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Favorite Women Writers

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Simone de Beauvoir
Anais Nin
Marguerite Yourcenar
Marguerite Duras
Agatha Christie
Maya Angelou
Margaret Atwood
Marilyn French


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Valerie Solanas : SCUM Manifesto

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Solanas est un phénomène unique en son genre et même si je ne suis pas en accord avec le contenu, son livre mérite d'être relu attentivement.  Personnellement, j'opte pour l'interprétation de B. Ruby Rich, qui affirme que Solanas, avec SCUM Manifesto, a rédigé une satire à la Jonathan Swift.


Copié de Wikipédia pour référence future


SCUM Manifesto


The SCUM Manifesto is a radical feminist[1] text[2] written in 1967[3][4] by Valerie Solanas. According to Village Voice reviewer B. Ruby Rich, "SCUM was an uncompromising global vision",[5] in theManifesto criticizing men for many faults including war and not curing disease; many but not all points were "quite accurate";[5] some kinds of women were also criticized, subject to women's changing when men are not around;[6] and sex (as in sexuality) was criticized as "exploitative".[7] According to Sharon L. Jansen, "[Solanas] want[ed] ... to create a world exclusively for women"[8] and considered men "biological[ly] inferior".[9] According to feminist critic Germaine Greer, Solanas argued that "men and women [were "divide[d]"] from humanity"[10] and that, "[to] allow ... women to move back to humanity[,] ... they exterminate men."[10] According to Rich, Solanas, perhaps in a Swiftian tradition of satire, "believed that men ... should be retrained or eliminated."[5] According to Prof. Ginette Castro, Solanas "recommended the gradual elimination of all males".[11] According to reviewer Claire Dederer, "[t]he Manifesto is a call to rid the planet of men."[12] Betty Friedan said, "the elimination of men [w]as proposed by that SCUM Manifesto!"[13][14]According to Prof. Debra Diane Davis, men were to help eliminate each other, including by "rational murder."[15] According to Deborah Siegel, it "argued for men's collective annihilation."[16] According to Jansen, it called for reproduction only of females,[9] and not even of females once the problems of aging and death were solved so that a next generation would no longer be needed.[17] According to Laura Winkiel, Solanas "imagin[ed] ... a world run by women",[18] "the rhetoric [of the Manifesto] polemically urges the complete overthrow of heterosexual capitalism",[19] and the Manifesto"imagines a ... violent coup"[20] with an "imagined group of vanguard feminist revolutionaries [who] proclaim their takeover of the world"[21] including "SCUM females .... tak[ing] ... over the means of production"[22] in a "fantas[y] ... of political violence",[23] including as to men a "genocidal political practice",[24] "eliminat[ion] ... [of] the male sex"[25] except for "men in the Men's Auxiliary of SCUM",[22] as "Solanas imagines that women openly declare war on ... men",[24] a declaration that "parodies masculine politics".[24] According to Rich, the work possibly was "satire".[5] According to Jansen, the plan for creating a women's world was largely nonviolent, being based on women's nonparticipation in the current economy and having nothing to do with any men, thereby overwhelming police and military forces,[9] and, if solidarity among women was insufficient, under the plan some women could take jobs and "'unwork'", causing systemic collapse.[26] According to Rich, Solanas favored science and technology and wanted computers distributed.[7] According to Jansen, the plan was prescient on the role of technological media[26] and anticipated that "'the elimination of money ... [would eliminate the] need to kill men'".[26] According to Castro, the Manifesto was "certainly"[27] "the feminist charter on violence",[27]"legitimiz[ing] ... hysteria as a terrorist force",[27] but its proposal "that men should quite simply be eliminated"[28] was "[not] meant to be taken seriously".[29] According to Rich, the Manifesto could be read as "literal or symbolic".[7] According to Siegel, the Manifesto "articulated bald female rage".[30] According to Jansen, the Manifesto is "shocking" and breathtaking.[31] According to Rich, Solanas was a "one-woman scorched-earth squad".[7] According to Siegel, the stance was "extreme"[32] and "reflected a more general disaffection with nonviolent protest in America overall."[32]According to Rich, the Manifesto brought out women's "despair and anger" and advanced feminism[7] and, according to Winkiel, U.S. radical feminism "emerge[d]"[3] because of this "declaration of war against capitalism and patriarchy".[3]
Some authors have argued that the text is a parody of patriarchy and the Freudian theory of femininity, where the word woman is replaced by man. The text contains all the clichés of Freudian psychoanalytical theory: the biological accident, the incomplete sex,[5] and "'penis envy'"[33] which has become "'pussy envy'".[33][34][35] According to Greer, Solanas said "that men covet all that women are, seeking degradation and effeminization at their hands."[36] According to Jansen, Solanas posited men as animals who will be stalked and killed as prey, the killers using weapons as "phallic symbols turned against men".[37] Prof. James Penner described the work as a "satire"[38] and Jansen described "its craft ... [as having] satiric brilliance",[39]while Solanas' first publisher, Maurice Girodias, described it, according to J. Hoberman, as "a Swiftian satire on the depraved behavior, genetic inferiority, and ultimate disposability of the male gender",[40] Jansen compared it to Jonathan Swift's A Modest Proposal and called Solanas "cool and mordantly funny",[41] and Girodias thought of it as "a joke",[42] although Solanas disagreed with Girodias on several points.[43] According to Howard Smith, Solanas said that the Society for Cutting Up Men, as an "'organization'",[44] was "'just a literary device'"[44] and "'a state of mind.'"[44] Solanas organized "a SCUM forum ... [for which] 40 people[,] ... mostly men ... [she characterized as] 'masochist creeps'", showed up;[5] SCUM had no members beside her.[7] Winkiel said, "[t]he humor and anger of satire invites women to produce this feminist script by taking on the roles of the politically performative SCUM females";[45] in other words, the satire invites women to act as the Manifesto calls.
Alice Echols has argued that Solanas had "unabashed misandry",[46] and people associated with Andy Warhol (whom she shot) and various media saw it as "man-hating".[47]
"The SCUM Manifesto .... has been reprinted at least ten times in English, excerpted in half a dozen major feminist anthologies, posted on numerous Web sites, and translated into German, French, Spanish, Italian, ... Czech",[48] Portuguese, Dutch, and Hebrew.[49] Sisterhood Is Powerful, a collection of radical feminist writing edited by Robin Morgan, included excerpts of the SCUM Manifesto.[50] According to Jansen, in comparing editions, parts are "subtly, yet critically, different".[51] When Solanas sold mimeographed copies of the original 1967 edition, she charged women one dollar and men two dollars each.[5][52] Two thousand copies were made of the 1967 edition;[7] 400 were sold by the following spring.[5]

SCUM as acronym or not

Though it has come to be said that "SCUM" stands for "Society For Cutting Up Men" (said in places such as on the cover of one edition[53] and inside another,[54] in The New York Times,[55] and elsewhere[56][57]), this phrase actually occurs nowhere in the text. However, the phrase is on the cover of the 1967 self-published edition, after the title, in "'Presentation of ... SCUM (Society for Cutting Up Men) ....'"[58] The word "SCUM" is used in the text in reference to a certain type of women, not to men. It refers to empowered women, "SCUM -- dominant, secure, self-confident, nasty, violent, selfish, independent, proud, thrill-seeking, free-wheeling, arrogant females, who consider themselves fit to rule the universe, who have free-wheeled to the limits of this `society' and are ready to wheel on to something far beyond what it has to offer". Claire Dederer said, "Solanas ... described [the term] SCUM as a kind of 'literary device.'"[12] According to Avitel Ronell, that "SCUM" was intended as an acronym was a "belated add-on", which Solanas later rejected.[59]

Women and shooting

Among the effects of the Manifesto, Solanas shot Warhol[60] and cited her Manifesto so people could understand why[47][5] and then revolutionaryRoxanne Dunbar moved to the U.S. "convinced that a women's revolution had begun",[61][5] forming Cell 16 with a program based on the Manifesto.[62]According to Greer, "little evidence [existed] that S.C.U.M. ever functioned" other than as Solanas.[63] Although Solanas was "outraged" at the women's movement's "appropriat[ion]" of the Manifesto,[64] "the shooting [of Warhol] represented the feminist movement's righteous rage against patriarchy"[47] and Dunbar and Ti-Grace Atkinson considered the Manifesto as having initiated a "revolutionary movement",[47] Atkinson calling Solanas the "'first outstanding champion of women's rights'"[5] and probably (according to Greer) having been "radicalized" by the language of the Manifesto to leave the National Organization for Women (NOW),[10] and women organized in support of her.[65] Solanas was viewed as too mentally ill and too bound up with Andy Warhol, according to Greer, "for her message to come across unperverted."[10] According to Prof. Davis, the Manifesto was a "forerunner"[66] as a "call to arms among pragmatic American feminists"[66] and was "enjoy[ing] ... wide contemporary appeal".[67] The Manifesto "was ... influential in the spread of 'womansculture' and lesbian separatism"[68] and is also "credited with beginning the antipornography movement."[69]Friedan opposed the Manifesto as bad for the feminist movement and NOW.[70



References

  1. ^ a b Penner, James, Pinks, Pansies, and Punks: The Rhetoric of Masculinity in American Literary Culture (Bloomington, Ind.: Indiana Univ. Press, 2011 (ISBN 978-0-253-22251-0)), p. 232 (author asst. prof. Eng., Univ. of Puerto Rico, Rio Piedras).
  2. ^ a b Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing: A Guide to Six Centuries of Women Writers Imagining Rooms of Their Own (N.Y.: Palgrave Macmillan, 1st ed. Apr., 2011 (ISBN 978-0-230-11066-3)), pp. 137 (objecting to Wikipedia calling the work a "'feminist tract'") & 134 ("text") and see pp. 6, 129–160 (ch. 6, esp. pp. 131–135, 137–142, 145–148, & 150–160), 208, & 218 (author a teacher).
  3. ^ a b c d Winkiel, Laura, The "Sweet Assassin" and the Performative Politics of SCUM Manifesto, in Smith, Patricia Juliana, ed., The Queer Sixties (N.Y.: Routledge, 1999 (ISBN 0-415-92169-4)), p. [62] (author, Ph.D. from Dep't of Eng., Univ. of Notre Dame, was research fellow, Ctr. for the Humanities, Wesleyan Univ., & ed. postdoctoral lecturer Eng. & teacher 20th cent. British lit. & gay/lesbian studies, Univ. of Calif., Los Angeles).
  4. ^ a b Castro, Ginette, trans. Elizabeth Loverde-Bagwell, American Feminism: A Contemporary History (N.Y.: N.Y. Univ. Press, 1990 (ISBN 0-8147-1448-X)), p. 264 (Chronology) (trans. from Radioscopie du féminisme américain (Paris, France: Presses de la Fondation Nationale des Sciences Politiques, 1984) (French)) (author prof. Eng. lang. & culture, Univ. of Bordeaux III, France).
  5. ^ a b c d e f g h i j k Rich, B. Ruby, Manifesto Destiny: Drawing a Bead on Valerie Solanas, in Voice Literary Supplement, vol. (?) 119, Oct., 1993, p. 16, in The Village Voice (N.Y.), vol. 38, issue 41, Oct. 12, 1993 (review of Solanas, Valerie, SCUM Manifesto (London Press, paper)).
  6. ^ Rich, B. Ruby, Manifesto Destiny, op. cit., pp. 16–17.
  7. ^ a b c d e f g Rich, B. Ruby, Manifesto Destiny, op. cit., p. 17.
  8. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 131 and see p. 150.
  9. ^ a b c Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 150.
  10. ^ a b c d Greer, Germaine, The Female Eunuch (N.Y.: McGraw-Hill, 1st ed. in U.S. 1971, © 1970 & 1971), p. 307.
  11. ^ Castro, Ginette, American Feminism, op. cit., p. 64.
  12. ^ a b Dederer, Claire, Cutting Remarks, in The Nation, Jun. 14, 2004 (book review), as accessed Jun. 29, 2011 (author writer for N.Y. Times Book Review).
  13. ^ Friedan, Betty, It Changed My Life: Writings on the Women's Movement(N.Y.: Random House, 1st ed. 1976 (© 1963–1964, 1966, & 1970–1976) (ISBN 0-394-46398-6)), p. 109 (in unnumbered chap. "Our Revolution Is Unique": Excerpt from the President's Report to NOW, 1968, in pt. II, The Actions: Organizing the Women's Movement for Equality) (author founder & 1st pres., NOW, & visiting prof. sociology, Temple Univ., Yale, New Sch. for Social Research, & Queens Coll.).
  14. ^ Friedan, Betty, "It Changed My Life": Writings on the Women's Movement (Cambridge, Mass.: Harvard Univ. Press, 1st Harvard Univ. Press pbk. ed. 1998 (© 1963–1964, 1966, 1970–1976, 1985, 1991, & 1998) (ISBN 0-674-46885-6)), p. 138 (in unnumbered chap. "Our Revolution Is Unique": Excerpt from the President's Report to NOW, 1968, in pt. II, The Actions: Organizing the Women's Movement for Equality) (author founder & 1st pres., National Organization for Women, convener National Women's Political Caucus & National Abortion Rights Action League, & distinguished visiting prof., Cornell).
  15. ^ Davis, Debra Diane, Breaking Up [at] Totality: A Rhetoric of Laughter(Carbondale: Southern Ill. Univ. Press, 2000 (ISBN 0-8093-2228-5)), p. 147 (author a/k/a D. Diane Davis) (brackets in title so in original) (emphasis so in original & "rational" in larger fontsize (omitted here) in original) (author asst. prof. rhetoric, Univ. of Iowa).
  16. ^ Siegel, Deborah, Sisterhood, Interrupted: From Radical Women to Grrls Gone Wild (N.Y.: Palgrave Macmillan, 2007 (ISBN 978-1-4039-8204-9)), p. [71] (author Ph.D. & fellow, Woodhull Institute for Ethical Leadership).
  17. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 152.
  18. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 69 and see p. 79 ("a better world run by women").
  19. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 68.
  20. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 65.
  21. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 69 (and "a vanguard of revolutionary women") and see p. 78 ("SCUM females will take over all aspects of society by ... [inter alia] murder").
  22. ^ a b Winkiel, Laura, The "Sweet Assassin" and the Performative Politics of SCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 78.
  23. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 65 (Solanas' shooting of Andy Warhol also being one of Solanas' "fantasies of political violence").
  24. ^ a b c Winkiel, Laura, The "Sweet Assassin" and the Performative Politics of SCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 69.
  25. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 74.
  26. ^ a b c Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 151.
  27. ^ a b c Castro, Ginette, American Feminism, op. cit., p. 101.
  28. ^ Castro, Ginette, American Feminism, op. cit., p. 74.
  29. ^ Castro, Ginette, American Feminism, op. cit., p. 74 ("[not]" authorized by "Neither" in original).
  30. ^ Siegel, Deborah, Sisterhood, Interrupted, op. cit., p. 26. See also Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., pp. 131 ("female rage"), 132 ("profound anger and ... fearless expression of ... [Solanas'] rage"), 134 ("[f]emale anger"), 147 ("downright cold—her anger is icy hot" & "[she is] angry ... but the tone ... is matter-of-fact"), 208 ("fury" & "anger"), & 218 ("incandescent rage burned").
  31. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 133 and see p. 155 ("visceral responses").
  32. ^ a b Siegel, Deborah, Sisterhood, Interrupted, op. cit., p. 26 (referring to "the stances taken by the likes of Solanas and The Weathermen" (Wikipedia has an article on The Weathermen)).
  33. ^ a b Castro, Ginette, American Feminism, op. cit., p. 73.
  34. ^ Smith, Patricia Juliana, The Queer Sixties (Routledge, 1999).
  35. ^ Public Culture: Bulletin of the Project for Transnational Cultural Studies, vol. 8 (1995), p. 524.
  36. ^ Greer, Germaine, The Female Eunuch, op. cit., p. 99 & n. 6 (n. omitted) and see p. 81, p. 99 n. 6 citing Solanas, Valerie, The S.C.U.M. Manifesto(N.Y.: publisher not cited, 1968), p. 73.
  37. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., pp. 147–148 (quoting p. 147) (emphasis so in original) ("men are the real animals", per id., p. 148 and see p. 208).
  38. ^ Penner, James, Pinks, Pansies, and Punks, op. cit., p. 233 and see p. 232. See also Winkiel, Laura, The "Sweet Assassin" and the Performative Politics of SCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 63 ("SCUM's satiric cool"), p. 66 (on "public performances that are satiric" & "satiric feminism"), p. 68 (the Manifesto "parod[ies] ... positions of power" & "parodies ... performance of patriarchal social order", its language is "sarcastic" and "street-smart", & internal quotations "parody naturalized meanings"), p. 70 ("SCUM females ... [may] parody ..."), p. 73 (her solution "if women took over" is "[i]n the satiric tradition of Jonathan Swift's 'A Modest Proposal ...'"; "hyperbol[e]"; "parody"; & that, outside of the Manifesto, in her shooting of Warhol she "parodied its masculine form"), p. 74 (outside of the Manifesto, she "pushed to ... parodic proportions ... [a] publicity mania"), pp. 74–75 (the Manifesto "posit[s] ... an ideal vantage of a world run by women from which to satirize the world run by men"), p. 76 (the Manifesto "renders each ["the categories of 'male' and 'female'"] a mimed, parodic signifier"; "parodies" "sexology" & "parodies sexological dscourse"; "renegade insults and urgent calls for immediate change underscore SCUM's illegitimacy"), p. 77 ("her rhetoric ... parodies ... authorizing language"), p. 78 ("parody of sexology" & "imagined SCUM females .... rendering themselves parodic ... and artificial"), and p. 79 ("satire of men").
  39. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 156.
  40. ^ Hoberman, J., The Magic Hour: Film at Fin de Siècle (Philadelphia: Temple Univ. Press, 2003 (ISBN 1-56639-996-3)), p. 48 (review of I Shot Andy Warhol) (originally as SCUM Like It Hot, in The Village Voice, May 7, 1996) (author sr. film critic, The Village Voice, & adjunct prof. cinema,Cooper Union).
  41. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 147 and see p. 155.
  42. ^ Girodias, Maurice, Publisher's Preface (N.Y.: 1968), in Solanas, Valerie, SCUM Manifesto (London: Olympia Press, 1971 (ISBN 0 700 410 30 9)), p. xi.
  43. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 74 & n. 24 (however, whether Winkiel could be certain that Solanas was the person who "checked out" New York Public Library's copy of the Manifesto from the rare books collection (per id., n. 24) and marked the copy up is unclear given that the Library may not have retained records of who accessed material after its return).
  44. ^ a b c Smith, Howard, in The Village Voice, Jul. 25, 1977 (interview), as quoted in Baer, Freddie, compiler, About Valerie Solanas, in Solanas, Valerie, SCUM Manifesto (Edinburgh, Scotland: AK Press, 1996 ([ISBN?] 1 873176 44 9)), p. 55.
  45. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 79.
  46. ^ Echols, Alice, Daring to Be Bad: Radical Feminism in America 1967–1975 (Minneapolis, Minn.: Univ. of Minn. Press, 1989 (ISBN 0-8166-1787-2)), p. 104 (author then visiting asst. prof. history, Univ. of Arizona, Tucson). Wikipedia has an article on misandry.
  47. ^ a b c d Winkiel, Laura, The "Sweet Assassin" and the Performative Politics of SCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 71.
  48. ^ Hewitt, Nancy A., Solanas, Valerie., in Ware, Susan, ed., & Stacy Lorraine Braukman, asst. ed., Notable American Women: A Biographical Dictionary Completing the Twentieth Century (Cambridge, Mass.: Belknap Press (Harvard Univ. Press), 2004 (ISBN 0-674-01488-X)), p. 603 (prep. under Radcliffe Institute for Advanced Study, Harvard Univ.). German, Spanish, Italian, and French translations are also mentioned in Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 156.
  49. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 156.
  50. ^ Morgan, Robin, ed., Sisterhood Is Powerful: An Anthology of Writings From the Women's Liberation Movement (N.Y.: Random House, 1st ed. 1970), pp. 514–519. See also Rich, B. Ruby, Manifesto Destiny, op. cit., p. 17.
  51. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 142.
  52. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 139 and see p. 146.
  53. ^ Wikipedia's image (http://en.wikipedia.org/wiki/File:ValerieSolanasSCUMCover.gif), as accessed Mar. 31, 2011.
  54. ^ Solanas, Valerie, SCUM Manifesto (London: Verso, New ed. 2004 (ISBN 1-85984-553-3)), right-hand page facing cover II (before half-title page) ("SOCIETY FOR CUTTING UP MEN" (full text of p.)) and see p. 6 ("the ["acronymiz[ing]"] gloss on SCUM permitted the title to pass into other languages with annihilating precision: Manifest der Gesellschaft zur Vernichtung der Männer (1969), Manifesto de la Organización para el Extermino del Hombre (1977), Manifesto per l'eliminzione dei masch(1994), and whatever it says to the same effect in Czech (1998)") (Ronell, Avitel, Deviant Payback: The Aims of Valerie Solanas, in SCUM Manifesto (2004), op. cit. (introduction) (introduction author prof. German & comparative lit. & chair German dep't, N.Y. Univ.).
  55. ^ Quote: "an extremist tract calling for the establishment of a 'Society for Cutting Up Men.'"
  56. ^ Donovan, Josephine, Feminist Theory: The Intellectual Traditions(N.Y.: Continuum, 3d ed. 2000 (ISBN 0-8264-1248-3)), p. 157 n. 7 (author prof. Eng., Univ. of Maine).
  57. ^ Morgan, Robin, ed., Sisterhood Is Powerful: An Anthology of Writings From the Women's Liberation Movement (N.Y.: Random House, 1st ed. 1970), p. 514.
  58. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 160.
  59. ^ "There were moments when ... ["Solanas"] disclaimed the acronymization of her title, refuting that it stood for 'Society for Cutting Up Men.' A mere 'literary device' and belated add-on ...." (Ronell, Avitel,Deviant Payback, op. cit., in SCUM Manifesto (2004), op. cit., p. 6 (introduction)).
  60. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 73 n. 21 ("the only act of violence to come as a direct result of the manifesto") and p. 79 (the Manifesto "result[ing] in one failed assassination"). See also Hoberman, J., The Magic Hour: Film at Fin de Siècle, op. cit., p. 49 (originally as SCUM Like It Hot, in The Village Voice, May 7, 1996) ("Valerie Solanas really was a nobody until she shot Andy Warhol. But once The SCUM Manifesto was underlined in blood, Solanas hardly had to wait for admirers.... Solanas was claimed as an 'important spokeswoman' by the radical wing of NOW ...."). See also Siegel, Deborah, Sisterhood, Interrupted: From Radical Women to Grrls Gone Wild, op. cit., pp. 2 ("Valerie Solanas, author of the man-hating tract known as the S.C.U.M. (Society for Cutting Up Men) Manifesto, shot Andy Warhol.... [¶] To women of the Baby Boomer generation, th[is and other] ... opening salvos of a revolution are moments of canonical—and personal—feminist history.") & [71]–72 ("Solanas's supporters argued that the shooting of a prominent male avant-garde figure was a bold political statement offered in the name of women's liberation").
  61. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., pp. 66–67. See also Siegel, Deborah, Sisterhood, Interrupted: From Radical Women to Grrls Gone Wild, op. cit., p. 72.
  62. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 67.
  63. ^ Greer, Germaine, The Female Eunuch, op. cit., p. 306 (probably p. 347 in an edition (probably Farrar, Straus and Giroux pbk. 2002) per Amazon.com).
  64. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 71 (point unsourced & unclear if so as to all of the movement or all use of her Manifesto).
  65. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., pp. 71–72.
  66. ^ a b Davis, Debra Diane, Breaking Up [at] Totality, op. cit., p. 147 and see pp. 147-148.
  67. ^ Davis, Debra Diane, Breaking Up [at] Totality, op. cit., p. 148.
  68. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 78 and see p. 79 (the Manifesto "result[ing] in ... lesbian separatism").
  69. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics ofSCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., p. 67. Wikipedia has an article on the anti-pornography movement.
  70. ^ Siegel, Deborah, Sisterhood, Interrupted: From Radical Women to Grrls Gone Wild, op. cit., p. 72.
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