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The Whole Naked Truth of Our Lives: Lesbian-Feminist Print Culture from 1969 Through 1989

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The Whole Naked Truth of Our Lives: Lesbian-Feminist Print Culture from 1969 Through 1989 ABSTRACT Title of Document: THE WHOLE NAKED TRUTH OF OUR LIVES: LESBIAN-FEMINIST PRINT CULTURE FROM 1969 THROUGH 1989 Julie R. Enszer, Doctor of Philosophy, 2013 Directed By: Professor Deborah S. Rosenfelt, Women’s Studies, & Professor Martha Nell Smith, English During the 1970s and the 1980s, lesbian-feminists created a vibrant lesbian print culture, participating in the creation, production, and distribution of books, chapbooks, journals, newspapers, and other printed materials. This extraordinary output of creative material provides a rich archive for new insights about the Women’s Liberation Movement (WLM), gay liberation (the LGBT movement), and recent U.S. social history. In The Whole Naked Truth of Our Lives, I construct and analyze historical narratives of lesbian-feminist publishers in the United States between 1969 and 1989. Interdisciplinary in its conception, design, and execution, The Whole Naked Truth of Our Lives is the only sustained examination of lesbian print culture during the 1970s and 1980s; it extends the work of Simone Murray on feminist print culture in the United Kingdom as well as the work of literary scholars Kim Whitehead, Kate Adams, Trysh Travis, Bonnie Zimmerman, and Martha Vicinus, and historians Martin Meeker, Marcia Gallo, Rodger Streitmatter, Abe Peck, John McMillian, and Peter Richardson. From archival material, including correspondence, publishing ephemera such as flyers and catalogues, and meeting notes, oral history interviews, and published books, I assemble a history of lesbian-feminist publishing that challenges fundamental ideas about the WLM, gay liberation, and U.S. social history as well as remapping the contours of current historical and literary narratives. In the excitement of the WLM, multiple feminist practices expressed exuberant possibilities for a feminist revolution. Cultural feminism and lesbian separatism were vibrant expressions of the WLM; they were not antagonistic to radical feminism or liberal feminism but rather complementary and overlapping. Economic restructuring in the United States (e.g. globalization, decreasing governmental support for the arts, and neoliberalism) tempered visions for a lesbian-feminist revolution. Lesbian-feminist publishers experienced economic restructuring as it unfolded and actively discussed the political, economic, and theoretical implications. The strategies and responses of lesbian- feminist publishers demonstrate the effects of and resistances to these macro-economic forces. Examining the economics of book publishing explains how literary artists and other creative intellectuals support themselves in capitalist economies, illuminates broader intellectual and cultural currents, and suggests how broader economic trends in the United States interacted with cultural production. THE WHOLE NAKED TRUTH OF OUR LIVES: LESBIAN-FEMINIST PRINT CULTURE FROM 1969 THROUGH 1989 By Julie R. Enszer Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2013 Advisory Committee: Professor Deborah S. Rosenfelt, Co-Chair Professor Martha Nell Smith, Co-Chair Professor Katie King Professor Claire Moses Professor Sonya Michel Assistant Professor Christina Hanhardt © Copyright by Julie R. Enszer 2013 Dedication For my beloved, Kimberly A. Sherrill ii Acknowledgements Since the late 1980s, I have been reading books, journals and other artifacts of lesbian print culture. This project is one part of my long intellectual and personal engagement with these materials. First and foremost, I am grateful for and indebted to all of the authors, publishers, distributors, and booksellers who brought lesbian books into my life. Ultimately, this project is a way to honor their work, to let them know that I heard them through the text on the page. They made a difference in my life. I am grateful for the careful guidance and attention of my dissertation co-chairs, Debby Rosenfelt and Martha Nell Smith. I could not have asked for better intellectual guides through this process. Their good cheer and constant encouragement were vital. I thank them both. The other members of my dissertation committee, Katie King, Claire Moses, Christina Hanhardt, and Sonya Michel, each contributed enormously to the creation of this dissertation. I appreciate the many thoughtful conversations I had with each of them. I am grateful to the following people who generously sent me materials for the project, including copies of original lesbian-feminist journals, dissertations, and other nuggets of lesbian-feminist print culture, including Judith Barrington, Ruth Gundle, Esther Helfgott, Cheryl Clarke, Ellen Shapiro and Gail White. Many women involved in lesbian print culture have been informants and supporters of this work from the beginning, including Joan Larkin, Bea Gates, Cheryl Clarke, Marie Kuda and Minnie Bruce Pratt; I appreciate their assistance. The Astraea Foundation delighted me by providing a copy of their spring 1984 newsletter from their organizational records. iii Fortuitously, I connected with two daughters of June Arnold, Roberta and Fairfax, who expanded my understanding of Arnold and Daughters, Inc.; I am grateful to both of them. I appreciate the kind spirits and good conversations that many offered along the way, enhancing my own thinking about the material and the work of this dissertation. I extend special appreciation to the entire faculty and staff in the women’s studies department at the University of Maryland, and particularly Elsa Barkley Brown, who modeled intellectual engagement in ways that I want to emulate, and my graduate student cohort, Lara Torsky, Laura Brunner, and our adopted cohort member Jeannette Soon- Ludes. I am also grateful to colleagues and advisors in the LGBT Studies program, particularly Marilee Lindemann, J.V. Sapinoso, and Jason Rudy. Linda Kauffman in the English department provided extraordinarily helpful feedback and guidance at crucial moments. Many others have provided enormous assistance to me in this work including Sharon Deevey, a member of the Furies, always ready to answer questions from her memories and experiences; Agatha Beins, dear friend, reader, and believer in this dissertation; Gerald Maa, my constant correspondent throughout graduate school, who has seen the ups and downs of this work mapped by pen on paper for many years; Jo Passett, who shares my excitement for lesbian literary history; my dissertation writing group Michelle Boswell, Mike Quilligan, Geneviève Pagé, Maria Velazquez, and Alyssa Samek; and finally Minnie Bruce Pratt—her writing has been a beacon for me since I was a young reader, and it has been an extraordinary pleasure to share work in progress with her for her astute feedback and kind words. This dissertation would not be possible without extensive research support. I am grateful to the Women’s Studies Department and the University of Maryland for the iv Flagship Fellowship and on-going support as a graduate assistant; a Duberman Fellowship at the New York Public Library supported archival research there; a Mary Lily Research Grant supported travel to the Sallie Bingham Center for Women’s History and Culture at Duke University; the Jacob K. Goldhaber Travel Award provided support for a research trip to Los Angeles, the Schlesinger Library Dissertation grant supported research at Radcliffe; a summer 2011 research travel grant from the Women’s Studies Department and a research travel grant from the Dickinson Electronic Archives enabled me to visit San Francisco archives. The Mary Savage Snouffer Fellowship gave me the time and space to think and write in a focused and productive way. The Woodrow Wilson National Fellowship in Women’s Studies with the special designation as an Alicia Ostriker Fellow sustained me for a final year. I am grateful to all of the people and organizations that invested in this project; I hope this work is worthy of the support. Grateful appreciation to Judy Grahn and Red Hen Press for permission to include “Talkers in a Dream Doorway” and “I am the wall at the lip of the water.” Finally, I share my great appreciation for animal companions. Shelby spent hours sitting at my feet while I worked at the computer and was the first one to lead me back to my work room when I had been away too long. Emma brought delightful puppy distractions throughout the process, including ensuring that I took a break every day at five P.M. to give her food and love. Some animal companions did not get to see me at the finish line: Gertrude, HD, Homer, and Mary Claire. I appreciate them and miss them. This work is dedicated to Kim. Kim fed me and supported me throughout graduate school—she even legally married me at the nadir, when I never thought I would finish or be employed again. Kimba, thank you. I love you. v Table of Contents Introduction ..........................................................................................................................1 Chapter 1 Women's Press Collective, Diana Press, and Daughters Publishing Company, Inc. ....................................................................................................................55 Chapter 2 Persephone, Long Haul, Kitchen Table Press ............................................145 Chapter 3 Small Lesbian-Feminist Presses .................................................................229 Chapter 4 “To All of the Women Who Find Something of Themselves in It”: Lesbian Anthologies ......................................................................................................................290
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