Kinesis Jun 1, 1980

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 VMJIDE  1   The night they  crucified VSW at  Vancouver City Hall:  our advocacy grant  was rejected  2 What the BCFT  Status of Women  program is up to—the  one Gerard thinks is  VSW  3 Mother's Day  celebrated in a sun-  filled park. We're never  out of work, only pay-  5 How I came out as a  jock in the women's  movement. Dorothy  Kidd tells all  ■   Reclaiming ourselves: a feminist  perspective on pornography. The WAVAW  analysis  1 0 Sexism was everywhere at the CLC  convention. But the  feminist presence is  growing  1 1 When Birth  Control Fails, avoid  this book. A review  l 2 Vancouver Folk  Festival will offer fine  feminist music. We  tell you who's coming  ■ 3 Wallflower shows  us the possibilities of  political art  and introducing: THE  RADICAL REVIEWER,  VOL 1,#1  Cover: IWD Graphic from San Francisco  SUBSCRIBE TO K/MES/J  Published 10 times a year by Vancouver Status of Women  1090 West 7th Ave., Vancouver, B.C. V6H 1B3  Subscriber  Member/Subscriber  Name  Institution  Sustainer  $20  $50  Address  Payment Enclosed _  V*  Please remember that VSW operates on inadequate funding  —we need member support!  JUNE 1980  CI  KfMESIS  news about women that's not in the dailies  © N. Horn 1980 KINESIS JUNE 80  VSW  ATTEND THE ANNUAL GENERAL MEETING  VSW  The night they crucified VSW at Vancouver City Hall.  By Gayla Reid  April 29 was not a gracious evening at Vancouver City Hall.  Community groups, including Vancouver Status of Women, the Downtown Eastside Residents' Association and  the Red Door Rental Agency, were there to  appeal the rejection of their civic grants.  As the evening sank to grosser and grosser  depths, it became clear that only DERA and  VSW would be accommodated on the agenda.  All the other community groups were sent  away, frustrated.  DERA was the first group to get turned  down. DERA, said Alderman Kennedy, was  guilty of "using disadvantaged people as  vote fodder." Kennedy is notorious in this  city for his singular ability to find "marx-  ists" lurking even under Point Grey beds.  This evening he once again distinguished  himself, with an attack on the media in  general and Vancouver Sun columnist Linda  Hossie in particular for having written  what he called "an apologia for communism  in civic life."  "Advocacy," Kennedy informed us, "is the  new buzz word. Lenin was an advocate for  his cause." From the gallery came the comment, "So was Jesus." "Nonsense," snapped  Kennedy.  It was hardly an auspicious opener.  Then it was our turn to appeal. But before  we get into that, here's the story so far:  Vancouver Status of Women had applied to  city council for funding for one advocacy  worker plus expenses. The city's social  planning department recommended that council grant us half our request: $9,920.  On Thursday, February 21, our request went  before the Community Services Committee of  Council. Aid. Bernice Gerard protested the  proposal, saying that VSW had put a motion  before the Elementary School Teachers' Association to force school boards to hire  "gay activist teachers." She also claimed  that VSW uses public funds for "pro-abortion campaigns."  On March 4-, when our grant was before city  council, Gerard repeated her accusations.  Lay or Volrich, and Alderpersons Gerard,  Puil, Kennedy and Little voted against us.  VSW mounted a vigorous protest against Aid.  Gerard's inaccuracies. Gerard was informed,  time and time again, that the motion on  sexual orientation had come from within  the BCTF, where it was raised at an annual  general meeting by three separate local  teachers' association. There are none so  deaf, one must conclude, as those who do  not wish to hear.  Now read on...back to April 29.  Speaking in favour of VSW, Joanne Einblau,  a worker at Vancouver South Family Place,  told council that she was a 42 year old  single mother who had found at VSW the  skills and emotional support she needed  to bring up a child on her own.  VSW's Debra Lewis asked city council to put  the welfare of women above their own personal biases.  Council, she pointed out,  was holding this group up to ransom. She  also outlined the numerous opportunties  which city council members have had to approach VSW and to clarify questions they  might have in their minds about the work we  do.  YWCA: "VSW is a must for Vancouver."  Frankie Tillman, of the Vancouver YWCA,  told council that it needed to "recognize  the value of VSW to all women in Vancouver,  especially the disadvantaged." "The YWCA",  she added, "knows that the VSW is a must  for Vancouver."  Ruth Busch, a lawyer who handles cases referred to her by VSW's legal referral service, told council that "a lay legal advocate is essential, for VSW. VSW receives  more than 200 calls.a month from women  seeking advice on legal matters." ' These  include, Busch pointed out, "divorce, custody, UIC, welfare, landlord-tenant appeals  ...and the women who call are often in a  crisis situation."  "Do not deprive the women of Vancouver of  a lay legal advocate due to the myopia of  a single issue anti-abortion group," 3usch  urged council.  Peggi Hall spoke on behalf of the BCTF,  which represents 30,000 B.C. teachers. She  explained that "VSW is an excellent resource for students and teachers...with valuable  information on women's issues, events and  organizations." One more time, she put  Gerard straight about just who had been  moving that motion at the elementary school  teachers' association.  A member of the Advisory Council on the  Status of Women, Dorothy Holme, outlined  the importance of the advocacy service  and commented: "VSW supports free choice  regarding birth planning and sexual orientation. ..what on earth has this got  with an ombudservice?"  Holme asked the council members to "pass  the motion" in favour of VSW "as rational  decision-makers would."  Betty Green:'' VSW a problem in society.''  Anti-choicer Betty Green then spoke against  the grant request. "VSW", she claimed "is  a problem in society." Green was anxious  to link VSW with Concerned Citizens for  Choice on Abortion (CCCA). "CCCA is an  offshoot of VSW, andNuses their offices  and phones for rallies.  Through the BCTF  (! ) network, they are attempting to change  attitudes about the sanctity of life."  "Look at the BCTF material in the schools,"  Green continued, "they talk about male sex  stereotyping in Canadian literature. This  is why we are having1 problems in families  today."  Kinesis: the paper anti-choicers love to hate  Another anti-choicer,' Dennis Gardiner, had  a go at Kinesis. ''It's ho secret that Kinesis is a forum for the. Sight to abort  movement," he said. He also continued the  myth about CCCA: "CCCA is a foster child  of VSW."  Two more anti-choice people spoke. One of  them had attended the recent CCCA conference. There she had found a book table which  had a large number of books "on the joys of  lesbianism...things pertaining to homosexuality. ..not one book on wholesome family life. She fears, she said, for the  future of her grandchildren.  On to Aid. Gerard.  "You may make distinctions between the BCTF status of women and  the Status of Women. Status of women is  known across Canada and their federal representative was here can't  hide behind the boundary line of this group  and that."  Kinesis, she accused, has "consistently had  considerable pro-abortion and pro-lesbian  content." And reiterated: "VSW has been  going pretty heavy on this pro-choice thing.'  Again, she attributed to VSW a plot to get  "gay activists" into elementary schools.  "What can you expect but a bunch of trouble  when you take gay activists into the  schools?" None so deaf....  Doug Little was distressed to hear that the  YWCA supported VSW. He claimed that Tillman  had "cast aspersions on the Christian faith.'  He added that he has no time "for the negatives in life such as homosexualism (sic)  and abortion."  Aid. Mike Harcourt spoke in support of the  funding request. "There are vast numbers  of women and children in our city who require assistance. And in my opinion, VSW  offers valuable legal assistance, they offer  important, necessary services."  Harcourt added that Aid. Little and Gerard  exhibited little grasp of the principle of  the separation of church and state.  They  are guilty, he said, "of constantly wandering across the line of imposing your own  personal religious and moral convictions  on the body politic of this city."  Marzari: "VSW used as a scapegoat."  Aid. Marzari explained that she was weary  indeed of having to sit in council meetings  listening to Little and Gerard define for  her what Christianity was. VSW, she pointed  out, was "used as a scapegoat to get this  ridiculous debate on the floor."  "I really resent being lectured to as  though I were inferior," said Aid. Rankin.  "You don't have a monopoly on morality."  "There's a lot of things I don't know, being male," Rankin admitted. "Many of the  choices women make, they don't make out of  pleasure. It's not a pleasure to have an  abortion, as far as I know." Referring to  the hubbub over homosexuals in the schools,  Rankin remarked that he was not "impressed  by heterosexuals who like nine year old  girls." "You have to look at an organization and what it stands for," he concluded.  "VSW is a valid organization. It  represents, not all women, but a fair  number of women."  The vote, finally, was put. Aid Bellamy,  Boyce, Ford, Harcourt, Marzari and Rankin  were in favour of the $9,920. But (you  guessed) Mayor Volrich, Aid. Kennedy,  Puil, Gerard and Little were not.  WARDS .'community issue crucial to women  With City Council's atrocious behaviour on  April 29, it is no surprise that VSW is  looking for changes in the structure of  civic government. A Ward System for Vancouver was the title of a meeting held  May 14- by Vancouver Status of Women.  In  the last civic elections, 51.7$ voted in  favour of a ward system. But when is a majority not a majority? When you have the  likes of Volrich, Puil and Kennedy reigning  at city hall, that's when.  In the upcoming civic elections this November, a ward system will again by a major  issue. Speaking to this concern, were Jean  Swanson, of the Committee of Progressive  Electors, Alderpersons Darlene Marzari  and Harry Rankin, and Susan Hoeppner, an  executive member of VSW and a former member  of Kitsilano Resources Board.  Swanson pointed out that the proposals for  a "partial ward system" which have been  floating around are no more than a farce.  The boundaries have been cooked up with  the same gerrymander ingredients which wiped  out Brown and Levi's provincial riding.  Marzari was glad to see that someone was   still interested in the wards issue, after  eight long years of struggle.  Rankin noted that wards were hardly a revolutionary proposal. He also linked the  battle for wards to the recent rejection  at city hall of various community grants,  including VSW's.  The executive city is  what the ruling Non-Partisan Association  wants, and domination of city council by  Point Grey, Dunbar and Kerrisdale is perfectly in line with that goal.  Susan Hoeppner explained why VSW sees the  wards issue as a feminist concern.  "Childcare and homemaking," said Hoeppner,  "unlike other jobs, are 2<4 hour responsibilities which severely limit the ability  of women to participate in the political  organizations."  Paradoxically, those very responsibilities  are what give us "a real, practical knowledge of the needs of our communities.'"  Wards would make the civic system more  accessible to women, as well as forcing  elected representatives to be more accountable to their own communities, o KINESIS JUNE 80  ACROSS B.C.  BCTF Status of Women program is having steady impact  By Linda Shuto  The 1980 Annual General Meeting of the British Columbia Teachers' Federation was an  excellent demonstration of the Status of  Women program's impact on the 29,000 member organization.  Although registration was not kept, numerous observers commented on the large number of women delegates. Women were not  only more evident in numbers but were also  highly visible. Articulate women flooded  the microphones on a variety of progressive issues over the three-day meeting.  Three of the five chairpersons were female  and several key women provided effective  floor leadership during debates.  On the final day, the meeting elected three  women to the eleven-member executive committee. With another feminist completing  a two-year term, a record number of active  feminists will be holding office.  The two major issues of the conventions  were concerns that particularly affect women. The first was the amount of stress  experienced by teachers. The Status of  Women program initiated the focus on this  issue two years ago by developing a workshop entitled "Stress and the Primary  Teacher." The federation has had to expand  this workshop to encompass all teachers  and it is now more in demand than all the  other BCTF workshops combined.  The second issue was the need to expand the  scope of bargaining. Teachers, like farmworkers and domestics, are unable to bargain for working conditions. While this  creates numerous difficulties for all  teachers, women have particular injustices  to address. At the secondary level (where  men are concentrated) preparation time  Primary power at the 1980 BCTF AGM. L to R: Gayle Tyler, Joan Robb, Marion Runcie and Sophie Jeffrii  is automatically scheduled into the timetable .  At the elementary level (where women are  concentrated) "spare" periods have not  been achieved in any school district in the  province.  The Status of Women program is also having  an impact at the local level because developing organizational skills and building  women's confidence has been a primary focus.  Many women who initially got involved in  federation work through Status of Women  committees are now becoming local presidents  and geographical representatives.  This is  not to suggest that local Status of Women  work is of lesser importance.  In fact,  Planned Parenthood warns of health risks  of teen pregnancy  Teenagers who become mothers are subjecting themselves and their babies to higher  health risks than those taken by women  over 20.  This was the focus of the third national  Planned Parenthood week, May 25-31.  Although the number of teenage pregnancies has begun to decline, there were  still more than 1000 each week or a total  of 53,007 in 1978, according to the most  recent reports from Statistics Canada.  Toxemia is a special hazard of pregnancy  among the very young because of lack of  development of the endocrine system,  the emotional stress of such early pregnancy, poor diet and frequently inadequate prenatal care. Moreover, a mother  under 15 years of age is at twice the  average risk of having a premature infant as the woman in her twenties.  Statistics from the Hospital for Sick  Children, Toronto, show that the average  VSW raises issue of health and  safety standards for women  Proposed changes to the Workers Compensation act, restricting the kinds of diseases that are compensated for by the  Workers Compensation Board, will have an  extremely serious impact on women.  The Vancouver-based Committee for Workers*  Health has been calling for a public forum  on the proposed changes prior to any major  policy alterations-.  In support of that committee's demands,  Vancouver Status of Women took part May  15 in a press conference at which community groups added their voices to demands  for a public hearing. VSW's spokesperson  Gillian Marie said that health problems  faced by clerical workers must be included  in the schedule for compensatable diseases.©  age of teen pregnancies is now 15.5  years. Doctors at the hospital's clinic  estimate that 85$ of sexually active  teenagers use no form of birth control.  In order to help parents share facts  openly and clearly with their children  and teenagers, Planned Parenthood held  film nights, books displays and information sessions, highlighting the theme  that the odds are against teenagers who  take on parenting responsibilities too  young.o  Pappajohn goes to jail  George Pappajohn has lost his final appeal  and will have to serve his three-year prison sentence.  The Supreme Court of Canada ruled May 20  that there was no evidence of an "honest  mistake" in the Pappajohn case.  Pappajohn, a Vancouver businessman, was con-  vited of raping a real estate agent who had  come to sell his house. He claimed he believed the woman, whom he bound and gagged,  had consented to intercourse.©  Gentleman rapist smiles a lot  Leslie George Merson may soon find out  that it pays to be polite. He is the man  that the police fondly refer to as "the  gentleman rapist", the man who is —  they say — more lover than rapist.  This man attacked sleeping women in their  homes, gaining entrance through an unlocked door or window. When leaving, he asks  the women to keep their doors and windows  locked thereafter. Police and psychiatrists consider him not violent.  Merson — who was acquitted on a rape  charge in 1976 — has pleaded guilty to  the current charges of rape because he  feels remorseful.©  these women are not abandoning Status of  Women work, but are bringing a feminist  perspective to other areas of the federation.  Although the Status of Women program is  established as a standing committee with  a regular budget, women have had to fight  numerous attempts over the last seven  years to dump the program.  Perhaps the 1980 convention was an indication that feminist teachers can now stop  looking over their shoulders — so often.o  (Linda Shuto is a Burnaby teacher who was  a delegate to the recent annual general  meeting of the B.C. Teachers' Federation.)  AUCE 1 at UBC striking for  equal pay for work of equal value  By Ann C. Schaeffer  As we went to press, AUCE Local l's membership (UBC) had just authorized their  contract committee to sign a memorandum  of agreement with the University which  would give them a wage increase of 10$  in the first year and 9.5$ in the second  year. The union's original demand was  for 15$ over one year.  But when 200 picketers took down their  lines and tried to return to work on  Friday May 30, 10 or 12 of them were  told their services weren't required that  day.  "The university's action might  split the whole thing wide open again,"  said Nancy Wiggs of the contract committee.  "If the university agrees to pay  all of the workers their lost wages for  the day, we'll be willing to sign the  proposed agreement.  If not, we'll have  to call a general membership meeting  to decide what to do next. In my view,  having a few of our members discriminated against in this way is a totally unacceptable possibility."  The union's selective strike was based  on negotiating wage parity with campus  workers in male-dominated jobs, represented at UBC by CUPE. While AUCE was  trying its hardest to close down the  Computing Centre, Administration Building and Walter Gage residence (scene  of hundreds of conventions every year)  CUPE was negotiating a 10? settlement  which will further widen the wage gap.  Before the new contracts, CUPE workers  earned at least $200 per month more  than their AUCE 1 counterparts.  "AUCE's original feminist principle of  fighting for equal pay for work of  equal value has been warped over the  years into an inflation argument," said  Wiggs, expressing some disappointment  over the wage offer. "But it's hard to  fight for a principle, especially when  many of our members are single mothers  or single women with almost no savings."© KINESIS JUNE 80  MOTHER'S DAY  Mother's Day in the park: never out of work, only pay-days  By the East End Mothers' Group  "My name is Darlyne. I invite you  to sit down on the grass so that we  can speak to you about our lives as  women. Hear us knowing that Mother's  Day began with the American suffragette Julia Ward-Howe in 1872 as a  day dedicated to women's rights and  peace."  That was the beginning of the speakers'  part of East Vancouver's Mother's Day. It  was a wonderful day of sun, displays by  many women's groups, theatre, and song.  The highlight was the speeches, some of  which we have excerpted here.  Due to space limitations we've had to omit  comments from the Vancouver Welfare Coalition, from domestic workers, and from the  Japanese Women's Organization, Matsuri.  I'm just a man away from welfare  Here's what Darlyne Jewett said:  "Economic hardship is a fact of every  woman's life no matter which social class  she finds herself living in.  Like most  women I have never had much money of my  own, even when I lived in families where  finances were not a problem.  I have been  married and divorced.  I have supported my  children and others on my own. Now I live  with a man and I find I am again "just a  man away from welfare".  This was true for  my mothers, for my grandmothers, for my  self.  It is still true for my daughters.  "It is no accident that women living such  different life styles have come to speak,  together. By talking together we learned  we have more in common than we have differences.  The work we do is the same. We  are expected to clean, cook, tend children,  shop, mind the elderly and ill — for free.  We are raising our most valuable resource  —children. We certainly don't get paid a  living wage to do it. We and our children  cannot live on air. We need money to purchase our survival.  "All of us fight all our lives for insufficient amounts of money and in our old age  we look forward to even worse poverty.  We want to be able to choose who we are,  who we live with, whether or not to have  children. We are supposed to work for  love not money. No way. Thank us with  money so we can afford to love. Recognize  our worth. Give us our wages. We want  it now for ourselves, not three generations down the road."  Living on welfare  is a real bummer  "My name is Shannon. I am a single mother  living on welfare and I'd like to talk with  you about my experience.  LIVING ON WELFARE MEANS LIVING IN POVERTY  It means:  - running out of money the first week after  you get your GAIN cheque  - always looking for bargains like buying  day old bread or reduced meat or shopping  at the Salvation Army thrift shops and  other discount places — if you happen  to be a large woman, it is rare that you  can walk into a thrift shop and find a  size that fits  - it means not knowing what luxuries are.  LIVING ON WELFARE MEANS FEELING TRAPPED  It means:  - seeing no hope for the future  - feeling that you can never get off welfare  - not even being able to move because welfare no longer pays for moving costs  At the Mother's Day celebrations in the park, May 10  Ina Dennekamp  LIVING ON WELFARE MEANS BEING SPIED ON  It means:  - having no privacy  - having social workers check on you  - needing welfare's permission for every  thing you do  - being judged on what kind of parent you  are — fear of the crisis line — fear  of having your children taken away  LIVING ON WELFARE IS A REAL BUMMER  - like other welfare mothers, I don't  like being on welfare  - in the past, I have felt hopeless and  resentful  - I am tired of being poor and I am angry.  YOU MAY ASK, "IS THERE ANY WAY WE CAN  CHANGE OUR SITUATION?"  Recently I have joined a welfare rights  group at Skeena Terrace — the housing  project where I live.  I have come to realize that I can have power only when I stop  fighting by myself and join with others in  the same situation.  At the Skeena group I can talk about my  feelings and get some support. I no longer  have to face the welfare alone because  other group members will go with me when I  ask. Together we have won some small victories.  You can organize a support group in your  neighbourhood as well. You can contact the  Vancouver Welfare Rights Coalition and discover how those of us on welfare can get  together. Please join the fight."  I'm a lesbian and I'm a mother  "My name is Dorrie — I'm a lesbian and I'm  a mother — and I am here today to share  with you my hopes, fears and experience of  being a lesbian mother.  "There are a lot of lies, stupid myths, and  bad images of what lesbians are like. We  are said to be evil, depraved and sick —  we are portr?yed as women who hate men and  at the same time, women wanting to be men.  We are also portrayed as women who are  dangerous to children.  "Well let me tell you I am a woman and I'm  very proud of being a woman.  I am the  mother of two very healthy and beautiful  children and I am proud of the good job I  did raising them. I am a lesbian and I  am very very proud of it.  "I am proud of being a lesbian today. But  nine years ago I was terrified. I was  running all over the place trying to find  out what my rights were, only to find out  I had none.  "The lawyer's advice was to go home, keep  the house, the yard and the children clean  and say nothing about lesbianism.  If I  must have a lesbian relationship, to keep  quiet about it and have it on the side.  She told me I had a choice between my  lesbianism and my kids!  "I thought a lot of what I wanted for my  children, and what I wanted was for them  to grow up to be warm, strong human beings  with the ability to love themselves and  others.  I wanted them to grow up to be  men and women who would be strong enough  to fight against injustice.  I wanted  them to be proud of who they were.  I did  not see how I could accomplish raising two  strong, beautiful children if I was ashamed of who I was.  "The situation I was in nine years ago is  the same situation that most lesbian  mothers are in today. They are still being  advised by lawyers to pretend that they  are straight, and if they have a lesbian  relationship, to keep it secret. Can you  imagine the effect this would have on a  woman and her children? The lies upon  lies that these women have to tell their  children is enough to make me vomit just  thinking about it.  "The law does not even pretend to protect  lesbians.  "The Human Rights Codes, both federally  and provincially, give no support to lesbian mothers.  "We can be fired from our jobs, refused  housing, and have our children taken away  from us with no support whatever from any  official source.  "Due to lack of official support, we are  not always able to fight for our rights —  consequently most lesbian mothers are silent about their oppression and pain.  "We need your support to get sexual orientation included in the Human Rights Code.  The way you could help is to write to the  Human Rights Commission, and your Members  of Parliament, letting them know you support the sexual orientation clause.  "It would also be helpful if, when family  or friends are making derogatory remarks KINESIS JUNE 80  MOTHER'S DAY  about lesbians, you tell them how harmful  their remarks are.  "I would like to thank the women who organized this day. For there is a great need  for women's voices to be heard.  "We need to know that we are not alone in  our fears. We need to know that other  women experience the shame and pain of poverty and prejudice. We need to know that  it is no accident that most of the people  living in poverty are women, young and old.  We need to know that women are angry, that  we are organizing, and that we are  fighting back.  When you 're an immigrant woman,  you 're doubly handicapped  Raminda , of the East Indian  Mahila Association, also addressed the  crowd:  "This is a special day for women and it's  even more special for me because I come  from a country where, even though the  Prime Minister is a woman, women are as,  or even more, oppressed and exploited than  anywhere else, at least than here in Can-  Canada .  "When you are an immigrant woman you are  doubly handicapped. First of all you are  a woman and you suffer all the handicaps  that ordinary white women suffer in this  country. Added to that is a special kind  of suffering, because they have a different accent, or their skin pigmentation is  different, or their dress is different,  and that are not aware of the cultural  mores and values if you have any in this  country.  "So if we want to talk about equality and  justice for immigrant women — we have to  begin to talk about some type of affirmative action to bring them to the level  of other women, who are also suffering;  so that all of the women can unite to fight  the oppression.  "I come from a community where everything  — custom, tradition, and everything else  — is male dominated and oriented. And  by the ordinary people of this country.  "Whether or not those rights are sufficient is another question which the immigrant women cannot face at this point,  because they can't make a double jump.  They can only go one step at a time.  "Moreover, the immigration set-up of this  country does not make the life of an immigrant woman any easier. In fact, it makes  her life even more difficult. Because  right until she becomes a citizen she has  this threat of deportation hanging over  her head. And I am aware of many situations where women have been simply "kept  in their place" by threats of deportation.  They have been prevented from developing  their own individuality and personality  and from breaking out of the vicious  circle.  "Even after becoming citizens, some women  are not aware that they cannot be deported  for minor or serious crimes, unless the  crime borders on spying for a country or  something like that.  "Even though this system has deported  people simply for struggling for basic  rights, and even though it may continue to  do so, if there is a strong women's movement standing behind you, it will not be  possible for this, or any other system,  to deport you.  "What the immigrant women lack are the  tools of ordinary information and knowledge.  These are not available to them  due to language barriers, or because they  cannot get out of their homes.  "This meeting today is one step towards  our struggle."  May 11 is Mother's Day  When is pay day?  Ellen Woodsworth spoke on behalf of Wages  for Housework:  "V.:omen all over the world are working today and will be working tomorrow. We've  if*  > Y «    *  5$s£V ,  *v  O?-  g  **^^Hgj  \*  <—*•  m  '       W*  mP*^ J    9  ,p"'       **  Pk'^'^f*  /                    f  ;7a.       y 1       H  m  Children celebrating Mother's Day, tc  lna Dennekamp  there the immigrant women have another  problem: they have to fight back against  the domination and exploitation within  their own community.  "They have to begin to gather enough courage to speak out on issues of importance  to them regardless of what cultural, social and economic constraints there might  be against them.  They have to begin to  demand basic human dignity; they have to  begin to demand the right to be heard and  not just told. They have to begin to demand the rights and the freedoms enjoyed  come together today to speak out about  our work, to talk about the cleaning, the  washing, the raising of the children and  the looking after men, the old, the sick  and each other.  "We come from a lot of different situations  whether single, married, or lesbian, asian  or Caucasian, young or old. V/e are all  poor and we are all working damned hard.  We are all doing very similar kinds of  work whether in an apartment, a house or  a hut. While governments spend billions  of dollars for nuclear weapons and new  fighter planes we still have to do housework for free.  "Many of us are being forced to take a  second job because we have no money, or  because the man we live with doesn't make  enough money, or because we live with a  woman or because welfare is never enough.  Some people have the nerve to say that a  second job is liberating! It is liberating to have a bit of our own money in our  pockets, but the work we do at that job is  amazingly similar to housework. We are  stuck in the female job ghetto doing nursing jobs, domestic work, teaching, wait-  ressing, working in textile factories  sewing dresses....All these jobs are extensions of housework.  That's why we get the  jobs and that's why those jobs are so  underpaid.  "Internationally, women have been demanding  wages for housework.  I am part of this  campaign. We have fought around the issues  of the right to have or not to have children, around immigration, rape, lesbianism,  custody, domestics, mother's allowance...  and we have fought for wages for housework  for all women from the government. People  say that poor people can't organize.  They  say that housewives can't organize. But I  am here to say that we have organized, we  are organizing and we can organize.  "In Iceland in 1974 housewives led the  first general strike the world has ever  known. They organized with other women  who do two jobs, the nurses, the secretaries and the day care workers.  Then they  got the men out, and the unions out, and  on October 24, 1974 they led a general  strike which stopped Iceland for an entire  day.  "Today we have shown that same anger and  that same demand for money.  "V/e are here to say publicly: tomorrow is  Mother's Day. When is pay day?"  Isolation faces older women  Winnie Henderson spoke as a mother and a  grandmother. She talked about the problems of growing old, when isolation sometimes leads to mental breakdown; when  you're afraid to talk about who you voted  for if you live in subsidized housing;  when you always have to count your pennies.  It sometimes means living in fear of illness, less money and less pride, and if the  check doesn't arrive, worrying whether  you'll be able to work your way through  all the red tape.  Winnie also thought it was exciting that  women were speaking out and organizing.  A contract should be drawn up  M.P. for East Vancouver  Margaret Mitchell,  also spoke:  "I want to propose that there be a contract  drawn up every Mother's Day...that would  bring in the principles we think are important in any kind of job.  First of all  the freedom for women or men to choose a  job that is satisfying. And then of course  we want equal pay for work of equal value  and we need decent working conditions. We  need time off and holidays and pensions  and benefits — all the things women working in the home don't have. And of course  freedom from abuse and exploitation. '.7e ■  should have in our contract freedom to  quit, freedom to go onto another job, and  not just feel there's only one choice in  life. Mothers need to have choices and  women on their own need to have built-in  childcare and the kind of income to have  some kind of opportunity.  "So  I'm prepared to suggest to Monique  Begin, the Minister of Health and Welfare  to ask what she would be willing to do  about a contract for homemakers and childcare workers. She could start by increasing child tax credits, and working deduction for income tax and, most important of  all, a guaranteed income that covers  everyone and is above the poverty line. 0. KINESIS JUNE 80 5  WOMEN AND SPORT  Critique of The Female A thlete conference at SFU  Coming out as a jock in the women's movement  Tom Tuthill/LNS  L- lb   ■  rp   r-"---'-TMm"""  By Dorothy Kidd  Sunday March 23 witnessed an event that is  exciting as it is becoming commonplace.  Three hundred and fifty women of all ages  and backgrounds took over the Simon Fraser  University gym to warm up for an 8 km.  (approximately 5 mile) hilly run. Stretching to upbeat dance music, the finale saw  everyone running hand in hand into the  centre of a huge circle. Not the sort of  scene you might see before a competitive  male race, but one that's happening more  often with women.  "Women Running High" was conceived, organized and run by Vancouver Women Running,  with help from students at SFU.  It was  part of the Female Athlete Conference,  held March 21-23. Sponsored by Continuing Studies and the Kinesiology Department, the conference brought together  over 400 women and men from across North  America.  It was the third conference of  its kind, and a good opportunity to find  out just how far women have been able to  move in sport.  The number of women participating in sport  has grown tremendously in the past ten  years, keeping pace with the growth of  women's movement autonomy in every other  sphere. No longer content to be the nur-  turers of male athletes — the cheerleaders,  timekeepers, mothers and girlfriends —  women are taking time to reclaim our physical selves in every sport from running to  racquet ball to mountain climbing to  hockey. Top athletes are breaking international records every day, and improving  their performances at a far greater rate  than men. Women working in sports jobs  are striving for better pay and recognition. And off the field both groups are  organizing for more money and facilities  for all women.  This is not the first time women have  played sport in such large numbers.  In  the 1920's and 1930's in Canada and many  other countries there was probably proportionately more women athletes than today.  Team games like softball and basketball  were attended by thousands of fans, and  women also took part in many track and  swimming competitions. The fight then was  much the same as it is today, against the  barriers to participation from the male  sports establishment and women's lack of  time and money. Sports columns in the  daily papers covered these activities,  and were often written by athletes themselves .  Unfortunately today we can read little of  what is going on with women in sport, either  Women are running high. This is from a recent New York fun run  in the daily press, magazines or even the  feminist press in this country.  The Female  Athlete Conference was one opportunity to  find out. For me, a fitness athlete, who's  been involved in women's running groups  in Toronto and now Vancouver, it was also  an opportunity to discuss some of those  issues first raised fifty years ago — how  to make physical fitness part of our daily  lives, not just recreation for the wealthy  or a select group of university students.  At the Female Athlete conference  Dorothy Kidd, with Ellen Agger, co- -  chaired 'From the Kitchen to the Running Track." The two women have  also co-authored "Breaking the Barriers—A Woman's Approach to  Running."  It was also an opportunity to connect my  experience organizing in the women's movement and my 'other closet' life in sport  — to come out as a jock in the women's  movement.  In Canada, sports women and feminists are  usually very separate. New to this whole  discussion I can only guess at some of the  reasons. Athletes like most other women  have very little time for anything other  than their long hours of training on top  of full schedules of school and jobs.  Full-time athletes also dedicate themselves to personal improvement in highly  competitive situations and this pursuit  of excellence has often been confused  with the male elite model of "winning at  all costs", and has sometimes led to a  lack of support for any sports. Plus all  women in sport, whether playing for fitness or competition have often been looked  at by some radical and feminist commentators as retreating from radical activism.  Perhaps as well we have not had any national opportunities to organize as in the  U.S.  In Canada there has been no Title  IX, a law of Congress that provides for  equality of opportunity in all federally  funded schools, and which women have used  to get access to more collegiate funding  for women's athletics.  Nor have we had a grass roots athletes'  conference like the First National Conference of Women Runners in Cleveland Ohio in  May 1979. Organized by Cleveland Women  Running with assistance from the Wages for  Housework Campaign, the two-day session  dealt not only with the latest training  and health information for women runners.  It was also a feminist conference with  workshops for the specific concerns women  bring to sport — those of Black women,  mothers, lesbians and students — as well  as workshops about extending women's distance races and how to deal with companies  who are exploiting the huge market of new  runners.  The Female Athlete was neither a conference  or a grass roots one, but an academic one.  Its structure allowed little opportunity  to put forward resolutions or act upon  suggestions.  Instead it was a very practical conference for "professionals" in  the field, with several well-run and well-  attended workshops on topics ranging from:  weight training, nutrition, growth patterns  of young women and the psychology of women  in sport. While there were workshops for  specific groups such as the veteran athlete, and pregnant women, there were none  for Black immigrant or Native women or  lesbians. Feminism was not the perspective  of the conference, it was instead relegated  to one workshop.  The cost and academic  locale meant few "fitness athletes", and  our workshop was the only one oriented to  the grass roots.  Despite this professional orientation, it  was interesting to see how women's position in sport acted against an entirely  elitist orientation. As in any other  field, most women have the lowest paid  and recognized jobs in the sports hierarchy, as fitness leaders, teachers,  coaches and trainers, with only a handful  in administration and academic. J.fost of  the conference participants had come for  very practical information for their  jobs, but were also interested in discussing women and sport and how to deal  with the male sports establishment.  The opening night illustrated how much  the influence of the women's movement  has been felt in the world of sports. The  two key speakers were Iona Campagnola and  Abby Hoffman, with talks from four international calibre athletes: Bev Boys, a  diver; Karen Magnussen, a skater, Carol  Bishop, a volleyball player, and Susan  Nattrass, a world class skeet shooter.  Hoffman is famous both for her four-time  Olympic performances as a middle distance  runner and as a spokeswoman for athletes.  She has spoken and written widely about  the male-dominated sports establishment  and how it limits the participation of  women and men. Recognizing the growth of  women's sport as a spontaneous result of  the women's movement, Hoffman said it was  now necessary for us to organize in a more KINESIS JUNE 80  WOMEN AND SPORT  concerted way.  Women have made some very positive steps.  The number of women participating has increased, as has the quality of performance.  In fact women are rapidly narrowing the  gap between our international records and  those of the men. Women are breaking  through some of the heaviest guarded male  pursuits — weightlifting, mountain  climbing and self defence, although in  small numbers. Hoffman thought the debate  itself about women's physical superiority  to men in distance events was a 'milestone,  since only ten years ago the whole idea  would have been thought crazy.  Hoffman: we still have a ways to go  Hoffman's own personal experience shows  that we still have a long way to go. She  first gained publicity at 7 years old when  she tried out and played on a boy's hockey  team, until the League voted to prohibit  female participation.  Today girls are  still fighting for that right. A little  later, in 1961 after a 2 km (1.2 mile)  race, a middle-aged woman warned her of  possible childbirth complications. Only  recently a male doctor got a lot of publicity with the same -"old husbands story".  Hoffman also cited some statistics that  show the economic discrimination against  women in sports. Women still have the  lower-paid, lower-status jobs. There is  still little enough financial and training support for elite women athletes.  Girls and women are not even permitted to  play in some sports, and public sports  and recreation programs continue to be  oriented to the highly competitive contact sports that mirror professional leagues, like hockey and football.  In a workshop later in the conference  Hoffman spoke of the discrimination in funding for girls in schools, and how a group  is fighting to change spending and programming priorities. Of the 114 primary schools  in Toronto Public School Board, $63,000 is  spent on 461 boys' teams with only a third  of that, or $23,000 going to the 157 girls'  teams.  In the past four years, Hoffman et  al. have been lobbying the women teachers,  the trustees and most recently members of  the Public Health Committee.  They have  used two arguments, that physical fitness  is a right of girls and that girls should  be treated equally to boys. So far there  have been two concrete results; more money  has been allocated for fitness and recreation, a step away from elite team sports,  and some girls are now playing in sports  once barred to them, wrestling and ice  hockey.  Later on in the same workshop, Hoffman  spoke more about the kind of "concerted  action" or strategy she is talking about.  She spoke against following the male sports  model, for it hasn't worked for most men  and it certainly won't for women.  Instead professional or commercial sport  has hindered participation. The corporate  owners of teams, stadiums and the media are  not interested in mass participation or  even the pursuit of excellence, but in maximum profit from the mass of spectators  live at the event and watching it on the  box at home.  The same has been true of women's professional sports.  Tennis and golf, the only  big money makers for women, have not encouraged very many women to play. The  commercial interest is in using women  athletes to market their clothes and cosmetics. Advertising marketing has exploited women regaining control of our bodies by  encouraging the traditional double role  for women.  "Run, but be Beautiful" or  "Exercise Your Body and Bonne Bell Your  Face".  The same questions about 'equal rights' or  'parity' were raised by two other speakers  at the conference. Peggy Burke, former  President of the American Association for  Intercollegiate Athletics for Women, talked  about the fight around Title IX. While it  is still being fought in the courts, already changes have encouraged a larger  number of female students to take up sports,  through the greater number of scholarships  and resources. But it has also meant that  the autonomy of women's sports departments  is being challenged, and with them their  less competitive, less commercial philosophy. Many institutions have used Title  IX as an excuse to combine women's and  men's athletic departments to submerge the  leadership of women. Not surprisingly this  move has been orchestrated by the same  male sports establishment that is fighting  Title IX in the courts. Women have gone  The effects of legislation like Title IX has  been dramatic.. .(but) it also produces  problems.. .women's sports programs  become carbon copies of the male model,  Ann Hall  backwards, the number of women directing  women's programs and coaching women's  teams has declined 2%  per year.  Ann Hall of the University of Alberta  raised some of the same doubts about  fighting for parity in Canada.  Unfortunately our workshops were at the same  time, but in an earlier paper, "Sport and  Feminism: Imperative or Irrelevant?" she  wrote, "the,next step is to challenge the  male-dominated power base at all levels of  sport, beginning possibly at the municipal  parks and recreation program...right up  to the International Olympic Committee....  The effects of legislation like Title IX  has been dramatic  (but) it also produces problems since the price of parity  is often costly and women's sports programs become carbon copies copies of the  male model, which is neither humane nor  rational."  Another feminist strategy speech came from  Iona Campagnola, presently a Vancouver  broadcaster.  Campagnola was the Liberal  Federal Minister of Amateur Sports and  Recreation in an earlier Trudeau government, and responsible for the Green Paper  on Amateur Sport, hardly a feminist document. Yet her Friday night speech was an  eclectic collection of feminist and radical ideas. She recognized sport as the  preserve of the elite, inaccessible to  women'and the rest of the working class.  The Establishment has a doubly negative  reaction to women in sport because of the  threat posed by strong aggressive "Amazonlike" women.  Campagnola also recognized  that they can accomodate some token change  and spoke of the danger of "super" women  athletes who like other "super" professional women have to be twice as good at their  sport and "femininely" maintain their  family life.  Campagnola's solution: approach  wealthy women for money  But Campagnola's solution was not so much  eclectic radical as liberal. Campagnola  had a good deal of respect for the ideas  of Eastern bloc countries which encourage  physical fitness for everyone, not just  the elite athlete, as in the West. Yet  she didn't think the time of the "mass  athlete" was upon us, because of the very  different nature (read capitalist) of our  system and the male commercial sports  establishment. Women should not pressure  the government for more resources but  instead encourage donations from wealthy  women. While wealthy women should be  approached for money, we are talking about  a far bigger figure and more radical change  to provide for our health. There is another source of money, including the government, that Campagnola failed to mention —  the clothing, cosmetic and other industries  who now exploit women's fitness boom.  We got a look at the personal wear and tear  on athletes of being excellent in their  sport and feminine. After the two "political" speeches, Bev Boys, Karen Magnussen,  Carol Bishop and Susan Nattrass spoke.  All  talked very personally about their daily  life experiences as athletes, and the problems of being a female athlete.  For Bev Boys it was her weight.  She started diving as a skinny teenager, but after  a traumatic move to Winnipeg to train,  away from her family and friends, she began to eat more. Her coaches, other sports  people and the media never let her live it  down, and she thinks she probably lost some  meets not because of her diving style,  but because of her size, the moral being  that to be a female athlete you must remain svelte-and beautiful, competence isn't  enough.  The pressure on all women athletes to be  "feminine" was talked about all weekend but  without any reference to lesbianism. It  was up to two women in the audience to  raise this in a question period. Ellen  Agger of Toronto Women Running spoke about  the need to publicly discuss the contribution of lesbians in sport and the way the  threat of being "butch" or lesbian is used  against all women straight or gay, to stop  us playing sports and to divide us. Her  intervention was greeted with a great deal  of applause from most of the 200-300  Time, money and social barriers  Agger spoke later in another first, a workshop we called "From The Kitchen To The  Running Track — encouraging the non-participant".  It was the only one organized  by fitness athletes about making sports  accessible to all women. V/e spoke of the  barriers to women in sport — time, money  and social attitudes, like the taboo of  lesbianism. We also spoke of the growth  of women's running clubs across North America, and of using the potential of The  North American Network of Women Runners.  The Female Athlete was well-organized and  packed with informative, practical workshops. And the fun run was exciting. But  it was an academic conference, more interested in discussing the problems and situations of women athletes than in providing a forum for praxis. The questions of  strategy for women in sport remain — how  to maintain what autonomy women have already  developed in sport, how to fight for more  access to money and resources, how fitness  athletes and others can affect future organ  izing to include the interests of all women  lesbian and straight, Native, immigrant  and white, poor and rich. 0_ KINESIS JUNE 80  VIOLENCE AGAINST WOMEN  WA VA W analysis  Reclaiming ourselves: a feminist perspective on pornography  By Marion Barling, Mickey McCaffrey and Suzanne Perreault  PORNOGRAPHY: The ideological basis  for the systematic persecution of  women by men. It is a means of social  control. Pornography is an integral part  of the indoctrination process that  routinely portrays women and children  in violent and degrading situations for  the purpose of another's pleasure and  satisfaction.  Women are oppressed throughout the world.  The list of crimes against women is as  long as it is horrifying — from economic  dependence to deforming fashions — from  objectification to murder. In Canada alone,  we are faced with the reality that one  women is raped every 17 minutes, one woman  in four is sexually assaulted before the  age of 18, and over 50$ of wives are battered. Taking a closer look at the statistics on rape, we see that for every 140  rapes only one results in the conviction  of the rapist. Violence against women is  propagated by the use of language and  imagery as exemplified by the hate literature of pornography.  "Pornography is the theory  — rape and  femicide is the practice."  (Robin Morgan)  Many of us have long responded to pornography with loathing, yet could not clearly  state our objections. One of the reasons  for our confusion is that male producers  and protagonists of pornography often use  the words, pornographic and erotic, interchangeably. Yet when we look closely at  pornographic and erotic materials, the line  between the two blurs. What, in fact, are  the differences? They are not clear.  Both pornography and erotica come from the  Greek language, the interpretations varying  slightly from source to source. When we  examine the word 'pornography' we see that  it originates from 'poms, meaning prostitute, female captives, and "graphein', to  write, therefore the writing of harlots.  Prostitutes, female captives and harlots  exist In a relationship that is dependent  upon male needs, demands and control.  Therefore, implicit in the word pornography  is dominance and violence against women.  As Robin Morgan says:  "...pornography's basic message is domination not reciprocity.    It defines sex as  male aggression and the female body as the  target of conquest."  According to Diane Russell,  "...pornographic movies, pictures and  stories are a celebration of male power  over women and the sexist wish that women's  sexuality and values be totally subservient  to men 's. "  When we examine the root of the word erotica we face the problem of dealing with a  male-defined language which excludes our  experience. We find that erotica derives  from the word Eros:  "...a son of Aphrodite who excites erotic  love in gods and men with his arrows and  torches. "    ("Websters )  In this definition the emotion of love is  intertwined with messages of pain; a message that has been reiterated in Christian  thought. Think of the religious ecstasy of  Bernini's St. Theresa as she is pierced by  an angel's arrow. This double message of  love and pain has been continued into contemporary times as exemplified by the familiar motif of a heart shot through by the  arrows of Eros' messenger, Cupid.  Eroticism vs. pornography  The confusion between erotica and pornography has lead to an obscuring of the  reality of violence against women in favour  of civil libertarian arguments, such as the  right to freedom of speech, expression and  sexuality. Images that are often defined  by society as erotica, art, collector's  items, masterpieces and the like take on a  different meaning when viewed from a  feminist perspective. Glance at a book  such as the Erotic Art of the Masters, by  Bradley Smith. What is the difference between Gustave Courbet's 'masterpiece'  painting of a woman's torso and genitalia  (entitled L'Origine du Monde in Erotic Art  of the Masters, page 56) and a Hustler  crotch shot? As feminists, we can only  understand this use of the word erotica to  be a male euphemism for pornography. We  see these images as pornographic, violent  and degrading towards us. So, whose freedoms are we really talking about?  Pornography, implicitly and explicitly,  links violence, pain and pleasure in its  definition of sexuality. For example, men  have assumed the role of their gods by the  use of the penis as weapon and have used it  to terrorize and colonize women through  rape and sexual coercion. Even if we are  not yet the actual victims of rape, we live  in constant fear of being the next one  attacked. We are brainwashed through  every aspect of our patriarchal culture into  believing in the power and the glory of the  penis, which results in a life of crippling  paranoia and degradation of our self-worth  and self-respect.  In a further perversion of sexuality men  have taught women to accept pain as part  of love. This is a basic theme in pornography. For example, an issue of Penthouse  featured a picture of a woman floating,  corpse-like, in a swimming pool, clad in a  bra, garter belt, stocking, high heels and  quoted as saying,  "I don't mind a little bit of pain in sex,  as long as it doesn't leave any marks."  (Penthouse, April 1978)  Men's intertwining of violence and sex is  exemplified by a well-known military ditty  that goes:  "This is my weapon,  this is my gun,  This is for business,  this is for fun."  The man's 'weapon* is for killing, his  'gun' is for screwing. In this ditty, his  manufactured 'gun', i.e. his weapon, and  his anatomical 'gun', i.e. his penis, are  both equated as tools of power and pleasure.  Not only have men frequently defined and  used their genitals as weapons but they  have glorified its shape in symbolism that  is accepted in many, many forms. Phallic  objects abound in magazine advertisements,  record covers, billboards, movies, etc.,  often aimed directly at one or more parts  of a woman's body.  If we are to survive as women or aspire to  the dubious title of "sexually liberated",  we must not only be eager receptacles for  the omnipotent penis, but we must also  glorify it. In pornography and 'erotic'  art, women are often shown in attitudes of  worship and ecstasy over a disproportionally  large penis. In doing so, women are exalted as those who have attained the feminine ideal, who are truly a 'man's woman.'  The language and imagery, as we understand  it today, has been defined by men in power  and as such women's herstory and experience  of life is frequently hidden.  It either  fails to reflect our existence or it reflects our existence through a male interpretation. Let's consider the messages  that are inherent in the male depiction of  sensuality as illustrated in pornography.  The images show passive, submissive women,  violated and degraded, available to service  men's every desire. The images reflect  patriarchal values which are anti-sentient  and anti-life. Men are systematically destroying women, themselves and all other  life on earth.  Women have always been oppressed by pornography. When we compare the recent growth  of pornography with that of the current  women's movement, we can see a correlation.  The widespread acceptance of pornography  has become possible through the sophistication of technology, which has enabled publication and distribution to take place on  a massive scale.  If we examine the past four decades, we see  the male fetish for large breasts was personified in the 1940s by Jane Russell.  She was molded into the ideal popular sex  object. Esquire, a pornographic men's  magazine, was published for the first time.  Ironically during the same period, the  economic necessity of women's daily lives  saw them fighting to retain the men's  jobs that it had been necessary for them to  take over during the war years, as well as  continuing to fight for the acceptance of  birth control.  In the fifties, the first issue of Playboy  was published, featuring a centrefold of  Marilyn Monroe, the current reigning sex  goddess. We also saw the beginning of the  macho motorcycle gangs. Women as a whole  were pushed a step backwards, despite  Simone de Beauvoir's insightful book on  feminism, The Second Sex. Marriage and  motherhood were glorified as the most noble  careers a woman could aspire to.  By the sixties, explicit sex and violence  were being shown in movies, magazines,  books and on television (for example, ►  (turn to p.8 — other side of supplement)  Women fight back against pornography The  RADICAL REVIEWER  * Radical: getting to the root/origin of.  Volume One   Number One  The Lesbian Literary Collective (LLC) is a group of women who  came together to read and study literature. We share a radical  feminist perspective and apply it to our analysis of the lives and  works of the various women writers we have examined. We also use  our political analysis to integrate our intellectual and emotional  selves. We have spent as many hours on mutual support as on  cerebral exploration. We are trying to undo the need for academia  by creating an alternative for ourselves. The Radical Reviewer is an  expression of our work on, and our love for, women's literature and  feminist theory.  June 1980  Frances Farmer: The Untold Story  by Connie Smith  Frances Farmer died quietly in Indiana in  1970 of cancer.  She agonized until weeks  before her death trying to recreate and  make sense of her life. Having no knowledge of the transorbital lobotomy performed on her 22 years prior, this process  was difficult.  Frances was an artist,, a radical and an  uncompromising intellectual.  At 16, she  scandalized her home-town Seattle by  writing an award-winning essay, "God Dies"  Four years later at the University of  Washington, she won a V.I.P. trip to the  Soviet Union sponsored by Seattle's Communist newsT o^per.  She re jeived national criticism for this  journey, no one believing her intentions  were artistic. Her supreme talents culminated in Hollywood stardom and the New  York stage. In 1937 at age 23, she was  labelled "the new Garbo". She died without fanfare at 56, along with the facts.  Quite plainly, she was erased.  Shadowland is William Arnold's chronicle  of the right wing-status quo conspiracy  committed to destroying this very wild  woman.  Rumoured to be a communist, a  lesbian, and a schizophrenic, various "interested" psychiatrists brought commitment  proceedings against her.  She was first sent to the Screen Actor's  Sanitarium at La Crescenta, California when  she received massive insulin shock; later,  she was institutionalized at Seattle's  Harborview Hospital and punished with  hydrotherapy; ultimately she was imprisoned for five years in the violent ward  at the Western State Insane Asylum in  Steilacoome, Washington.  It was here she  was administered shock treatment, every  experimental drug of the era, and raped  repeatedly by soldiers from a nearby base.  However, she survived; miraculously retaining her sense of self.  Consequently,  Dr. Freeman, aka The Father of American  Lobotomy, requested a crack at "the most  celebrated person ever to be confined to  a U.S. public mental institution," She  had become an embarrassment to psychiatry.  Toward the end of 1948, Freeman had Frances knocked unconscious by electric shock  in order to perform his latest necrophilic  act, the transorbital lobotomy, a technique  which enables the perpetrator to enter the  victim's brain from under the eyelid with  an icepick-like instrument, severing the  nerves which deliver emotional power to  ideas,destroying the victim's imagination.  Freeman believed his operation's potential  for controlling society's misfits —  schizophrenics, women with high intelligence, homosexuals, and radicals — was  truly revolutionary. Often "taken to dramatics, he once executed 35 transorbital  lobotomies on exclusively women patients  before an audience of male doctors and  journalists.  It was a brief affair which  he titled "mass surgery".  He was  acclaimed.  Frances was officially declared insane because it was discovered she gave away all  her money to political causes; she considered Hollywood film making dishonest  art.  And she was said to be vulgar and  profane.  During her insanity hearing she  quoted poetry and told the examiners they  should be examined, not her.  The commission was headed by Judge John A. Frater,  leader of the American Vigilantes of  Washington, whose power in government was  as great as his outspoken hatred for  Frances Farmer.  Shadowland is the story of dissident control through psychiatry; the story of  misogyny.  William Arnold struggles with the truths  he uncovers during his three year obsession with Frances.  Although his analysis  is, in many instances, shockingly acceptable, there are places where, by nature  of his sex, he will not go.  Although an  entire movement set out to destroy Frances  Farmer, their mission rested ultimately  upon how well her mother, Lillian had been  despotized.  Arnold permits this connection  naming Lillian the tyrant mother.  In January, 1943, Frances Fanner was Arrested in her hotel room  and dragged to Santa Monica police court and charged with  failing to report to her parole officer.  from Shadowland by William Arnold  Lillian Farmer was a highly intelligent  woman. Divorced twice, she spent most of  her life in legal battles with her second  husband; raising her four children alone.  She was strong willed and spirited —  so spirited that "concerned" relatives  attempted to commit her. Lillian hired a  lawyer, fought, and maintained her freedom — a feminist lawyer, who later said  that Lillian was one of the finest women  she ever met; a great champion of the  women's movement and of the cause of  nutrition.  Despite her strenghts, Lillian was driven  to "eccentricity" through unrecognized  intellect. Eventually the qualities she  once admired in herself, she found insane  in Frances. Lillian was born with original  guilt. She was, after all, a mother and  poor motherhood was allowing her daughter  uncontrolled self-expression. (A contradiction familiar to most mothers who want  the most for their daughters but know  intuitively that freedom of expression  equals ostracism.) Frances' unacceptabi-  lity to society — to men — became paramount with Lillian.  She became convinced  that her daughter should be incarcerated  and spent years trying to maintain Frances'  captivity.  Frances, in turn, although describing herself as an actress, who "made enemies in  high places", held her mother accountable  "as the main root" of her despair.  Feminists understand these implications and  are challenging the traditional tactic of  blood oppression — the patriarchal ploy  which assigns mothers the role of oppressor  to their daughters.  Unfortunately Frances  and Lillian did noi "nave the luxury of  this insight. Arnolc prces inadequate on ye  another issue.  In spite of the comfort he seems tc feel  with words like "lesbian" and "latent homosexuality '■', his true feelings emerge five  pages from completion.  Suffering from  over-identification with his subject; perhaps even a feeling of possess!veness towards Frances, Arnold cannot handle the  fact that Frances chose to live the last  years of her life with Jean Ratcliffe --  a woman.  He insists that Frances died  alone..  Jean supported Frances through ten years  of financial and emotional crisis, her  continual war with alcoholism and several  attempted artistic comebacks.  She encourages Frances in the writing of her  autobiography and was responsible for pro-  curring a publisher after Frances' death.  Arnold, however, accuses Jean of inventing  sensational scenes, glorifying her own  character, and as "a curious closing touch"  dedicating the book to herself.  He refuses to acknowledge the depth of commitment these two women felt for each other;  yet he confirms certainly more horrendous  aspeots of Frances' experience, as detailed  in her own words.  Frances' autobiography Will.There Really Be  a Morning? is an extremely disturbing book  She specifies the atrocities committed  Continued on page 10. RADICAL REVIEWER  THE RADICAL REVIEWER  Mary Daly:' 'Cerebrating'' the Death of God...  by Cy-Thea Sand  Mary Daly's second work, Beyond God the  Father (1974), is an inspiring attempt by  a feminist theologian/philosopher to recreate theology:  "For my purpose is to show that the  women's revolution, insofar as it is  true to its own essential dynamics, is  an ontological, spiritual revolution,  pointing beyond the idolatries of  sexist society and sparking creative  action in and toward transcendence.  The becoming of women implies universal  human becoming. It has everything to  do with the search for ultimate meaning  and reality, which some would call  God." (p. 132)  The essential premise, Daly asserts, is  our need to name women's experience, past,  present and future. This process is crucial in smashing the 'Great Silence'.  Daly refers not only to patriarchy's failure to record/acknowledge/esteem women's  accomplishments, but also to the academic  denial of the evidence of a "universally  matriarchal world which prevailed before  the descent into hierarchical dominion by  males."  The process involves language liberation  — inseperable from and integral to a  feminist, spiritual consciousness. Words/  concepts like God-Father are analysed to  expose the phallocratic nature of established religions in particular as well as  the androcentric basis of societies in  general.  The book's seven chapters explore the  following concepts: (l) god as verb rather  than as patriarchal authority; (2) Eve's  'fall' as a journey towards freedom rather  than as an oppressive fairy tale (myth) of  the congenital evil of women; (3) the  idolatry/mythology of jesus christ with  its misogynistic assumptions and traditions^  (4) the nature of phallic morality versus  the transvaluation of values (that is, a  revolutionary morality) inherent in a  radical feminist world view; (5) the need  for women's awareness of the universal sex  caste system in order to take a psychic  leap of faith into sisterhood as anti-  church; (6) Daly's vision of a cosmic  covenant-sisterhood as being beyond the  unimaginative definition of church under  patriarchy.  It is a prophetic vision:  "...prophets have been persons who do  not receive their mission from any  human agency, but seize it. The revolution of women has this kind of  dynamic, since women have been excluded from the power of politics.  However, what we are 'seizing' and  'usurping' is that which is rightfully and ontologically ours — our  own identity that was robbed from us  and the power to externalize this in  a new naming of reality.  This is not  a purely individual charismatic gift,  but a communal awakening." (p. 98)  In her last chapter, Daly turns the traditional philosophical framework, used to  analyse conflicts in transformation and  becoming, on its androcentric head. This  framework is founded on Aristotle's theory  of the four Causes — material (that out  of which something is made), formal (the  determinant of its nature), efficient (the  effect produced by an active agent) and  purposeful (the outcome or goal of the  original action). She denigrates this  outline as static, hierarchal and gynoci-  dal.  "It requires a kick in the imagination,  a wrenching of tired words, to realize  that feminism is the final and therefore the first cause, and that this  movement is movement.  Realization of  this is already the beginning of a  qualitative leap in be-ing. For  the philosophers of senescence 'the  final cause' is in technical reason;  it is the Father's plan, an endless  flow of Xerox copies of the past.  But the final cause that is movement  is in our imaginative-cerebral-  emotional-active-creative being,  (p. 179)  I admire Daly's ability to incite intellectual and emotional rebellion. Her  feminist criticism of twentieth century  philosophical 'giants' (Paul Tillich,  Bonhoeffer, Teilhard de Chardin et al. )  and her expose of the plight of Bangladesh  women, are indicative of the gynocentric  brilliance and rage which inspires her  work.  This work has the power to move  all women, whether or not we have left a/  the 'church'. Radical feminists need not  fear or ignore the words spiritual or  spirituality.  In their deepest sense they  name our Selves.  0  Celebrating the Lives of Women  GYN/ECOLOGY:THE METAETHICS OF  RADICAL FEMINISM.   (1978) by Cy-Thea Sand  "The Amazon Voyager can be anti-  academic. Only at her greatest peril  can she be anti-intellectual."  With this concept in mind, Mary Daly spins  us through an elaborate, intense, cerebral  journey, way way beyond god the father.  Gyn/Ecology (literally, the ecology of  womenkind) is an intellectual challenge to  read, to experience. Our total Selves are  involved in the validation of this work.  Our deepest Selves know whereof Mary Daly  speaks. Daly insists on asking questions  about the connecting layers of woman's  oppression, warning us to stop putting  answers before the questions.  The journey is divided into three passages:  (1) Processions: an analysis of traditional  woman-hating myths and symbols; (2) the  Sado-Ritual Syndrome — the Re-enactment  of Goddess Murder: an overwhelming connective analysis of Indian Suttee, Chinese  Foot-Binding, Africal Genital Mutilation,  European Witch-Burnings, Nazi Medicine  and American Gynecology; and (3) Gyn/  Ecology: Spinning New Time/Space: an expose of the various forms of patriarchal  spooking and how to undo their ill effects  with the healing, sparking power of female  friendship.  The reading of the first passage is enriched and made easier by a background in  traditional theology and/or mythology.  In  it, Daly indicts patriarchy for being the  "prevailing religion of the entire planet".  Daly expounds upon Virginia Woolf's concept of patriarchy as being a series of  male processions — an army of soldiers,  judges, lawyers, doctors — as expressed in  Woolf's brilliant essay, Three Guineas  (1938).  The processions are cyclic, misogynistic and conducive to nuclear disaster.  This male-mastered system is guilty of the  primordial mutilation — "the ontological  separation of mother from daughter, daughter from mother, sister from sister."  Radical feminism is seeing through and  beyond this psychic mutilation to our-  TABLE OF CONTENTS  Page One Frances Farmer: The Untold Story  Page Two Mary Daly: "Cerebrating" the Death of God.  Celebrating the Lives of Women  Page Four The Roaring Inside Us  Page Five Adrienne Rich: Spiralling through  the Silences  Page Six Radclyffe Hall: Spooked by the  Patriarchal Depths  Page Ten How to Brighten a Patriarchal Day  (A review of feminist literary journals)  Page Eleven        A Little Night Reading  Page Twelve       As the Pages Turn  Connie Smith  Cy-Thea Sand  Barbara Herringer  Barbara Herringer  Cy-Thea Sand  Cy-Thea Sand  Connie Smith  Connie Smith  Barbara Herringer RADICAL REVIEWER  THE RADICAL REVIEWER  Lies against women are what Mary Daly explores. . using  traditional christian theology as her spring board. Her love for  women is passionately expressed in her raging, roaring language.  original Selves.  The journey begins with  Daly's analysis of myth distortions and  reversals which serve to imprison women's  bodies and minds in a State of Possession.  Necrophilia is re/defined by Daly as men's  need for and draining of women's energy.  At the heart of this phenomenon is misogyny.  Learning to Double Double Unthink  When one embraces a radical feminist perspective (radical means getting to the  root/origin of), one begins to see through  the male myths. We learn to double double  unthink — "to go past the obvious level  of male-made reversals and find the underlying Lie." Lies against women are what  Mary Daly explores in this passage, using  traditional christian theology as her  spring board.  Her love for women is  passionately expressed In her raging,  roaring language.  Daly's language of passionate anger helps  us to continue the journey.  The second  passage needs no prerequisite.  Its horrific facts will anger, upset and remind the  unresisting reader of the danger we are  in.  I frequently had to postpone its completion until I could conjure up more  gynergy.  Daly exposes the essential nature  of patriarchy as being sado-ritual.  Her  study of six grotesque expressions of this  sado-ritual syndrome — Indian Suttee,  Chinese Foot-Binding, African Genital Mutilation, European Witch-Burnings, Nazi  Medicine and American Gynecology — reveals  certain factors which are common to all.  All these atrocities against women are  obsessed with the notion of purity (the  sexual purity of the Indian Suttee victim  is guaranteed by virtue of her ritualized  murder); all involve a total erasure of  responsibility (the tortuous mutilation of  women's feet j.s referred to as a custom  by Chinese and Western scholars); all six  atrocities involve women as token torturers and scapegoats (it is the African  daughter's mother who mutilates her genitalia to make her more marriageable).  Daly exposes the danger women have been  and are now in under patriarchal rule.  She believes that by facing this truth  each Journeyer can exorcise patriarchy's  effects on her: "As a consequence of her  courage to see, she finds the focus of  her anger, so that it fuels and no longer  blocks her passion and her creativity."  While writing this review I read the  following 'brief in the Vancouver Sun:  "Tuesday March 18, 1980 100 Girls  Strangled  Police have recovered the bodies of  21 girls from secret graves in Ecuador  after a Colombian fugitive confessed  to raping and strangling about 100  girls in the last seven years, police  said today."  The third passage invites us to celebrate  what Daly calls positive paranoia — the  awareness of patriarchal patterns of misogyny.  In order to do so, Daly believes  we must despook ourselves, purify our minds  of the male-made myths.  These myths are  deeply ingrained in us as their poison  pervades all cultural expressions from humour to educational systems. To spook  back means to detect the gynocidal patterns,  to disclose, expose them. This third  passage is a celebration of our power as  women. It offers challenges and hope.  Hope lies within the transformational process — a process indivisible from fiery  female friendship. (Daly prefers the concept of transformation to revolution as  the latter is equivalent to the endless  necrophilic cycles of patriarchal wars.  To transform is to leave that Time/Space.)  Sparking Fiery Female Friendships  Fiery female friendships are based on  strength.  They are formed by women who  are creative and strong alone but who  choose other Revolting Hags with whom to  cerebrate.  To cerebrate is to re/search,  dis/cover new ideas, new ways of being  with each other which foster growth, independence and freedom. Sparking Female  Friendship involves the courage, insight  and trust to take risks for and with each  other.  The risks involve, I think, the  transferring of our cerebral feminism to  our emotions, to our ways of being in the  world.  "The radical friendships of Hags  means loving our own freedom, loving/  encouraging the freedom of others, the  friend, and therefore loving freely."  Seasoned Spinsters encourage each other to  convert anger into creativity, not depression. We encourage each other to spark:  Sparking means building  the fires of gynergetic  communication and confidence. As a result, each  Sparking hag not only  begins to live in a lighted  and warm room of her  own; she prepares a place  for a loom of her own. In  this space she can begin  to weave the tapestries of  her own creation. With her  increasing fire and force,  she can begin to Spin. As  she and her sisters Spin  together, we create the  Network of our time/space.  Feminists are aware of the gross limitations of men's language. Words, phrases,  even sentence structures fail to speak for  our experience as women. Lesbian-feminists  are redefining music, literature, love,  friendship and work. And Mary Daly is one  of our sisters who is smashing men's language as well as re/discovering lost words  which can speak for us.  In Gyn/Ecology, Daly explores the original  meanings of some words and illustrates how  they have been distorted. She refers to  men's language as semantic semen. One of  my favourites of Daly's insights is how  we are spooked by men's language —  spooked into self-doubt, competition with  our sisters and into silence.  Using language as her instrument, Daly  unravels this spooking process. Webster's  dictionary defines HAG as a female demon,  fury or harpie. Hag also means an evil  or frightening spirit. Daly asks, evil  and frightening to whom?, believing that  Hags were women who refused to be defined  by patriarchal standards. Hag is also  defined as an ugly or evil-looking old  woman. Daly considers this to be approbatory as strong, creative women are considered to be ugly only by a phallocratic  definition of beauty.  The Great Hags of our Hidden History  Witches are the Great Hags of our hidden  history.  The original meaning of haggard  was wild and untamed in reference to the  hawk.  Its obsolete meaning is a woman  reluctant to yield to wooing! Crones are  long-lasting Hags.  They are women who  survived the witch-burnings in particular  and those of us surviving patriarchal rule  in general. Harpies are mythic monsters  represented as having the head of a woman  and the body and claws of a vulture.  They  are considered to be instruments of divine  vengeance and the asserters of women's  primal energy.  Cy-Thea Sand with Gyn/Ecology: The Metaethics of Radical  Feminism. photo by B Herringer  Fembots: Daddy's Girls  Gyn/Ecology also offers us new words with  which to define our experience under patriarchy.  One of my favourites of Daly's  constructs is the word/concept FEMB0T.  A fembot is daddy's little girl, a woman  who lives by and for male approval.  Our  sisters (heterosexual or lesbian) struggling in high-heeled sandals; lesbians  thinking like men; opportunists who manipulate feminist theory -- all are fembots.  Daly's, inventions are sometimes humourous  as in her solution to unwanted pregnancy  -- mister-ectomy! Or they can be so incisive as to change one's reading/thinking  patterns forever: lucid cerebration is the  name Mary Daly gives to a way of thinking  and re/searching which blasts traditional,  academic methodology/misogyny and promotes  wild, creative, ecstatic thought.  My love for this work emanates from the  nature of its intellectual challenge.  It  satisfies both my emotional and cerebral  longings for feminist truths. While I  must think hard to read and grasp its ideas  my Self is roaring along with Daly in  anger and hope. Adrienne Rich's Of Woman  Born had a similar effect on me. Daly and  Rich are courageous enough to transcend  the traditional academic forms to speak as  and for women. However, truth and vigour-  ous intellectual inquiry are never sacrificed.  The women's movement thrives on  such challenges.  Mary Daly suspects that the change in  nomenclature, in the seventies, from the  women's movement to the women's community,  is symptomatic of women settling down,  settling for too little.  We must invite such challenges rather than,  as some women have, accuse the works and  ideas of being too academic. Our lives  depend on the formulation of radical questions — the answers to which transform our  lives and the world.   0. RADICAL REVIEWER  THE RADICAL REVIEWER  The Roaring Inside Us  by Barbara Herringer  The week I re-read Woman and Nature: The  Roaring Inside Her, Vancouver newspapers  reported that polar bears will die during  an oil spill. Scientists had experimented  and it was true.  Time magazine highlighted  Three Mile Island - One Year Later. Another gynecological "check-up" called fet-  oscopy or direct examination of the fetus  was unveiled. And, God is being rediscovered by modern philosophers. All above  events were reported objectively.  The joy of Susan Griffin's book is that  she is totally subjective; refuses to  make that separation of thought from emotion.  The result is a powerful and raging  Men define matter, placing the abstract  above that which is actually seen or  heard or felt. Men deciding what the  truth is and "discovering" defects in  matter. Men not able to define woman because she is equated with.matter. Earth  (woman) equated with sin in the early  philosophies.  That nature can only be  approached through reason.  It is observed that the face of the  earth is a record of man's sin.  That  the height of the mountains, the depth  of the valleys...bodies of land,  lakes and rivers, the shapes of rocks,  all were formed by the deluge, which  was God's punishment for sin."  I found myself having to read  it out loud and  wanting to hear it read out  loud with women's voices,  a kind of Greek chorus,  angry, or at   times  quiet, and moving.  Photo by B. Herringer  journey, a battle of language or voices —  the "thought of Western man" versus the  collective/passionate voices of women.  Her style for the patriarchal voice never  employs the personal pronoun but uses instead, phrases such as, "It is said", or  "It is discovered".  It always implies the  truth about its proclamations.  All nature it is said, has been designed to benefit man.  That coal  has been placed closer to the surface for his use ... And it is observed that woman is less evolved  than man. Men and women differ as  much, it is observed, as plants and  animals do. And men and animals  correspond just as women and plants  correspond, for women develop more  placidly, like plants and have an  'indeterminant unity of feeling'. And  it is stated that if women were not  meant to be dominated by men, they  would not have been created weaker.  And it is said that all sin originated  in the flesh of the body of a woman  and lives in her body.  A Frightening Collage  Woman and Nature begins with a section  entitled "Matter" and juxtaposes man's  definition of both nature and women  throughout the history of religion, science  and politics.  It is a frightening collage:  not because man made discoveries in those  areas, but that the ideas about the earth  or stars or women are separated from the  essence.  1638 Galileo publishes Two New Sciences  1640 Carbon Dioxide obtained by Helmont  164-4 Descartes publishes Principia  Philosophiae  1670 Rouen witch trials  In this first section, the voice of women  is a small one, a whisper against strength  of the so-called truth about them. Women  say: "And we are reminded that we have  brought death into the world." "We are  nature, we are told, without intelligence.  In Book Two, "Separation", man separates  himself from woman and from nature, separates mind from emotion and body from  soul. Men defining women's lives, women's  thoughts, women's bodies. Men capturing  woman, taming her wildness; men guarding  time; defining space; calling her reason,  unreasonable. Men fearing the dark,  wanting to bury themselves in women to  become invulnerable. Men determining the  future, calculating existence... Man,  making the universe shudder under his hand.  Man warning woman with his vision of the  universe.  .And then another thought came upon  him, so terrible he could scarcely  hold on to it. Suppose there is no  difference between them except the  power he wields over her.  The Shape of Our Silence Bends His  Book of Knowledge  Griffin leaves man alone with his terror  at the end of this section and moves into  Book Three: "Passages" where women see:  "The rectangular shape of his book of  knowledge, bending.  The shape of our own  silence..." And with that, bursts into  the fourth book, "Her Vision: Now She Sees  Through Her Own Eyes".  It is tempting to just type a series of  quotes from this incredible section of the  book. For here, the voices of women have  merged into a haunting wrenching chorus.  That .which was separated is in the process  of being rejoined.  Each day she is closer to herself.  She remembers what she might have been.  And she puts these pieces together.  What is left after the years and what  will come together still, like the  edges of tissue grafting one to the  other: blood cleanses the wound, and  this place is slowly restored. (And  the forest reclaims what was devastated,  and her body heals itself of the years. )  So we say finally, we know what happens  in this darkness, what happens to us  while we sleep, if we allow the night,  if we allow what she is in the dark  ness to be, this knowledge, this is  what we have not yet named: what we are.  Oh, this knowledge of what we are is  becoming clear.  And so, as Mary Daly has pointed out in her  writing and exploration, woman enters her  own space and her own time...a time "on  the boundary of patriarchal time". And,  in this space beyond their time, is room  for the celebration of our own dreams, or  our own speech...and "we blurt out all  that we can remember". About one who has  vision, Griffin, in the voice of women  says:  She sees lives half-lived becoming  whole. She reads stories that have  never been written...She sees all  kinds of marvels far beyond what we  ask her to see. Things, she says, we  could not even dream. We would think  her raving, but she speaks to us so  sweetly of what she says can be, that  we too begin to see these things. We  know her clarity for our own, and as  for the way things are now, we grow  impatient.  Woman and Nature has the force of ancient  rhythms and chants and I was drawn deeper  and deeper into the poetry of her prose,  almost wanting at times to pull back from  its force. And I found myself having to  read it out loud and wanting to hear it  read out loud with women's voices, a kind  of Greek chorus, angry, or at times quiet,  and moving.  Speaking Our Own Language at Last  There are no solutions in this book, no  economic theories...but there is a call to  change, to transformation, to movement on  the edge, an invitation to trust our own  ' theory, dis/cover our own lives, to speak  our own language. What of the fear in  this place of ours, this so-called new.  space? Griffin invites us to visit our  fears and relates a fable:  But after a while she came to the  mirror again and asked, 'Why am I  afraid of my bigness?' And the mirror  answered, 'Because you are big. There  is no disputing who you are. And it  is not easy for you to hide.' And so  she began to stop hiding. She announced her presence. She even took joy  in it. But still, when she looked in  the mirror and saw herself she was  frightened, and she asked the mirror  why.  'Because,' the mirror said,  'no one else sees what you see, no one  else can tell you if what you see is  true.' So after that she decided to  believe her own eyes...  Photo by B. Herringer RADICAL REVIEWER  THE RADICAL REVIEWER  But out of the fear comes the roaring, the  roaring inside us... "V/e are shouting now.  Nothing can stop us... We are frightened.  We do not know where this will stop."  Woman and Nature is an invitation to create a new world or at least, to imagine  how it could be.  In my darkest times  though, I wonder if these visions are  enough for change, if there will be enough  accumulated and redefined power among  women to create the new space.  Then I  think, we're creating it as we live day to  day.  In our redefinition of work, art,  language, politics, spirituality and last  but not least, our relationships. Women  like Griffin are not afraid to experiment  with a possible future or with words or  Woman and Nature is  an invitation to create a  new world or at least, to  imagine how it could be.  with possibility, and that is where the  energy lies in this book.  She opens her  mouth, her pen, and speaks and writes  what's on her mind.  I couldn't resist her  honesty.  "Suddenly we find we are no longer  straining against all the old conclusions. We are no longer pleading  for the right to speak: we have spoken;  space has changed; we are living in  a matrix of our own sounds; our  words resonate, by our echoes we chart  a new geography; we recognize this  new landscape as our birthplace where  we invented names for ourselves;  here language does not contradict  what we know; by what we hear we are  moved again and again to speech...  We allow ourselves ecstasy, screaming,  hysteria, laughter, weeping rage,  wonder, awe, softness, pain, we are  crying out.  (There is a roaring inside us, we whisper.) WE ROAR." 9  Adrienne Rich: Spiralling Through the Silences  by Barbara Herringer  ON LIES, SECRETS AND SILENCES, Selected  Prose 1966-1978, by Adrienne Rich. Norton.  I lost myself in this book of essays. Pure  and simple. It speaks of a vision that  feels closer just because works like this  exist. Because women like.Adrienne Rich  are writing about their lives (our lives),  giving opinions, sharing ideas and thoughts  The essays have appeared in scholarly  journals, been delivered as speeches, been  shouted at rallies, and span twelve years  in Rich's life.  It's a journey through  a woman's developing feminist consciousness, a woman whose life is writing. Or,  who is writing her life.  She writes honestly and plainly, although  not simply. Most of the early essays are  prefaced with remarks from a 1978 perspective — the year the last essay was written.  Of the 1968 piece, she says, "This essay  in fact shows the limitations of a point  of view which took masculine history and  literature as its centre and which tried  from that perspective to view a woman's  life and work." From not knowing what  questions to ask regarding women's lives,  in 1968, Rich explodes in her 1978 essay,  "Disloyal to Civilization ", with:  But in you I seek both difference and  identity. We both know that women are  not identical: the movement of your  mind; the pulse of your orgasm; the  figures in your dreams; the weapons  you received from your mothers, or  had to invent; the range of your hungers — I cannot intuit merely because  we are both women. And yet, there is  so much I can know. What has stopped  me short, what fuses my anger now,  is that we are told we are utterly  different, that the difference between us must be everything, must be  determinative, that from that difference we must each turn away; that we  must also flee from our alikeness.  The book is a marvelous portrait of a woman who spirals from thoughts on being a  writer and mother, a poet and an academic;  all of the above; and, a lesbian. It's a  powerful intellectual sharing of possibilities, a personal vision. And intimate,  illuminating portraits of women writers  such as Emily Dickinson, Charlotte Bronte,  Anne Sexton....  Mostly, it is a journey through one woman's thoughts. What has shaped her, her  rages with language and how it has been  used against women, the power of language  which women are re-dis/covering to tell  our own thoughts and lives.  And probably one of the most exciting  things this book holds for me is that  Rich is not afraid to make statements, to  Re-vision—the act of looking back,  of seeing with fresh eyes. . .  is for women more than a chapter  in cultural history:  it is an act of survival.  speak from where she is now, or to look  back to her not-quite formulated thoughts  of 1968. Because she is a writer, primarily a poet, the book focusses on women  as writers, women and language, the lack  of our history because we have not used  language or have used an academic language  and methods of criticism which do  not  speak for us. She says,  I believe any woman for whom the feminist breaking of silence has been a  transforming force can also look back  to a time when the faint, improbable  outlines of unaskable questions,  curling in her brain cells, triggered  a shock of recognition at certain  lines, phrases, images in the work  of this or that woman, long dead,  whose life and experience she could  only dimly imagine.  The fact that this woman wrote so many of  these pieces so long ago and I have just  discovered them makes me angry. That I'm  discovering them at the same time as  many of my friends makes it exciting. As  Rich says in her 1971 essay, "When the  Dead Awaken: Writing as Re-Vision", a  chronicle of her own writing career, "The  sleep-walkers are coming awake, and for the  first time this awakening has a collective  reality; it is no longer such a lonely  thing to open one's eyes." So, what to do  with the discoveries? Close the book and  run, maybe.  Open it to a new page?  The new page says even more. From the same  essay Rich talks about this "Re-Vision":  Re-Vision — the act of looking back,  of seeing with fresh eyes... is for  women more than a chapter in cultural  history: it is an act of survival.  Until we can Understand the assumptions in which we are drenched, we  cannot know ourselves. And this drive  to self-knowledge, for women, is more  than a search for identity: it is  part of our refusal of the self-des-  tructiveness of male-dominated society.  A radical critique of literature, feminist in its impulse, would take the  work first of all as a clue to how we  live, how we have been living, how we  have been led to imagine ourselves,  how our language has trapped as well  as liberated us, how the very act of  naming has been till now a male prerogative, and how we can begin to see  and name — and therefore live —  afresh.  A change in the concept of  sexual identity is essential if we  are not going to see the old political  order reassert itself in every new revolution. We need to know the writing  of the past, and know it differently  than we have ever known it: not to  pass on a tradition but to break its  hold over us.  One woman who fought to break patriarchy's  hold over her own work was poet Anne Sex-  ■oon, who committed suicide in 1974 at  age 46.  In a short speech given in her  honour and memory, Rich cries out that we  have had "... enough of self-destructive-  ness as the sole form of violence permitted to women. We have had enough of suicidal women poets, enough suicidal women."  And she zeros in on the ways that we destroy ourselves: self-trivialization —  believing we are not capable of major  creations; that our own needs, our work,  must always be secondary, that we are content to imitate men in our intellectual  and artistic work. She focusses, too, on  our contempt for women — how our self-  determination and survival are secondary  to the "real" revolution created by men.  displaced compassion is another destructive weapon; compassion for those who are  oppressing us rather than compassion for  ourselves. The fourth way in which we  destroy ourselves she names as being  addiction. And this passage reads like  an indictment because it is so true of  our lives: Continuedonpage9. RADICAL REVIEWER  THE RADICAL REVIEWER  by Cy-Thea Sand  My first reading of Radclyffe Hall's The  Well of Loneliness took place in 1971.  I found a used paperback edition at a  Women's Auxiliary booksale in Grand Falls,  Newfoundland. At this time, I was  twenty-four and teaching in a small mining  community.  I started reading the novel  the same evening, remaining in bed all of  the next day until its final word was  consumed.  That week I felt vaguely moved  and mentally confused,I had no words  for the effect the novel had on me.  In  retrospect, that week seems to have passed  uneventfully save for an image I have of  myself lost in nameless but intense  thought.  Having spent the last six years nurturing  a lesbian feminist consciousness, I am  somewhat abashed at my confused reaction  to this "classic" lesbian novel. My self-  consciousness is little assuaged by  Virginia Woolfs reaction to The Well:  "The dullness of the book is such that any  indecency may lurk there.-, .one simply  can't keep one's eyes on the page." Undaunted by Virginia's acidic comment, I  have recently re-read the work for the  Vancouver Lesbian Literary Collective.  Moreover, I have researched what little is  available on Radclyffe's life and discovered her first novel, The Unlit Lamp.  This fiercely feminist novel was totally  unexpected from the pen of Stephen Gordon's  creator.  The incongruity of these two  works — only four years apart — sent me  searching for an explanation.  Radclyffe Hall: Spooked by the Patriarchal Depths  With this phenomenon in mind, I attempt to  connect the seemingly inexplicable contradictions in Radclyffe Hall's creative imagination as dramatized in three of her  works: The Unlit Lamp (1924), Hiss Ogilvy  Finds Herself U92b)~and The Well of  Loneliness(l928).  Radclyffe Hall was inspired to write her  first novel while travelling with her lover,  Una Troubridge. 'Dining in a hotel one  evening, Hall noticed a middle-aged daughter doting over her aging mother. Hall  whispered to Una: "Isn't it ghastly to  see these unmarried daughters who are just  unpaid servants and the old people sucking  the very life of them..." Another theme  obsessing Hall at this time was the love  between women — a love she longed to  dramatize as a pure and holy thing.  These two themes combine to form the plot of  The Unlit Lamp.  Joan Ogden's governess,  Elizabeth wants Joan to leave home to live  and study with her in London.  Joan longs  to go but is ambivalent about leaving her  mother.  The novel's tension is created  by Joan's vacillation, her mother's emotional manipulation and Elizabeth's growing  impatience.  The denouement occurs when  Joan, packed and waiting for Elizabeth,  suddenly turns to see her mother in her  anniversary dress looking like a "grey  dove". Elizabeth, concerned about missing  the train, rushes into the hall.  Joan  faces Elizabeth and tells her that she  cannot leave her mother.  I attempt to connect the seemingly inexplicable  contradictions in Radclyffe Hall's creative  imagination as dramatized in three of her works:  The Unlit Lamp (1924), Miss Ogilvy Finds  Herself (1926) and The Well of Loneliness (1928).  I found part of it in a short story Hall  wrote between the two novels. Miss  Ogilvy Finds Herself is a grotesque, frightening celebration of heterosexism.  Unrelenting in its savagery and homophobic imagery, it provides a clue.  It  was written shortly before Hall commenced  The Well, which she describes as her  serious study of congenital sexual inversion. I'lary Daly helped me to unravel the  incongruity a little further.  In her  analysis of women's psychic slavery under  patriarchy, Daly explores the misogynist  forces which spook women into a silent  compliance with their own oppression.  In  Gyn/Ecology, Daly writes that spooking  takes,  ... the shape of nameless fears, unbearable implanted guilt feelings  for affirming our own being, fear of  our newly discovered powers and of  successful use of them, fear of discovering/releasing our own deep  wells of anger, particularly fear of  our anger against women and  against ourselves for failing  ourselves.  The novel's emotional intensity is coloured  by sensual imagery. The love between Joan  and her mother is described as being almost  sexual in nature:  She would listen for Joan's footsteps on the stairs, and then assume  an attitude, head back against the  couch, hand pressed to eyes. Sometimes there were silent tears hastily  hidden after Joan had seen, or the  short, dry cough so like her brother's  Henry's. ' Henry had died of consumption.  Then as Joan's eyes would grow  troubled, and the quick: 'Oh Mother  darling, aren't you well?' would burst  from her lips, Mrs. Ogden's conscience  would smite her.  But in spite of herself she would invariably answer: 'It's  nothing, dearest; only my cough', or  'It's only my head Joan...'  Then  Joan's strong, young arms would comfort  and soothe, and her firm lips grope  until they found her mother's; and  Mrs. Ogden would feel mean and ashamed  but guiltily happy, as if a lover held  her.   (p. 13)  Mary Ogden is dissatisfied with her marriage and early in the novel she expresses  disdain for her husband's masculinity:  There on the chair lay his loose,  shabby garments, some of them natural coloured Jaeger.  And then his  cholera belt!  It hung limply suspended over the arm of the chair, like  the wrath of a, concertina.  On the  table by his side lay a half-smoked  pipe.  His bath sponge was elbowing  her as she washed; his masculine personality pervading everything; the  room reeked of it.  (p. 25)  As Joan matures, her mother's obsessive  need for her deepens. Mary Ogden is viol  ently jealous of Elizabeth. The confrontation between Mary and Elizabeth is one  of the most dramatic scenes in the novel.  Elizabeth decides to speak to Mary as she  is concerned about her effect on Joan's  intellectual ambitions:  "I think Joan loves you too much.  I  think that underneath her quiet outside there is something very big and  rather dangerous; an almost abnormally developed capacity for affection, and I think that it is this on  which you play without cease, day in  and day out.  I feel as if you were  always poking the fire, feeding it,  blowing it until it's red hot, and  I can't think it's right. Mrs. Ogden,  that's all; I think it will be Joan's  ruin. (p. 71)  Mary Ogden is outraged by Elizabeth and  has to restrain herself from striking the  woman who threatens her the most. Mary  understands the nature of Elizabeth's love  for Joan.  The battle for Joan's affection  transcends "normality".  In her first novel  Hall does not use the word invert. However, the covert homoerotic element in  Joan and Elizabeth's passionate friendship,  gives this work its emotional power. With  theme,- imagery and plot, Radclyffe Hall  weaves a moving story of unrequited lesbian love.  The Unlit Lamp Reveals a Feminist  Consciousness  The uniqueness of this work lies in its  feminist consciousness. Elizabeth's love  for Joan is characterized by its respect  for and fostering of Joan's intellect.  Elizabeth tells Joan that she wants her  devotion as well as her work, independence  and success (p. 126). Mary Ogden, meanwhile, is terrified of Joan's financial  independence.  Joan's Aunt Henrietta, in  an intentional slight to her brother,  Colonel Ogden, leaves Joan and her sister  Millie, 300 pounds a year.  Mary is frantic with concern over losing Joan and  finds it difficult to concentrate on consoling her husband's devastated pride.  Indeed, the economic base of women's oppression is well expressed by Hall.  Joan's father rants about his intention to  preserve his authority and discipline over  his daughters, despite their inheritance.  When Joan informs him of her decision to  study medicine, he shouts himself into a  heart attack:  "Not one penny will I spend on any education that is likely to unsex a  daughter of mine.  I'll have none of  these new-fangled women's rights  ideas in my house; you will stay home  like any other girl until such time  as you get married. You will marry; do  you hear me? That's a women's profession! A sawbones indeed; do you  think you're a boy? Have you gone  stark, staring mad? " (p. Ill)  Colonel Ogden loses most of his inheritance  by investing the money against his lawyer's  advice. As he strongly opposed Millie's  desire to study music, and Joan's to study  medicine, this action can be interpreted  as his last misogynistic gesture of power  over his daughter.  The profound, immobilizing sense of guilt  Joan suffers, is created and nurtured by  both her parents.  Upon hearing of her  father's misguided investment, she tells a  friend about her inner rage against this  injustice.  However, Joan senses that her  rage is suppressed for fear of hurting her  parents, (p. 119) In her ambivalence  about leaving home, Joan becomes obsessed  with her appearance:  The more unhappy she felt the more  care did she lavish on her appearance;  it was a kind of bravado, a subtle  revenge for some nameless injustice  that fate had inflicted on her. (p. 158)  Patriarchal Spooking at Work  This form of patriarchal spooking is suffered by most women — even by those of us  aware of its insidious roots. If we are  encouraged to doubt our intellectual ability, or are prevented from pursuing an  interest, we can always devote our energy  to attaining physical approbation.  Joan is emotionally unable to leave her  mother.  Elizabeth's profound sadness and  frustration are keenly felt by the reader.  Elizabeth finally marries in an attempt to  remodel her life away from Joan. Marriage  is an unhappy surrogate for this devoted  middle-aged woman, who longed to share her  life with Joan in the intellectual circles  of London.  Joan cares for her mother un-  Unable to inspire the woman she  loves, Elizabeth dramatizes the dislocation of women under patriarchy.  Unable to leave her mother, Joan  characterizes the emotional mutilation of women socialized to serve  another's needs above their own. And  Mary Ogden, with her anxious,  destructive need for her daughter,  symbolizes the frustrated, wasted  lives of women, women who are  allowed power only over those least  able to resist—their children.  til the latter's death.  Joan then becomes  a companion for a brain-damaged cousin.  Unable to inspire the woman she loves,  Elizabeth dramatizes the dislocation of  woman under patriarchy. Unable to leave  her mother, Joan characterizes the emotional  mutilation of women socialized to serve  others' needs above their own. And Mary  Ogden, with her anxious, destructive need  for her daughter, symbolizes the frustrated, wasted lives of women ■— women who  are allowed power only over those least  able to resist — their children.  What Erodes this Vision?  One of the most interesting aspects of The  Unlit Lamp lies in Hall's vision of an  alternative for women. In 1924, women  sharing their lives together, unfettered  by marriage, children or the demands of  aging parents, was rare. Hall investigated this possibility while she, herself,  lived with Una Troubridge. Her imagination was able to envision two strong, independent women living and loving together.  What horrific influence, then, eroded this  feminist vision? How did the creator of  Elizabeth and Joan dismember her imagination to create Miss Ogilvy — that disturbing sketch of the future Stephen Gordon?  Radclyffe Hall called herself "John" and despised  doing business with  women.  Radclyffe Hall in J935. A photograph by Una Troubridge  Written in July 1926, Miss Ogilvy Finds  Herself, is described by Hall as her "brief  excursion into the realms of the fantastic"  Miss Ogilvy is a middle-aged woman who  perseveres against male prejudice until  she is accepted into the army during World  War I. She is described in ways which  foreshadow the character of Stephen Gordon  in The Well — "her tall, awkward body with  its queer look of strength," Miss Ogilvy's  childhood parallels that of Stephen Gordon's.  They both dislike dolls, preferring  stable-boys to girls as their companions.  As they reach adolescence, both Stephen  and Miss Ogilvy, while liking and respecting men, are repulsed by marriage proposals.  The oddity of their natures is  suspected by their respective mothers, who  futilely attempt to mold them into ladies.  The butch motif is emerging, as you may  have guessed.  Miss Ogilvy serves her country well and  feels alienated and empty when the war  ends. She becomes increasingly cantankerous with her sisters with whom she lives.  (These unmarried sisters are described as  neurotic, frustrated hypochondriacs).  Miss Ogilvy, shaken by a co-worker's plans  to marry, decides to travel.  She journeys  to a small island off the south coast of  Devon and is amazed at the knowledge of  this hitherto unknown place.  The hotel's proprietress proudly displays  some of her island's artifacts to Miss  Ogilvy — bronze arrow-heads pieces of  ancient stone celts.  However, Miss Ogilvy  is repulsed and angry when she is shown  the skeletal remains of a primitive man  believed to have been murdered. Miss Ogilvy knows "as if ty instinct" how the man  had been murdered and buried. She is  shaken by her fury towards and hatred for  the proprietress.  She leaves her hostess  abruptly and goes to her room. Miss  Ogilvy lies on her bed and Hall's grotesque  fantasy begins: Miss Ogilvy becomes a six  foot tall tribesman walking along the island's beach with a female companion by  her/his side.  Primitive language is used in the dialogue  between the two as the woman looks adoring at our sex change to coo:"For you,  all of me is for you and none other. For  you this body has masterhood;  blood of my body." She is more articulate  than he; she is weak while he is strong;  he is concerned about their enemies while  she wants to speak only of love. See  Dick run.  See Jane watching Dick run.  Eventually they fall into each other's  arms. ► ► ► RADICAL REVIEWER  THE RADICAL REVIEWER  HALL, continued.  The woman protests and gasps in fear of  her first sexual experience: "... she must  give that quick gasp of fear, while she  clung close to him lest he should spare  her." Unguarded after the exertion of  love-making, the lovers are killed by their  enemies.  The story ends with:  They found Miss Ogilvy the next  morning; the fishermen saw her and  climbed to the ledge.  She was sitting  at the mouth of the cave.  She was  dead, with her hands thrust deep into  her pockets.  If her novel The Well of Loneliness had  not followed this story, one could almost  suspect that Hall had written a bitter  satire on heterosexism. Clearly,. Miss  Ogilvy is Stephen Gordon's predecessor.  She dies for the want of masculinity while  Stephen is doomed to agony in an Intolerant  world.  This story seems to be a disturbing, crass expression of Hall's self-  hatred. Her male-defined vision fosters  and creates her most famous novel, The  Well of Loneliness. Meanwhile, in her own  life, she calls herself "John" and despises doing business with women. And in this  short story, Hall makes it clear that a  primitive, illiterate male is to be more  admired than and preferred to a little,  weak woman who can think of nothing more  than being a slave to love.  As Lillian Faderman notes in her article,  Radclyffe Hall and the Lesbian Image, The  Well of Loneliness became a cause celebre  mainly because of the obscenity trials  which followed its publication. Early  twentieth century thought was divided as  to the causes of lesbianism. Havelock  Ellis for one, argued that lesbianism was  an innate, inherited abnormality while  Freud theorized on the environmental factors in sexual development.  Against this background, Radclyffe Hall  decided to write a political defense of  lesbianism. Some have called her decision  noble and courageous. Others (feminist  literary critics, for example), are angered by the way Hall chose to defend us.  Her central character, Stephen Gordon, is  portrayed as a self-loathing, suffering,  congenital butch — whose supreme act of  honour is that of giving her lover to a  man.  We are justified in our anger at  this characterization. Hall was familiar  with the lives of many lesbians of her  time — most of whom were strong, independent women; few of whom were into role-  playing.  Women loving women Inspired Natalie  Barney's Salon  Hall began work on this novel while in  Paris where Natalie Barney's salon was  flourishing. This salon helped to create  a supportive environment in which women  encouraged each other to live creative,  productive lives. Natalie Barney's circle  included such women as Colette, Romaine  Brooks, Djuana Barnes and Lucie Delarve-  Mardrus — independently wealthy and ambitious women. Barney's friendship with  the poet Renee Vivien was distinguished  by their shared feminist awareness and  their lesbian pride. Whereas "Radclyffe  Hall believed that pride was possible in  spite of lesbianism, Vivien and Barney  were proud of_ it. "  Class privilege was a  major factor in the lives  of these creative women.  Obviously, the class background and  privilege of these artistic women protected them, to a certain extent, from a  homophobic world.  It is this world which  Hall describes with acerbity in The Well  as a place  "that will turn away its eyes from  your noblest actions, finding only  corruption and vileness in you.  You  will see men and women defiling each  other, laying the burden of their sins  upon their children. You will see unfaithfulness, lies and deceit among  those whom the world views with approbation. You will find that many have  grown hard of heart, have grown greedy,  selfish, cruel and lustful, and then  you will turn to me and say: 'You and  I are more worthy of respect than  these people. Why does the world  persecute us Stephen?' And I shall  answer: 'because in this world there  is only toleration for the so-called  normal."  richs (1825-1895), who strove to demonstrate that abnormal instincts were inborn and therefore natural. As Stephen  matures into a woman, her father is convinced of her inversion — that her sexual  instincts do not correspond with her sexual organs. Mr. Gordon is as sympathetic  and supportive of Stephen as Hall longed  for phallocratic society to be with all  lesbians.  However, Stephen's relationship with her  mother is characterized by mutual discomfort and apprehension. Shortly after  the child's birth, Anna Gordon begins to  feel this unease.  Her feelings grow as  Stephen looks and acts more and more like  a boy.  Philip Gordon senses his wife's  distress but he does not share his concern  about Stephen's "normality" with her.  Philip shuts himself up in his study to  research and contemplate his daughter's  eccentricity. Anna is left alone to  worry and castigate herself.  She is denied knowledge and therefore can rely only  Natalie and Romaine  i Geneva, probably n>  met, circa 1915.  long after they  Hall's understanding of homophobic hypocrisy is clear in this passage. However,  from a radical perspective, her greatest  •intellectual weakness lies in her inability  to perceive the roots of such hypocrisy  within the heterosexist culture from which  she sought sympathy and acceptance.  In The Unlit Lamp we are introduced to the  two" equally strong minds of Elizabeth and  Joan.  Both are intellectually curious  and career-motivated.  Their personal liberation is undermined by Joan's inability  to transcend her deep sense of guilt.  But  Hall does leave us with hope for future  generations of women. At the end of the  novel, Joan overhears two young women  describe her as a kind of pioneer:  "I believe she's what they used to  call a 'New Woman', said the girl in  breeches, with a low laugh.  'Honey,  she's a forerunner, that's what she  is, a kind of pioneer that's got  left behind.  I believe she's the  beginning of things like me." (p. 284)  These two women are Involved with active  war service and are aggressive and confident in manner. Radclyffe Hall was acutely  aware of the influence of the First World  War in liberating many women from traditional roles.  Unfortunately, her feminist analysis is  truncated by her attitudes towards her own  sexuality. Hall understood lesbianism to  be a biological aberration rather than a  lifestyle alternative for women. Hall  withdrew from a deeper questioning of the  societal status of women in preference to  a biological explanation for her own desires.  (The former would have led Hall  directly to a profound criticism of a  society which, except for its intolerance  of lesbianism, she condoned.)  Hence, Stephen Gordon's sexual proclivity  is foreshadowed by our first glimpse of  her as "...a narrow-hipped, wide-shouldered  little tadpole of a baby..." (p. 5) As  Stephen grows up, her father becomes more  and more aware of her oddity, her difference. He consults the works of Karl Ul-  on her emotional instincts. They lead  her to doubt her ability as a mother --  this doubt is exacerbated by anger and  guilt.  One member of the lesbian literary collective, Connie, was angry with Anna Gordon  during her first reading of The Well.  However, on her second reading, she felt  sympathy for Anna and anger with Radclyffe  Hall for her unsympathetic portrayal of  Anna. Anna is encouraged to do nothing  but to appear "lovely as only an Irish  woman can be".  By shutting her out of  the most serious problem of their marriage,  Philip insults and isolates her. Anna  has no power or influence over her daughter; a daughter she describes as "a chara-  citure of Sir Philip, a blemished unworthy  maimed reproduction." (p. 15) The rage  Anna describes is poignant:  But Anna, looking gravely at her  daughter, noting the plentiful auburn  hair, the brave hazel eyes that were  so like her father's as indeed were  the child's whole expression and  bearing, would be filled with a sudden  antagonism that came very near to  anger,  (p. 15)  Neither mother nor daughter have ever been  able to express affection easily to each  other. Hall infers that Anna's beauty  excites Stephen sexually while Anna is  repulsed by the maleness of her daughter  — a daughter who clearly prefers and  identifies with her father. Anna is  doubly betrayed.  Given her congenital definition of lesbianism, Hall can only create a world of  Stephen Gordons, real men, and women like  Mary Llewellyn.  In Hall's imagination,  the latter can find normal happiness only  with men. Mary, as Stephen's lover,  strives to please only Stephen, denies  her own needs for achievement and satisfaction, and Is subsequently rewarded with  the love of a man. Living with and loving  Stephen becomes Mary's prerequisite for  'normal' marital bliss. THE RADICAL REVIEWER  RADICAL REVIEWER  Hall, continued  Hall's static definitions of womanhood  can lead only to the novel's tragic-  comic ending.  Stephen misinterprets  Mary's restlessness as her inability to  cope with their lesbian lifestyle.  This  restlessness is, however, symtomatic discontent of the intelligent and creative  mind longing for productive work.  Stephen literally drives Mary into the arms  of a man (who loves her) by deceiving  Mary into believing that she no longer  loves her and that she is involved with  another woman.  Even in the descriptions of Stephen and  Mary's happier times, Hall reveals her  heterosexist world view. A scene in  which Mary and Stephen finally confess  the depth of their love for each other is  disturbingly reminiscent of the love scene  in Miss Ogilvy Finds Herself:  They would sit together in a little  arbour that looked out over miles  upon miles of ocean... And Stephen,  as she held the girl in her arms,  would feel that indeed she was all  things to Mary; father, mother,  friend and lover, all things   But Mary, because she was perfect  woman, would rest without thought,  without exultation, without question;  finding no need to question since  for her there was now only one  thing — Stephen.  (p. 360)  In her work, Lesbian Images, Jane Rule  says of The Well: "It supports the  view that men are naturally superior, that,  given a choice, any woman would prefer a  real man unless she herself is a congenital freak." In her own life, Radclyffe  Hall believed that men were superior to  women and thus she strived to live as  one. However, she won the love and  friendship of women who did not perceive  themselves to be pseudo-men. Hall's  crippled imagination could not explain or  sympathize with such women.  They were  an enigma to a writer who was conservative in everything except her sexual preference. In The Well of Loneliness, Valerie  Seymour (Natalie Barney; can only be  used by Stephen to deceive Mary. Stephen  is unable to foster a friendship with  Valerie as the latter's radical views  threaten Stephen's (Radclyffe's) view of  the nature of things.  Many people still laud Radclyffe Hall for  the courage she showed in writing The Well.  However, patriarchal society has many in-  sidious ways to discredit women.  Lovat  Dickson, Hall's biographer, has written a  bitterly misogynistic life of Radclyffe  Hall.  In Radclyffe Hall at the Well of  Loneliness: A Sapphic Chronicle, Dickson  belittles, humiliates and discredits his  subject. He writes: "Egotism is a symptom of a disturbed psyche, and the invert  ...finds an irrestible attraction in  taking risks." So Radclyffe Hall, while  she embraced patriarchal values, is ultimately insulted by them. Q  Radclyffe Hall and Una Troubridge in Edy Craig's Garden a  Smallhythe 1931.  Radclyffe Hall's Fiction  The Unlit Lamp (Hammond, Hammond & Co.  Ltd., 1924)  Miss Ogilvy Finds Herself (Hammond,  Hammond & Co. Ltd., 1934)  The Well of Loneliness (Pocket Books, New   York, 1974)   RICH, continued from page 5.  Addiction to "Love" — to the idea  of selfless, sacrificial love as  somehow redemptive, a female career;  to sex as a junkie trip, a way of self-  blurring or self-immolation. Addiction to depression — the most acceptable way of living out a female existence, since the depressed cannot be  held responsible.  Rich sees Anne Sexton's poetry as a "guide  to the ruins, from which we learn what  women have lived and what we must refuse  to live any longer."  A New Ethics Among Women  The core of the book for me is the 1975  essay"Women and Honor: Some Notes on Lying",  The piece, a kind of prose poem, is not  separated from her considerations of language and power, or language versus  silence.  It seems rather, to be the cornerstone. (Maybe cornerstone is the wrong  word, since it connotes something solid  and stodgy somehow. ) It seems the fluid  and moving pivot around which the promise  of her other essays grow and turn. For  without a "new ethics" among women, how  is it possible to progress "Towards a  Woman-Centered University"? Or, to discover that "It is the Lesbian in Us..."?  •♦♦ question everything. To  remember what has been  forbidden even to mention.  To come together telling  our stories, to look afresh  at, and then to describe for  ourselves.  Or to uncover new meanings in "Power and  Danger: Works of a Common Woman"?  In "Women and Honor", Rich sets out to uncover the meaning of honesty in her relationships with women. How to break the  can count on so few people to go that  hard way with us.  Trying to Name Without Fear  Truth in our lives, our relationships, our  writing.  Trying to say, to name without  An honorable human relationship—that is, one  in which two people have the right to use the  word "love"—is a process, delicate, violent,  often terrifying to both persons involved, a  process of redefining the truths they can tell  each other.  long-established silences, how to "liberate ourselves from our secrets." She says  she wrote it in an effort to make herself  more honest.  And so we must take seriously the question of truthfulness between women, truthfulness among women. As we cease to  lie with our bodies, as we cease to  take on faith what men have said about  us, is a truly womanly idea of honor  in the making?  An honorable human relationship  that is, one in which two people have  the right to use the word "love" —  is a process, delicate, violent, often  terrifying to both persons involved,  a process of refining the truths they  can tell each other.  It is important to do this because it  breaks down human self-delusion and  isolation.  It is important to do this because in  doing so we do justice to our own  complexity.  It is important to do this because we  fear, at least in the presence of one another.  It demands our sanity, our attention.  The liar, says Rich, " afraid  her own truths are not good enough."  Women have often felt insane when  cleaving to the truth of our experience. Our future depends on the  sanity of each of us, and we have a  profound stake, beyond the personal,  in the project of describing our  reality as candidly and fully as we  can to each other.  Rich's words are just that,her words. On  Lies, Secrets and Silences is spoken from  her age and perceptions and offered in the  melting pot around which women gather to  add the spice and spark of our own lives,  our own words....  To question everything. To remember  what has been forbidden even to  mention.  To come together telling  our stories, to look afresh at,  and then to describe for ourselves... RADICAL REVIEWER  THE RADICAL REVIEWER  FARMER, continued from page 1.  against her in the mental asylums, at the  same time confirming the deep terrors of  women.  There were moments when I could  not read further and I had friends who  could not finish the book.  There are several unsettling characteristics  in her writing. Often she is quite histrionic, at other times her words hit paper  with the dullness of a business report.  She struggles with her memory, posing questions she cannot answer (but will eventually answer with God); and her vulnerability is so overwhelming that often I felt  reading was an invasion of privacy. Her  incredible insights surface but are lost  again in contradictions, perhaps from an  instinctive fear she would be silenced  again.  In personal defence and in an attempt to  "establish the unlikely turn of events",  Frances relates a portion of her medical  record to which she was allowed access.  Still requiring "restraint and confinement'1,  she was transferred on July 18, 1948 from  Ward T to Ward L.  The next entry is not  until September 15, 1949; more than a  year later. The woman who once required  3 belts to bind her now "sits in a corner  with a blanket covering her head, but has  learned to answer pleasantly". As Frances  struggles to justify this ultraistic  change in her behaviour, I realized that  she was never told.  Frances refutes excessively the allegations of lesbianism and communism with  saddening defensiveness. Yet in spite of  Freeman's murderous operation, she is  still able to write.  "By the standards set by the majority, to  be insane is to be different and those  who are uncontrollably different are  locked away ... to exist through years of  ... perpetual nightmares."  Ironically, Frances continued to believe  that her hope lay in her ability to think.  The intense friendship between Frances  and Jean Ratcliffe was made difficult in  its early years by a homophobic public;  the plot resembling both The Children's  Hour and The Well of Loneliness. Frances  dedicated several chapters to this unacknowledged relationship.  Denied use of the phone after sentence was passed, she got into a  physical and verbal brawl with matrons, officers and reporters  and was hauled off to jail to serve her sentence.  from Shadowland by William Arnold  Whether or not Frances was actually a  lesbian is irrelevant.  What is crucial,  however, is male society's attitude towards women who choose to live whole  lives independent of government, religion  and men.  Even after her lobotomy, Frances was persecuted for remaining such a  woman.  She concludes her autobiography during the  summer of 1970, as she nears physical  death.  Describing sounds, smells, movement around her, she is without fear. 0  m Shadowland by William Arnold  How to Brighten a Patriarchal Day  (A review of feminist literary journals)  Cy-Thea Sand  I love subscribing to magazines and journals. Arriving home to find the latest  issue of SINISTER WISDOM or CONDITIONS  can brighten the worst patriarchal day.  Hours to relax and read feminist journals  should be legislated for all literary  feminists; It's the least "they" can do  for the years of man-made media we were  all fed. For me, the birth and growth of  feminist literary journals in the 1970s,  was one of the most gratifying aspects of  the women's movement.  It has inspired a book by Polly Joan and  Andrea Chesman entitled GUIDE TO WOMEN'S  PUBLISHING (1978, published by Dustbooks,  P.O. Box 100, Paradise, CA, 95969). The  first segment of the book is devoted to  feminist journals — they are listed with  a brief description of their contents as  well as subscription information. ROOM OF  ONE'S OWN is described as having a working  class consciousness, a professional appearance and a serious approach to literature.  The other segments of the GUIDE cover women' s newspapers, presses and distribution  outlets. This GUIDE is an invaluable resource for women seeking publication for  their work, teachers of women's studies,  or for any "ol bibliophile.  Of special interest for lesbian/feminists  are the following publications:  CONDITIONS  P.O. Box 56  Van Brunt Station  Brooklyn, NY 11215  "A magazine of writing by women with an emphasis on  writing by lesbians."  DYKE, a Quarterly  Tomato Publications Ltd.  70 Barrow St.  New York, NY 10014  "For Womyn Only reads a notice on the cover of Dyke, i  magazine produced by and for lesbian separatists."  FOCUS  Boston Daughters of Bilitis  Room 323,419 Boylston Street  Boston, Mass. 02116  "Focus is a literary review for gay women."  THE LESBIAN TIDE  c/o Tide Publications  8855 Cattaragus Avenue  Los Angeles, CA 90034  Tide is produced by a radical feminist collective whose  members believe that "basic change in this society is a  prerequisite for real liberation for women and lesbians."  LESBIAN VOICES  53 W. San Fernando  San Jose, CA 95116  "Editor Rosalie Nichols freely professes a personal bias in  favor of "individualism, anarchism, lesbian separatism,  feminist capitalism, atheism, and romantic literature."  SINISTER WISDOM  3116 Country Club Drive  Charlotte, NC 28205  SINISTER WISDOM  is  not  simply a magazine about  lesbians. It is an attempt to create a culture—and this  necessitates a self-conscious awareness in the effort to  deal with language and art in new, experimental ways.  - Quid* to Women's Publishing  Canadian publications of note include:  ATLANTIS  Box 294  Acadia University  Wolfville, Nova Scotia  BRANCHING OUT  Box 4098  Edmonton, Alberta T6E 4T1  CANADIAN WOMEN'S STUDIES JOURNAL (CWS/CF)  Centennial College  651 Warden Ave.  Scarborough, Ont. M1L 3W6  FIREWEED  P.O. Box 279  Station B  Toronto, Ont. M5T2W2  INTERNATIONAL JOURNAL OF WOMEN'S STUDIES  #12-245 Victoria Avenue  Montreal, Quebec H32 2M6  ROOM OF ONE'S OWN  1918 Waterloo Street  Vancouver, B.C. V6R 3G6 RADICAL REVIEWER  THE RADICAL REVIEWER  A Little Night Reading  by Connie Smith  D'SONOQUA: AN ANTHOLOGY OF WOMEN POETS OF  BRITISH COLUMBIA, Volume 2. Ed. Ingrid  Klassen. Vancouver: Intermedia, 1979.  Ingrid Klassen reunited old friends (our  friends) in a successful attempt at preserving the poetry of 17 contemporary  women.  Providing a balance between reality and vision, as well as a variety of  lifestyles, the poems are difficult for  me to criticize as this is such an historic  book for British Columbia women. Exceptional: Carolyn Zonalio's "Hooker on  Hastings Street", Lorraine Vernon's "No.3  Frank Street", Judi Morton's "Legend",  and Rona Murray's "Death of the Bear".  ZELDA (Frontier Life in America) A Fantasy  in Three Parts by Kaye McDonough. City  Lights Books; 1978. San Francisco.  In this remarkably visual play, Zelda  Fitzgerald struggles with Scott, selfhood and insanity to the sound of Hemingway's rifle, the constant appearance of  Virginia Woolf's spectre — often reciting  her suicide note — and Gertrude Stein's  utterings as oracle, mother, dance instructor and monumental statue. McDonough  incorporates complicated dialogue movement with three or more characters speaking at once or alternating words, thoughts  and perceptions. The result is a moving  portrayal of women's isolation from each  other with sad resolve.  APRIL TWILIGHTS (1903) by Willa Cather.  Ed. Bernice Slote. Nebraska: University  of Nebraska Press (Bison Books), 1976.  For lovers of Sapphic rhyme, traditional  ballad stanzas and collections of early  lesbian writing, Willa Cather's poetry is  challenging. Her poems reflect an education in philosophy, literature, Latin and  Greek, music, the arts; as well as images  of Nebraska life and European tours.  Worth pondering — "The Night Express",  written in 1902 while in Europe with a  woman friend, and "Prairie Dawn", a rare  poem in blank verse.  SIX OF ONE by Rita Mae Brown.  New York,  Bantam edition, 1979.  Another chronicle from the American South,  this time documenting the lives of three  generations of southern women. Although  written with acceptability in mind (the  back cover of the paper edition is pure  crap), the message is clear.  Possible  tear-jerker and a chance to contemplate  immortality.  WOMEN IN LATIN AMERICAN HISTORY: THEIR  LIVES AND VIEWS Edited by June E. Hahner.  UCLA Latin American Center Publications;  1976. Los Angeles.  This collection of seventeen essays is  exceptional reading for any Caucasian who  wishes to attempt an understanding of the  struggle of Latin American women. The  essays begin with a letter written to the  Spanish crown in 1556 by Dona Isabel de  Guevara asking for repatriation for the  settlement of women who founded the city  of Rio de la Plata; now known as Buenos  Aires. The men had become "enfeebled" by  the hardships of conquest, leaving the  women to tend to their sicknesses, plant  crops, forge trails, establish, defend and  save the colony. They succeeded. The  writings extend into the twentieth century.  NIGHTS IN THE UNDERGROUND by Marie-Claire  Blais. Musson Book Company; 1979. Ontario.  Blais' moment by moment account of self  indulgence in a Montreal lesbian bar —  however perceptive — is perhaps intentionally monotonous as character development  rarely exceeds the parameters of the  women's night life. Memorable quote:  "Perhaps that's what the hunger was: that  night itself should end and day come for  Lali and her sisters,thought Genevieve.  But the hunger for night was also the  hunger for women..." (Savez?)  eloquently written, to have the status  quo win in the end.  THE MIDDLE MIST by Mary Renault. William  Morrow and Company, Inc.; 1945. Popular  Library, 1972, New York.  As I am unaware of Renault's lifestyle  it is difficult to ascertain her purpose  in writing THE MIDDLE MIST. Her portrayal  of Helen and Leo, a lesbian couple of  five years, is fairly sensitive, despite  Leo's obsession with role playing. However, the overall theme explores the relationship's destruction — unfortunately  by Leo's dangerously naive sister and the  curiousity and sexual interest of two  major male characters. It is difficult  when something is so incisively and  BURNING by Jane Chambers. New York: Harcourt, Brace, Jovanovich, 1978.  Burning is the Safeway surprise of the  month. Hidden behind its sensational  cover — "They dared rebel against the men  who claimed them, and were possessed by a  strange passion that reached beyond!" —  are some incredibly gripping lesbian image:  Contemporary heterosexuals Cynthia and  Angela become possessed (on holiday no  less) by Martha and Abigal; lovers 200  years prior, one of whom was executed  for witchcraft.  A WOMAN APPEARED TO ME (1904-) by Renee  Vivien. Missouri: The Niad Press Inc.,  1979.  In this autobiographical account of her  relationship with Natalie Barney, Vivien  explores the death wish most associated  with romantic love. Translated from the  French by Jeannette Foster, it is an insightful work with an excellent historical  introduction by Gayle Rubin.  Speaking for Ourselves  by Barbara Herringer  The Quotable Woman: An Encyclopedia  of Useful Quotations  Indexed by Subject & Author  1800 - On  Compiled and Edited by Elaine Partnow  Anchor Books. Anchor Press/Doubleday  New York. 1978  I'd intended to follow up the themes that  seemed to be developing in The Radical  Reviewer by finding a few quotes from  various women who had written on silence  or nature or madness or "life". So I borrowed a copy of The Quotable Woman and set  to work. Surprise. It is impossible to  stick to one theme while dipping into more  than 500 pages of out-spokenness by women  as diverse as Simone de Beauvoir, Madame  Chiang Kai-Chek, Katherine Mansfield, or  Marilyn Munroe. There are more than 8,000  quotes plucked from journals, letters,  books, notes and it became a game bouncing  from year to year and subject to subject.  Some names are familiar, others are vaguely remembered from some high" school text.  Most though, were unfamiliar but I'd like  to read them now, find out about their  lives...  Enough. I want some of these women to speak  for themselves:  "If we had a vision of all that is ordinary in human life, it would be like hearing the grass grow or the squirrel's heart  beat, and we should die of that roar which  is the other side of silence."  "That's what I want to be when I grow up,  just a peaceful wreck holding hands with  other peaceful wrecks."  - Tillie Olsen, Tell Me  a Riddle. 1960  "True, the movement for women's rights  has broken many old fetters, but it has  also forged new ones."  -Emma Goldman, Anarchism  and other Essays 1911  "Lovers. Not a soft word, as some people  thought, but cruel and tearing."  - Alice Munro, Some-a:  -George Eliot, Middlemarch  "It requires philosophy and heroism to  rise above the opinion of the wise men of  all nations and races."  I've Been Meaning to  Tell You ' 1974  "Life in this society being, at best, an  utter bore and no aspect of society being  at all relevant to women, there remains  to civic-minded, responsible, thrill-  seeking females only to overthrow the  government, eliminate the money system,  institute complete automation and destroy  the male sex."  -Valarie Solanis, SCUM  Manifesto, 1967-1968  "Risk.' Risk anything. Care no more for the  opinions of others, for those voices. Do  the hardest thing on earth for you. Act  for yourself. Face the truth."  - Katherine Mansfield,  (1183-1923)  "Language makes culture, and we make a  rotten culture when we abuse words."  ■ Elizabeth Cady Stanton,  History of Women's  Sufferage"  1881  ■ Cynthia Ozick, We  are the Crazy Lady  and other Feisty  Feminist Fables. 1972 12 RADICAL REVIEWER  THE RADICAL REVIEWER  Feminist Bookstores:  As the Pages Turn  When, however, one reads of a witch being ducked,of a  woman possessed of the devil, of a wise woman selling  herbs, or even a very remarkable man who had a mother,  then I think we are on the track of a lost novelist, a  suppressed poet.. .indeed I would venture to guess  that Anon, who wrote so many poems without signing  them, was often a woman.  A Room of One's Own, 1929—V.W.  IN FROM THE COLD: THE VANCOUVER WOMEN'S BOOKSTORE  by Connie Smith  My first visit to the Van  behind the desk, who I;  arrival of Alex Dobkin's  The bookstore hasn't  ouver Women's Bookstore was in March, 1976. I was travelling: it was raining. The woman  er became known to me as Gloria, received a call from customs regarding a package—the  tew album "Living with Lesbians". It was a pretty exciting moment.  langed much. Ambiance reminiscent of those early seventies, it's still as warm with its  poster covered walls, over stuffed couches and "women only space" with coffee.  With the exception of Gloria's very personal commitment, many women have moved naturally through the store's  seven years. However the policy is unremitting. With 19th century lesbian classics aside, no contemporary books  or publications which may perpetuate stereotypes or promote any form of self-hatred are carried. For this reason,  the reader will not find Nancy Friday's My Mother/My Self, Sharon Isabell's Yesterday's Lessons, or Harris and  Sisley's The Joy of Lesbian Sex. Instead she will offer Our Mother's Daughters by Judith Arcana as well as  selections from other works in fiction, non-fiction, poetry, science fiction, bio and autobiography, theory. Most  books are in paper back only as cloth-bound are often priced out of women's range.  Richards Street also provides an outstanding collection of women's music as well as meeting space for various  women-oriented groups. Jewelry, buttons, and t-shirts are available with t-shirts being sold only to women.  As the only group in the telephone book listed under Women's Liberation, the bookstore women have processed  n years. For many women, Richards Street became, and still is, the first  For many women, Richards Street  movement contact.  and still is, the first  Photo by Connie Smith  Cedar has been with Ariel for a couple of years.  Photo by B. Herringer  ARIEL—A WOMEN'S BOOKSTORE  by Barbara Herringer  The afternoon is busy. Women dropping off coi  woven bags and Elaine has come in with pendar  set aside for "no comment" sexist advertising.  One of Cedar s regular customers has read a ba  ordered for the store. Someone comes in to che<  a few copies for friends.  The phone rings constantly. Is there a women s  Can you recommend a doctor, a massage then  calling to say hello or someone needing a good e  shelf while her mother is engrossed in the first te'  window display tc  get tf  Cedar is there most of the  picking up the phone with tr  door to greet customers wit  Ariel. Just about four yean  a comfortable place. Plants, i  jr of a book on an afternoon. Or i  3 the n  irrect. Ariel, i  k out whether a favourite book is  lostel or women's club in town? Any midwifery courses starting?  pist, a dentist? Are there any places to rent9 Often, it's a friend  ar A small girl quietly takes all the children's books off the bottom  v pages of The Wanderground.  ring flowers, hanging things, the scent of oils and incense and a  3 from passers-by. There are chairs to curl up in to  n the noise and smell of Fourth Avenue.  rainchild of three Vancouver worn  Ariel Collective Alumni scattered  3 thing, it sounded good and, for  e of the rebel angels. Appropriate.  Whatever the root of the name,  —maybe new magazines will h;  I discovered Ariel about eighteen months ago while on the search for a book that v  found it, but became a member of the collective and caught up on all the books I ne  There is an extensive collection in the store. Fiction. Politics. Feminist Theoi  Autobiography. Poetry. Women's Studies. Herstory Sexuality. Childcare. Midwifery.  Books. Used Bocks. Sport;  tickets, cards, jewellry, medici  i eferrai service. Often a crisis I  l, pamphlets, periodicals, newspapers  uality. Science Fiction.  ing. Cookbooks. How to  ecords, posters, crystal, concert  e pouches, menstrual sponges,  le. A drop in. A meeting place. Not just a bookstore.  Ariel is an integral part of Vancouver women's community and at the moment is suffering from  to our community—burn out. The store needs a strong shot of new energy from feminists wil  for a while. To take on some responsibility. TO bring in some fresh ideas. And of course, womei  books.  " Ariel is at 2766 West 4th Avenue at MacDonald. Open every day except Sunday from 10 a.rr  from 11 a.m. til 6 p.m. If you have a question or are looking for a book drop in and ask one of tr  desk, or call 733-3511. Don't give up. It's a busy line.  The Lesbian Literary Collective would appreciate your  comments/reactions to this first, we hope not last,  Radical Reviewer.  V/e may be contacted through Kinesis:  1090 West 7th Avenue  Vancouver, B.C.'V6H 1B3 KINESIS JUNE 80  VIOLENCE AGAINST WOMEN  "Bonnie and Clyde", "Easy Rider", "The  Killing of Sister George"). There was a  general acceptance of this by society.  At the same time, however, there was growing resistance to established authority.  Women, who became politically active in  the New Left liberation movements, grew  disillusioned as they realized their own  rights were being ignored or co-opted.  They joined together in a resurgence of  the women's movement to fight their  oppression. Coincidentally, we saw the  availablity of the pill and the easing of  abortion laws.  By the 1970s, pornography had become a  multi-billion dollar business.  Child pornography gained popular acceptance through  such movies as "Taxi Driver" and "Pretty  Baby". Oral V.D. in children increased  at this time. Snuff movies, in which  women are tortured and dismembered for the  purposes of male titillation, appeared on  the underground pornography market. Feminists were given 1975 as International  Women's Year as we became angry, active and  demanded, recognition as a social force. It  is no accident that the increase of pornography has followed hard on the heels of  the knowledge of feminism. As Andrea  Eworkin has pointed out,  "Violent pornography is death threats to  a female population in rebellion. "  She has also stated that,  "...genocide begins}  however improbably3  in the conviction that biological differences sanction social and political discrimination. "  Once society accepts and endorses oppression based upon differences of sex and race,  it becomes easy to commit atrocities against  us, ranging from using our bodies to sell  commodities to rape and genocide.  One of the many mechanisms by which we are  brutally oppressed is objectification.  This process allows us to be seen as inhuman, and as such, it is easy to deny our  feelings, needs, desires, and experiences.  We have been bombarded by these images of  women to such an extent that it has become  the accepted way in which men and often we  ourselves, view women. Overall we are not  shown as integral beings seeking our own  satisfaction and fulfillment but rather  appear as passive objects displaying ourselves for male pleasure, or as objects  for the use of men.  Women are shown as fragments  If we look at how women are portrayed in  advertising and pornography, several  patterns appear. Women are shown in bits  and pieces, as fragments — lips, legs,  breasts, buttocks — never as a whole. It  is so often used in male images of women  that we are no longer startled by ourselves  portrayed in this manner.  Take a close  look at magazine and newspaper ads, billboards, record covers and pornography.  Consider how portions of women's bodies  are used to sell products, as the butt of  humour and to train the viewer to see  women's bodies as. dismembered sexual parts.  Once the connection has been established  between the use of women's bodies as sex  objects to promote sales, it becomes easy  to extend, by association, the desirability  -saleability of any object or place by  putting a woman's body beside it. The con- S  nection that is made between the woman and  1  the object being sold is totally arbitrary, -3 ;  such as putting Goya's painting of a re-   5:  clining nude woman (entitled "The Nude     |l  Maja") beside a tire rim.  An important part of understanding the  despotic male power of pornography is  the implicit social relationship that exists between the viewer and the image.  There is always the assumption that men  are the surveyors/users and that women  are there to be surveyed/to be used.  Women are shown in an idealized male fantasy-image that ignores their reality.  The faces are young, passive, Caucasian,  usually painted and always conforming to  the male stereotype of female beauty.  Facial hair, wrinkles and blemishes are  never seen or accepted. All flaws are  either removed or airbrushed away. The  eyes are either closed or alluringly telling the viewer that she is available and  waiting for his pleasure, whatever that  may be.  The position of the body is often  grossly distorted in order to display her  availability. The clothes are uncomfortable, revealing and impractical. No  women choose to stand, sit, dress or act  in these ways.  Another variation of the male/female,  surveyor/user relationship is seen in the  increasing number of pornographic portrayals of lesbian sexuality. Lesbianism  The attractiveness of pornography to men is  apparent in its images of passive women  eager and willing to do anything and, everything to satisfy the male need for power.  In child pornography, societal values of  passivity and youth in women are taken to  their extreme. Young girls pose no threat  to the collective male ego. The younger  the mind and body, the easier it is to mold  towards submission. When women reach maturity, but not too mature, they can be an  extra turn on for their viewers, when they  accept the quasi attributes of a child, as  exemplified by the conscious use of knee  socks, virginal white panties, toys and  bubblegum. When women older than 25 are  used though, they are shown as worthless  Child as sex object. From a Graff ad for jewellry, London  has been represented and accepted throughout history for the voyeuristic titillation  of men. Even when women are shown loving  women, male dominance is maintained. This  is done in two ways. First, the women's  bodies are always positioned for display.  They are there for the use of the viewer.  Or secondly, a man is in the picture, either  as a voyeur or in a position of power over  the women. Women loving women are accepted in so-called sexually liberated male  circles only if a man is in control.  Another pattern that emerges as we study  pornography further is that of women  being shown with groups of men. The power  relationship between the women and the  men is quite clear. Women are in various  stages of undress or naked and vulnerable  while the men are fully clothed.  The  women are there to serve the men with their  bodies, either passively or by force if  necessary.  Even when the numbers are  reversed, the women are still powerless and  are there as servers or decorations for  the men. Whatever the circumstances,  they look happy and/or submissive.  Young girls pose no threat to  the collective male ego. The  younger the mind and the  body, the easier it is to mold  towards submission.  or ridiculous, often as the butt of humour.  Humour plays an important part in the ideological process that oppresses women. The  use of humour in the form of cartoons camouflages the message of hatred against  women.  Its form is fun-loving and therefore supposedly harmless. Humour can be  seen as an important step in the process  of making what is unacceptable in real  life situations acceptable in theory.  It  is a first step in breaking down the inhibitions against the use of violence.  It  shows women to be appropriate targets for  violence and degradation. In the pornography that we have studied, cartoons  contained some of the most violent messa-  ages we saw, all done in the name of  "erotic" humour. Women were shown mutilated or with their heads blown off —  helpless victims of atrocities. Would  you find that kind of humour funny?  Violence against women, much of it with  sado-masochistic overtones, has permeated  the media at every level.  It is found in  fashion magazines, newspapers, films,  record covers and all other magazines and  As women take control over their lives,  men are unable to relate to us. As many  feminists have said, it is not mere  chance that the increase in pornography  has coincided with the growing strength  and power of the women's movement. Men  are attempting to regain control and status over women by increasing the violence  agains-b us, as well as openly turning to  the exploitation and sexual abuse of children.  As the momentum of the women's  movement has increased, sado-masochism has  become more popular. Once considered the  perverted pleasure of a select few, it has  now become accepted as normal and healthy.  Women,are shown as bound, gagged, beaten  and forced into all kinds of sexual acts  and accepting it as their 'natural' sexuality. Sado-masochistic images reinforce  the stereotypical male-female relationship of a powerful, strong, macho-male and  Over to p. 10 KINESIS JUNE SO  FEMINIST PERSPECTIVE ON PORNOGRAPHY  cont. from p.  a weak, passive, submissive female. These  images train us to accept the lie that our  discomfort and pain is our pleasure.  The S&M message of pleasure through pain  and restriction is conveyed through popular everyday male-designed fashions such  as straps, lace-up tops, garter belts,  corsets, slit skirts and stiletto heels.  These have all been a traditional staple  in pornography.  These are fashions that  men have deemed appropriate for us to wear  as sex objects. They are either restrictive, uncomfortable or detrimental to our  health. Try running away from an attacker  in a sheath-tight slit skirt and stiletto  heels.  It is clear that women do not  design these fashions for their own comfort  or needs.  From advertising to pornography, our bodies  and minds are defined by men. We are told  what to look like, what to think, and how  to act in order to please a man. We are  encouraged to wear 'erotic' and 'sexy'  fashions, such as those from Chatelaine,  Cosmopolitan and Vogue. It is a short  step from these to heavy leather, whips,  dog collars, handcuffs and pierced nipples;  in fact, overt degradation of women.  These  fashions and images are telling us again  that the acceptance and self-infliction of  ,pain is the way to sexual satisfaction for  both ourselves and men.  If we deny the  notion that pain and degradation are pleasurable, we are accused of being prudish  and uptight. A truly liberated woman is  open, all orifices ready and waiting,  accepting anything, whatever that might be.  As if all of these things were not enough,  with the increase of technology, capitalism  has found yet another means of exploiting  us.  The market is now being saturated  with cheap pornographic video and film,  featuring such items as: Young Pussy Galore,  Coming on Strong, Teenage Spanking, Rape  and Rapture and Licking Lovelies.  Once  more, our sexuality is being defined in  male terms and exploited for male gain.  The dominant message in all pornography  is clearly directed towards women who are  challenging male definitions and authority:  stay in your place or pay the price.  As real women become less submissive, a  new commodity has been placed on the market, the ever-ready, guaranteed passive,  neverranswers-back, life-sized synthetic  doll.  It comes complete with three use-it  and abuse-it orifices. Surely this reflects men's total inability to relate to  women as human beings.  As a result of these male values, women  Sexist naming of children  goes on in B.C.  Margaret McHugh  At present, the Vital Statistics Act of  B.C. states that a child must have the  last name of the husband of a married  woman. Or, if the husband if not the  child's father, the child may (if the  natural father admits to paternity)  take the last name of the biological  father.  There is no circumstance under which a  married or separated woman may give her  child her surname, or a hyphenated  name. You can't fight this under the  B.C. Human Rights Code because the  Act takes precedence over it.  The vital statistics law with regard to  the naming of children has been changed  or amended in other provinces. But in  B.C. there has been no "public complaint. "  There is some work being done now to  change the act. I would like to contact women who have run into difficulties  registering their child, or who are interested in giving their children a  woman's surname.  Contact: Margaret  McHugh, 70 West 10th Ave, Vancouver  V5Y 1R6. Phone: 873-6195.  have been taught to accept, sexually respond to, and seek satisfaction through  submission and pain. Violence against  women in the name of love and liberated  sex is frequent and accepted. Outside of  male definitions, our sexuality has been  From advertising to pornography, our  bodies and our minds are defined by  men. We are told what to look like,  what to think and how to act in order  to please a man.  . Woman's body used to sell commodities  little explored. As women, we are beginning to reclaim and redefine it for ourselves. Some women have attempted to place  the female experience into the definition  of erotic to include a potential for mutal  caring, unlike pornography and male-defined  erotica. Myrna Kostash defines it as,  ...that gentle, laughing, administering  embrace of sensual camaraderie.  Audre Lorde, talking about the female viewpoint, views the erotic as that which is,  ...the personification of love in all its  aspects...personifying creative power  and harmony. When I speak of the  erotic then, I speak of it as an assertion of the lifeforce of women, of that  creative energy empowered, the knowledge and use of which we are now reclaiming in our language, our history,  our dancing, our loving, our work and  our bodies.  Need not be confined to genital sexuality  Through these feminist definitions we begin to understand that the erotic need  not necessarily be confined to genital  sexuality.  Pornography cripples and kills us. Women  all over the world have started to fight  back. We must reclaim our sexuality, our  bodies, our minds and our spirits. As  women, we must join forces to destroy pornography and male-defined erotica. We  are beginning to educate ourselves and  others about the women-hatred expressed in  it. We are using our anger and creative  energy to find ways to fight back. We  must take direct action: speak out against pornography, refuse to have it in  our homes; use self-defence; demonstrate,  leaflet and boycott premises that carry  pornographic and 'erotic' materials.  In order to survive, we must fight to have  our experience recognized and validated in  the ideological process. We must, in part,  do this by developing our mental and technical skills so that we will be able to  understand, make and control the images  that represent women.  We choose not to put the majority of our  energies into law reform. Not because it's  difficult to distinguish between what is  degrading and violent to women and what is  sexually enlightening and fulfilling to  human potential, but because, as feminists,  we have no reason to believe that those  in power, the authorities, have anything  to gain by legalizing and enforcing the  changes we advocate. We would be putting  out far too much energy for too few returns  We must reject the male definitions and  images that misrepresent our lives and  find other ways to combat our oppression.  We've got to fight back! Q  The above article is adapted from the script  of a slide-sound 'show entitled:   "Reclaiming  Ourselves: A Feminist Perspective Of Tomography,  1979"   This production is'available for rental or sale from Women in Focus  #6-45 Kingsway,   Vancouver,  B.C:     V5T 3H7.  Phone: 872-2250.  What is the connection between feminism and spirituality?  by Pat Scott  Spirituality seems to be a very difficult  concept to grasp. It seems that many women do not find a great deal of comfort  within it.  But I would like to define the  concept breifly, to reclaim the word in  its original definition and real feeling,  and relate it to the Tarot.  Women's spirituality is a reclaiming of  women's personal power, and I believe  that feminism could be defined as political spirituality. The political and the  spiritual do work together. So what I am  trying to show is that power comes deep  from within, and from this power we are  capable of real change. I believe the  true self of a woman is very powerful and  very spiritual.  The tarot is a-guide which can help us  towards discovering our true self. And  here I would like to discuss Sally Gear-  hart's book, "The Feminist Tarot". Sally  Gearhart defines the tarot as "an ancient method of divination, drenched in  history and rich in the meanings that  may be extracted from it. It is an  attempt to perceive and understand the  conscious and unconscious reality of  a particular feeling, question or circumstance." ,  In her book, Sally describes each tarot  card with a reference to feminism, patriarchy, chauvinism and hetero and non-het-  ero sexuality. Almost all cards are written in the female gender, and it is a  refreshing change to find a non-bias towards women's sexuality. Through expanding the original and traditional meanings, Sally shows women their sense of  power within a feminist/spiritual consciousness. This book is a very good  account of the symbolism of the Waite/  Rider tarot deck. Though some definitions do not feel accurate or true, this  is a very useful analysis, especially because it gives a feminist context.  As women searching for and discovering  our personal power, the tarot allows us  to look at some of our deepest and most  real feelings. "The Feminist Tarot"  offers a rich analysis for this exploration.  I believe, as defined, that spirituality equals the spirit of the soul;  spirit equals freedom; freedom equals  personal power...the tarot is a real  vehicle for finding this true power.  For Healing with the Tarot, call Pat  Scott at 873-6886. » KINESIS JUNE 80  LABOUR  The CLC convention appraised  Sexism was everywhere, but feminist presence growing  By Marion Pollock  On May 5, the Thirteenth Biannual Constitution Convention of the Canadian Labour  Congress (CLC) opened in Winnipeg.  The  newspapers were full of articles about  layoffs, unemployment, high inflation,  and workers struggling to attain decent  contracts.  The 2,700 delegates to this  convention were charged with steering a  course for the labour movement through  the next two years.  The convention was marred by bad and totally arbitrary chairing by CLC President •  Dennis McDermott and his pals.  Time and  time again speakers on the "con" mikes  were ignored.  The question was called  before the delegates had a full opportunity to debate their positions.  Convention committees, composed mainly of  McDermott appointees, refused to deal with  resolutions duly submitted by CLC affiliates.  Two examples of this concerned  the issues of self-determination for Quebec and tripartism. In the latter case,  there were thirteen resolutions opposing  tripartism and only two in favour. The  committee presented a composite resolution  endorsing this concept. Moreover, slick  manipulation of the convention agenda  prevented these and many more issues  from being discussed by the delegates.  Committees took guts out of resolutions  Generally, the committees took the guts  out of most resolutions.  One that outlined a plan of action either carried a  recommendation of nonconcurrence, or were  watered down to become nothing more than  empty rhetoric.  Policy papers outlined the issues facing  workers in Canada, but did not provide  solutions.  The convention failed to produce a comprehensive fight-back program.  Canadian workers are facing massive attacks  on their standard of living as well as on  their right to negotiate and strike. The  policies adopted by the convention do not  come to grips with these issues.  In fact,  the CLC executive attempted to push policies (for example, a labour marketing  board) which would allow trade unionists  to collaborate with the government in  deepening the crisis.  Sitting in this convention, one got the  distinct feeling that all women and men  are in unions, for there was little discussion about the need to organize the unorganized. There was no mention of unions  not affiliated to the CLC. The need to  build labour solidarity regardless of  affiliation was disregarded.  In his opening address McDermott spoke of  labour solidarity. He pointed out how the  trade union movement had played a crucial  role in the victory of the Bell Canada  and Radio Shack workers. But he failed  to generalize from this. Motions which  explicitly called for the formation of  strike support networks never saw the  light of day.  But there were exceptions  The convention unanimously passed a motion  giving the Canadian Union of Postal Workers (CUPW) active support in their fight  with the government. In fact, McDermott  was so carried away by the debate (and so  desirous of avoiding criticism) that he  was forced to say that this support was  with no strings attached.  However, in a later interview he qualified  that remark.  A motion regarding the right to strike was  passed; as a result the CLC is committed,  on paper at least, to oppose any attempt  to weaken the labour movement. This is  a change from the past two years, when the  CLC leadership at best did nothing and at  worst refused to support unions who were  fighting anti-labour attacks.  The convention passed resolutions on other  subjects including technological change,  a shorter workweek, opposition to strikebreaking, RCMP harassment, and red-baiting. Also passed was a motion committing  the Congress to a fightback campaign  against unemployment, including organizing the unemployed (when possible).  Most women workers are concentrated in the  public sector.  This was reflected by the  fact that the majority of women delegates  (less than one sixth of the convention)  were from CUPE, provincial government employees' unions, and CUPW.  The convention left me with a sense of optimism.  The work we have done for the past  two years, and the work of our foresisters  and brothers is beginning to show results.  An example of this is the resolution proposed by the CLC executive on bloc voting.  If passed, this would have transformed the  CLC into an entirely undemocratic, bureaucratic body.  In 1978 a similar resolution  was defeated by slightly over a third of  the delegates.  In 1980 it was opposed by more than 50$  of the delegates.  The resolution in  favour of CUPW showed that we as workers  can force the CLC into adopting decent  positions.  The leadership may be rotten,  but the rank and file is not.  The convention endorsed a policy of public  support for the inclusion of a sexual orientation clause in the Canadian Human  Rights Act, and encouraged affiliates to  bargain for the inclusion of sexual orientation clauses in the anti-discrimination  clauses of collective agreements.  Of specific interest was the section entitled "Equal Opportunity and Treatment of  Women Workers." The resolutions contained therein reflected the growing strength  of the women's movement.  a bulletin on these issues as well as embarking on a massive PR and education campaign  The CLC also urged locals to set up affirmative action/equal opportunity committees.  The one drawback of the report was that it  proposed mixed, instead of women-only, committees.  The resolution on sexual harassment urged  affiliates to adopt policies opposing this  insidious form of harassment. It encouraged  affiliates to train officers and stewards  in dealing with instances of harassment,  and to negotiate protection against sexual  harassment in contracts. The woman who  spoke on this issue received a standing  ovation.  The convention was far from free of sexism.  It was present everywhere. But also present was a growing group of feminist trade  unionists.  There were a number of high points for me  as a delegate. Support for CUPW was one;  the almost unanimous standing ovation  paid to a woman striker from Radio Shack  was another.  A broad spectrum of feminists, leftists  and plain old militant unionists came together at the convention. A left caucus  was formed which served to breakdown our  isolation.  It became a focal point for  opposition to McDermott's class collaborationist policies.  The caucus has networks  for ongoing information sharing and activities.  Dave Patterson, President of IOUSWA Local  6500, which had just concluded a successful strike at INC0 ran for a position as  one of the ten vice-presidents at large.  He ran on the basis of opposing McDermott's  sellout policies. Despite a poorly-organized campaign, he received only 200 votes  There were resolutions on Equal Pay for  Work of Equal Value, paid maternity leave,-  abortion, rape, sexual harassment and child  care. The number and scope of these motions were in and of themselves a victory  for the women's movement. We are seeing  trade union women beginning to develop  a tenatative synthesis between themselves  and the women's movement. At the 1974  convention there were virtually no resolutions dealing with women.  In 1980 there  were 35.  The policy statement from the committee  dealing with equal opportunity for women  workers was surprisingly good.  It encourages the formation of equal opportunity  and treatment committees at the local, federation and labour council level. It  pushes these groups to act as a coordinating pressure group for changes in legislation on such diverse topics as equal pay for  work of equal value, equal opportunity and  childcare. It committed the CLC to prepare  guidelines and to coordinate activity on  these topics as well as on contract clauses,  pension plans, and job training/evaluation  programs. It resolves that the CLC produce  less than tenth-place finisher John Fryer.  It was clear that much of the opposition  to Fryer was a result of his comments on  the nurses' settlement (see last month's  Kinesis).  Gone from this convention was the vicious  red-baiting and anti-postal worker campaigns which so much marred pervious conventions.  Present was a renewed sense  that we, as rank-and-filers, have the  power which can force the union movement into reversing terrible positions  and into taking up new fights.  The value of the CLC convention is that it  gives workers in Canada certain tools. The  motions passed are useless unless we go  into our unions and other organizations to  discuss, educate ourselves and fight around  these positions. By doing this we can  embark on a program to force the CLC to  take actions which will deal with our real  needs. The CLC has given us the tools.  (Marion Pollock is a postal worker in Vancouver. ) KINESIS JUNE 8C  OUR BODIES. OURSELVES  When birth control fails, don't turn to this book  By Fran Moira/Off Our Backs  WHEN BIRTH CONTROL FAILS, Suzanne Gage.  Hollywood, California: Speculum Press/  Self-Health Circle, Inc.  $6.95  WHEN BIRTH CONTROL FAILS is a do-it-yourself abortion manual. Its subtitle, which  does not appear on the cover, is "How to  Abort Ourselves Safely."  It was produced by women affiliated with  Feminist Women's Health Centers, acknow- '  ledging Carol Downer for her help in creating the book, and to the Federation of Feminist Women's Health Centers for their  support.  Its stated purpose is to provide women with  as much information as possible on the different self-abortion techniques, especially  poor women who have limited access to legal  abortion.  But poor women with limited access to legal  abortion probably also have limited access  to Speculum Press/Self-Health Circle Inc.  — and that's a good thing.  The abortion techniques that cost next to  nothing and require no special equipment,  which are the ones a poor woman would be  most likely to choose, are enormously  risky and are described in vague, misleading terms.  Self-digital abortion, which requires only  a woman's fingers, is presented as an effective technique after 12 weeks of pregnancy. The risk of severe complications and  death from abortion increases with,each advancing week of pregnancy. The woman who  waits around 12 weeks to stick her fingers  in her uterus is at a markedly increased  risk even when given an abortion under  sterile conditions by trained people.  Full-page illustrations make it look as  easy as pie to stick your fingers beyond  your cervix, and into the os just a nail's  width away from the amniotic sac and the  fetus. The text states that the technique  will induce abortion, although it may have  to be done several times a day over a period of several weeks (upping the risk even  more) before the cervix and the os have  been stretched enough to induce labour-like  contractions. The fetus and the placenta  will come out within minutes to several  hours, the manual assures. Massaging the  uterus will help remove any leftover material and help the uterus to contract down  to its normal size, its says, not mention-  after 12 weeks of pregnancy, by filling a  syringe with home-brewed saline solution,  inserting the nozzle through the os and  into the uterus, squeezing the syringe  and refilling it until a total of 4-and-  a-half cups of lukewarm and cold solution  have been emptied into the uterus. The manual advises that only a little saline be  let out with each squeeze to avoid getting  air into the uterus, which can cause embolism and death. How little is "a little  saline"?  It is not that the manual does not mention  such hazards as embolism, infection, hemorrhage, uterine perforation, and death  — it does — but the overall impact of  the confident text, simple instructions  and reassuring pictures is that these methods are safe, effective and easy.  The advice in the beginning of the manual  that it is always wise to have access to  backup medical personnel should anything  go wrong is of little use to the woman  who had no access to medical personnel in  the first place, which is persumably why  she is resorting to self-abortion.  The section on herbal abortion describes  a host of herbs that have reportedly been  used to tea form to induce abortion. Although it is generally recommended that  any brew be taken in large quantities for  several days, how much and for how long is  rarely detailed. Statements such as, "the  side effects of too much of this tea are  not know", "too many can cause convulsions"  and "if too much is taken there can be severe side effects" are sprinkled throughout  this section. How much is "too much"?  A particularly upsetting thing about this  section is the advice that unusual quantities of these brews be taken as early in  pregnancy as possible, with the best time  to start being five days before the expected period — which means that a woman may  subject herself to possible harm when she  may not even be pregnant, as an autopsy  showed in the case of a woman who overdosed  on pennyroyal oil because she thought she  might be pregnant.  The cautionary note that little is known  about the safety or effectiveness of the  herbal methods described, and that too  much of some may be poisonous, does not  override the fact that they are all described as abortifacients and directions for  brewing them are offered.  The section on laminaria (seaweed) abortion  a jar containing a flaming alcohol-soaked  rag. About the only thing that doesn't  get a mention in this manual is a coat hanger.  If the medical, corporate, or government  establishment put out a book like this, encouraging women to take something that  could do them harm, feminists would be  screaming pretty loudly.  The women in feminist women's health centers are certainly  no less accountable, and they are apparently as irresponsible.  We need to be able to provide ourselves  with the means to control our reproductive  lives, but right now this manual is more  dangerous than helpful.  It would better  have been distributed as an internal working document among women with the training  and resources to continue studying exactly  how self-abortion can be made safe and effective and, when all the necessary details  lacking in this manual became known, it  could have been released to the public.  Another alternative would be for these women to continue studying safe and effective abortion techniques and then devising  ways to make their services accessible,  underground, to women with no access to  establishment medical care.  The abortion techniques that cost next to nothing and require no  special equipment... are enormously risky and are described in  vague, misleading terms  ing that this uterine massage is done from  the outside, on the stomach.  There is no  reason a woman who doesn't know better  would not assume she was supposed to massage the uterus somehow from the inside.  How she is to know whether or not any tissue remains is unclear.  Another quick and easy method recommended  in the manual is sticking a Q-tip into the  uterus and wiggling it persistently but  gently.  That some women have certain health conditions that would make herbal remedies (or  any other aborton technique) more than  usually hazardous is given too little attention, in this section and in others. The  note in the description of one herbal brew  — that women with high blood pressure  should not take it — does not help the woman who does not know how high her blood  pressure is.  If you become pregnant with an IUD in  place, you might try pulling out the IUD  yourself, which could bring along the pregnancy contents. How does that grab you?  You could try a saline abortion, again  states that it can be done at almost any  time during pregnancy, simply by inserting  laminaria into the cervix and pulling it  out after about 12 hours, by which time it  should have swelled enough to stretch the  uterine opening sufficiently to induce  abortion either immediately or within a  few days.  It is mentioned that a suction  technique may be required to complete the  abortion if the woman does- not abort spontaneously and is in early pregnancy.  It is not mentioned that when laminaria is  used in later pregnancy to stretch the  cervical opening, the contents do not come  slipping out.  They must be broken up and  extracted manually (which has made many  doctors reluctant to do this kind of later  abortion even though it is considerably  safer for the woman than a saline abortion).  The manual recommends, instead, that a certain prescription drug be used at any time  during pregnancy if the uterus seems to  need help contracting.  Among those items recommended for serving  the function of suction equipment are converted bicycle pumps, vacuum cleaners, and  (Reprinted from Off Our Back, April  3)  Vancouver Women's Health  Collective comments on When  Birth Control Fails  The Vancouver Women's Health Collective has  this to say about the book, When Birth Control Fails:  At the Health Collective, we support the  research and development of effective,  safe techniques — such as menstrual extraction and herbal abortifacients —  that women can use for themselves and  each other.  For many years, we have been following the  work on menstrual extraction, pioneered  by women at the Feminist Women's Health  Centre in California, of which Suzanne  Gage, the author of When Birth Control  Fails, is a member.  However, while we do identify with the  intent and spirit of the book, When  Birth Control Fails, we agree with the  criticism of the Off Our Backs article,  that much of the information could be  dangerous, and that some of it is incorrect.  We are disappointed with and concerned  about the book for that reason. We are  preparing a letter to Suzanne Gage, outlining specific criticisms.  Upstream publishing final issue  As Kinesis goes to press, we are troubled  to learn that Upstream will be publishing  its final issue in June. Upstream, a feminist newspaper out of Ottawa, has been  an important presence in the Canadian feminist movement. We, at Kinesis, identify  intensely with the problems of publishing  movement papers, and we hope to bring you  a full account of the Upstream decision  in the next issue. We'll miss Upstream.' KINESISJUNE80  MUSIC  Third Annual Vancouver Folk Music Festival, July 18-20  Women's music will give us something to sing about  By Susan Knutson 1   Through music women have been reclaiming lost parts-of ourselves...few  things travel as widely and rapidly  as a song.  — Betsy Rose and Cathy Winter,  "Some Thoughts About Our Music."  Looking over the list of performers booked  for the Third Annual Vancouver Folk Music  Festival, followers of women's music will  be gratified.  Anyone who attended the "women + music = ■  power" workshop last summer, with Frankie  Armstrong, Heather Bishop, Ferron and Faith  Petric, knows that the previous two festivals by no means ignored this area of  music.  The third annual, however, promises to be  something of a super-special in terms of  feminist presence. Holly Near, Sweet Honey  in the Rock, Ferron, Betsy Rose and Cathy  Winter, and many more will be at Jericho  Beach Park July 18-20 for three days of  music, music, music.  I feel I can safely predict seventh heaven  for many music-loving feminists. Even more  than that, this summer's festival will introduce thousands of people to feminist  music — people who haven't thought about  it or just haven't had the chance to experience it. With two women's music workshops  and feminist musicians on the main stage  and in a variety of workshops over the  three days, women will be right in the centre of the action. Which, as far as I'm  concerned, is where we should be.  Here's a preview in terms of who's coming  and what to expect:  HOLLY ARNTZEN'S repertoire includes traditional and contemporary folksongs, many of  them about the people and places of the  B.C. coast, where she was born and where  she makes her home today. She performs  blues (Ma Rainey, Billie Holliday, Bessie  Smith), jazz and traditional Irish tunes  on the french horn, improvisational singing, children's songs and original compositions. She says that the songs she writes  are "about and for women, their emotions  and experiences." When Holly sings, she  usually accompanies herself with original  work on the mountain dulcimer.  Ferron will be there, too  In Vancouver it is hardly necessary to introduce FERRON. She is widely known, loved  and respected as an incredible songwriter  and performer. With the success of her  latest album, "Testimony", recently released on Lucy records, it may soon not be necessary to do so anywhere in North America.  Ferron is one of the best. She added a lot  to last year's festival and we are glad she  is coming back.  Not so well known in this area, perhaps,  are ROBIN FLOWER, NANCY VOGL AND LAURIE  LEWIS. These are three hot musicians who  are coming to play with Holly Near. Each  is a serious musician and performer.  Robin Flower lives, performs and teaches  in the San Francisco Bay area. She has performed old time and bluegrass music with  Hazel and Alice, The Clinch Mountain Back-  steppers, and Oregon state fiddle champion  Carol Ann Wheeler, and played electric lead  with BeBe K'Roche, and Baba Yaga.  She has  done instrumental work on many women's  albums and recently released a debut solo  album, "More than Friends." Robin's album  features her hot and fancy guitar picking  and spirited double fiddle tunes. It's very  good.  Nancy Vogl is one of the women who formed  the Berkeley Women's Music Collective in  1973. They made five U.S. national tours  and produced two albums, "Berkeley Women's  Music Collective" and "Tryin' to Survive".  This band was one of the first woman-identified bands, whose priority was the writ  ing and performing of music which focused  on the integrity of women. Nancy Vogl has  also recorded with Trish Nugent, Woody  Simmons, and Robin Flower. She sings and  writes songs.  As for Laurie Lewis, she is the best known  woman blues musician west of the Rockies.  First prize winner in '74 and '77 in the  women's division of the California champion  fiddler contest, she took third prize in  the open division in '76.  Laurie has  recorded with several groups, including  Good 01' Persons, Arkansas Sheiks, Robin  Flower, Woody Simmons and the Done Gone  Band. She was featured in John Cohen's  film, "Musical Holdouts" and is currently  performing with the Grant St. Stringband.  TERRY GARTHWAITE, BOBBIE LOUISE HAWKINS  and ROSALIE SORELLS are another tremendous  trio. Many of us remember Terry Garth-  waite from the Joy of Cooking — certainly  one of my favourite bands in the late sixties.  "Too Late But Not Forgotten" was  one of her songs, and she was just getting  going thenI Bobby Louise Hawkins is a  poet and she performs her poetry. And Rosalie Sorells. Mmmmm. Many will remember  Rosalie from the '78 festival in Stanley  Park, if they weren't lucky enough to see  all three of these women together in Vancouver, April '79.  Rosalie is a songwriter, beautiful singer  and fine guitar player. Malvina Reynolds  many of her songs have a country and western style, and she performed, at SFU, in  a white cowboy hat.  Well, proceeding through the alphabet, we  have arried at HOLLY NEAR. I hardly know  what to say. This will be the first time  she performs in Vancouver, and the Vancouver Folk Music Festival is very proud (and  a little lucky) to be responsible.  Holly Near is a great songwriter, a compelling performer with an amazing voice. She  grew up in the country and her first performances were for hereford cows, and  they liked her quite a bit, which has been  the pattern ever since. She began performing at seven, was a film and television  actress in the 60's; was a lead in "Hair";  and was a featured performer in Jane Fonda' .c  notorious "Free the Army" show.  Because of her dynamic combination of art  and politics, Holly has been invited to perform at a wide variety of gatherings, including the International Festival for  Chile, in Mexico City; the International  Conference Against the A and H Bombs, in  Japan; the First International Women's Festival in Denmark, and at Gay Pride Events  and Women's Masic Festivals across the USA.  She recently completed an anti-nuke tour  which helped develop coalitions between  women's and anti-nuke groups in over 30  American cities. She has four albums; the  most recent, "Imagine My Surprise", was  aiaiiaiiiiiiia  Sweet Honey in the Rock: they're coming to Vancouver  had this to say about her: "I've known  Rosalie Sorells for years and I could never  cope with her; she is such a rollicking  anti-hero, such a gutsy woman, adventurous,  curious, and ironically optimistic." On  her first album, "Travelling Lady", Rosalie  had this to say about herself:  Oh I've gotten to be quite a rambler  Going by' land and by sea  Once it was aprons and dustpans and such  But now I'm a travellin' lady.  To date, I think Rosalie has made three albums on Sire and Philo records, and has published a songbook, "What, Woman and Who,  Myself, I Am", also available through Philo.  CONNIE KALDOR is another incredible woman.  Her experience in theatre taught her performance skills, and she plays guitar and  piano. She is author of a multitude of  songs, including "Grandmother's Song" which  was recorded in 1979 on a beautiful album  of the same name by Heather Bishop.  I had the good fortune to hear her perform  at SFU in the fall of '79, and she won me  over completely with a song with the following refrain: "They're all jerks, with a  capital J." It's about men who harass women in the streets (or wherever), delivered  with humour, style, compassion and skill.  Born and raised on the Canadian prairies,  voted "Best Album of the Year" by the National Association of Independent Record  Distributors in 1979.  Kay Gardner says that women's music, reelecting womanliness, is subtle, deep and  strong.  The music of ODETTA certainly  fills that definition, and more.  To say  that Odetta's music reflects Black Womanhood would be more complete. Odetta has  been a dynamic force in North American  folk music for over 25 years now, and she  is still growing.  She was born in Birmingham, Alabama; moved  to L.A. when she was six, and started  private voice lessons when she was 13. Today she is widely recognized as one of the  finest interpreters of traditional folk  music. She performs ballads, blues, work-  songs, spirituals; sometimes singing a  capella, sometimes accompanying herself  with strong guitar work.  But her primary  instrument is her rich and magnificent  contralto voice, deep, strong, powerful and  gentle as a feather. Her music is generous and warm. Odetta says that music is  a healing force.  She has performed around  the world, and she helped to make the  first Vancouver Folk Music Festival, in  Stanley Park in '78, a magic event.- and  we welcome her back.  Continued on p. 14 KINESIS JUNE 80  CULTURAL WORK  The Wallflower Order Dance Collective: a review of their performance   in   Vancouver  and  an interview with them.  Wallflower shows us the possibilities of political art  By Helen Mintz  The Wallflower Order Collective shows us  the possibilities of political art. They  create a theatre which challenges our  ideas about our lives and about the world  we live in. Wallflower makes us laugh,  they bring us to tears; they prepare us  to fight.  In their recent Vancouver performance,  Wallflower did a series of sketches which  started from their personal experiences  as women in American society. From there  they moved to an examination of contradictions in the world and an attempt to  lay out alternatives for resistance to  repression. Wallflower challenges traditional sexist, capitalist and imperialist  values. And they mount this challenge  with artistic skill and insight.  I was able to speak with Laurel Near,  Krissy Keefer, and Pamela Gray, three  members of the collective. The interview  took place over a very rushed (but quite  delicious) Chinese lunch before they beat  their hasty retreat to Eugene, Oregon,  their home base. They discussed their  methods of work, their relationship to  their audience; their work as political  artists. I was struck by the seriousness  with which they responded to my comments;  by their commitment to seek feedback as  a means of evaluating their work. Not  having any formal political leadership,  the collective "relies on a few friends  who we trust.  They see our performances  regularly and we continue to get good  feedback from them. But it is not systematic. "  And, I must add that I was also relieved  to see how human they are; how like myself  and my friends. Not only did some of them  mooch cigarettes with the same feeble  exuses that I profer up ("it's the tension,  you know."); but after we left the restaurant, I even spotted Krissy guzzling a  pepsi and Lynn eating a giant junky cookie.  They are not superwomen; they share the  failings of all of us.  The collective originally formed around- a  small group of women who wanted to dance  together.  That was five years ago and  with the comings and goings of various  people, they have developed a theatre that  makes use of many different artistic  forms to convey an anti-imperialist and  anti-capitalist basis of unity.  As a group they share considerable political unity. And they struggle over the  political differences. While they do not  study formally together, a number of the  members of the collective are involved in  political study groups. "And we discuss  political ideas constantly. Constantly.  The discussions are ongoing; they happen  on an ad hoc basis."  Ongoing political struggle is evident  This ongoing political struggle is evident in their work, which covers a broad  range of political questions with a real  depth of understanding based on investigation of real experience. For example,  when they celebrate the love that women  offer each other, they are able to present  concrete images that flow from peoples'  lives. Two of the dancers hold each other,  rocking to the tune of a popular Dolly  Parton song. The number ends with a kiss.  This image constrasts positively with the  mystical quality of some lesbian art which  highlights a mythological past of ancient  heroines who are untouchably perfect in  all ways.  Wallflower performs principally for the  feminist and left community. "Although we  put posters all over, it's mainly that  group of people who have come to our shows.'  The collective sees their art reflecting  and validating progressive ideas. Laurel  Wallflower Order. L to R: Krissy Keifer, Lyn Neely, Pamela Gray, Laurel Near and Nina Fitcher  "A lot of people think we're really special. But  mostly it takes a lot of hard work."  — Laurel Near  drew a parallel with the work of artists  in Viet Nam who reflected back to the  people the main political currents.  "These  artists helped to build a spirit of resistance amongst the people." Krissy added  that one of the important functions of  their work is not only to reflect back but  also to challenge ideas within the left  community. She sees the response of many  progressive Americans to the situation in  Iran as indicative of the failure to analyze correctly the contradictions of imperialism.  "Many feminist women in the  U.S. have not supported what is happening  in Iran.  They don't see that for third  world women it's often more important to  protect their loved ones from being killed  rather than worrying about whether or not  they have to wear the chodor." One of  the pieces in the program depicts an Iranian  woman who courageously undergoes torture,  refusing to give away the political secrets  the Shah's government is after.  Struggle within the Wallflower Collective  is not restricted to the ideological content of their performance. As a cultural  group, they convey their message through  forms that are both clear and extremely  moving. Their use of diverse materials  and artistic forms is truly astounding.  Their music covers the complete spectrum  of forms from popular music by artists as  diverse as Rickie Lee Jones, Fats Domino,  and Dolly Parton to classical music by  Pachebel and Rampal and Boilings. They  also include the music of very talented  and little known progressive groups such  as "Grain of Sand".  Their dance forms range from classical  ballet to disco, including jazz and modern  dance. They use kung fu, signing (the language of the deaf) and a highly versatile  dramatic style that ranges from the deadly  serious and highly dramatic to caricature  and satire.  They seem to be able to extract the best  that American culture has to offer; to use  it and modify it to express a real political and artistic alternative. This dramatic style stands in sharp contrast with so  much progressive political art which  attempts to convey a message of resistance  while retaining all the traditional artistic forms.  They present a unified aesthetic while  expressing individual styles  Wallflower is able to present a unified  aesthetic while maintaining the distinctive  style of each performer. Each woman demonstrates professional ability as both  dancer and theatrical performer. They  live powerfully in their own bodies rather  than conforming to the dictates of some  director who demands that they fit themselves into her or his particular mold.  When they dance, the audience sees their  muscles flex; we see the hair on their  legs and in their armpits.  The first piece that Wallflower performed  in Vancouver is called "Pieces of Lies".  It is an exorcism of the roles that women  take on in this society. We have the  tomboy who refuses to recognize her female-  ness; the romantic ballerina, pining  away in the name of true love; the "real  cool chick" who bolsters herself with  cigarettes and too much liquor in a  world where she must go it alone. Each  member of the collective acts out one of  these roles, carrying it to its ridiculous  extreme and showing the roles for the lies  that they are. The romantic ballerina  kicks herself in the head in one of her  far-flung expressions of desperate longing.  As each character moves from childhood to KINESIS JUNE 80  CULTURAL WORK  adolescence, their movements become increasingly confined. The power of the  tomboy's kicks are quelled; she merely  flicks her legs in futile gestures.  In  one scene all the characters appear as  adolescents at that most painful of adolescent rituals, the high school dance.  Each character is trapped within the  boundaries of imposed behaviour. Each  tries desperately to fit in, to deny the  reality of her feelings.  The Vancouver  audience roared with laughter at their  brilliant caricatures.  But the laughter  was an expression of the real pain that  we all remember so well.  The piece ends with all five performers  simultaneously signing and reciting the  poem "Defiance" by the deaf poet Dorothy  Miles.  The poem is a strong statement of  insistence on the right of women to express  true potential rather than bowing down to  constraints and false roles. As an audience we experience the power of Wallflower  as an artistic collective affirming the  strength and power of women. We experience  the power of who we are and can become.  Wallflower examines the problems of working collectively in one of their pieces.  Lack of money, feeling fed up with seeming  endless criticism and self-criticism,  feeling closed in by the group, wanting to  reach out to other people and not being  certain how.  These are real problems  faced by all of us who have attempted to  work collectively. And it is wonderful to  see these problems portrayed on stage in  a way that allows us to both examine our  difficulties and to laugh at ourselves.  The individual and the collective  This piece clearly flows out of the experience of the women in the Wallflower  Order Dance Collective.  They discussed  with me the conflicts that arise between  the individual and the collective.  "Some  days, someone may be really flipped out.  They may be so flipped out that it effects  everything. Sometimes we put aside what  we are doing and deal with that person  and their problems.  But at other times  people have to hold back their personal  stuff for the sake of the collective."  "It is often difficult to maintain a collective when all else is profit and loss.  When you turn on the radio or the television, all you hear about is competition.  There's never anything about the problems  or victories of being in a collective. So  there's no reinforcement for what we're  trying to do. And it's often hard."  "And there's sometimes competition among  us. Especially when we're trying to learn  each others movements. Even though we  all move really excellently in our own  ways, we feel insecure sometimes.  The  competition is based on our insecurities  about ourselves." To Pam's comment that  there are sometimes power struggles,  Krissy laughingly added that there are  often power struggles.  When these problems arise, they attempt to  talk about them. Asked about how the collective works together, Pam explained that  their pieces evolve in many different ways.  "Generally one person in the group has an  idea which they bring to the group to get  help with.  For example, someone may want  to do something on lies.  They do some  work and then present it.  Or somebody may  just want to play an instrument and want  to build a piece around it. Sometimes  someone will have a specific political  idea which they will research in depth and  then present to the group. Krissy wanted  to do something on the women in Iran and  she did a lot of work on that piece."  "And even if you don't want any specific  help, you usually get it anyways," Laurel  added laughing.  Wallflower does one piece which is a celebration of the wars of resistance being  waged by small nations against imperialist  aggression.  The piece consists of a solo  dance performance which is an excellent  example'of the use of dance choreography  to portray a political message.  The move  ments of the dancer are small and undrama-  tic.  They portray, through dance, the  type of slow, determined daily struggle  that must be waged against imperialist  aggression.  One of the most powerful pieces for me  was "Women Talking to Death", which is excerpted from the poem by Judy Grahn.  This  piece is a mock interrogation which turns  the anti-gay sense of disgust with women  who express love toward each other to a  sense of horror when we deny this love:  "So much of their art touches me in my own life.  I can see my own experiences in their work.  When they portray the relationship of sisters, I  identify. I am touched by it and get a new  perspective on my own life."  "It just amazes me to see class consciousness  portrayed in ballet. And often in a funny way.  They really make me laugh."  "They left me with a really positive vision about  myself and the world. And lots of energy to fight  for change."  — comments from the audience at the recent  performance of Wallflower in Vancouver.  "Have you ever committed any indecent  acts with women?  Yes, many.  I am guilty of allowing  suicidal women to die before my eyes  or in my ears or under my hands because I thought I could do nothing,  I am guilty of leaving a prostitute  who held a knife to my friend's  throat to keep us from leaving, because we would not sleep with her, we  thought she was old and fat and ugly;  I am guilty of not loving her who  needed me; I regret all the women I  have not slept with or comforted,  who pulled themselves away from me  for lack of something I had not the  courage to fight for, for us, our  life, our planet, our city, our meat  and potatoes, our love..."  "A Woman is Talking to Death"  by Judy Grahn  The script is tremendously powerful and  the performers interchange the roles of  dancer, interrogator, and responder.  Krissy thinks that the overall presentation of Wallflower suffers from the lack  of a clear political line. She thinks  that the second half of the program which  deals with many different forms of resistance is weakened by the lack of a clear  focus around a principal contradiction.  "In a society where the contradictions are  more developed, people are more developed,  people are forced to take a clear stand.  They are forced to take sides.  But as  white women who come primarily from petit  bourgeois backgrounds, we enjoy a lot of  the privileges of imperialism.  V/e're  living off the backs of people around the  world. We're in a position where in some  ways it's easier not to take a clear  position."  Working as progressive, political artists  has not been easy for the Wallflower Order  Collective.  They face constant financial  hassles.  They are forced to work part  time in order to continue with the work of  the collective which remains an overall  financial drain.  "The state funds bourgeois art. So they have government grants  and empty theatres for their performances.  Where as we have sell-out performances  and we can't make a dime." Although Wallflower feels that some government agencies  like their work, they receive no funding  from them.  "They would rather fund a  string quartet which is safe rather than  risk their jobs on us."  Wallflower Order has tried to broaden their  outreach beyond the feminist and left  communities.  They have sought feedback  and have attempted to "clean up their act".  "V/e used to be real sloppy but we've tried  to professionalize the show so that people  can focus on what we're doing rather than  being distracted. But, "...unless we want  to go the bourgeois route of becoming  famous, if we are going to get to factories  and working class women we'd have to hook  up with a political organization which  would give us a real political direction  and leadership."  Wallflower are not a group to be missed.  They will be returning to Vancouver in the  fall and they may do a workshop this  summer. Enquiries and feed back should be  directed to 1736 W. Broadway, Eugene, Ore.  97402.  J  This article was written by Helen Mintz with  considerable assistance from Karen  Malcolm. The interview with the members of  Wallflower was conducted in great haste and  without a tape recorder. I have attempted to  quote them as accurately as possible.  FEMINIST TREATS AT VANCOUVER FOLK MUSIC FESTIVAL cont. from p. 12=  BETSY ROSE and CATHY WINTER have crisscrossed the US and Canada for three years now,  bringing women's music to places that were  not expecting it, taking all kinds of  risks and just getting better. They've  even done a tour of northern B.C.  They say, "Our commitment is primarily  that of spreading women's culture to the  widest possible audience. Our belief is  that a significant women's cultural and  political revolution in this country depends on conscious and conscientious outreach, grassroots organizing in rural,  as well as urban, areas." Betsy and  Cathy play guitar and bass, write a lot  of great songs, and do fine harmonies.  It's a challenge to try to describe SWEET  HONEY IN THE ROCK — although in some  ways it's quite straightforward. As they  say on the cover of their first album,  "Sweet Honey in the Rock, formed in 1974-,  sing original and traditional songs of the  Black experience. The name of the group  comes from the choral refrain of a traditional Black song. Here it symbolizes the  range of colours worn by Black women:  strength, consistency, warmth and gentleness. "  Their latest album, "B'lieve I'll Run On"  was recorded on the Redwood label. The record opens with "Seven Principles", a song  which sets the Nugzo Saba, the seven principles of Blackness, to music. The closing  cut is "Every Woman" which celebrates Black  Women feeling good about each other. Every  song is affirmative of Black life, love  and liberation struggle.  The music is  masterful.  "They sing strongly and do not  tiptoe around notes or mess around with  vocal gimmicks.  This is a music straight  from the Source of Black People, i.e.,  Black Women," writes a reviewer in the May/  June '79 issue of The Black Collegian.  Sweet Honey is: Patricia Johnson, Yasmeen  Williams, Evelyn Harris and Bernice Regan.  These are the foremost women's music performers who will be here this summer for  the Third Annual Vancouver Folk Music Festival. But there is a problem, because  there is a continuum and you can't just  cut it off and say, "These are women's performers; these are not."  There is also ANY OLD TIME STRINGBAND, an  all-women stringband. And there is PETER  ALSOP, a man who writes songs against sexism and homophobia.  For a woman performer to make it in the  music business she has to sell her sexuality, and be a victim; or she has to be  strong, and the women's movement has given  a lot of women that strength.  For tickets or more information about the  Vancouver Folk Music Festival, contact us  at 3271 Main Street, Vancouver B.C. 879 -  2931.  Remember: If you. buy your festival ticket  before JUNE 15,.you can save up to 4-0$.  Early Bird Special Weekend Tickets cost  $18.00. KINESIS JUNE 80  BULLETIN BOARD  EVENTS  WOMEN IN A MAN'S WORLD. The YWCA is sponsoring this series of discussions at the  Vancouver YWCA, 580 Burrard Street.  JUNE 24 : Women in Politics  JULY 29 : Managerial Women  AUGUST 26 : Real Estate  Panel starts at 7:00; coffee and dessert  at 8:30.  Cost is $5.00 per session.  QUEBECOISES SPEAK OUT on June 6, 7:30 p.m.  at 138 East Cordova, Vancouver.  QUEBECOISES SPEAK OUT WORKSHOP FOR WOMEN  June 7, 10:00 a.m., 138 East Cordova  RAPE RELIEF DANCE for Rape Relief house.  Ferron and Ad Hoc. Mixed. Tickets on  sale at Ariel, Octopus Books, the Women's Bookstore and Rape Relief.  Time and place: Saturday, June 14 at  the Polish Community Centre, 4015  Fraser.  Donation equal to one hour's  pay is requested.  Childcare available.  ACCOUNTABILITY IN THE WOMEN'S MOVEMENT:  Rape Relief is organizing a series of  meetings. The first meeting will be  held at Britannia Community Centre,  Room L3, Saturday June 14, 9:30 a.m.  to 5:00 p.m.  Bring a lunch. For information on childcare call Ellen 872-8212  or Johanna at 733-7505 or 872-8212.  SUMMER SHOWINGS, at the Women In Focus Art  Gallery are as follows:  JUNE 2-27 Catherine Shapiro: Silk-  screen Prints.  JULY 2-31 Claire Kujundzie: Collage,  Drawings and Watercolours.  The gallery is located at #6-45 Kingsway  Vancouver V5T 3H7. Hours are Monday to  Friday: 10:00 a.m. to 5:00 p.m. Thursday to 9:00 p.m.  For more information call Michelle at  872-2250.  THIRD ANNUAL VANCOUVER FOLK MUSIC FESTIVAL  will be held at Jericho Beach Park, July  18, 19 and 20. Weekend ticket prices  are as follows: $18.00 (before June 15),  $22.00 (advance ticket after June 15)  and $25.00 (ticket at gate).  Individual night tickets are $8.00 (Friday  night) and $11.00 (Saturday or Sunday  night).  For more information write to  Vancouver Folk Music Festival, 3271 Main  Street, Vancouver.  THE LESBIAN SHOW for June:  June 5 : Lesbians and trade unionism;  Quebecoise lesbians.  June 12 : Vancouver update: women's  coffeehouse; lesbian conference; women's building, and sports.  June 19 : Lesbians and spirituality.  June 26 : Lesbians and music — spotlight on Willie Tyson  Lesbian Show on Co-op Radio, 102.7  FM, Thursdays from 7:30 - 8:00 p.m.  W0MANVISI0N SHOWS for June:  Interview with women from Que-  June '  bee.  June 16 : Newshow - news around town,  around the country, around the world.  June 23 : Art show. Sylvia Spring interviews Margie Adams. Also features  the new Adams album, "Naked Keys".  June 30 : Moving Forward, by Peg Campbell and Pat Feindel. An overview of  the social action undertaken by the  YWCA from the 1900's to the present,  including the battle for reproductive  rights and housing for battered women.  Look for Womanvision on Monday nights,  7-8 p.m. on Co-op Radio, 102.7 FM.  GROUPS  SINGLE PARENTS GROUP FOR VANCOUVER EAST is  being organized by Single Parents  Group, c/o Britannia Community Centre,  1661 Napier St, Vancouver V51 4X4.  Phone 253-4391, local. 57.  If you're a SINGLE PARENT having hassles  with welfare, a self-help group is  forming.  Call 931-8154 (7pm-6am) for  information.  WOMEN'S GROUP forming to discuss mutual  concerns about infertility. Call Beth  at 738-6397 or Harriet at 438-3397.  YWCA OUTDOOR CLUB FOR WOMEN has the following meetings and events planned:  JUNE 7 : Day of canoeing and kayaking  on Pitt Lake.  JUNE 21 - 22: Hiking and camping trip  to Three Brothers, Manning Park (overnight).  Membership is $45 a year, which covers  instruction, equipment use, special  trip rates and discounts.  Call Clasina  at 683-2531 for more information.  HELP KINESIS  KINESIS is in debt and beset by skyrocketing costs.  Without sturdy sustainer support, we'll starve. Please  think about becoming a sustainer!  KINESIS is published ten times a year by Vancouver  Status of Women. Its objectives are to enhance understanding about the changing position of women in  society and work actively towards achieving social  change.  VIEWS EXPRESSED IN KINESIS are those of the writer  and do not necessarily reflect VSW policy. All unsigned  material is the responsibility of the Kinesis editorial  group.  CORRESPONDENCE: Kinesis, Vancouver Status of  Women, 1090 West 7th Avenue, Vancouver, B.C. V6H  1B3.  MEMBERSHIP in Vancouver Status of Women is by  donation. Kinesis is mailed monthly to all members.  Individual subs to Kinesis are $8.00 per year. We ask  members to base their donations on this, and their own  financial situations.  SUBMISSIONS are welcome. We reserve the right to  edit, and submission does not guarantee publication.  Include a SASE if you want your work returned.  DEADLINE: 15th of each month.  WORKERS ON THIS ISSUE: Janet Beebe, Janet Berry,  Cole Dudley, Judy Finnigan, Penny Goldsmith, Morgan  McGuigan, Helen Mintz, Gayla Reid, Janice Pentland-  Smith, Diana Smith, Joey Thompson, Lezlie Wagman,  Cat Wickstrom, Joan Woodward.  WORKSHOPS  JUNE WEEKEND WORKSHOPS drawing on peer  counselling, constructive criticism, ges-  talt process, bioenergetics and psycho-  drama .  JUNE 20, 21, 22 : Women Only. Led by  Lorraine Krakow and Isobel Kiborn.  JUNE 24, 25, 26. Mixed. Led by Sally  Batt and Tom Sandborn.  A $50 contribution to Rape Relief House  is requested. To register phone Carol  at 879-9946 or Michael at 876-0600.  Childcare is provided free.  =VANCOUVER STATUS OF WOMEN.  ATTEND THE ANNUAL GENERAL MEETING  of  VANCOUVER STATUS OF WOMEN  Thursday June 26   7:30 p.m.  517 East Broadway  FOUR CAM0SUN COLLEGE STUDENTS have been  granted funding to research and produce  a paperback book of "Selected Essays on  Women in B.C. History". We are very interested in having essays from other  students who have completed writing on  this subject.  Phone Susan, Tami, Val,  Jackie, Cathy or Barb at Camosun College  592-1281, local 362 or write c/o Barb  Latham, Camosun College, 1950 Lansdowne,  Victoria B.C. V8P 5J2. Deadline is  August 1, 1980.  THE WOMEN'S SELF-HELP COUNSELLING Collective in Vancouver is looking for a low-  cost or free comfortable space which is  within street level or has few or no  stairs at' its entrance. We anticipate  primarily evening use. Please phone  the Health Collective — 736-6696 with  any suggestions. More word on who we  are and what we do coming up soon.  SELF-HELP DISCUSSION GROUP for people with  physical problems is now forming. If  you are interested, please call Jill  at 689-4787. The idea is by sharing our  experiences and helping each other, we  may grow in strength and understanding  far more than through discussion with  "healthy" concerned people. Sample discussion topics might be: dependency —  real and/or imagined; changes in self-  image after a radical change in"physical  health; sexuality; guilt; communicating  with, and changed relationships with,  other people; dealing with doctors;  getting heard; dealing with poverty....  LESBIAN DROP-IN meets every Wednesday night  at 8:00 p.m. at the Vancouver Women's  Bookstore, 804 Richards Street, Van.  Topics for June include, "What is the  Women's Community?" (June 4) and "Women and Sport" (June 11).  LESBIAN INFORMATION LINE (LIL) is open to  calls two nights a week, Thursday and  Sunday, from 7-10pm. Call 734-1016.  LESBIAN MOTHERS DROP-IN meets Sunday at  2pm at the Women's Bookstore, 804  Richards St, Vancouver. For info call  Laurel, 525-1336 or Lynn, 734-9784.  DROP-IN FOR YOUNGER LESBIANS meets  every Thursday night, 7:30-10pm.  Lesbians under 21 are welcome. 1501  West Broadway. Contact the drop-in by  calling LIL, 734-1016.  LESBIANS OVER 40 meet Monday night at  7:30 at the Women's Bookstore, 804  Richards St, Vancouver.  WEN-DO, Women's Self Defense:  Classes can be arranged for groups  of 10 or more women. For information, contact Wen-Do West, 2349 St.  Catherines, Vancouver (876-6390).  SETTING UP A TRANSITION HOUSE? Any group  interested in setting up a transition  house please write to the newly-formed  Society of Transition Houses of British Columbia, Box 213, Port Coquitlam  B.C. V3C 3V7  SORWUC needs new volunteers. Call them  at 684-2834 or 681-2811.


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