The book list copied from feminist-reprise
Radical Lesbian Feminist Theory
A Passion for Friends: Toward a Philosophy of Female Affection, Jan Raymond
Call Me Lesbian: Lesbian Lives, Lesbian Theory, Julia Penelope
The Lesbian Heresy, Sheila Jeffreys
The Lesbian Body, Monique Wittig
Politics of Reality, Marilyn Frye
Willful Virgin: Essays in Feminism 1976-1992, Marilyn Frye
Lesbian Ethics, Sarah Hoagland
Sister/Outsider, Audre Lorde
Radical Feminist Theory – General/Collections
Freedom Fallacy: The Limits of Liberal Feminism, edited by Miranda Kiraly and Meagan Tyler
Radically Speaking: Feminism Reclaimed, Renate Klein and Diane Bell
Love and Politics, Carol Anne Douglas
The Dialectic of Sex–The Case for Feminist Revolution, Shulamith Firestone
Sisterhood is Powerful, Robin Morgan, ed.
Radical Feminism: A Documentary Reader, edited by Barbara A. Crow
Three Guineas, Virginia Woolf
Sexual Politics, Kate Millett
Radical Feminism, Anne Koedt, Ellen Levine, and Anita Rapone, eds.
On Lies, Secrets and Silence, Adrienne Rich
Beyond Power: On Women, Men and Morals, Marilyn French
Feminism Unmodified: Discourses on Life and Law, Catharine MacKinnon
Femininity and Domination: Studies in the Phenomenology of Oppression, Sandra Bartky
Life and Death, Andrea Dworkin
This Bridge Called My Back: Writings by Radical Women of Color, Gloria Anzaldua and Cherrie Moraga, eds.
Wildfire: Igniting the She/Volution, Sonia Johnson
Homegirls: A Black Feminist Anthology, Barbara Smith ed.
Fugitive Information, Kay Leigh Hagan
Talking Back: Thinking Feminist, Thinking Black, bell hooks
Feminist Theory: From Margin to Center, bell hooks
Deals with the Devil and Other Reasons to Riot, Pearl Cleage
Pilgrimages/Peregrinajes, Maria Lugones
In Search of Our Mothers’ Gardens, Alice Walker
The Whole Woman, Germaine Greer
Right Wing Women, Andrea Dworkin
Feminist Theory – Specific Areas
Prostitution
Paid For: My Journey Through Prostitution, Rachel Moran
Being and Being Bought: Prostitution, Surrogacy, and the Split Self, Kajsa Ekis Ekman
The Industrial Vagina: The Political Economy of the Global Sex Trade, Sheila Jeffreys
Female Sexual Slavery, Kathleen Barry
Women, Lesbians, and Prostitution: A Workingclass Dyke Speaks Out Against Buying Women for Sex, by Toby Summer, in Lesbian Culture: An Anthology, Julia Penelope and Susan Wolfe, eds.
Ten Reasons for Not Legalizing Prostitution, Jan Raymond
The Legalisation of Prostitution : A failed social experiment, Sheila Jeffreys
Making the Harm Visible: Global Sexual Exploitation of Women and Girls, Donna M. Hughes and Claire Roche, eds.
Prostitution, Trafficking, and Traumatic Stress, Melissa Farley
Not for Sale: Feminists Resisting Prostitution and Pornography, Christine Stark and Rebecca Whisnant, eds.
Pornography
Pornland: How Pornography Has Hijacked Our Sexuality, Gail Dines
Pornified: How Porn is Damaging Our Lives, Our Relationships, and Our Families, Pamela Paul
Pornography: Men Possessing Women, Andrea Dworkin
Pornography: The Production and Consumption of Inequality, Gail Dines
Pornography: Evidence of the Harm, Diana Russell
Pornography and Sexual Violence: Evidence of the Links (transcript of Minneapolis hearings published by Everywoman in the UK)
Rape
Against Our Will, Susan Brownmiller
Rape In Marriage, Diana Russell
Incest
Secret Trauma, Diana Russell
Victimized Daughters: Incest and the Development of the Female Self, Janet Liebman Jacobs
Battering/Domestic Violence
Loving to Survive, Dee Graham
Trauma and Recovery, Judith Herman
Why Does He Do That? Inside the Minds of Angry and Controlling Men, Lundy Bancroft
Sadomasochism/”Sex Wars”
Unleashing Feminism: Critiquing Lesbian Sadomasochism in the Gay Nineties, Irene Reti, ed.
The Sex Wars, Lisa Duggan and Nan D. Hunter, eds.
The Sexual Liberals and the Attack on Feminism, edited by Dorchen Leidholdt and Janice Raymond
Sex, Lies, and Feminism, Charlotte Croson, off our backs, June 2001
How Orgasm Politics Has Hijacked the Women’s Movement, Sheila Jeffreys
A Vision of Lesbian Sexuality, Janice Raymond, in All The Rage: Reasserting Radical Lesbian Feminism, Lynne Harne & Elaine Miller, eds.
Sex and Feminism: Who Is Being Silenced? Adriene Sere in SaidIt, 2001
Consuming Passions: Some Thoughts on History, Sex and Free Enterprise by De Clarke (From Unleashing Feminism).
Separatism/Women-Only Space
“No Dobermans Allowed,” Carolyn Gage, in Lesbian Culture: An Anthology, Julia Penelope and Susan Wolfe, eds.
For Lesbians Only: A Separatist Anthology, Julia Penelope & Sarah Hoagland, eds.
Exploring the Value of Women-Only Space, Kya Ogyn
Medicine
Witches, Midwives and Nurses: A History of Women Healers, Barbara Ehrenreich and Deirdre English
For Her Own Good: 150 Years of the Experts’ Advice to Women, Barbara Ehrenreich and Deirdre English
The Hidden Malpractice: How American Medicine Treats Women as Patients and Professionals, Gena Corea
The Mother Machine: Reproductive Technologies from Artificial Insemination to Artificial Wombs, Gena Corea
Women and Madness, Phyllis Chesler
Women, Health and the Politics of Fat, Amy Winter, in Rain And Thunder, Autumn Equinox 2003, No. 20
Changing Our Minds: Lesbian Feminism and Psychology, Celia Kitzinger and Rachel Perkins
Motherhood
Of Woman Born: Motherhood as Experience and Institution, Adrienne Rich
The Reproduction of Mothering, Nancy Chodorow
Maternal Thinking: Toward a Politics of Peace, Sara Ruddick
Marriage/Heterosexuality
Compulsory Heterosexuality and Lesbian Existence, Adrienne Rich
The Spinster and Her Enemies: Feminism and Sexuality 1880-1930, Sheila Jeffreys
Anticlimax: A Feminist Perspective on the Sexual Revolution, Sheila Jeffreys
Black Macho and the Myth of the Superwoman, Michele Wallace
The Sexual Contract, Carol Pateman
A Radical Dyke Experiment for the Next Century: 5 Things to Work for Instead of Same-Sex Marriage, Betsy Brown in off our backs, January 2000 V.30; N.1 p. 24
Intercourse, Andrea Dworkin
Transgender/Queer Politics
Gender Hurts, Sheila Jeffreys
Female Erasure, edited by Ruth Barrett
Testosterone Rex: Unmaking the Myths of Our Gendered Minds, Cordelia Fine
Delusions of Gender: How Our Minds, Society, and Neurosexism Create Difference, Cordelina Fine
Sexing the Body: Gender and the Construction of Sexuality, Anne Fausto-Sterling
Myths of Gender, Anne Fausto-Sterling
Unpacking Queer Politics, Sheila Jeffreys
The Transsexual Empire: The Making of the She-Male, Janice Raymond
The Inconvenient Truth of Teena Brandon, Carolyn Gage
Language
Speaking Freely: Unlearning the Lies of the Fathers’ Tongues, Julia Penelope
Websters’ First New Intergalactic Wickedary, Mary Daly
Man Made Language, Dale Spender
Feminist Theology/Spirituality/Religion
Beyond God the Father: Toward a Philosophy of Women’s Liberation, Mary Daly
Gyn/Ecology: The Metaethics of Radical Feminism, Mary Daly
The Gods and Goddesses of Old Europe, Marija Gimbutas
Woman, Church and State, Matilda Joslyn Gage
The Women’s Bible, Elizabeth Cady Stanton
Pure Lust, Mary Daly
Backlash
The War Against Women, Marilyn French
Backlash, Susan Faludi
History/Memoir
Surpassing the Love of Men, Lillian Faderman
Going Too Far: The Personal Chronicles of a Feminist, Robin Morgan
Women of Ideas, and What Men Have Done to Them, Dale Spender
The Creation of Patriarchy, Gerda Lerner
The Creation of Feminist Consciousness, From the Middle Ages to Eighteen-Seventy, Gerda Lerner
Why History Matters, Gerda Lerner
A Vindication of the Rights of Women, Mary Wollstonecraft, ed.
The Elizabeth Cady Stanton-Susan B. Anthony Reader: Correspondence, Writings, Speeches, Ellen Carol Dubois, ed., Gerda Lerner, Elizabeth Cady Stanton
The Suffragette Movement, Sylvia Pankhurst
In Our Time: Memoirs of a Revolution, Susan Brownmiller
Women, Race and Class, Angela Y. Davis
Economy
Counting for Nothing: What Men Value and What Women Are Worth, Marilyn Waring
For-Giving: A Feminist Criticism of Exchange, Genevieve Vaughn
Fat/Body Image/Appearance
Shadow on a Tightrope: Writings by Women on Fat Oppression, Lisa Schoenfielder and Barb Wieser
Beauty and Misogyny: Harmful Cultural Practices in the West, Sheila Jeffreys
Can’t Buy My Love: How Advertising Changes the Way We Think and Feel, Jean Kilbourne
The Beauty Myth, Naomi Wolf
Unbearable Weight: Feminism, Western Culture, and the Body, Susan Bordo
The Invisible Woman: Confronting Weight Prejudice in America, Charisse Goodman
Women En Large: Photographs of Fat Nudes, Laurie Toby Edison and Debbie Notkin
Disability
With the Power of Each Breath: A Disabled Women’s Anthology, Susan E. Browne, Debra Connors, and Nanci Stern
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JEAN HARLOW: Bombshell
Her mother Mama Jean called her “The Baby” during her short life, and Jean Harlow did exhibit a babyish sense of delight when she smiled in her films and in stills, but the men who looked at her on the movie screen saw not a baby but a babe that they wanted in their arms. She was the successor to Clara Bow and a kind of bridge to Marilyn Monroe, and she was more good fun than both of them combined. Very few film stars made such an impression in such a brief time as Harlow, or grew as a performer so quickly.
Notoriously, Harlow didn’t wear underwear, and when James Cagney asked her on the set of The Public Enemy (1931) how she kept her breasts up and at ‘em, she good-naturedly replied, “I ice ‘em!” Harlow had hair so bleached blond that it was nearly white, and her legs were Dietrich-level beautiful and shapely. When she died unexpectedly at age 26, rumors ran rampant and ugly about why and how this had happened to her, culminating in the 1960s with a nasty and inaccurate biography by Irving Schulman and two equally inaccurate movie biopics, one with Carroll Baker and one with Carol Lynley. Thankfully, David Stenn’s biography of Harlow in the early 1990s set the record straight just as Stenn’s 1989 Clara Bow book gave the It Girl a fair shake.
Harlow was born Harlean Carpenter in 1911, and she married at 16 to a society boy, but she worked for a while as an extra at star-struck Mama Jean’s urging, getting her skirt caught in the door of a car and walking away with her black underwear showing in Double Whoopee (1928), a Laurel and Hardy short where childlike Ollie seems genuinely hot and bothered by this cotton candy blond looker. She posed for beautiful semi-nude shots for Edwin Bower Hesser in Griffith Park with her body covered only by a wet piece of fabric, showing off her curves for him with joy and abandon, but Harlow was still stiff in front of a moving picture camera. Bit parts proliferated, including one with Bow in The Saturday Night Kid (1929), where Harlow had one line of dialogue that she delivered in an amateurish way as she looked at her watch.
Harlow fell under contract to breast-obsessed Howard Hughes, who put her in his aerial epic Hell’s Angels (1930) as sexpot relief. He had a party scene shot in two-strip Technicolor in order to show off the pearly beauty of his new star’s skin, her breasts barely covered by her backless dress, and though Harlow delivers dialogue in a very stilted way in Hell’s Angels, she already had a way of looking at men that was unmistakably carnal.
“Would you be shocked if I put on something more comfortable?” she asks Ben Lyon in Hell’s Angels, taking joy and pride in the way she makes his temperature rise. The distinctive thing about Harlow is her total lack of shame about sex on screen, her sheer anticipatory enjoyment of it as an idea, and an ideal of pleasure, a force that totally loosens her up. Harlow’s relation to sex in her movies makes Bow seem slightly jittery and insecure about it in comparison, and makes Monroe look like a sexual basket case.
“I want to be free, I want to be gay and have fun!” Harlow says in Hell’s Angels, leaning back happily on a couch to be admired. “Life’s short, and I want to live while I’m alive.” No bra, no panties, no problem! Her smile is so open, so inviting, as if to say, “Come on, let’s enjoy ourselves,” and she wants to take that enjoyment to the limit, and beyond that limit. Harlow in Hell’s Angels is the kind of person who will make out with you in a bar and won’t care how many people are watching. In fact, she obviously gets a kick out of being watched, in the bar on screen and from the dark of the movie theater, because that attention adds to her pleasure.
Luscious and so gracefully knowing, with her fantasy hair and her freely moving and nearly exposed body, Harlow tries to sound ritzy and classy in her first few talkies but she has a nasal, funny voice that keeps betraying her sense of humor. Hughes loaned her out and kept her working, paying her little and pocketing the rest of her salaries. Expected to play disparate roles in her 1931 movies, Harlow became mainly chastened and inhibited, though she has a brief moment of connected wisecracking with Clark Gable in The Secret Six.
Harlow is embarrassing in The Public Enemy with Cagney, descending to an Ed Wood level of wooden dialogue delivery, and she tentatively played Louise Brooks’s part in a remake of A Girl in Every Port (1928) that was renamed Goldie for her hair. “Men don’t marry carnival girls,” she earnestly tells Warren Hymer in that movie. “They think we’re all bad.” Harlow had trouble seeming like a manipulative society girl in Frank Capra’s Platinum Blonde, even though she had moved in society circles herself during her first marriage. She knew she wasn’t cutting it as an actress and even told her agent that she would try to get work in a department store if her acting didn’t improve soon.
MGM producer Paul Bern, who had been instrumental in shaping many careers for women at his studio, got Harlow a very good part in The Beast of the City (1932), and she’s much improved in that due to the gentle Bern’s coaching, closer to the magnetic tough-girl style of her star period (seen in a line-up, she gives a raspberry to the cops who are grilling her). When a tough guy grabs her hard and she says it hurts her, he asks, “You don’t like to be hurt, do you?” She looks at him steadily and says, in her “ritzy” voice, “Oh, I don’t know…it’s kinda fun sometimes if it’s done in the right spirit.” Harlow on screen knows or senses that sex is partly theater, and theater is best, or “kinda fun,” when it’s boldly rough and dramatized in terms of fluctuating power dynamics.
Harlow keeps her hands on her hips and does one helluva seductive dance for a copper in The Beast of the City, filling her undulations with that distinctive “sex is fun!” spirit she had, rubbing her hands down her gyrating body and fluffing her hair. She harnessed all of her sexual energy and put it on screen without any inhibitions, and it still makes for a hackle-raising spectacle. “Are you gonna try and reform me?” she asks the copper breathlessly, after they kiss.
Bern convinced her to go titian for Red-Headed Woman (1932), where we see her hair being dyed in the first scene. “So gentlemen prefer blondes, do they?” she asks, in that pinched voice, before looking at herself in the mirror. “Yes they do,” she drawls, smiling and giving a pure 1930s sock-it-to-‘em nod. “Can you see through this?” she asks a saleswoman, striking a pose against a window in a new dress. “I’m afraid you can, miss,” the prim saleswoman informs her. “I’ll wear it,” Harlow cheerfully replies.
Her ruthless and hotheaded Lil goes through five men in Red-Headed Woman, and Harlow gets away with it because she is so funny and so good-humored about her man-eating. Bern told her that if she made the part funny that the audience would forgive her anything, and he was right about that. And she gets away with a lot in this movie. When Chester Morris smacks her, Harlow lets out a growly little noise of excitement and approval and says, “Do it again, I like it! Do it again!” and then kisses him, which goes shockingly further with her “kinda fun” rough sex formulation from The Beast of the City. Her growl of S&M excitement is not to be forgotten once heard, once she has let it out of its box, so to speak.
There is no part of sex or the sexual instinct that Harlow doesn’t openly enjoy on screen, and that’s what made her such a radical presence in the early 1930s, and that sexual radicalism hasn’t dated; it would still cause an uproar today if done in the swaggering way she does it in Red-Headed Woman. And she is not made to be redeemed or reformed or even punished at the end of that movie, where her designing woman winds up with a rich older protector and still gets to keep her handsome chauffeur lover (a young Charles Boyer). Screenwriter Anita Loos gives Red-Headed Woman the essentially French and Colette-like morality and frankness that went into her classic novel Gentlemen Prefer Blondes, and you can see why moralists in America at the time were outraged and alarmed by Lil, who is a truly amoral, even homicidal wretch but so filled with Harlow’s saucy pep that she still winds up being somehow attractive.
Yet this brazen woman on screen was living with her mother off screen, obediently following Mama Jean’s wishes. (Mama Jean had wanted to be an actress herself, and she lived vicariously through Harlow’s success.) Compliant in some ways but also rebellious, Mama Jean’s “Baby” got into big trouble off the set. Harlow married the gentlemanly Bern, and shortly after that marriage Bern shot himself, leaving behind a cryptic suicide note. Their marriage had not been consummated, and Bern had in his past a mentally unstable common law wife named Dorothy Millette, a woman who was still obsessively attached to him. Millette confronted Harlow and Bern one night, and whatever transpired between them led to his suicide. Millette killed herself a few days after his death. This was a rare mess, and it was feared that it might ruin Harlow’s career.
She was midway through shooting Red Dust (1932) with Clark Gable at that point, and she returned to work under duress. To the studio’s surprise, public sympathy was on her side during the Bern suicide scandal, and it helped that she was at her very best in Red Dust, with all her sexuality and humor at her command but a new shading of vulnerability, too, just enough to make her irresistible to just about everyone. Look at the pained way she stares after Clark Gable and Mary Astor as he carries Astor out of a storm, which reveals the strength of her feelings for him underneath all the other slangy “I like it!” sexual fun she still offered us. This scene proved that Harlow’s on screen persona could handle a show of hurt feelings, and it also showed that she could be appealingly stoic about them, too, and toughly gallant and magnanimous. In the scene where she good-naturedly pours a drink for her love rival Astor and gives her a little advice, Harlow is one of the most appealing of all American screen women.
Red Dust was perhaps Harlow’s zenith, but she advanced even further in three more films the following year. She turned to rat-a-tat-tat verbal comedy in the very knowing, often scathing Bombshell as movie star Lola Burns, who is “born for men,” according to salacious studio advertising, but mainly born, it seems, to support a family and retinue, just as Harlow herself was. “You’re a boon to re-population in a world thinned out by war and famine!” cries Lee Tracy’s publicity man, and that’s certainly one way of looking at it.
Role and star get deliberately confused in Bombshell, for Lola is called back to shoot retakes of Gable catching her nude in a rain barrel in Red Dust, as if she and Harlow were the same person. “You can get another ‘It’ girl or ‘But’ girl or a ‘how, when and where’ girl, I’m moving out!” Harlow’s Lola cries toward the end, saying that she wants to retire to domestic life, but Bombshell knows that some people are just more charismatic than others, and some women would be imprisoned by the threat of home and babies. Harlow was certainly one of those women, at least on screen.
Cleverly, shortly after filming, Harlow married her much older cameraman, Harold Rossen, who did much to shape her visual image (Mama Jean put the kibosh on that one after only eight months). And then, for director George Cukor, who egged her on to just the right degree, she was Kitty Packard, a gutsy trophy wife putting Wallace Beery in his place in Dinner at Eight, a monument to the enriching vitality in unabashed sexual vulgarity.
Sitting up in her absurdly billowing white bed, taking bites out of chocolates and then throwing them back, ringing out her powder puff, Harlow gets laugh after laugh in Dinner at Eight, one after another, like she’s ringing gongs. She throws herself into her scenes with both abandon and accuracy of expression and timing, a very different style from Clara Bow or Marilyn Monroe, much brassier, more self-sufficient; if she talked baby talk, as Monroe did, it was in a very knowing, parodic way.
Harlow is the only big female movie sex symbol who never seems dazed, never seems really out-of-control. “I’m gonna be a lady if it kills me!” she tells Beery in Dinner at Eight, standing up to him all the way down the line and applying more lipstick in between. (She was sown into her gowns, so that she couldn’t even sit down on set but had to resort to a slant board.) Harlow throws some left hooks and gets caught in her bath again by Gable in Hold Your Man. “Yes sir, that baby’s got rhythm,” Gable says appreciatively as he watches her walk away from him at one point, after she visits him in prison. She is at her toughest in Hold Your Man until a redemptive ending, a harbinger of worse to come.
“The vulgar, cheap, and the tawdry is out!” promised Joseph Breen, the new chief of the Production Code censorship bureau, in a newsreel from 1934, and that meant that proudly vulgar, cheap, and tawdry Harlow was hardest hit by the new Code. Her first film under the Code was supposed to be called Born to Be Kissed, but the title was changed to The Girl from Missouri (1934), and it made Harlow stuffy and bent only on matrimony in a way that feels very constricted and depressing.
They even began to darken her platinum hair to a light shade of brown in Riffraff (1935), where she played another virgin holding out for marriage and sparred with Spencer Tracy. Harlow was at least somewhat brassy again as good-time girl China Doll in China Seas (1936) with Gable, but in Wife vs. Secretary (1936) she played a true-blue stenographer who wouldn’t dream of putting the moves on Gable’s boss, a far cry from the rapacious Lil of Red-Headed Woman. Even her car horn voice got tamped-down and refined back to the level it had ludicrously sought in her first awkward years in movies, as if speaking quietly were some sort of triumph for the “good taste” that now reigned on film.
In Reckless (1935), Harlow was asked to talk her way through a risible song and act out a suicide drama that was exploitatively close to her own ordeal with Bern. She is made to defend herself from a stage, confessing to an audience her dead husband’s unhappiness and how she tried to make him happy, and the result on screen feels very punishing and unfair, so that there was no star who was so humiliated and ruined by censorship as Harlow, not even Mae West. She got one more chance at rapid-fire comedy in Libeled Lady (1936), where all she wants to do is marry Spencer Tracy, and she has her moments in that, but the great sexual thrill of Harlow is confined to Hell’s Angels and her movies from 1932 and 1933 only.
She really did want to marry her Libeled Lady co-star William Powell, but he kept putting that off. Harlow looks and seems ill and low energy in Personal Property (1937) and in her last film, Saratoga (1937), which was finished with a stand-in after her death at 26 from kidney disease. She collapsed on the set and was attended by physicians for eight days before she died, contrary to the stories about her never seeing a doctor because of Mama Jean’s Christian Science leanings. MGM chief Louis B. Mayer had Jeanette MacDonald and Nelson Eddy sing “Ah! Sweet Mystery of Life” at her funeral, which certainly would have made the screen Harlow guffaw. It was a short career, but her initial impact is still fresh, and it can still be felt as liberating, sexually and otherwise.
by Dan Callahan
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