What Is Left? 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"schema:softwareVersion": "3.5.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_103.jpg" generatedBy="human" xml:space="default" n="101"/> <head><title>WHAT IS LEFT?</title></head> <byline><persName><persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Assata Shakur</persName></persName></byline> <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 GAS</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> </body> <back> <p>Assata Shakur/<persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Joanne Chesimard</persName>; courtesy of Assata Shakur Defense Committee.</p> </back> </text> </TEI>
The Art of Not Bowing Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>The Art of Not Bowing: Writing by Women in Prison</title> <author>Carol Muske</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Heresies: Issue 1</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> 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"@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/muske_0_0_0_0_0_0_0_0_0_1_0_0_0_0_0_0.xml?work_annotation_20250410132044774#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[20]/emph/title" } }, "oa:hasBody": { "@type": "bf:Title", "@id": "http://www.wikidata.org/entity/Q106091070", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_032.jpg"/> <div><head><title>The Art of Not Bowing: Writing by Women in Prison</title></head> <byline><persName key="Carol Muske-Dukes" ref="http://www.wikidata.org/entity/Q5044485">Carol Muske</persName></byline></div> <div><lg> <l>Who the hell am l anyway</l> <l>Not to bow?</l> <l>(<persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Assata Shakur</persName>/<persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Joanne Chesimard</persName>)</l> </lg> <p>In July 1973 I wrote an article for <emph><title key="Village Voice" ref="http://www.wikidata.org/entity/Q876158">The Village Voice</title></emph> about a hunger strike then taking place at the Women's House of Detention (New York City Correctional Institution for Women, housing around 400 detention and sentenced women) on Riker's Island. I used a pseudonym for the article because I was working at the time at the prison as a mental health worker as well as teaching a poetry class, and I wanted to keep both occupations. Many of the women in my class were involved in the strike and were emphatic about the significance of their stand, although traditionally women at Riker's were notoriously apolitical, even downright reactionary. Strikes had taken place before, but on issues such as cosmetics (the women had wanted an Avon lady), more dances and recreation time or flashier products in commissary. </p> <p>This strike was different. The women were demanding, among other things, a legal library, an end to massive and lax prescription of "diagnostic" medication, decent food, and limitation of solitary confinement to three days. At the Women's House, where an old adage ran "all riots end at mealtime," this was pretty heady stuff.</p> <p>The article in <emph>The Village Voice</emph> (July 26, 1973) was supposed to get the world (or at least Manhattan) listening and to familiarize people with a woman's situation in prison: </p><p><quote>... incarceration for women is a somewhat different experience than it is for men. Male prisoners are expected to be political in one form or another, they are far better legally informed, and an atmosphere of "bonding" is prevalent. (They are also considered more "trainable"—more vocational rehab programs exist for men on Riker's Island.)</quote> </p> <p>The administration broke the back of the strike in its sixth day by separating the ringleaders, transferring them to different housing areas, or locking them in the "bing" (solitary). But it was too late. The article appeared and provoked a reaction from the community: pressure was put on the warden. A few of the women's demands were met: a legal library was established, kitchen conditions were improved, and other steps were taken. Someone from the class hand-printed a sign and put it up in the classroom: WORDS CAN TURN THEM AROUND. </p> <p>This was a milestone. I had been teaching the class for about a year and felt that although the women's response had been overwhelmingly enthusiastic, I was getting nowhere in the actual teaching of writing. It wasn't that the women were intimidated by the act of writing. Far from it. They wrote to keep mentally alive, to keep sane. When I first suggested the idea of a writing workshop to the warden, she scoffed at it. "These women don't write," she said. "They don't read. The overall educational level is poor. Reading, writing, comprehension... all very low." At the first class, I learned that all the women "wrote"—they came to class lugging diaries, journals, manuscripts full of long poems, ballads, stories. Everyone had a poem to "tell"; poetry was a tradition; poems were written, read, copied by hand, and passed around—a publishing network. No one owned a poem. All the poems rhymed, and all were either sentimental love/religious verse or political rhetoric. My failure had been the inability to let them see alternatives: a poem was not always an escape, a fantasy, or a slogan, but a way into yourself, an illumination. Somehow the article, which was about them, about their very real lives in clear, simple language, did it. Someone said that a poem could be like reporting on your life, telling the story of your life—journalism of the soul. They tried out this approach. <persName>Millie Moss</persName>, who sat all day in front of the television watching commercials about getting away from it all and listening to the planes (one every three minutes) take off from La Guardia a few hundred yards across the water from the prison, wrote the first. (Millie had been a "hearts and flowers" verse writer: her poems were filled with giggly sunsets"): </p> <lg> <head>Fly Me, I'm Mildred</head><head/> <l>Finger my earring as I lean low</l> <l>over your bomber cocktail</l> <l>I've been known</l> <l>to put you on a throne</l> <l>send you off alone (not united)</l> <l>through the tomb-boom roar</l> <l>you get what you’re asking for</l> <l>when you fly me, honey,</l> <l>I'm Mildred.</l> </lg> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_033.jpg"/> <lg> <head>Personally</head> <l> So you spoke to me in silence</l> <l>in the ice man's choir </l> <l>and I dangled all the while</l> </lg> <lg> <l>You said (in silence) </l> <l>live each day </l> <l>spittin' on Fifth Avenue </l> <l>fox-trottin' in hell... </l> </lg> <lg> <l>So we ain’t home— </l> <l>we're together </l> </lg> <lg> <l>Smile: </l> <l>I take it personally</l> </lg> <p>They were on fire. I told them about <persName key="Osip Mandelstam" ref="http://www.wikidata.org/entity/Q189950">Mandelstam</persName>, <persName key="Fyodor Dostoyevsky" ref="http://www.wikidata.org/entity/Q991">Dostoyevsky</persName>, the long tradition of writers in prison. I read them poems. Another woman, <persName cert="high" type="real">Elizabeth Powell</persName>, came to class with a poem about homosexuality which was explicit, honest, and skillfully done. The class praised it—Elizabeth left the class that night, made a sheaf of copies by hand, and passed it "on the vine." </p><p>The next time I arrived at the prison, I was called into the warden's office. A member of my class, the warden said, had written a poem about her "unique perversion" and had implied, she said, that there were also correction officers who were homosexual, one in particular. She spoke of libel, telling me that I should have confiscated the poem immediately, or at least made sure that it didn’t go beyond the class. (Though homosexuality was indeed common—the "only game" in the prison, the warden steadfastly refused to admit that she had any more than a few "deviants" on her hands, whom she described as hard-core—in other words, gay even on the outside. Actually, as is the case in most women's prisons, homosexual relationships were standard even for straights, for the simple reason that human beings need physical intimacy and affection when they are confined to correctional institutions and cut off from relationships available to them outside the walls.)</p><p>Definitions of personal sexuality tend to change behind bars. Upon release, some women remain "changed," while the majority of former prisoners return to heterosexual lifestyles. The warden deeply feared homosexuality; any manifestation of "butch" conduct was enough to tag an inmate a troublemaker and "male attire" was expressly forbidden in the rules guide. Correction officers were warned not to wear pants to work, and thus their uniform remained skirted. (Although many C.O.'s were, in fact, gay, the atmosphere reflected the warden's artificial notion of femininity.)</p> <p>After this incident, I was informed that the poem had been confiscated and that Elizabeth Powell had been placed in solitary confinement pending a hearing by the disciplinary board. I was told that I would be allowed to continue the poetry class for the time being, but that if another incident like this took place, I would be asked to leave the prison. The warden sincerely hoped that I had "learned a lesson."</p> <p>I had. It was just as I had told them: a dramatic testimony to the power of words—and, I thought, one of the stupidest things I have ever done. It was easy for me to drop in and talk about "getting it down right" and being honest in writing—I went home every night. For me, there was no danger of being thrown in solitary, having my personal papers raided, or worse. It occurred to me that even when I had written my ever-so-honest article, I had used a pseudonym to protect myself. There were obviously bigger risks than job loss at stake for women or men who chose to write while incarcerated; risks I had clearly not understood. Words could indeed turn around the authorities, but could also turn them into the oppressors they actually were.</p> <p>Elizabeth Powell was in the bing for three weeks. When she came back to class, she was ready to go another round (she had written 25 poems, all dealing with homosexuality, while in lock), but I had made a decision. I explained how I felt as an outsider, with no right to tell them how to write in this volatile situation, but I asked that they make a distinction between public and private poems to protect themselves from exactly this kind of censorship/punishment. Private poems were, obviously, ones you could get thrown in the bing for; public poems could be "published." At this point, I also went back to the warden and told her she should not be surprised at some "emotional" poems; I described the class as "therapy" and she agreed that that was a good way of viewing it.</p> <p>The class flourished. The women began to express <emph>themselves</emph>, to find words underneath and in the midst of the gloss of everyday language. Some discovered (recovered?) a subterranean language like subway graffiti: the poem became a Kilroy, a zap: "I was here."</p> <p>I had quit my mental health worker job and was concentrating on expanding FREE SPACE, as the class had come to be called. The NEA had given us some funding, as did Poets & Writers and some local banks. <persName>Linda Stewart</persName> of The Book-of-the-Month Club mailed boxes of overstocked paperback books; we amassed our own library and <persName cert="high" type="real">Ted Slate</persName> of <emph><title key="Newsweek" ref="http://www.wikidata.org/entity/Q188413">Newsweek</title></emph> donated supplies and equipment.</p> <p><persName key="Tom Weatherly" ref="https://en.wikipedia.org/wiki/Thomas_E._Weatherly_Jr.">Tom Weatherly</persName> taught a second poetry class, <persName>Gail Rosenblum</persName> taught fiction, and <persName cert="high" type="real">Fannie James</persName>, an ex-inmate, ex-student of the Space whom the warden actually allowed to come back to work with us, taught poetry and library skills. Each teacher learned to cope in his or her own way with the trials of trying to run a writing class in a prison. Each class was like a hypothetical leap: it would take place 1) IF the officer in <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_034.jpg"/> the housing area remembered to announce it; 2) IF the women were there and not a) in court b) in solitary c) in another part of the prison d) watching television e) sleeping and/or drugged f) transferred to another floor g) transferred to another prison h) out on bail (good news); 3) IF the officer on hall duty okayed the passes; 4) IF the warden had not scheduled something else in your classroom (usually a course in etiquette); 5) IF there was no "contraband," i.e., spiral notebooks (the wire is a potential weapon), chewing gum (jams locks), tweezers, or snap-top pens (another weapon—only ball points or pencils allowed).</p> <p>Somehow, the class took place and thrived. Visitors came to read and comment on student work: poets <persName key="Mae Jackson" ref="http://www.wikidata.org/entity/Q87410543">Mae Jackson</persName>, <persName key="Daniela Gioseffi" ref="http://www.wikidata.org/entity/Q5219218">Daniela Gioseffi</persName>, <persName key="Daniel Halpern" ref="http://www.wikidata.org/entity/Q55941553">Daniel Halpern</persName>, <persName key="Audre Lorde" ref="http://www.wikidata.org/entity/Q463319">Audre Lorde</persName>. For a long time, everyone learned. Information was taken in, absorbed—classes were spent writing and rewriting, letting off steam.</p> <p>Almost four years later, most of the women from the old class had been transferred or freed (detention women often spend two years waiting for trial), but emphasis was still placed on "getting along." We all stressed writing as craft. Classes were run as any <emph>outside</emph> workshop would be, except no one ever published anything.</p> <p>The poetry class at this time was full of women who were considered potential security threats—in other words, intelligent, outspoken, and funny. Some were "controversial" cases: <persName>Juanita Reedy</persName>, about to have her first child behind bars; <persName cert="high" type="real">Carole Ramer</persName> who had been busted with <persName key="Abbie Hoffman" ref="http://www.wikidata.org/entity/Q306514">Abbie Hoffman</persName> and who had a lot to say about everything; <persName>Gloria Jensen</persName>, whose imagination was like a vaudeville show; Assata Shakur/Joanne Chesimard—alleged leader of the Black Liberation Army, brilliant and talented, with a <emph><title key="Cool Hand Luke" ref="http://www.wikidata.org/entity/Q684150">Cool-Hand Luke</title></emph> aura of insouciance, compassion, and tenacity. (Assata was considered so dangerous that the prison required her to have a continual guard-escort.) These women were all good writers. They had learned craft and practiced it—and wanted more. They wanted to go further than "therapeutic" writing or workshop poems. They were writing dynamite.</p> <p>After four years, there was a huge pile of handwritten poems, Fannie's log with the names of every woman who had come to class, some incredible memories, and that was all. We went to the prison week after week and no one ever saw or heard what the women wrote: the voices were never heard outside, and on the inside, only in class. I began to feel that something had to give—no matter what risks were involved for the women (if they should decide to publish) and for FREE SPACE as a writing program. It was Catch 22—we were losing either way. At this stage, the women were denied the natural fulfillment of self-expression, which is publication. If we published their writing, however, we stood to lose the writing program itself. I began to fantasize about getting the word out: if people could only hear some of this stuff, I thought, no one would ever ask me again about either the <emph>quality</emph> of prisoners' writing or the reasons for running workshops in prisons. We would have evidence in writing. Best of all, the women would have the audience they deserved. I began to draft a rough script, a framework for some of the poems.</p> <p>What happened to Juanita Reedy made up everybody's mind about publication. Juanita went to Elmhurst Hospital to have her child and was treated so inhumanely that she refused to let prison doctors touch her upon her return. She wrote a poem about her experience, which she developed into a longer "Birth Journal." She published it in <emph><title key="Majority Report" ref="http://www.wikidata.org/entity/Q106091070">Majority Report</title></emph>, the feminist journal. In the same issue there was an article about FREE SPACE and a poem by Carole Ramer. The issue began to circulate in the prison. Assata, inspired by Juanita, wrote her own "Birth Journal" and sent it to a major magazine. One night in class she read this poem:</p> <lg> <head><title>Butch </title></head> <l>You should have told me </l> <l> About your dick </l> <l> Stashed inside your bureau drawer</l> <l>I woulda believed you</l> </lg> <lg> <l>Ya say ya wanna be my daddy </l> <l>Ya say ya wanna be my daddy </l> <l> Ya say ya wanna be my daddy</l> </lg> <lg> <l>Yeah! Run it! I'm ready! </l> <l> My mamma warned me about you</l> <l> She taught me about you </l> <l> She beat me about you</l> </lg> <lg> <l>But I thought you were a man...</l> </lg> <lg> <l>And I lower my eyes </l> <l> And I lower my back</l> <l> And I swivel my hips </l> <l> And I lighten my voice </l> <l> And I powder my nose </l> <l> And I blue up my eyes </l> <l> And I redden my cheeks </l> <l> And I jump when you call </l> <l> And I cook and I knit</l> </lg> <lg> <l>And I clean and I sew</l> <l> And it is all so cozy </l> <l> You lying in my arms</l> <l> (If I am not being too forward, </l> <l> too unladylike)</l> </lg> <lg> <l>But who will know, anyway, </l> <l> That you were in my arms </l> <l> Not me in yours</l> </lg> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_035.jpg"/> <lg> <l>And if it comes to it</l> <l> To save face </l> <l> You can lie </l> <l> I'll back you up </l> <l> I've gotten very good at it lately</l> </lg> <lg> <l>You should have told me </l> <l> About your status— </l> <l> I would have bowed to you </l> <l> What's one more bow, anyway?</l> </lg> <lg> <l>I bow to the dollar </l> <l> I bow to the scholar </l> <l> I bow to the white house </l> <l> I bow to the church mouse </l> <l> I bow to tradition </l> <l> I bow to contrition </l> <l> I bow to the butcher </l> <l> I bow to the baker </l> <l> I bow to the goddamn </l> <l> lightbulb maker—</l> </lg> <lg> <l>Who the hell am I anyway </l> <l> Not to bow?</l> </lg> <lg> <l>What else do I know how to do?</l> </lg> <lg> <l>But you should have told me baby </l> <l> You should have hipped me momma </l> <l> I didn’t know you would pull it out </l> <l> And strap it on</l> </lg> <lg> <l>Fucking me mercilessly </l> <l> Long stroking me </l> <l> So that even my shadow is moaning</l> </lg> <lg> <l>But damn baby </l> <l> I didn't know </l> <l> You coulda saved me the trip—</l> </lg> <lg> <l>I thought I was on my way </l> <l> To a garden </l> <l> Where fruit ain’t forbidden </l> <l> Where snakes do not crawl to seduce </l> <l> I thought for a second </l> <l> That earth was a good thing </l> <l> That acting had played out </l> <l> And cotillions were outlawed </l> <l> That bingo was over </l> <l> And ladies had drowned in their tea </l> </lg> <lg> <l>But now that I'm hip momma </l> <l> Come, fuck me.</l> </lg> <p>(Copyright Assata Shakur/Joanne Chesimard) </p> <p>Some of Assata's poems were accepted for publication in a literary magazine. Poets & Writers gave us a grant to do an anthology of students' writing which Gail and I compiled. We published it through the Print Center in Brooklyn and called it <emph><title>Songs from a Free Space: Writings by Women in Prison</title></emph>. The anthology was sold in New York bookstores and distributed to the women in the classes. It contained some of the best work done in the classes.</p> <p>By now I had handed over a rough script to the poetry class and an idea about doing some kind of theater piece. The women put together a revue of loosely scripted poems, songs, and vignettes called <emph><title>Next Time</title></emph>. They memorized lines and improvised costumes. <persName>Karen Sanderson</persName>, a friend and videotape expert, arrived at the prison one Sunday with a crew of women (after endless haggling for permission; we told the Corrections Department that we needed the videotape as a rehearsal tool for a play) and taped for nine hours straight. Finally, after months of editing, a half-hour tape emerged which documents the poems, songs, love, and exasperation of some of these incredible women. (This tape is available to anyone interested.)</p> <p>In September 1975, FREE SPACE merged with ART WITHOUT WALLS, another arts project for women in prison. Now we were able to offer graphic arts and dance, in addition to having a larger staff. The publishing idea had fulfilled itself, a renaissance. Juanita had begun a book about her experiences; another woman, <persName cert="high" type="real">Isabelle Newton</persName>, was collecting her poems in manuscript. Then Assata, who had been held in solitary for one year in New Jersey, whose cell was raided by guards every day in search of contraband, and who had been beaten by the prison goon squad on numerous occasions, completed her book of poems and wrote two chapters of a book, an account of her arrest and life in prison. The warden stopped me in the hall one day and told me that she knew we were collaborating on a book with Assata and Juanita. She told me she hadn't forgotten the Elizabeth Powell case.</p> <p>On November 26, 1975, Gail was preparing to leave home to go to her fiction class (filled with new students) when the phone rang. It was Deputy Freeman, the WHD Program Director, who advised her not to come to class: the program had been cancelled. We were not allowed to do anything after that except to pick up our books and any program belongings; we couldn’t say good-bye to anyone or discuss plans for any of their work.</p> <p>Naturally, we are contesting this decision, but there isn't much hope in appealing a warden's whim. It is, after all, her turf. Official reasons for the cancellation were said to be duplication of services (they stated that the public school provided the same type of classes) and irregularity of classes. The warden refused, however to put these reasons in writing for us. </p><p>It is clear that the writing classes were taken seriously only when the women wrote seriously about their lives and <emph>published</emph> those writings. Poetry is safe, women are safe until they begin to make sense and communicate. Still, ART <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_036.jpg"/> recognizes the possibilities of self-expression, perhaps the walls crack a little. Perhaps. Words can, indeed, turn them around, but sometimes having all the right words is small change. "Before despairing, speak of it," said a woman one day in class. Even when writing of despair there's the fact—named and held to the light for a moment—maybe even understood.</p> <p>WITHOUT WALLS/FREE SPACE is continuing to work at a children's center, a drug clinic, and another women’s prison. It’s important to maintain the lifelines between people on the outside and those inside.</p> <p>But what happened at the Women's House of Detention can easily happen again. Especially if publishing is, as it should be, part of the writing project. Prison writers have a right to be heard as does any writer. Their voices are too important to be missed. Publishing is part of the art of not bowing. Each time a man or woman in a cell</p> <lg> <head><title>Next Time </title> <lb/>(group poem from the videotape </head> <l>of the same name) </l> <l> You don’t hear me </l> <l> You don't see me </l> </lg> <lg> <l>I'm the one just a step behind </l><l>you </l> <l> a split second before the light changes on the</l> <l> corner. </l> <l> The face that breaks the glass without a sound </l> <l> The hands that take your money on a </l> <l> screaming train uptown.</l> </lg> <lg> <l>Ladies. I had nowhere to take myself tonight </l> <l> Except to myself </l> <l> To my own face </l> <l> Reflected in yours </l> <l> And my own voice </l> <l> telling me </l> <l> THERE IS NO NEXT TIME FOR ANY OF US </l> </lg> <lg> <l>Just the husbands and families waiting </l> <l> Just the habits and fast money waiting </l> </lg> <lg> <l>The kids in the street</l> <l>The kids in strangers' homes</l> <l>The kids in our bellies</l> <l>The kids we are inside</l> <l/><l>And the lies we tell ourselves</l> <l>To go on living</l> </lg> <lg> <l>LISTEN</l> <l>No one got over on you tonight</l> <l>No one lied here tonight</l><l/> <l>We told the truth</l> <l>And the truth is what you see before</l><l>your eyes</l><l/> <l>Ladies</l> <l>Before you forget, ladies,</l> <l>Till the "next time" My best.</l> </lg></div> </body> <back> <div><p>Carol Muske is a New York poet and assistant editor of Anteus. Her book, <title><emph>Camouflage</emph></title>, was published in 1975 (University of Pittsburgh Press). She directs the prison program Art Without Walls/Free Space at Bedford Hills Correctional Facility for Women.</p></div> </back> </text> </TEI>
Moratorium: Front Lawn: 1970 Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>Moratorium: Front Lawn: 1970</title> <author>Kate Jennings</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Heresies: Issue 1</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. 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You don't laugh at what your comrade brothers say, you wouldn’t laugh at the negroes, the black panthers. Many women are beginning to feel the necessity to speak for themselves, for their sisters. </p><p>I feel the necessity now.</p> <p>It's the moratorium. l would say, oh yes, the war is bad a pig bosses war may the nlf win, I also say VICTORY TO THE VIETNAMESE WOMEN. Now our brothers on the left in the peace movement will think that what I am about to say is not justified, this is a moratorium. It's justified anywhere. We've heard you loud and clear before, brothershits, we know we have to work towards the Revolution and then join the <orgName>ladies liberation auxiliary</orgName> if we have any time left over. I've worked my priorities out, I will work towards what I know about, what I feel, and I feel because I'm told ad infinitum that I'm a woman, I'm a second-class citizen, and I should shutup right now because my mind's between my legs. I say you think with your pricks. We should all get our priorities straight and organise around our own injustices, our own condition. There are a lot of people here who feel strongly about the Vietnam war. But how many of you, who can see so clearly the suffering and misery in Vietnam, how many of you can see at the end of your piggy noses the women who can't get abortions, how many of you would get off your fat piggy asses and protest against the killing and victimisation of women in your own country. Go check the figures, how many Australian men have died in Vietnam, and how many women have died from backyard abortions. Yes, that's cool, they're only women, and you'll perhaps worry if your own chickie gets pregnant. Can you think about all the unwanted children, or the discrimination against unmarried mothers. Illegal dangerous abortions are going to be performed regardless. So make them legal. And to these women who think an abortion campaign, or women's lib for that matter, is reformist, I quote "in fighting for our liberation we will not ask what is revolutionary or reformist, only what is good for women" some of us are revolutionaries, some of us are manhunting crazies, but we are all working toward one thing, the liberation of women, and most of us will recognise that this will only happen in a socialist society.</p> <p>We all feel very strongly about conscription and freedom of the individual, some go to great lengths to martyr themselves on the issue of the draft. I don't feel very strongly anymore about the ego scenes of the <persName>mike jones</persName>'s around me. I do feel strongly about my freedom and my sisters' freedom. Women are conscripted every day into their personalised slave kitchens, can you, with your mind filled with the moratorium, spare a thought for their freedom, identity, minds and emotions, they're women, and your stomach is full. It suits you to keep women in the kitchens, and underpaid menial jobs, and with the children. You, by your silence, apathy and laughter sanction the legislators, the pig parliamentarians, the same men who sanction the war in Vietnam. You won't make an issue of abortion, equal pay, and child minding centres, because they're women's matters, and under your veneer you are brothers to the pig politicians. And I say to all you highminded intellectual women who say you're liberated with such force and conviction, I say you make me sick. So women's lib doesn’t concern you. Ask your companion what he would prefer—to talk to you or fuck you? (and if you say you'd prefer to be fucked, you've absorbed your conditioning well). And the women in the suburbs are no concern of yours? Your mother is no concern of yours? so long as you think you're liberated, all's well. You and your sisters and the silent suburban women are all part of a capitalist PATRIARCHAL society which you cannot ignore.</p> <p>And don't start to trust the sympathetic men who want a socialist society. Where will the women be after the revolution? Go, ask them, the men on the left stink—they stink from their motherfucking socks to their long hair, from their jock straps to their mao and moratorium badges. The ones who pretend to espouse our aims are far worse than those who at least wear their true colors on their sleeves. And to my brothers on the drug scene. Grass is good. Oh yes, but instead of becoming happy and peaceful and oh so motherfucking loving all I can see is you sitting there, asserting, even grooving on your maleness, dominating every joint every puff. Chickies aren't very good at rapping, aren't clever or subtle enough. I mean, it's a male scene, isn't it, you fat arrogant farts.</p> <p>Okay, I've stopped trying to love and understand my oppressors.</p> <p>I know who my enemy is.</p> <p>I will tell you what I feel, as an individual, as a woman.</p> <p>I feel that there can be no love between men and women.</p> <p>Maybe after the revolution people will be able to love each other regardless of skin color, ethnic origin, occupation or type of genitals. But if that happens it will only happen if we make it happen. Starting right now.</p> <p>I feel hatred.</p> <p>I feel anger.</p> <p>Without indulging in an equality or marxist argument I say all power to women because that's what I feel.</p> <p>ALL POWER.</p> <p>And I say to every woman that every time you're put down or fucked over, every time they kick you cunningly in the teeth, go stand on the street corner and tell every man that walks by, every one of them a male chauvinist by virtue of HIS birthright, tell them all to go suck their own cocks. And when they laugh, tell them that they're getting bloody defensive, and that you know what size weapon to buy to kill the bodies that you've unfortunately laid under often enough.</p> <p>ALL POWER TO WOMEN.</p> </body> <back> <p>"Kate Jennings is a feminist. She believes in what <persName key="Jane Austen" ref="http://www.wikidata.org/entity/Q36322">Jane Austen</persName> recommended at fifteen: 'Run mad as often as you chuse; but do not.'" This "biography" appears on the jacket of Jennings' book of poems (from which "Moratorium" is reprinted)—<title><title><title cert="high" level="m">Come to Me My Melancholy Baby</title></title></title>. published in 1975 by <orgName>Outback Press</orgName>, Fitzroy (Victoria), in her native Australia. </p> </back> </text> </TEI>
Do You Think Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>Do You Think</title> <author>Jayne Cortez</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Heresies: Issue 1</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> 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"https://leaf.bucknell.edu/sites/default/files/2025-03/cortez_0_0_0_0_0_0.xml?person_annotation_20221110203719321", "type": "oa:Annotation", "dcterms:created": "2022-11-11T01:37:19.321Z", "dcterms:creator": { "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Sophie McQuaide" }, "oa:motivatedBy": "oa:identifying", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-03/cortez_0_0_0_0_0_0.xml?person_annotation_20221110203719321#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-03/cortez_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-03/cortez_0_0_0_0_0_0.xml?person_annotation_20221110203719321#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/byline/persName/persName" } }, "oa:hasBody": { "@type": "cwrc:NaturalPerson", "@id": "http://www.wikidata.org/entity/Q1670154", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_059.jpg" generatedBy="human" xml:space="default" n="57"/> <head><title>Do You Think</title></head> <byline><persName><persName key="Jayne Cortez" ref="http://www.wikidata.org/entity/Q1670154">Jayne Cortez</persName></persName></byline> <lg> <l>Do you think this is a sad day</l> <l> a sad night</l> <l>full of tequila full of el dorado</l> <l> full of banana solitudes</l> </lg> <lg> <l>And my chorizo face a holiday for knives</l> <l> and my arching lips a savannah for cuchifritos</l> <l>and my spit curls a symbol for you</l> <l> to overcharge overbill oversell me</l> <l>these saints these candles</l> <l> these dented cars loud pipes</l> <l>no insurance and no place to park</l> <l> because my last name is Cortez</l> </lg> <lg> <l>Do you think this is a sad night</l> <l> a sad day</l> </lg> <lg> <l>And on this elevator</l> <l> between my rubber shoes</l> <l>in the creme de menthe of my youth</l> <l> the silver tooth of my age</l> <l>the gullah speech of my one trembling tit</l> <l>full of tequila full of el dorado</l> <l> full of banana solitudes you tell me</l> <l>i use more lights more gas</l> <l> more telephones more sequins more feathers</l> <l>more iridescent head-stones</l> <l> you think i accept this pentecostal church</l> <l>in exchange for the lands you stole</l> </lg> <lg> <l>And because my name is Cortez</l> <l> do you think this is a revision</l> <l>of flesh studded with rivets</l> <l> my wardrobe clean</l> <l>the pick in my hair</l> <l> the pomegranate in my hand</l> <l>14th street delancey street 103rd street</l> <l> reservation where i lay my skull</l> <l>the barrio of need</l> <l> the police state in ashes</l> <l>drums full of tequila full of el dorado</l> <l> full of banana solitudes say:</l> <l>Do you really think time speaks english</l> <l> in the mens room</l> </lg> </body> <back> <p>Jayne Cortez was born in Arizona and grew up in the Watts Community of Los Angeles. She is the author of three books of poetry—<title key="Pissstained Stairs and the Monkey Man's Wares" ref="https://www.worldcat.org/title/pissstained-stairs-and-the-monkey-mans-wares/oclc/119044"><emph><title>Pissstained Stairs and the Monkey Man's Wares</title></emph></title> (1969), <emph><title>Festivals and Funerals</title></emph> (1971), <title><emph><title>Scarifications</title></emph></title> (1973), from which this poem is reprinted, and a recording — <title key="Celebrations and Solitudes" ref="https://www.discogs.com/release/1052679-Jayne-Cortez-Celebrations-And-Solitudes"><emph><title>Celebrations and Solitudes</title></emph></title> (Strata East Records, 1975).</p> </back> </text> </TEI>
Juggling Contradictions Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?> <?xml-stylesheet type="text/css" href="null"?> <TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader> <fileDesc> <titleStmt> <title>Juggling Contradictions: Feminism, the Individual and What's Left</title> <author>Joan Braderman</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title level="a">Juggling Contradictions: Feminism, the Individual and What's Left</title> <author> <surname>Braderman</surname> <forename>Joan</forename> </author> <date when="1977-01">January 1977</date> <textLang xml:lang="eng"/> </analytic> <monogr> <title level="j">Heresies #1: Feminism, Art and Politics</title> <imprint> <publisher ref="https://www.wikidata.org/wiki/Q20857976">The Heresies Collective</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. 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The nature of these myths—the myths of equality, individualism and democratic liberalism—which underwrite our humanist heritage, account for the weakest elements of feminist ideology. The recognition that feminism is an ideology, like <persName key="Karl Marx" ref="http://www.wikidata.org/entity/Q9061" type="real">Marx</persName>'s recognition that humanism is an ideology (i.e., not a discourse whose "truth" was inseparable from the world it described) is a necessary step in re-examining what feminism is and what it can do. </p> <p> I will use as a conceit the form of "the contradiction"—that underlying, dynamic mechanism of history—in a way that is sometimes more metaphorical than concrete. I take the liberty of using this model rhetorically at times to begin to establish a series of interrelationships between ideologies and their culture. I use it to suggest the many ways the several spheres of interest to <title key="Heresies: A Feminist Publication on Art and Politics" ref="http://www.wikidata.org/entity/Q17022558"><emph>Heresies</emph></title> readers—art, feminism and their political context—are subject to a set of analogous and mutually reinforcing ideological myths. Most feminists and artists alike are still held captive by the power of these seductive belief systems, although they threaten the coherence of our arguments, threaten our interests and threaten the very survival of the ideal of freedom.</p> <p> A confrontation between the facts and fictions which surround us becomes inevitable within an escalating spiral of contradictions. The first group to experience directly the essential contradictions of the society we live in is, of course, the lowest class: the unemployed, the poorest, least skilled, most exploited working people. Next, the marginal groups, in North America: people of color, immigrants, the elderly, etc. Artists are marginal too. They feel the economic squeeze in recessions, may even become politicized as a result. And across all these groups are women. As groups, then, women and artists have a low priority in the hierarchy of capital.</p> <p> To give up the humanist myths, those most cherished ideals of our own class, the bourgeoisie, which were forged when it was the revolutionary class, is difficult indeed. But give them up we must, for in the face of heightening contradictions–economic, biological, ideological—we have no choice. </p> <p>By 1976, the women's movement seems to have nearly as many political lines as there are women in it. This partly healthy, partly disturbing fact reflects with painful clarity both the strengths and implicit weaknesses of the feminist critique of society. What is feminist practice? What is it to be a feminist in 1976? Is it to be an individual woman "making it" in a man's world? Is it to recognize woman's historical oppression and, released from individual frustration and guilt, to take on collective responsibility? What is the nature of such a responsibility? Is it restricted to oneself? To oneself and the women one sees every week? Is this a responsibility to oneself, to women, to men, to history? In short, is feminism, as an ideology, fundamentally dangerous to the sexism it despises? If so, how?</p> <p> To many women, enmeshed in the growing contradictions of late capitalist society, feminism, by 1976, has proven as much a trap as a liberation. What seemed to so many of us as little as five years ago a potentially revolutionary force now appears to be virtually co-opted. The great capitalist commodity machine has produced a whole new catalogue of cultural commodities: the feminist writer, artist, poet; the feminist academic, professional, journalist, TV persona; the feminist token with that "<emph>feminist</emph> mystique." She is for sale in the cultural marketplace. She is tough, durable, tireless. She is "sexually liberated" (a great lay). She works harder than a man. She has to. She is still a <emph>woman</emph> in a world that calls people "mankind." That is, "equality" for women still equals inequality for women. This is a contradiction.</p> <p> What kind of contradiction? It is a contradiction between the ideology of bourgeois feminism and economic and biological fact. The economic facts of life for the great majority of women remain the same: unpaid domestic labor, ill-paid labor in the work force. Biological fact (which is gender difference along with its cultural baggage) proposes a contradiction, even for those of us who are female tokens of one sort or another, who <emph>are</emph> members of the bourgeoisie.</p> <p> Our psychosexual behavior, like our economic roles, is wholly determined by an inherited system of power relations, not only in the public sector, but at deeper levels, in the formation—within the family—of the psyche itself. Hence, as <persName key="Juliet Mitchell" ref="http://www.wikidata.org/entity/Q453560">Juliet Mitchell</persName> so carefully <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_091.jpg"/> describes, <note type="scholarNote">Mitchell, Juliet, "<title>Women and Equality</title>," in <orgName key="Partisan Review" ref="http://www.wikidata.org/entity/Q1930723">Partisan Review</orgName> (Summer, 1975)</note> it is the <emph>concept of equality</emph> which is invalid within our system. The abstract ideal of equality, she demonstrates, provides the philosophical basis for our laws. Our legal system, at its best, functions <emph>as if</emph> each of its individual constituents were equal. If some people have only their labor to sell, and this labor produces more value than it returns to the laborer, an unequal exchange has taken place. The laborer, then, and the owner of the means to produce that "surplus value" are not equal. If some people are denied, by virtue of their color, access even to the skills of labor, to whom are they equal? If half of all people have babies and half do not, are they all "equal"? Logical incompatabilities arise: what is different is not the same, and gender (among other things) means difference.</p> <p> Radical feminism has tried to take on this contradiction, indeed proclaimed it <emph>the</emph> essential contradiction in our form of social organization. Between biology and destiny, it proposes, stands consciousness. Woman's oppression vertically crosses class lines, crosses race lines; women, armed with "consciousness" would speak to each other across a history of divisions and change the world. Women's groups would not only clarify the areas of shared experience which foster that consciousness, but would serve as support communities. With sisterhood for strength, women would hit male supremacy where it lived: at home. Yet what, after all, has changed? The quality of life for a few privileged women—a small step. Was all that fervor, sisterhood and revolutionary idealism that was meant to reinvent the terms for a mass movement so easily engorged, packaged and recycled?</p> <p> For radical feminism too has been partially co-opted. Since it had already dropped out of the broader (sexist) political arena, it provided support systems for women, but toward an uncertain end. Seeing few alternatives and tantalized by a taste of power women often used that strength to re-enter the dominant culture to become as competitive, as "good" as men. Has the women's movement had so little concrete impact on most women's lives?</p> <p> Certainly the patriarchy was sufficiently threatened to let the feminist token into the limelight. (Why co-opt without advertising the co-opted product?) But she did not make it into the statistics. The economic facts so far as most women are concerned remain unchanged: unpaid domestic labor; ill-paid labor in the work force. The wage differential between men and women in fact is now greater than it was ten years ago. Even the hard-won victory of abortion (<emph>for a price</emph>), even the possibility of "equal rights" before the very laws which uphold a system of inequality, are a slap in the face to an ideology which aimed to alter the very "nature“ of human relationships. This too is a contradiction. </p> <p>What kind of contradiction? It is a contradiction between an ideology and a system; an ideology which has placed its profoundly humanist hope in individual consciousness as somehow separable from the structures in which that consciousness is created. Demystifying the contradictory elements of traditional feminism itself, then, is part of our task. In capitalist society, the process through which human labor is translated into commodity, then capital, is a process necessarily affecting not only the production of tractors and bombs but the production of <emph>ideology</emph>. This process puts intellectual labor, like esthetic labor, like factory labor, like reproductive labor, in the service of a system which generates a surplus of wealth for the few and subsistence for the many. This contradiction—between the forces of production (labor) and the property relations of production (ownership) is <emph>the</emph> contradiction which Marxists claim moves history, because it produces class struggle: the power of masses of people to labor becomes the power to revolt.</p> <p> This contradiction <emph>has</emph> moved history. But, feminists ask, has it altered the basic relation between woman and man, woman and childrearing, woman and psychosexual slavery? For the hypocrisy of bourgeois ideology in relation to bourgeois practice is paradigmatic within the structure of the family. Marriage, ostensibly a contractual agreement between consenting equals, is in fact a property relation between an owner and an exploited, isolated and powerless worker.</p> <p> It is the belief in the illusion that such social contracts can be fulfilled that has hung feminists on the horns of contradiction. Feminism was born in the 17th century along with the concept of equality of individuals. It was, as <persName key="Sheila Rowbotham" ref="http://www.wikidata.org/entity/Q432851">Sheila Rowbotham</persName> has documented, <note type="scholarNote">Rowbotham, Sheila, <title key="Rowbotham, Sheila. | Women, resistance and revolution" ref="http://viaf.org/viaf/7667153954881305680001/">Women, Resistance and Revolution</title>, Vintage Books (New York, 1974).</note> heated in the cauldron of bourgeois revolution and simmered in the idealism of 19th-century Utopianism à la <persName key="Charles Fourier" ref="http://www.wikidata.org/entity/Q181707" cert="high" type="real">Fourier</persName>, who claimed that "the change in historical epoch can always be determined by the progress of women toward freedom." <note type="scholarNote">Ibid., p. 51</note></p> <p>Bourgeois feminism has begun, then, in its history of leaps and starts, to identify and attack its sexist enemy, and taken a few long strides away from female feudalism for the benefit of some bourgeois women. But the heart of the problem remains. Feminists from <persName key="Tennessee Claflin" ref="http://www.wikidata.org/entity/Q7700030">Tennessee Claflin</persName> to <persName key="Isadora Duncan" ref="http://www.wikidata.org/entity/Q483512" cert="high" type="real">Isadora Duncan</persName> have scored high in locating it. "At the ballot box is not where the shoe pinches...It is at home where the husband is the supreme ruler that the little difficulty arises; he will not surrender this absolute power unless he is compelled," wrote Claflin in 1871. <note type="scholarNote"><persName key="Schneir, Miriam" ref="http://viaf.org/viaf/114917240/">Schneir, Miriam</persName>, ed., <title key="Feminism: The Essential Historical Writings" ref="http://www.wikidata.org/entity/Q104874805">Feminism: The Essential Historical Writings</title>, Vintage Books (New York, 1972), p. xviii.</note> Duncan, in her 1927 autobiography said, "Any intelligent woman who reads the marriage contract and then goes into it, deserves all the consequences." <note type="scholarNote">Ibid., p. XV.</note> Here is the confounding point. Monogamy asserts a situation in which one individual "owns" another. It is not ownership <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_092.jpg"/> <emph>per se</emph> that is in question now, but again, the mystification of what the individual is and can control. In participating in the compromised "equality" of marriage, each individual agrees to propagate the species in the context of the values of patriarchy. Values are learned, sexuality is formed, ideology is maintained—within the family.</p> <p>When feminists claim that "the personal is political" they refer, in a sense, to this problem. Their hypothesis is that one can generalize from the individual, internal dynamics of sexist oppression, to a general rule. <persName key="Sigmund Freud" ref="http://www.wikidata.org/entity/Q9215" type="real">Freud</persName>'s revelation of the structures of the unconscious confirms to an extent the validity of that enterprise. But up to now feminists have not taken it far enough. Having accepted the existence of subconscious structural analogues which mirror the differences between the sexes in the world, we can now proceed with the knowledge that, as a group, we are bound not only by the manifest political forms of our oppression but by these internal psychic monsters. In attempting to combat these monsters, however, feminists have often mistaken the cart for the horse. The personal is political—but with few exceptions, this invocation has simply generated a longer list of symptoms of the sexist disease. We must locate the causes of this disease if we are ever to cure it. We must exploit Freud's science of the mind, but only insofar as it is conjoined with the science of history; that is to say out of the context of individualism.</p> <p> Sisterhood is really powerful only insofar as it is armed with a coherent theory and a mass strategy. We are in and of our culture; so is the feminist ideal. We must pursue, with maximum scientific rigor, the vanguard theories of culture which culture has produced. We must use the best available tools to locate the incoherence—the contradictions—in extant phallocentric models and generate predictive models based in the experience of both halves of the human race. Feminists who wish to throw Freud out the window because of simplistic readings of "penis envy" current in popular psychology might well take a look at Mitchell's <title><emph>Feminism and Psychoanalysis</emph></title> for a re-examination of the usefulness of psychoanalysis to feminist analysis. Her effort there is exemplary. We cannot just look back nostalgically to ancient matriarchies. Indeed, fantasies about matriarchy in our era are pure science fiction. But their existence does suggest that alternate models for culture <emph>can</emph> exist.</p> <p> Recent controversy over Mitchell's book, among feminists and male psychoanalytic theorists here and abroad, suggests the "hotness" of this issue. Interestingly, this relation of sexuality to political economy is also being strongly developed outside a feminist context, most prominently on a major intellectual front—in the tradition of French structuralism. European feminists, especially in England and France, have thus been drawn to that tradition as heightened contradictions impel them to seek out means for their resolution. The main tendency in this area is necessarily phallocentric: it is still being written largely through the cipher of a male experience of the world. But if we as women don’t begin to write ourselves into history, who will? For so far, compared to the scope of the theoretical, strategic and practical task ahead, the "woman question" has really only been given lip service by the most advanced intellectual sciences —not surprising since they are "man-made."</p> <p> <persName key="Friedrich Engels" ref="http://www.wikidata.org/entity/Q34787">Engels</persName>, Marx and others have, of course, identified the monogamous, patriarchal family as the central prison for woman. Mechanistic Marxists therefore claim that releasing her from this singular prison into the work force (under socialism) must guarantee her freedom. Does it? Has it?</p> <p> Not significantly; not yet. The major 20th-century socialist revolutions have made some progress, removing, as in China, the most barbaric manifestations of sexist domination. Immediately following the Soviet revolution, <persName key="Vladimir Lenin" ref="http://www.wikidata.org/entity/Q1394" type="real">Lenin</persName>'s program included not only the training of women to join the work force at all levels, but the legalization of abortion, free, accessible divorce, communal daycare, etc. Within ten years, however, Stalinist backlash hit these family issues hardest; much harder, predictably, than the building of an extra-domestic women's work force. In China, with the Cultural Revolution and before, ideological struggle against the values of patriarchy has at least begun. But in the U.S.S.R., in the context of their drive to quickly meet economic priorites which created the bastard known as "state capitalism," it was easier to fall back on the ingrained behaviors of the traditional family unit for free work by women in the home.</p> <p> The American Communist Party reflects this tendency, still defending the "fighting family unit" as a revolutionary force—in America, a reactionary notion. In fact, mothers have been strong revolutionaries. The strength of the women of Vietnam in the long battle to defeat American imperialism is a case in point. But, as in Algeria, where fighting European imperialism also meant the reassertion of the heavily patriarchal values of Arab and Islamic culture, women's fate has most often been: off the battlefield and back to the kitchen. The contradictions of the double standard apparently are so heightened during periods of revolution that, as with Bolsheviks like <persName key="Alexandra Kollontai" ref="http://www.wikidata.org/entity/Q179558">Alexandra Kollontai</persName>, the preaching and practice of "free love" (and all it implies) becomes acceptable —for a brief time. Despite Lenin's great sympathy and work for women, his Victorianism won out in the area of sex. Even the Soviet woman engineer comes home to work that is still hers, and still never <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_093.jpg"/> done.</p> <p> In the U.S., too, anti-feminist backlash, somewhat reminiscent of the Stalinist attack on women's freedom, splits American feminism down its uncertain center. Though reformists suggest that there is room in a liberal America to heal the wounds of women, liberalism is particularly dangerous since it cleverly masks its own conservatism, its own investment in the status quo. Liberal ideology neatly instantiates the two-part form of the contradiction. "Its progressive side provides a rationale for defending the rights of individuals against the state. Its reactionary side emphasized that capitalism is not a system where one class exploits another but is rather a collection of individuals, any one of whom can succeed if he or she so decides."<note type="scholarNote"><persName key="Guettel, Charnie." ref="http://viaf.org/viaf/1981898/" type="real">Guettel, Charnie</persName>, <title><title>Marxism and Feminism</title></title>, Women's Educational Press (Ontario, Canada, 1974), p. 2.</note></p> <p> I hope it is becoming clear how ideologically messy liberalism really is from a post-humanist perspective in which the individual can no longer be seen as the subject of history. Liberalism is seen by leftists as a joke because it bears so tenuously the wan hopes of a bankrupt humanism and is ultimately, untenable. Even hardcore conservatism is more internally coherent. Conservatives and Marxists alike might describe capitalism as a system in which the "stronger" individuals make out. The difference, of course, is that conservatives say so approvingly, grounding their argument in the old dog-eat-dog theory of what they call human nature. Marxists have favored the idea that the industrial capitalist system tends to pervert or alienate what is potentially, or at a given historical moment "good" in human beings. Stated so simply, both are inadequate readings but at least they rehearse the consistency of these positions.</p> <p> The liberal wants to enjoy the fruits of his class privilege while salving his guilty conscience with a quasi-philosophic posture proposing that every individual (being protected by 'equality' before the law, by 'equal' opportunity measures, etc.) could theoretically be enjoying this same privilege if he or she were as hard-working and dauntless as him/herself. Thus the liberal buys off with a little charity or minimal social welfare all those who, by some extreme individual misfortune, can’t quite cut it.</p> <p>Here we return to the underbelly of co-optation. While a bill assuring equal rights before unequal laws is flung in our faces, and even defeated (adding insult to injury), the dominant media simultaneously declare the women's movement to be "over" or somehow "won" because of the presence of one and a half news anchor-women on TV or the financial viability of <title key="Ms." ref="http://www.wikidata.org/entity/Q3656351"><emph>Ms. Magazine</emph></title>. Capitalist propaganda demonstrates before our eyes that by inference, if one woman can do work that one man can do, women are the achieved "equals" of men. The responsibility for change is thus cleverly switched back onto the shoulders of <emph>individual</emph> women; to change the world, all you really must do is change yourself. And the mapping of contradictions comes full circle.</p> <p> The liberal feminist, like the liberal social democrat, learns to sate herself on the token goodies she is tendered. Or the radical feminist (who, lacking a viable mass strategy, is a liberal in disguise) tries to build a separatist island on which she and her sisters can be "free." It's a dilemma. I was, and in some ways still am, such a radical feminist. After all, I am a member of the women's group which publishes this magazine. We try to experiment with anti-oligarchic forms, collective practice. But what is an egalitarian island in a sea of capitalist contradictions but something doomed, as it were, to sinking?</p> <p> Witness a little linguistic contradiction and the issues it raises for us in <emph>Heresies</emph>. We are constituted as a collective. Adopting one of the stronger aspects of feminist practice, we attempt to chip away at the hierarchical authority structures of The System on a micro level by attempting to produce a theoretical magazine on a collective basis. The assumption here is that theory and practice must develop together in a dialectical relationship. But in order to function as a legal entity, we are transformed to Heresies Collective, Inc.; an incorporated collective. This is either redundant or ironic. The fact is, we don't even aspire to making profits but are completely dependent on the legal and business structures around us. This dependence relation, the impossibility of autonomy within a given economic structure, has meant about a two-year life-span for most American collectives before us, according to popular lore. </p><p>This dependence also means that artists, particularly those artists being forced by heightened economic contradictions to face political realities, must re-examine their place in our culture. The feminist filmmaker for example, has had to confront this issue head on. Film, more than any other artform, requires the mastery of machine technology. For women, that technology and the authority it connotes has been historically taboo. There are exceptions in the history of film but the percentage of women filmmakers is dramatically low for a 20th-century art. Feminists with the energy and support of their sisters in the movement have begun to break that taboo. But in doing so, they have been thrown against a major contradiction facing all "independent" filmmakers: the problem of capital. For to make films requires large amounts of capital, capital which is controlled by the ruling classes, middle-class liberals included.</p> <p> Advocates of independent filmmaking from <persName key="Maya Deren" ref="http://www.wikidata.org/entity/Q450382">Maya Deren</persName> in the 1940s (implicitly) to <persName key="Annette Michelson" ref="http://www.wikidata.org/entity/Q21176228" type="real">Annette Michelson</persName> in the 1960s (explicitly in her article "<title>Film and the Radical Aspiration</title>") <note type="scholarNote"><orgName>In <title key="Sitney, P. Adams. | Film culture reader" ref="http://viaf.org/viaf/6125154387351330970000/">Film Culture Reader</title></orgName>, ed., <persName key="P. Adams Sitney" ref="http://www.wikidata.org/entity/Q7117121">P. Adams Sitney</persName>, Praeger (New York, 1970).</note> have proposed that a stance outside of the commercial market is itself a "political" gesture. It is—to the <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_094.jpg"/><pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_095.jpg"/> extent that money can be garnered from liberals to make "art" as long as it is not fundamentally dangerous. But can any political art which attempts to attack the assumptions of The System <emph>from within</emph> patriarchal capitalism actually threaten it? This has been and will be an area of debate for many political estheticians and artists and can hardly be answered here.</p> <p> But we can and must confront the question. From what is the "independent" filmmaker or artist independent? She is not independent from the need to make a living. She is not independent from the need for capital—money which gives the power to make her films and distribute her films within a tight commercial media monopoly. When a feminist wonders why capitalists won’t hand over the money to make antisexist films, she, like her "independent" male counterpart, must face the terms of her dependence. She has begun to beg, borrow or steal (translated as win grants, go into debt, etc.) the capital to write herself into visual history, making films about the experience of women; viz: the films of <persName key="Julia Reichert" ref="http://www.wikidata.org/entity/Q1711898" type="real">Julia Reichert</persName>, <persName key="Yvonne Rainer" ref="http://www.wikidata.org/entity/Q452238">Yvonne Rainer</persName>, <persName key="Barbara Kopple" ref="http://www.wikidata.org/entity/Q449349" type="real">Barbara Kopple</persName>, <persName key="Chantal Akerman" ref="http://www.wikidata.org/entity/Q239823">Chantal Ackerman</persName>, and many others. But who actually sees these films? They are shown in women's festivals, in avant-garde and political forums in a few major cities. She is, in short, caught in that same economic trap. Cooperatives for pooling resources and sharing distribution efforts, such as New Day Films, are beginning to form; they are collectives like <emph>Heresies</emph>. But the absolute dependence on the inconsistent, discrimate charity of liberals is the underside of that ultimately romantic hope for "independence." The terms for independence, then, among artists and feminists, are the very terms of dependence. Yet another contradiction.</p> <p> I would like to convince all feminists that it is time to realign with the Left. Current economic realities, heightening contradictions, and the topography of world imperialism reaching its limits, are forcing many groups in America to confront their need for unity. The traditionally sectarian American Left itself is beginning to move toward coalition and alliance, toward unity across color lines, across race lines, across class lines <emph>and</emph> across gender lines. Within such a potential configuration women could speak to other women. We are beginning to recognize that all oppressed peoples within capitalism must come together if we are even to begin to be able to defend ourselves against the attacks and backlash of this system, much less to build a new one.</p> <p> Several feminist strategies for such a realignment of women with the broader struggle for freedom are presented in this issue of Heresies (see "Toward Socialist-Feminism" and "Wages for Housework"). This does not mean that women will not have to continue to force the priority of their own demands in relation to the needs of others. Women will need autonomy to develop theory and strategy accountable to our own needs within a broad movement, to avoid the failures of socialist experiments in the past. Thus, we must make our fight in the context of a movement we help to define and build, a movement that can take on the class contradiction as well as the racial and sexual contradictions implicit in the structures of the larger society. For, on these structures, the fate of all women, like it or not, is inextricably dependent. To wed feminism to the myths and false hopes of liberal idealism is to contribute to the systematic liquidation of its potential power.</p></div> </div> </body> <back> <div><p>Joan Braderman is completing her doctorate in film and political theory at N.Y.U., writes theory and criticism and makes 16mm films. She teaches film at The School of Visual Arts in New York City, is a political activist and likes to sing. </p></div> </back> </text> </TEI>
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Zelvin</persName></persName></byline> </div> <div> <lg> <l>twelve years later, how funny running into you</l> <l>i remember you in glasses and a bowtie</l> <l>before mad avenue bought space</l> <l>in the revolution</l> </lg> <lg> <l>you are conscientiously updated</l> <l>you have let your hair grow longer</l> <l>in that slick packaged heaven</l> <l>where good admen go</l> <l>you will play electric harp</l> </lg> <lg> <l>you have remembered every moment</l> <l>all this time</l> <l>and remind me of it over steak</l> <l>which you have paid for</l> <l>your revolution balks at going dutch</l> <l>mine will be vegetarian by next week</l> <l>but just this once i'll buy your buying me</l> <l>my steak</l> </lg> <lg> <l>i'm curious to remember how it feels</l> </lg> <lg> <l>i took my diaphragm everywhere in those days</l> <l>the only part i remember is when you said</l> <l>why don’t we go ahead, do what we’ve both been thinking</l> <l>but i hadn’t, honestly, or i would never</l> <l>have put my flannel nightgown on</l> <l>sorry, i don’t remember</l> <l>anything that happened after that</l> <l>it was all so long ago</l> <l>and meant so little</l> </lg> <lg> <l>twelve years ago, before the revolution</l> <l>it was usually too much trouble to say no</l> <l>especially when the man had bought you</l> <l>steak</l> </lg> <lg> <l>you are curious to remember how it feels</l> <l>but i have chewed and sat with downcast eyes</l> <l>letting you tell some patent Barbie me</l> <l>that i'm more womanly (sic) than your ex-wife</l> <l>and feel i've paid enough</l> <l>thanks for the steak, good seeing you again</l> <l>i mouth, let's get together soon</l> <l>i do not say, there’s been a revolution</l> <l>and there have been too many one night stands</l> </lg> </div> </body> <back> <p>Elizabeth Zelvin is a writer living in New York who has poems appearing in <title key="WomanSpirit" ref="http://www.wikidata.org/entity/Q48732990">Womanspirit</title> and <title key="13th Moon" ref="http://www.wikidata.org/entity/Q95584323">13th Moon</title>. She has recently completed a book about an alternative marriage, and among her other interests are "singing and song-writing, teaching creative movement, and trying to understand the synthesis of anarchism and feminism." </p> </back> </text> </TEI>
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"schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-03/zelvin_zucchini_0_0_0_0_0_0_0_0.xml?title_annotation_20250408163932809#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/back/p/orgName[2]/title" } }, "oa:hasBody": { "@type": "bf:Title", "@id": "http://www.wikidata.org/entity/Q95584323", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <div><pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_029.jpg" generatedBy="human" xml:space="default" n="27"/> <head><title>Zucchini Poem</title></head> <byline><persName key="Zelvin, Elizabeth" ref="http://viaf.org/viaf/285000059/"><persName key="Elizabeth Zelvin" ref="http://www.wikidata.org/entity/Q112492894">Elizabeth Zelvin</persName></persName></byline> </div> <div> <lg> <l>the zucchini crouches</l> <l>behind a broad green leaf</l> <l>patient in her camouflage</l> </lg> <lg> <l>imperialist tentacles of vine</l> <l>are taking over the garden</l> <l>shouting <emph>mine mine</emph></l> </lg> <lg> <l>like a woman waiting</l> <l>for the revolution</l> <l>the zucchini bides her time</l> </lg> <lg> <l>rain falls in the night</l> <l>first stealthy</l> <l>then triumphant like a coup d'état</l> </lg> <lg> <l>come morning</l> <l>the zucchini squats</l> <l>swollen in the sunlight</l> </lg> <lg> <l>proud of her belly</l> <l>covering the earth</l> <l>with a yellow flower behind her ear</l> </lg> </div> </body> <back> <p>Elizabeth Zelvin is a writer living in New York who has poems appearing in <orgName key="WomanSpirit" ref="http://www.wikidata.org/entity/Q48732990"><title key="WomanSpirit" ref="http://www.wikidata.org/entity/Q48732990">Womanspirit</title></orgName> and <orgName key="13th Moon" ref="http://www.wikidata.org/entity/Q95584323"><title key="13th Moon" ref="http://www.wikidata.org/entity/Q95584323">13th Moon</title></orgName>. She has recently completed a book about an alternative marriage, and among her other interests are "singing and song-writing, teaching creative movement, and trying to understand the synthesis of anarchism and feminism." </p> </back> </text> </TEI>
Astrology Hype Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/BucknellDSC/heresies/main/CSS/heresies_cwrc.css"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>Astrology Hype</title> <author>Carole Ramer</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic><title>Heresies: Issue 1</title></analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"/></xenoData></teiHeader> <text> <body> <pb n="35"/> <head><title>Astrology Hype</title></head><byline><persName cert="high" role="aut" type="real">Carole Ramer</persName></byline> <lg> <l> While in prison six months</l> <l>my horoscope predicted:</l> <l>"Travel to exciting places.</l> <l>New career opportunities.</l> <l>Romance and adventure."</l> </lg> <lg> <l>So far—I've traveled from jail</l> <l>to Manhattan Supreme Court.</l> <l>My pay scale has increased from 10 to 25¢ per hour.</l> <l>Numerous other inmates have made</l> <l>overtly sexual advances to me</l> <l>in vacant stairwells.</l> </lg> <lg> <l>Honey,</l> <l>that's not my idea of a rising sign.</l> </lg> </body> </text> </TEI>
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"as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2024-10/jensen_0_0_0.xml?note_annotation_20241015194412163#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/note" } }, "oa:hasBody": { "@type": "cwrc:Note", "dc:format": "text/plain", "rdf:value": "(With apologies to Wallace Stevens)" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_037.jpg" generatedBy="human" xml:space="default" n="35"/> <head><title>Ten Ways of Looking at Prison Lunch</title></head> <byline><persName><persName>Gloria Jensen</persName></persName></byline> <note>(With apologies to <persName key="Wallace Stevens" ref="http://www.wikidata.org/entity/Q166835">Wallace Stevens</persName>)</note> <list> <item>1. With both hands over your eyes, releasing one hand slowly to peep.</item> <item>2. Through the eyes of a friend you have by the hand—who reads braille.</item> <item>3. In the bing [solitary] where you can refuse to have the thing brought in at all and just lie there and sleep.</item> <item>4. From across the steam line, where people marvel at your petite body (if only they knew it's not by <emph>choice</emph> you prefer to remain frail and cautious).</item> <item>5. From a prison visitor's point of view — when suddenly, miraculously, all one sees is steak, greens and potatoes.</item> <item>6. From your window late at night as you watch one man run with a rake, followed by another with a sack, followed by a corrections officer, followed by a ruckus you've not seen but heard — then all three returning, dragging a heavy sack.</item> <item>7. Witnessing something come ashore in the bay and thinking: my, but it gave up a great fight.</item> <item>8. Wondering why they have signs saying DO NOT PEE ON THE GRASS. Then seeing the kitchen girls go out, mow it down and bring it in.</item> <item>9. Good Friday—when all the world's generous and the relief truck pulls up to the kitchen door to drop off loads of potatoes they couldn't unload anywhere else.</item> <item>10. Seeing more clearly the lunch of steak, greens and potatoes—as you attack the steak first and realize the fight you witnessed (#6) is not yet over, for the beast is biting you now too.</item> </list> </body> <back> <p> *From <title>Songs from a Free Space/Writings by Women in</title>, edited by <persName key="Carol Muske-Dukes" ref="http://www.wikidata.org/entity/Q5044485">Carol Muske</persName> and <persName key="Rosenblum, Gail" ref="http://viaf.org/viaf/162983592/">Gail Rosenblum</persName>, New York, n. d. </p> </back> </text> </TEI>
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Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> 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"schema:softwareVersion": "3.5.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_064.jpg" generatedBy="human" xml:space="default" n="62"/> <head><title type="main">Notes From the First Year</title></head><head> <title type="sub">(for my sisters, a trilogy of revolution)</title></head> <byline><persName key="Susan Edith Saxe" ref="http://www.wikidata.org/entity/Q7647784">Susan Saxe</persName></byline><div type="poem" n="I"><head>Patience</head> <lg> <l>There is no need now to rush about my life,</l> <l>I have time, each day, to unfold</l> <l>carefully, my rage —</l> <l>no longer impotent,</l> <l>But the most powerful force in the universe.</l> <l>(Do you hear me, Mother?)</l> <l>Slowly like a sunflower, like a tree,</l> <l>Revolution unfolds before me:</l> <l>Newspaper pages beginning with world news,</l> <l>and ending with the comics,</l> <l>and classified ads announcing the end</l> <l>of things as we know them.</l> <l>Inevitably the world, the nation, the city,</l> <l>the arts, society, sports</l> <l>and personals</l> <l>will be recycled</l> <l>By patient origamists, armed with love.</l> </lg> </div> <div type="poem" n="II"> <head>Questionnaire</head> <lg> <l>There is unfeminine (but oh, so Female)</l> <l>sureness in my hands,</l> <l>checking "No." to every question</l> <l>in the Harris poll, <title key="Reader's Digest" ref="http://www.wikidata.org/entity/Q371820">Reader's Digest</title>,</l> <l><title key="Mademoiselle" ref="http://www.wikidata.org/entity/Q738294">Mademoiselle</title>,</l> <l>I am an outlaw, so none of that applies to me:</l> <l>I do not vote in primaries, do not wish to increase</l> <l>my spending power, do not take birth control</l> <l>pills.</l> <l>I do not have a legal residence, cannot tell you</l> <l>my given name or how (sometimes very) old</l> <l>I really am.</l> <l>I do not travel abroad, see no humor in uniforms,</l> <l>and my lips are good enough for my lover</l> <l>as they are.</l> <l>Beyond that, no one heads my household, I would not</l> <l>save my marriage if I had one, or anybody else's</l> <l>if I could.</l> <l>I do not believe that politicians need me, that Jesus</l> <l>loves me, or that short men are particularly sexy.</l> <l>Nor do l want a penis.</l> <l>What else do you have to offer?</l> </lg> </div> <div type="poem" n="III"> <head>I Argue My Case</head> <lg> <l>Gentlemen of the Jury:</l> <l>I have had the time and opportunity to appear</l> <l>before you in the guise</l> <l>(disguise) of every woman:</l> <l>to you, sir, I was the dumb hand</l> <l>that wiped your</l> <l>table,</l> <l>to you, sir, a flimsy black</l> <l>skirt on legs,</l> <l>to you, some hard</l> <l>down-on-me woman who might</l> <l>(or might not) yet</l> <l>be downed again.</l> <l>To him, an ass,</l> <l>to him, a breast, a leg</l> <l>to him.</l> <l>To that one, just another working bitch.</l> <l>To each, another history, to each</l> <l>another (partial) lie.</l> <l>We women are liars, you say.</l> <l>(It is written.)</l> <l>But you have made us so.</l> <l>We are too much caught up in cycles, you say.</l> <l>But your gods cannot prevent that.</l> <l>So we act out our cycles,</l> <l>one or many,</l> <l>in the rhythm of what has to be</l> <l>(because we say so)</l> <l>our common destiny.</l> <l>And so, before you are taken in by one of our</l> <l>perfect circles,</l> <l>remember also that we are in perfect</l> <l>motion.</l> <l>And when you (and you will)</l> <l>run counter to the flow of revolution,</l> <l>the wheel of women will continue to turn,</l> <l>and grind you</l> <l>so fine.</l> </lg> </div> </body> <back> <p>Susan Saxe wrote this and other poems while she was living underground as a fugitive for 4½ years, during which time she was on the F.B.I.'s. <title key="FBI Ten Most Wanted Fugitives" ref="http://www.wikidata.org/entity/Q1386729">Ten Most Wanted List</title> for "overall radical activities." On March 27, 1975, she was arrested in Philadelphia and since then has been tried for allegedly taking part in a Boston bank robbery 7 years ago in which a policeman was killed. Saxe became "a feminist, a lesbian, a woman-identified woman" while underground. She is now in prison awaiting sentence.</p> <p>Reprinted from <title>Talk Among the Womanfolk</title>, Susan Saxe, Philadelphia, Pa., 1976. Susan Saxe. </p> </back> </text> </TEI>
