Scum Manifesto

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Lord, Catherine (2010). "Wonder waif meets super neuter". October. 132 (132): 135–136. doi: 10.1162/octo.2010.132.1.135. S2CID 57566909. ipl2 Literary Criticism". June 13, 2010. Archived from the original on June 13, 2010 . Retrieved February 11, 2023. 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, "Others saw the document as a form of political satire in the style of Jonathan Swift's A Modest Proposal." [81] Similarly, Jansen compared it to A Modest Proposal, describing it as having "satiric brilliance" [16] and calling Solanas "cool and mordantly funny". [82] The bulletin of the Project of Transnational Studies echoes the comparison to Jonathan Swift, stating, "A more common strategy is to read SCUM as an instance of political fiction or parody in the vein of Jonathan Swift." [83] B. Ruby Rich (1996). "I Shot Andy Warhol". Archives. Sundance Institute . Retrieved November 27, 2011.

Third, Amanda (2006). " 'Shooting from the hip': Valerie Solanas, SCUM and the apocalyptic politics of radical feminism". Hecate. 32 (2): 104–132. Hoberman, J. (2003). The Magic Hour: Film at Fin de Siècle. Philadelphia, PA: Temple University Press. ISBN 1-56639-996-3.Valerie Solanas was born in 1936 in Ventnor City, New Jersey, to Louis Solanas and Dorothy Marie Biondo. [2] [3] [4] [5] Her father was a bartender and her mother a dental assistant. [4] [6] She had a younger sister, Judith Arlene Solanas Martinez. [7] Her father was born in Montreal, Quebec, Canada, to parents who immigrated from Spain. Her mother was an Italian-American of Genoan and Sicilian descent born in Philadelphia. [6] 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]

Davis, Debra Diane (2000). Breaking up [at] Totality: a Rhetoric of Laughter. Carbondale, IL: Southern Illinois University Press. ISBN 0809322285. Smith & Van der Horst (1977), p.32 (words "'the society '" by interviewer S (Scenes) & other words by V (Valerie)) (microfilm).

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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 978-0-674-01488-6. Theoretically, SCUM Manifesto is both prescient and incoherent: there are early strains of later thought around both utopianism and anti-futurity, but her attempt to expound on both leads to conflict. You could interpret into this some ambivalence over her own life. The term SCUM appeared on the cover of the first edition from Olympia Press, as "S.C.U.M." and was said to stand for "Society for Cutting Up Men". [5] Solanas objected, insisting that it was not an acronym, although the expanded term appeared in a Village Voice ad she had written in 1967. [6] Kaufman, Alan; Ortenberg, Neil; Rosset, Barney, eds. (2004). The Outlaw Bible of American Literature. New York: Thunder's Mouth Press. ISBN 978-1-56025-550-5.

The phrase "Society for Cutting Up Men" is on the cover of the 1967 self-published edition, after the title. [5] This edition precedes all commercial editions. Additionally, in the August 10, 1967 issue of The Village Voice, a letter to the editor appears that was signed by a Valerie Solanas (of SCUM, West 23rd Street) that responds to a previous letter signed by a Ruth Herschberger (published in the August 3, 1967 issue) that asks why women do not rebel against men. Solanas' response reads: "I would like to inform her and other proud, independent, females like her of the existence of SCUM (Society for Cutting Up Men), a recently conceived organization which will be getting into high gear (and I mean high) within a few weeks. [96] The SCUM Manifesto has been reprinted at least 10 times in English and translated into Croatian, Czech, Finnish, [22] French, German, Hebrew, Italian, Spanish, Swedish, Turkish, [23] Portuguese, Dutch, [16] and Danish. [24] It has also been excerpted in several feminist anthologies, [25] including Sisterhood Is Powerful: An Anthology of Writings from the Women's Liberation Movement (1970), a collection of radical feminist writing edited by Robin Morgan. [26] [27] Verso Books published an edition in 2004 with an introduction by feminist philosopher Avital Ronell. [28] Jon Purkis and James Bowen describe the SCUM Manifesto as a "pamphlet which has become one of the longest surviving perennials of anarchist publishing". [29] 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...." [97]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 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". [104] According to Avitel Ronell, that "SCUM" was intended as an acronym was a "belated add-on", which Solanas later rejected. [j] Influence [ edit ] The Manifesto, according to Lyon, is "notorious and influential" and was "one of the earliest... [and] one of the most radical" tracts produced by "various strands of the American women's liberation movement". Lyon said that "by 1969 it had become a kind of bible" for Cell 16, in Boston. [72] According to a 2012 article by Arthur Goldwag on the Southern Poverty Law Center Hatewatch blog, "Solanas continues to be much-read and quoted in some feminist circles." [105] Whether the Manifesto should be considered a feminist classic is challenged by Heller because the Manifesto rejected a hierarchy of greatness, but she said it "remains an influential feminist text." [43] Women and shooting [ edit ] What many people overlook is that later on, having outlined the ways in which capitalist society will be destroyed by her favoured, imaginary group of SCUM – witty, bitchy, contemptful women – Solanas takes it one step further. She argues against reproducing future generations, writing: “Why should we care what happens when we're dead?” a b Barron, James (June 23, 2009). "A Manuscript, a Confrontation, a Shooting". The New York Times . Retrieved July 6, 2009. 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]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] The SCUM Manifesto was little-known until Solanas attempted to murder Andy Warhol in 1968. This event brought significant public attention to the SCUM Manifesto and Solanas herself. [7] [8] While feminist Ti-Grace Atkinson defended Solanas and considered the Manifesto a valid criticism of patriarchy, others, such as Betty Friedan, considered Solanas' views to be too radical and polarizing. Heller argued that the Manifesto shows women's separation from basic economic and cultural resources and, because of psychological subordination to men, women's perpetuation of that separation. [a] Robert Marmorstein of the Voice said that SCUM's main message included that "men have fouled up the world" and "are no longer necessary (even biologically)". [b] Jansen said Solanas considered men "biological[ly] inferior". [52] According to Laura Winkiel, the Manifesto wants heterosexual capitalism overthrown and the means of production taken over by women. [53] Rich and Jansen said that technology and science would be welcome in the future. [54] [55] a b Collins, Nicole (assistant metropolitan editor), comment 3, June 23, 2009, 10:03 a.m., as accessed June 13, 2013.