Guest post by k8 monsta
Editor’s Note: Horton is a Women’s Holiday Centre set up in England in 1979. It offers low-price holiday accommodation, in a friendly and supportive environment, for women and children who were otherwise restricted by their circumstances. It was made possible by donations from women and many hours of women’s volunteer time. Thousands of women, children and groups have used the house and it has become a well-established and well-used resource for women in the north of England and beyond. The House has been sustained successfully since then through a combination of income from visitors, donations and fundraising, and many hard working volunteers.
As a women’s holiday centre, Horton’s policy says “we are able only to welcome women born women and living as women.” So it is unsurprising that it has attracted the attention of those who support “trans women” i.e. men, who want to be able to go there. A petition has been created which states “We are 65 women who have either visited or would potentially like to visit the Women’s Holiday Centre, and who feel strongly that you should change your Gender Identity policy.”
This has sparked much discussion on Horton’s Facebook group. This post is based on a comment by woman about her views about Horton and the need for truly women-only space.
Here we have a woman saying that these men are “more of a woman than me”…
I’m thinking of the Brit guy, the bloke who was a boxing promoter for twenty years… He was a father to several kids, a husband, obviously a son and quite possibly a brother…
Trying to get my head around this geezer being “more of a woman than me”….
Are we plumbing new depths of masochistic self abnegation here?
Is this altruism raised to a new power of lunacy?
Guest post by Karen Thompson; cross-posted on Listening to Lesbians
Editor’s note: This post by Karen Thompson is in response to an episode of the television program Transparent, which disdainfully and contemptuously parodied the Michigan Womyn’s Music Festival and the women – mostly lesbians – who called it home for 40 years.
(1) One of the things about festival that is so fucking amazing is the sheer magnitude of female competence. The stages, the sound, the tents, the everything is put together with such care and consciousness and that everything — made out of spit and bandaids — can look like something so polished, so professional, so ON POINT. It’s not that we make nutloaf; it’s that we make nutloaf for THOUSANDS OF WOMEN over OPEN FIRES in all weather. For free.
So the general fucking HINKINESS of the look of the “Idlewild” shit pissed me off because it looked jacked up and like someone threw a camping party in someone’s backyard instead of the sheer magnitude and scale of ability that is demonstrated at fest the minute you walk in the gate. And that lack of attention to that sort of detail (when the slickness and smoothness of everything else on that show is never skimped on), once again ignored female competence and what we can do without males.
Which was one of central liberatory aspects of Festival for me.
Guest post by Syd Mutschler, cross-posted on Listening to Lesbians.
Editor’s Note: This commentary by Syd Mutschler is originally from June 2014, not long after the Indigo Girls reneged on an agreement to play at MichFest in August of 2014. At the time, they made quite a public show of their sudden boycott of an event that the Indigo Girls as a group and Amy Ray individually had played many times. They gave the organizer of the event very little notice that they were pulling out and did so well after brochures, posters, and other materials had been printed and women had bought tickets expecting to hear them at the Festival. Treating women who had supported them financially and in other ways over many years this badly would be ugly enough, but they undertook this boycott after many years of the exact same controversy, yet it hadn’t stopped them from playing and spending time at the Festival at any time in the past. This was very likely a decision based purely on finances (they were afraid that they would be boycotted, yet they continued to play at a venue with an owner with extremely questionable ethics), not deeply-held beliefs about “inclusivity.”
As the yearly debate about the Michigan Womyn’s Music Festival heats up, I have been having a lot of thoughts around boycotts, artists pulling out from the line-up, or artists who have stated they will not play again until the intention of the festival is changed from a gender/sex separate space to only a gender separate space. Artists and trans activists such as Red Durkin have made a lot of statements about why they will not play or why the festival should be boycotted, but I find them to be vague, condescending, emotionally manipulative, and intentionally inflammatory.
Margaret Thatcher has died. The very famous Conservative British Prime Minister enacted a number of controversial policies from 1979 – 1990. She was rightly criticised for, amongst other things, destroying the British coal mining industry, weakening the trade unions through various legislation, and increasing unemployment to over 3 million people.
She is not a likeable woman. But this is not justification or excuse for those in the left to spew misogynistic insults. The word bitch is being frequently used to describe Thatcher. Memes and videos stating “Ding Dong the Witch is Dead” are being shared over Facebook and insults used such as “ugly cow.” And it is not simply men reveling in sex-specific insults. Radical feminists are also using words like witch, reblogging misogynistic memes, or excusing others who choose to do so.
Women give men implicit permission to use misogynistic insults against Margaret Thatcher when we do this.
You are all invited to attend Rad Fem Reboot: 2012 Conference happening in July from the 27th till the 29th in Portland, Oregon. Three days of women only space and rad fem utopia. Read More
Part 1 covered Book 1 (Walk to the End of the World) and Book 2 (Motherlines)
Book 3 – The Furies (1994)
For some, this is the least popular book, for others, the most powerful of the series. Charnas has said in interviews, this was the most difficult book of the series to write, and took the longest (over 15 years):
“One reason THE FURIES took so long to write was that I wanted to skip over the harshest part — an actual war, or more properly a slave-revolt, of the “fems” against their male masters — and go right to a better life for all;….. just as so many women with feminist ideals wish desperately to be able to “skip” the harshest part in reality, the part where we seem to have the most to lose, and the most to suffer, the part where we demand full recognition of our humanity, and do whatever it takes to get it.” Read More
Books in review; Some thoughts on the story of a speculative ultimate ‘War to End All Wars’ —
the War Between the Sexes.The Holdfast Chronicles, is an epic saga of a post-apocalyptic future told in four sequential novels written by Suzy McKee Charnas:
WALK TO THE END OF THE WORLD (1974)
THE FURIES (1994)
THE CONQUEROR’S CHILD (1999)
THE SLAVE AND THE FREE :
(a 90’s reprint omnibus edition of Books 1 and 2)