Talk:Amy Scholder

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Notability[edit]

Hi “MurielMary”


I’m at a loss to understand why you have rejected Amy Scholder’s page on the grounds that she does not meet the notability standard.


I followed the guidelines on https://en.wikipedia.org/wiki/Wikipedia:Notability_(people) carefully and included a range of independent sources as references. Please also note that I have been editing Wiki pages since 2009 so I am familiar with the requirements.


I believe Scholder meets the basic Notability requirement (“presumed notable if they have received significant coverage in multiple published secondary sources that are reliable, intellectually independent of each other, and independent of the subject.”) on this criterion alone. The basic Notability requirement is of course qualified by “If the depth of coverage in any given source is not substantial, then multiple independent sources may be combined to demonstrate notability” and I believe that is the case here.


Scholder falls under the secondary criteria for “Creatives” (Editor is specifically listed here). She certainly meets the first criterion (“regarded as an important figure or is widely cited by peers or successors”) and this is demonstrated by the references:


E.g. “Scholder began her career in publishing in 1985, working part time at the City Lights bookstore in San Francisco. During subsequent stints at Serpent’s Tail, Verso, and the Feminist Press of City University of New York, she’s published work by a veritable roll call of cultural icons, from Pussy Riot to Joni Mitchell, Kathy Acker to Diamanda Galas, William S. Burroughs to Sapphire, David Wojnarowicz to Savannah Knoop. In 2016 she added ‘documentary producer’ to her resume with the multi-award winning Disclosure, and continues to work on film projects, as well as books. She’s clearly done so much more than subtly polish existing writing — she’s been a major influence on transgressive literature in the USA.” https://litreactor.com/interviews/standing-on-the-threshold-an-interview-with-editor-amy-scholder


E.g. “Host David Colosi sits down with Amy Scholder to discuss her three decade history in the field of publishing, her iconic series High Risk, as well as her most recent project, Icon, an anthology of essays on public figures written by some of the industry's most provocative writers, edited by Scholder and released by The Feminist Press. Amy Scholder has been editing and publishing progressive and literary books for over twenty-five years. She has published the work of Sapphire, Karen Finley, June Jordan, Kate Bornstein, Kathy Acker, David Wojnarowicz, Dorothy Allison, Mary Gaitskill, Joni Mitchell, Justin Vivian Bond, and Paul B. Preciado, and many other award-winning authors.”

https://clocktower.org/show/amy-scholder-high-risk


e.g. “I entered the bustling office and asked after Elizabeth Koke and Amy Scholder, who created, compiled, and edited Pussy Riot! A Punk Prayer for Freedom, a collection of letters, songs, poems, courtroom statements, and tributes by Yoko Ono, Johanna Fateman, Karen Finley, Justin Vivian Bond, Eileen Myles, and JD Samson. A portion of the proceeds from this e-book will go towards the Pussy Riot legal defense team. Amy Scholder, who was appointed Editorial Director of the social justice-inclined publishing house in 2008, sought out a room with a door for us to sit down and talk.”

https://brooklynrail.org/2012/11/books/elizabeth-koke-and-amy-scholder-of-the-feminist-press-with-gabriel-don


Moreover, if you enter the search term “Amy Scholder” into Wikipedia itself, you’ll see she is already referenced by 19 other pages: she is regarded as “an important figure” by all the individuals creating these entries about their respective subjects.


https://en.wikipedia.org/w/index.php?search=%22Amy+scholder%22&title=Special:Search&profile=advanced&fulltext=1&ns0=1


Scholder more than meets the third criterion (“The person has created or played a major role in co-creating a significant or well-known work or collective body of work. In addition, such work must have been the primary subject of multiple independent periodical articles or reviews, or of an independent and notable work (for example, a book, film, or television series, but usually not a single episode of a television series);).


To illustrate this, and to make it easier for a non-specialist in American literature to understand, I have added a select bibliography to the article and also here.


Selected Bibliography as Editor


Shock Treatment by Karen Finley (1990, 2015) ISBN 9780872866911

The Terrible Girls by Rebecca Brown (1992) ISBN 9780872862666

Story of the Eye by George Bataille (1987) ISBN 9780872862097

Duras by Duras by Marguerite Duras (1987) ISBN 9780872861988

High Risk (anthology) Edited by Amy Scholder & Ira Silverberg (1991) ISBN 0525249664

Bodies of Work by Kathy Acker (1997) ISBN 1852424850

Break It Down by Lydia Davis (1996) ISBN 18524244214

Ghost of Chance by William S. Burroughs (1995) ISBN 18524244060

The Shit of God by Diamanda Galas (1996) ISBN 1852424432X

To the Friend Who Did Not Save My Life by Herve Guibert (1994) ISBN 18524243285

You Got to Burn to Shine by John Giorno (1994) ISBN 18524243216

Rent Boy by Gary Indiana (1994) ISBN 18524243242

Haruko Love Poems by June Jordan (1994) ISBN 18524243234

Joni Mitchell The Complete Poems and Lyrics (1997) ISBN 0609600087

American Dreams by Sapphire (1994) ISBN 18524243277

Flaming Creature by Jack Smith (1997) ISBN 1852424429X

In the Shadow of the American Dream by David Wojnarowicz (1999) ISBN 9780802116321

Imagining Her Erotics by Carolee Schneemann (2002) ISBN 0262194597

House Rules by Heather Lewis (2005) ISBN 18524244613

Precarious Life by Judith Butler (2004) ISBN 1844670058

Swimming Underground by Mary Woronov (2000) ISBN 1852427191

Haunted Houses by Lynne Tillman (1995) ISBN 18524244001

David Bowie Live in New York (2003) ISBN 1576871819

Bushwomen by Laura Flanders (2004) ISBN 1859845878

Street Wars by Tom Hayden (2004) ISBN 1565848764

Mother Millett by Kate Millett (2001) ISBN 1859846076

Scum Manifesto by Valerie Solanas, with Avital Ronell (2004) ISBN 1859845533

A Field Guide for Female Interrogators by Coco Fusco (2008) ISBN 978158322780

Greed by Elfriede Jelinek (2007) ISBN 978158327572

Flying Close to the Sun by Cathy Wilkerson (2007) ISBN 978158322718

Everybody Talks About the Weather by Ulrike Meinhof (2008) ISBN 9781583228319

Give It to Me by Ana Castillo (2014) ISBN 9781558618503

Tango by Justin Vivian Bond (2011) ISBN 9781558617476

The Riot Grrrl Collection by Lisa Darms and Johanna Fateman (2013) ISBN 9781558618220

Hammer by Barbara Hammer (2010) ISBN 9781558616127

Witches Midwives & Nurses by Barbara Ehrenreich & Deirdre English (2010) ISBN 9781558616615

King Kong Theory by Virginie Despentes (2010) ISBN 9781558616578

Testo Junkie by Paul B. Preciado (2013) ISBN 9781558618374

Pussy Riot! By Pussy Riot (2013) ISBN 9781558618343

Savage Coast by Muriel Rukeyser (2013)  ISBN 9781558618206

What the Flowers Say by George Sand (2014)  ISBN 9781558618572

The Cosmopolitans by Sarah Schulman (2015) ISBN 9781558619104

A Good Day for Seppuku by Kate Braverman (2018) ISBN 9780872867215

The Gilda Stories by Jewelle Gomez (1991, 2016) ISBN 9780872866744

After Silence by Avram Finkelstein (2018) ISBN 9780520295148

A Quilt for David by Steven Reigns (2021) ISBN 9780872868816

Funeral Diva by Pamela Sneed (2020) ISBN 9780872868113

Walking Through Clear Water in a Pool Painted Black by Cookie Mueller, edited by Hedi El Kholti, Chris Kraus, Amy Scholder (2022) ISBN 9781635901665


In terms of “such work must have been the primary subject of multiple independent periodical articles or reviews, or of an independent and notable work (for example, a book, film, or television series, but usually not a single episode of a television series)”, please see the following:


Coverage for recent publications edited by Amy Scholder


LAST DAYS AT HOT SLIT by Andrea Dworkin, edited by Johanna Fateman and Amy Scholder (2019) ISBN 9781635900804

https://www.nytimes.com/2019/03/12/books/review-last-days-at-hot-slit-andrea-dworkin.html

https://www.newyorker.com/magazine/2019/04/01/the-radical-style-of-andrea-dworkin

https://www.chicagoreview.org/andrea-dworkin-last-days-at-hot-slit/

https://www.bookforum.com/print/2505/the-return-of-andrea-dworkin-s-radical-vision-20623

https://www.nybooks.com/articles/2019/06/27/andrea-dworkin-fighting-for-her-life/

https://www.dissentmagazine.org/article/andrea-dworkin-review

https://www.bostonreview.net/articles/jeremy-lybarger-andrea-dworkin/

https://www.bustle.com/p/the-evolution-of-andrea-dworkins-misunderstood-feminism-as-told-through-a-new-anthology-of-her-work-16051968

https://www.truthdig.com/articles/andrea-dworkin-teller-of-hard-truths/


FUNERAL DIVA by Pamela Sneed, edited by Amy Scholder (2020) ISBN 9780872868113

Winner of the Lambda Literary Award for Lesbian Poetry

https://www.nytimes.com/2020/11/18/books/review-funeral-diva-pamela-sneed.html

https://salamandermag.org/for-the-living-and-the-dead/

https://thecarolinaquarterly.com/2021/06/funeral-diva-a-review/

https://www.them.us/story/read-me-pamela-sneed-funeral-diva-interview

https://www.nyjournalofbooks.com/book-review/funeral-diva

https://www.ebar.com/story.php?ch=news&sc=latest_news&sc2=&sc3=&id=300057&out_in_the_bay:_funeral_diva_poet_pamela_sneed_says_we_can_heal


WALKING THROUGH CLEAR WATER IN A POOL PAINTED BLACK by Cookie Mueller, edited by Hedi El Kholti, Chris Kraus, Amy Scholder (2022) ISBN 9781635901665

https://www.latimes.com/entertainment-arts/books/story/2022-04-21/collected-stories-of-late-great-1980s-it-girl-cookie-mueller

https://www.nybooks.com/articles/2023/04/20/wilder-riskier-more-generous-cookie-mueller/

https://4columns.org/frere-jones-sasha/walking-through-clear-water-in-a-pool-painted-black

https://lareviewofbooks.org/article/the-word-future-wasnt-part-of-my-vocabulary-on-cookie-muellers-walking-through-clear-water-in-a-pool-painted-black-collected-stories/

https://www.bookforum.com/print/2901/cookie-mueller-s-surreal-advice-for-living-24827

https://www.clereviewofbooks.com/writing/cookie-mueller-walking-through-clear-water-review

https://www.dazeddigital.com/life-culture/article/55885/1/cookie-mueller-writes-the-best-opening-lines-in-literature

https://www.ebar.com/story.php?ch=arts__culture&sc=books&id=316574

https://blog.pshares.org/art-that-makes-us-see/

https://www.wmagazine.com/culture/cookie-mueller-semiotexte-book-walking-through-clear-water-in-a-pool-painted-black


You seem to dismiss Scholder’s role as producer as “a film she worked on with others”. I believe this demonstrates your fundamental misunderstanding of the role and importance of a documentary producer. Specifically referencing “Disclosure”, ​​the end credit is "A film by Sam Feder and Amy Scholder," demonstrating a central, driving role in creating this award-winning work. I am hoping that a quick Google, which brings up articles such as those following, will enlighten you on the primacy of Scholder’s work as a producer:


https://secure.cfwv.com/Career_Planning/Career_Profile/Career_Profile.aspx?id=s7lkR3JXfNXAP2BPAXQr4yKivWXAP2FPAX7gXAP3DPAXXAP3DPAX


https://geekinsider.com/what-does-a-documentary-film-producer-do/


https://blog.assemble.tv/film-production-101-what-does-a-producer-do


Additionally, Scholder’s documentary films have attracted a remarkable amount of critical attention and acclaim.


Press and award highlights for recent documentary feature films produced by Amy Scholder


DISCLOSURE Produced by Amy Scholder and Sam Feder (2020), Netflix

Nominated for a PEABODY AWARD

Winner of GLAAD MEDIA AWARD OUTSTANDING DOCUMENTARY

Winner of DORIAN FILM AWARD for Best Documentary and Best LGBT Documentary

Winner of The Queerties for Best Documentary

Winner of Pink News Award for Best Documentary


NY Times: ‘Disclosure’ Review: A Transgender Lens on Film and TV History

Vogue: These Are the 78 Best Documentaries of All Time

Vanity Fair: Disclosure: The Oscar-Hopeful Documentary That Changed Hollywood

Newsweek: 100 Best Movies of 2020, According to Critics

USA Today: From 'Disclosure' to 'Pose': What movies, shows to watch on Trans Day of Visibility

The CBS Mornings Podcast: The Importance of Transgender Representation on Screen

Forbes: How A Trans Filmmaking Fellowship Became Foundational To The Success Of The Documentary Disclosure

NBC News: 20 LGBTQ-inclusive shows and films we binged in 2020

LA Times: Review: An enlightening look at transgender representation in Hollywood, then and now


MY NAME IS ANDREA Executive Producer Amy Scholder, directed by Pratibha Parmar (2022)

New Yorker

The Hollywood Reporter

NY Times


When working on this article I also referenced other Wikipedia articles about editors who have had a similar career to Scholder. Again, I absolutely fail to understand how the following editors meet the standard for notability when Scholder does not:


https://en.wikipedia.org/wiki/Lou_Aronica

https://en.wikipedia.org/wiki/Ira_Silverberg

https://en.wikipedia.org/wiki/Hedi_El_Kholti

https://en.wikipedia.org/wiki/Eleanor_Friede

https://en.wikipedia.org/wiki/Ruth_Cavin

https://en.wikipedia.org/wiki/Julia_Cheiffetz

https://en.wikipedia.org/wiki/Stanley_Hochman


Please advise.


Thank you. Kazrene (talk) 19:05, 8 May 2023 (UTC)[reply]

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