TRIVIA: Voices of Feminism
  • Home
  • Editors
  • Current Issue
    • The Roots of Awareness
    • At the Roots
    • Pink House
    • The Passionate Pursuits of Angela Bowen
    • Conversations with a Bee, a Lily, and a Bear
    • Morning Song
    • Radical Expression(s)
    • Radical: A Tribute to Barbara Mor
    • Radical Lesbian Feminism in Practice
    • Abe Louise Young: A Suite of Poems
    • Capacity
    • Plastic Swimming Caps
    • Eris: The Radical Feminine Awakens
    • Ascension of St. Thomas: The Sensual Immortals
    • My Women Have Spoken
    • Some Women
    • Hunting Woman
    • Unplugging Your Inner Patriarchy
    • She Who Carries the Seeds
    • Allison Merriweather: A Suite of Images
    • Localized Deafness: A Suite of Poems
    • Naked in the Woods
    • An Interview with Carol Anne Douglas
    • Imagining Differently: Revisiting Radical Feminism
    • Feminism
    • Who the Hell Is Rosie Méndez?
    • First Responder Who Only Fainted During Training Videos
    • Index of Jobs for Women
    • Screwnomics
    • Menstruation
    • Merkin Art: A Suite of Pussies
    • "A Witch, A Cat Woman": Cat Woman's Patriarchal Roots
    • Feminism in the Work of Michele Pred
    • Lucky Girl
    • The Social, Cultural, and Political Necessity of Anne Sexton
    • An Interview with Sharon Doubiago
    • Confrontation with the Rapist
    • Defense Attorney's Lament
    • Entertainment for Men
    • Greve Series / White Works
    • A Review of Donna Prinzmetal's Snow White
    • Laws of Kissing If Newton Were a Woman
    • Two Poems by Judith Terzi
    • One of the Cronettes
    • Inspiration
  • Previous Issues
    • Voices of Feminism >
      • Issue 16: "Feminisms" >
        • Toward a Theory and Praxis of Sustainable Feminism
        • Feminisms: Inclusion as a Radical Act
        • Grace
        • Three Ekphrastic Poems
        • Braids
        • Medusa
        • Who's Coming Along: Denise Duhamel, Maureen Seaton, and Collaboration Today
        • We had rituals we didn't know what for
        • A Brief History of a Feminist Mind
        • Marge Piercy: On Feminism, Politics, and Writing
        • Lack of Cover
        • Refresh
        • Crabby Apples
        • A Place of Storytelling and Sustenance: Molly Sutton Kiefer's Nestuary
        • When She Was Two
        • Margaret Sanger Speaks
        • A Song for Maman Dantor
        • Listen
        • Abiquiu
        • Changing
        • Barbie at Rest
        • When We Crack, Let's Do It Together
        • Duel
        • Domestic Constellation
        • America the Beautiful
        • Death of a Valkyrie
        • Old Woman Who Grieves War
        • I Read My Death in the Winter Stars
        • Femenina Sube: My Aquarian Age
        • The Straight Mind at Work at the Heart of Queer Theory
        • Journal: In the Bois de Vincennes
        • Landlady Emily Carr
        • Scenario For a New Agenda
        • I Could Do That
      • Issue 15: "Animal Instincts" >
        • Women. Horse. Mountain.
        • My Pre-Feminist Animal Instincts
        • Our Animal Selves
        • Presage
        • Animal Self
        • Comings and Goings
        • And the Hawk Flies
        • Birds of a Feather
        • Proper Adornment
        • Reverie
        • Algonquin Anthology
        • Sea Stars
        • Immortal
        • Spirit Horse
        • First Cousins: A Suite of Poems
        • Bird of Prey
        • Crows
        • Harpy
        • Snake I Come
        • Approaching the Gate
        • Horses in Winter
        • "Domestic Terrorist"
        • Homeless
        • Displacement
        • The Mornings After
        • Gust of Win
        • Squirrel Dick
        • Cats
        • Frankie
        • Worms
        • Animal Cracker
        • I Don't Believe in Marriage
        • Drawing on the Dream
        • The Cow with a Human Face
        • Orangutans at the Jardin des Plantes
        • Abattoir
        • In for Life
        • I Am Shark
        • Giving Voice to Bear
        • Threshold Crossing
        • The Mark of the Bear
        • Discernment Is All
        • Bears at Midnight
        • The Musky Scent of Bear
        • Baggage
        • The End of Our Friendship
        • Four Mile River Road: 1 Mile
        • The White Dog
        • White Dog/Blue Pearls
        • Baby Dream #15
        • Baby Dream #39
        • Fish Songs
        • Today I Fished
        • The Surgeon's Territory
        • Boudoir Portrait
        • The First Six Months of Survival
        • P for Patience
        • French Pout
        • My Next Girlfriend
        • Winter Solstice
      • Issue 14: "Preoccupation" >
        • Wheatpastes
        • An Editorial: "It's not time to worry yet."
        • Courage
        • Dispirited
        • Voices
        • Falling
        • Sunset #2
        • Cut You Out
        • Brooding
        • Planetary
        • Sleeping. Dreaming.
        • Drama with the Neighbor
        • Woman to Woman
        • The Conspiracy of Chores
        • Murder
        • White Sunset Through a Mesquite Tree
        • Patricia Cornflake's Lesbian Lifestyle
        • Doldrums, Horse Latitudes, and Tropics
        • A Woman Poet's Critique of Words Too Commonly Spoken
        • Memory's Witness
        • Finding Edges
        • Oh, That Bed! That Bed!
        • Mother, Daughter
        • Here We Are
        • Crazy Jane Addams Occupies Hull's House
        • Virtue
        • The Canary
        • White Sunset #3
        • Flow
        • Citrus
        • The Devil Finds Work for Idle Hands
        • Occupy Wall Street Poster
        • The Tent
        • Occupy Me!
        • (post)Occupation
        • The Poison Our Grandmothers and Mothers Drank
        • Hellish Clout
        • Tangle
        • The Bathing Scene from Marguerite Duras's "The Lover"
        • As I Lie
        • The Therapist
      • Issue 13: "Death" >
        • A Feminist Editorial on Death
        • Plucked
        • Chromosomal Geography
        • The Clinic
        • Offal
        • I Have Come to Show You Death
        • The Making of a Peaceful Death
        • Sayonara
        • Sitting in the Lap of God
        • Cycle
        • My Assailant
        • New Jersey Spring
        • Something Missing
        • Triptych: Art Essay on Death
        • The Heroes of Ecbatana
        • Jane is Dead
        • The Miscarriage
        • A Spiritual Death? The One-Eyed Doe...
        • Black Bears
        • Circus
        • The Road to Nowhere
        • American Jisei
        • Nothing to Lose
        • For Linda
        • For Ryan
        • Mindfall
        • Rest in Peace
        • Love Is Stronger Than Death
        • Twins and M/Others: A Survival Story
        • Due Diligence (A.K.A. Cracking Open Her Case)
        • Empirical Evidence
        • Dissociation
        • 27.2727273 Readers
        • The Nomad
        • Manifesto
        • Baby Island
        • Chinatown, Death, and Women
        • Surrounded by Death
        • Where Sanity Returned
        • Whitney
        • In the Shadow of Mumtaz
        • Of Woods
        • The Egg Broke
        • Playing with Dolls
        • Threadbare
        • Because We Must Lose You
        • Clock Time
        • Gynosis One: Samhain
        • The Last Trimester
        • Crossing
        • Tiny Eve
      • Issue 12: "Southwestern Voices" >
        • Issue 12 Editorial: "Southwestern Voices"
        • Trojan Horses in the Desert
        • You Can See the Silence
        • Fleeing Oklahoma
        • North Rim, Grand Canyon, AZ
        • Mobius Arch, Alabama Hills, CA
        • Vasquez Rocks Natural Area, CA
        • Our Lady
        • Mothers of Beauty
        • Talking Incest
        • Desire
        • Tales from the Health Club
        • Three Years Old Watching the Open Sky
        • The Missing Girls
        • It Has Become Our Will: Onward with Adrienne Rich (1929-2012)
        • A Conversation with bell hooks
        • Gertrude Stein, Hitler, and Vichy-France
        • Tinker Tailor Soldier Stein
        • Organic Evolution
        • Eclipse of Hope
        • I Lied
        • First Apartment
        • Translations of Poems by Shez
        • In Memoriam: Christa Wolf
      • Issue 11: "Are Lesbians Going Extinct," #2 >
        • Editorial_11
        • Invisible Outline
        • We Live as Two Lesbians
        • PrognostiKate
        • Dinosaurs & Haircuts: A Performance Monologue
        • To Be Real
        • Matrices
        • Coming Into Word
        • Prince of Paris
        • Ending Patriarchy
        • The Revolutionary Is the One who Begins Again
        • Always a Lesbian
        • Anti- Rape
        • Walking the Moon
        • Entanglement
        • Women Alone
        • No One Lives Her Life
        • Coming Out of the Straightjacket
        • Oscar of Between
        • Michele Causse
        • Jill Johnston
      • Issue 10: "Are Lesbians Going Extinct?" #1 >
        • Editorials
        • Before and after Sappho: Logos
        • On Living with a Poem for 20 Years: Judy Grahn's "A Woman Is Talking to Death"
        • And Will Rise? Notes on Lesbian ExtinctionNew Page
        • My Mid-term Exam in Lesbian Theory
        • Letter for Cynthia Rich
        • Dispatches from an Australian Radicalesbianfeminist
        • No Longer Burning
        • Reinvention and the Everyday
        • The Personal is Political
        • Notes on Reinvention and Extinction
        • Dyke on a Haybale: A Lesbian Teen in Kansas Speaks Out
        • Gay Trans and the Queering in Between
        • Lesbian Lament
        • The Inconvenient Truth about Teena Brandon
        • Who Says We're Extinct?
        • She Who
        • Lesbians Going All The Way
        • Trivia Saves Lives
        • Notes on Contributors
      • Issue 9: Thinking of Goddesses >
        • Vulture Medicine Augury
        • When hens were flying and god was not yet born
        • Canoeing our Way back to the Divine Feminine in Taino Spirituality
        • Testify
        • Young Pagan Goddess
        • Goddess is Metaformmic
        • For Want of a Goddess
        • Amaterasu- The Great Eastern Sun Goddess of Peace
        • What is Goddess? Toward an ontology of women giving birth. . .
        • Inanna Comes to Me in a Dream
        • First Blood Well The History of Bleeding
        • The Song of Lilith
        • Freedom Speaks Through Us
        • Dulce's Hands
        • Notes on contributors (9)
      • Issue 7/8: Unabashed Knowing >
        • Bad Manners All That Jazz
        • Hypatia
        • Amerika in 5 Parts
        • Screens: The War at Home
        • Invisible Nature
        • Woman-Woman Bonds in Prehistory
        • I Saw a Woman Dance
        • The Edible Parts
        • The Happy Hooker Revisisted
        • Re-membering an Interrupted Conversation:the Mother/Virgin Split
        • Notes on contributors (7/8)
      • Issue 6: The Art of the Possible >
        • The Aerial Lesbian Body: The Politics of Physical Expression
        • Wanting a Gun
        • Red Poppies Among the Ruings
        • Returning Home with Mago, the Great Goddess from East Asia
        • Noah's Wife
        • Reclaiming the Spooky: Matilda Joslyn Gage and Mary Daly as Radical Pioneers of the Esoteric
        • Grand Right and Left
        • Notes on Contributors (6)
      • Issue 5: The Resurrection Issue (2/2007) >
        • Waiting for Sappho
        • A Song of Captain Joan
        • Blue Mojo
        • Why Do Something If it Can be Done
        • In Memoriam: Monique Wittig
        • The Loudest Self
        • Clear and Fierce
        • (B) Orderlands' Lullaby
        • Borderlands
        • akaDARKNESS: on Kathy Acker
        • Remembering Barbara Macdonald
        • The Making of Power
        • Octavia Butler: A note on Xenogenesis as a love story
        • The Essential Angel: Tillie Olsen
        • Carol's Hands
        • Notes on Contributors (5)
      • Issue 4: The Wonderful & The Terrible (9/2006) >
        • Cunctipotence
        • Global Lovers
        • Our Lot
        • Doe a Deer
        • Degendering Sex: Undoing Erotic Alienation
        • Seven Stages of Lesbian Desire (What's Truth Got to Do With It?)
        • That Easter
        • Amazon Grace: Read it Aloud
        • Athene, 2002-2005
        • Notes on Contributors (4)
      • Issue 3: Love & Lust (2/2006) >
        • Conversation with Michele Causse
        • Chloto 1978
        • The Woman with the Secret Name
        • She is Still Burning
        • In the Beginning
        • Sanctuary
        • When Sex is Not the Metaphor for Intimacy
        • Arielle
        • Quotidian Love
        • Leverett
        • After Sappho's Fragments Tips for Natural Disasters Said Before
        • A Lesbian is a Memoir
        • Notes on Contributors (3)
      • Issue 2: Memory (12/2005) >
        • The Lost Days of Columbus
        • Agenesias of the Orld World
        • The Power of the Earth Shake/Rousing
        • Return to Earth
        • Forces of Nature
        • The Beauty Shop
        • The Other Shore
        • Notes on Contributors (2)
      • Issue 1: The Body (10/2004) >
        • Lovesick
        • Guerilla Girl Ponders the Situation
        • The Secret Pornographies of Republicans. What's left? Preferably Knot
        • Communing with Bears
        • TRIVIA LIVES: Division Street
        • After Reading: Les Gueilleres
        • Notes on Contributors (1)
  • Print Archives
  • Submissions
  • Contact


Feminism in the Work of Michele Pred:
Femininity, Appropriation, Parody, and Collaboration
Sally Deskins

Michele Pred
​Figure 1: Michele Pred, Pred-A-Porter, Pro Choice Wall, 2015, vintage purses with Electroluminescent wire. Berkeley Art Museum Collection.
Michele Pred
​Figure 2: Michele Pred: Access, expired Birth Control Pills, EL Wire, Vintage Lucite purse, enamel, 9”x9”x5”.
Michele Pred
​Figure 3: Michele Pred: Reflections, 2015, Resin, mirror glass and enamel, 11”x7”x1/2”; one in a series of five.

​ArtNews described Michele Pred as a conceptual artist who chose to take on a feminist theme in her work using expired birth control pills in her CHOICE series. LA Times grouped Pred with “female artists…popping pills all over Miami this year.” BUST Magazine called her an “incredible artist/activist” whose work is “powerful beyond their awesome aesthetic.” Pred herself deemed her vintage purses donning electroluminescent lit words like “choice,” “equality,” and “my body my business” as “small scale billboards”—and notably so, as one was even picked-up by Nylon Magazine as an accessory in a fashion spread.

As the Observer noted, The Pred-à-Porter Pro-Choice series, including these 48 purses, the name a play on her own name and the original French phrase—“are a direct response to Supreme Court decisions that have limited access to abortion and contraception. Each piece has text on both sides, and is meant to be carried—not shelved.”

The CHOICE solo exhibition of Pred’s at Nancy Hoffman Gallery, New York, in February 2015 (some of which was included in (Em)Power Dynamics: Exploring the Modes of Female Empowerment and Representation in America, a group exhibition by Gateway Projects in New Jersey), also included altered high heels, and an installation of pink mirrors, Reflections, inviting viewers to take selfies with terms such as “Equality,” “Powerful,” “Beautiful,” “Empathetic,” and “Feminist.”
​
Indeed, Pred’s work not only is feminist via her subject matter and activist intentions (a portion of the proceeds of this series benefits NARAL Pro-Choice New York, a non-profit organization that provides information and advocates for reproductive choices), but also via her exploration of femininity and subversive undertones calling to conceptual and feminist art techniques. As many feminist art historians have lamented, feminist art is ongoing, and discourse needs to continue to pay attention.
​
Of course, the most evident feminist angle is perhaps her choice of subject and objects. Her Pred-A-Porter, Pro-Choice Wall (Figure 1, 2015) of vintage purses uses an object (purse) that in our contemporary American society, has come to have a connotation for femininity as opposed to the masculine wallet or even “man-purse.”  She used the purse also as a representation of women’s economic power, akin to the growing anxiety of men in America during Industrialization and the start of department stores, for women’s power of purchase.[1] Women’s purchasing power is ever-present and Pred alludes to that in her work.

Another common method of feminist art practice is visual parody and appropriation, think Anita Steckle’s series of nude women on the New York skyline  (1970); Faith Ringgold’s Picnic at Giverny after Matisse (1991); or Lynda Benglis’ infamous ad in Artforum of her nude self grasping a strap-on dildo (1974) to name a few.

When viewing Pred’s work, particularly the purses, it reminded me of the ready-made works of the Dada artists, the most known being the male artists. Dadaists, an art movement in America and Europe primarily in the 1910s[2], known for using already industrially-produced objects and placing them in art shows (such as Marcel Duchamp’s The Fountain, 1917), are mostly known to be male[3] and with ready-mades, often displaying masculine-centric objects. Of course there were Dada artists who were women, notably Elsa Von Freytag-Loringhoven; even her ready-made, God (1917) with Morton Schamberg utilized masculine imagery.
 
Duchamp’s Fountain was a displaced urinal, an item used in male bathrooms. Duchamp also used a briefcase in one work, as did the later conceptual artist John Latham in Art and Culture (1966-69), challenging the formalist critic Clement Greenberg’s traditional definitions of art.

A traditionally masculine prop, the briefcase is echoed in Pred’s Access (Figure 2). Of course, Pred’s is actually a purse, a prominent feminine prop, which, while the briefcase has somewhat disappeared and interestingly somewhat replaced with “man purse,” or totes, the feminine purse remains a part of feminine culture. Pred uses the purse throughout the exhibit, with a spirited vibrant appearance. Access displays the title word in bright blue neon EL lights, and holds approximately 25,000 expired birth control pills “to express the challenges many women have accessing affordable birth control.”[4] Usurping these perhaps famously masculine-centric methods, the works make profound social and political points. Pred’s purse, reminiscent in form and now function of a briefcase, in 2015, speaks to the challenge of women’s access to birth control the U.S., almost making Latham’s seem pithy.
​
This is poignantly ironic, as well, as the very item women commonly carry money which is juxtaposed with overflowing expired birth control pills, that may be of no use to in a woman who has access, but in utter need of someone carrying the very same purse. The use of the traditionally feminine, American culturally-recognized handheld mirror references artists’ use of the object throughout art history, such as the Impressionists, and feminists who continued to embrace such feminine items to empower, such as Audrey Flack.

Frederick Carl Frieseke (1874-1939), an American Impressionist,[5] like many of his Impressionist peers, painted women and mirrors in much of his work. This use of the object with other compositional choices worked to visually reinforce women’s femininity and social inferiority due to their apparent obsession with self-image and entrapment in the domestic interior. One of Frieseke’s notable works, The Hand Mirror, shows a young woman clad in a pink and floral house negligée surrounded by two floral arrangements (another sign of femininity) with a bright pink wall, flower in hair, looking intently at her reflection in a handheld mirror, and moreover, doubling the vanity with a wall mirror to see the back of her head as well.

Pred also uses pink in her mirror installation, entitled Reflections, though she markedly does not shy away from the feminine as Flack does in her several still-lifes, such as Marilyn (Vanitas) (1977) reflecting a photograph of Marilyn Monroe, celebrating perhaps her beauty and short life, but vast impact beyond.

Similarly, instead of using this item to keep women in a certain spectrum or definition of domesticity as Impressionists, in feminist fashion Pred places empowering words on them, allowing visitors to see themselves and maybe not their flaws immediately, but their apparent potential. The engagement evokes emotional connection and response from viewers, making her intentions outside the art clear when viewers are not only unembarrassed to take their picture due to the artist’s instructions, but feel a part of something larger, by sending to the artist herself, for a future project.

This piece rings true to another feminist approach to art, polyvocality, or collaboration and the power of many voices.[6] Judy Chicago’s The Dinner Party (1974-79) is probably the utmost in this field; as her conceived idea brought on some 400 volunteers to create this piece symbolizing the history of women in Western Civilization. Like Pred, as well, Chicago had a plan of education and inspiration beyond the work itself; and back into the viewer’s world.

Pred’s aforementioned Reflections (Figure 3, 2015) is a row of five pink mirrors in the shape of the sign for female, which each donning a different word: Equality, Powerful, Beautiful, Feminist, and Empathetic.[7] Viewers to the exhibition at Nancy Hoffman Gallery were invited to take a self-portrait in one of the mirrors and email it to the artist for a future project (see mine in figures 4-5).

This piece not only reminds viewers that they have power, seeing themselves in the mirror as agents of change, but potentially as working toward a polyvocal project in the future. Moreover, it parodies the “gaze” as viewers are used to seeing not only the art as “the other” but much of the woman as “other” in art throughout history (and in American culture in general; see Miss Representation). 

Josephine Withers writes: “Each such [feminist] project mirrors back to us who we are becoming” (in “Review: All Representation is Political: Feminist Art Past and Present,” Feminist Studies, 2008). As gallery visitors see themselves in the mirrors, and were offered free “My Body My Business” pins, another feminist activist nod, viewers perhaps began to self-reflect, and challenged themselves to participate as potential agents of social change. In these ways, Pred clearly represents a feminist approach to art through her work via parodies and appropriation of masculine tendencies throughout history, embracing the feminine for empowerment, and providing an interactive and encouraging take-away for viewers.

​I know I’m inspired!

Notes
​
[1] Whitney Chadwick. “Separate but Unequal: Women’s Sphere and the New Art,” Woman, Art and Society, London: Thames and Hudson (2012): 120-251.

[2] Paula Baxter, Paula A. Baxter reviews "The Dada Movement, 1915-1923," by Marc Dachy, Library Journal, (Sept. 1990): 76.

[3] Baxter, 76.

[4] Michele Pred. http://michelepred.com/artwork/3712095_ACCESS.html, accessed March 26, 2015.

[5] Allen S. Weller, “Frederick Carl Frieseke: The Opinions of an American Impressionist,” Art Journal, Vol. 28, No. 2 (Winter 1968-1969): 160-165.

[6] Josephine Withers, “Review: All Representation Is Political:  Feminist Art Past and Present,” Feminist Studies, Vol. 34, No. 3, (2008): 456-475.

[7] Pred, http://michelepred.com/artwork/3722270_Reflections.html, accessed March 11, 2015.


Michele Pred
Figure 4: Photo by the author at CHOICE, Michele Pred, at Nancy Hoffman Gallery, Feb. 2015

Working notes

It was frigid day touring the Chelsea galleries in February during my visit for the College Art Conference. I had seen and heard much about the various contemporary art shows and happenings, but I wasn’t quite excited and rejuvenated until I saw Michele Pred’s purses hanging on the walls of Hoffman Gallery. I remember that the initial exhibition upon walking in was a delightful exhibition around the color pink, which has its own gender examination to it, but being in the gallery with Pred’s neon-lit work glowing at me, and then myself in the mirrors, just being amongst it all really gave me hope for the cause, as a feminist of course but also for art to play such a role in the social cause of women’s rights to their bodies. The exhibition was stunning, completely contextualized with information about the artist and the issues she was relating to, and it was a warm welcome from the gallerists (was not typical that day, but it was cold!).

​Reading up on Michele Pred's past work and seeing her work evolve and how many different audiences she reaches out to is reminiscent of the 1970s (as I have read/understood in graduate school), when feminism was a more mainstream topic of discussion in mass media. At any rate, it is a more complex issue now, with Internet and the like, and feminism no doubt IS on mass media radar, for sure, but combining art and feminism and reaching broad audiences--this is what Michele Pred is doing, reaching people from all walks of life to spread the news about feminism—and art.

I wrote this essay with a more academic angle in mind, as I think recalling and pointing to feminist technique is imperative to keep the discussion in art and feminism going, and not lose sight of the past and present. At any rate, I can’t wait to see what Michele Pred does next.


[Images of Michele Pred's work are used here with permission of the artist.]

About the author

Sally DeskinsFigure 5: Photo by the author at CHOICE, Michele Pred, at Nancy Hoffman Gallery, Feb. 2015
Sally Deskins is an artist and writer, focusing on the perspectives of women in art, including herself. Currently a graduate student in art history, her writing has been published in Bookslut, Bitch, and Weave Magazine among others. She illustrated Intimates and Fools (Les Femmes Folles Books, 2014) and Leaves of Absence (Red Dashboard, forthcoming 2015), both with poetry by Laura Madeline Wiseman. She is founding curator of Les Femmes Folles, an organization promoting women in art.

sallydeskins.tumblr.com ​

"We are volcanoes. When we women offer our experience as our truth, as human truth, all the maps change.
There are new mountains." (Ursula K. Le Guin, 1986)
  • Home
  • Editors
  • Current Issue
    • The Roots of Awareness
    • At the Roots
    • Pink House
    • The Passionate Pursuits of Angela Bowen
    • Conversations with a Bee, a Lily, and a Bear
    • Morning Song
    • Radical Expression(s)
    • Radical: A Tribute to Barbara Mor
    • Radical Lesbian Feminism in Practice
    • Abe Louise Young: A Suite of Poems
    • Capacity
    • Plastic Swimming Caps
    • Eris: The Radical Feminine Awakens
    • Ascension of St. Thomas: The Sensual Immortals
    • My Women Have Spoken
    • Some Women
    • Hunting Woman
    • Unplugging Your Inner Patriarchy
    • She Who Carries the Seeds
    • Allison Merriweather: A Suite of Images
    • Localized Deafness: A Suite of Poems
    • Naked in the Woods
    • An Interview with Carol Anne Douglas
    • Imagining Differently: Revisiting Radical Feminism
    • Feminism
    • Who the Hell Is Rosie Méndez?
    • First Responder Who Only Fainted During Training Videos
    • Index of Jobs for Women
    • Screwnomics
    • Menstruation
    • Merkin Art: A Suite of Pussies
    • "A Witch, A Cat Woman": Cat Woman's Patriarchal Roots
    • Feminism in the Work of Michele Pred
    • Lucky Girl
    • The Social, Cultural, and Political Necessity of Anne Sexton
    • An Interview with Sharon Doubiago
    • Confrontation with the Rapist
    • Defense Attorney's Lament
    • Entertainment for Men
    • Greve Series / White Works
    • A Review of Donna Prinzmetal's Snow White
    • Laws of Kissing If Newton Were a Woman
    • Two Poems by Judith Terzi
    • One of the Cronettes
    • Inspiration
  • Previous Issues
    • Voices of Feminism >
      • Issue 16: "Feminisms" >
        • Toward a Theory and Praxis of Sustainable Feminism
        • Feminisms: Inclusion as a Radical Act
        • Grace
        • Three Ekphrastic Poems
        • Braids
        • Medusa
        • Who's Coming Along: Denise Duhamel, Maureen Seaton, and Collaboration Today
        • We had rituals we didn't know what for
        • A Brief History of a Feminist Mind
        • Marge Piercy: On Feminism, Politics, and Writing
        • Lack of Cover
        • Refresh
        • Crabby Apples
        • A Place of Storytelling and Sustenance: Molly Sutton Kiefer's Nestuary
        • When She Was Two
        • Margaret Sanger Speaks
        • A Song for Maman Dantor
        • Listen
        • Abiquiu
        • Changing
        • Barbie at Rest
        • When We Crack, Let's Do It Together
        • Duel
        • Domestic Constellation
        • America the Beautiful
        • Death of a Valkyrie
        • Old Woman Who Grieves War
        • I Read My Death in the Winter Stars
        • Femenina Sube: My Aquarian Age
        • The Straight Mind at Work at the Heart of Queer Theory
        • Journal: In the Bois de Vincennes
        • Landlady Emily Carr
        • Scenario For a New Agenda
        • I Could Do That
      • Issue 15: "Animal Instincts" >
        • Women. Horse. Mountain.
        • My Pre-Feminist Animal Instincts
        • Our Animal Selves
        • Presage
        • Animal Self
        • Comings and Goings
        • And the Hawk Flies
        • Birds of a Feather
        • Proper Adornment
        • Reverie
        • Algonquin Anthology
        • Sea Stars
        • Immortal
        • Spirit Horse
        • First Cousins: A Suite of Poems
        • Bird of Prey
        • Crows
        • Harpy
        • Snake I Come
        • Approaching the Gate
        • Horses in Winter
        • "Domestic Terrorist"
        • Homeless
        • Displacement
        • The Mornings After
        • Gust of Win
        • Squirrel Dick
        • Cats
        • Frankie
        • Worms
        • Animal Cracker
        • I Don't Believe in Marriage
        • Drawing on the Dream
        • The Cow with a Human Face
        • Orangutans at the Jardin des Plantes
        • Abattoir
        • In for Life
        • I Am Shark
        • Giving Voice to Bear
        • Threshold Crossing
        • The Mark of the Bear
        • Discernment Is All
        • Bears at Midnight
        • The Musky Scent of Bear
        • Baggage
        • The End of Our Friendship
        • Four Mile River Road: 1 Mile
        • The White Dog
        • White Dog/Blue Pearls
        • Baby Dream #15
        • Baby Dream #39
        • Fish Songs
        • Today I Fished
        • The Surgeon's Territory
        • Boudoir Portrait
        • The First Six Months of Survival
        • P for Patience
        • French Pout
        • My Next Girlfriend
        • Winter Solstice
      • Issue 14: "Preoccupation" >
        • Wheatpastes
        • An Editorial: "It's not time to worry yet."
        • Courage
        • Dispirited
        • Voices
        • Falling
        • Sunset #2
        • Cut You Out
        • Brooding
        • Planetary
        • Sleeping. Dreaming.
        • Drama with the Neighbor
        • Woman to Woman
        • The Conspiracy of Chores
        • Murder
        • White Sunset Through a Mesquite Tree
        • Patricia Cornflake's Lesbian Lifestyle
        • Doldrums, Horse Latitudes, and Tropics
        • A Woman Poet's Critique of Words Too Commonly Spoken
        • Memory's Witness
        • Finding Edges
        • Oh, That Bed! That Bed!
        • Mother, Daughter
        • Here We Are
        • Crazy Jane Addams Occupies Hull's House
        • Virtue
        • The Canary
        • White Sunset #3
        • Flow
        • Citrus
        • The Devil Finds Work for Idle Hands
        • Occupy Wall Street Poster
        • The Tent
        • Occupy Me!
        • (post)Occupation
        • The Poison Our Grandmothers and Mothers Drank
        • Hellish Clout
        • Tangle
        • The Bathing Scene from Marguerite Duras's "The Lover"
        • As I Lie
        • The Therapist
      • Issue 13: "Death" >
        • A Feminist Editorial on Death
        • Plucked
        • Chromosomal Geography
        • The Clinic
        • Offal
        • I Have Come to Show You Death
        • The Making of a Peaceful Death
        • Sayonara
        • Sitting in the Lap of God
        • Cycle
        • My Assailant
        • New Jersey Spring
        • Something Missing
        • Triptych: Art Essay on Death
        • The Heroes of Ecbatana
        • Jane is Dead
        • The Miscarriage
        • A Spiritual Death? The One-Eyed Doe...
        • Black Bears
        • Circus
        • The Road to Nowhere
        • American Jisei
        • Nothing to Lose
        • For Linda
        • For Ryan
        • Mindfall
        • Rest in Peace
        • Love Is Stronger Than Death
        • Twins and M/Others: A Survival Story
        • Due Diligence (A.K.A. Cracking Open Her Case)
        • Empirical Evidence
        • Dissociation
        • 27.2727273 Readers
        • The Nomad
        • Manifesto
        • Baby Island
        • Chinatown, Death, and Women
        • Surrounded by Death
        • Where Sanity Returned
        • Whitney
        • In the Shadow of Mumtaz
        • Of Woods
        • The Egg Broke
        • Playing with Dolls
        • Threadbare
        • Because We Must Lose You
        • Clock Time
        • Gynosis One: Samhain
        • The Last Trimester
        • Crossing
        • Tiny Eve
      • Issue 12: "Southwestern Voices" >
        • Issue 12 Editorial: "Southwestern Voices"
        • Trojan Horses in the Desert
        • You Can See the Silence
        • Fleeing Oklahoma
        • North Rim, Grand Canyon, AZ
        • Mobius Arch, Alabama Hills, CA
        • Vasquez Rocks Natural Area, CA
        • Our Lady
        • Mothers of Beauty
        • Talking Incest
        • Desire
        • Tales from the Health Club
        • Three Years Old Watching the Open Sky
        • The Missing Girls
        • It Has Become Our Will: Onward with Adrienne Rich (1929-2012)
        • A Conversation with bell hooks
        • Gertrude Stein, Hitler, and Vichy-France
        • Tinker Tailor Soldier Stein
        • Organic Evolution
        • Eclipse of Hope
        • I Lied
        • First Apartment
        • Translations of Poems by Shez
        • In Memoriam: Christa Wolf
      • Issue 11: "Are Lesbians Going Extinct," #2 >
        • Editorial_11
        • Invisible Outline
        • We Live as Two Lesbians
        • PrognostiKate
        • Dinosaurs & Haircuts: A Performance Monologue
        • To Be Real
        • Matrices
        • Coming Into Word
        • Prince of Paris
        • Ending Patriarchy
        • The Revolutionary Is the One who Begins Again
        • Always a Lesbian
        • Anti- Rape
        • Walking the Moon
        • Entanglement
        • Women Alone
        • No One Lives Her Life
        • Coming Out of the Straightjacket
        • Oscar of Between
        • Michele Causse
        • Jill Johnston
      • Issue 10: "Are Lesbians Going Extinct?" #1 >
        • Editorials
        • Before and after Sappho: Logos
        • On Living with a Poem for 20 Years: Judy Grahn's "A Woman Is Talking to Death"
        • And Will Rise? Notes on Lesbian ExtinctionNew Page
        • My Mid-term Exam in Lesbian Theory
        • Letter for Cynthia Rich
        • Dispatches from an Australian Radicalesbianfeminist
        • No Longer Burning
        • Reinvention and the Everyday
        • The Personal is Political
        • Notes on Reinvention and Extinction
        • Dyke on a Haybale: A Lesbian Teen in Kansas Speaks Out
        • Gay Trans and the Queering in Between
        • Lesbian Lament
        • The Inconvenient Truth about Teena Brandon
        • Who Says We're Extinct?
        • She Who
        • Lesbians Going All The Way
        • Trivia Saves Lives
        • Notes on Contributors
      • Issue 9: Thinking of Goddesses >
        • Vulture Medicine Augury
        • When hens were flying and god was not yet born
        • Canoeing our Way back to the Divine Feminine in Taino Spirituality
        • Testify
        • Young Pagan Goddess
        • Goddess is Metaformmic
        • For Want of a Goddess
        • Amaterasu- The Great Eastern Sun Goddess of Peace
        • What is Goddess? Toward an ontology of women giving birth. . .
        • Inanna Comes to Me in a Dream
        • First Blood Well The History of Bleeding
        • The Song of Lilith
        • Freedom Speaks Through Us
        • Dulce's Hands
        • Notes on contributors (9)
      • Issue 7/8: Unabashed Knowing >
        • Bad Manners All That Jazz
        • Hypatia
        • Amerika in 5 Parts
        • Screens: The War at Home
        • Invisible Nature
        • Woman-Woman Bonds in Prehistory
        • I Saw a Woman Dance
        • The Edible Parts
        • The Happy Hooker Revisisted
        • Re-membering an Interrupted Conversation:the Mother/Virgin Split
        • Notes on contributors (7/8)
      • Issue 6: The Art of the Possible >
        • The Aerial Lesbian Body: The Politics of Physical Expression
        • Wanting a Gun
        • Red Poppies Among the Ruings
        • Returning Home with Mago, the Great Goddess from East Asia
        • Noah's Wife
        • Reclaiming the Spooky: Matilda Joslyn Gage and Mary Daly as Radical Pioneers of the Esoteric
        • Grand Right and Left
        • Notes on Contributors (6)
      • Issue 5: The Resurrection Issue (2/2007) >
        • Waiting for Sappho
        • A Song of Captain Joan
        • Blue Mojo
        • Why Do Something If it Can be Done
        • In Memoriam: Monique Wittig
        • The Loudest Self
        • Clear and Fierce
        • (B) Orderlands' Lullaby
        • Borderlands
        • akaDARKNESS: on Kathy Acker
        • Remembering Barbara Macdonald
        • The Making of Power
        • Octavia Butler: A note on Xenogenesis as a love story
        • The Essential Angel: Tillie Olsen
        • Carol's Hands
        • Notes on Contributors (5)
      • Issue 4: The Wonderful & The Terrible (9/2006) >
        • Cunctipotence
        • Global Lovers
        • Our Lot
        • Doe a Deer
        • Degendering Sex: Undoing Erotic Alienation
        • Seven Stages of Lesbian Desire (What's Truth Got to Do With It?)
        • That Easter
        • Amazon Grace: Read it Aloud
        • Athene, 2002-2005
        • Notes on Contributors (4)
      • Issue 3: Love & Lust (2/2006) >
        • Conversation with Michele Causse
        • Chloto 1978
        • The Woman with the Secret Name
        • She is Still Burning
        • In the Beginning
        • Sanctuary
        • When Sex is Not the Metaphor for Intimacy
        • Arielle
        • Quotidian Love
        • Leverett
        • After Sappho's Fragments Tips for Natural Disasters Said Before
        • A Lesbian is a Memoir
        • Notes on Contributors (3)
      • Issue 2: Memory (12/2005) >
        • The Lost Days of Columbus
        • Agenesias of the Orld World
        • The Power of the Earth Shake/Rousing
        • Return to Earth
        • Forces of Nature
        • The Beauty Shop
        • The Other Shore
        • Notes on Contributors (2)
      • Issue 1: The Body (10/2004) >
        • Lovesick
        • Guerilla Girl Ponders the Situation
        • The Secret Pornographies of Republicans. What's left? Preferably Knot
        • Communing with Bears
        • TRIVIA LIVES: Division Street
        • After Reading: Les Gueilleres
        • Notes on Contributors (1)
  • Print Archives
  • Submissions
  • Contact