Our Blood: Prophecies and Discourses on Sexual Politics

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took to public speaking—not the extemporaneous exposition of thoughts or the outpouring of feelings, but crafted prose that would inform, persuade, disturb, cause recognition, sanction rage. I told myself that if publishers would not publish my work, I would bypass them altogether. I

decided to write directly to people and for my own voice. I

started writing this way because I had no other choice: I saw

no other way to survive as a writer. I was convinced that it

was the publishing establishment—timid and powerless

women editors, the superstructure of men who make the

real decisions, misogynistic reviewers—that stood between

me and a public particularly of women that I knew was

there. The publishing establishment was a formidable

blockade, and my plan was to swim around it.

In April 1974 my first book-length work of feminist

theory, Woman Hating, was published. Before its publication I had had trouble. I had been offered magazine assignments that were disgusting. I had been offered a great

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