{"id":2714,"date":"2021-12-13T16:23:42","date_gmt":"2021-12-13T21:23:42","guid":{"rendered":"https:\/\/sites.williams.edu\/engl113-f18\/?p=2714"},"modified":"2021-12-13T16:23:42","modified_gmt":"2021-12-13T21:23:42","slug":"lavender-woman-a-periodical-and-lesbianism-as-rebellion","status":"publish","type":"post","link":"https:\/\/sites.williams.edu\/engl113-f18\/yankovic\/lavender-woman-a-periodical-and-lesbianism-as-rebellion\/","title":{"rendered":"Lavender Woman \u2014 A Periodical, and Lesbianism as Rebellion"},"content":{"rendered":"<p><i><span style=\"font-weight: 400\">Lavender Woman<\/span><\/i><span style=\"font-weight: 400\">, a lesbian periodical that published 26 issues from 1971 to 1976, created space for queer women in a straight, male-dominated society. It\u2019s existence itself was a rebellion against the overpowering voices at the time. The magazine, which took the lavender aspect of its name from the Lavender Menace movement, was written by a collective of women (2). On the first page, there is a list of contributing authors, but no great significance seems to be placed on individual names and there are no page numbers associated with them. <\/span><i><span style=\"font-weight: 400\">Lavender Woman<\/span><\/i><span style=\"font-weight: 400\"> strived to create unity, a value which was enhanced by the collective since each contributor was given similar or equal power within the periodical and much of the credit was shared. The periodical<\/span><i><span style=\"font-weight: 400\">Lavender Woman<\/span><\/i><span style=\"font-weight: 400\"> was comprised of articles, artwork (largely block prints and drawings), and poems targeted at lesbian issues. The major themes of the works centered around helping lesbians feel seen through sharing common experiences of discrimination, love, and navigating sexuality. <\/span><i><span style=\"font-weight: 400\">Lavender Woman<\/span><\/i><span style=\"font-weight: 400\"> aimed to destigmatize lesbians and lesbian relationships while creating a safe space for lesbians to see aspects of their lives reflected in media. The <\/span><i><span style=\"font-weight: 400\">Lavender Woman<\/span><\/i><span style=\"font-weight: 400\"> collective approached this goal by publishing relatable experiences\u2013even painful ones. In one poetry submission from the 1973 vol.2 no.3 edition of <\/span><i><span style=\"font-weight: 400\">Lavender Woman, <\/span><\/i><span style=\"font-weight: 400\">there was a direct reference to the color lavender being associated with queerness and the fear that goes along with potentially being judged upon further discovery of identity:<\/span><\/p>\n<p><span style=\"font-weight: 400\">SYNTHIA<\/span><\/p>\n<p><span style=\"font-weight: 400\">I want to think of Synthia as clean<\/span><\/p>\n<p><span style=\"font-weight: 400\">Like earth and kind.<\/span><\/p>\n<p><span style=\"font-weight: 400\">But she has bound her hair<\/span><\/p>\n<p><span style=\"font-weight: 400\">With purple and wears stockings<\/span><\/p>\n<p><span style=\"font-weight: 400\">Purple, too. If she were nude?<\/span><\/p>\n<p><span style=\"font-weight: 400\">Or tousled? No.<\/span><\/p>\n<p><span style=\"font-weight: 400\">Somewhere<\/span><\/p>\n<p><span style=\"font-weight: 400\">The purple would show through.<\/span><\/p>\n<p><span style=\"font-weight: 400\">-M. Champaign<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u201cSYNTHIA\u201d focuses on the prejudice against queerness or evidence of \u201clavender\u201d within a person, which is described as unclean in the poem. Many of <\/span><i><span style=\"font-weight: 400\">Lavender Woman<\/span><\/i><span style=\"font-weight: 400\">\u2019s readers would have been able to relate to \u201cSYNTHIA\u201d and may have encountered similar interactions. Sharing experiences of discrimination created a further sense of unity because it helped lesbians feel less alone in their experiences.\u00a0<\/span><\/p>\n<div id=\"attachment_2557\" style=\"width: 510px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2557\" class=\"wp-image-2557 \" src=\"https:\/\/sites.williams.edu\/engl113-f18\/files\/2021\/12\/Screen-Shot-2021-12-13-at-9.36.50-AM-300x179.png\" alt=\"Cover of Lavender Woman periodical with drawing of overlapping female gender symbols in a circle and writtern text with drawing of figures holding hands\" width=\"500\" height=\"306\" \/><p id=\"caption-attachment-2557\" class=\"wp-caption-text\">Cover of the 1973 issue of Lavender Woman, Vol. 2. No. 5 (left), and an excerpt from the Publications Workshop (right).<\/p><\/div>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">The female writers in the collective for <\/span><i><span style=\"font-weight: 400\">Lavender Woman<\/span><\/i><span style=\"font-weight: 400\"> were not na\u00efve to the fact that prejudice often follows demonstrations of pride, so they created community by starting many of their articles and headers addressing their queer audience\u2013which they refered to as their sisters. It is not a guarantee that families accept or understand their queer family members, so <\/span><i><span style=\"font-weight: 400\">Lavender Woman<\/span><\/i><span style=\"font-weight: 400\"> called their readers their sisters to create a space for lesbians to feel safe expressing themselves and their love. One untitled poem submission by Sara Thompson addresses young or newly realized lesbians by saying:\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">We will tell you the truth so that you will understand<\/span><\/p>\n<p><span style=\"font-weight: 400\">The confusion<\/span><\/p>\n<p><span style=\"font-weight: 400\">We will tell you the truth so that you will understand<\/span><\/p>\n<p><span style=\"font-weight: 400\">The pains when they come<\/span><\/p>\n<p><span style=\"font-weight: 400\">We will tell you the truth so that you will see<\/span><\/p>\n<p><span style=\"font-weight: 400\">The joy of being a woman<\/span><\/p>\n<p><span style=\"font-weight: 400\">You must keep your eyes open little sister, all the time\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">(Thompson, 9)<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">The authors of <\/span><i><span style=\"font-weight: 400\">Lavender Woman<\/span><\/i><span style=\"font-weight: 400\"> knew the struggles of forsaking the advantages of fitting into male-centered systems, which Cheryl Clark considered in her essay \u201cLesbianism: An Act of Resistance,\u201d published in <\/span><i><span style=\"font-weight: 400\">This Bridge Called My Back. <\/span><\/i><span style=\"font-weight: 400\">Clark categorized lesbian sexuality as a form of rebellion due to the many opportunities that came along with proximity to men: the benefit of marriage due to fitting the mold of a \u201cproper woman,\u201d and the stability and income men brought due to sexist societal systems (1). In her essay, Clark viewed lesbians as unified against the patriarchal system\u2013which she called the \u201cslave master\u201d:<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u201cFor a woman to be lesbian in a male-supremacist, capitalistic, misoginystic, racist, homophobic, imperealist culture, such as that of North America, is an act of resistance. (A resistance that should be championed throughout the world by all the forces struggling for liberation from the same slave master.)\u201d (Clark, 126)<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">Although there were marches and protests during the Second Wave Feminist Movement\u2013like the Lavender Menace revolution\u2013Cheryl Clark\u2019s \u201cLesbianism: An Act of Resistance\u201d argues that just openly existing within a prejudiced society is a rebellion in and of itself.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">Work Cited<\/span><\/p>\n<p><span style=\"font-weight: 400\">(1) Moraga, Cherr\u00ede, and Gloria Anzald\u00faa. <\/span><i><span style=\"font-weight: 400\">This Bridge Called My Back: Writings by Radical Women of Color<\/span><\/i><span style=\"font-weight: 400\">. SUNY Press, 2021. pp. 126.<\/span><\/p>\n<p><span style=\"font-weight: 400\">(2) Kate Kasten, et al. <\/span><i><span style=\"font-weight: 400\">Lavender Woman<\/span><\/i><span style=\"font-weight: 400\">. <\/span><i><span style=\"font-weight: 400\">Lavender Woman<\/span><\/i><span style=\"font-weight: 400\">, vol. 2, no. 5, Lavender Woman, Aug. 1973, pp. 1\u201321, https:\/\/jstor.org\/stable\/community.28039112.<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Lavender Woman, a lesbian periodical that published 26 issues from 1971 to 1976, created space for queer women in a straight, male-dominated society. It\u2019s existence itself was a rebellion against the overpowering voices at the time. The magazine, which took &hellip; <a href=\"https:\/\/sites.williams.edu\/engl113-f18\/yankovic\/lavender-woman-a-periodical-and-lesbianism-as-rebellion\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":2659,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"ngg_post_thumbnail":0,"footnotes":""},"categories":[45],"tags":[],"class_list":["post-2714","post","type-post","status-publish","format-standard","hentry","category-yankovic"],"acf":[],"_links":{"self":[{"href":"https:\/\/sites.williams.edu\/engl113-f18\/wp-json\/wp\/v2\/posts\/2714","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.williams.edu\/engl113-f18\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.williams.edu\/engl113-f18\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.williams.edu\/engl113-f18\/wp-json\/wp\/v2\/users\/2659"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.williams.edu\/engl113-f18\/wp-json\/wp\/v2\/comments?post=2714"}],"version-history":[{"count":1,"href":"https:\/\/sites.williams.edu\/engl113-f18\/wp-json\/wp\/v2\/posts\/2714\/revisions"}],"predecessor-version":[{"id":2717,"href":"https:\/\/sites.williams.edu\/engl113-f18\/wp-json\/wp\/v2\/posts\/2714\/revisions\/2717"}],"wp:attachment":[{"href":"https:\/\/sites.williams.edu\/engl113-f18\/wp-json\/wp\/v2\/media?parent=2714"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.williams.edu\/engl113-f18\/wp-json\/wp\/v2\/categories?post=2714"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.williams.edu\/engl113-f18\/wp-json\/wp\/v2\/tags?post=2714"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}