Rich, B. Ruby (1993). "Manifesto destiny: drawing a bead on Valerie Solanas". Voice Literary Supplement. New York, NY: The Village Voice. 119: 16–17. (review of Valerie Solanas' SCUM Manifesto) According to Village Voice reviewer B. Ruby Rich, "SCUM was an uncompromising global vision" that criticized men for many faults including war and not curing disease; [13] many but not all points were "quite accurate"; [13] some kinds of women were also criticized, subject to women's changing when men are not around; [44] and sex (as in sexuality) was criticized as "exploitative". [45] According to Janet Lyon, the Manifesto "pitt[ed]... 'liberated' women... against 'brainwashed' women". [46]

Genzlinger, Neil (March 1, 2001). "Theater Review; A Writer One Day, a Would-Be Killer the Next: Reliving the Warhol Shooting". The New York Times. New York City . Retrieved November 27, 2011. Third, Amanda (2006). " 'Shooting from the hip': Valerie Solanas, SCUM and the apocalyptic politics of radical feminism". Hecate. 32 (2): 104–132. Rich says the Manifesto brought out women's "despair and anger" and advanced feminism. [45] According to Winkiel, U.S. radical feminism emerged because of this "declaration of war against capitalism and patriarchy". [10] Heller suggests the Manifesto is chiefly socialist-materialist. [76] Echols has argued that Solanas had "unabashed misandry", [77] and people associated with Andy Warhol (whom she shot) and various media saw it as "man-hating". [78] As parody and satire [ edit ] Harding, James Martin (2010). Cutting Performances: Collage Events, Feminist Artists, and the American Avant-Garde. Ann Arbor: University of Michigan Press. ISBN 978-0-472-11718-5. Laura Winkiel argues that Solanas' shooting of Andy Warhol and Mario Amaya was directly tied to the Manifesto. [106] [k] [l] After shooting Warhol, Solanas told a reporter, "Read my manifesto and it will tell you what I am." [107] Heller, however, states that Solanas "intended no connection between the manifesto and the shooting". [101] Harding suggests that "there is no clear indication in Solanas' ambiguous statement to reporters that the contents of the manifesto would explain the specifics of her actions, at least not in the sense of providing a script for them." [108] Harding views the SCUM Manifesto as an "extension, not the source, of performative acts, even a violent one act like the shooting of Warhol." [109]But on the other hand—and this is a dirty fallacy of a hand—it is hard for me to take this tract as a truly well-executed work of subversive feminist satire, considering Solanas’ sad and disturbing personal history of sexual abuse and mental illness, plus her proclivity for shooting pop-art icons named Andy Warhol for no particular reason. Also, Solanas contradicts several of her arguments numerous times throughout the tract, and besides all the manic glee to be found in her frothing against the system, she of If we examine the text more closely, we see that its analysis of patriarchal reality is a parody [...] The content itself is unquestionably a parody of the Freudian theory of femininity, where the word woman is replaced by man [...] All the cliches of Freudian psychoanalytical theory are here: the biological accident, the incomplete sex, "penis envy" which has become "pussy envy," and so forth [...] Here we have a case of absurdity being used as a literary device to expose an absurdity, that is, the absurd theory which has been used to give "scientific" legitimacy to patriarchy [...] What about her proposal that men should quite simply be eliminated, as a way of clearing the dead weight of misogyny and masculinity? This is the inevitable conclusion of the feminist pamphlet, in the same way that Jonathan Swift's proposal that Irish children (as useless mouths) should be fed to the swine was the logical conclusion of his bitter satirical pamphlet protesting famine in Ireland. Neither of the two proposals is meant to be taken seriously, and each belongs to the realm of political fiction, or even science fiction, written in a desperate effort to arouse public consciousness. [3]

Solanas wrote SCUM Manifesto between 1965 and 1967. [9] In 1967, she self-published the first edition by making two thousand mimeographed copies and selling them on the streets of Greenwich Village in New York City. [10] [11] [12] Solanas charged women one dollar and men two dollars each. [13] [14] [15] By the following spring, about 400 copies had been sold. [13] [14] Solanas signed a publishing contract with Maurice Girodias in August 1967 for a novel and asked him to accept the SCUM Manifesto in its place later that year. [16] Solanas was viewed as too mentally ill and too bound up with Warhol, according to Greer, "for her message to come across unperverted." [47] According to Prof. Davis, the Manifesto was a "forerunner" [114] as a "call to arms among pragmatic American feminists" [114] and was "enjoy[ing]... wide contemporary appeal". [115] According to Winkiel, the Manifesto "was... influential in the spread of 'womansculture' and lesbian separatism" [116] and is also "credited with beginning the antipornography movement." [111] [m] Friedan opposed the Manifesto as bad for the feminist movement and NOW. [67] [117] Film [ edit ] Solanas, Valerie, SCUM Manifesto (1967), p. [1] (self-published) (copy from Northwestern University). Winkiel, Laura (1999). "The 'sweet assassin' and the performative politics of SCUM Manifesto". In Patricia Juliana Smith (ed.). The Queer Sixties. New York: Routledge. pp.62–86. ISBN 978-0-415-92169-5.

What Happened to Valerie Solanas?

Solanas had a turbulent childhood, suffering sexual abuse from both her father and grandfather, and experiencing a volatile relationship with her mother and stepfather. She came out as a lesbian in the 1950s. After graduating with a degree in psychology from the University of Maryland, College Park, Solanas relocated to Berkeley. There she began writing the SCUM Manifesto, which urged women to "overthrow the government, eliminate the money system, institute complete automation and destroy the male sex." [1] a b c d Coburn, Judith (January 11, 2000). "Solanas Lost and Found". The Village Voice. Archived from the original on October 13, 2012 . Retrieved November 27, 2011. In 1967, Solanas self-published her best-known work, the SCUM Manifesto, a scathing critique of patriarchal culture. The manifesto's opening words are:

Davis (2000), p.147: men were to help eliminate each other, including by " rational murder." (emphasis in original) Heller (2008), p.163 (at its center, the manifesto is a "socialist-materialist critique", Heller suggests). Dillenberger, Jane Daggett (2001). The Religious Art of Andy Warhol. New York: Continuum. ISBN 978-0826413345. Beauvallet, Ève. "Prise de Houellebecq autour d'un manifeste". Libération (in French) . Retrieved 2023-05-15. Solanas attended the University of Minnesota's Graduate School of Psychology, where she worked in the animal research laboratory, [19] before dropping out and moving to attend Berkeley for a few courses. It was during this time that she began writing the SCUM Manifesto. [14] New York City and the Factory [ edit ] This prop trunk, used in Andy Warhol's Silver Factory, is where the copy of the "Up Your Ass" script Solanas gave Warhol was eventually found after Warhol's death in 1987.

When Was Andy Warhol Shot?

DeMonte, Alexandra (2010). "Feminism: Second-Wave". In Chapman, Roger (ed). Culture Wars: An Encyclopedia of Issues, Viewpoints, and Voices. Armonk, NY: M.E. Sharpe, p. 178, ISBN 978-1-84972-713-6. 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 eliminate the male sex. Winkiel (1999), p.73 ("the only act of violence to come as a direct result of the manifesto") and p. 79 (the Manifesto "result[ing] in one failed assassination"). O'Brien, Glenn (March 24, 2009). "History Rewrite". Interview Magazine: 1–3 . Retrieved October 18, 2012.

Frank, Marcie (1996). "Popping off Warhol: from the gutter to the underground and beyond". In Doyle, Jennifer; Flatley, Jonathan; Muñoz, José Esteban (eds.). Pop Out: Queer Warhol. Durham, NC: Duke University Press. pp. 210–223. ISBN 978-0-8223-1741-8. a b Collins, Nicole (assistant metropolitan editor), comment 3, June 23, 2009, 10:03 a.m., as accessed June 13, 2013.

Solanas proceeded to the Factory and waited outside. Morrissey arrived and asked her what she was doing there, and she replied, "I'm waiting for Andy to get money." [53] Morrissey tried to get rid of her by telling her that Warhol was not coming in that day, but she told him she would wait. At 2:00p.m. Solanas went up into the studio. Morrissey told her again that Warhol was not coming in and that she had to leave. She left but rode the elevator up and down until Warhol finally boarded it. [44] Solanas is quoted in the sleeve notes of the Manic Street Preachers debut album Generation Terrorists. Solanas directly inspired the Manic Street Preachers song " Of Walking Abortion" from their third album The Holy Bible, with the song title being taken from Solanas' work. [124] Liverpool punk band Big in Japan composed the song "Society for Cutting Up Men" directly inspired by the manifesto. [125] Valerie Solanas was born in 1936 in Ventnor City, New Jersey, to Louis Solanas and Dorothy Marie Biondo. [2] [3] [4] [5] Her father was a bartender and her mother a dental assistant. [4] [6] She had a younger sister, Judith Arlene Solanas Martinez. [7] Her father was born in Montreal, Quebec, Canada, to parents who immigrated from Spain. Her mother was an Italian-American of Genoan and Sicilian descent born in Philadelphia. [6] Baer, Freddie (1996). "About Valerie Solanas". In Valerie Solanas (ed.). SCUM Manifesto. Edinburgh: AK Press. pp.48–57. ISBN 978-1-873176-44-3. The term SCUM appeared on the cover of the first edition from Olympia Press, as "S.C.U.M." and was said to stand for "Society for Cutting Up Men". [5] Solanas objected, insisting that it was not an acronym, although the expanded term appeared in a Village Voice ad she had written in 1967. [6]