName>
					<resp>Editor</resp>
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				<head>
					<title>Adman</title>
				</head>
				<byline><persName key="Zelvin, Elizabeth" ref="http://viaf.org/viaf/285000059/"><persName key="Elizabeth Zelvin" ref="http://www.wikidata.org/entity/Q112492894">Elizabeth Zelvin</persName></persName></byline>
			</div>

<div>
				<lg>
					<l>twelve years later, how funny running into you</l>
					<l>i remember you in glasses and a bowtie</l>
					<l>before mad avenue bought space</l>
					<l>in the revolution</l>
				</lg>
				<lg>
					<l>you are conscientiously updated</l>
					<l>you have let your hair grow longer</l>
					<l>in that slick packaged heaven</l>
					<l>where good admen go</l>
					<l>you will play electric harp</l>
				</lg>

<lg>
					<l>you have remembered every moment</l>
					<l>all this time</l>
					<l>and remind me of it over steak</l>
					<l>which you have paid for</l>
					<l>your revolution balks at going dutch</l>
					<l>mine will be vegetarian by next week</l>
					<l>but just this once i'll buy your buying me</l>
					<l>my steak</l>
				</lg>

<lg>
					<l>i'm curious to remember how it feels</l>
				</lg>

<lg>
					<l>i took my diaphragm everywhere in those days</l>
					<l>the only part i remember is when you said</l>
					<l>why don’t we go ahead, do what we’ve both been thinking</l>
					<l>but i hadn’t, honestly, or i would never</l>
					<l>have put my flannel nightgown on</l>
					<l>sorry, i don’t remember</l>
					<l>anything that happened after that</l>
					<l>it was all so long ago</l>
					<l>and meant so little</l>
				</lg>

<lg>
					<l>twelve years ago, before the revolution</l>
					<l>it was usually too much trouble to say no</l>
					<l>especially when the man had bought you</l>
					<l>steak</l>
				</lg>

<lg>
					<l>you are curious to remember how it feels</l>
					<l>but i have chewed and sat with downcast eyes</l>
					<l>letting you tell some patent Barbie me</l>
					<l>that i'm more womanly (sic) than your ex-wife</l>
					<l>and feel i've paid enough</l>
					<l>thanks for the steak, good seeing you again</l>
					<l>i mouth, let's get together soon</l>
					<l>i do not say, there’s been a revolution</l>
					<l>and there have been too many one night stands</l>
				</lg>
			</div>
		</body>
		<back>
			Elizabeth Zelvin is a writer living in New York who has poems appearing in <title key="WomanSpirit" ref="http://www.wikidata.org/entity/Q48732990">Womanspirit</title> and <title key="13th Moon" ref="http://www.wikidata.org/entity/Q95584323">13th Moon</title>. She has
				recently completed a book about an alternative marriage, and among her other
				interests are "singing and song-writing, teaching creative movement, and trying to
				understand the synthesis of anarchism and feminism." 
		</back>
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Women and Honor: Some Notes on Lying

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					<resp>Editor, encoder</resp>
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					<persName>Bri Perea</persName>
					<resp>Editor</resp>
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					<persName>Roger Rothman</persName>
					<resp>Investigator, editor</resp>
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					<persName>Maya Wadhwa</persName>
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				<funder>Bucknell University Humanities Center</funder>
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<div><head><title>Women and Honor: Some Notes on Lying</title></head>
			<byline><persName key="Adrienne Rich" ref="http://www.wikidata.org/entity/Q270705">Adrienne Rich</persName></byline></div>

<div>(<emph>These notes are concerned with relationships between and among women. When "personal relationship" is referred to I mean a relationship between two women, it will be clear in what follows when I am talking about women's relationships with men.</emph>)
			The old, male idea of honor. A man’s ''word" sufficed—to other men—without
				guarantee.
			"Our Land Free, Our Men Honest, Our Women Fruitful"—a popular colonial toast in
				America.
			Male honor also having something to do with killing: <emph>I could not love thee, Dear, so much / Lov'd I not Honour more</emph> (''<title>To Lucasta, On Going to the Wars</title>''). Male honor as
				something needing to be avenged: hence, the duel.
			Women's honor, something altogether else: virginity, chastity, fidelity to a husband.
				Honesty in women has not been considered important. We have been depicted as
				generically whimsical, deceitful, subtle, vacillating. And we have been rewarded for
				lying.
			Men have been expected to tell the truth about facts, not about feelings. They have
				not been expected to talk about feelings at all.
			Yet even about facts they have continually lied. We assume that politicians are
				without honor. We read their statements trying to crack the code. The scandals of
				their politics: not that men in high places lie, only that they do so with such
				indifference, so endlessly, still expecting to be believed. We are accustomed to the
				contempt inherent in the political lie.
			
			To discover that one has been lied to in a personal relationship, however, leads one
				to feel a little crazy.
			
			Lying is done with words, and also with silence.
			The woman who tells lies in her personal relationships may or may not plan or invent
				her lying. She may not even think of what she is doing in a calculated way.
			 A subject is raised which the liar wishes buried. She has to go downstairs, her
				parking-meter will have run out. Or there is a telephone call she ought to have made
				an hour ago.
			She is asked, point-blank, a question which may lead into painful talk: ''How do you
				feel about what is happening between us?'' Instead of trying to describe her feelings
				in their ambiguity and confusion, she asks, ''How do you feel?" The other, because she
				is trying to establish a ground of openness and trust, begins describing her own
				feelings. Thus the liar learns more than she tells.
			And she may also tell herself a lie: that she is concerned with the other's feelings,
				not with her own.
			But the liar is concerned with her own feelings.
			The liar lives in fear of losing control. She cannot even desire a relationship
				without manipulation, since to be vulnerable to another person means for her the
				loss of control.
			The liar has many friends, and leads an existence of great loneliness.
			
			The liar often suffers from amnesia. Amnesia is the silence of the unconscious.
			To lie habitually, as a way of life, is to lose contact with the unconscious. It is
				like taking sleeping pills, which confer sleep but blot out dreaming. The
				unconscious wants truth. It ceases to speak to those who want something else more
				than truth.
			In speaking of lies we come inevitably to the subject of truth. There is nothing
				simple or easy about this idea. There is no ''the truth,'' "a truth"—truth is not
				one thing, or even a system. It is an increasing complexity. The pattern of the
				carpet is a surface. When we look closely or when we become weavers, we learn of the
				tiny multiple threads unseen in the overall pattern, the knots on the underside of
				the carpet.
			This is why the effort to speak honestly is so important. Lies are usually attempts
				to make <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_026.jpg" generatedBy="human" xml:space="default" n="24"/> everything simpler—for the liar—than it really is, or ought
				to be.
			In lying to others we end up lying to ourselves. We deny the importance of an event,
				or a person, and thus deprive ourselves of a part of our lives. Or we use one piece
				of the past or present to screen out another. Thus we lose faith even with our own
				lives.
			The unconscious wants truth, as the body does. The complexity and fecundity of dreams
				come from the complexity and fecundity of the unconscious struggling to fulfill that
				desire. The complexity and fecundity of poetry come from the same struggle.
			
			An honorabie human relationship—that is, one in which two people have the right to
				use the word "love"—is a process, delicate, violent, often terrifying to both
				persons involved, a process of refining the truths they can tell each other.
			It is important to do this because it breaks down human self-delusion and
				isolation.
			It is important to do this because in so doing we do justice to our own
				complexity.
			It is important to do this because we can count on so few people to go that hard way
				with us.
			
			I come back to the question of women's honor. Truthfulness has not been considered
				important for women, as long as we have remained physically faithful to a man, or
				chaste.
			We have been expected to lie with our bodies: to bleach, redden, unkink or curl our
				hair, pluck eyebrows, shave armpits, wear padding in various places or lace
				ourselves, take little steps, glaze finger and toe nails, wear clothes that
				emphasize our helplessness.
			We have been required to tell different lies at different times, depending on what
				the men of the time needed to hear. The Victorian wife or the white southern lady,
				who were expected to have no sensuality, to "lie still"; the twentieth-century "free" woman who is expected to fake orgasms.
			We have had the truth of our bodies withheld from us or distorted; we have been kept
				in ignorance of our most intimate places. Our instincts have been punished:
				clitorectomies for "lustful'' nuns or for "difficult" wives. It has been difficult,
				too, to know the lies of our complicity from the lies we believed.
			 The lie of the "happy marriage," of domesticity — we have been complicit, have acted
				out the fiction of a well-lived life, until the day we testify in court of rapes,
				beatings, psychic cruelties, public and private humiliations.
			Patriarchal lying has manipulated women both through falsehood and through silence.
				Facts we needed have been withheld from us. False witness has been borne against
				us.
			And so we must take seriously the question of truthfulness between women,
				truthfulness among women. As we cease to lie with our bodies, as we cease to take on
				faith what men have said about us, is a truly womanly idea of honor in the
				making?
			
			Women have been forced to lie, for survival, to men. How to unlearn this among other
				women?
			"Women have always lied to each other." "Women have always whispered the truth to
				each other.'' Both of these axioms are true.
			"Women have always been divided against each other." ''Women have always been in
				secret collusion." Both of these axioms are true.
			In the struggle for survival we tell lies. To bosses, to prison guards, the police,
				men who have power over us who legally own us and our children, lovers who need us
				as proof of their manhood.
			There is a danger run by all powerless people that we forget we are lying, or that
				lying becomes a weapon we carry over into relationships with people who do not have
				power over us.
			
			I want to reiterate that when we talk about women and honor or women and lying, we
				speak within the context of male lying, the lies of the powerful, the lie as a false
				source of power.
			Women have to think whether we want, in our relationships with each other, the kind
				of power that can be obtained through lying.
			Women have been driven mad, ''gaslighted," for centuries by the refutation of our
				experience and our instincts in a culture which validates only male experience. The
				truth of our bodies and our minds has been mystified to us. We therefore have a
				primary obligation to each other: not to undermine each other's sense of <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_027.jpg" generatedBy="human" xml:space="default" n="25"/> reality for the sake of expediency; not to gaslight each other.
			
			Women have often felt insane when cleaving to the truth of our experience. Our future
				depends on the sanity of each of us, and we have a profound stake, beyond the personal, in the project of describing our reality as candidly and fully as we can to each
				other.
			There are phrases which help us not to admit we are lying: "my privacy," "nobody's
				business but my own.'' The choices that underlie these phrases may indeed be
				justified; but we ought to think about the full meaning and consequences of such
				language.
			Women’s love for women has been represented almost entirely through silence and lies.
				The institution of heterosexuality has forced the lesbian to dissemble, or be
				labelled a pervert, a criminal, a sick or dangerous woman, etc., etc. The lesbian,
				then has often been forced to lie, like the prostitute or the married woman.
			Does a life "in the closet"—lying, perhaps of necessity, about ourselves to bosses,
				landlords, clients, colleagues, family, because the law and public opinion are
				founded on a lie—does this, can it, spread into public life, so that lying
				(described as <emph>discretion</emph>) becomes an easy way to avoid conflict or complication? Can
				it become a strategy so ingrained that it is used even with close friends and
				lovers?
			Heterosexuality as an institution has also drowned in silence the erotic feelings
				between women. I myself lived half a lifetime in the lie of that denial. That
				silence makes us all to some degree, into liars.
			When a woman tells the truth she is creating the possibility for more truth around
				her.
			
			The liar leads an existence of unutterable loneliness.
			The liar is afraid.
			But we are all afraid: without fear we become manic, hubristic, self-destructive.
				What is this particular fear that possesses the liar?
			She is afraid that her own truths are not good enough.
			She is afraid, not so much of prison guards or bosses, but of something unnamed
				within her.
			The liar fears the void.
			 The void is not something created by patriarchy, or racism, or capitalism. It will
				not fade away with any of them. It is part of every woman.
			''The dark core,'' <persName key="Virginia Woolf" ref="http://www.wikidata.org/entity/Q40909">Virginia Woolf</persName> named it, writing of her mother. The dark core. It is
				beyond personality; beyond who loves us or hates us. We begin out of the void, out
				of darkness and emptiness. It is part of the cycle understood by the old pagan
				religions that materialism denies. Out of death, rebirth; out of nothing,
				something.
			The void is the creatrix, the matrix. It is not mere hollowness and anarchy. But in
				women it has been identified with lovelessness, barrenness, sterility. We have been
				urged to fill our "emptiness" with children. We are not supposed to go down into the
				darkness of the core.
			Yet, if we can risk it, the something born of that nothing is the beginning of our
				truth.
			The liar in her terror wants to fill up the void with anything. Her lies are a denial
				of her fear; a way of maintaining control.
			
			Why do we feel slightly crazy when we realize we have been lied to in a
				relationship?
			We take so much of the universe on trust. You tell me: "In 1950 I lived on the north
				side of Beacon Street in Somerville.'' You tell me: ''She and I were lovers, but for
				months now we have only been good friends.'' You tell me: "It is seventy degrees
				outside and the sun is shining." Because l love you, because there is not even a
				question of lying between us, I take these accounts of the universe on trust: your
				address twenty-five years ago, your relationship with someone I know only by sight,
				this morning's weather. I fling unconscious tendrils of belief, like slender green
				threads, across statements such as these, statements made so unequivocally, which
				have no tone or shadow of tentativeness. I build them into the mosaic of my world. I
				allow my universe to change in minute, significant ways, on the basis of things you
				have said to me, of my trust in you.
			I also have faith that you are telling me things it is important I should know; that
				you do not conceal facts from me in an effort to spare me, or yourself, pain.
			Or, at the very least, that you will say, ''There are things l am not telling
				you."
				When we discover that someone we trusted can <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_028.jpg" generatedBy="human" xml:space="default" n="26"/> be trusted no longer it
				forces us to re-examine the universe, to question the whole instinct and concept of
				trust. For awhile, we are thrust back onto some bleak, jutting ledge, in a dark
				pierced by sheets of fire, swept by sheets of rain, in a world before kinship, or
				naming, or tenderness exist; we are brought close to formlessness.
			
			The liar may resist confrontation, denying that she lied. Or she may use other
				language: forgetfulness, privacy, the protection of someone else. Or she may bravely
				declare herself a coward. This allows her to go on lying, since that is what cowards
				do. She does not say, <emph>I was afraid</emph>, since this would open the question of other ways
				of handling her fear. It would open the question of what is actually feared.
			She may say, <emph>I didn't want to cause pain</emph>. What she really did not want is to have to
				deal with the other's pain. The lie is a short-cut through another’s
				personality.
			Truthfulness, honor, is not something which springs ablaze of itself; it has to be
				created between people.
			This is true in political situations. The quality and depth of the politics evolving
				from a group depends in very large part on their understanding of honor.
			Much of what is narrowly termed "politics" seems to rest on a longing for certainty
				even at the cost of honesty, for an analysis which, once given, need not be
				re-examined. Such is the dead-endedness—for women—of <rs key="Marxism" ref="http://www.wikidata.org/entity/Q7264">Marxism</rs> in our time.
			Truthfulness anywhere means a heightened complexity. But it is a movement into
				evolution. Women are only beginning to uncover our own truths; many of us would be
				grateful for some rest in that struggle, would be glad just to lie down with the
				sherds we have painfully unearthed, and be satisfied with those. Often I feel this
				like an exhaustion in my own body.
			
			The politics worth having, the relationships worth having, demand that we delve still
				deeper.
			The possibilities that exist between two people, or among a group of people, are a
				kind of alchemy. They are the most interesting things in life. The liar is someone
				who keeps losing sight of these possibilities.
			When relationships are determined by manipuation, by the need for control, they may
				possess a dreary, bickering kind of drama, but they cease to be interesting. They
				are repetitious; the shock of human possibility has ceased to reverberate through
				them.
			When someone tells me a piece of the truth which has been withheld from me, and which
				I needed in order to see my life more clearly, it may bring acute pain, but it can
				also flood me with a cold, sea-sharp wash of relief. Often such truths come by
				accident, or from strangers.
			It isn't that to have an honorable relationship with you, I have to understand
				everything, or tell you everything at once, or that I can know, beforehand,
				everything I need to tell you.
			It means that most of the time I am eager, longing for the possibility of telling
				you. That these possibilities may seem frightening, but not destructive, to me. That
				I feel strong enough to hear your tentative and groping words. That we both know we
				are trying, all the time, to extend the possibilities of truth between us.
			The possibility of life between us.
			</div>
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<back>
			<div>Adrienne Rich is a well-known poet and feminist who has published 9 books. The most
				recent one, <title key="Rich, Adrienne Cecile. | Of woman born" ref="http://viaf.org/viaf/9718159521652133070000/"><emph>Of Woman Born: Motherhood as Experience and Institution</emph></title> (W.W. Norton
				&amp; Company), she described as coming "from the double need to survive and to
				work; and I wrote it in part for the young woman I once was, divided between body
				and mind, wanting to give her the book she was seeking...." </div>
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Zucchini Poem

Toward Socialist Feminism

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				facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_006.jpg"/>
			<div>
				<head>
					<title>Toward Socialist Feminism</title></head>
				<byline><persName key="Barbara Ehrenreich"
						ref="http://www.wikidata.org/entity/Q283659">Barbara
					Ehrenreich</persName></byline>
			</div>
			<note type="researchNote">Versions of this article have been presented at the Socialst
				Feminist Conference, Yellow Springs, Ohio, July 1975; at Women's Week, Brown
				University, April, 1976; and in WIN (June 3, 1976) as "What is Socialist
				Feminism?"</note>
			<div>
				 At some level, perhaps not too well articulated, socialist feminism has been
					around for a long time. You are a woman in a capitalist society. You get pissed
					off: about the job, about the bills, about your husband (or ex), about the kids'
					school, the housework, being pretty, not being pretty, being looked at, not
					being looked at (and either way, not listened to), etc. If you think about all
					these things and how they fit together and what has to be changed, and then you
					look around for some words to hold all these thoughts together in abbreviated
					form, you'd almost have to come up with something like "socialist feminism." 
				A lot of us came to socialist feminism in just that way: we were reaching for a
					word/term/phrase that would begin to express <emph>all</emph> of our concerns,
					all of our principles in a way that neither "socialist" nor "feminist" seemed
					to. I have to admit that most socialist feminists I know are not too happy with
					the term "socialist feminist" either. On the one hand it is too long (I have no
					hopes for a hyphenated mass movement); on the other hand it is much too short
					for what is, after all, really socialist internationalist anti-racist
					anti-heterosexist feminism.
				The trouble with taking a new label of any kind is that it creates an instant
					aura of sectarianism. "Socialist feminism" becomes a challenge, a mystery, an
					issue in and of itself. We have speakers, conferences, articles on "socialist
					feminism"—though we know perfectly well that either "socialism" or "feminism" is
					too huge and too inclusive to be a subject for any sensible speech, conference,
					or article. People, including avowed socialist feminists, ask themselves
					anxiously, "What <emph>is</emph> socialist feminism?" There is a kind of
					expectation that it is (or is about to be at any moment, maybe in the next
					speech, conference or article) a brilliant synthesis of world historical
					proportions—an evolutionary leap beyond <persName key="Karl Marx"
						ref="http://www.wikidata.org/entity/Q9061">Marx</persName>, <persName
						key="Sigmund Freud" ref="http://www.wikidata.org/entity/Q9215"
						>Freud</persName> and <persName key="Mary Wollstonecraft"
						ref="http://www.wikidata.org/entity/Q101638">Wollstonecraft</persName>. Or
					that it will turn out to be nothing, a fad seized on by a few disgruntled
					feminists and female socialists, a temporary distraction.
				I want to try to cut through some of the mystery which has grown up around
					socialist feminism. Here I am going to focus on our "theory"—the way we look at
					and analyze the world. I am not going to deal with our total outlook as
					socialist feminists because I want to stick as closely as possible to the
					interface of the two main traditions we grow out of—socialism and feminism. 
				 A logical way to start is to look at socialism and feminism separately. How does
					a socialist—more precisely a Marxist—look at the world? How does a feminist look
					at the world? To begin with, Marxism and feminism have something important in
					common: they are <emph>critical</emph> ways of looking at the world. Both rip
					away popular mythology and "common-sense wisdom'' and force us to look at
					experience in a new way. Both seek to understand the world—not in terms of
					static balances and symmetries (as in conventional social science), but in terms
					of <emph>antagonisms</emph>. So they lead to conclusions which are jarring and
					disturbing at the same time that they are liberating. There is no way to have a
					Marxist or a feminist outlook and remain a spectator. To understand the reality
					laid bare by these analyses is to move into action to change it.
				Here I am going to restrict myself to what I see as the core insights of Marxism
					and feminism, and state these as briefly and starkly as possible: Marxism (in 20
					words or less) addresses itself to the class dynamics of capitalist society.
					Every social scientist knows that capitalist societies are characterized by more
					or less severe, systemic inequality. Marxism understands this inequality to
					arise from processes which are <emph>intrinsic</emph> to capitalism as an
					economic system. A minority of people (the capitalist class) own all the
					factories/energy sources/resources on which everyone else depends in order to
					live. The great majority (the working class) must, out of sheer necessity, work,
					under conditions set by the capitalists, for the wages the capitalists pay.
					Since the capitalists make their profits by paying less in wages than the value
					of what the workers actually produce, the relationship between these two classes
					is necessarily one of irreconcilable antagonism: the capitalist class owes its
					very existence to the continued exploitation of the working class. What
					maintains this system of class rule is, in the last analysis, force. The
					capitalist class controls (directly or indirectiy) the means of organized
					violence represented by the state—policemen, jails, etc. Only by waging a
					revolutionary struggle aimed at the seizure of state power can the working class
					free itself, and, ultimately, all people.
				Feminism addresses itself to another familiar inequality. All human societies are
					marked by some degree of inequality between the sexes. If we survey human
					societies at a glance, sweeping through history and across continents, we see
					that they have commonly been characterized<pb
						facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_007.jpg"
					/>by: the subjugation of women to male authority, both within the family and in
					the community in general; the objectification of women as a form of property; a
					sexual division of labor in which women are confined to such activities as
					childraising, performing personal services for adult males and specified
					(usually low-prestige) forms of productive labor. 
				Feminists, struck by the near-universality of these things have looked for
					explanations in the biological "givens" which underlie all human social
					existence: men are physically stronger than women on the average, especially
					compared to pregnant women or women who are nursing babies. Furthermore, men
					have the power to make women pregnant. Thus the forms that sexual inequality
					takes—however various they may be from culture to culture—rest, in the last
					analysis, on what is clearly a physical advantage males hold over females. That
					is to say, they rest on violence, or the threat of violence.
				The ancient, biological roots of male supremacy—the fact of male violence—are
					commonly obscured by the laws and conventions which regulate the relations
					between the sexes in any particular culture. But they are there, according to a
					feminist analysis. The possibility of male assault stands as a constant warning
					to "bad" (rebellious, aggressive) women, and drives "good" women into complicity
					with male supremacy. The reward for being "good" ("pretty," submissive) is
					protection from random male violence and, in some cases, economic security.
				I hope I have written these capsule summaries of Marxism and feminism in such a
					way that some similarities of approach show through. Marxism rips away the myths
					about "democracy" and "pluralism" to reveal a system of class rule that rests on
						<emph>forcible</emph> exploitation. Feminism cuts through myths about
					"instinct" and romantic love to expose male rule as a rule of force. Both
					analyses compel us to look at a fundamental injustice. If either, or both, make
					you uncomfortable, they were meant to! The choice is to reach for the comfort of
					the myths or as Marx put it, to work for a social order which does not require
					myths to sustain it. 
				Having gone to the trouble to provide these thumbnail sketches of Marxism and
					feminism, the obvious thing to do would be just to add them up and call the sum
					"socialist feminism." In fact, this is probably how most socialist feminists
					operate most of the time—as a kind of hybrid, pushing feminism in socialist
					circles, socialism in feminist circles. Practically speaking, I think this is a
					perfectly reasonable way to operate a lot of the time. One trouble with leaving
					things like that, though, is that it keeps people wondering "Well, what is she
						<emph>really</emph>?" or demanding of us "What is the principal
					contradiction?" Such questions often stop us in our tracks: It sounds so
					compelling and authoritative and logical: "Make a choice! Be one or another!"
					Yet we know that there is a political consistency to socialist feminism. We are
					not hybrids or fence-sitters.
				To get to that political consistency we have to go beyond the capsule versions of
					Marxism and feminism I laid out. We have to differentiate ourselves, as
					feminists from other kinds of feminists, and as Marxists from other kinds of
					Marxists. We have to stake out a socialist feminist kind of feminism and a
					socialist feminist kind of socialism. Only then is there a possibility that
					things will "add up" to something more than an uneasy juxtaposition. 
				 First, what is our outlook as feminists and how is it different from that of
					other feminists? I think most radical feminists and socialist feminists would
					agree with my capsule characterization of feminism <emph>as far as it
						goes</emph>. The trouble with radical feminism from a socialist feminist
					point of view, is that it doesn't go any farther: it remains transfixed by the
					universality of male supremacy: things have never really changed; all social
					systems are "patriarchies"; imperialism, militarism and capitalism are all
					simply expressions of innate male aggressiveness. And so on. 
				The problem with this is not only that it leaves out men (and the possibility of
					reconciliation with them on a truly human and egalitarian basis) but that it
					leaves out an awful lot about women. For example, to discount a socialist
					country such as China as a "patriarchy"—as I have heard some radical feminists
					do—is to ignore the real struggles and achievements of millions of women.
					Socialist feminists, while agreeing that there is something timeless and
					universal about women's oppression, have insisted that it takes different forms
					in different settings, and that the <emph>differences</emph> are of vital
					importance. There is a difference between a society in which sexism is expressed
					by female infanticide and a society in which sexism takes the form of unequal
					representation on the Central Committee. And the difference is worth dying for. 
				One of the historical variations on the theme of sexism which ought to concern
					all feminists is the set of changes that came with the transition from an
					agrarian society to industrial capitalism. This is no academic issue. The social
					system which industrial capitalism replaced was in fact a
						<emph>patriarchal</emph> one, and I am using that term now in its original
					sense to mean a system in which production is centered in the household and is
					presided over by the oldest male. The fact is that industrial capitalism came
					along and tore the rug out from under that system: production went into the
					factories; individuals broke off from the family to become "free" wage earners.
					To say that capitalism disrupted the patriarchal organization of production and
					family life is not, of course, to say that capitalism abolished male supremacy!
					But the particular<pb
						facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_008.jpg"
					/>forms of sex oppression we experience today are, to a significant degree,
						<emph>recent</emph> developments. A huge historical discontinuity lies
					between us and true patriarchy. If we are to understand our experience as women
					today, we must move beyond the biological invariants of human experience to a
					consideration of <emph>capitalism</emph> as a system. 
				There are other ways I could have gotten to the same point. I could have said
					simply that as feminists we are most interested in the most oppressed women—poor
					and working-class women, third-world women—and for <emph>that</emph> reason we
					are led to a need to comprehend and confront captialism. I could have said that
					we need to address ourselves to the class system simply because women are
					members of classes. But I am trying to bring out something else about our
					perspective: that there is no way to understand sexism as it acts on our
					lives—never mind class oppression for a minute!—without putting it in the
					historical context of capitalism. 
				Now let's go on to our outlook as Marxists. Again, I think most socialist
					feminists would agree with my capsule summary <emph>as far as it goes</emph>.
					And the trouble again is that there are a lot of people (I'll call them
					"mechanical Marxists") who do not go any further. To these people, the only
					"real" and important things that go on in capitalist society are those that
					relate to the productive process or the conventional political sphere. From such
					a point of view, every other part of experience and social existence—education,
					sexuality, recreation, the family, art, music, housework (you name it)—is
					peripheral to the central dynamics of social change; it is part of the
					"superstructure" or "culture."
				Socialist feminists are in a very different camp. We (along with many Marxists
					who are not feminists) see capitalism as a social and cultural
						<emph>totality</emph>. We understand that, in its search for markets,
					capitalism is driven to penetrate every nook and cranny of social existence.
					Especially in the monopoly capitalism phase, the realm of consumption is every
					bit as important, just from an economic point of view as the realm of
					production. So we cannot understand class struggle as something confined to
					issues of wages and hours, or confined only to workplace issues. Class struggle
					occurs in every arena where the interests of the classes conflict, and that
					includes education, health, the arts, etc. We aim to transform not only the
					ownership of the means of production, but the totality of social existence.
				So, as Marxists, we come to feminism from a completely different place than the
					"mechanical Marxists." Because we see monopoly capitalism as a
					political/economic/cultural totality, we have room within our
						<emph>Marxist</emph> framework for feminist issues which have nothing
					ostensibly to do with production or "politics," issues that have to do with
					"private" life. 
				 Furthermore, in our brand of Marxism, there is no "woman question," no big
					mystery about women—because we never compartmentalized women off to the
					"superstructure“ in the first place. Marxists of a mechanical bent continually
					ponder the issue of the unwaged woman (the housewife): is she really a member of
					the working class? That is, does she really produce surplus value? We say, of
					course housewives are members of the working class—<emph>not</emph> because we
					have some elaborate proof that they really do produce surplus value—but because
					we understand a class as being composed of <emph>people</emph>, and as having a
						<emph>social</emph> existence quite apart from the capitalist-dominated
					realm of production. When we think of class in this way, then we see that in
					fact the women who seemed most peripheral, the housewives, are at the very heart
					of their class—raising children, holding together families, maintaining the
					culture and social networks of the community. 
				 So we are coming out of a kind of feminism and a kind of Marxism whose interests
					quite naturally flow together. I think we are in a position now to see why it is
					that socialist feminism has been such a great mystery. It is a paradox only as
					long as what you mean by socialism is really "mechanical Marxism" and what you
					mean by feminism is an ahistorical kind of radical feminism. These things don’t
					add up; they have nothing in common.
				 But if you put together another kind of socialism and another kind of feminism,
					as I have tried to define them, you do get some common ground. And that is one
					of the most important things about socialist feminism today: that it is a
					space—free from the constrictions of a truncated kind of feminism and a
					truncated version of Marxism—a space in which we can develop the kind of
					politics that address the political/economic/cultural <emph>totality</emph> of
					monopoly capitalist society. We could go only so far with the available
					feminisms, the conventional Marxism, and then we had to break out to something
					that is not so restrictive and so incomplete in its view of the world. We had to
					take a new name, "socialist feminism," in order to assert our determination to
					comprehend the <emph>whole</emph> of our experience and to forge a politics that
					reflects the totality of that comprehension.
				 At that I may have fulfilled my mission of demystifying socialist feminism, but
					I don't want to leave this theory as a "space" or a common ground. Things are
					beginning to grow in that ground. We are closer to a synthesis in our
					understanding of sex and class, capitalism and male domination, than we were a
					few years ago. Here l will indicate very sketchily one such line of thought:
				<list>
					<item>1. The Marxist/feminist understanding that class and sex domination rest
						"ultimately" on force is correct, and this remains the most devastating
						critique of sexist/capitalist society. But there is a lot to that
						"ultimately.'' In a <pb n="7"
							facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_009.jpg"
						/> day-to-day sense, most people acquiesce to sex and class domination
						without being held in line by the threat of violence, and often without even
						the threat of material deprivation. </item>
					<item>2. It is very important, then, to figure out what, if not the direct
						application of force, keeps things going. In the case of class, a great deal
						has been written already about why the American working class lacks militant
						class consciousness. Certainly ethnic divisions especially the Black/white
						division, are a key to the answer. But, I would argue, in addition to being
						divided, the working class has been socially <emph>atomized</emph>:
						working-class neighborhoods have been destroyed and allowed to decay; life
						has become increasingly privatized and inward-looking; skills once possessed
						by the working class have been expropriated by the capitalist class;
						capitalist-controlled "mass culture'' has edged out almost all indigenous
						working class culture and institutions. Instead of collectivity and
						self-reliance as a class there is mutual isolation and collective
							<emph>dependency</emph> on the capitalist class. </item>
					<item>3. The subjugation of women, in ways characteristic of late capitalist
						society, has been a key to this process of class atomization. To put it
						another way: the forces which have atomized working-class life and promoted
						cultural/material dependency on the capitalist class are the
							<emph>same</emph> forces which have served to perpetuate the subjugation
						of women. It is women who are most isolated in what has become an
						increasingly privatized family existence (even when they work outside the
						home too). It is, in many instances, women's skills (productive skills,
						healing, midwifery) which have been discredited or banned to make way for
						commodities. It is, above all, women who are required to be utterly
						passive/uncritical/dependent (i.e. "feminine") in the face of the pervasive
						capitalist penetration of private life. Historically, late capitalist
						penetration of working-class life has singled out women as prime targets of
						pacification (or "feminization") because <emph>women are the culture-bearers
							of their class</emph>. </item>
					<item>4. It follows that there is a fundamental interconnectedness between
						women's struggle and what is traditionally conceived as class struggle. Not
						all women's struggles have an inherently anti-capitalist thrust
						(particularly not those which seek only to advance the power and wealth of
						special groups of women), but all those which build
							<emph>collectivity</emph> and <emph>collective confidence</emph> among
						women are vitally important to the building of class consciousness.
						Conversely, not all class struggles have an inherently anti-sexist thrust
						(especially not those which cling to pre-industrial patriarchal values) but
						all those which seek to build the social and cultural autonomy of the
						working class are necessarily linked to the struggle for women's
						liberation.</item>
				</list>
				This is one direction which socialist feminist analysis is taking. No one is
					expecting a synthesis to emerge which will collapse socialist and feminist
					struggles into the same thing. The capsule summaries I gave earlier retain their
					"ultimate" truth: there are crucial aspects of capitalist domination (such as
					racial oppression) which a purely feminist perspective simply cannot account for
					or deal with—without bizarre distortions, that is. There are crucial aspects of
					sex oppression (such as male violence within the family) into which socialist
					thought has little insight—again without a lot of stretching and distortion.
					Hence the need to continue to be socialists <emph>and</emph> feminists. But
					there is enough of a synthesis, both in what we think and what we do, for us to
					begin to develop a self-confident identity as <emph>socialist feminists</emph>.
				
			</div>
		</body>
		<back>
			Barbara Ehrenreich is the co-author, with <persName key="Deirdre English"
					ref="http://www.wikidata.org/entity/Q5252562">Deirdre English</persName>, of
					<title>Witches, Midwives and Nurses: A History of Women Healers</title>, and
					<title>Complaints and Disorders: The Sexual Politics of Sickness</title>
				(Feminist Press, New York). She is a member of HealthRight (a New York women's
				health collective), Action for Women in Chile, and New American Movement.
		</back>
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From the First-Issue Collective

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				<head>From the First-Issue Collective</head>
				<epigraph>
					The editorial collective of this first issue of <title key="Heresies: A Feminist Publication on Art and Politics" ref="http://www.wikidata.org/entity/Q17022558"><emph>Heresies</emph></title> shares not a
						political line but a commitment to the development of coherent feminist
						theory in the context of practical work. The time for reformulating old
						positions or merely attacking sexism is past. Now we must take on the most
						problematic aspects of feminist theory, esthetic theory and political
						theory. We are not only analyzing our own oppression in order to put an end
						to it, but also exploring concrete ways of transforming society into one
						that is socially just and culturally free.
					The role of the arts and the artist in the political process is our specific
						arena. By confronting the very real differences in our own attitudes towards
						art and politics, which reflect those in the wider, feminist community, we
						have uncovered networks connecting a broad range of forms and ideologies. As
						material for the first issue came in to us, we found that no hard line could
						be drawn between texts and visual material. There are, therefore, few
						"illustrations" here, but independent statements expressed visually,
						verbally, or in combination, sharing the same power and the same intent, and
						indicating that word and image can be equal ingredients in politically
						effective art.
					We found no solutions to the issues raised, but we are finding approaches
						that feel fresher and more satisfying. Working together toward collective
						decisions was entirely different from working alone or as part of
						conventional hierarchies. Each of us worked on every page of this magazine,
						a slow and frustrating process, but one from which we learned a great deal
						about each other, about editorial and mechanical skills, about the
						collective process itself, about our subject—feminism, art and politics— and about what it means to be political in a real, active, living
						situation. We mean to go on from these beginnings and we look to the larger
						feminist community for participation, response and criticism. Together we
						can work toward some answers. We have nothing to lose but our illusions.
				</epigraph>
				<byline><persName key="Joan Braderman" ref="http://www.wikidata.org/entity/Q28911659">Joan Braderman</persName>, <persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName>, <persName key="Elizabeth Hess" ref="http://www.wikidata.org/entity/Q106878848">Elizabeth Hess</persName>, <persName key="Arlene Ladden" ref="http://www.wikidata.org/entity/Q106878856">Arlene Ladden</persName>, <persName key="Lucy R. Lippard" ref="http://www.wikidata.org/entity/Q137115">Lucy
					Lippard</persName>, <persName key="May Stevens" ref="http://www.wikidata.org/entity/Q6796587">May Stevens</persName>.</byline>
				 Feminism—Art—Politics. What is their connection? In theory? In reality?
				Once there was a women's art center that was very excited about an "Art as Work"
					seminar I proposed. They wanted a short personal resumé to follow the course
					description in the catalogue — to let students know who I was, where I was
					coming from: Harmony Hammond is
					a lesbian feminist artist who has exhibited at Gallery X and Gallery Z and
					taught at R. University and C. University. They wanted my labels and then did
					not like them. No seminar. Really, I was coming on too strong. Couldn't I use a
					different word? Or just not say it at all? Would I be teaching art or politics?
					They were an "Art" center. They were afraid, they said, afraid I would
					jeopardize...
				Jeopardize what? Their art? Their teaching? Their students? Their bodies? Their
					minds? Their sexuality? Their politics? Their power? Their authority? Their
					thinking? They did not know, they were just afraid...
				I did not fit their concept of a feminist and therefore I was dangerous.

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

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

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