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Linked Infrastructure for Networked Cultural Scholarship Genre Vocabulary

Who Are We?

<div><head><title>Who Are We? What Do We Want? What Do We Do?</title></head>
			<note>Excerpts (slightly rearranged) from the booklet of this name distributed by
				"Accion para la Liberacion de la Mujer Peruana," April 15, 1975, Lima, Peru. This
				text was taken from the first half of the booklet; the second half deals with a
				specific program for practical revolutionary work. The following are listed as the
				group's coordinators and "honorary members“: 
				<persName>Cristina Portocarrero Rey</persName>, <persName key="Ana María Portugal" ref="http://www.wikidata.org/entity/Q131681187">Ana María Portugal</persName>, <persName>Amor Arguedas</persName>, <persName>Dorelly Castañeda</persName>, <persName>Beatriz Ramos</persName>, <persName>Lucía
					Parra</persName>, <persName>Margot Loayza</persName>, <persName>Edith
					Alva</persName>, <persName>Carmela Bravo</persName>, <persName>Dora
					Ponce</persName>, <persName>Flor Herrera</persName>, <persName>Leo
					Arteaga,</persName>
				<persName>Diana Arteaga</persName>, <persName>Dora Guerrero</persName>,
					<persName>Bertha Vargas</persName>, <persName>Inés Pratt</persName>,
					<persName>Adela Montesinos</persName>, <persName key="Estela Luna López" ref="http://www.wikidata.org/entity/Q107596196">Estela Luna
				López</persName>.</note>
			<byline>Accion para la Liberacion de la Mujer Peruana</byline></div>

<div> We are a group of women who have organized to study, work and fight for our
				liberation, and especially to work with and for our sisters who suffer a double
				oppression: in being women and in belonging to a social sector which has been
				historically dominated and exploited. 
			<lg>
				<l>The struggle of women is integrally bound to the struggle of working-class
					women.</l>
				<l>No! to Mother's Day.</l>
				<l>Yes! to Peruvian Woman's Day.</l>
				<l>Less homage, more rights.</l>
			</lg>
			 Why are we named Action for the Liberation of Peruvian Women?
			Because we want to carry out our work without euphemisms or timidity—in short,
				without masks or half-measures. It is correct to call actions which are destined to
				radically change our condition by their rightful name: liberation.
			Ours is simultaneously a study-group and an action-group. We are by no means a
				political party. We do not aspire to be an institution with traditional hierarchic
				structure. We reject verticalism, dogmatism and leadership positions. Ideologically,
				we align ourselves within free Humanist Socialism and adopt the best of its tenets
				conducive to female emancipation. 
			<lg>
				<l>Without national liberation, there can be no women's liberation. Fight!</l>
				<l>Only reactionary men are our enemies!</l>
				<l>Sisters, Unite with us!</l>
				<l>Liberation is action!</l>
			</lg>
			 Because we cannot separate our specific problems from our socio-economic context,
				all our work strategies are adapted to the actual conditions of our country. We do
				not copy foreign movements because we are aware of living in a Third-World Society
				where imperialism is our most powerful enemy. Therefore we express solidarity with
				other liberation struggles on this continent, as well as with other women and men
				fighting for national liberation in their respective countries.To analyze the historic and social origins of our condition is to revolutionize our
				understanding of the world!
			 We believe our liberation is inseparable from that of other oppressed groups—workers
				and peasants. The liberation of our brothers will never be realized while their
				women—workers and peasants too—are second-class citizens, and while prostitution is
				seen as a "necessary and insuperable evil."
			Consequently we do not believe in individual liberation. The fact that some of our
				sisters are being promoted to important public positions or are gaining access to
				professional and technical careers in increasingly greater numbers has nothing to do
				with liberation. We believe that only structural change will produce real "women's
				liberation."
			So our position, our actions, are aimed at contributing to the process of
				transformation taking place in our country, at helping it strengthen and advance
				without obstacles. We support this Revolution because it is anti-imperialist and
				anti-oligarchic, and because it makes possible our own liberation.
			What do we call Cultural Revolution?
			The process by which the old system is entirely questioned and revised: its values,
				behavior, habits, customs, institutions and forms of communication. A Cultural
				Revolution must reject all individualism, engendering a collective way of life
				harmonious with group ideals, while resistant to group egoism. A Cultural Revolution
				must combat stereotypical attitudes like "maleism" (<emph>machismo</emph>) and "femaleism"
				(<emph>hembrismo</emph>)—brute maleness and coy femaleness. A Cultural Revolution must change
				patriarchal institutions like bourgeois marriage and the nuclear family—two
				characteristic expressions of capitalism and the division of labor. Finally, a
				Cultural Revolution's ultimate goal must be to <emph>change life</emph>, to culminate in a free
				and humane socialism. 
			<lg>
				<l>Wanting to shape your own destiny is wanting to transform injustice.</l>
				<l>Wanting to transform injustice is being political.</l>
			</lg>
			 What do we want to be liberated from? From the social, economic, political, cultural
				and moral conditions imposed by a patriarchal capitalist society which assigns us
				secondary roles, condemning us to live as marginal beings passively supporting and
				"servicing" men.
			From reformist paternalism which perpetually treats us as legal minors, because it
				reduces <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_102.jpg" generatedBy="human" xml:space="default" n="100"/> everything to the creation or amplification of protectionary
				laws that are pretexts to mask our real situation of dependence on men and
				second-class citizenship.
			From all kinds of ideological pressure, expressed in the terror most of us feel about
				joining feminist organizations, under the assumption that if we do so, we must be
				"against men." From the fear of being ridiculed or insulted as "tomboys," "whores,"
				or "dykes."

Statistics affirm that few women are workers.
			Out of the home and onto the production lines! Working women also carry the burden of
				the home!
			Communal eating-places, day-care centers and laundries—to create new jobs and lessen
				the load of unpaid workers in the home.
			Being a mother and being fulfilled shouldn't be a contradiction.
			We want family planning in hospitals, accessible to everyone.
			 Against whom must we struggle?
			Against the Patriarchal-Capitalist System which determines an unjust society,
				fostering exploitation, abuse, discrimination, hunger, wars and massacres; a system
				which transforms woman into a beast of burden (if she is proletarian), or into a
				luxury sex-object (if she is bourgeois). Capitalism has also reviled love, reducing male-female relationships to economic factors or to mere social appearances. It
				is a system in which children are the responsibility of individual couples and, in
				actual practice, of the women alone.
			Against all sexist ideology which gains by reinforcing our situation as "different" and which is expressed in the cult of "femininity"—sweetness, weakness, virginity
				and motherhood as woman's only aim and destiny.
			And finally, against all threats to the liberation front whose ultimate goal is the
				<emph>Monolithic Unity of Revolutionary Women</emph>, and of those men who integrally support the
				cause of our liberation.</div>

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What is Left?

<lg>
				<l>AFTER THE BARS AND THE GATES AND THE DEGRADATION</l>
				<l>WHAT IS LEFT?</l>
				<l>AFTER THE LOCK INS AND THE LOCK OUTS AND THE LOCK UPS</l>
				<l>WHAT IS LEFT?</l>
				<l>I MEAN, AFTER THE CHAINS THAT GET ENTANGLED IN THE GREY OF ONE'S MATTER</l>
				<l>AFTER THE BARS THAT GET STUCK IN THE HEARTS OF MEN AND WOMEN</l>
				<l>WHAT IS LEFT?</l>
				<l>AFTER THE TEARS AND DISAPPOINTMENTS</l>
				<l>AFTER THE LONELY ISOLATION</l>
				<l>AFTER THE CUT WRIST AND THE HEAVY NOOSE</l>
				<l>WHAT IS LEFT?</l>
				<l>I MEAN, LIKE, AFTER THE COMMISSARY KISSES</l>
				<l>AND THE GET-YOUR-SHIT-OFF-BLUES</l>
				<l>AFTER THE HUSTLER HAS BEEN HUSTLED</l>
				<l>WHAT IS LEFT?</l>
				<l>AFTER THE SAD FUTILE MANEUVERS</l>
				<l>AFTER THE SHRILL AND BARREN LAUGHTER</l>
				<l>AFTER THE CONTRABAND EMOTIONS</l>
				<l>WHAT IS LEFT?</l>
				<l>AFTER THE MURDERBURGERS AND THE COON SQUADS AND THE TEAR CAS</l>
				<l>AFTER THE BULLS AND THE BULLPENS AND THE BULLSHIT</l>
				<l>WHAT IS LEFT?</l>
				<l>I MEAN LIKE, AFTER YOU KNOW THAT GOD CANT BE TRUSTED</l>
				<l>AFTER YOU KNOW THAT THE SHRINK IS A PUSHER</l>
				<l>THAT THE WORD IS A WHIP, AND THE BADGE IS A BULLET</l>
				<l>WHAT IS LEFT?</l>
				<l>AFTER YOU KNOW THAT THE DEAD ARE STILL WALKING</l>
				<l>AFTER YOU REALIZE THAT SILENCE IS TALKING</l>
				<l>THAT OUTSIDE AND INSIDE ARE JUST AN ILLUSION</l>
				<l>WHAT IS LEFT?</l>
				<l>I MEAN, LIKE, WHERE IS THE SUN?</l>
				<l>WHERE ARE HER ARMS AND WHERE ARE HER KISSES?</l>
				<l>THERE ARE LIP PRINTS ON MY PILLOW</l>
				<l>I AM SEARCHING</l>
				<l>WHAT IS LEFT?</l>
				<l>I MEAN, LIKE, NOTHING IS STANDSTILL AND NOTHING IS ABSTRACT</l>
				<l>THE WING OF A BUTTERFLY CANT TAKE FLIGHT</l>
				<l>THE FOOT ON MY NECK IS A PART OF A BODY</l>
				<l>THE SONG THAT I SING IS A PART OF AN ECHO</l>
				<l>WHAT IS LEFT?</l>
				<l>I MEAN, LIKE, LOVE IS SPECIFIC</l>
				<l>IS MY MIND A MACHINE GUN?</l>
				<l>IS MY HEART A HACKSAW?</l>
				<l>CAN I MAKE FREEDOM REAL? YEAH,</l>
				<l>WHAT IS LEFT?</l>
				<l>I AM AT THE TOP AND BOTTOM OF A LOWER-ARCHY</l>
				<l>I AM IN LOVE WITH LOSERS AND LAUGHTER</l>
				<l>I AM IN LOVE WITH FREEDOM AND CHILDREN</l>
				<l>LOVE IS MY SWORD AND TRUTH IS MY COMPASS</l>
				<l>WHAT IS LEFT?</l>
			</lg>

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		<back>
			<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>; courtesy of Assata Shakur Defense Committee.
		</back>
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</TEI>

La Roquette, Women's Prison

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			<div><head><title>La Roquette, Women's Prison</title></head>
			<byline><persName>Groupe de Cinq</persName></byline></div>
			<div>The Group of Five is a Paris-based collective consisting of
				<persName key="Martine Aballéa" ref="http://www.wikidata.org/entity/Q25873672">Martine Aballea</persName>, <persName key="Judy Blum Reddy" ref="http://www.wikidata.org/entity/Q108526436">Judy Blum</persName>, <persName key="Croiset, Nicole 1950-...." ref="http://viaf.org/viaf/229710280">Nicole Croiset</persName>, <persName>Mimi</persName>, and <persName key="Nil Yalter" ref="http://www.wikidata.org/entity/Q19502275">Nil Yalter</persName>,
				who include among their skills video, painting, sculpture, drawing,
				and poetry; and among their nationalities French, Turkish, Canadian,
				American. This work on La Roquette began when Judy and Mimi met
				through their children at a day-care center. Judy mentioned her
				collaboration with Nil on the theme of living conditions in each of
				Paris' 20 arrondissements, for which the prison had been suggested to
				represent the 11th administrative arrondissement. Mimi, it turned out, had been
				detained there, and she offered an elaboration of her experiences.
				Martine, whose writing is based on her own memories and dreams,
				also joined the project, while Nil offered her use of video to universalize the narrative elements, in collaboration with Nicole, who
				concentrated on the esthetic/sociological aspects of the research.
				The result is a visual representation of the prison and of the personal
				experiences of many women, centered around the group's increasing
				consciousness of the meaning of Mimi's story: "Bonds of friendship,
				constantly confirmed, played the most cohesive role on the level of
				the work itself, resulting in the combination of apparently disparate
				means connected to each other by mutual understanding within the
				group." The following narrative accompanies a videotape from which
				most of the images are taken.
			The other women were mostly in the prison for bad checks,
				prostitution, or, like me, for robbery. There were also some murderers; I knew one in my workshop. Another had been accused of stealing a painting. The first days we asked each other, but afterwards we
				didn’t really say "What are you doing here?" except to our best
				friends. 
				These women came from all classes. In general, relations between inmates were pretty good. There were a lot of lesbians; the
				nuns' attitudes toward them was to turn a blind eye. They couldn't
				not have known about it. The girls hid it a little—and even a lot—but
				it was too obvious. As for me, I was not a lesbian, but I nevertheless
				flirted here and there to pass the time. It could have certain advantages: when you didn't have any money, your friends could buy
				things at the canteen for you. Or, at one time, I went out with an
				English girl who was the favorite of a nun who didn't like me, and
				from that day on, that nun was very nice to me, and I got certain
				favors I shouldn't have had. 
			 But still there were lots of fights, sometimes for no reason at all,
				just because the girls felt like fighting. Sometimes it was a question of
				class. Some girls felt superior to others: it wasn't a question of
				money, but of intellect. So sometimes one girl would insult
				another, or feel insulted, and there would be a fight. We were a
				whole gang; some had to be in charge. And if you knew how to fight,
				you were respected. There was nothing you could do about it.
				Sometimes fights started over cigarettes. For example, I got into
				a fight with a girl over that. Every Wednesday we had the right to buy
				four packs of cigarettes at the canteen. This girl didn't smoke, so,
				with my money, I had bought her something she needed, and she,
				with her money, was going to buy me four more packs, which would
				have made eight for the week. She bought me the cigarettes, but
				another girl told her to give them to her. She was very weak and she
				didn't dare refuse. That night I waited for her in her cell and I beat her
				up. The week after that she bought me cigarettes, and she didn't even
				ask me for money. Afterwards—it's stupid, she was a coward—she
				would pick up butts in the yard for me, when I really didn't expect
				that from her. When the other girls saw that, they all turned against
				her. When I saw that, I stood up for her, because I don't like to take
				sides. I'd hit her a little, but I didn't have a grudge against her.
			 Another time there was a fight in the mess hall, in front of the
				nun. There was blood on the floor: one girl had had a nosebleed, and
				the other had been hurt elsewhere. I was drawing; with my finger I picked up some drops of blood and put them on my drawing. 
			 But there was also a feeling of solidarity among the inmates. One
				time, for example, a girl had been punished and locked up in the
				mess hall toilets. I didn't know what she had done, I don't even know
				if she had really done anything; in any case it was totally unjust to
				lock her up like that. So, with my friend, I climbed onto the ledge
				over the mess hall door and we said that we would stay there until
				they let this girl out. Normally we should have done two weeks in the
				cooler for that, but we didn't get anything. We would have done it
				anyway because it was unjust.
			Or one day a girl gave me a little piece of candle about two
				inches long. We were forbidden to have candles, but there were a lot
				of things like that that went around the prison. I don't know how she
				got it; that was the sort of question you didn’t ask. She gave it to me
				because she knew that I liked to read.
			We also managed to pass notes from cell to cell by what we
				called the "yoyo" system. You tied the note to a piece of string and
				you put it through the window. We did that for certain girls who were
				in the cooler when we were in the yard. We would send them a note <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_040.jpg" n="38"/> from their best friends or something like that.
			As for the nuns, apart from some who were especially mean,
				they were mostly indifferent. But they had, of course, their favorites.
				It was a question of personality: they liked the docile inmates. In the
				beginning they didn't like me because I was stubborn and rude to
				them. Afterwards, I sometimes behaved better. But in any case,
				being with the English girl, I could do things that were forbidden and
				not get punished. Sometimes, for example, I would go into the yard
				to pick up butts that the richer girls had left; we weren't allowed to do
				that other than at recess. Or I tried doing all kinds of things so I could
				go to the cooler, because l had a friend who sang in church and in the
				cooler there was a lot of echo. But despite all I did I never got sent,
				while some girls did nothing at all and got sent right away.
			Down in the cooler you were isolated from everybody. You got
				no mail or visits. You never left your cell, except once a day when
				you had a walk, alone, in the yard. You only had one meal a day
				which was brought to you in your cell.
			Generally speaking, it took a certain amount of time to make
				friends. I didn't have this problem because there were already two
				people there whom I knew when I arrived. But for the others who had
				no soap, no handkerchiefs (the prison gave you nothing, not even
				sanitary napkins; all they gave me when I came in was a rag to wash
				myself with), if they weren't resourceful, if they didn't get some
				friends to help them, they couldn't make it. You had to work about
				ten days before having enough money to buy things at the canteen.
			The money that you made working, making key rings, was only
				just enough to buy cigarettes. You were paid 80 centimes (15 cents)
				for one hundred key rings, about a day's work. Those who worked
				really fast managed to make two hundred. I started working the
				second day after my arrival, but I lost the tool I had been given. I got
				yelled at by the nun, and I saw that it was badly paid, so I stopped.
				Instead, I spent my days reading. I could do this because I was not
				sentenced yet, while those who were had to work. The catalogue
				from the library was passed in the workshop and we had the right to
				two books a week; I would ask some girls who didn't read to order
				some for me. I read everything—<persName key="Pearl S. Buck" ref="http://www.wikidata.org/entity/Q80900">Pearl Buck</persName>, books on explorations. I also spent a lot of time drawing, and sometimes I would go out. My
				seat was at the end of the workshop, near the door, so it was easy for
				me to go out in the yard when the nun wasn't looking.
			The money that you had on you on entering the prison was kept; you could only use it
				in the canteen. Some inmates received money orders; many of them, actually, got
				money. As for me, my brother <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_041.jpg" n="39"/>sent me a hundred francs (20 dollars) and a
				little money that I had left in a book at my mother's. But for those who had no
				money at all, the only way to get any was to work.
			At the canteen you could buy pencils, letter paper, envelopes, toilet articles, or
				wool. Some knitted; it was winter and it was necessary if you didn't have any
				clothes. You could also buy french fries, puddings and prepared dishes that you
				could have on Sundays. We couldn't have newspapers, but we could buy magazines like
				<title key="Jours de France" ref="http://www.wikidata.org/entity/Q3187102"><emph>Jours de France</emph></title>.
			About these magazines—we bought them for the recipes that were in them. Often there
				were pictures with the recipe, so we would tear them from the magazine and eat them.
				For example, if you liked salad, you would eat pictures of salad. We also ate
				pictures of chicken, cakes, or things like that.
			At the meals we got mostly starchy food—potatoes, beans, or cauliflower; there was
				also bread. They gave us meat, but it was very tough. In fact we couldn't cut it
				with the blunt children's knives that we bought at the canteen. We ate it with our
				hands, tearing it with our teeth. At the end of the meal—which had been served by
				inmates—we did our own dishes. We had brought our bowls and our cutlery to the
				mess hall in the cardboard boxes that we took everywhere with us, and we went in
				little groups to wash them with cold water. To wipe them, l used the rag they had
				given me when I came in...
			About twice a week we could bring back up to the cells the rice pudding we had had
				for dessert at supper. I loved this and often exchanged two cigarettes for a bowl.
				We went up two by two, and silently. If we talked, the nun made us stop until we
				were silent again. Between the time we went up and the time we went to bed there was
				about half an hour, when we had the right to stay near the stove and toast pieces of
				bread. We talked, or we sang; I had a friend who sang very well, and we gathered
				around her. She sang some of <persName>Adamo</persName>'s songs, but also some she had written herself,
				like one about the nuns to the tune of <title key="De profundis morpionibus" ref="http://www.wikidata.org/entity/Q3020467"><emph>Morpionibus</emph></title>. She also sang in church; she had
				spent years in a religious boarding school and she knew the whole mass in Latin...It was forbidden to sing in the cells once the doors were closed, but we did it
				anyway. We all sang together. The nuns couldn't put us all in the cooler; they
				contented themselves with yelling into the void.
			On our beds we had the right to three blankets—and no more—and two sheets. In summer
				it might be enough, but in December I found another blanket when one of the girls in
				my cell left, but it was <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_042.jpg" n="40"/>taken away in a search. The heat was provided by a stove in the hall; there was one stove for forty cells. One girl
				in my cell had accumulated several cardboard boxes; for a while she used them as
				storage space. Then one night when all the doors had been locked and the lights
				turned out, she set fire to her boxes to get warm. A nun realized this and came to
				ask what was going on. We both pretended to sleep, but in the end I lifted my head
				and told the nun that I didn't know anything, that I hadn't seen anything, and that
				I couldn't tell her anything else.
			It wouldn't stick: I was all alone with the other girl and I was saying that I hadn't
				seen anything. The next day the girl I was friends with said that I couldn't have
				done it. She knew me and she knew that I didn't have bizarre ideas like that. The
				other girl did two weeks in the cooler, but I could have gone too because I hadn't
				said anything....
			Every week there was a shower session. It was in cubicles that didn't close, and
				there were three of us in each cubicle. The water ran sometimes too hot, sometimes
				too cold. When it stopped, everyone had to be through, and even if your head was
				full of soap, there was nothing you could do about it. You had to find a way to
				rinse yourself with cold water afterwards; sometimes when you finally got a chance
				to do it, your head was already half dry.
			As for clothes, pants were forbidden. Men were banished from
				our environment and the nuns would say "Stop wriggling!" when we
				saw workers from Fresnes (men's prison). We weren't supposed to
				look at them. We had to wear dresses or skirts. When I arrived, I was
				wearing pants, so to replace it they gave me a burlap dress. In the
				beginning I didn't have any other clothes; I wore it night and day. I couldn't wash it and until I got other clothes, my dress stayed
				dirty....One girl had made herself a skirt from a blanket, so she
				went to the cooler. It was a beautiful skirt and it was a long time
				before they realized what she had done. I don't know where she
				found the needle and thread; they were among the things that circulated....The sheets and rags which had been given to us were
				washed in the linen room. The linen maids, like those who served the
				meals, were inmates who had been there a long time and who had
				won the trust of the nuns. The sheets were changed about once a
				month; it was far from ideal when there were lice.
			During my stay there was an epidemic of lice. The nuns told us to go to the kitchen
				and ask for vinegar, and we put it on our heads. When it was dry we put on some
				powder, and then a scarf; we stayed like that for three days. If you had lice it was
				considered bad and no one approached you any more. One of the nuns made fun of me;
				she said, "If you washed every day..." or something like that. I told her that she
				had surely had them before me. It was the first time in my life that I had them,
				so....
			The cells were searched pretty often, sometimes when we were there, but mostly during
				the day when we were in the workshop. The nuns looked for knives and candles we had
				gotten by exchange, or other things we weren't allowed to have. They also looked for
				mail between inmates; we had the right to write letters to each other, but not love
				letters. Once one of the nuns—a young one who must have been under thirty—wrote to
				one of my friends. She told her that she liked her and that she would like to have a
				closer relationship with her. The letter was found and the nun in question was
				expelled. This sort of thing happened from time to time.
			Everything we received from the outside was also searched. We received our packages
				all cut up and opened. All our letters were read, those that we got as well as those
				we sent. Some had practically nothing in them, but they couldn't go through because
				they were too long. People wrote to us with the smallest writing possible because
				one page, written very small, went through, but 2 pages, written in large letters,
				didn't. As for the letters that we wrote, everything concerning prison life, the
				nuns, or what we ate, was censored. We could talk about the books we had read, and a
				minimum about what we did, but that was all. In general, what went through or not
				depended on the person who read the mail. Some letters that shouldn't have gone
				through went anyway, and vice versa.
			We were also searched when we left the prison. You couldn't take out anything that
				might be a souvenir. One of my friends, for example, had made a drawing of a little
				girl taking water in her hand to offer a doe; they didn't let her take her drawing
				out. In these searches you couldn't really hide anything, and what was least likely
				to be found was what wasn't hidden. In the end they looked more often into the
				girls' vaginas to see if they had hidden letters than in the luggage. As for me, I
				had certain drawings and papers which normally I wouldn't have been allowed to take
				out. I just left them with my things and they weren't even seen.
			It was on the eve of my departure that they told me that I was coming out. Until then
				I had no idea how long they were going to keep me. I could have gone out on
				probation before, but only on condition that they tell my mother. I preferred that
				they didn’t. Once out, I didn’t have the right to write to my inmate friends who
				stayed. Sundays were different from other days. In the morning, some went to church
				and the others stayed locked up in their cells, but we could go into our friends'
				cells. Afterwards we did the cleaning up.
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			That day we didn't work, and we could sit where we liked in the workshop-mess hall.
				The nuns put the radio on, but they turned it off as soon as the news came on. They
				didn't let us know what was going on in the outside world. To pass the time we
				played games. For instance, we played truth games. We asked questions about
				incidents that had happened a few days before and about which we hadn't managed to
				find out the truth. The girls were generally honest; you couldn't lie in that game,
				otherwise you didn't play. But the biggest pastime was cards—Tarot, Belote. Some of
				them were played with real cards that some girls had managed to smuggle in. The
				others had been made with empty packs of Gitanes on which we had drawn.
			Some girls tattooed themselves. They would take ink from ball point pens and mix it
				with cigarette ash. This way they managed to make an ink which was pretty
				indelible—blue-black. Then they took two needles, one projecting in front of the
				other, and put a drop of ink between them. Then, with the projecting needle they
				made the drop slip into the hole. This made a point; they made as many points as
				they wanted. They made snakes, hearts, names, but mostly just three points, which
				means "Death to the Pigs," or five points "Alone Between Four Walls." It was the
				emblem of prison.
			We wrote all over ourselves with pens, and there were ways of making up your face.
				With ashes from the stove in the hall and water we could make mascara. There were
				black felt pens that we could use as eyeliner, but it was hard to take off and we
				usually did it with shoe polish that we got at the canteen. We mostly made our eyes
				up, but some girls put brown pencil around their lips.
			Some girls reacted badly to prison life, but we tried to help them, and they managed
				to make friends, to find people who helped them overcome their distress. I wouldn't
				leave a poor girl by herself who arrived here and who looked completely lost. I went
				to see her, I talked to her. Of course there were those who had their husbands and
				their children outside; for them it was harder. I was told that once a girl hanged
				herself. Sometimes there were also attempts at escape; I was told that one inmate hid
				herself in a garbage can, but she didn't have time to get out and was killed inside
				the garbage truck.
			At Christmas the Salvation Army came. We got together in the
				mess hall and listened to them sing Christmas carols. These women
				were very nice. They gave each of us a towel, a handkerchief, and a
				pack of candy. We had a lot of fun because we weren't used to seeing
				this sort of woman. Everybody was laughing, but they were well
				received by the inmates. In the end we thought it was really nice of
				them to trouble themselves for us. I think a lot of the girls were
				touched.
			For the meal, we put all the tables together to be the most together possible. Those
				who had saved a little money bought pastries, but almost everything was shared. I,
				for example, didn't have any money, but I had a little of everything like everybody
				else. On the part of the prison, there was nothing, except that we didn't work that
				day and we could go to midnight mass. A lot of people were depressed that day; all
				this reminded us of our families and of all the things we were trying to forget. It
				was nice, this party, but actually it was painful. The monotony of the other days
				was better. We didn't really give each other presents. We didn't have the
				possibility of giving anything, except cigarettes. The girl I was going out with
				gave me some cigarettes. </div>
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Bucknell Review, Vol. 47, Issue 2

On Woman's Refusal to Celebrate Male Creativity

Fays, Floozies and Philosophical Flaws

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			<div><head><title>Fays, Floozies ond Philosophical Flaws</title></head>
				<byline><persName key="Arlene Ladden" ref="http://www.wikidata.org/entity/Q106878856">Arlene Ladden</persName></byline></div>
			<div><figure><caption>The smile of my gracious lady makes me happier than if four hundred angels laughed at
				me from the heavens (Raimbaut d'Orange, while some less gracious ladies chuckled
				from the wings.)</caption></figure> 
				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>
			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.
			 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>
			 <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.
			 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.
			 Once woman ceased to be a symbol, she became a person, a passion, a robber of reason–a literal and metaphorical scum-bag.
			 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.
			 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.
			 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. 
			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> 
			 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.
			 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.
			 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.
			 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.
			 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.
			 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.
			 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.
			 ...The only things naked were their swords.</div>
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			<back>
				<div>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.</div>
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Female Experience in Art

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			<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_073.jpg"/>
			<div>
				<head><title>"Female Experience in Art": The Impact of Women's Art in a Work
						Environment</title></head>
				<byline><persName><persName key="Iskin, Ruth." ref="http://viaf.org/viaf/7712247/">Ruth E. Iskin</persName></persName></byline>
			</div>
			<div>
				 In early summer of 1975 I was asked by the Women's Committee and the Office of
					Equal Opportunity of Aerospace Corporation to curate an exhibition of women's art on the subject
					of female experience. This seemed to me to offer the potential of reaching a
					broad audience and avoiding the defensive reactions often attached to "feminist
					art" or "female sensibility" in the art world.<note type="scholarNote">The
						exhibition also provided a good starting point for sorting out my own views
						on the more complex issues of feminist content and female sensibility in
						art, though 1prefer the term "female form language“ to "female sensibility"
						or "female imagery" because the latter have come to be identified with one
						specific, biologically oriented theory.</note> This art has been at the
					heart of an ongoing, often heated controversy which has clouded the issues and
					obstructed direct perception of the work. 
				Female experience has been the starting point for the new art created by
					feminists since 1969. Consciousness raising and other forms of women's
					communication, sharing and group action, initiated as a result of the women's
					movement, made female experience a rich source of subject matter and sparked the
					fresh energy with which women are making art. For the show I selected the work
					of 15 L.A. artists<note type="scholarNote">Funding limitations did not permit
						the inclusion of works by artists who reside outside of the L.A.
						area.</note> to represent both a broad scope of women's experiences and a
					diversity of media, ranging from large environmental pieces to paintings,
					drawings, photography, prints, collage, assemblage, and artists' books. In an
					attempt to build a bridge between the art and the creators' intentions, I
					requested written statements from the artists, which, along with biographical
					information, were available in a folder in the exhibition area.
				The exhibition was on view from August 18th through September 5th in the
					Cafeteria Conference Dining Rooms of the Aerospace Corporation. It was the first
					exhibition of professional art on the company's grounds, preceded only by shows
					of art by employees. Although sponsored and funded by the corporation, the show
					was initiated by feminist employees who conceived it to offer "insight into the
					emotional aspects of contemporary women."<note type="scholarNote"><title><emph>Orbiter</emph></title>, Vol. 15, No. 20 (1975), p. 2, from a letter to the editor by the Women's Week Planning Committee.</note> They scheduled it
					to coincide with Women's Week, a program featuring prominent speakers and
					entertainers.
				The management of Aerospace Corporation ("a non-profit research and development
					corporation which provides technical direction of general systems of
					engineering, primarily for the Air Force") had been forced to
					develop new policies for hiring women in order to meet affirmative-action
					requirements for receiving government funds. Women are in the minority,
					constituting only 25% of the roughly 3,200 Aerospace employees. Most of them
					(80%- 85%) are in lower-echelon clerical and secretarial positions; only a few
					rank among the engineers, scientists, or chief administrators. The company was,
					no doubt, hoping that the art exhibition and the activities of Women's Week
					would go on record as testimony to their newfound good will toward women. Much
					to my surprise, and to the dismay of the sponsors, the exhibition became the
					focal point of hot debate. Violent emotional reactions, protest and support
					quickly assumed the dimensions of a local scandal and echoed for months in
					letters to the editor in <emph>The Orbiter</emph>, the company's
					newspaper.
				The art in the exhibition offered a feminist point of view on subject matter
					usually treated from a male perspective. Though one might assume that the
					controversial responses arose out of an alienation from contemporary art forms,
					it seems that the conflict stemmed primarily from feminist content.<note type="scholarNote">Though some of the non-feminist viewers more familiar
						with contemporary art forms did not share the protesters' offense, it is
						very unlikely that a "neutral" exhibit of contemporary art would have caused
						similar negative reactions. In addition, none of the protesters mentioned
						any criticism of art forms; all their comments tended to focus on content,
						and most of them made reference to a general distaste for feminism.</note>
					None of the works included were blatantly political protest art, yet they all
					reflected, to varying degrees, a new feminist consciousness. It was this
					consciousness—judging from the reactions of many of the female viewers—that was
					unfamiliar and threatening.
				We are accustomed to think of political art as crude, illustrative, or plainly
					propagandistic, in contrast to "good/serious/modernist" art. It has of course
					been pointed out that no art is entirely disconnected from its historical,
					political, cultural, and geographical environment, and that therefore any art
					reflects these conditions. However, feminist art is often labeled political art
					because the consciousness it reflects is held by a minority, and it is at odds
					with the tacit beliefs of those in power. The label "political art" is used to
					demean the work rather than to evaluate its artistic significance.
				In a recent interview with <persName key="Judy Chicago" ref="http://www.wikidata.org/entity/Q441440">Judy Chicago</persName>, the
					artist articulated her thoughts and feelings about these issues:
				<quote>The issue of politics for me arises at the point where my work interfaces
					with culture; it does not arise at the point of origin in my studio. never think
					about politics when I make my art; rather I think about being true to my own
					impulses, and for a woman to be true to her own impulses is, at this point in
					history, a political act.... What I challenge is the idea that masculinity is
					inherently better than femininity; that hardness is better than softness, that
					defensiveness is better than vulnerability, and <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_074.jpg"/>
					<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_075.jpg"/> that violence is better than sharing. The assertion of womanhood is a
					challenge to all these values that allow war, dehumanization, rape, and art that
					lacks relationship with reality to continue.<note type="scholarNote">All the
						quotations from artists are from recent interviews conducted for this
						article</note></quote>

<persName key="Faith Wilding" ref="http://www.wikidata.org/entity/Q5431238">Faith Wilding</persName> elaborated on the relation between personal and
					political change:
				<quote>It has always been a tenet of the feminist movement that the personal is
					political. It is political because when a person becomes transformed, enters
					into public experience, and infuses her own experience into the public, the
					world becomes transformed for her, but in addition she then has the possibility
					of transforming the world.... We have witnessed too many people who are in politics
					who have never experienced any kind of personal change or real vision....</quote> What specifically triggered the controversy? The art in the exhibition included
					a wide range of feminist work: parodies on public images of women
						(<persName>Helen Alm Roth</persName> and <persName key="Carole Caroompas" ref="http://www.wikidata.org/entity/Q5044669">Carole Caroompas</persName>);
					private images of women and interior spaces (<persName>Margaret
						Neilson</persName>); women's self-images integrated with their historical
					and mythological references (Judy Chicago and
						Faith Wilding); references to women's vulnerability, powerlessness, and powerfulness (<persName key="Astrid Preston" ref="http://www.wikidata.org/entity/Q108480540">Astrid Preston</persName>);
					relics of admired female figures as magic talismans (<persName>Hazel
						Slawson</persName>); communal efforts (<persName>Maria Karras</persName>); and the quilt/grid
					pattern and color pink seen as tributes to women's collaborative forms
						(<persName key="Sheila Levrant de Bretteville" ref="http://www.wikidata.org/entity/Q13560673">Sheila de
						Bretteville</persName>).
				In her tableau environment <emph><title>Remnants in Homage to Lily Bart from Edith Wharton's House of Mirth</title></emph>, <persName key="Nancy Youdelman" ref="http://www.wikidata.org/entity/Q19668110">Nancy Youdelman</persName>
					"reconstructed" a scene from the book with theatrical grandeur and presence. The
					tableau represents the climax of <persName key="Edith Wharton" ref="http://www.wikidata.org/entity/Q276032">Wharton</persName>'s novel, when Lily Bart, having lost
					her wealth and status, kills herself. Hauntingly life-like, her full-size figure,
					bearing the artist's own features, reclines in bed. Her skin tone is grayish and
					the sleeping drops that caused her death are by the side of her bed. The floor
					is cluttered with remnants of her life: letters, photographs, delicate laces
					dresses, corsets, and veils. Youdelman creates metaphors (sleep, passivity,
					death) for what have been essential aspects of female experience: economic
					dependence on others, lack of ultimate control over one’s own life,
					victimization by circumstances. In the guise of a 19th-century tragedy, Lily
					Bart's story is emblematic for women who have remained powerless in society.
				In Youdelman's photographic series <emph/><title><emph>Leaves: A Self Portrait</emph></title>, the artist is lying on the ground,
					gradually being covered with leaves (from photograph to photograph) until she is
					entirely buried:
				<quote>It represented ways I felt; I felt numb all over, or like a sleepwalker,
					something that could just disappear and I think that is that powerlessness in
					female experience, sleep. There is also something esthetic about it; I love the
					color of the leaves; it is about death and one could suppose that it might also
					mean renewal.</quote>
				 Youdelman treads on precarious ground in presenting the passive female figure,
					lying unconscious as horizontal female figures have so often been used in the
					history of (male) art to entice the spectator by reminding him of his vertical
					superiority. However Youdelman's tableau successfully evokes the solemn empathy
					of the viewer who is confronted with the <emph>victim's</emph> feelings about her
					powerlessness.
				In <persName>Jan Lester</persName>'s tableau environment—<title><emph>Cats Enamoured Kits: Helpless Tom and Merciless Sex Kitten</emph></title> (1974)—two
					cats are anthropomorphized to enact a sexual-encounter scene. The human
					environment, dress, and behavior patterns throw into relief the stereotyped
					patterns of men and women, only the roles are reversed. The female cat plays the
					determined "attacker," the seducer, while the male cat withdraws with some
					apprehension. At the same time, Lester sees her work as a manifestation of how
					women are perceived when they take an active role in a situation:
				<quote>The tableau had to do with sexual politics and with the female taking power.
					It goes farther than just one sexual encounter, it goes out into the world in
					general. It is <emph>one</emph> situation like a snapshot that makes it clear that this goes
					on in all situations in society.</quote>
				<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_076.jpg"/>
				<persName key="Sherie Scheer" ref="http://www.wikidata.org/entity/Q28883455">Sherie Scheer</persName>'s series—<placeName><emph>Heavenly Visions</emph></placeName>—
					depicts Fragonard-inspired images of her own baby as a cherub floating in an
					infinite blue California sky. "Wherever they go, they have no choice in it....
					The heavenly vision in which they appear is both ideal and it is limbo." This
					reflects Scheer's own experience as a first-time mother:
				<quote>I found the child very sensual. It was unexpected to me what a strong female
					biological experience it was to have a child, and then to be absolutely in love
					with the child. In the course of using her as model, however, I made her cry,
					sometimes neglected her, and in a way <emph>used</emph> her, both as a model and as
					inspiration.... I was aware that the art that makes it in L.A., or made it at the time
					(two years ago) was non-image-oriented and I am very image-oriented. I was also
					entirely aware that showing babies in one's art was really outrageous and it
					gave me a devilish pleasure, because I think that a lot of art that makes it is
					empty formula and doesn’t have any blood in it; it is not daring and it is not a
					turn-on either. So it was like breaking a taboo, and especially for a woman
					artist.</quote>
				Like Scheer, <persName key="Gilah Yelin Hirsch" ref="http://www.wikidata.org/entity/Q5560700">Gilah Hirsch</persName>
					deals with female power within its traditional domain. She uses the imagery of
					food as "a secret biography, a metaphorical code."

<quote>The shape and color of food itself was so completely right and ripe for my
					own feelings that it became a symbol for me; especially the tomato, strawberry,
					and egg became symbols for myself. These are expressed in scale and potency; it
					is a strange word to use in relationship to an egg, a potent egg. The strawberry
					is one of the few fruits that carries its seed on the outside, it is a
					vulnerable fruit; it is juicy and has strength and vulnerability at the same
					time. Rather than feminist, these paintings are, 1 think, more expressive of
					femaleness. It was a personal statement for me....l can't separate my experience
					from a female experience; 1 feel powers in me, very specifically in certain
					centers in me.</quote>
				<persName key="Suzanne Lacy" ref="http://www.wikidata.org/entity/Q7650894">Suzanne Lacy</persName>'s book <title key="Rape Is" ref="https://www.suzannelacy.com/rape-is#:~:text=Rape%20Is.-,(1972),the%20Happiness%20Is%20book%20genre."><emph>Rape Is</emph></title> (1972) has a white cover which becomes bloody red on the
					inside. To open the book one must tear apart a red sticker labeled "rape."<note type="scholarNote">The precedent for this feminist use of the sticker is
						<persName key="Susana Torre" ref="http://www.wikidata.org/entity/Q7648617">Susana Torre</persName>'s exhibition catalogue for "Twenty-Six Contemporary Women
						Artists" (Aldrich Museum, Ridgefield, Conn. April, 1971), in which tearing
						the seal implied not only physical violation in order to "enter" the
						long-hidden works of women artists, but also the destruction of a square
						cold black seal on a white cover, which represented the prevalent Minimal
						Art, to reach the warm inside covers, colored red.</note> Lacy's book names
					21 instances of rape—not only as a sexual violation but also as a series of
					psychological assaults:
				<quote>Rape is when you are skipping home from school, and are surrounded suddenly
					by a gang of large boys. Rape is when the man next door exposes himself and you
					feel guilty for having looked. Rape is when you're walking alone, thinking your
					own thoughts and a man driving by shouts "HI SWEETIE!"</quote>

<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_077.jpg"/>
				 The traditional representation of rape in art (with the exception of <persName key="Käthe Kollwitz" ref="http://www.wikidata.org/entity/Q142472">Kollwitz</persName><note type="scholarNote">Kollwitz's etching <title><emph>Raped</emph></title> is
						unique in its complete focus on the experience of the raped woman: she is
						lying on the ground, dead or unconscious. Neither the rapist nor his act are
						in the picture.</note>) represents the experience of the rapist by focusing
					on his strength, activity and beauty, and further removes rape from a realistic
					experience through mythological disguise. Lacy first forces the viewer to enact
					a metaphorical rape ("deflowering" the book by tearing the sticker) and then
					confronts the viewer with what rape means to its victim.
				In <persName key="Karen Carson" ref="http://www.wikidata.org/entity/Q19802644">Karen Carson</persName>'s drawings of beds (1971-75) woman is the bed. The
					drawings are expressionistic in style and imagery, powerful as well as satirical
					statements about the myth of happiness in sexual relationships. In this case,
					too, the "disturbing“ feminist content of Carson's drawings arises from the
					art-historical tradition of reclining female figures on beds and sofas. Many of
					these women become an integral part of the inanimate, passive, yet sexually
					inviting surface on which they are reclining. Unlike males Carson identifies
					with the oppressed— the woman/bed—and at the same time, as artist, she takes
					active charge of that surface, penetrates it with a giant screw
						(<title><emph>Screw</emph></title>), converts it into a carton of eggs (<title><emph>Easy Lay</emph></title>), severs it with a saw blade (<title><emph>Edge of Night</emph></title>), or
					crowns it with a giant camera (<title><emph>Easy Shot</emph></title>).
				These surreal visualizations are take-offs on popular puns, which function as
					titles and were often the starting points for the drawings. The series began as
					a macabre though humorous comment on popular sexist consumerism. What emerges is
					a violent denunciation of sexual roles, until finally the bed—former haven of
					consumer pleasure—disintegrates from <emph>within</emph> (<title><emph>Cracking Up</emph></title> and
						<title><emph>Shattered Dreams</emph></title>), smashing any illusions we might still have
					about bed and woman. In these most recent drawings the formerly inanimate object
					erupts uncontrollably, and its fragments fly into space. What is commonly
					labeled Women's Liberation is in fact, as Carson expresses it, an excruciatingly
					painful process beginning with the recognition of exterior oppression, leading
					to the experience of oppression from within and finally building toward a
					complex re-integration—represented by the artist's new work—collages in which
					the torn and mutilated fragments are reunited on a cohesive surface.
				<quote>I would say that these drawings were intentionally propagandistic.... It had to
					do with consumer and sexual politics. The frame of mind that I was in when I did
					these drawings was severe frustration over treatment by men. The drawings were
					also politically charged for me because I talked about them to all kinds of
					groups from Valley housewives to a continuation high school culture-hour class;
					thought people would be bored by these draw<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_078.jpg"/>ings and they weren't. They seemed to have a good time, and related to the
					drawings immediately. Now, it is not necessary to have a good time when viewing
					art, but there was blanket recognition of the issues. When I looked in the
					newspaper I noticed that you could apply sexual politics, directly or
					indirectly, to almost every image in the advertisement world; every image
					implies sexual oromises. My original fantasy was that I would have enough money
					to take out a full page ad in the <title key="Los Angeles Times" ref="http://www.wikidata.org/entity/Q188515"><emph>L.A. Times</emph></title>, and just change the images a
					little bit. Obviously the most political thing about that was my fantasy about
					how many people 1 could reach that way. It is the nature of good political art
					to be recognizable and understandable by a lot of people and maybe at a visceral
					level too. Political art is often satirical, and probably most effective at that
					level.</quote>
				The exhibition provided an opportunity to witness the heightened impact of
					contemporary feminist art when viewed by a "non-art" audience—a cross-section of
					middle America that normally would not encounter art, and specifically by a
					female audience alienated from feminism. (The negative response came primarily
					from women<note type="scholarNote">The men seemed to react neutrally to the
						show, probably because the art did not expose their experience, and
						possibly, as was suggested to me by <persName>Glenda Madrid</persName>, because they are more
						prone to intellectualize and thus more removed from the level of emotional
						response the show raised for women.</note>) It can also be seen as a test
					case for implementing a long-desired goal —bringing art into a public daily work
					environment.
				Had the show at Aerospace been exhibited in any number of established or
					alternative gallery spaces, it probably would not have caused unusual debate,
					and certainly it would not have prompted any doubt about the artistic merit of
					the work.<note type="scholarNote">When I curated the Aerospace exhibition I did
						censor myself at one point: l did not include Chicago's Red Flag lithograph
						even though, dealing with menstruation, it would have fit well into an
						exhibit on female experience in art. Its literal character prevented me from
						exhibiting it in that context, as l anticipated that it would be shocking to
						the audience.</note> In the Cafeteria Conference Rooms of Aerospace,
					however, the exhibit infiltrated a male environment that ordinarily would not
					display women's work made from a feminist perspective and certainly would not
					give it public acclaim. The work was predominantly considered scandalous: it
					engendered passionate objections and firm negative judgments. The show was
					labeled <emph>pornography</emph> rather than <emph>art</emph> by people who were unlikely ever to have
					considered what is or isn't art.
				This disclaimer was the protesters' attempt to dismiss such threatening and
					upsetting material. Casting it as pornography implied that the art lacked any
					real esthetic value and therefore need not be taken seriously. The level of
					naiveté of the critical responses—when opposed to the more sophisticated
					criticism to which we are accustomed from much of the art world— was refreshing
					in its directness. One letter of protest stated:
				<quote>I object to the Art Exhibition. I find it degrading. As a woman, and
					hopefully a lady, find it extremely offensive. I am unable to lower my sights to
					the gutter level of this exhibit. In my opinion, it is lewd, vulgar, obscene and
					immoral. Since when did good taste and modesty go out-of-style?<note type="scholarNote">Orbiter, Vol. 15, No. 17 (1975), p. 2.</note></quote>

In another letter signed by 36 people-almost a petition—the art was called:
				<quote>...in poor taste, bad character, and a definite infringement on the rights of
					all women and men who give sex the dignity, respect and honor that was intended
					for the human race. The Aerospace Corporation has drastically changed its
					practices since the 1960s to allow this type of "smut" to be exhibited, and the
					employees were encouraged through desk-to-desk distribution and advertising to
					view the exhibition.<lb/> We are sure that with much less expense to the
					Company, the representatives...could have arranged for a display of
					pornography, pictures and books from one of the adult bookstores in the Los
					Angeles Area, and at a lower insurance premium...The Aerospace Women's Committee
					does not speak for all of the female employees, as there are those of us who
					still adhere to the old principle that we were liberated immediately when we
					were born in America, we enjoy being treated as a woman and we are definitely
					Miss or Mrs. and not Ms.<note type="scholarNote">12. Ibid.</note></quote>
				Clearly these female viewers at Aerospace "saw" in the art their own worst fears
					of feminism. Their objections though focused on the exhibition, were rooted in
					their alienation from the organized women's movement. Confronted by art that
					dealt with an oppression familiar in most of their lives, real images that did
					not correspond to the illusion of the American dream presented a powerful
					threat.
				The art was perceived as offensive precisely because it was not placed in a
					neutralizing environment like a gallery, where viewers can easily hide behind
					anonymity. The art invaded their own daily working sphere where it threatened
					how they were viewed in their professional positions. Brought into the work
					context, the art reflected more directly upon them. The heightened emotional
					reactions caused a strong need to disassociate themselves verbally from the
					picture of womanhood presented in the show.
				While identification with female experiences and values is threatening in any
					situation in a patriarchal society, such identification may be virtually
					impossible when introduced into a work environment dominated by male values and
					power. Such an environment, by implication, and as a condition for the
					possibility of working there, demands a woman's identification with patriarchy
					over a recognition of her own oppression. To admit that what was expressed in
					the art is real—women's powerlessness and powerfulness their sexual feelings and
					experiences, and the fact that women are rape victims—is to shatter the very
					myth that has sustained traditional womanhood all along. It is admitting
					publicly to an embarrassing, private part of woman's experience which she has
					attempted to conceal even from herself in an effort to preserve the "human
					dignity" of which <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_079.jpg"/> she is robbed daily. This response is one we all felt during initial stages
					of our feminism, when we first became conscious of the shame and self-dislike we
					had buried for so long, before we were ready to reshape our own feelings by
					taking pride in ourselves other women, and art that dealt with these
					subjects.
				The reactions of the women at Aerospace are not, I suspect, uncommon. I doubt
					very much that a minority of Black workers in a predominantly white work
					environment would find it any easier to respond to an exhibition of art exposing
					painful aspects of the experience of being Black in American society; or that
					Detroit factory workers for example, readily identify with the realistic
					presentation in <persName key="Diego Rivera" ref="http://www.wikidata.org/entity/Q171128">Rivera</persName>'s mural of the hardships of factory work.<note type="scholarNote"><persName>Joanne Parent</persName> (one of the authors of "The Fourth World
						Manifesto") told me the following incident. While she was working in a
						factory, experiencing first-hand the hardships involved, she understood how
						well Rivera's mural portrayed those; but when she commented on that to her
						fellow workers they negated or at least minimized their own experience of
						oppression compared to its heightened portrayal in the mural. The similarity
						to women's situation is that workers who (consciously or unconsciously) feel
						powerless in their jobs deny the pain of their experiences if its expression
						would jeopardize the only wage-earning option available to them. It is no
						accident that women all over the country first explored their oppression in
						the <emph>private, safe,</emph> and supportive context of consciousness-raising groups,
						removed from the institutions in which they experienced that oppression in
						their daily lives.</note> There is, however an important difference between
					the situation of women and other workers. Regardless of their status, women are
					subject to their oppression as women which crosses class boundaries. In addition
					to their job or profession—whether factory worker teacher nurse, doctor engineer
					or scientist—women still do the unpaid, endless, menial labor of housework, bear
					children and carry the sole responsibility of raising them. All women are
					potential rape victims, and all women live in a male-dominated society which is
					based on various cultural versions of enslavement and denies women's
						culture.<note type="scholarNote">It is for this reason that feminism and
						feminist art have validity for all women. For the same reason, the Marxist
						model of workers' oppression does not ultimately address itself to women's
						oppression, beyond that of working-class women. For an extensive analysis of
						these issues see "The Fourth World Manifesto," reprinted in: <title><emph>Radical Feminism</emph></title>, <persName key="Anne Koedt" ref="http://www.wikidata.org/entity/Q3617946">Anne Koedt</persName>, <persName key="Levine, Ellen." ref="http://viaf.org/viaf/23040269">Ellen Levine</persName>, <persName key="Rapone, Anita" ref="http://viaf.org/viaf/6208878">Anita Rapone</persName>, eds. (New York, 1973), pp.
						322-357.</note>
				Those women who had not attempted to step out of female role-conditioning in
					their jobs at Aerospace were more oppressed than other workers because they
					received lower wages and had lower professional status. They were the most
					offended by the show The middle-class women who rebelled against female
					role-conditioning in their jobs at Aerospace (the engineers programmers
					scientists) were the only ones who had developed a feminist consciousness and
					reacted favorably to the exhibition. For example, in a letter of support, one
					woman expressed her response to the exhibition and the protesters' views:
				<quote>That women have suffered personally and professionally from conditions
					ranging from lack of opportunity to manipulation and even exploitation on the
					basis that they are women is uncomfortable to face.<lb/> The Art Exhibition, a
					high quality collection of some very honest and courageous works, was unusually
					rich in content for those of us who in some way or another have "been there."
					Although there was a deliberate intent to shock, it was as a means to focus
					emotionally on the art; it was not propagandistic. These are personal and
					esthetic interpretations of some of the hard truths encountered by women, and
					the obscenity lies in the fact that these wrongs arise because of wide-range
					departure from good human values.<lb/> Those who want to oppose smut should look
					for it in our politics, in our mores, in the management of our corporations, in
					our personal relationships.<note type="scholarNote">Orbiter, Vol. 15, No. 20
						(1975), p. 2.</note></quote>
				In her review of the exhibition <persName key="Melinda Wortz" ref="http://www.wikidata.org/entity/Q18207039">Melinda Worz</persName>
					concluded:
				<quote>The Female Experience in Art offers a wide panorama of contemporary women's
					attitudes. It is gratifying to see such a high quality showoutside the
					established sacred halls of art, as part of a working environment.<note type="scholarNote"><title><emph>Art Week</emph></title>, Vol. 6, No. 29 (Sept. 6, 1975)</note></quote>
				In thinking now about this exhibition, I realize that it was unrealistic to
					expect an enthusiastic reception, or even acceptance, for art like this among
					female viewers who were not already feminists or somewhat sympathetic to
					feminism. It might have seemed that the work was not perceived for what it
					was—but on the contrary it was in fact accurately perceived, and found
					objectionable. Such response is typical when feminism is introduced into a
					male-dominated culture.
				For those women at Aerospace who were sympathetic to feminism, the exhibition was
					a positive experience providing a new awareness of the existence of women's
					culture created by contemporary feminists. In that sense the exhibition did
					broaden the audience for contemporary feminist art. For some of these women who
					previously had no particular interest in art, the exhibition was a beginning of
					what has since become an ongoing interest and commitment to women's art.
				<quote>I am still thinking about one piece in the show which I would like to own if
					I had money. I decided that if I bought art, it would be women's art because of my
					commitment to feminist artists.<note type="scholarNote">Glenda Madrid, in a
						recent conversation with the author. Madrid was also a major source of
						information for the responses to the exhibition and the statistics and
						position of women employees at Aerospace.</note></quote>
				Earlier that same summer, my colleagues and in the Feminist Studio
						Workshop<note type="scholarNote">The Feminist Studio Workshop is
						the first alternative institution for women in the arts and humanities; it
						is housed in the unique context of the Woman's Building in Los Angeles.
						Since it was founded in 1973, over 100 women have received their education
						at the Feminist Studio Workshop, and several thousand students have
						participated in the Extension Program at the Woman's Building.</note> had
					come to a collective definition of feminist art based on our goals, experiences
					and observation of our students' work. We defined the function of feminist art
					as raising consciousness inviting dialogue, and transforming culture. It became
					clear to me that both the individual art exhibited at Aerospace and the
					exhibition as a whole in fact realized these goals to the extent that was
					possible in that time and space. 
			</div>
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		<back>
			
				<persName key="Iskin, Ruth." ref="http://viaf.org/viaf/7712247/"><persName>Ruth
						Iskin</persName></persName> is a feminist art historian living in Los Angeles, formerly co-director of Womanspace and the editor of
					<title><emph>Womanspace Journal</emph></title>. Now she is director of the Woman's Building Galleries, on the faculty of the Feminist Studio Workshop, and an editor of <title><emph>Chrysalis: A New Magazine of Women's Culture.</emph></title> 
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The Pink Glass Swan

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			<pb n="82" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_084.jpg"/>
			<div type="essay">
				<head>
					<title>The Pink Glass Swan: Upward and Downward Mobility in the Art
						World</title></head>
				<byline><persName key="Lucy R. Lippard" ref="http://www.wikidata.org/entity/Q137115">Lucy Lippard</persName></byline>
				The general alienation of contemporary avant-garde art from any broad audience has
					been crystallized in the women's movement. From the beginning, both liberal
					feminists concerned with changing women's personal lives and socialist feminists
					concerned with overthrowing the classist/racist/sexist foundations of society have
					agreed that "fine" art is more or less irrelevant, though holding out the hope that
					feminist art could and should be different. The American women artists' movement has
					concentrated its efforts on gaining power within its own interest group—the art
					world, in itself an incestuous network of relationships between artists and art on
					the one hand and dealers publishers, buyers on the other. The "public," the
					"masses," or the "audience" is hardly considered.
				 The art world has evolved its own curious class system. Externally this is a
					microcosm of capitalist society, but it maintains an internal dialectic (or just
					plain contradiction) that attempts to reverse or ignore that parallel. Fame may be
					a higher currency than mere money, but the two tend to go together. Since the buying
					and selling of art and artists is done by the ruling classes or by those chummy with
					them and their institutions, all artists or producers, no matter what their
					individual economic backgrounds are dependent on the owners and forced into a
					proletarian role—just as women, in <persName key="Friedrich Engels" ref="http://www.wikidata.org/entity/Q34787">Engels'</persName> analysis, play proletarian to the male
					ruler across all class boundaries. Looking at and "appreciating" art in this century
					has been understood as an instrument (or at best a result) of upward social mobility
					in which owning art is the ultimate step. Making art is at the bottom of the scale.
					This is the only legitimate reason to see artists as so many artists see
					themselves—as "workers." At the same time, artists/makers tend to feel misunderstood
					and, as creators, innately superior to the buyers/owners. The innermost circle of
					the art-world class system thereby replaces the rulers with the creators, and the
					contemporary artist in the big city (read New York) is a schizophrenic creature.
					S/he is persistently working "up" to be accepted, not only by other artists but also
					by the hierarchy that exhibits, writes about, and buys her/his work. At the same
					time s/he is often ideologically working "down" in an attempt to identify with the
					workers outside of the art context, and to overthrow the rulers in the name of art.
					This conflict is augmented by the fact that most artists are originally from the
					middle class, and their approach to the bourgeoisie includes a touch of adolescent
					rebellion against authority. Those few who have actually emerged from the working
					class sometimes use this—their very lack of background privilege—as privilege in
					itself, while playing the same schizophrenic foreground role as their solidly
					middle-class colleagues.
				 Artists, then, are workers or at least producers even when they don't know it. Yet
					artists dressed in work clothes (or expensive imitations thereof) and producing a
					commodity accessible only to the rich differ drastically from the real working class
					in that artists control their production and their product—or could if they
					realized it and if they had the strength to maintain that control. In the studio,
					at least, unlike the farm, the factory, and the mine, the unorganized worker is in
					superficial control and can, if s/he dares, talk down to or tell off the boss—the
					collector, the curator, etc. For years now, with little effect, it has been pointed
					out to artists that the art-world superstructure cannot run without them. Art, after
					all, is the product on which all the money is made and the power based.
				 During the 1950s and 1960s most American artists were unaware that they did <emph>not</emph>
					control their art, that their art could be used not only for esthetic pleasure or
					decoration or status symbols, but also as an educational weapon. In the late 1960s,
					between the Black, the student, the anti-war and the women's movements, the facts of
					the exploitation of art in and out of the art world emerged. Most artists and
					artworkers still ignore these issues because they make us feel too uncomfortable and
					helpless. Yet if there were a strike against museums and galleries to allow
					artists control of their work, the scabs would be out immediately in full force,
					with reasons ranging from self-interest to total lack of political awareness to a
					genuine belief that society would crumble without art, that art is "above it all."
					Or is it in fact <emph>below</emph> it all, as most political activists seem to think?	
				 Another aspect of this conflict surfaces in discussions around who gets a "piece
					of the pie"—a phrase which has become the scornful designation for what is
					actually most people's goal. (Why shouldn't artists be able to make a living in
					this society like everybody else? Well, <emph>almost</emph> <pb n="83" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_085.jpg"/> everybody else.)
					Those working for "cultural change" through political theorizing and occasional
					actions are opposed to <emph>anybody</emph> getting a piece of the pie, though politics
					appears to be getting fashionable again in the art world and may itself provide
					a vehicle for internal success; today one can refuse a piece of the pie and
					simultaneously be getting a chance at it. Still, the pie is very small and there
					are a lot of hungry people circling it. Things were bad enough when only men
					were allowed to take a bite. Since "aggressive women" have gotten in there too,
					competition, always at the heart of the art-world class system, has peaked.
				 Attendance at any large art school in the U.S. takes students from all classes
					and trains them for artists' schizophrenia. While being cool and chicly grubby
					(in the "uniform" of mass production), and knowing what's the latest in taste
					and what's the kind of art to make and the right names to drop is clearly
					"upward mobility"—from school into teaching jobs and/or the art world—the
					lifestyle accompanying these habits is heavily weighted "downward." The working-class girl who has had to work for nice clothes must drop into frayed jeans to
					make it into the art middle class, which in turn considers itself both upper and
					lower class. Choosing poverty is a confusing experience for a child whose
					parents (or more likely mother) have tried desperately against great odds to
					keep a clean and pleasant home. <note type="researchNote"><title><emph>Class and Feminism</emph></title>,
						ed. <persName key="Charlotte Bunch" ref="http://www.wikidata.org/entity/Q5085869">Charlotte Bunch</persName> and <persName key="Nancy Myron" ref="http://www.wikidata.org/entity/Q94280766">Nancy Myron</persName> (Baltimore, 1974). This book contains
						some excrutiating insights for the middle-class feminist; it raised my
						consciousness and inspired this essay (along with other recent experiences
						and conversations).</note>

The artist who feels superior to the rich because s/he is disguised as someone
					who is poor provides a puzzle for the truly deprived. A parallel notion, rarely
					admitted but pervasive, is that a person can't understand "art" if their house
					is full of pink glass swans or their lawn is inhabited by gnomes and flamingos,
					or if they even care about house and clothes at all. This is particularly
					ridiculous now, when art itself uses so much of this paraphernalia (and not
					always satirically); or, from another angle, when even artists who have no
					visible means of professional support live in palatial lofts and sport beat-up
					$100 boots while looking down on the "tourists" who come to
						SoHo to see art on Saturdays; SoHo is, in fact, the
					new suburbia. One reason for such callousness is a hangover from the 1950s, when
					artists really were poor and proud of being poor because their art, the argument
					went, must be good if the bad guys—the rich <emph>and</emph> the masses—didn't like
					it.

In the 1960s the choice of poverty, often excused as anti-consumerism, even
					infiltrated the esthetics of art.<note type="scholarNote">Actually nothing new; the history of modern art demonstrates a constant longing for the primitive, the simple, the clear, the "poor," the noble naif, etc.</note> First there was <rs key="pop art" ref="http://www.wikidata.org/entity/Q134147">Pop Art</rs>, modeled on kitsch, on advertising and consumerism, and
					equally successful on its own level. (Women, incidentally, participated little
					in Pop
						Art, partly because of
					its blatant sexism, sometimes presented as a parody of the image of woman in the
					media—and partly because the subject matter was often "women's work," ennobled

and acceptable only when the artists were men.) Then came Process Art—a rebellion against the

"precious object" traditionally desired and bought by the rich. Here another
					kind of co-optation took place, when temporary piles of dirt, oil, rags and
					filthy rubber began to grace carpeted living rooms. The Italian branch was even
					called <emph>Arte Povera</emph>. Then came the rise of a third-stream medium called
					"conceptual art" which offered "anti-objects" in the form of ideas—books or
					simple xeroxed texts and photographs with no inherent physical or monetary value

(until they got on the market, that is). Conceptual art seemed politically viable because of

its notion that the use of ordinary, inexpensive, unbulky media would lead to a
					kind of socialization (or at least democratization) of art as opposed to
					gigantic canvases and huge chrome sculptures costing five figures and filling
					the world with more consumer fetishes.
				 Yet the trip from oil on canvas to ideas on xerox was, in retrospect, yet another
					instance of "downward mobility" or middle-class guilt. It was no accident that
					conceptual art appeared at the height of the social movements of the late 1960s
					nor that the artists were sympathetic to those movements (with the qualified
					exception of the women's movement). All of the esthetic tendencies listed above
					were genuinely instigated as rebellions by the artists themselves, yet the fact
					remains that only rich people can afford to 1) spend money on art that won't
					last; 2) live with "ugly art" or art that is not decorative, because the rest of
					their surroundings are beautiful and comfortable; 3) like "non-object art" which
					is only handy if you already have too many possessions—when it becomes a
					reactionary commentary: art for the overprivileged in a consumer society.
				 As a child, I was accused by my parents of being an "anti-snob snob" and I'm
					only beginning to see the limitations of such a rebellion. Years later I was an
					early supporter of and proselytizer for conceptual art as escape from the
					commodity orientation of the art world, a way of communicating with a broader
					audience via inexpensive media. Though I was bitterly disappointed (with the
					social, not the esthetic achievements) when I found that this work could be so
					easily absorbed into the system, it is only now that I've realized why the
					absorption took place. Conceptual art's democratic efforts and physical vehicles
					were cancelled out by its neutral, elitist content and its patronizing approach.
					From around 1967 to 1971, most of us involved in conceptual art saw that content
					as pretty revolutionary and thought of ourselves as rebels against the cool,
					hostile artifacts of the prevailing formalist and minimal art. But we were so
					totally enveloped in the middle-class approach to everything we did and saw, we
					couldn't perceive how that pseudo-academic narrative piece or that
					art-world-oriented action <pb n="84" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_086.jpg"/> in the streets was deprived of any
					revolutionary content by the fact that it was usually incomprehensible and
					alienating to the people "out there," no matter how fashionably downwardly
					mobile it might be in the art world. The idea that if art is subversive in the
					art world it will automatically appeal to a general audience now seems
					absurd. 
				 The whole evolutionary basis of modernist innovation, the idea of esthetic
					"progress," the "I-did-it-first" and "it's-been-done-already" syndromes which
					pervade contemporary avant garde art and criticism, are also blatantly classist, and
					have more to do with technology than with art. To be "avant-garde" is inevitably
					to be on top or to become upper-middle-class, because such innovations take
					place in a context accessible only to the educated elite. Thus socially
					conscious artists working in or with community groups and muralists try to
					disassociate themselves from the art world, even though its values ("quality")
					remain to haunt them personally.
				 The value systems are different in and out of the art world, and anyone
					attempting to straddle the two develops another kind of schizophrenia. For

instance, in the inner-city community murals, as <persName key="Eva Cockcroft" ref="http://www.wikidata.org/entity/Q106308202">Eva Cockcroft</persName>

points out elsewhere in this publication, the images of woman are the
					traditional ones—a beautiful, noble mother and housewife or worker, and a
					rebellious young woman striving to change her world—both of them celebrated for
					their courage to be and to stay the way they are and to support their men in the
					face of horrendous odds. This is not the art-world or middle-class "radical"
					view of future feminism, nor is it one which radical feminists hoping to "reach
					out" across the classes can easily espouse. Here, in the realm of aspirations,
					is where upward and downward mobility and status quo clash, where the economic
					class barriers are established. As <persName key="Russell, Michele D." ref="http://viaf.org/viaf/11163457050804813684/">Michele Russell</persName>
					has noted, <note type="researchNote">Michele Russell, "Woman and Third World,"

<title level="m">New American Movement</title> (June, 1973).</note> the Third-World woman is not attracted to the

"Utopian experimentation" of the left (in the art world, the would-be Marxist
						avant-garde) or to the
					"pragmatic opportunism" of the right (in the art world, those who reform and
					co-opt the "radicals").
				 Many of the subjects touched on here come back to Taste. To a poor woman, art,
					or a beautiful object, might be defined as something she cannot have. Beauty and
					art have been defined before as <emph>the desirable</emph>. In a consumer society, art too
					becomes a commodity rather than a life-enhancing experience. Yet the <persName key="Vincent van Gogh" ref="http://www.wikidata.org/entity/Q5582">Van
						Gogh</persName> reproduction or the pink glass swan—the same beautiful
					objects that may be "below" a middleclass woman (because she has, in moving
					upward, acquired upper-class taste, or would like to think she has)—may be
					"above" or inaccessible to a welfare mother. The phrase "to dictate taste" has
					its own political connotations. A Minneapolis worker interviewed by students of
					artist <persName key="Don Celender" ref="http://www.wikidata.org/entity/Q28873078">Don Celender</persName> said
					he liked "old art works because they're more classy," <note type="researchNote"><title level="m">Opinions of Working People Concerning the Arts</title>, ed. Don Celender (New York,
						1975)</note> and class does seem to be what the traditional notion of art is
					all about. Yet contemporary avant-garde art, for all its attempts to break out
					of that gold frame, is equally class-bound, and even the artist aware of these
					contradictions in her/his own life and work is hard-put to resolve them. It's a
					vicious circle. If the artist/producer is upper-middle-class, and our standards
					of art as taught in schools are persistently upper-middle-class, how do we
					escape making art only for the upper-middle-class?
				 The alternatives to "quality," to the "high" art shown in art-world galleries
					and magazines have been few, and for the most part unsatisfying, although
					well-intended. Even when kitsch,
					politics or housework are absorbed into art, contact with the real world is not
					necessarily made. At no time has the avant garde, though playing in the famous
					"gap between art and life," moved far enough out of the art context to attract a
					broad audience—that audience which has, ironically, been trained to think of art
					as something that has nothing to do with life and, at the same time, tends only
					to like that art which means something in terms of its own life, or fantasies.
					The dilemma for the leftist artist in the middle class is that her/his standards
					seem to have been set irremediably. No matter how much we know about what the
					broader public wants, or needs, it is very difficult to break social
					conditioning and cultural habits. Hopefully, a truly feminist art will provide
					other standards.
				 To understand the woman artist's position in this complex situation between the
					art world and the real world, class and gender, it is necessary to know that in
					America artists are rarely respected unless they are stars or rich or mad or
					dead. Being an artist is not being "somebody." Middle-class families are happy
					to pay lip service to art but god forbid their own children take it so seriously
					as to consider it a profession. Thus a man who becomes an artist is asked when
					he is going to "go to work," and he is not-so-covertly considered a child, a
					sissy (a woman), someone who has a hobby rather than a vocation, someone who
					can't make money and therefore cannot hold his head up in the real world of
					men—at least until his work sells, at which point he may be welcomed back. Male
					artists, bending over backward to rid themselves of this stigma, tend to be
					particularly susceptible to insecurity and <emph>machismo</emph>. So women daring to insist
					on their place in the primary rank—as art makers rather than as art housekeepers
					(curators, critics, dealers, "patrons")—inherit a heavy burden of male fears in
					addition to the economic and psychological <pb n="85" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_087.jpg"/> discrimination still
					rampant in a patriarchal, money-oriented society.
				 Most art being shown now has little to do with any woman's experience, in part
					because women—rich ones as "patrons," others as decorators and "home-makers"—are in charge of the private sphere, while men identify more easily with public
					art—art that has become public through economic validation (the million-dollar

<persName key="Rembrandt" ref="http://www.wikidata.org/entity/Q5598" cert="high" type="real">Rembrandt</persName>). Private art is often seen as mere ornament; public art is associated with monuments and

money, with "high" art and its containers, including unwelcoming whitewalled
					galleries and museums with classical courthouse architecture. Even the graffiti
						artists, whose work was
					unsuccessfully transferred from subways to art galleries, were all men,
					concerned with facades, with having their names in spray paint, in lights, in
					museums...
				 Private art is visible only to intimates. I suspect the reason so few women

"folk" artists work outdoors in

large scale (like <persName key="Simon Rodia" ref="http://www.wikidata.org/entity/Q1119723">Simon Rodia</persName>'s <title>Watts Towers</title> and
					other "naives and visionaries" with their cement and bottles) is not only
					because men aspire to erections and know how to use the necessary tools, but
					because women can and must assuage these same creative urges inside the house,
					with the pink glass swan as an element in their own works of art the living room
					or kitchen. In the art world the situation is doubly paralleled. Women's art
					until recently was rarely seen in public and all artists are voluntarily "women"
					because of the social attitudes mentioned above; the art world is so small that
					it is "private."
				 Just as the living room is enclosed by the building it is in, art and artist are
					firmly imprisoned by the culture which supports them. Artists claiming to work
					for themselves alone, and not for any audience at all, are passively accepting
					the upper-middle class audience of the internal art world. This is compounded by
					the fact that to be middle-class is to be passive, to live with the expectation
					of being taken care of and entertained. But art should be a
					consciousness-raiser; it partakes of and should fuse the private and the public
					spheres. It should be able to reintegrate the personal without being satisfied
					by the merely personal. One good test is whether or not it communicates, and
					then, of course, what and how it communicates. If it doesn't communicate it may
					just not be very good art from anyone's point of view; or it may be that the
					artist is not even aware of the needs of others, or simply doesn't care.
				 For there is a need out there, a need vaguely satisfied at the moment by
						"schlock." <note type="researchNote"><persName key="Bernard Kirschenbaum" ref="http://www.wikidata.org/entity/Q10428700">Bernard Kirschenbaum</persName>, in correspondence.
						Celender, op. cit., offers proof of this need and of the huge (and amazing)
						interest in art expressed by the working class, though it should be said
						that much of what is called art would not be agreed upon by the taste
						dictators.</note> And it seems that one of the basic tenets of the feminist
					arts should be a reaching out from the private sphere to transform that
					"artificial art" and to more fully satisfy that need. For the art-world artist
					has come to consider her/his private needs paramount, and has too often
					forgotten about those of the audience, any audience. Work that communicates to a
					dangerous number of people is derogatorily called a "crowd pleaser." This is a
					blatantly classist attitude, taking for granted that most people are by nature
					incapable of understanding good art (ie., upper-class or quality art). At the
					same time, much ado is made about art-educational theories that claim to "teach
					people to see" (consider the political implications of this notion) and muffle
					all issues by stressing the "universality" of great art.
				 It may be that at the moment the possibilities are slim for a middle-class art
					world's understanding or criticism of the little art we see that reflects
					working-class cultural values. Perhaps our current responsibility lies in
					humanizing our own activities so that they will communicate more effectively
					with all women. Hopefully we will aspire to more than women's art flooding the
					museum and gallery circuit. Perhaps a feminist art will only emerge when we
					become wholly responsible for our own work, for what becomes of it, who sees it,
					and who is nourished by it. For a feminist artist, whatever her style, the prime
					audience at this time is other women. So far, we have tended to be satisfied
					with communicating with those women whose social experience is close to ours.
					This is natural enough, since this is where we will get our greatest support,
					and we need support in taking this risk of trying to <emph>please</emph> women, knowing that
					we are almost certain to displease men in the process. In addition, it is

embarrassing to talk openly about the class system which divides us, hard to do so

without sounding more bourgeois than ever in the implications of superiority and
					inferiority inherent in such discussions (where the working class is as often
					considered superior as the middle class).
				 A book of essays called <title level="m">Class and Feminism</title> written by
						The Furies, a lesbian feminist collective, makes clear
					that from the point of view of working-class women, class is a definite problem
					within the women's movement. As <persName key="Myron, Nancy, 1943-" ref="http://viaf.org/viaf/79318339/">Nancy Myron</persName> observes,
					middle-class women: <quote>can intellectualize, politicize, accuse, abuse and
						contribute money in order not to deal with their own classism. Even if they
						admit that class exists, they are not likely to admit that their behavior is
						a product of it. They will go through every painful detail of their lives to
						prove to me or another working-class woman that they really didn't have any
						privilege, that their family was exceptional, that they actually did have an
						uncle who worked in a factory. To ease anyone's guilt is not the point of
						talking about class... You don't get rid of oppression just by talking about
						it.</quote>

<pb n="86" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_088.jpg"/>
				Women are more strenuously conditioned toward upward cultural mobility or
					"gentility" than men, which often results in the woman consciously betraying her
					class origins as a matter of course. The hierarchies within the whole span of
					the middle class are most easily demarcated by lifestyle and dress. For
					instance, the much-scorned "Queens housewife" may have enough to eat, may have
					learned to consume the unnecessities, and may have made it to a desired social
					bracket in her community, but if she ventures to make art (not just own it), she
					will find herself back at the bottom in the art world, looking wistfully up to
					the plateau where the male, the young, the bejeaned seem so at ease.
				 For middle-class women in the art world not only dress "down," but dress like
					working-class <emph>men</emph>. They do so because housedresses, pedal pushers, polyester
					pantsuits, perrnanents, the wrong accents are not such acceptable disguises for
					women as the boots, overalls and win breaker syndromes are for men. Thus young
					middle-class women tend to deny their female counterparts and take on "male"
					(unisex) attire. It may at times have been chic to dress like a native
						American or a Bedouin
						woman, but it has never
					been chic to dress like a working class woman, even if she's trying to look like
						<persName key="Jacqueline Kennedy Onassis" ref="http://www.wikidata.org/entity/Q165421">Jackie Kennedy</persName>.
					Young working-class women (and men) spend a large amount of avallable money on
					clothes; it's a way to forget the rats and roaches by which even the cleanest
					tenement-dwellers are blessed, or the mortgages by which even the
					hardest-working homeowners are blessed, and to present a classy facade. Artists
					dressing and talking "down" insult the hardhat much as rich kids in rags do;
					they insult people whose notion of art is something to work for-the pink glass
					swan.
				 Yet women, as evidenced by the Furies' publication, and as pointed out elsewhere
					(most notably by <persName key="August Bebel" ref="http://www.wikidata.org/entity/Q76520" cert="high" type="real">Bebel</persName>), have a unique chance to
					communicate with women across the boundaries of economic class because as a
					"vertical class" we share the majority of our most fundamental
					experiences—emotionally, even when economically we are divided. Thus an economic
					analysis does not adequately explore the psychological and esthetic
					ramifications of the need for change within a sexually oppressed group. Nor does
					it take into consideration that women's needs are different from men's—or so it
					seems at this still unequal point in history. The vertical class cuts across the
					horizontal economic classes in a column of injustices. While heightened class
					consciousness can only clarify the way we see the world, and all clarification
					is for the better, I can't bring myself to trust hard lines and categories where
					fledgling feminism is concerned.
				 Even in the art world, the issue of feminism has barely been raised in mixed
					political groups. In 1970, women took our rage and our energies to our own
					organizations, or directly to the public by means of picketing and protests.
					While a few men supported these, and most politically conscious male artists now
					claim to be feminists to some degree, the political <emph>and</emph> apolitical art world
					goes on as though feminism didn't exist—the presence of a few vociferous
					feminist artists and critics not withstanding. And in the art world, as in the
					real world, political commitment frequently means total disregard for feminist
					priorities. Even the increasingly Marxist group ironically calling itself
						Art-Language is unwilling to stop the exclusive use of
					the male pronoun in its theoretical publications. <note type="researchNote">This
						despite their publication of and apparent endorsement of <persName key="Carolee Schneemann" ref="http://www.wikidata.org/entity/Q299662">Carolee
						Schneemann</persName>'s "The Prounoun Tyranny" in the Fox, 3(1976)</note>

Experiences like this one and dissatisfaction with Marxism's lack of interest in "the woman
					question" make me wary of merging Marxism and feminism. The notion of the
					non-economic or "vertical" class is anathema to Marxists and confusion is
					rampant around the chicken-egg question of whether women can be equal before
					the establishment of a classless society or whether a classless society can be
					established before women are liberated. As <persName key="Sheila Rowbotham" ref="http://www.wikidata.org/entity/Q432851">Sheila Rowbotham</persName>
					says of her own Marxism and feminism: 
				<quote>They are at once incompatible and
						in real need of one another. As a feminist and a Marxist I carry their
						contradictions within me and it is tempting to opt for one or the other in
						an effort to produce a tidy resolution of the commotion generated by the
						antagonism between them. But to do that would mean evading the social
						reality which gives rise to the antagonism. <note type="researchNote">Sheila
							Rowbotham, Women: Resistance and Revolution (London,
						1972).</note></quote>
				As women, therefore, we need to establish far more strongly our own sense of
					community, so that all our arts will be enjoyed by all women in all economic
					circumstances. This will happen only when women artists make conscious efforts to cross class barriers, to consider their audience, to see, respect, work
					with the women who create outside the art world—whether in suburban crafts
					guilds or in offices and factories or in community workshops. The current
					feminist passion for women's traditional arts, which influences a great many
					women artists, should make this road much easier, undess it too becomes
					another commercialized rip-off. Despite the very real class obstacles, I feel
					strongly that women are in a privileged position to satisfy the goal of an art
					which would communicate the needs of all classes and sexes to each other, and
					get rid ofthe we/they dichotomy to as great an extent as is possible in a
					capitalist framework. Our sex, our oppression and our female experience—our
					female culture, just being explored—offer access to all of us by these common
					threads.
			</div>
		</body>
		<back>
			Lucy R. Lippard is a feminist art critic, writes fiction too, and has been active
				politically. She is co-founder of several women artists' groups and has published 10
				books on contemporary art, the two most recent ones being <title level="m">From the Center: Feminist Essays on Women's Art</title> (E.P. Dutton) and <title level="m">Eva Hesse</title> (N.Y.U. Press).
		</back>
	</text>
</TEI>

ABCs

<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>
				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.
			</div>

<div type="letter" n="b">
				<head>BREASTS</head>
				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.
			</div>

<div type="letter" n="c">
				<head>CHYME</head>
				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. Fool, she chides herself, to
					have come to chyme!
				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! 
			</div>

<div type="letter" n="d">
				<head>DREAM?</head>
				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.
			</div>

<div type="letter" n="e">
				<head>ESCAPE</head>
				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?
			</div>

<div type="letter" n="f">
				<head>FLATULENCE</head>
				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.
			</div>

<div type="letter" n="g">
				<head>GLUTTONY</head>
				"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.
			</div>

<div type="letter" n="h">
				<head>HIS AND HERS</head>
				HIS: She tempted me. <lb/> HERS: He ate.
			</div>

<div type="letter" n="i">
				<head>INDIGESTION</head>
				"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?" 
			</div>

<div type="letter" n="j">
				<head>JUSTICE MORE OR LESS POETIC</head>
				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.
				"You're a real swinger," he complimented her.
				"Just par for the course," she replied, refering of course to her life.
				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. 
			</div>

<div type="letter" n="k">
				<head>KIDDING</head>
				When she reached twenty-five, her psychiatrist had said (though gently): "All
					kidding aside, my dear, you are no longer a child prodigy." 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.
				"I gotta grow up sometime, ma. He's right. So here's what: I'm gonna have a
					baby!" "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."
				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.
			</div>

<div type="letter" n="l">
				<head>LIKE</head>
				"I like you," MM had said (as had others), thinking to flatter.
				"No you're not," she retorted almost at once, angry almost. "You're not like me
					at all."
			</div>

<div type="letter" n="m">
				<head>MILK OF MAGNESIA</head>
				He takes the prescribed dosage and waits.
			</div>
			<div type="letter" n="n">
				<head>NO ANSWERS</head>
				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.
				"Where are your wings, caterpillar?" she asks.
				"And where was I before I was born?"
				"And where, sky, do you get off, looking down on me?"
				Everything is mute. The silence is its own question.
			</div>

<div type="letter" n="o">
				<head>OSCILLATIONS</head>
				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.
			</div>

<div type="letter" n="p">
				<head>P'S &amp; Q'S</head>
				"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?
			</div>

<div type="letter" n="r">
				<head>REFLECTION</head>
				MM strains.
				O resists.
				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.
				Was he speaking of suicide?
				Hers?
				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.
			</div>

<div type="letter" n="s">
				<head>SURE IS</head>
				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.
			</div>

<div type="letter" n="t">
				<head>TRANSLATION (AFTER <persName key="Rainer Maria Rilke" ref="http://www.wikidata.org/entity/Q76483">RILKE</persName>)</head>
				Manuelo has thrown caution to the winds. "Do something," he pleads. "I need
					help."
				"Yes," agrees the doctor, "you must change your life."
				O but it hurts! His eyes are blind with tears.
				Manuelo weeps with the effort to restrain them.
			</div>

<div type="letter" n="u">
				<head>UNITED SHE CAN</head>
				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.
			</div>
			<div type="letter" n="v">
				<head>VOYAGING</head>
				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.

</div>
			<div type="letter" n="w">
				<head>WHOOPS!</head>
				She spills out of his mouth.
				"Hi, Manuelo."
				"Olympia!"
				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?"
			</div>

<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_059.jpg"/>
			<div type="letter" n="x">
				<head>x =</head>
				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.
				"Scrub harder, Manuelo."
				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.
				"You're breaking the skin again!" shouts Claire.
				"Enough!"
			</div>
			<div type="letter" n="y">
				<head>YOU</head>
				"You have helped me to find myself," they admit simultaneously and, with a tender
					embrace, part forever.
			</div>
			<div type="letter" n="z">
				<head>ZOON</head>
				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.
				"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.
				Claire stretches out her hands to Abigale and, with a little tug, pulles her to
					her feet.
				"It's time for another beginning," Claire says.
				"It always was," Abigale grins.
				And off they go, old friends hand in hand, in search of apples.
			</div>
		</body>

<back>
			<div>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.</div>
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Wages for Housework

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