Andrea Dworkin, in a speech at the Violence, Abuse & Women's Citizenship: Global Strategies for Prevention, Protection & Provision conference (Brighton, UK, November 10, 1996).
Top & bottom: Women at the Seneca Women's Peace Camp, photographed by Catherine Allport (1983).
Center: Women at the Greenham Common Women's Peace Camp, photographed by Andrew Wiard (1983).
From “Random Run-On from the Round Table,” an exchange between Rita Mae Brown and Jeanne Cordova, The Lesbian Tide, Vol. 4, No. 3 (October 1974).
“Hail, hail, the dykes are here ...” Lesbian Feminist Liberation demonstration at the Museum of Natural History, New York (1973). Video via the Love Tapes Collective (Vimeo | Facebook).
"In New York there was a week-long celebration August 19-26 to commemorate the 53rd anniversary of women's suffrage ... The highlight of the week was sponsored by the Lesbian Feminist Liberation group ... The lesbians, about a hundred strong, and accompanied by a huge (over one story high) lavender female dinosaur and the Victoria Woodhull Marching Band (the first feminist marching band) picketed, sang, and chanted in front of the Museum of Natural History. The women were protesting the sexism of the displays, which refer to everything as having been accomplished by 'mankind,' and which credit men for the achievements of women. The women also attacked Christian-oriented displays, which show how Christianity 'saved' the 'savages' — usually from religions and cultures which were matriarchal. The lesbians demanded that such exhibits be removed and that permanent exhibits on herstory of women and the herstory of lesbians in particular be set up, with a woman anthropologist in charge. The demonstration was lively, cheerful, and peaceful, and all seemed to have a good time, including the little children who delighted in the lavender dinosaur on their way to a Sunday visit to the museum. Only a few museum guards and several of the children's parents seemed a bit apprehensive ..."
— Karla Jay in The Lesbian Tide, Vol. 3, No. 3 (October 1973).
“... Lesbians are everywhere — in big cities, small towns and in the country, but they have been almost invisible unless they wear a pink triangle pin or a rainbow flag patch on their clothes or have a lavender bumper sticker on the cars saying, ‘Meet you in Michigan in August.’”
— From Amy Asks a Question: Grandma, What’s a Lesbian? (1996), written by Jeanne Arnold and illustrated by Barbara Lindquist, life partners and cofounders of Mother Courage Bookstore and Mother Courage Press.
Top: Activist and pioneering women’s studies professor Eva Kollisch (b. 1925) and her life partner of nearly thirty years, poet Naomi Replansky (b. 1918), at the Sixth Annual Clara Lemlich Awards (2016).
Middle: Eva Kollisch in 1940 (left, reprinted from A Woman Like That, Larkin, 1999) and Naomi Replansky in 1941 (right).
Bottom: Kollisch and Replansky in their home (Bengiveno, 2015) and at the Poetry Society of America Awards (2013).
"I met Naomi at a reading of Grace Paley ... I noticed this very, to my mind, beautiful and interesting-looking woman who was sitting there reading a book ... We talked and very quickly she realized my accent and she could see that I was a German Jew, I mean, Austrian Jewish refugee, and she told me that she had done a lot of work translating poetry from the German and from the French. I told her I was teaching German and she said, 'Oh, perhaps you know somebody who could help me. I need to brush up on my German. Do you have an assistant or a student who would work with me?' She asked this very sincerely. And I said, 'Maybe I can work with you' ... We did give each other certain literary — we had a little literary exchange of reading poetry together, talking German and French literature, and I had a country house at that time, a shared country house, and I invited her up. I could see this is a woman who was really deeply wonderful and beautiful and I was nervous that she might be with somebody but it turned out she was not ..."
— Eva Kollisch, interviewed by Kate Weigand for the Smith College Voices of Feminism Oral History Project (2004).
“I grew up during the Depression. I was in the Young Communist League in the mid to late 1930s ... To think that if Eva and I had met each other back then we would have considered each other mortal enemies! Yet we had the same motivation, to make the world a better and more just place.”
— Naomi Replansky, interviewed by Edith Chevat (Bridges, Vol. 9, No. 2, 2002).
“After Language” by Chaia Heller, from My Lover Is a Woman: Contemporary Lesbian Love Poems edited by Lesléa Newman (1996).
“Being dykes, we adore in the dark ...” by Gillian Hanscombe, from Sybil: The Gilde of Her Tongue (1992).
Charlotte Cushman, the brilliant and renowned 19th-century lesbian actress.
“As a woman who loved other women, Charlotte’s erotic relationships were certainly not conventional, but neither were they the sum total of her existence. And so I cannot read Charlotte Cushman as a lesbian merely in terms of her lovers but, rather, in relation to her sense of self, of possibility, of ambition. Her story is as irreducibly tied up in her autonomy as it is in her attraction and identification with other women." -- Lisa Merrill, in When Romeo Was a Woman (1999).
“Miss Cushman possessed in a remarkable degree the power of attaching women to her. They loved her with utter devotion, and she repaid them with the wealth of her great warm heart.” -- From her obituary in the Boston Advertiser (1876), as quoted by Lisa Merrill.
Top photo: Charlotte Cushman (Gutekunst, 1874).
Center Left: Charlotte and her lover, the writer Matilda Hays (1858).
Center Right: Charlotte and her longtime lover (and later biographer), the sculptor Emma Stebbins (1859).
Bottom Left: Charlotte and her lover, Emma Crow (undated).
Bottom Right: An engraving of Charlotte in the role of Romeo, opposite her sister, Susan Cushman, as Juliet (1858). Charlotte deliberately sought her sister for the role so as to provide social cover for the potentially scandalous blatant ardor she intended to portray onstage.
Suniti Namjoshi, from “Patient Among Apples: An Afterword” in Gillian Hanscombe’s Sybil: The Glide of Her Tongue (1992).
“Dyke Olympics,” North Carolina (1983): A one-day all-lesbian womyn’s land event. Photos by Elaine Mikels (Elaine Mikels papers, UCLA Library).
Carmen Goodyear, one of the founders of Country Women magazine, and her wife Laurie York.
“Carmen Goodyear and Laurie York, partners in farm and marriage, have for decades forged an existence removed from consumerism, rooted in communal living, and above all, situated close to nature. This farm and preserve is where they have raised goats, sheep, chickens, and bees; where they have grown a mammoth garden that supplies most of their food; where they have helped wage successful battles against offshore oil drilling, a nuclear power plant, and GMOs; where they have, after many years together, gotten legally married ...”
— From “Country Women” by Rebecca Bengal for Vogue, June 25, 2017. Photographs by Amanda Jasnowski Pascual.
Photos from the collection of Norma and Virginia, featured in the film Lives:Visible.
“While doing background research for my interactive narrative Mixed Greens I met Patrick Gourley. I was looking for old photographs that would help me understand lesbian life in Chicago in the 1950s and early 60s. ‘I have a whole houseful of photos and objects,’ said Patrick. He wasn’t kidding. He had been a friend and caretaker of two elderly lesbians during the last decade of their lives. He showed me a trove of over 2000 snapshots taken by Norma and Virginia from 1939-1975. When I saw the photos I knew I had to make a film about them. Here were images of lovers and friends as they played, posed, worked, partied, drank, and aged. Norma and Virginia had left an amazing historical treasure ...
“The photographs haunt me. As a young lesbian I knew women like Norma and Virginia. I was self-righteous and felt contempt for their butch/femme life. They lived in the closet, I proudly didn’t. However, the way Norma and Virginia lived and documented their lives complicates my idea of the closet. Assimilation comes at a price. I live a mainstreamed life in a different world – my partner and I can marry if we choose. We have gained so much, yet I am learning some things were lost. As I came out in the early 70s this community was slipping away, changed forever by second wave Feminism and Stonewall. I won’t let it disappear forever. These lesbian lives and the history they lived are too important.”
— Michelle Citron, filmmaker.
Links: Official Site | Clip 1 | Clip 2
"Very often this year, when people asked me what I was working on, and I answered, 'A book about Jewish lesbians,' my answer was met with startled laughter and unmasked surprise bordering on disbelief, 'Are there many?' — as if the juxtaposition Jewish/lesbian were just too much. To me, these responses had the force of warnings. I got the message. Or rather, it got to me. While I fought against silencing myself completely, I did begin to hesitate before answering, to assess the safety of the terrain. I began to understand the limits that the dominant culture places on 'otherness.' You could be a Jew and people would recognize that as a religious or ethnic affiliation or you could be a lesbian and some people would recognize that as an 'alternative lifestyle' or 'sexual preference,' but if you tried to claim both identities — publicly and politically — you were exceeding the limits of what was permitted to the marginal. You were in danger of being perceived as ridiculous — and threatening ...
"Combatting invisibility. At first it seemed an easy task. I would talk to Jewish groups about homophobia. I would talk to lesbian groups about anti-Semitism. I would talk to both groups about the need to affirm and accept difference. I would remind each group that invisibility has a trivializing, disempowering and ultimately debilitating effect on its members. And both groups would remember and understand. But it hasn't been that simple, for each group has absorbed some of the myths and distortions about the other without any apparent consciousness of irony ...
"I was pained but not surprised to feel invisible as a lesbian among Jews. I was terribly disappointed and confused to feel invisible as a Jew among lesbians. While lesbian-feminists have increasingly begun to acknowledge diversity, anti-Semitism is still not taken seriously in the lesbian-feminist movement. Anti-Semitism has not been included by name in the important litany of 'isms' against which the movement has pledged itself to struggle: sexism, heterosexism, racism, classism, ageism, able-bodyism ...
"I have been distressed to find that many gentile lesbian-feminists with otherwise highly sensitive political awareness, are reluctant to give attention to anti-Semitism, to understand how it operates, and to consider seriously their participation in it. For it seems unlikely that any individual can altogether avoid internalizing the prejudices of the dominant culture ...
"It seems incredibly ironic that the strong presence of Jewish lesbians (many with radical activist backgrounds) in the lesbian-feminist movement goes essentially unrecorded and unnoticed in any positive way by Jews and gentiles alike. Few lesbians have recorded the Jewish lesbian presence to any extent, and they are all Jewish writers: Nancy Toder, Elana Dykewomon (Nachman), Melanie Kaye, Irena Klepfisz, Alice Bloch, Ruth Geller, Harriet Malinowitz, Martha Shelley. The near invisibility of Jewish energy in the lesbian-feminist movement may itself be a result of anti-Semitism, real or feared: a response to the fear that if Jews were more visible as Jews, they would be accused of controlling the movement ...
Again the nagging question. Should I make a fuss? ... Then I remember. Whenever I 'made a fuss' (i.e., raised the issue of lesbian invisibility) at a feminist session where the speakers failed to include lesbians in their presentations, I had the support of the lesbian community. It was understood that the discomfort was to be theirs, not ours. Speaking out now, as a Jew, would there be the same lesbian support?"
— Evelyn Torton Beck, from the introduction to Nice Jewish Girls: A Lesbian Anthology (1982).
“What Kind of Times Are These” by Adrienne Rich, from Dark Fields of the Republic (1995).
Selected photos and illustrations from Country Lesbians: The Story of the WomanShare Collective (1976). Drawings by Billie Miracle. Photos by Carol Newhouse, Donna Pollack, Chez Touchatt, & Dian.
A selection of covers from The Lesbian Tide, 1971-1979. “This magazine is a feminist lesbian publication, written by and for the rising tide of women today. It will speak of their numbers, their lives, their ideas and their pride ...” (Reverse cover, April 1972).
”Mother nature is my lesbian community, and she is large hearted and true.” Cunt Garden, plans for “a cunt shaped salad/herb garden,” by Clove and Susun Weed. From Lesbian Land, edited by Joyce Cheney (1985).
Lesbian, feminist, writer, activist, artisan, and jeweler Kady (Kay) Van Deurs, “Axe Maker to the Queen” (1927-2003).
“Always and everywhere the double axe is a Goddess symbol. She has many names in many places. She is called The Queen of Heaven. So I call myself axe maker to The Queen ... There was a time — a period of about 40,000 years — when almost everyone almost everywhere believed in The Goddess. Things must have been better for women then.” — Kady, in an ad for her jewelry (1979).
Top: “Drawing of Kady Wearing Axes Made by Many Women,” by Paula Gottlieb (1981).
Photos: (1) At the Women's Encampment for a Future of Peace and Justice (Lynn Marie, 1983; Peace Encampment Herstory Project); (2) At the Seneca Army Depot (Barbara Adams, 1983); (3) At the “Hold Hands” demonstration on the George Washington Bridge (Diana Davies, 1973; NYPL); (4) At a gay pride crafts fair (Diana Davies, 1971; NYPL).
Bottom: Patterns for silver earrings, by Kady Van Deurs (Panhandling Papers, 1989).
(Kady was the author of The Notebooks That Emma Gave Me: The Autobiography of a Lesbian (1978) and Panhandling Papers (1989), a collection of excerpts, essays, letters, and drawings. She, along with her partner Pagan, was featured in and on the cover of JEB’s Eye to Eye: Portraits of Lesbians.)
“Will I Remember Michigan?” by Lisa Juday, a letter to Amazon, Vol. 10, No. 5 (October-November 1982).
