• Abstract and Figures
• Public Full-text

WHY CELEBRITY RAPISTS DON'T GET CAUGHT COLLEGE OF EDUCAHO V V i ’ r 2 ’" \\ o ° e ; add<esseS' Q xō*"et o f f O * , 0 ^ « “ ‘ ° < * * ■ < £ > ■ - ^ ? ° R f R \ ^ ° ° h , o ^ o ^ ° \ ^ c \ S ^ ^ O ^ 0 tie<d° rS c° '1 , ^ | * * » $ k W* S o ^ ' c,eeV HELP KEEP YOCIR FEMINIST BOOKSHOP OPEN BUY YOUR WOMENS BOOKS FROM US SEE OUR SECOND HAND BOOKS, HAND CRAFTED JEWELLERY, POSTERS AND SWEAT SHIRTS WE TAKE PHONE ORDERS, POST BOOKS OUT AND WILL ORDER BOOKS NOT IN STOCK 10% DISCOUNT TO STUDENTS. SCHOOLS, LIBRARIES, BENEFICIARIES. HOURS: 10 - 5.30 WEEKDAYS 10-8 THURSDAYS 10-1 SATURDAYS COME IN AND BROWSE r^r^r. **\ «S'-.»"? AMAZIN A-BOMB v\fN f y « CONTENTS FEATURES HERE'S SOAP IN YOUR EYE 18 LEARNING ANTI-RACISM 23 THE BEV BRYAN CHILD CARE AFFAIR 26 CELEBRITY RAPIST 30 DOCTORING THE NUCLEAR PACIFIC 32 FIGHTERS AND VICTIMS 36 REGULARS LETTERS AND FRONTING UP 2 BEHIND THE NEWS In a Man’s World/Liquor Laws/Manqawhai Women’s Festival/ Women’s Role in Development/Chilean Women/Australia’s Disarmament Senator/ A Matter of Life and Breath 4 AGAINST ALL ODDS 12 SISTERS INFORMATION SERVICE Straight Dykes/Emmgtruck Plavs Music 13 ON THE SHELF 16 WHAT’S NEW 35 CLASSIFIED 42 ARTS REVIEWS Women’s Work/Mentol Health for Women/Save the Midwife/Brother-love Sister-love/The Fledgling/Secrets 43 LISTING 47 Cover design by by Sharon Alston. Photograph by Adrienne Martyn BROADSHEET COLLECTIVE Sharon Alston, Ali Bell, Peta Joyce, Claire-Louise McCurdy, Jenny Rankine, Pat Rosier, Jesvier Singh, Shirley Tamihana, Athina Tsoulis, Jude Worters Editorial and policy decisions are made by the collective. Main areas of responsibility are: Bookshop, Jude Worters; Design and layout, Sharon Alston; Editorial, Jenny Rankine and Pat Rosier; Finances, subscriptions, Athina Tsoulis; Resource Collection, Claire-Louise McCurdy, Ali Bell. THESE WOMEN HELPED AROUND BROADSHEET THIS MONTH: Janet Charman, (poetry reader), Julie Sargison, Susan Grimsdell, Hazel Sargeant, Jae Paape, and the enveloping women. BROADSHEET is published by Broadsheet Magazine Ltd, PO Box 68-026 Newton, Auckland; Re­ gistered Office: 485 Karangahape Rd, Auckland 1; and printed by Wanganui Newspapers Ltd,^20 Drews Avenue, Wanganui. Typesetting by Filmset Type Ltd. Publication date: 1 April Photoprints by SHOTZ BROADSHEET annual subscription $29 plus $2.90 GST. Overseas (surface) $36, overseas (air­ mail) Europe $54; America and Asia $46.50; Australia and South Pacific $41. 10% discount for students and beneficiaries. Permission must be sought before articles may be reprinted. Broadsheet is on file at the Women’s Collection, Special Department, Northwestern University Library, Evanston, Illinois 60201, USA. ISSN 0110-8603 Registered at the GPO as a magazine. LETTERS RESPONSE TO REVIEW riate. But by 1986, there were a can help us, both with support birth, new mothers and their number of significant im­ and information. How can the babies, have coalesced within Dear Broadsheet provements which needed op be obtained with the least me as a nightmare image. I hassle and time delay? Are I would like to respond to acknowledgement. That I ob­ am, filled with anger. 1 am some of the comments made viously don’t see everything in there any doctors (in Auckland moved to complain because I by Pat Rosier in her review of the garden as rosy (Pat’s “Just preferably) who are particu­ do not want this anger to fester Women and the Arts in New a worry that Eastmond sees it larly sensitive to the needs of within me. I am a dissatisfied Zealand — Forty Works as the same for everyone”) the intentionally childless? consumer. 1936-1986 (Penguin New was, 1 had hoped, made clear If anyone can help, please My complaint is that: 1) My Zealand, 1986) co-compiled by the later comments on, for contact: legal and actual status as my Jan Stone by Merimeri Penfold and my­ example, the poor ratios of daughter’s parent was not suf­ CPQ878 Auckland ficiently acknowledged. 2) self. (Broadsheet Jan/Feb women to men in art gallery Routine medical intervention 1987, p.45) positions and tertiary arts edu­ 1. Regarding the ratio of Maori cation and some quoted im­ DISSATISFIED HOSPITAL was unecessarily carried out and Pacific Island works to balances in survey exhibitions. CONSUMER on my daughter (Qesem) without my permission, and at Pakeha works, which the intro­ 4. That some historical duction stated as “roughly women artists received an an­ On May 15, 1986 1 gave birth times against my wishes. 3) based on population ratios," nuity and that this was a factor to my daughter within the con­ Mine and Qesem’s physical and which Pat described as in providing them with favour­ fines of National Women’s and emotional integrity was ig­ cartainly a way to set a able conditions to pursue their Hospital. The birth experience nored and thwarted. minimum for including non- careers as artists surely does was satisfactory but the sub­ Almost immediately after birth my daughter was taken Pakeha work”. When consid­ need to be considered in any sequent treatment that we re­ from me to the neo-natal ward ering ways of best represent­ discussion of the social con­ ceived from the staff, allied because of her pre-term birth ing the diversity of cultural text of women artists and their with the attitudes towards production in Aotearoa by art practice. forty works, it seemed to us 5. The comment on the “male necessary to keep in mind, as muse” in my introduction a yardstick, the quoted ratios (“what state of development is MYSTERY WALLED-IN LADY of population, while not neces­ the male muse at today?”) was (To my almost, sometime, activist sarily adhering strictly and un­ intended ironically and to en­ friend.) imaginatively to precise fi­ courage the general reader to gures. The 10% for Maori consider more carefully some Though you emanate a works, for example, was ex­ optimum conditions for the practical concern for things ceeded by the number of production of a continuity of out there works actually selected: four serious work, conditions 1 move further close to you traditional arts works by Maori which have obviously tended and find a wall as women, two works by Maori to favour men rather than thick as my arm, impenetrable, women artists using modern women in the past. defending a broken self. media giving a percentage of 6. Finally, Pat’s concluding comment: “This is one that 1 15%, which was in fact ex­ Recognized, quite possibly would buy for the pictures” ceeded in a way impossible to because in this 1 share and was pertinent, and welcomed! reduce to percentages by the struggle to break free. fact that at least two other ar­ This book is above all a pic­ Alas, the eon’s dilemma tists are of mixed Pakeha/ ture-book, as stated clearly in we care, we feel, we suffer; Maori descent as clearly stated the cover blurb. we care, we cease feeling, we work. in their biographies. Liz Eastmond 2. My description of Gil Dock­ Auckland ing’s “sympathetic” comment When finally all is shut out referred to that particular VASECTOMY and organized towards the statement, not to the book as a higher purpose; whole. Dear Broadsheet, when we discover what is left over 3. Re my stated belief that “... I am enquiring about obtain­ we weep, for nothing but a hollow. most other obstacles (in the ing vasectomies. From what I path of women artists) do not understand, the recipient Contained, mysterious love apply any more” with which should ideally be married, will come to ill, Pat disagrees; certainly some over 30 and already have sev­ mark the warning; remain, hence my qualifier eral children. (But these are wrapped in intellect, never extended, “most”, but at the same time not legal requirements?). harnessed to purpose and ego instead; many which beleagured My husband and 1 are in our foul play. women artists in the past early 20s and do not wish to (cited in the introduction) are have any children (for several You say you want a revolution: no longer operative. However, reasons). We are aware of the well well, you know; had the text been written as re­ permanence of such an oper­ we’re all doing what we can. cently as the early eighties ation — it is precisely because even the more positive picture of this permanence we wish it of current art practice for done. We would love to hear M. Clad would not have been approp­ from any readers or staff who 2 Broadsheet, April 1987 hours all her bodily functions and exhausting labour and a wished to mother Qesem. TATCHI ON THE BEACH had stabilised but instead of painfully stitched perineum 1 As it became apparent that being released to her mother’s traversed the hospital many she was not going to be re­ On The Beach arms, eyes and breast she was times a day, returning to my leased from intensive care or my hands weave kept for “observation” in the bed only to eat meals and provision made for me to be the Tai-chi balance ward and a battery of routine sleep between night feeds. closer to her, 1 approached quiet ritual movements checks were carried out on (Hardly the best way to recover the supervisor of the ward and flowing together her. A lumbar puncture was from a long birth.) within hours my daughter was performed, x-rays were taken, 1 remain convinced that my delivered to my room. Her ab­ below me rupt release on one hand ac­ monitors were attached to her daughter would have been far common (unlike Greenham centuated all my doubts as to skin, numerous blood sam­ happier, safer and healthier in black backed gulls ples were taken, a drip was in­ my arms and under my eyes.

Load more

  52

Copy Link