Scum Manifesto

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Solanas organized "a public forum on SCUM" at which about 40 people, mostly men she characterized as "creeps" and "masochists", showed up. [92] SCUM had no members besides her. [45] According to Greer, "little evidence [existed] that S.C.U.M. ever functioned" other than as Solanas. [93]

Justine Kurland’s new project, SCUMB Manifesto, which is currently showing at Higher Pictures Generation, employs Solanas’s idea as the basis for further development. With Society for Cutting Up Men’s Books, Kurland evokes Solanas’s dream matriarchal utopia by physically clearing out her personal library of photography books by male artists. “The point of these collages is to annihilate the influence of these men who were introduced to me through my schooling and reinforced by museums, galleries, and publications,” Kurland says of her recent work. Cutting up and collaging images taken by canonized figures of photography is a symbolic act of dismembering the patriarchy by making room for women photographers who have been denied such veneration. Composer Pauline Oliveros released "To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation" in 1970. In the work, Oliveros seeks to explore how, "Both women seemed to be desperate and caught in the traps of inequality: Monroe needed to be recognized for her talent as an actress. Solanas wished to be supported for her own creative work." [85] [86] Fahs, Breanne (Fall 2008). "The radical possibilities of Valerie Solanas". Feminist Studies. 34 (3): 591–617. JSTOR 20459223. 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. [3] Denne bog burde slet ikke tildeles hjerter (This book should not be awarded hearts)". Politiken (in Danish). March 8, 2010 . Retrieved 2 February 2012.

6. The Intimately Oppressed

Lyon, Janet (1991). "Transforming manifestoes: a second-wave problematic". Yale Journal of Criticism. 5 (1): 101–127. O'Brien, Glenn (March 24, 2009). "History Rewrite". Interview Magazine: 1–3 . Retrieved October 18, 2012. Dexter, Gary (2007). Why not Catch-21?: The Stories behind the Titles. London: Frances Lincoln. ISBN 978-0-7112-2796-5.

Solanas was friendly with trans women, including Candy Darling and Holly Woodlawn. So in some ways it's surprising that she seems to mention trans people explicitly only once: “If men were wise they would seek to become really female”. When she slates drag queens it's likely that she means all trans femme people; while there were people self-defining as transsexual in the late '60s, it was before today's distinct emergence of trans as a lived category.

Theorizing patriarchy - Silvia Walby

Lorusso, Melissa (October 30, 2019). "In 'Females,' The State Is Less A Biological Condition Than An Existential One". NPR . Retrieved June 27, 2020. Bradley, Laura (August 29, 2017). "How American Horror Story: Cult Will Change the A.H.S. Game". Vanity Fair. New York City: Condé Nast . Retrieved September 6, 2017. In the mid-1960s, Solanas moved to New York City and supported herself through begging and prostitution. [18] [20] In 1965 she wrote two works: an autobiographical [21] short story, "A Young Girl's Primer on How to Attain the Leisure Class", and a play, Up Your Ass, [c] about a young prostitute. [18] According to James Martin Harding, the play is "based on a plot about a woman who 'is a man-hating hustler and panhandler' and who... ends up killing a man." [22] Harding describes it as more a "provocation than... a work of dramatic literature" [23] and "rather adolescent and contrived." [22] The short story was published in Cavalier magazine in July 1966. [24] [25] Up Your Ass remained unpublished until 2014. [26]

DeMonte, Alexandra (2010). "Feminism: second-wave". In Roger Chapman (ed.). Culture Wars: An Encyclopedia of Issues, Viewpoints, and Voices. Armonk, NY: M.E. Sharpe. ISBN 978-1-84972-713-6. Love can't flourish in a society based upon money and meaningless work: it requires complete economic as well as personal freedom, leisure time and the opportunity to engage in intensely absorbing, emotionally satisfying activities which, when shared with those you respect, lead to deep friendship.” Solanas, Valerie, SCUM Manifesto (1967), p. [1] (self-published) (copy from Northwestern University). Castro (1990), p.101 ("certainly" "the feminist charter on violence", "legitimiz[ing]... hysteria as a terrorist force").Drabelle, Dennis (November 16, 2003). "Making the Scene: Factory Made: Warhol and the Sixties by Steven Watson (review)". The Washington Post. Archived from the original on April 3, 2007. 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.

Singleton, Carl; Knight, Jeffrey A.; Wildin, Rowena (1999). The Sixties in America. Pasadena, CA: Salem Press. ISBN 0-89356-982-8. Solanas reported that her father regularly sexually abused her. [8] Her parents divorced when she was young, and her mother remarried shortly afterwards. [9] Solanas disliked her stepfather and began rebelling against her mother, becoming a truant. As a child, she wrote insults for children to use on one another, for the cost of a dime. She beat up a girl in high school who was bothering a younger boy, and also hit a nun. [4] Beauvallet, Ève. "Prise de Houellebecq autour d'un manifeste". Libération (in French) . Retrieved 2023-05-15. Buchanan, Paul D. (2011). Radical Feminists: A Guide to an American Subculture. Santa Barbara, CA: Greenwood. ISBN 978-1-59884-356-9.Davis, Debra Diane (2000). Breaking up [at] Totality: a Rhetoric of Laughter. Carbondale, IL: Southern Illinois University Press. ISBN 0809322285. Hewitt, Nancy A. (2004). "Solanas, Valerie". In Ware, Susan; Braukman, Stacy Lorraine (eds.). Notable American Women: A Biographical Dictionary Completing the Twentieth Century. Cambridge, MA: Harvard University Press. ISBN 978-0-674-01488-6. Ti-Grace Atkinson, the New York chapter president of the National Organization for Women (NOW), described Solanas as "the first outstanding champion of women's rights" [66] and "a 'heroine' of the feminist movement," [67] [68] and "smuggled [her manifesto]... out of the mental hospital where Solanas was confined." [67] [68] According to Betty Friedan, the NOW board rejected Atkinson's statement. [68] Atkinson left NOW and founded another feminist organization. [69] According to Friedan, "the media continued to treat Ti-Grace as a leader of the women's movement, despite its repudiation of her." [70] Kennedy, another NOW member, called Solanas "one of the most important spokeswomen of the feminist movement." [19] [71] Marks, Peter (July 19, 2011). "Theater review: 'Pop!' paints bold portrait of Warhol and his inner circle". The Washington Post. Washington DC: Nash Holdings LLC . Retrieved November 27, 2011. Heller, Dana (2008). "Shooting Solanas: radical feminist history and the technology of failure". In Hesford, Victoria; Diedrich, Lisa (eds.). Feminist Time against Nation Time: Gender, Politics, and the Nation-State in an Age of Permanent War. Lanham, MD: Lexington Books. pp.151–168. ISBN 978-0-7391-1123-9.