Abécédaire d’auto-édtion féministe

MsHeresies 6 publishes an edited chapter from Caren Beilin’s forthcoming novel Sea, Poison (New Directions, 2025). It is typeset together with reworked material from the archive of the Neapolitan feminist artist collective Le Nemesiache, active between 1969 and 1995.

Sinister Wisdom 103: Celebrating the Michigan Womyn's Music Festival honors the forty-year legacy of the Michigan Womyn’s Music Festival (1976–2015). Sinister Wisdom 103: Celebrating the Michigan Womyn's Music Festival celebrates this embodiment of radical feminist separatist collaboration, transformational self-defined autonomous spaces, a commitment to sisterhood and matriarchal culture, and a musical city sprung from the earth for one week in the woods.

A collective of five womyn each with a deep connection to Fest operated by consensus to create this issue. Striving to represent a range of womyn’s voices, values, traditions, and experiences of Fest, the collective highlighted what Fest has meant to generations of womyn, documented its chronology, and bore witness to the power of this community. Sinister Wisdom 103: Celebrating the Michigan Womyn's Music Festival includes womyn from multiple races, geographies, sexualities, generations, and gender and other social identities. Just as Fest brought together womyn from various backgrounds, our collection includes a range of artistic experience, from seasoned authors and photographers to those womyn new to publishing.
Sinister Wisdom 103: Celebrating the Michigan Womyn's Music Festival remembers the transformations, possibilities, and hopes for spaces cultivating the ongoing empowerment of womyn.

Over three dozen c**ts of every size and description for you to color. Originally used for a sex-education class. Crayons not included. First published in 1975 by lesbian activist and artist Tee Corinne.

"In 1973 I set out to do drawings of women’s genitals for use in sex education groups. I wanted the drawings to be lovely and informative, to give pleasure and affirmation. I organized the drawings into a coloring book because a major way we learn to understand the world, as children, is by coloring. As adults many of us still need to learn about our external sexual anatomy." —Tee Corinne

Tee Corinne was born November 3rd, 1943 and grew up in St. Petersburg, Florida. Her mother, also an artist, introduced her to the creative principles and techniques that would serve her all her life. She received a B.A. in printmaking and painting from the University of South Florida, then went on to get an M.F.A. in drawing and sculpture at Pratt Institute, graduating in 1968. Afterwards she taught for many years, traveled through Europe, and finally became enmeshed in the back-to-the-land movement and communal living. After nearly ten years of marriage to a man she referred to as her "best friend," Corinne came out of the closet amidst severe depression in 1975. The strength to accomplish this difficult effort would later propel her to heights and achievements that would distinguish her as "one of the most visible and accessible lesbian artists in the world." From the mid-1960’s to the day she died Corinne created, published, and exhibited her art and writing around the world. She was a co-facilitator of the Feminist Photography Ovulars and a co-founder of The Blatant Image, A Magazine of Feminist Photography. She was the author of one novel, three collections of short stories, four books of poetry and numerous arts publications. In 1980, she was one of ten selected artists invited to have their work exhibited in the Great American Lesbian Art Show. The world lost Tee Corinne to cancer in 2006.

This fourth issue of MsHeresies republishes the chapter *Daffodils* — a warped monologue about a domestic poisoning — from Rosalind Belben’s book Is Beauty Good (1989).

It is typeset alongside a collage of material from two medieval manuscripts: Isidore of Seville’s Etymologiae and De natura rerum (circa 1130–74), which was illuminated and transcribed by a group of eight nuns at the Benedictine abbey of Munsterbilzen in Maastricht; and the so called Claricia Psalter (late 12th–early 13th century) from the abbey of saints Ulrich and Afra in Augsberg, also made by a group of nuns and named after the novice Claricia who is believed to have drawn herself hanging like the tail of a drop-cap Q in the psalter section of the book.

A secret can be a private space for self-creation – or a shared site of pleasure.

We explore secrets in a plethora of forms and contexts. From layered accounts of mediaeval ecstasy to the unexplored sensory experience of smell. From camouflaged play to queer readings of astrological charts and the hidden history of house music. From a very analog point of view to the outskirts of the internet.