Carla Lonzi, Taci, anzi parla: Diario di una femminista (Shut up. Or rather, speak: Diary of a feminist) (Milan: Scritti di Rivolta Femminile, 1978), 187.
Lonzi’s political vision is articulated very clearly in “Sputiamo su Hegel” (Let’s spit on Hegel) where she affirms, for example, that “the proletariat is revolutionary towards capitalism but reformist towards the patriarchal system,” that “women’s oppression doesn’t start in time but rather hides in the darkness of origins,” and that Communism was incapable of including feminism because it was an essentially masculine project. See “Sputiamo su Hegel,” in Sputiamo su Hegel: La donna clitoridea e la donna vaginale e altri scritti (Let’s spit on Hegel: “The clitoridian woman and the vaginal woman” and other writings) (Milan: Scritti di Rivolta Femminile, 1974), 29 and 19.
Maria-Luisa Boccia, “La costola di Eva: Il Manifesto” (Eve’s Rib: The Manifesto), November 22, 2011. See →.
Rivolta Femminile (Female Revolt) was a feminist group and publishing house founded in 1970 in Milan upon the publication of “Manifesto di Rivolta Femminile,” a text written by Carla Lonzi, Carla Accardi, and Elvira Banotti.
Antonella Nappi, “Nudity,” May 4 (June 2010, [1977]: 71–72.
“I needed to get out all my dissent about the image that I felt obliged to stick to in the eyes of others: unexpressed and happy to represent something, but not myself. This frustrated my efforts to communicate. In fact it frustrated me, it prevented me from existing. Now I exist: this certitude justifies me and confers upon me that freedom in which I alone have believed and that I have managed to obtain.”Taci, 9.
Taci, 247.
“Sister, where are you my sister? / Are you playing the piano / or translating Plato? Are you feeding / your baby girls or going shopping / totally absent? Don’t you like / the skirt that you have bought? Are you unsure about the color? / The concert is starting, it’s time / for the meeting, the train is leaving, / a friend is coming from London, / a friend of Sandro’s. Were you expecting me? / Oh you are busy. / I find you pale but I see that / you are eating. The older one interrupts / all the time, and so do the little ones. / Do you really answer to everything? / Don’t you neglect anything about them? / Do you want them to be happy with their most extraordinary / mommy all to themselves? / And as a sister, a friend, and everything else? / Why are you putting the phone down? Haven’t you suffered enough from solitude? / And what about me? Do you know me? Do you care? Do you count on me? / It doesn’t matter … Shut up. Or rather, talk.” Taci, 247–248.
Taci, 9.
Taci, 246.
“La donna clitoridea e la donna vaginale” (The clitoridian woman and the vaginal woman), in Sputiamo su Hegel, 116.
Taci, 41.
“La donna clitoridea,” 107.
Lonzi, Vai pure: Dialogo con Pietro Consagra (Now you can go: Dialogue with Pietro Consagra) (Milan: et al., 2011 [1980
Lonzi writes in her journal on August 16, 1972: “When the possibility of a women’s movement appeared, I felt that I had everything ready to offer: the knowledge of men and a life of research that was the implicit content of my life. With this opportunity, I have realized that an identification of myself was happening automatically, which had been left in suspense until that moment, and in that impossibility I had consumed an incredible amount of energy. So I got to feminism, and that has been my party. Someone had to start it, and the sensation I had was that either that would be me, or else nobody would have saved me, so I did it. I had to find who I was, in the end, after accepting being something I didn’t know. This isn’t a creative process because what bothers me with the artist is that the role of protagonist requires a spectator.” Taci, 44.
Vai pure, 35.
Vai pure, 29.
Vai pure, 132.
Vai pure, 131–133 passim.
Vai pure, 133.