women’s history – Page 4 – Feminism and Religion

The Ones You Love, Poetry and Prose 1968-2024 by Harriet Ann Ellenberger (aka Harriet Desmoines), Book Review by Carolyn Lee Boyd

The Ones You Love, Poetry and Prose 1968-2024 is a half-century retrospective love letter from Harriet Ann Ellenberger to friends, family, and lovers; lesbian and overall feminism; lesbian feminist literature and theater; Nature; and those who have been victimized by war. Infusing the book is her overarching love of freedom, not only for herself, but for women, for humanity, and for the Earth. Harriet has been using her authorial and editorial gifts for her entire adult life to move our planet away from extinction into new ways of being, and has now collected her best writings, both prose and poetry, into a single volume. The book is both a brilliant, truthful, unglossed portrait of herself as well as a glimpse into feminism, and lesbian feminism in particular, over decades through one woman’s experience. She often notes in introductions to various pieces that she no longer completely agrees with what she wrote so long ago, but she does not edit out these views, (speaking of her “younger fiery-feminist self,” she says “I’m proud of her courage and proud of the work she undertook” (11)) which offers us a better understanding of both her own progression of thoughts and ideas as well as what issues and points of view were of concern at the time.

Of her most well-known achievement, she writes, “On July 4, 1976, the 200th anniversary of the American Revolution, Catherine Nicholson and I published the first issue of Sinister Wisdom, which has since become the longest-lived lesbian literature and arts journal in the world” (11). She explains the journal’s expansive perspective: “We exist in the interface between a death culture and the faint beginnings of a culture of — not humans — but life-lovers, a culture that embraces animals, plants, stars and those women who choose the future at the risk of their ‘sanity’ and security” (17). This is a vision she has carried with her ever since.

Censored Angel: Anthony Comstock’s Nemesis. A Novel by Joan Koster

“I would lay down my life for the cause of sex reform, but I don’t want to be swept away. A useless sacrifice.” Ida C. Craddock, Letter to Edward Bond Foote, June 6, 1898

In 1882, Ida C. Craddock applied to the all-male undergraduate school of University of Pennsylvania. With the highest results on the entrance tests, the faculty voted to admit her. But her admission was rejected by the Board of Trustees, who said the university was not suitably prepared for a female. (U of P only became co-ed in 1974)

With her aspirations blocked, Ida left home determined to leave her mark on women’s lives by studying and writing about Female Sex Worship in early cultures. At the time, little information was available to women about sexual relations. To do her research, Ida resorted to having male friends take books forbidden to females, such as the Karma Sutra, out of the library for her.

An unmarried woman, she turned to spirituality and the practice of yoga, a newly introduced practice to the American public at the time, as a way to learn about sex. In her journals, she describes her interaction with angels from the borderlands, and in particular, her sexual experiences with Soph, her angel husband through what was likely tantric sex.

Poetry, Plays, Pens, Persistence, Underpin Voice: Both Jean & Eleanor Live by Margot Van Sluytman

Stepping into the autumn season offers time to think about summer. Time to think about what happened during those hazy, lazy, crazy days. Digesting. Re-wording. Steeping one’s self in recent memories and drawing forth, indeed permitting to re-surface, what touched us most deeply. For me, The Beatles song, Eleanor Rigby, was conjured. That imagined woman. That fictional woman. And her voice and her voicing. Buried she was, in a church, along with her name. Nobody came.

What is it that invites this negation of voice? Voices? Voice-ing? Particularly those of womyn? No matter class, culture, creed. This question continues to journey with me, as I myself, note the accumulation of years. As I breathe the beauty of my Grand-Children’s energies. And with-ness their lives unfold. Unfold in a world that is slowly, ever so slowly, yet determinately, and with unceasing tenacity, resurrecting the lost voices of womyn. Too long buried and silenced.

Incredibly! The Inquisitional Cultural Mechanism Rears its Hydra Head by by Elisabeth Sikie

As a young witch hungry for feminist sisterhood and spiritual wisdom in the 90s, before the blooming of the internet, I discovered a mag called The Beltane Papers. I remember devouring an article featuring channeled material of women killed during the European witch hunts. This transmission revealed past voices of everyday people living their lives until they were snagged by the slow creep of an increasingly oppressive cultural trajectory. What struck me was the normalcy of their voices, the deceased echoes of regular women trying to make sense of events beyond their control until they were taken by a system that destroyed them. What stayed with me is the author’s observation that even at their violent end these women’s voices remained “incredulous”.

Decades, and seemingly lifetimes later, I completed my dissertation for my PhD in Religion and Philosophy in which I excavated some of the subaltern history of my European Ancestors and their female shamanic practices. At one inevitable point in my research – kicking and screaming – I reluctantly faced the inquisitions and witch trials. After waving a sage wand and cracking a sacred beer, I cracked open the Malleus Maleficarum, the infamous “Hammer of the Witches”.[1] This notorious guidebook, a how-to for career Christian Inquisitors written by two Dominican Friars[2] during the Middle Ages, details moral arguments supporting the legalized suppression, interrogation, and eradication of women designated by the church-state as heretics.

Cerridwen’s Cauldron; Stealing from Old Mother Universe by Kelle ban Dea

Catherine Kay Greenup, blue well
Unsplash stock

The story of how Cerridwen, the witch goddess, brews a magic potion full of awen (inspiration) which is then accidentally imbibed by the boy Gwion Bach, is well loved across the Western world, especially by neo-Druids. Gwion Bach is then reborn as Taliesin, the greatest bard in Britain. It is a typical heroes tale, with Cerridwen as the muse and initiatrix.

Or is it? This tale has always left a funny taste in my mouth, and when I recently read The Broken Cauldron by Lorna Smithers, I understood why. In the oldest version we have of this tale, Gwion Bach doesn’t accidentally taste the awen. He steals it.

The Connection between Matilda Joslyn Gage’s Woman, Church and State and L. Frank Baum’s The Wonderful Wizard of Oz by Mark I. West

My introduction to Matilda Joslyn Gage (1826-1898) goes back to my long-standing interest in her son-in-law, L. Frank Baum. I regularly teach Baum’s The Wonderful Wizard of Oz in my children’s literature courses, and I always point out the book’s feminist qualities. I mention, for example, that Dorothy Gale, the central character in the novel, is one of the first female characters in American literature to go on a bona fide quest. When I first started teaching this book, I wondered what caused Baum, a male writing in the late nineteenth century, to write such a feminist book. One day, while preparing for class, I came across a reference to Gage. This reference stated that Gage was a leading suffragette during the second half of the nineteenth century and that she lived with Baum and his family in Chicago when Baum was launching his career as a children’s author. After reading more about Baum’s life, I realized that Gage played a major role in shaping his nontraditional views on gender roles. However, I was still not sure what role she played in the development of women’s rights.

How the Nineteenth-Century Spiritualist Movement Gave Voice to American Women -Part 2 by Theresa Dintino

Moderator’s Note: This post is presented as part of FAR’s co-operation with The Nasty Women Writers Project, a site dedicated to highlighting and amplifying the voices and visions of powerful women. The site was founded by sisters Theresa and Maria Dintino. Part 1 was posted yesterday

Spiritualism began with two young girls, the Fox sisters, hearing knocking sounds in their home near Rochester, N.Y . They determined the knocking to be coming from a man who was murdered and buried under their home. The knocking was soon categorized into an alphabet out of which seances began. In seances groups of people gathered and put their hands on a table while asking questions of ancestors who made themselves known by rapping and knocking in response. Next, mediums in the form of young women speaking the answers of the dead as the bereaved asked them questions, emerged. Instructions were disseminated on how to be a medium and how to run a seance. The movement took off.

The movement was largely white, northern Protestants but other ethnicities were involved. The Black population may have influenced the arising of these practices with traditions brought with them from West Africa.

How the Nineteenth-Century Spiritualist Movement Gave Voice to American Women -Part One by Theresa Dintino

Throughout history women have found power and position in spiritual communities. They have acted as leaders, priestesses, oracles, mediums, disciples, saints, preachers and more. And yet these roles and positions of power are often overlooked in the story of women, and the general story of humans.

Still today many women function as leaders in a variety of spiritual disciplines, yet they do not receive the attention, respect and clout that men in similar positions do. More often women who hold roles of power in spiritual communities are dismissed or discredited.

If their spiritual community is not considered a formally accepted religion where their position was bestowed to them by a man ranking above them, women spiritual leaders are often ignored. This marginalization goes unquestioned.

To Childless Cat Ladies by Janet Maika’i Rudolph

I feel you. In a patriarchy where women’s reproductive abilities determine our worth, to be childless is a curse. We can thank VP candidate JD Vance for revealing this truth in all its ugly fullness. He is a walking billboard for patriarchy. Bottom line: Patriarchy is all about women’s bodies, our reproductive abilities and men’s desire to control them. We saw this in the Dobbs decision where it was declared that women have no constitutional right to the basics of healthcare, in Texas where it’s pretty much illegal to have a poor pregnancy outcome, and in Ohio where raped children are expected to give birth to their abuser’s child. Its endless

But it is JD who made it plainer than plain what this is all about. Besides childless cat ladies being an old trope, just think of the judgement involved. Who is JD to decide on anyone’s family constellation? Or their pets? He also made disparaging remarks about the “childless left,” who have no “physical commitment to the future of this country.” That is a statement that only a person who totally lacks empathy can make. He is making a sweeping generalization that people without children don’t care about the future. This statement is more confession than truth. He reveals that until he had children, he had no care about the future of our world. It’s beyond egocentric. If only his kids are the center of his “caring,” that shuts out most of the world’s other children.

A House for the Goddess by Annelinde Metzner

For the past few years I’ve been contributing to FAR as a poet. So grateful for the opportunity to connect with you wise women! This month I realize I should share with you another side of me, my music.

On June 8th, I produced, directed and composed the music for “A House for the Goddess” in Asheville, North Carolina, featuring 29 performers including two sopranos, a cellist, myself and another pianist, two dancers, an MC and a women’s choir. The concert, whose venue was offered generously by Land of the Sky United Church of Christ, was a sellout, and over three thousand dollars was raised for the Linda Norgrove Foundation for the women and children of Afghanistan (https://lindanorgrovefoundation.org.)

My compositions, both choral pieces and solo art songs, always find their birth through the inspiration of poetry. At this venue, the texts of the poetry were displayed on two screens overhead as the songs were sung.