Typically, access is provided across an institutional network to a range of IP addresses. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. Drawing upon Mary Harron’s well-researched film I Shot Andy Warhol (1996), this chapter highlights Solanas’s history as an unruly feminist lesbian who, with connections to Warhol, Pop Art, Marilyn Monroe, and the typewriter, exemplifies the risks and possibilities of refusing to become an image of feminine submission and sexual availability. More subtly, her murderous rage reveals the insanity that came from sustaining a protest alone, bereft of feminist collectivities or images that mirror the value of women’s transgressions. An Artaud-like figure who also embodies madness, Solanas’s attempted murder of Andy Warhol demonstrates that this rejection can take a dangerously literal turn. Reading Solanas as both an icon of the feminist lesbian but also the ambitious writer of a tightly crafted manifesto, this chapter traces how Solanas wrote to reject the expectation that women renounce their aggression. Solanas wrote at western feminism’s most violent edge – and was perceived to be a monster for doing so. Focused on the infamous SCUM Manifesto (1967), chapter 4 examines how Valerie Solanas deployed language as a weapon capable of ‘cutting up’ patriarchal authority and demonstrates how her history as a feminist lesbian of the 1960s helps evoke a historical milieu that brings the stakes of Codex Artaud into relief.
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