{"id":21918,"date":"2021-04-26T09:27:22","date_gmt":"2021-04-26T08:27:22","guid":{"rendered":"https:\/\/research.reading.ac.uk\/research-blog\/?p=21918"},"modified":"2021-04-26T12:43:35","modified_gmt":"2021-04-26T11:43:35","slug":"shulie-and-the-place-of-the-feminist-past-in-the-feminist-present","status":"publish","type":"post","link":"https:\/\/research.reading.ac.uk\/research-blog\/2021\/04\/26\/shulie-and-the-place-of-the-feminist-past-in-the-feminist-present\/","title":{"rendered":"Shulie, and the place of the feminist past in the feminist present"},"content":{"rendered":"

\u2018Sex class is so deep as to be invisible.\u2019<\/p>\n

So begins American feminist Shulamith Firestone\u2019s 1970 global blockbuster The Dialectic of Sex. <\/em>I remember vividly the first time I read it as an undergraduate: I\u2019d certainly encountered feminist texts before, but none like this. Who was this person who told us frankly that love \u2018is the pivot of women\u2019s oppression today\u2019, that childbirth was like \u2018shitting a pumpkin\u2019, who declared that her \u2018dream action for women\u2019s liberation\u2019 was \u2018a smile boycott\u2019? Who was this 25 year-old with the intellectual chutzpah to declare that \u2018Really, Freud can be embarrassing?\u2019 Shulie\u2019s voice rang clear across the decades between her writing and my reading; her words \u2013 direct, authoritative, funny \u2013 seduced me and showed me a new way of being. Shulie tells the truth to you straight about the world, and men\u2019s power over women, with no apologies. And if men don\u2019t like it? Well then, good. Who wants to please men anyway?<\/em><\/p>\n

 <\/p>\n

\"\"
From “The Dialectic of Sex: The Case for Feminist Revolution” by Shulamith Firestone, published by William Morrow and Company, 1970<\/figcaption><\/figure>\n

<\/p>\n

What\u2019s more, whilst feminist texts I\u2019d read previously seemed to offer little more than a counsel of despair \u2013 few appeared to be able to imagine a world where patriarchy was abolished \u2013 no-one could accuse Shulie of not having a plan. Not only did she look forward to \u2018not just the elimination of male distinction, but of the sex distinction itself\u2019, but her final goal? Nothing less than the Achievement of Cosmic Consciousness, brought about as a result of Instant Universal Communication! The book has a chart to show us:<\/p>\n

Here, feminism-meets-communism-meets-science-fiction; dialectics meet test-tube-babies. I\u2019m a historian of feminism, and truly, I still have no idea<\/em> what this chart is on about 15 years after I first came across it. I love it for its ambition, though: Shulie wrote in what I call feminism\u2019s utopian moment, a short period between about 1968 and 1972 when anything seemed possible, and the world was up for grabs.<\/p>\n

It\u2019s fair to say that the intervening years have somewhat dampened my initial ardour for Firestone\u2019s ideas; she\u2019s certainly, in the lexicon of our time, a problematic fave<\/em>. Unlike Shulie, I don\u2019t really think that women\u2019s oppression is a product of their biological difference (a concept which itself has come to be questioned by feminists such as Judith Butler); I think that \u2018seizing the means of reproduction\u2019, whilst a great line, is unlikely to lead to liberation; and I certainly hope that her reductive analysis of racism \u2013 which she deemed as \u2018the sexism of the family of man\u2019\u2013 would have no place in the more intersectional feminism of 2021. But it\u2019s the way that Firestone can all at once seem to be speaking to us very directly today, and yet simultaneously bewilder and appal us, which has come to interest me as a historian. Why? I\u2019d argue that the reaction she provokes in us suggests that we\u2019re not yet done with the feminist past that she represents.<\/p>\n

From the moment I encountered her, I wanted to find out more about Firestone, but Google in 2005 was not yet the total repository of human knowledge that it has since become, and I was confused to find only one more book that she had written: 1998\u2019s Airless Spaces<\/em>, a collection of seemingly autobiographical, sort-of-short-stories set among the down and outs of New York. I read it and realised that the intervening years had not been kind to Shulie; in fact, she had suffered a serious mental breakdown in the mid-1970s from which she never really recovered before her death in 2012. Obituaries were full of her early dynamism and promise; I longed to know what Shulie would have been like as a young radical, working for a revolution she believed to be just around the corner. I imagined her to be like her writing: charismatic, irreverent, incandescent.<\/p>\n

\"\"
Images: ‘Stills from Shulie, 1997, copyright Elisabeth Subrin<\/figcaption><\/figure>\n

So I was intrigued when I heard about the director Elisabeth Subrin and her first film Shulie<\/em>. Subrin, whilst working at the Chicago Institute of Art in the mid-90s, found in its archives a film reel for a documentary project made by the Institute\u2019s students in the late 1960s. The subject? Firestone herself. Herself a student at the Institute at the time, Shulie had already garnered a sufficient reputation for her politics, her radicalism, her charisma, for her course-mates to make her the subject of a film. Subrin watched it, and was so struck by the documentary that she decided to remake it shot-by-shot, in an act of what she called \u2018conceptual time-travel\u2019<\/a>. By so doing, Subrin did not just simply recreate a lost historical document, but also, in her words, sought to \u2018investigate the mythos and residue of the late \u201860s\u2019. Through recreating Shulie <\/em>30 years later, Subrin suggested that the questions that Firestone raises were still pertinent in the 1990s, and posed more subtle questions about how the past haunts the present. When are we ever done with \u2018history\u2019? And how do we live with the ghostly presence of a revolution that never came to pass?<\/p>\n

The result made Subrin\u2019s name as an artist and director; The New Yorker<\/em> called Shulie <\/em>\u2018a thing of wonder\u2019. Nevertheless, the film, though shown at many festivals over the years, has never been commercially available. As such, I\u2019m just delighted that CFAC have generously provided the funding for an online screening; I\u2019m even more excited that Elisabeth Subrin herself will be joining us in conversation afterwards. I hope that at least some of you can join us in watching a film that I, at least, have been waiting 15 years to see.<\/p>\n

You can book your ticket<\/a> for this event which will take place online on Thursday 29 April, 19:00 \u2013 20:30.<\/p>\n

Dr Natalie Thomlinson is Associate Professor of Modern British Cultural History in the Department of History.<\/p>\n","protected":false},"excerpt":{"rendered":"

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