SCUM Manifesto

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Valerie Jean Solanas (April 9, 1936 – April 25, 1988) was an American radical feminist known for the SCUM Manifesto, which she self-published in 1967, and for her attempt to murder artist Andy Warhol in 1968. Denne bog burde slet ikke tildeles hjerter (This book should not be awarded hearts)". Politiken (in Danish). March 8, 2010 . Retrieved 2 February 2012. Morgan, Robin (1970). Sisterhood is Powerful: An Anthology of Writings From the Women's Liberation Movement. New York: Random House. ISBN 978-0-394-70539-2.

Genzlinger, Neil (March 1, 2001). "Theater Review; A Writer One Day, a Would-Be Killer the Next: Reliving the Warhol Shooting". The New York Times. New York City . Retrieved November 27, 2011. 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." [50] Handing herself over to a police officer on the day of the shooting, she explained: "He had too much control over my life." She would later tell press at the police station: "I have a lot very involved reasons. Read my manifesto and it will tell you what I am." Bonnie Wertheim (June 26, 2020). "Overlooked No More: Valerie Solanas, Radical Feminist Who Shot Andy Warhol". The New York Times. Overlooked is a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times. This month we're adding the stories of important L.G.B.T.Q. figures.The Manifesto ends by describing a female-dominated utopian future with, eventually, no men. There would be no money, and disease and death would have been eliminated. It argues that men are irrational to defend the current system and should accept the necessity of their destruction. [39] Reception and criticism [ edit ] Solanas wrote SCUM Manifesto between 1965 and 1967. [9] In 1967, she self-published the first edition by making two thousand mimeographed copies and selling them on the streets of Greenwich Village in New York City. [10] [11] [12] Solanas charged women one dollar and men two dollars each. [13] [14] [15] By the following spring, about 400 copies had been sold. [13] [14] Solanas signed a publishing contract with Maurice Girodias in August 1967 for a novel and asked him to accept the SCUM Manifesto in its place later that year. [16]

Rich (1993), p.16 (Solanas, perhaps in a Swiftian tradition of satire, "believed that men... should be retrained or eliminated.") After that time, Solanas turns up a number of times in The Andy Warhol Diaries that give the Netflix show its name. Warhol was able to make a few fairly dark jokes about the incident. Marmorstein, Robert (June 13, 1968). "A winter memory of Valerie Solanis [ sic]: scum goddess". The Village Voice. XIII (35): 9–10, 20. Dexter, Gary (2007). Why not Catch-21?: The Stories behind the Titles. London: Frances Lincoln. ISBN 978-0-7112-2796-5. Castro (1990), pp.64 (Solanas "recommended the gradual elimination of all males") & 74 (the proposal of the Manifesto "that men should quite simply be eliminated" was "[not] meant to be taken seriously"

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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] Dunbar and Ti-Grace Atkinson considered the Manifesto as having initiated a "revolutionary movement". [78] Atkinson (according to Rich) called Solanas the "'first outstanding champion of women's rights'" [13] and probably (according to Greer) having been "radicalized" by the language of the Manifesto to leave the National Organization for Women (NOW), [47] and (according to Winkiel) women organized in support of Solanas. [113] Fahs states that "the more likely story ... places Valerie at the Actors Studio at 432 West Forty-Fourth Street early that morning." [46] Actress Sylvia Miles states that Solanas appeared at the Actors Studio looking for Lee Strasberg, asking to leave a copy of Up Your Ass for him. [46] Miles said that Solanas "had a different look, a bit tousled, like somebody whose appearance is the last thing on her mind." [45] Miles told Solanas that Strasberg would not be in until the afternoon, accepted the script, and then "shut the door because I knew she was trouble. I didn't know what sort of trouble, but I knew she was trouble." [45] Harding, James Martin (2010). Cutting Performances: Collage Events, Feminist Artists, and the American Avant-Garde. Ann Arbor: University of Michigan Press. ISBN 978-0-472-11718-5. Jansen (2011), pp.137 & 134 and see pp. 6, 129–160 (ch. 6, esp. pp. 131–135, 137–142, 145–148, & 150–160), 208 & 218.

Winkiel, Laura (1999). "The 'sweet assassin' and the performative politics of SCUM Manifesto". In Patricia Juliana Smith (ed.). The Queer Sixties. New York: Routledge. pp.62–86. ISBN 978-0-415-92169-5. Ghomeshi, Jian, host, Q: The Podcast, from CBC Radio 1". Archived from the original on November 5, 2012 . Retrieved July 7, 2009. , as accessed November 18, 2012 (interview of Margo Feiden overall approx. 1:14–18:56 from start) (fragment approx. 5:06–5:45 from start) (based on cbc.ca link before archive.org link provided here).

a b Barron, James (June 23, 2009). "A Manuscript, a Confrontation, a Shooting". The New York Times . Retrieved July 6, 2009. English professor Dana Heller argued that Solanas was "very much aware of feminist organizations and activism," [72] but "had no interest in participating in what she often described as 'a civil disobedience luncheon club.'" [72] Heller also stated that Solanas could "reject mainstream liberal feminism for its blind adherence to cultural codes of feminine politeness and decorum which the SCUM Manifesto identifies as the source of women's debased social status." [72] Solanas and Warhol [ edit ]