For Linda Grant, cunt-power was theoretically enlightening though practically impossible: "The Cunt Power revolution would have required a massive realignment of our culture, our history, our mythology, our art" (1993). Indeed, even during the supposedly 'liberated' 1960s, the avant-garde itself was perceived as phallocentric: Carolee Schneemann described herself as a 'cunt mascot' (a 'token female'), and felt that her sexually explicit performances were misinterpreted as pure titillation. To this day, it remains the case that most women "find the c-word very, very objectionable" (, 1999) and "by and large, are not fond of using it" (Andrew Goldman, 1999). As a lexical weapon in the battle of the sexes, 'cunt' is still used to wound women rather than to empower them: "we're still a long way from a widespread denotative usage of CUNT by women as part of a larger anti-sexist movement. It remains an extreme term of abuse" (Ruth Wajnryb, 2004). For Andrew Billen (2007), this continuation of the offensive power of 'cunt' represents the complacency of contemporary feminism: "['cunt' has] replaced the f-word as the Worst Word Of Them All. The reason, of course, is that it offends two constituencies at once, the fuddy-duddy and the feminist. [...] it is being used more because it is gradually causing less offence and that is partly because we are becoming less fuddy-duddy and partly because feminism, a victim of its own success and apathy, is no longer the cause it was".


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