SCUM Manifesto is a radical feminist manifesto by Valerie Solanas , published in 1967. It argues that men have ruined the world, and that it is up to women to fix it. To achieve this goal, it suggests the formation of SCUM, an organization dedicated to overthrowing society and eliminating the male sex. The SCUM Manifesto has been described as a satire or parody , especially due to its parallels with Freud 's theory of femininity, though this has been disputed, even by Solanas herself.
56-441: 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". Solanas objected, insisting that it was not an acronym, although the expanded term appeared in a Village Voice ad she had written in 1967. The SCUM Manifesto was little-known until Solanas attempted to murder Andy Warhol in 1968. This event brought significant public attention to
112-631: A "revolutionary movement". Atkinson (according to Rich) called Solanas the "'first outstanding champion of women's rights'" and probably (according to Greer) having been "radicalized" by the language of the Manifesto to leave the National Organization for Women (NOW), and (according to Winkiel) women organized in support of Solanas. Solanas was viewed as too mentally ill and too bound up with Warhol, according to Greer, "for her message to come across unperverted." According to Prof. Davis,
168-639: A best-selling anthology containing material from some of Olympia's most popular works, including material by Burroughs, Miller, Trocchi and others. Another well-known collection was The Best of Olympia , first published by the Olympia Press in 1963 and reprinted by New English Library in 1966. Other incarnations of the company, some with Girodias' support, emerged in Germany, Italy, and the United Kingdom. Olympia Press has been re-established and
224-472: 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
280-428: A critical book on Scientology , Inside Scientology/Dianetics by Robert Kaufman. The South African poet Sinclair Beiles was an editor at the publisher. Other authors included Alexander Trocchi , Iris Owens (Harriet Daimler) and John Stevenson (Marcus Van Heller). Girodias had troubled dealings with his authors including copyright issues. Nabokov was dissatisfied with the copyediting, assignment of copyright and
336-495: A few weeks." Although "SCUM" originally stood for "Society for Cutting Up Men", this phrase actually occurs nowhere in the text. Heller argued that "there is no reliable evidence that Solanas intended SCUM to stand as an acronym for 'Society for Cutting Up Men'." Susan Ware et al. state that it was Solanas' publisher Girodias who claimed that SCUM was an acronym for "Society for Cutting Up Men", something Solanas never seems to have intended. Gary Dexter contends that Solanas called it
392-431: A hierarchy of greatness, but she said it "remains an influential feminist text." Laura Winkiel argues that Solanas' shooting of Andy Warhol and Mario Amaya was directly tied to the Manifesto . After shooting Warhol, Solanas told a reporter, "Read my manifesto and it will tell you what I am." Heller, however, states that Solanas "intended no connection between the manifesto and the shooting". Harding suggests that "there
448-493: A next generation would no longer be needed. According to Lyon, the Manifesto is irreverent and witty, according to Siegel the Manifesto "articulated bald female rage" and Jansen says the Manifesto is "shocking" and breathtaking. Rich described Solanas as a "one-woman scorched-earth squad" and Siegel says the stance was "extreme" and "reflected a more general disaffection with nonviolent protest in America overall." Rich says
504-639: A novel and asked him to accept the SCUM Manifesto in its place later that year. The first commercial edition of the SCUM Manifesto was published by Olympia Press in New York City in 1968. It includes a preface by Maurice Girodias and an essay titled "Wonder Waif Meets Super Neuter" by Paul Krassner . According to Jansen, there are subtle differences between the 1968 Olympia Press edition and Solanas' original mimeographed version. In an interview with The Village Voice , Solanas commented on
560-531: A plot device in the FX television series American Horror Story: Cult , first seen in the episode " Valerie Solanas Died for Your Sins: Scumbag ", which first aired on October 17, 2017. A fictionalized version of Valerie Solanas, played by the actress Lena Dunham , recited the manifesto throughout the episode. The title story of the Michael Blumlein short story collection, The Brains of Rats , employs
616-531: A state of mind .... [in that] women who think a certain way are in SCUM ;.... [and] [m]en who think a certain way are in the men's auxiliary of SCUM." The phrase "Society for Cutting Up Men" is on the cover of the 1967 self-published edition, after the title. This edition precedes all commercial editions. Additionally, in the August 10, 1967 issue of The Village Voice , a letter to the editor appears that
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#1732780273842672-451: Is currently operating out of Washington, London, and Frankfurt. Moral imperative A moral imperative is a strongly-felt principle that compels a person "in question" to act. It is a kind of categorical imperative , as defined by Immanuel Kant . Kant took the imperative to be a dictate of pure reason , in its practical aspect. Not following the moral law was seen to be self-defeating and thus contrary to reason. Later thinkers took
728-404: Is depicted in the 1996 film, I Shot Andy Warhol , a significant portion of which relates to the SCUM Manifesto , and Solanas's disputes on notions of authorship with Warhol. " Viva Los Muertos! ", an episode of the animated comedy TV series The Venture Bros. , features a character named Val who directly quotes the SCUM Manifesto throughout the episode. The SCUM manifesto was presented as
784-466: 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." Harding views the SCUM Manifesto as an "extension, not the source, of performative acts, even a violent one act like the shooting of Warhol." Winkiel argues that revolutionary Roxanne Dunbar moved to
840-468: Is often completely misread. Much of it is actually a point-by-point re-write of multiple of Freud's writings. It is a parody." James Penner reads the manifesto as a satirical text. He states, "Like other feminist satires, the 'SCUM Manifesto' attempts to politicize women by attacking particular masculine myths that are embedded in American popular culture." He adds, "As a work of satire, the 'SCUM Manifesto'
896-587: Is rhetorically effective in that it deconstructs the reader's received notions of masculinity and femininity." English professor Carl Singleton notes the "outrageous nature" of the manifesto and Solanas' increasing mental instability, which, he argues, led many people to trivialize the text. Singleton adds, "Others saw the document as a form of political satire in the style of Jonathan Swift's A Modest Proposal ." Similarly, Jansen compared it to A Modest Proposal , describing it as having "satiric brilliance" and calling Solanas "cool and mordantly funny". The bulletin of
952-418: Is the reported copyright holder of the SCUM Manifesto by 1997 renewal. The Manifesto opens with the following declaration: "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
1008-523: The Manifesto and Solanas' statements regarding it. Prof. James Martin Harding said she "propose[d]" a "radical program". Prof. Dana Heller said the author had an "anarchic social vision" and the Manifesto had "near-utopian theories" and a "utopian vision of a world in which mechanization and systems of mass (re)production would render work, sexual intercourse, and the money system obsolete." According to Village Voice reviewer B. Ruby Rich , "SCUM
1064-567: The Manifesto articulates gender as absolute rather than relative. Heller argued that the Manifesto shows women's separation from basic economic and cultural resources and, because of psychological subordination to men, women's perpetuation of that separation. Robert Marmorstein of the Voice said that SCUM's main message included that "men have fouled up the world" and "are no longer necessary (even biologically)". Jansen said Solanas considered men "biological[ly] inferior". According to Laura Winkiel,
1120-481: The Manifesto brought out women's "despair and anger" and advanced feminism. According to Winkiel, U.S. radical feminism emerged because of this "declaration of war against capitalism and patriarchy". Heller suggests the Manifesto is chiefly socialist-materialist. Echols has argued that Solanas had "unabashed misandry ", and people associated with Andy Warhol (whom she shot) and various media saw it as "man-hating". Laura Winkiel, an associate professor of English at
1176-466: The Manifesto consists of a list of critiques of the male sex. They are divided into the following sections: Due to the aforementioned grievances, the Manifesto concludes that the elimination of the male sex is a moral imperative . It argues that women must replace the "money-work system" with a system of complete automation , as this will lead to the collapse of the government and the loss of men's power over women. In order to accomplish these goals,
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#17327802738421232-488: The Manifesto imagines a violent revolutionary coup by women. Prof. Ginette Castro found the Manifesto was "the feminist charter on violence", supporting terrorist hysteria. According to Jansen, Solanas posited men as animals who will be stalked and killed as prey, the killers using weapons as "phallic symbols turned against men". Rich, Castro, reviewer Claire Dederer , Friedan, Prof. Debra Diane Davis, Deborah Siegel, Winkiel, Marmorstein, and Greer said that Solanas' plan
1288-400: The Manifesto proposes that a revolutionary vanguard of women be formed. This vanguard is referred to as SCUM. The Manifesto argues that SCUM should employ sabotage and direct action tactics rather than civil disobedience, as civil disobedience is only useful for making small changes to society. In order to destroy the system, violent action is necessary: "If SCUM ever marches, it will be over
1344-448: The Manifesto to illustrate the male protagonist's hatred of himself and his gender. In 2006, Swedish author Sara Stridsberg published a semi-fictional biography of Valerie Solanas, Drömfakulteten (The Dream Faculty), in which the Manifesto is referred to on several occasions. Parts of the Manifesto are also cited in the book. Nick Cave said that Solanas in the Manifesto "talks at length about what she considers maleness and
1400-439: The Manifesto wants heterosexual capitalism overthrown and the means of production taken over by women. Rich and Jansen said that technology and science would be welcome in the future. Jansen describes the plan for creating a women's world as mainly nonviolent, as based on women's nonparticipation in the current economy and having nothing to do with any men, thereby overwhelming police and military forces. If solidarity among women
1456-426: The Manifesto was a "forerunner" as a "call to arms among pragmatic American feminists" and was "enjoy[ing] ... wide contemporary appeal". According to Winkiel, the Manifesto "was ... influential in the spread of 'womansculture' and lesbian separatism" and is also "credited with beginning the antipornography movement." Friedan opposed the Manifesto as bad for the feminist movement and NOW. Scum Manifesto
1512-522: The SCUM Manifesto and Solanas herself. Solanas wrote SCUM Manifesto between 1966 and 1967. 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 . Solanas charged women one dollar and men two dollars each. By the following spring, about 400 copies had been sold. Solanas signed a publishing contract with Maurice Girodias in August 1967 for
1568-490: The SCUM Manifesto without periods after the letters of SCUM . Dexter adds: "The spelling out of her coded title by Girodias was one more act of patriarchal intervention, an attempt to possess." The word "SCUM" is used in the text in reference to a certain type of women, not to men. It refers to empowered women, "SCUM - dominant, secure, self-confident, nasty, violent, selfish, independent, proud, thrill-seeking, free-wheeling, arrogant females, who consider themselves fit to rule
1624-494: The University of Colorado at Boulder , argues that the "SCUM manifesto parodies the performance of patriarchal social order it refuses". Winkiel further suggests that the manifesto is "an illicit performance, a mockery of the 'serious' speech acts of patriarchy". The SCUM women mock the way in which certain men run the world and legitimize their power, Winkiel contends. Similarly, sociologist Ginette Castro states: If we examine
1680-563: The American women's liberation movement". Lyon said that "by 1969 it had become a kind of bible" for Cell 16 , in Boston. According to a 2012 article by Arthur Goldwag on the Southern Poverty Law Center Hatewatch blog , "Solanas continues to be much-read and quoted in some feminist circles." Whether the Manifesto should be considered a feminist classic is challenged by Heller because the Manifesto rejected
1736-520: The English-speaking world. Early on, Girodias relied on the permissive attitudes of the French to publish sexually explicit books in both French and English. The French began to ban and seize the press’ books in the late fifties. Precisely 94 Olympia Press publications were promoted and packaged as "Traveller's Companion" books, usually with simple text-only covers, and each book in the series
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1792-411: The Olympia Press edition, complaining that " none of the corrections ... [she] wanted made were included and that many other changes in wording were made—all for the worse—and that there were many 'typographical errors': words and even extended parts of sentences left out, rendering the passages they should've been in incoherent." In 1977, Solanas self-published a "correct" edition which was closer to
1848-513: The President's stupid, sickening face; if SCUM ever strikes, it will be in the dark with a six-inch blade." The Manifesto ends by describing a female-dominated utopian future with, eventually, no men. There would be no money, and disease and death would have been eliminated. It argues that men are irrational to defend the current system and should accept the necessity of their destruction. Various critics, scholars, and journalists have analyzed
1904-588: The Project of Transnational Studies echoes the comparison to Jonathan Swift, stating, "A more common strategy is to read SCUM as an instance of political fiction or parody in the vein of Jonathan Swift." Writing for Spin in September 1996, Charles Aaron calls the SCUM Manifesto a "riotous, pre-feminist satire". Film director Mary Harron called the manifesto a "brilliant satire" and described its tone as "very funny". According to Rich of The Village Voice ,
1960-413: The U.S. "convinced that a women's revolution had begun", forming Cell 16 with a program based on the Manifesto . According to Winkiel, although Solanas was "outraged" at the women's movement's "appropriat[ion]" of the Manifesto , "the shooting [of Warhol] represented the feminist movement's righteous rage against patriarchy". Dunbar and Ti-Grace Atkinson considered the Manifesto as having initiated
2016-522: The Women's Liberation Movement (1970), a collection of radical feminist writing edited by Robin Morgan . Verso Books published an edition in 2004 with an introduction by feminist philosopher Avital Ronell . Jon Purkis and James Bowen describe the SCUM Manifesto as a "pamphlet which has become one of the longest surviving perennials of anarchist publishing". Solanas' sister, Judith A. Solanas Martinez,
2072-434: The imperative to originate in conscience, as the divine voice speaking through the human spirit. The dictates of conscience are simply right and often resist further justification. Looked at another way, the experience of conscience is the basic experience of encountering the right. An example of following a moral imperative is breaking into someone's house in order to save a baby in a burning crib. An example of not following
2128-400: The male psyche ... basically men being halfway between humans and apes, these kind of lumbering lumps of meat, predatory lumps of meat", and that "it's quite wonderful to read .... [and] [t]here was an aspect of that I felt rang true." Cave wrote a novel, The Death of Bunny Munro , for which he "invented a character that was Valerie Solanas's male incarnate." Solanas is quoted in
2184-463: The male sex. Solanas begins by presenting a theory of the male as an "incomplete female" who is genetically deficient due to the Y chromosome . According to Solanas, this genetic deficiency causes the male to be emotionally limited, egocentric, and incapable of mental passion or genuine interaction. She describes the male as lacking empathy and unable to relate to anything apart from his own physical sensations. The Manifesto continues by arguing that
2240-411: The male spends his life attempting to become female, and thereby overcome his inferiority. He does this by "constantly seeking out, fraternizing with and trying to live through and fuse with the female". Solanas rejects Freud's theory of penis envy , and argues that men have "pussy envy". Solanas then accuses men of turning the world into a "shitpile" and presents a long list of grievances. The bulk of
2296-564: The manifesto, according to J. Hoberman , as "a Swiftian satire on the depraved behavior, genetic inferiority, and ultimate disposability of the male gender". According to a 1968 article in the Daily News , "those who profess to know Valerie say she isn't joking ... [but] that deep down she likes men." In 1968, speaking to Marmorstein, she characterized herself on the " 'SCUM thing ' " as " 'dead serious. ' " Alexandra DeMonte, however, argues that Solanas "later claimed that her manifesto
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2352-584: The original version and included an introduction written by her. The 1998 French edition, republished by 1001 Nuits in 2005, includes a preface written by the French novelist Michel Houellebecq. The SCUM Manifesto has been reprinted at least 10 times in English and translated into Croatian, Czech, Finnish, French, German, Hebrew, Italian, Spanish, Swedish, Turkish, Portuguese, Dutch, and Danish. It has also been excerpted in several feminist anthologies, including Sisterhood Is Powerful: An Anthology of Writings from
2408-521: The press's literary reputation. The press engaged in a long-running dispute over the rights to The Ginger Man ended with Donleavy's wife Mary buying out Girodias at what was intended to be a closed auction. Forced to leave France in 1963, Girodias briefly reestablished Olympia Press in New York in the 1960s, and in London in the early 1970s. Grove Press in the U.S. would later print The Olympia Reader,
2464-553: 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. Liverpool punk band Big in Japan composed the song "Society for Cutting Up Men" directly inspired by the manifesto. Olympia Press Olympia Press
2520-475: 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. Writer Chavisa Woods presents a similar opinion: "The SCUM Manifesto is a masterwork of literary protest art, which
2576-457: 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
2632-438: The universe, who have free-wheeled to the limits of this 'society' and are ready to wheel on to something far beyond what it has to offer". According to Avitel Ronell, that "SCUM" was intended as an acronym was a "belated add-on", which Solanas later rejected. The Manifesto , according to Lyon, is "notorious and influential" and was "one of the earliest ... [and] one of the most radical" tracts produced by "various strands of
2688-509: The work possibly was "satire" and could be read as "literal or symbolic". Winkiel said, "The humor and anger of satire invites women to produce this feminist script by taking on the roles of the politically performative SCUM females." Paul Krassner , who was a personal acquaintance of Solanas, called the manifesto a "dittoed document of pathological proselytization with occasional overtones of unintentional satire". Solanas' first publisher, Maurice Girodias , thought of it as "a joke" and described
2744-517: Was a Paris-based publisher, launched in 1953 by Maurice Girodias as a rebranded version of the Obelisk Press he inherited from his father Jack Kahane . It published a mix of erotic fiction and avant-garde literary fiction , and is best known for issuing the first printed edition of Vladimir Nabokov 's Lolita . In its heyday during the mid-fifties Olympia Press specialized in books which could not be published (without legal action) in
2800-465: Was adapted into a 1976 short film directed by Carole Roussopoulos and Delphine Seyrig . In the film, Seyrig reads several passages from a French translation of Solanas's manifesto. Warhol later satirized the whole event in a subsequent movie, Women in Revolt , calling a group similar to Solanas's S.C.U.M., "P.I.G." (Politically Involved Girlies). Solanas's creative work and relationship with Warhol
2856-598: Was an uncompromising global vision" that criticized men for many faults including war and not curing disease; many but not all points were "quite accurate"; some kinds of women were also criticized, subject to women's changing when men are not around; and sex (as in sexuality) was criticized as "exploitative". According to Janet Lyon, the Manifesto "pitt[ed] ... 'liberated' women ... against 'brainwashed' women". Feminist critic Germaine Greer said that Solanas argued that both genders were separated from their humanity and that men want to be like women. Alice Echols says
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#17327802738422912-414: Was insufficient, some women could take jobs and "unwork", causing systemic collapse; and describes the plan as anticipating that by eliminating money, there'd be no further need to kill men. Jansen and Winkiel say that Solanas imagined a women-only world. Daily News reporters Frank Faso and Henry Lee, two days after Solanas shot Warhol, said Solanas "crusades for a one-sex world free of men". Winkiel says
2968-432: Was largely to eliminate men, including by men murdering each other. Rich thought it might be Swiftian satire and that men's retraining was an alternative in the Manifesto . Castro did not take the elimination of men as serious, and Marmorstein included criminal sabotage of men. According to Jansen, it called for reproduction only of females, and not even of females once the problems of aging and death were solved so that
3024-712: Was numbered. The "Ophelia Press" line of erotica was far larger, using the same design, but pink covers instead of green. Olympia Press was the first publisher willing to print William S. Burroughs 's avant-garde, sexually explicit Naked Lunch , which soon became famous. Other notable works included J. P. Donleavy 's The Ginger Man ; Samuel Beckett 's French trilogy Molloy , Malone Dies , and The Unnamable ; Henry Miller's trilogy The Rosy Crucifixion , consisting of Sexus, Nexus and Plexus; A Tale of Satisfied Desire by Georges Bataille ; Story of O by Pauline Réage ; Terry Southern and Mason Hoffenberg 's Candy ; Alex Austin's The Blue Guitar and Eleanore ; and
3080-461: Was signed by a Valerie Solanas (of SCUM, West 23rd Street) that responds to a previous letter signed by a Ruth Herschberger (published in the August 3, 1967 issue) that asks why women do not rebel against men. Solanas' response reads: "I would like to inform her and other proud, independent, females like her of the existence of SCUM (Society for Cutting Up Men), a recently conceived organization which will be getting into high gear (and I mean high) within
3136-518: Was simply a satire". Solanas organized "a public forum on SCUM" at which about 40 people, mostly men she characterized as "creeps" and "masochists", showed up. SCUM had no members besides her. According to Greer, "little evidence [existed] that S.C.U.M. ever functioned" other than as Solanas. In a 1977 interview for The Village Voice , Solanas stated that SCUM was "just a literary device. There's no organization called SCUM—there never was, and there never will be." Solanas said that she "thought of it as
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