SCUM Manifesto

SCUM Manifesto  

Cover of the SCUM Manifesto
Author(s) Valerie Solanas
Publisher Olympia Press (London)
Publication date 1971 (original (self-published) edition: 1967)
Pages Original edition: 21 & cover p.
ISBN 0700410309

The SCUM Manifesto is a radical feminist manifesto[1][2] written in 1967[3][4] by Valerie Solanas and urging women to "overthrow the government, eliminate the money system, institute complete automation and eliminate the male sex."[5][6] Some authors regard the manifesto as satirical while others believe it to be a parody of patriarchy; and a few believe it is meant to be taken literally.

Contents

Description

The SCUM Manifesto is a radical feminist[7] text[8] written in 1967[3][4] by Valerie Solanas, who began drafting it possibly as early as 1959 or 1960.[9] In 1977, she told Howard Smith and Brian Van der Horst that her views had not changed since the manifesto's publication.[10] According to Robert Marmorstein, "[t]he central theme of SCUM is that men have fouled up the world, are no longer necessary (even biologically), and should be completely destroyed, preferably by criminal means such as sabotage and murder .... [t]he quicker, the better."[11]

According to Village Voice reviewer B. Ruby Rich, "SCUM was an uncompromising global vision",[12] in the Manifesto criticizing men for many faults including war and not curing disease; many but not all points were "quite accurate";[12] some kinds of women were also criticized, subject to women's changing when men are not around;[13] and sex (as in sexuality) was criticized as "exploitative".[14] According to Sharon L. Jansen, "[Solanas] want[ed] ... to create a world exclusively for women"[15] and considered men "biological[ly] inferior".[16] According to feminist critic Germaine Greer, Solanas argued that "men and women [were "divide[d]"] from humanity"[17] and that, "[to] allow ... women to move back to humanity[,] ... they exterminate men."[17] According to Rich, Solanas, perhaps in a Swiftian tradition of satire, "believed that men ... should be retrained or eliminated."[12] According to Prof. Ginette Castro, Solanas "recommended the gradual elimination of all males".[18] According to reviewer Claire Dederer, "[t]he Manifesto is a call to rid the planet of men."[19] Betty Friedan said, "the elimination of men [w]as proposed by that SCUM Manifesto!"[20][21] According to Prof. Debra Diane Davis, men were to help eliminate each other, including by "rational murder."[22] According to Deborah Siegel, it "argued for men's collective annihilation."[23] According to Jansen, it called for reproduction only of females,[16] and not even of females once the problems of aging and death were solved so that a next generation would no longer be needed.[24] According to Laura Winkiel, Solanas "imagin[ed] ... a world run by women",[25] "the rhetoric [of the Manifesto] polemically urges the complete overthrow of heterosexual capitalism",[26] and the Manifesto "imagines a ... violent coup"[27] with an "imagined group of vanguard feminist revolutionaries [who] proclaim their takeover of the world"[28] including "SCUM females .... tak[ing] ... over the means of production"[29] in a "fantas[y] ... of political violence",[30] including as to men a "genocidal political practice",[31] "eliminat[ion] ... [of] the male sex"[32] except for "men in the Men's Auxiliary of SCUM",[29] as "Solanas imagines that women openly declare war on ... men",[31] a declaration that "parodies masculine politics".[31] 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,[16] and, if solidarity among women was insufficient, under the plan some women could take jobs and "'unwork'", causing systemic collapse.[33] According to Rich, Solanas favored science and technology and wanted computers distributed.[14] According to Jansen, the plan was prescient on the role of technological media[33] and anticipated that "'the elimination of money ... [would eliminate the] need to kill men'".[33] According to Castro, the Manifesto was "certainly"[34] "the feminist charter on violence",[34] "legitimiz[ing] ... hysteria as a terrorist force",[34] but its proposal "that men should quite simply be eliminated"[35] was "[not] meant to be taken seriously".[36]

According to Siegel, the Manifesto "articulated bald female rage".[37] According to Jansen, the Manifesto is "shocking" and breathtaking.[38] According to Rich, Solanas was a "one-woman scorched-earth squad".[14] According to Siegel, the stance was "extreme"[39] and "reflected a more general disaffection with nonviolent protest in America overall."[39] According to Rich, the Manifesto brought out women's "despair and anger" and advanced feminism[14] and, according to Winkiel, U.S. radical feminism emerged because of this "declaration of war against capitalism and patriarchy".[3]

According to Greer, Solanas said "that men covet all that women are, seeking degradation and effeminization at their hands."[40] 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".[41]

Alice Echols has argued that Solanas had "unabashed misandry",[42] and people associated with Andy Warhol (whom she shot) and various media saw it as "man-hating".[43]

English professor Dana Heller argues that the SCUM manifesto is a "strident analysis of women's remove from basic economic and cultural resources, and their unthinking complicity in perpetuating these impoverished circumstances through their psychological subordination to men." At its center, the manifesto is a "socialist-materialist critique", Heller suggests.[44] Jon Purkis and James Bowen describe the SCUM manifesto as "[a] pamphlet which has become one of the longest surviving perennials of anarchist publishing".[45]

As parody and satire

Laura Winkiel, an associate professor of English at the University of Colorado at Boulder, argues that the "SCUM manifesto parodies the performance of patriarchal social order it refuses." Winkiel further suggests that the manifesto is "an illicit performance, a mockery of the 'serious' speech acts of patriarchy." The SCUM women mock the way in which certain men run the world and legitimize their power, Winkiel contends.[46] Similarly, sociologist Ginette Castro states:

If we examine the text more closely, we see that its analysis of patriarchal reality is a parody [...] The content itself is unquestionably a parody of the Freudian theory of femininity, where the word woman is replaced by man [...] All the cliches of Freudian psychoanalytical theory are here: the biological accident, the incomplete sex, "penis envy" which has become "pussy envy," and so forth [...] Here we have a case of absurdity being used as a literary device to expose an absurdity, that is, the absurd theory which has been used to give "scientific" legitimacy to patriarchy [...] What about her proposal that men should quite simply be eliminated, as a way of clearing the dead weight of misogyny and masculinity? This is the inevitable conclusion of the feminist pamphlet, in the same way that Jonathan Swift's proposal that Irish children (as useless mouths) should be fed to the swine was the logical conclusion of his bitter satirical pamphlet protesting famine in Ireland. Neither of the two proposals is meant to be taken seriously, and each belongs to the realm of political fiction, or even science fiction, written in a desperate effort to arouse public consciousness.[47]

James Penner reads the manifesto as a satirical text. He states that "[l]ike other feminist satires, the 'SCUM Manifesto' attempts to politicize women by attacking particular masculine myths that are embedded in American popular culture." He adds that "[a]s a work of satire, the 'SCUM Manifesto' is rhetorically effective in that it deconstructs the reader's received notions of masculinity and femininity."[48] English professor Carl Singleton notes the "outrageous nature" of the manifesto and Solanas' increasing mental instability, which, he argues, led many people to trivialize the text. Singleton adds that "[o]thers saw the document as a form of political satire in the style of Jonathan Swift's 'A Modest Proposal.'"[49] Similarly, Sharon L. Jansen compared it to Jonathan Swift's A Modest Proposal, describing "its craft ... [as having] satiric brilliance"[50] and calling Solanas "cool and mordantly funny".[51] The bulletin of the Project of Transnational Studies echoes the comparison to Jonathan Swift, stating that "[a] more common strategy is to read SCUM as an instance of political fiction or parody in the vein of Jonathan Swift."[52] Writing for Spin in September 1996, Charles Aaron calls the SCUM Manifesto a "riotous, pre-feminist satire".[53] Film director Mary Harron called the manifesto a "brilliant satire" and described its tone as "very funny".[54] According to Rich of The Village Voice, the work possibly was "satire"[12] and could be read as "literal or symbolic".[14] 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";[55] in other words, the satire invites women to act as the Manifesto calls. Paul Krassner, who was a personal acquaintance of Solanas, called the manifesto a "dittoed document of pathological proselytization with occasional overtones of unintentional satire."[56]

Solanas's first publisher, Maurice Girodias, thought of it as "a joke"[57] and described the manifesto, according to J. Hoberman, as "a Swiftian satire on the depraved behavior, genetic inferiority, and ultimate disposability of the male gender".[58] Solanas, however, disagreed with Girodias on several points.[59] In 1968, speaking to Marmorstein, she characterized herself on the "'SCUM thing'" as "'dead serious.'"[60] Alexandra DeMonte, however, argues that Solanas "later claimed that her manifesto was simply a satire."[6]

SCUM as literary device

In 1977, Solanas told Smith and Van der Horst, "["'the society'"] .... [i]s just a literary device. There's no organization called SCUM—there never was, and there never will be."[61] Claire Dederer said, "Solanas ... described [the term] SCUM as a kind of 'literary device.'"[19] Solanas said to Smith and Van der Horst, "'[she] thought of it as a state of mind .... [in that] women who think a certain way are in SCUM .... [and] [m]en who think a certain way are in the men's auxiliary of SCUM.'"[62]

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[63] and inside another,[64] in The New York Times,[65] and elsewhere[66][67]), this phrase actually occurs nowhere in the text. Dana Heller argues that "there is no evidence that Solanas intended SCUM to stand as an acronym for 'Society for Cutting Up Men'."[68] Susan Ware et al. state that it was Solanas' publisher Girodias who claimed that SCUM was an acronym for "Society for Cutting Up Men", something Solanas never seems to have intended.[69] Gary Dexter contends that Solanas called it the SCUM Manifesto without periods after the letters of SCUM. Dexter adds: "The spelling out of her coded title by Girodias was one more act of patriarchal intervention, an attempt to possess."[70]

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) ....'"[71]

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".[72] According to Avitel Ronell, that "SCUM" was intended as an acronym was a "belated add-on", which Solanas later rejected.[73]

Publication history

When Solanas sold mimeographed copies of the original 1967 edition, she charged women one dollar and men two dollars each.[12][74][75] Two thousand copies were made of the 1967 edition;[14][74] about 400 were sold by the following spring.[76][77]

The SCUM Manifesto has been reprinted at least ten times in English and it has also been excerpted in several feminist anthologies and translated into Czech, Danish, Dutch, French, German, Hebrew, Italian, Portuguese, and Spanish.[78] Sisterhood Is Powerful, a collection of radical feminist writing edited by Robin Morgan, included excerpts of the SCUM Manifesto.[79]

According to Jansen, there are subtle differences between the 1968 Olympia Press edition and Solanas' original mimeographed version.[80] Solanas, speaking of a manifesto edition not published by her, said "that none of the corrections ... [she] wanted made were included and that many other changes in wording were made—all for the worse—and that there were many 'typographical errors': words and even extended parts of sentences left out, rendering the passages they should've been in incoherent."[81] In 1977, Solanas self-published a "correct" edition which was closer to the original version and included an introduction written by herself.[82] Solanas's sister, Judith A. Solanas Martinez, is the reported copyright holder of the SCUM Manifesto by 1997 renewal.[83]

Verso Books published an edition in 2004 with an introduction by feminist philosopher Avital Ronell.[84]

Influence

Women and shooting

Laura Winkiel argues that, among the effects of the Manifesto, Solanas shot Warhol[85] and cited her Manifesto so people could understand why.[43][12] Dana Heller, however, states that Solanas "intended no connection between the manifesto and the shooting".[86] James Martin Harding suggests that "there is no clear indication in Solanas' ambiguous statement to reporters that the contents of the manifesto would explain the specifics of her actions, at least not in the sense of providing a script for them."[87] Harding understands the SCUM Manifesto is a an "extension, not the source, of performative acts, even a violent one act like the shooting of Warhol."[88]

Winkiel argues that revolutionary Roxanne Dunbar moved to the U.S. "convinced that a women's revolution had begun",[89][12] forming Cell 16 with a program based on the Manifesto.[90] According to Winkiel, although Solanas was "outraged" at the women's movement's "appropriat[ion]" of the Manifesto,[91] "the shooting [of Warhol] represented the feminist movement's righteous rage against patriarchy"[43] and Dunbar and Ti-Grace Atkinson considered the Manifesto as having initiated a "revolutionary movement",[43] Atkinson (according to Rich) calling Solanas the "'first outstanding champion of women's rights'"[12] and probably (according to Greer) having been "radicalized" by the language of the Manifesto to leave the National Organization for Women (NOW),[17] and (according to Winkiel) women organized in support of Solanas.[92] Solanas was viewed as too mentally ill and too bound up with Andy Warhol, according to Greer, "for her message to come across unperverted."[17] According to Prof. Davis, the Manifesto was a "forerunner"[93] as a "call to arms among pragmatic American feminists"[93] and was "enjoy[ing] ... wide contemporary appeal".[94] According to Winkiel, the Manifesto "was ... influential in the spread of 'womansculture' and lesbian separatism"[95] and is also "credited with beginning the antipornography movement."[96] Friedan opposed the Manifesto as bad for the feminist movement and NOW.[97]

SCUM organization

Solanas organized "a public forum on SCUM .... [at which] [a]bout 40 people[,] .... [m]ostly men ... [she characterized as] 'creeps' [and] '[m]asochists'", showed up;[98] SCUM had no members beside her.[14] According to Greer, "little evidence [existed] that S.C.U.M. ever functioned" other than as Solanas.[99]

Film and television

Scum Manifesto is also the title of a 1976 short film directed by Carole Roussopoulos and Delphine Seyrig. In the film, Seyrig reads several passages from a french translation of Solanas's manifesto.[100]

Warhol later satirized the whole event in a subsequent movie, Women in Revolt, calling a group similar to Solanas's S.C.U.M., "P.I.G." (Politically Involved Girlies).

Solanas's creative work and relationship with Andy Warhol is depicted in the 1996 film, I Shot Andy Warhol, a significant portion of which relates to the SCUM Manifesto, and Solanas's disputes on notions of authorship with Warhol. The Venture Bros. television animation episode "Viva Los Muertos!" featured a character named Velma[101] who directly quotes the S.C.U.M. Manifesto throughout the episode.

Literature

The title story of the Michael Blumlein short story collection, The Brains of Rats, employs the Manifesto to illustrate the male protagonist's hatred of himself and his gender.

In 2006, Swedish feminist and author Sara Stridsberg published a semi-fictional biography of Valerie Solanas, in which the Manifesto is referred to on several occasions. Parts of the Manifesto are also cited in the book.

Music

Solanas is quoted on the sleeve notes of the Manic Street Preachers debut album Generation Terrorists. Their song "Of Walking Abortion" on the album The Holy Bible is named after a quote from the manifesto. Liverpool punk band Big in Japan composed the song "Society for Cutting Up Men" directly inspired by the manifesto. The British band S.C.U.M. is named after the manifesto.[102] On Matmos' 2006 album The Rose Has Teeth in the Mouth of a Beast, one of the tracks is "Tract for Valerie Solanas" and featured excerpts of the S.C.U.M. Manifesto.[103]

See also

References

Notes
  1. ^ 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. ^ 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 & 134 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 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. ^ Solanas, Valerie, SCUM Manifesto (Valerie Solanas, 1967), p. [1] (self-published) (copy from Northwestern Univ.).
  6. ^ a b DeMonte, Alexandra (2010). "Feminism: Second-Wave". In Chapman, Roger (ed). Culture Wars: An Encyclopedia of Issues, Viewpoints, and Voices. Armonk, N.Y.: M.E. Sharpe, p. 178, ISBN 978-1849727136.
  7. ^ 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).
  8. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., pp. 137 (objecting to Wikipedia calling the work a "'feminist tract'") & 134 ("text"). It is called "a 13,000-word doctrine" in Marmorstein, Robert, A Winter Memory Of Valerie Solanis [sic]: Scum Goddess, in The Village Voice (New York, N.Y.), vol. XIII, no. 35, Jun. 13, 1968, p. 9, col. 2 (unclear which is title and which subtitle, the longer repeated on both continuation pp. & the shorter not) (title in table of contents The Woman Who Shot Andy Warhol—A Winter Memory of Valerie Solanis (sic), per p. 2 (In The Voice This Week)).
  9. ^ Valerie Jean Solanas (1936–88), in The Guardian, Mar. 7, 2005, as accessed Nov. 25–26, 2011.
  10. ^ Smith, Howard, & Brian Van der Horst, Valerie Solanas Interview, in Scenes (col.), in The Village Voice (New York, N.Y.), vol. XXII, no. 30, Jul. 25, 1977, p. 32, col. 1.
  11. ^ Marmorstein, Robert, A Winter Memory Of Valerie Solanis (sic), op. cit., p. 9, col. 2.
  12. ^ a b c d e f g h 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)).
  13. ^ Rich, B. Ruby, Manifesto Destiny, op. cit., pp. 16–17.
  14. ^ a b c d e f g Rich, B. Ruby, Manifesto Destiny, op. cit., p. 17.
  15. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 131 and see p. 150.
  16. ^ a b c Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 150.
  17. ^ a b c d Greer, Germaine, The Female Eunuch (N.Y.: McGraw-Hill, 1st ed. in U.S. 1971, © 1970 & 1971), p. 307.
  18. ^ Castro, Ginette, American Feminism, op. cit., p. 64.
  19. ^ 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).
  20. ^ 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.).
  21. ^ 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).
  22. ^ 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).
  23. ^ 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).
  24. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 152.
  25. ^ 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 and see p. 79 ("a better world run by women").
  26. ^ 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. 68.
  27. ^ 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. 65.
  28. ^ 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 (and "a vanguard of revolutionary women") and see p. 78 ("SCUM females will take over all aspects of society by ... [inter alia] murder").
  29. ^ 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.
  30. ^ 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. 65 (Solanas' shooting of Andy Warhol also being one of Solanas' "fantasies of political violence").
  31. ^ 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.
  32. ^ 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. 74.
  33. ^ a b c Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 151.
  34. ^ a b c Castro, Ginette, American Feminism, op. cit., p. 101.
  35. ^ Castro, Ginette, American Feminism, op. cit., p. 74.
  36. ^ Castro, Ginette, American Feminism, op. cit., p. 74 ("[not]" authorized by "Neither" in original).
  37. ^ 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").
  38. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 133 and see p. 155 ("visceral responses").
  39. ^ 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)).
  40. ^ 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.
  41. ^ 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).
  42. ^ 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).
  43. ^ 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.
  44. ^ Heller & 2008 p. 163.
  45. ^ Purkis, Jon; Bowen, James (1997). Twenty-first Century Anarchism: Unorthodox Ideas for a New Millennium. London; Herndon, VA: Cassell, p. 93, ISBN 978-0304337422.
  46. ^ Winkiel 1999, pp. 68–69.
  47. ^ Castro, Ginette. American Feminism: A Contemporary History. New York: New York University Press, pp. 73–4, ISBN 978-0814714355.
  48. ^ Penner, James (2011). Pinks, pansies, and punks : the rhetoric of masculinity in American literary culture. Bloomington: Indiana University Press, pp. 232–233, ISBN 978-0253355478. 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").
  49. ^ Singleton, Carl; Wildin, Rowena (1999). The Sixties in America. Pasadena, Calif.: Salem Press, p. 639, ISBN 978-0893569822.
  50. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 156.
  51. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 147 and see p. 155.
  52. ^ Public Culture: Bulletin of the Project for Transnational Cultural Studies, vol. 8 (1995), p. 524.
  53. ^ Aaron, Charles (September 1996). "Rebel Girl". Spin Magazine, Vol. 12, No. 6, p. 86.
  54. ^ Mary Harron (March/April 1997). "S.C.U.M. Die Vernichtung". EMMA. Retrieved on November 29, 2011: "Eine brillante Satire – so als hätte Oscar Wilde beschlossen, Terrorist zu werden. Für meinen Warhol-Film hatte ich Dutzende von Zeitzeugen zu den Hintergründen von Solanas Attentat befragt und Berge von Berichten gelesen. Niemand hatte erwähnt, dass Valerie Solanas Talent und einen ausgeprägten Hang zur Komik hatte."
  55. ^ 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. 79.
  56. ^ Solanas, Valerie (1968). SCUM Manifesto. Olympia Press. p. 89. 
  57. ^ 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.
  58. ^ 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).
  59. ^ 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. 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).
  60. ^ Marmorstein, Robert, A Winter Memory Of Valerie Solanis (sic), op. cit., p. 9, col. 3 ("'SCUM thing'" interviewer Marmorstein's words (who also asked if it was "'a put on'") & "'[o]f course I'm serious. I'm dead serious'" interviewee Solanas's words).
  61. ^ Smith, Howard, et al., Valerie Solanas Interview, op. cit., p. 32, col. 1 (words "'the society'" by interviewer S (Scenes) & other words by V (Valerie)).
  62. ^ Smith, Howard, et al., Valerie Solanas Interview, op. cit., p. 32, col. 1.
  63. ^ Wikipedia's image (http://en.wikipedia.org/wiki/File:ValerieSolanasSCUMCover.gif), as accessed Mar. 31, 2011.
  64. ^ 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.).
  65. ^ Quote: "an extremist tract calling for the establishment of a 'Society for Cutting Up Men.'"
  66. ^ 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).
  67. ^ 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.
  68. ^ Heller 2008, p. 152.
  69. ^ Susan Ware, Stacy Lorraine Braukman, et al. (2005). Notable American Women: A Biographical Dictionary Completing the Twentieth Century. Cambridge: Harvard University Press, p. 603, ISBN 978-0674014886.
  70. ^ Dexter, Gary (2007). Why not Catch-21?: The Stories behind the Titles. London: Frances Lincoln, pp. 210–211, ISBN 978-0711227965. "She called it the SCUM Manifesto, with the acronym not spelled out, and with no full stops after the letters of SCUM. This was the title used for all subsequent editions. In fact, even in earlier versions of the book, 'Society for Cutting Up Men' had not been mentioned anywhere in the text (...) SCUM was the voice of those women, like Valerie, an enraged, impoverished loner-lesbian, outside any group or any society, who were the rejected, the dregs, the refuse, the outcast. The scum, in fact. The spelling out of her coded title by Girodias was one more act of patriarchal intervention, an attempt to possess."
  71. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 160.
  72. ^ Solanas, Valerie, SCUM Manifesto (Valerie Solanas, 1967), pp. 16–17 (self-published) (Northwestern Univ. copy) (hyphen surrounded by spaces after "SCUM" so in original; page break between "free-wheeling," & "arrogant").
  73. ^ "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)).
  74. ^ a b Marmorstein, Robert, A Winter Memory Of Valerie Solanis (sic), op. cit., p. 10, col. 4.
  75. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 139 and see p. 146.
  76. ^ Rich, B. Ruby, Manifesto Destiny, op. cit., p. 16 (400 and by Spring).
  77. ^ Marmorstein, Robert, A Winter Memory Of Valerie Solanis (sic), op. cit., p. 10, col. 4 ("about 400").
  78. ^ Different sources have information on different languages, the reprintings, and excerpting: 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.); Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 156; and WorldCat, as accessed Nov. 24, 2011.
  79. ^ 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.
  80. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., pp. 140–142.
  81. ^ Valerie Solanas Replies, in Smith, Howard, & Brian Van der Horst, Scenes, in The Village Voice (New York, N.Y.), vol. XXII, no. 31, Aug. 1, 1977, p. 29, cols. 1–2 (emphasis so in original).
  82. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., pp. 140–142 ("CORRECT" in capitals).
  83. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 141.
  84. ^ Solanas, Valerie; Avital Ronell (2004). SCUM manifesto. London: Verso. ISBN 1859845533. 
  85. ^ 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. 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").
  86. ^ Heller 2008, pp. 152, 164.
  87. ^ Harding 2010, pp. 159.
  88. ^ Harding 2010, pp. 160.
  89. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics of SCUM 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.
  90. ^ 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. 67.
  91. ^ 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 (point unsourced & unclear if so as to all of the movement or all use of her Manifesto).
  92. ^ Winkiel, Laura, The "Sweet Assassin" and the Performative Politics of SCUM Manifesto, op. cit., in Smith, Patricia Juliana, ed., The Queer Sixties, op. cit., pp. 71–72.
  93. ^ a b Davis, Debra Diane, Breaking Up [at] Totality, op. cit., p. 147 and see pp. 147-148.
  94. ^ Davis, Debra Diane, Breaking Up [at] Totality, op. cit., p. 148.
  95. ^ 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 and see p. 79 (the Manifesto "result[ing] in ... lesbian separatism").
  96. ^ 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. 67. Wikipedia has an article on the anti-pornography movement.
  97. ^ Siegel, Deborah, Sisterhood, Interrupted: From Radical Women to Grrls Gone Wild, op. cit., p. 72.
  98. ^ Marmorstein, Robert, A Winter Memory Of Valerie Solanis (sic), op. cit., p. 10, col. 4. See also Rich, B. Ruby, Manifesto Destiny, op. cit., p. 16.
  99. ^ 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).
  100. ^ Biet, Christian; Olivier Neveux (2007) (in French). Une histoire du spectacle militant: théâtre et cinéma militants 1966-1981. Entretemps. p. 294. ISBN 2912877636. 
  101. ^ "20 Feminist TV Characters". The Girlie Shows. Jezebel (website). 2009. http://jezebel.com/5274600/20-feminist-tv-characters. Retrieved 27 November 2011. 
  102. ^ "S.C.U.M. - Whitechapel (2011)". Recent blog singles. New Music United. 2011. http://newmusicunited.com/2011/08/16/s-c-u-m-whitechapel-2011/. Retrieved 27 November 2011. 
  103. ^ "Tract for Valerie Solanas". Archived from the original on July 26, 2006. http://web.archive.org/web/20060726095004/http://www.brainwashed.com/matmos/discog/ole677.html. Retrieved August 5, 2006. 
Bibliography

Further reading

The following are among the editions of SCUM Manifesto (an omitted title or author is likely the same as for other editions):

Additional information about Manifesto editions is available.[4]

References for the further reading

  1. ^ a b c d e Dederer, Claire, Cutting Remarks, May 27, 2004, in The Nation., Jun. 14, 2004, as accessed Apr. 2, 2011 (book review).
  2. ^ a b Some information is from the edition itself.
  3. ^ a b c d e f g Editions of the Manifesto, in Solanas, Valerie, SCUM Manifesto (Edinburgh, Scotland: AK Press, 2d printing 1997 © 1996 ([ISBN?] 1 873176 44 9)), p. 58.
  4. ^ Jansen, Sharon L., Reading Women's Worlds from Christine de Pizan to Doris Lessing, op. cit., p. 159 and see ch. 6, passim, p. 159 citing Smith, Dony, Valerie Solanas (a list of sources, some with dead links to resources still findable through a search engine).
Literature (non-fiction)
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