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Sinister Wisdom 33__

Fall 1987
Editor and Publisher: Elana Dykewomon

Editorial readers and advisors: Ariban, Baba Copper, Barbara Ruth, Betty
Dudley, Cath Thompson, Donna Dunklin, Gloria Anzaldua, Heidi Henken,
Jasmine Marah, Jess Wells, Lisa Carlin, Lisa Gerick, Val Stoehr, Winn Gilmore
Consultants: Melanie Kaye/Kantrowitz, Adrienne Rich, Gloria Anzaldua,
Dolphin Zelda Waletzky, Susan Jill Kahn
Contributing Editors: Gloria AnzaldUa, Irena Klepfisz
Typists and proofreaders: Betty Dudley, Cath Thompson, D.Z. Waletzky, Kit
Quan, Lisa Gerick, Leslie Baker, Leslie Hassberg, Susan Goldberg, Val Stoehr
Cover: Jasmine Marah Graphic Consultant: Max Dashu
Office help, correspondence, ads and accounting: Jennifer Krebs, Laura
Israel, Nina Wouk, Sheila BrushThanks to Bobby Rothschild and Rebecca Cutlin of Tamed Technology; and to
Barbara Dinnerstein for the use of her Mac.
Distribution, mailing, office construction: Amy Klitsner, Anita Schriver,
Caryatis Cardea, Debbie Fier, Dolphin Zelda Waletzky, Donna Dunklin,
Elizabeth Fides, Jasmine Marah, Louise Rafkin, Ramona Galindez, Tavie
Tipton. Rewiring: Laura Orabona, Judy Nishimoto, Brigid O'Doud
Reader for the Womyn's Braille Press: Judy Freespirit

SINISIER WISDOM, foundErl 1976
Fonner Editors and publishers: Harriet Ellenberger (aka Desmoines)
and Catherine Nicholson (1976-81)
Michelle Oiff and Adrienne Rich (198Hl3)
Michaele UccelIa (1983-84)

Melanie Kaye/Kantrowitz (1983-87)
Copyright © 1987 Sinister Wisdom All rights reserved to individual artists and authors.

ISSN: 0196-1853

Sinister Wisdom • P.O. Box 3252 • Berkeley CA 94703
Subscription Rates: 1 year =4 issues
Individual, $17, Out of U.S., $20 (U.s. $)Institutional, $30, Hardship, $6, Sustaining, $35-200
Free on request to women in prison and mental institutions

A Journal for the Lesbian Imaginationin the Arts and Politics__________________________________ Contents
3 Elana Dykewomon • Notes for a Magazine: A Dyke

Geography
8 Notes on the Themes (upcoming issues)
10 Adrienne Rich • Negotiations (poem)
11 Gloria Anzaldua • En Rapport, In Opposition: Cobrando
Cuentas A Las Nuestras (essay)
18 Chrystos. I Am Not Your Princess (poem)§§§
20 Melanie Kaye/Kantrowitz • War Stories, 197-: (narrative)
32 Leslita Williams • Non-violence (poem)
36 Barbara Ruth • When Marie Laveau Danced in Congo
Square (poem)
41 Paula Brooks • Arousing the Poem (poem)§§§
43 Teya Schaffer • We Learn (poem)
44 Sandra Butler and Barbara Rosenblum • The Will (dialogue)
§§§
54
56
58
59
60
62

Lynn Crawford • Letter to a Friend (letter)
Jan Hardy • Memorial Day, three years after (poem)
Jan Hardy • independence day (poem)
Judy Meiksin • Tied (poem)
Margaret Tongue • Fathers/Daughters (poem)
Rose Romano • Not to be Trusted (poem)
§§§

64
72
73
75
81
82

Nancy Humphreys • Song of Lilith (narrative)
Patricia Filipowska • According to Guinness (poem)
Gloria Anzaldua • that dark shining thing (poem)
Winn Gilmore • Just Plain Hanna (narrative)
Leslita Williams • Purple Garlic (poem)
Sawnie Morris • Through Daylight (poem)

84
85
94
94

Cathy Czapla • My Heart is a Forest (poem)
Elana Dykewomon • the real fat womon poems (poem)
Susan Stinson • The Lesson (poem)
Susan Stinson • The Cool Reticence of Privilege Covering its
Ass (poem)

§§§
97
103
104
111
112

Cleve Boutell • Camp Stories (narrative)
Karen J. Hall • Misdemeanor (poem)
Meredith Rose • For a Limited Time (narrative)
Ann Hutchinson • The Intensity of Our Loving (poem)
Michal Brody • Transit Waltz (song)§§§
114 Barbara Ruth • Borderlands/La Frontera by Gloria
Anzaldua (review)
116 Books Received
117 Correction to Vickie Sears'poemOtt Father's Death inSW #32
118 Contributors' Notes
120 Announcements and Classified Ads§§§
Art
17 Sudie Rakusin • from Dreams and Shadows (drawing)
35 Max Dashu • And Brazil Danced With Africa (drawing)
42 Grace Harwood • ladder, Puye Ruins, Pajarito Plateau, NM(photograph)
S3 Grace Harwood • window, Museum of New Mexico, Santa
Fe (photograph)
72 Max Dashu • Pshi-Polnitsa-The Flax Crone (drawing)
83 Sudie Rakusin • from Dreams and Shadows (drawing)
95 Anita Schriver • Blue Whale Skeleton '86 (2 photographs)

_ _ _ _ _ _ _ _ _ _ _ _ _ _ Notes For A Magazine

A Dyke Geography
I have been given Sinister Wisdom . To tend, hold, share, nurture,shape, extend, encourage, challenge and be challenged by, give, pass onwhen the time comes.
To tend: as lesbians have tended hearths for centuries. Keeping sparks
alive, hidden in the ash, when the smoke of open fires is dangerous.
Adding fuel to blazes that light rooms and lives, while making sure theblaze doesn't burn the house down. Knowing when it's time to bum thehouse down ...
To hold: as a lesbian holds a baby, touching her new spirit by mind andheart, checking for strength, clarity, vitali ty. As a lesbian holds a crystal,
looking into its depths for reflection. As a lesbian holds a rock, or a rifle.
As a lesbian holds a pen. Willing to open her mind to examination.
WHAT'S AN EDITOR?

When Melanie and Irena offered Sinister Wisdom to me I looked atmyself in the mirror: I can write, typeset, print, I've designed books, done
distribution for years, am good with details, am in an urban area where
there are both material and emotional/ energy resources; I've worked in
the Lesbian and Women's movements for 18 years, and I love womyn. I
love the sense of vision throbbing in us, possibility, the motion forward,
the great adventure it is to be on the boundary. I asked many different
kinds of lesbians if they would help. Many said yes (and many are). So
I agreed to accept this gift and this responsibility.
As I take up the editing and publishing, I see that although I havepower in shaping Sinister Wisdom, I shape first from what comes in themail. Sinister Wisdom is a place. A country. To which lesbians add theirown villages, their own geography, issue by issue. Year by year.
As editor I don't want to be "ruler of the land": I want the process tobe open and participatory. I want to see that Sinister Wisdom gets nonprofit status (finally). I worry about singular editorship-about thenature of hierarchy and the ownership of process. I am very willing toshare this work with other lesbians as they present themselves willing. I
resist meetings, though they are happening. Like many lesbians who
were active in the 70's, I have reservations about "collectives"-their unwieldy nature, the comfort of traditional women's anonymity masquerading as anti-hierarchal process. But we still have a lot to gain from
exploring collective and cooperative forms of organization.
I also know the efficiency of primary organizers. And I believe thatleadership-strength of idea, purpose, willingness to work-should be3encouraged among womyn. I talk about this tension between hierarchy
and collectivity-no one has any easy answers. That the editorship ofSinister Wisdom changes as it does is part of the solution. That we keep
asking questions is another.
WHO I AM AND WHO'S HELPING
Sinister Wisdom has, in its 11 years, been edited primarily by couples.
Catherine and Harriet, Michelle and Adrienne, Melanie and Michaele,
and then Melanie with Irena Klepfisz (who was officially a contributing
editor, but worked with Melanie Kaye/Kantrowitz as "khaverte,""comrade," in Yiddish: their word for a wonderful partnership of ideas
and heart that has informed Sinister Wisdom in the last four years). 1
I am neither coupled nor uncoupled. I live in a complex web of lesbic
relationships from which I draw the energy for this job. I am getting
input, advice, dissent, energy, thoughtful coinment from: the lesbians
who've volunteered (a varying group of 20), the Jewish Lesbian Writers
Group, my separatist study group, Gloria Anzaldua (who continues ascontributing editor), several of the former editors, my friends & interested womyn across the country, and my intimates Dolphin Zelda
Waletzky and Susan Jill Kahn. This is a m!llti-racial, multi-class, multiethnic, multi-ability group between the ages of 25 - 65. I hope that we canfind new ways to understand"editor" as I work with lesbians interested
in Sinister Wisdom and they work with me.
I welcome your participation. Join us in this written country. I am gladto acknowledge the outreach that previous editors have done. Sinister
Wisdom has a broad base of contributors - Native American, Chicana,Black, Asian, Jewish, Arab, Ethnic, White, working-class, poor, middleclass, disabled, able-bodied, fat, thin, old, young, survivors and fighters.
I want Sinister Wisdom to continue as place where many lesbians canmake their own homes.
I myself am a Jew, fat, middle-class, sometimes-disabled, a survivor of
mental hospitals, 38 by the time you read this. I have been a lesbian anda writer all my life. I was drawn, in high school and college, to socialism,
anarchism, anti-war and anti-racist work. I went to my first "Homophile
Association" and Women's Liberation meetings in 1969. First I was aqueer, then I was gay, now I'm a lesbian and a dyke. I have called myself
an anarchist, a revolutionary, a feminist, a socialist feminist; I still callmyself a lesbian separatist. And I still think of myself as a revolutionary.
REVOLUTION?
Often it seems like a fog of boredom, cynicism, of oh-we've-beenthrough-that-already, has spread through our various communities. The"hot heads" of the 70' s have become cool. Passionate political engagement is viewed with suspicion-perhaps it's a substitute for intimacy, ora lack of personal boundaries. After all, many lesbians can get good jobs
4and in most big cities you can find lesbian doctors, plumbers, computer
experts, restaurants, magazines, bars, 12-step groups. The police aren't
raiding our bedrooms, even though they could if they wanted to. Nobody seems to keep us from living our lives.
But that's not enough. We don't have a womyn's economy. We don't
have lesbian centers. We have no shelters or on-going homes for lesbiansin need at any age. We haven't figured out how to share our resources
with womyn in crisis,let alone as full communities (although if we could
do it as full communities we might not have to worry about the crisis.
Because we always worry about the crisis first, we rarely change the root).
We don't use the word "patriarchy" anymore--it sounds too antagonistic, too dated. But we haven't even begun to scratch at the patriarchal
nationalist military machine/mentality. We haven't encouraged all
womyn to withdraw their energy and support from men' s causes. We
barely know what womyn's causes are. We have so much more to learn
about each other, about our cultures-of-origin, our different perspectives
on ethics and justice. We are extremely susceptible to fashion and thequick-fix. As womyn in the United States, we have little international
perspective. I haven't met a womyn yet who has unworked the prickinside her head. The fact is, there is very little lesbian space in the world,
outside of our homes.
Michal Brody writes in Are We There Yet? (a continuing history of
Lavender Woman, a Chicago Lesbian Newspaper 1971-1976): ''There seems
to be a current attitude that we share some of the credit for creating thosebygone progressive times, buttoday, with the right wing in power, we are
now mere victims of history. It probably doesn't work both ways ...There
are ways to effect change at any historical moment, if one desires to workfor change."iThis is hard work. I read and reread the first statements of all theeditors before me. In April of this year Catherine Nicholson, Harriet(Desmoines) Ellenberger, Adrienne Rich, Gloria Anzaldua and I did abenefit celebration at the San Francisco Women's Building for Sinister
Wisdom's move West. When it was my turn to get up on stage I became
infused by the sensation of being part of a long spiral, an infinite loop of
lesbians, working together: in spite of everything: because we are all that
we have: and just that much is amazing. With that energy in me, I gave
one of the best readings I ever did. The point of which is: my own
excellence needs lesbian energy to exist. We need each other in order toexist. And the more we exist, the more we change the world.
ALRIGHT, SEPARATISM ANDAlright. Separatism. It's true. I'm a separatist. That means first,
everything I do, I try to do for/with lesbians.
Obviously I live here. I often work at straight jobs, I rent from alandlord. I am reluctant to write about separatism now for a variety of5reasons.3 It's a much longer subject. I don't want to start from a defensive
position. And it often triggers a lot of negative response. If you feelyourself so triggered, I can only ask that you continue to read (andcontribute to) SW with an open mind. As I write "Notes for a Magazine"
from my perspective, each womon we publish writes from hers. I don't
intend for Sinister Wisdom to be focused on debate about separatism. I do
intend for Sinister Wisdom to be a place where any lesbian may be
included. Just as we will not publish racist, classist, ageist, ableist or
sizeist statements, we will not print anything that's oppressive or demeaning to lesbians. SW has a long history of radical and separatist
lesbian energy, and I intend to affirm that history and encourage thatenergy in the present.
,
I have such desire to bring together, to root out the best, to enthuse us
for the long haul; to get lesbians to trust each other again for real reasons(not just "sisterhood" in name)-to keep us arguing without hating eachother. I believe that disagreements strengthen us, help us move, keep us
honest. I long for honesty and depth between womyn.
And womyn who are not lesbians? Sinister Wisdom has, since its firstissue, published non- or not-yet lesbian work. Harriet (Desmoines)
Ellenberger wrote in S W #1: "The content of Sinister Wisdom grows out of
a lesbian consciousness. Lesbian consciousness marks a style of the
body: a leaning toward women; it marks a style of the mind: the female
mind swung like a winnowing fan, shifting the chaff of terror for the
broken remnants of grain ... But lesbian consciousness is also a processthat begins long before a woman comes out and is never completed, only
strengthened and enriched .. .Each woman represented in the magazine
is moving outside patriarchal culture. All are boundary dwellers; itshows in their visual language and in their words."
I believe all the work in this issue is by lesbians. That may not always
be the case. As with any group, it's crucial that members be able toidentify each other in order for that group to retain and develop its
identity. Therefore, any work published by non-lesbians should be
identified as such. All work that's published in Sinister Wisdom will comefrom some aspect of the lesbian imagination. And why not?
DON'T YOU WANT TO BE PART OF THE WIND?
Let's restimulate a passion for revolution. We are powerful, we canaffect each other and the larger events around us. We all know how
painful it can be to love other womyn-the disappointments, the confusion, the defensiveness, the ones who turn away and the ones who won't
come forward with us when we're ready to change. But it remains"truethat loving lesbians is fun. That change, no matter how upsetting, is
exciting. That experiencing a generosity of spirit is creative. That
creativity is joyful. That building things together is sweet and satisfying.
That we need that satisfaction in our lives. That sense of purpose,6coupled with flexibility and imagination.
And it's still scary. Why? Because. It's public. It's powerful. It's aclaim to territory. This is lesbian territory and we still have a right to it.
Is lesbian life a series of gang wars? Or a circle, handing what we havefrom one to another, and it comes down to who can do the work and who
has the heart for it. The stomach and the heart. Who wants to do the work
together.
To tend, hold, share, nurture, shape, extend, encourage, challenge
and be challenged by, give, pass on when the time comes.
So it's scary to be given this: wanting to do a good job, to stir-up
lesbians, to keep vitality and intelligence throbbing, and/ it's scarybecause every time I write about politics I touch nerves.
ButIamnotouttoun-nerveanyone. Onlywanttosendtheexcitementof question, of recognition, of challenge up your spine. There's a storm
coming in off the pacific coast-it could change the shape of the land
forever. Don't you want to be part of the wind that drives that storm?

IWe have very few words to describe those relationships which offer us sustaining, creative energy. In this issue, Gloria Anzaldua suggests the word" carnala"
for a doser-than-companera bond. We keep needing new words, and new ways
to imagine our intimacy and our work.
2Michal Brody, Are We There Yet? A Continuing History of Lavender Woman, A
Chicago Lesbian Newspaper, 1971-1976,pp. 187-88, Aunt Lute Book Company, SF,
CA94141.
3In the absence of a body of separatist theory, many of us hope that Sarah
Hoagland and Julia Penelope's anthology of separatist writings, For Lesbians
Only, will get published within the year.
7Notes on the Themes _______________#33: Wisdom. In choosing "wisdom herself" as a theme I had hoped tocollect what we've learned doing political/ cultural work in the lesbian
and women's communities-how what we bring to our idealism shapes
the work we do; how what happens in the process shapes us. I waslooking for discussions on compromise, disillusionment, renewal, second wind. What we've learned along the way by establishing ourpeculiar, tentative intimacies. Portraits of the sense of humor we'll needin order to keep our rebellions flourishing. How we can keep what we've
learned from getting lost, buried, burned. ,H ow we pass it on.
Some of the work, to my mind, touches those questions directlyamong them Gloria Anzaludua's "En Rapport, In Opposition: Cobrando
Cuentas A Las Nuestras ," Michal Brody's ''Transit Waltz," Leslita
William's poem ''Non-violence,'' Adrienne Rich's ''Negotiations,''
Chrystos' "I Am Not Your Princess," Melanie Kaye/Kantrowitz's ''War
Stories." Wisdom, of course, is a broad theme: whatever we have to say
to each other contains the stuff of which wisdom is made. I am pleased
to print every piece in this issue.
And I learn my first lesson as editor: You don't always get exactly what
you want. But wonderful work comes in the mail, the issue has adeadline, you work with what you have. Putting together a magazine
becomes a pleasure & trial of necessity. And all the questions remain
open.
#34: Lesbian Visions and Science Fiction. It may be too late to say this,but I thought: the wildest imaginings of past present and future that
contain a world as we'd want it; want to live in it; from forms ofgovernment to forms of sex. When we name what we want, we create theroad towards it.
As this issue gets into your hands, the deadline for the next one has
arrived. But if you happen to have such pieces of writing hidden in afolder somewhere, put them in the mail today anyway.
#35: On Passing. We usually attempt to pass as more acceptable to our
oppressors: for whiter, richer, straight, christian, more educated, moreable-bodied, thinner, younger, male. We occasionally try to pass for those
we oppress-witness downward mobility and converting to Judaism.
Sometimes we try to pass for classless, raceless, ageless, by callingourselves bohemians, artists, or spiritually awakened womyn following
a path through reincarnation.
We often blame each other for being granted privileges we may never
have wanted. If our oppressors define who "can pass" and who cannot,
what makes us think we have the power to control our images? How do
8we actively claim our public identities? How do we feel when we actively
try to pass? How do those not passing feel about those who are? Whatabout when we pass almost unconsciously, out of habit or unexpressed
fear? What experiences do lesbians "who can pass" (for men; or forstraight/ for white/ for-) have in common? What does it mean whena lesbian says she "can't pass"?
When we are "other" there is always pressure-trying to pass is a netof motions many lesbians weave (or are woven into)to obscure themselves every day for at least fifty reasons. Let's talk about it. (Deadline:
February 15)#36. Surviving Psychiatric AssaulUCreating Emotional Well-Being.
When I wrote the list of things I am in my "Notes for a Magazine," by far
the hardest to say was that I had been locked up. I am always surprisedby the number of lesbian I meet who have been locked up, or who are/have been deeply afraid of being locked up. Yet lesbian communities
appear to tolerate a narrow range of "appropriate social behavior."
In this issue I want to see two things happen.
The first is a forum for womyn who have suffered psychiatric assault,
in mental institutions and within the wider framework of psychiatrictherapy (straight or "feminist").
The second is a discussion about how we create the quality of emotionallife in our communities. How do we get to feel we can make full,connected, purposeful lives? Where do the norms for behavior comefrom? When do we, as individuals and/or groups, set standards forwhat's "sane". and what's "crazy"? What does the word "crazy" mean
(and why do you still use it)? How do we get help when we're in crisis,troubled or stuck? How do we offer help? What do we do when alesbian's behavior becomes a danger to herself and/ or those around her?
Who decides? Do we hand over our ability to define our own mental
well-being to professionals? What are the ways for lesbians to become
therapists and maintain a sense of "right-action" and social responsibility? What's at stake between those who hate therapy and those who
swear by it? What effect does all this have on our conception of community, our ability to trust, love, imagine, work with each other? What's
going on here anyway? (Deadline: June 15)

See the inside back cover for submission guidelines.

9Adrienne Rich

Negotiations
Someday if someday comes we will agree
that trust is not about safetythat keeping faith is not about deciding
to clip our fingernails exactly
to the same length or wearing
a uniform that boasts our unanimity
Someday if someday comes we'll know
the difference between liberal laissez-faire
pluralism and the way you cut your hairand the way I clench my handagainst my cheekbone
both being possible gestures of defiance
Someday if there's a someday we willbring food, you'll say I can't eat what you've brought
I'll say Have some in the name of ourtrying to be friends, you'll say What about you?
We'll taste strange meat and we'll admit
we've tasted stranger
Someday if someday ever comes we'll goback and reread those poems and manifestos
that so enraged us, in each other's hand
I'll say, But damn, you wrote it so
I couldn't write it off You'll say
I read you always, even when I hated you©1987 Adrienne Rich

10

Gloria Anzaldua

En Rapport, In Opposition:
Cobrando Cuentas A Las Nuestras
WATCH FOR FALLING ROCKS
The first time I drove from El Paso to San Diego, I saw a sign that read''Watch for Falling Rocks." And though I watched and waited for rocks
to roll down the steep cliff walls and attack my car and me, I never saw
any falling rocks. Today, one of the things I'm most afraid of are the rocks
we throw at each other. And the resultant guilt we carry like a corpse
strapped to our backs for having thrown rocks. We colored women havememories like elephants. The slightest hurt is recorded deep within. We
do not forget the injury done to us and we do not forget the injury wehave done another. Unfortunately we do not have hides like elephants.
Our vulnerability is measured by our capacity for openness, intimacy.
And we all know that our own kind is driven through shame. or selfhatred to poke at all our open wounds. And we know they know exactly
where the hidden wounds are.
I keep track of all distinctions. Between past and present. Painand pleasure. Living and surviving. Resistance and capitulation. Will and circumstances. Between life and death. Yes. I am
scrupulously accurate. I have become a keeper ofaccounts . .
-Irena Klepfisz1
One of the changes that I've seen since This Bridge Called My Back was
published2 is that we no longer allow white women to efface us or
suppress us. Now we do it to each other. We have taken over the
missionary's "let's civilize the savage role," fixating on the "wrongness"and moral or political inferiority of some of our sisters, insisting on a
profound difference between oneself and the Other. We have been
indoctrinated into adopting the old imperialist ways of conquering anddominating, adopting a way of confrontation based on differences while
standing on the ground of ethnic superiority.
In the "dominant" phase of colonialism, European colonizers exercise
direct control of the colonized, destroy the native legal and cultural
systems, and negate non-European civilizations in order to ruthlessly
exploit the resources of the subjugated with the excuse of attempting to"civilize" them. Before the end of this phase, the natives internalize
Western culture. By the time we reach the "neocolonialist" phase, we've
accepted the white colonizers' system of values, attitudes, morality, andmodes of production. 3 It is not by chance that in Texas the more rural
towns' Chicano neighborhoods are called colonias rather than barrios.
11There have always been those of us who have "cooperated" with thecolonizers. It's not that we have been "won" over by the dominantculture, but that it has exploited preexisting power relations of stlbordination and subjugation within our native societies.4 The Great White
Ripoff-and they are still cashing in. Like our exploiters who fixate on
the inferiority of the natives, we fixate on the fucked-upness of oursisters. Like them we try to impose our version of "the ways things
should be;" we try to impose one's self on the Other by making her therecipient of one's negative elements, usually the same ones that theAnglo projected on us. Like them, we project our self-hatred on her; westereotype her; we make her generic.
JUST HOW ETHNIC ARE YOU?
One of the reasons for this hostility among us is the forced cultural
penetration, the rape of the colored by the white, with the colonizers
depositing their perspective, their language, their values in our bodies.
Expernal oppression is paralleled with our internalization of that oppression. And our acting out from that oppression. They have us doing tothose within our own ranks what they have done and continue to do to
us- Othering people, That is, isolating them, pushing them out of theherd, ostracizing them. The internalization of negative images of ourselves, our self-hatred, poor self-esteem, makes our own people the
Other. We shun the white-looking Indian, the "high yellow" Black
women, the Asian with the white lover, the Native woman who brings _her white girlfriend to the Pow Wow, the Chicana who doesn't speak
Spanish, the academic, the uneducated. Her difference makes her aperson we can't trust. Para que sea "legal," she must pass the ethnic
legitimacy test we have devised. And it is exactly our internalized
whiteness that desperately wants boundary lines (this part of me is
Mexican, this Indian) marked out. Woe to any sister or any part of us thatsteps out of our assigned places, woe to anyone who doesn't measure up
to our standards of ethnicity. Si no colifica, if she fails to pass the test, Ie
aventamos mierda en la cara, Ie aventamos piedras, la aventamos. We throw
shit in her face, we throw rocks, we kick her out. Como gallos de pelea

nosatacamos unas a las otras-mexicanas de nacimiento contra the born-again
mexicanas. Like fighting cocks, razor blades strapped to our finger, weslash out at each other. We have turned our anger against ourselves. And
our anger is immense. Es un acido que correo.
INTERNAL AFFAIRS a LAS QUE NIEGAN A SU GENTE

Tu traicion yo la llevo aquf muy dentro,
la llevo dentro de mi alma
dentro de mi corazon.
Tu traicion.
-Cornelio ReynaS12I get so tired of constantly struggling with my sisters. The more wehave in common, including love, the greater the heartache between us,
the more we hurt each other. It's excruciatingly painful, this constantsnarling at our own shadows. Anything can set the conflict in motion: thelover getting more recognition by the community, the friend getting a job
with higher status, a break-up. As one of my friends said, "We can't
fucking get along."
So we find ourselves entreguerras,6a kind of civil war among intimates,
an in-class, in-race, in-house fighting, a war with strategies, tactics thatare our coping mechanism, that once were our survival skills and which
we now use upon one another 7 producing intimate terrorism-a modern
fonn of las guerras fioridas, the war of the flowers that the Aztecs practiced
in order to gain captives for the sacrifices. Only now we are each other's
victims, we offer the Other to our politically correct altar.
E1 deniego. The hate we once cast at our oppressors we now fling at
women of our pwn races. Reactionary-we have gone to the otherextreme-denial of our own. We struggle for power, compete, vye forcontrol. Like kin, we are there for each other, but like kin we come toblows. And the differences between us and this newOther are not racial
but ideological, not metaphysical but psychological. Nos negamos a si

mismas y e1 deniego nos causa dana.
BREAKING OUT OF THE FRAME
I'm standing at the sea end of the truncated Berkeley pier. A
boat had plowed into the black posts, gouging ou t a few hundred
feet of structure, cutting the pier in two. I s tare at the sea, surging
silver-plated between me and the lopped-off corrugated arm,
the wind whipping my hair. I look down, my head and shoulders, a shadow on the sea. Yemaya pours strings of light over mydull jade, flickering body, bubbles pop out of my ears. I feel thetension easing and, for the first time in months, the litany of work
yet to do, of deadlines, that sings incessantly in my head, blows
away with the wind.
Oh, Yemaya, I shall speak the words
you lap against the pier.
But as I turn away I see in the distance, a ship's fin fas t approaching. I see fish heads lying listless in the sun, smell the stench ofpollution in the waters.
From where I stand, queridas carnalas-in a feminist position-I see,through critical lens with variable focus, that we must not drain ourenergy breaking down the male/white frame (the whole of Western'culture) but turn to our own kind and change our terms of reference. Aslong as we see the world and our experiences through white eyes-in adominant/ subordinate way-we're trapped in the tar and pitch of theold manipulative and strive-for-power ways.

13

Even those of us who don't want to buy in get sucked into the vortexof the dominant culture's fixed oppositions, the duality of superiority
and inferiority, of subject and object. Some of us, to get out of theinternalized neocolonial phase, make for the fringes, the Borderlands.
And though we have not broken out of the white frame, we at least see it for what it is. Questioning the values of the dominant culture which
impose fundamental difference on those on the "wrong" side of thegood/bad dichotomy is the first step. Responding to the Other not as
irrevocably different is the second step. By highlighting similarities,
downplaying divergences, that is, by rapprochement between self andOther it is possible to build a syncretic relationship. At the basis of sucha relationship lies an understanding of the effects of colonization and its
resultant pathologies.
'
We have our work cut out for us. Nothing is more difficult thanidentifying emotionally with a cultural alterity, with the Other. Alter: tomake different; to castrate. Altercate: to dispute angrily. Alter ego: anotherself or another aspect of oneself. Alter idem: another of the same kind.
Nothing is harder than identifying with an interracial identity, with amestizo identity. One has to leave the permanent boundaries of a fixed
self, literally "leave" oneself and see oneself through the eyes of the Other.
Cultural identity is "Nothing more nor less than the mean between
selfhood and otherness ..."s Nothing scares the Chicana more than a
Latina who lumps her with the norteamericanas.It is easier to retreat to thesafety of the difference behind racial, cultural and class borders. Because
our awareness of the Other as object often swamps our awareness ofourselves as subject, it is hard to maintain a fine balance between cultural
ethnicity and the continuing survival of that culture, between traditional
culture and an evolving hybrid culture. How much must remain thesame, how much must change.
For most of us our ethnicity is still the issue. Ours continues to be a
struggle of identity-not against a white background so much as against
a colored background. Ya no estamos afuera 0 atras del marco de la pinturawe no longer stand outside nor behind the frame of the painting. We areboth the foreground, the background and the figures predominating.
Whites are not the central figure, they are not even in the frame, though
the frame of reference is still white, male, and heterosexual. But the whiteis still there, invisible, under our skin-we have subsumed the white.
EL DESENGANO

And yes I have some criticism, some self-criticism. And no I will notmake everything nice. There is shit among us we need to sift through.
Who knows, there may be some fertilizer in it. I've seen collaborative
efforts between us end in verbal abuse, cruelty and trauma. I've seencollectives fall apart, dumping their ideals by the wayside and treatingeach other worse than they'd treat a rabid dog. My momma said, "Never

14

tell other people our business, never divulge family secrets." Chicano
dirt you do not air out in front of white folks, nor lesbian dirty laundry
in front of heterosexuals. The things cultural stay with la Raza. Coloredfeminists must present a united front in front of whites and other groups.
But the fact is we are not united. (I've come to suspect that unity is anotherAnglo invention like their one sole god and the myth of the monopole.9)
We are not going to cut through la mierda by sweeping the dirt under therug.
We have a responsibility to each other, certain commitments. The leap
into self-affirmation goes hand in hand with being critical of self. Manyof us walk around with reactionary, self-righteous attitudes. We preachcertain political behaviors and theories and we do fine with writing about
them. Though we want others to live their lives by them, we do not live
them. When we are called on it, we go into a self-defensive mode anddenial just like whites did when we started asking them to be accountable
for their race and class biases in 1980-81.
LAS OPUESTASIn us, intra- and cross cultural hostilities surface in not so subtle putdowns. Las no comprometidas, las que negan a sus gente. Furncemos las caras
y negamos toda responsabilidad. Where some of us raciall y mixed people arestuck in now is denial and its damaging effects. Denial of the white
aspects that we've been forced to acquire, denial of our sisters who for
one reason or another cannot "pass" as 100% ethnic-as if such a thing
exists. Racial purity, like language purity, is a fallacy. Denying the reali ty
of who we are destroys the basis from which to talk honestly and deeply
about the issues between us. We cannot make any real connections
because we are not touching each other. So we sit facing each other andbefore the words escape our mouths the real issues are blanked out in ourconsciousness, erased before they register because it hurts too much totalk about them, because it makes us vulnerable to the hurt the carnala
may dish out, because we've been wounded too deeply and too often in
the past. So we sit, a paper face before another paper face-two people
who suddenly cease to be real. La no compasiva can las complaciente, 10 in-comunica doatorado en sus gargantas.
We, the new Inquisitors, swept along with the "swing to the right" ofthe growing religious and political intolerance, crusade against racialheretics, mow down with the sickle of righteous anger our dissenting
sisters. The issue (in all aspects of life) has always been when to resist
changes and when to be open to them. Right now, this rigidity will breakus.
RECOBRANDO

Una luz frla y cenicienta bafiada en el plata palido del amanecer entra a miescritorio and I think about the critical stages we feminists of color are15

going through, chiefly that of learning to live with each other ascarnalas,parien tes, amantes, as kin, as friends, as lovers. Looking back on the road that
we've walked on during the last decade, I see many emotional, psychological, spiritual, political gains-primarily developing an understanding and acceptance of the spirituality of our root ethnic cultures. This has 'given us the ground from which to see that our spiritual lives are not split
from our daily acts. En recobrando our affinity with nature and her forces(deities ), we have "recovered" our ancient identity, digging it out likedark clay, pressing it to our current identity, molding past and present,
inner and outer. Our clay streaked faces acquiring again images of our
ethnic self and self-respect taken from us by the colonizadores. And if
we've suffered loses, if often in the process we have momentarily"misplaced" our carnalahood, our sisterhood, there beside us always are
the women, las mujeres. And that is enough to keep us going.
By grounding in the earth of our native spiritual identity, we can build
up our personal and tribal identity. We can reach out for the clarity weneed. Burning sage and lighting Guadalupe candles by themselves
won't cut it, but it can be a basis from which we act.
And yes, we are elephants with long memories, but scrutinizing thepast with binocular vision and training it on the juncture of past withpresent, and identifying the options on hand and mapping out futureroads will ensure us survival.
So if we won't forget past grievances, let us forgive. Carrying theghosts of past grievances no vale la pena. It is not worth the grief. It keeps
us from ourselves and each other; it keeps us from new relationships. We
need to cultivate other ways of coping. 1'd like to think that the in-fightingthat we presently find ourselves doing is only a stage in the continuumof our growth, an offshoot of the conflict that the process of biculturation
spawns, a phase of the internal colonization process, one that will sooncease to hold sway over our lives. I'd like to see it as a skin we will shed
as we are born into the 21st century.
And now in these times of the turning of the century, of the harmonic
convergence, of the end of EI Quinto Sol (as the ancient Aztecs named ourpresent age), it is time we began to get out of the state of opposition andinto rapprochement, time to get our heads, words, ways out of white
territory. It is time that we broke out of the invisible white frame andstood on the ground of our own ethnic being.

16

End Notes
lIrena Klepfisz, Keeper of Accounts (Montpelier, Vermont; Sinister Wisdom Books, 1982), 85.
2 According to Chela Sandoval, the publication of Bridge marked the endof the second wave of the women's movement in its previous form. u.s.
Third World Feminist Criticism: The Theory and Method of Oppositional
Consciousness, a dissertation in process.
3Abdul R. JanMohamed, liThe Economy of Manichean Allegory: The
Function of Racial Difference in Colonialist Literature," "Race," Writing,and Difference, ed. Henry Louis Gates, Jr. (Chicago, illinois; University of
Chicago Press, 1985, 80-81.
4 JanMohamed, 81.
5A Chicano from Texas who sings and plays bajo-sexto in his musica
nortefia/conjunto."Tu Traicion" is from the album 15 Exitasos, Reyna Records, 1981.
6 Entreguerras, entremundos/lnner Wars Among the Worlds is the title of mynext book.
7 Sarah Hoagland, "Lesbian Ethics: Intimacy & Self-Understanding," BayArea Women's News, May/June, 1987, Vol. 1 No. 2, p. 7.
8 Nadine Gordimer, quoted in JanMohamed's essay p .88.
9 Physicists are searching for a single law of physics under which all otherlaws will fall.

©1987 Sudie Rakusin

17

Chrystos

I Am Not Your Princess
especially for Dee Johnson
Sandpaper between two cultures which tear one another apart I'm nota means by which you can reach spiritual understanding or evenlearn to do beadwork
I'm only willing to tell you how to make fry bread
1 cup flour, spoon of salt, spoon of baking powder
Stir Add milk or water or beer until it holds together
Slap each piece into rounds Let rest
Fry in hot grease until goldenThis is Indian food only if you know that Indian is a government word
which has nothing to do with our names for ourselves
I won't chant for you
I admit no spirituality to you
I will not sweat with you or ease your guilt with fine turtle tales
I will not wear dancing clothes to read poetry or explain hardly
anything at all
I don't think your attempts to understand us are going to work so
I'd rather
you left us in whatever peace we can still scramble up
after all you continue to do
If you send me one more damn flyer about how to heal myself for $300
with special feminist counseling I'll probably set fire to something
If you tell me one more time that I'm wise I'll throw up on you
Look at me
See my confusion loneliness fear worrying about all our struggles
to keep
what little is left for us
Look at my heart not your fantasies
Please don't ever again tell me about your Cherokee great-great
grandmother
Don't assume I know every other Native Activist in the world personallyThat I even know the names of all the tribes
or can pronounce names I've never heard
or that I'm expert at the peyote stitch
If you everagain tell me
18how strong I am
I'll lay down on the ground & moan so you'll seeat last my human weakness like your own
I'm not strong I'm scraped
I'm blessed with life while so many I've known are deadI have work to do dishes to wash a house to clean There is no magic
See my simple cracked hands which have washed the same things
you wash
See my eyes dark with fear in a house by myself late at night
See that to pity me or to adore me are the same
1 cup flour, spoon of salt, spoon of baking powder & liquid to holdremember this is only my recipe There are many others
Let me rest
here
at least

19

Melanie Kaye/Kantrowitz

War Stories, 197-:
1. THE DAY WE DIDN'T DECLARE WAR
We just weren't ready to kill, and anything else seemed too dangerous.
I remember the sickish feeling that descended on me, like fog rolling in,filling the room which happened to be my living room where thirteen
women sat around on what was available, mostly the bed and the floor.
I listened to each of them talk and I heard my own self, but the words
floated off into the fog, and I thought, we're not ready, we're not goingto pull this off.
And I felt sick because I knew, if we weren't ready, who was?
We were at a pitch in those days, and no wonder. We had only recently
concluded that what had been going on for centuries was a war against
women, and rape was one of the major battle strategies. That rapists did
not perceive themselves as acting in concert, that each saw himself (or ingroups, saw themselves) as acting independently and probably felt bold,original and daring was irrelevant, and we saw how movies and tv andrespectable highbrow fiction helped men feel bold, original and daring
in what has got to be the archetypally cowardly act, second only to fucking their baby daughters, which many of them manage to see as bold anddaring also.
So we saw rape as a strategy and we assessed the effectiveness. Many ofus had been raped, some on the street, more by dates or husbands or someman whose car or back room you wandered into, because you needed aride or directions or just wanted a cup of coffee. But, in a way, that was
the least of it. We were all afraid. Fear governed all our lives, limiting
where we lived, what jobs we'd take, what hours we'd work, how late atnight we'd go for a walk or corne horne from a friend's, whether we'd takea shower when no one else was around. That's if we were lucky, because
the ones who weren't lucky had to do dangerous things right through thefear. It was endless, when we started enumerating the ways this war
affected our lives. We concluded rape was working: for them.
Because clearly it affected their lives, men's lives, too. Constantly learning that we had to be afraid and they didn't; that we got raped all the timeand nothing could s top it; that we needed them to protect us; that rapis ts
rarely got caught, except for Black men raping white women in the Sou th,
only you knew who got caught was probably Black men who madetrouble for white men, or just Black men period. So it meant one morething to fight instead of something to make you feel safer.

20And there was a third thing we talked about: women fighting back. Inez
Garcia, Joanne Little, Yvonne Wanrow were our heroes, and we knew it
was not incidental that they were women of color. We knew that eachwoman, by killing her attacker, had strengthened every woman's abili ty
to resist violence. Some of us began collecting newspaper articles, thekind where you have to read between the lines .. . Remember the Skillet
Murder, the wife who creamed her husband, and the daughter maybe
saw, and the wife's co-workers, employees of the husband, maybe
helped, maybe tried to cover it up: that's the sort of thing we'd talk about,what did the daughter, the other women have to do with it? What would
make a woman that angry? (For, if you recall, she slammed him with not
only the skillet but several other articles of kitchen equipment.)
And there were stories coming from other cities, less subject to interpretation. We gathered names and wrote poems and made art about them;
we performed rituals honoring them, Jennifer Patri, Francine Hughes(years before Farrah Fawcett, and I have to say, in the tv program shecomes off as a pathetic victim pushed to a horrible deed; my Francine
Hughes is a tough cookie and I'm glad she is because that's why she'salive); and lots of names that never got famous, Wanda Carr, Marlene
Roan Eagle, Miriam Grieg, Evelyn Ware, Gloria Maldonado ... .
There was a group of us, not exactly all friends but part of the samegeneral community. We learned the statistics of our small relatively safe
city, and it's not that we were shocked or appalled. I'll speak for myself:
It was as if a curtain of thick gauze had suddenly lifted and I saw veryclearly in a brilliant, hard and accurate light.
And to tell thetruth,it's still accurate. But I don't know what to do about
it, and this is the story of how I realized none of us knew. Because wewere decent people, because we were afraid, because we could not trust
one another enough to declare war back.
But it starts before that, in the early fall. I was working on the crisis line
and so was my best friend Alice. It was my shift and I got a call from awoman, Karen, whose boyfriend had been beating her. Regularly. And
she was eight months pregnant, and concerned. She didn' twant to leave
her apartment and go to a shelter, which was what we had to offer
women in trouble. She wouldn't go. That was that.
It was Alice's idea, we called a couple of friends and suddenly The
Godmothers was born. Why should Karen have to leave her own home?
We would go in and stay with her in two's, make sure she was safe. Karen
was delighted. We felt tough, useful, bold and daring. So there's a way
we were undoing their violence against all of us by showing up at Karen'swith our sleeping bags, night sticks, and new lock for the front door.
Because we weren't stupid. We had rules and believed in modes t weapons. We knew that any place where a man used a gun or knife, we

21shouldn't be and neither should the woman, no matter how much she
hated to leave home. And we insisted she get a restraining order against
him, so he'd be violating the law just by showing up, and we could callthe cops. But if what he usually did was get drunk and bullishly angry
and punch her around - which was what mos t of them did - we figured
he would not be prepared for the woman he called "his" to have sober
and determined help.
You see, we had discovered they were cowards. We pasted up a noticeon the front door, saying, "This house is under the protection of a restraining order and THE GODMOTHERS," and it worked exactly like it
was supposed to. We never had a confrontation, and we collected a lotof stories about angry frustrated and scared batterers deprived, in theirview, of their rights.
So we had some success. There were five of us at first, and our numbers
grew. Lots of women, it seemed, were angry and wanting to be more
direct in expressing this anger than anything anybody else had come up
with allowed. Of course, we made some women nervous, with our nightsticks, name (Godmothers) and attitudes. They would say the realanswer was not violence but education. Weld point out that being prepared to ward off violence was the opposite of violence, and besides wewere educating like mad. Look at the lesson we were offering these
women's children, and their neighbors and neighbors' children: women
stick up for women and keep men in line. We were cheeky and proud.
The only problem with the Godmothers was the time it took to be one, thewomanpower needed to protect every single woman who called. Evenposting two at a time in eight-hour shifts (three women for weekend
nights at closing time, when men stumble out of bars drunk, furious andrestless), a Friday-afternoon-to-Sunday-midnight weekend called foreleven women willing and able to leave their own homes, families andlives to sit around a stranger's apartment. Some improbable friendships
were formed this way. Karen, for example, became a fiercely committed
Godmother, staffing the phone while she nursed her tiny lump of a new
baby. But women were getting burned out fast.
Then around November, the crisis line started getting calls about thepark. At the north end of the dtywas a small private college, surrounded
by a fairly posh neighborhood shading off to the eastinto a working classneighborhood, both bordered by the (quite beautiful, we discovered)
Clinton State Park, used as parks are in cities, for, among other things,
jogging and for a shortcut from the buses that ran directly downtown
back into either neighborhood.
First Beth, on the crisis line, got a call from a woman who'd been rapedin Clinton State Park by two men. One had a knife. She described themas twentyish, white, one blond, the other dark with long hair.
"Have you reported to the police?" Beth asked, as we always asked.
22

"No.""Do you want to? I'll go with you," she offered, as we always did.
But the woman didn't want to report. She was fifteen and had lied to herparents about where she'd been supposedly studying at her friend's
house in the neighborhood instead of downtown at the movies, cuttingback home across the park. She couldn' t tell her parents, but she wanted
someone to know.
Beth talked to the woman for almost an hour, comforting her, informing
her of the various services available. Then she filled out the phone report,
as usual.
That same week, Marta got a call from a woman who'd been raped in thepark by two men, who she described with some precision: in their twenties, one blond with short hair, the other dark with long dark hair andhalf-moon scar on his left hand. The blond one, at least, carried a knife.
Nobody had put any ofthis together yet, so Marta went through the usual
procedure. This woman was older, in her thirties. She'd been jogging.
She would not report to the police: "I'm not stupid," she told Marta, ''I'm
divorced, I work as a cocktail waitress and I know exactly how the police are going
to treat me." As Marta said afterwards, "I would have liked to tell her it wasn't
true, but I knew it was still goddam true."
I got the third call, two days after Marta. This woman actually came into the office to talk. She was a college student, studying for finals, she wasvery upset and I referred her for free counselling. She didn't want thehassle of the police, and though I tried to explain to her about identifying
an m .o. and checking out photographs, she was adamant. "Besides," shesaid, "their faces are a total blur, and I hope they stay that way." She was able
to give a general description.
By the time we had our next staff meeting and were going through thephone reports, there were five calls from five different women who had
been raped in the same park by, barring extraordinary coincidence, thesame two men.
So we called the police. We knew that without women willing to filereports-or, as the police so sensitively phrased it, without victimsthere would be no arrests. But we wanted the park posted, so women in
the area would know this was not a safe place, and we wanted a police
patrol.
When I look back on it now, it's kind of touching. On the one hand, we
had identified a war being waged by men against women, and, on theother, we were outraged when the police responded as every scrap ofanalysis we could muster should have instructed us they would. For
centuries, women who say they've been raped have been accused oflying. The women who'd phoned the crisis line were accused now by thepolice.
23

Why were they lying? Because if they were telling the truth, they'd reportto the police. When we pointed out that by FBI estimates- not exactly
a radical source - something like nine out of ten women who are raped
don't report to the police, they pooh-poohed it. If the women didn't
report to the police, they weren't raped. They were lying.
.
"Or maybe," the captain of our city's finest explained blandly, as I sat on
the other side of his desk during another useless meeting, "some of those
women who answer the phone are-not lying exactly, but exaggerating a little,
you know, to puff up the crisis line." He suggested all of us who "claimed"
to have taken these calls come in for a polygraphy, a lie detector test.
Failing that, he was sorry, but the police had no basis on which to act.
All this talking took several days, during whiCh three more women who
called the crisis line to say they'd been raped described the same two men
in the same park.
We did the normal responsible crisis line type things. We called a press
conference and put the police department in a wonderfully awkward
position. We printed our own posters, warning women, requesting information. We held neighborhood forums to educate the communities, andliterally dozens of women, from the college and from the neighborhoods,
called the crisis line to get involved. The Godmothers organized a hugepatrol of women to march through the park on a Saturday night (six ofthese rapes had taken place on the weekend) with chants and flashlights,
to shame the police as well as to make the park safe that night, and give
women a taste of power. From the cynical police point of view, Clinton
State Park was a hot ticket. From ours, women were responding to adangerous situation with an authentic desire to bond and protect eachother.
And while this organizing activity was going on, three more womencalled the crisis line, describing the same two men in the same park.
That was the background for the meeting in my living room, a secretmeeting drawing on some of the Godmothers, but this group was called
the no-name group. We were the hard core, though our discipline atmeetings left something to be desired, everyone talking at once.

"Can't we just patrol, I mean not sixty of us at a time but, say, six?""Do you have time for that? What are the goddam cops for?""Not us, that's for sure.""I have to get up early for work.""Let's just kill the fuckers.""We're not going to catch anyone -they'll just stay out of sight.""They'll go to another park.""Yeah, so we can start patrolling there. Terrific.""Sure, let's devote our lives to park patrol.""At last, another opportunity for women to volunteer."24In one corner they were cracking up, fantasizing about uniforms and amarching song, when someone said, "What do we do if we see them?"
Total silence.
Then another flurry of talk.

"What do you mean? We'll make a citizen's arrest.""How do we know it's the right two guys?""That description is pretty fucking exact.""Yeah, but it's not a photograph.""Who cares?"''That's not the problem. I want to know how we bring them in. They carryknives.""Yeah, do we hold a knife to their throats?""You have to come in real close with a knife.""Maybe we should use guns.""Knives are safer.""Where've you been, on Mars?""Who has a gun?""We could just knock them out. With night sticks.""Do you know how hard you have to hit someone to knock him out? I mean,
without breaking his head?""How do we arrest them? We don't have one witness.""All those women who called.""They won't testify - that's why the cops won't deal with it, Dumbo."
More silence, except for the woman being called Dumbo protesting,"Hey!" and the speaker, who was her lover, mumbling, "Sorry.""We could use a decoy.""Yeah, then we'd have a witness.""I'll be a decoy," Jean piped up, and three women answered at once.
"The cops aren't going to take your word.""It's too dangerous. They carry knives.""What if they had you and we couldn't protect you?
There was a long silence this time.

"So what are we saying, these two fuckers can go on raping to their hearts'
content and we can't do anything?""We could beat the shit out of them.""We could tie them up and dump them naked in front of the police station, likein Sister Gin.""Not the'police station. We don't want to get seen.""Look, are they going to stand there while we tie them up?"
"What if they attack us? They carry knives."25

It's quiet again, breathlessly, airlessly quiet. There's no oxygen in theroom. We're all seeing it at the same time, the ultimate terror, one of us
getting separated from the others, the knife against her throat. What do
we do: argue? pray? give a karate yell?
_
Alice said it. "We can't do anything unless we're ready to kill them, if necessary."That's when I looked around the room and saw the fog rolling in, and it
was fear blanketing us, but each one separately, pulled back from theothers, each mind making its own horrible movies, and I knew we didn't
trust each other enough. Or else we just didn't have the training thatmakes you-makes men-able to take this sort of thing lightly; lookwhat they do to each other in war, for christ's sake, for no reason except
someone tells them to.
No one could tell us to. No one could say it was okay. Ilooked at Beverly;
she had worked at the DMV for ten years, she was 28 now, paying the
mortgage on her little house. Andy made her living stealing, but she
loved music, volleyball, me that year, and life. Even Jean who so readily
volunteered to be the decoy, wonderful brave Jean had a daughter anda lover. Could we pull it off, make a plan and carry it out? Could we keep
our mouths shut? Would someone drink too much, have bad dreams six
months down the road?
Brenda finally broke the silence. "Yeah," she said, very softly, like abreath. "It could get there really fast ." All our heads were nodding and thewords after that were just words.
I can't even remember how the meeting ended or what we decided.
There were more press conferences, the neighborhoods gathered hundreds of signatures on petitions, the police charged us with rabble rousing and the rabble was certainly roused, there was a demonstration in
front of police headquarters, United Way refused funding to the crisis
center, the mayor had to make a statement, and somewhere in there thecalls stopped coming and, we assumed, the two men we didn't kill
stopped raping women in that park and went somewhere else.
But I remember that moment, poised at the edge of something so dangerous, cruel, just, impatient and necessary, poised right where our theory
and understanding had taken us, and not able to leap. I have long since
stopped seeing this in moral terms: was this the right decision or thewrong one, could the large but amorphous women's movement havesupported an underground and were we weak and shabby not to be thefirst? History has its own logic: It's what happened, it's who and where
we were.
And, you know, I've heard, through the years, stories of a rapist/killer
in Seattle who the lesbian community went after and it's true he disappeared from the news. I heard the same thing about L.A. Apocryphal?
Who knows?
26

But I know this. Every time I hear about a woman who kills the man who
attacks or abuses her, and sometimes she lands in prison, or, in one case,a woman who killed another woman's rapist-she's doing time in Framingham right now- my heart leaps for her courage and for the simple
fact that he can't do it again and every goddam man has to hear that andevery woman has to know a woman did that. I tell myself few of us
choose to be heroes, and hope, if I should be chosen by danger anyone
with a scrap of sense and self-love would run miles to avoid, that I'll do
my part as well as Inez Garcia, Wanda Carr or Gloria Maldonado did
hers. But sometimes I grieve a little, for us in the no-name group, that we
couldn't give that to ourselves and each other, and I feel a little ashamed,
like maybe my freedom, such as it is, is getting staked on someone else's
bold, daring, perhaps imprisoned back.

2. THE DAY WE DID
But maybe it didn't happen that way at all. Maybe it happened this way.
Maybe a couple of us had studied self-defense intensively, and three ofus had guns; Gail had done target practice once a week for years. The
women with guns, who knew all about the wisdom of you don't draw a
gun unless you're prepared to kill, said straight out: "We can't go into thisunless we look very clearly at what might happen." It was getting pretty hot
in that room.

"The law won't touch them. We don't even have a choice, we have to use a decoy. ""What for?".
"So there's something to charge them with.""That risks someone's life. What is this, be fair to rapists week?""So what are you saying?""They carry knives. They're killers.""They haven't killed anyone.""Why are you defending them? Maybe they have.""Great. Now we're dealing with hypothetical crimes.""Hey - what do you think they do with those knives if a woman resists?"
The room got very quiet.
Finally someone said, "You think we should kill them in cold blood?""Cold blood, hot blood, what are you talking about?""They're enemies. Treat them like enemies.""That's how men talk.""Who else ever gets to talk?"
So we went around some, women saying things like "it's wrong" or "thenwe'll be as bad as they are." But when the logic was pressed, it crumbled.
Wrong, bad in whose terms? The clincher was when someone pointed
out how great we'd feel if two bodies matching those descriptions were27

to turn up in Clinton State Park. And we assumed we weren't the only
ones who felt this way, though women didn't often come right out withit.
.
So the rest of this story is about tactics and you fear you're caught in thewrong genre. Let me assure you, the genre hasn't changed. Just theframework. We were no longer insisting on being innocent, on proving
to the world, the media, other women, men, whoever would listen: see

how bad they treat us, see, see?
First, we talked about confidentiality and self-protection. While weagreed it would make a terrific self-defense case--either simple or complex, as in arguing that every woman was, in a sense, one's self- we were
not anxious to be martyrs and especially not to do time or be confronted
with a resurrected death penalty. That meant we had to keep our mouths
shut and not get caught. But we wanted everyone to know women had
done it, that was part of the point, in advertising lingo, to create a newimage. We needed to claim the act. We decided on an anonymous flyer
cleverly worded to credit and protect us at the same time.
What we agreed was this: those of us who l}ad been very visible aroundthe rapes, public speaking, meetings with the cops, etc., would haveairtight alibis. This meant Alice, Louise and me. All three of us balked
at this; we didn't want to be left out, and besides, there was something
about equal risk and responsibility that made us feel safer, more joined.
I said I felt guilty escaping the dangerous part, but Brenda pointed out
we'd be on the line soon enough, the firs t three suspects the police would
bring in for ques tioning. We got a little giddy fantasizing how they would
justify suspecting us since according to them the rapes hadn't happened
and the descriptions of the rapists had been, therefore, fabricated.
We talked too about other women who'd been outspoken, women at thecrisis line, a couple of women in the neighborhoods who'd risen wonderfully into leadership, women who might also be suspected but who
would not have the prescience to arrange alibis. We agreed that if innocent people were charged, seriously charged, we'd have to respond.
What if men were charged? We agreed women had to get the credit. We'dbombard them with press releases. Down to taking the rap ourselves?
Somehow we avoided this one, comforting ourselves with an obvious
truth: The cops were getting nowhere with tight descriptions and m.o.' s.
Where were they going to get with us?

"That's because they don't believe in rape. None of the women has officiallyreported.""Yeah, well these turkeys aren't going to report either."This got quite a laugh. We began to feel better.
We spent hours that night spilling into that room all our scary images ofrevolutionary violence, mostly derived from books and movies like The

28

Informer, Man's Fate, The Possessed: idealistic usually-young usually-men
drawn to a cause end up betrayed or corrupted, ruined, as bad as theappressors. Was this automatic? We decided it probably wasn't. Anyway
the danger to us right now was not corruption but doing nothing.
So we planned, very carefully. Jean would be the draw. She was willing,
had superb outdoor skills and was used to being outside at night, and she
knew how to shoot, though she was rusty and didn't own a gun. She andGail immediately, that night, from the meeting, took off in Gail's car topick up her .38, stop by Sam's for a silencer we thought would fit (it did),drive two hours to her cousin's camp in the eastern part of the state soJean could practice shooting. Someone would call in sick for both of themat work, the post office and the alternative junior high. The other two
women with guns would drive out the next day, to practice. Also the nextday, Alice and I would go to the park to study the layout, locate places forcover, choreograph our moves. Thursday night Brenda, Louise andAndy would walk every inch of the park, just to see. Friday would be thefirst try. By the time the meeting broke up, we were feeling much morein control, no longer so afraid.
Alice stayed for a bit, after everyone left, Andy with the others. "I feel
weird," she said, stretching her arms over her head and moving her torso
back and forth, "not to be part of it, the whole thing.""Yeah, me too. It would be really stupid though." I had opened the window
and was smoking, imagining us with the police.
"You think we can pull it off?" she said."I mean the park?""It depends - on 7flhether we can find the fuckers, you know, the layout of thepark, can we make it safe for Jean, practical stuff. .. ," like any other plan, I

thought.
The phone rang and we both jumped slightly. It was Andy, calling to see
if she could come back and stay the night. Alice picked up to leave.
"That's okay," she said, "I just like her to know I have rights." We hugged andwere standing at the door gabbing when Andy showed up. Alice left, andAndy and I undressed quickly and fell into bed. I had to be at work early.
We made love much slower and softer than usual, as if we were one
another's mothers, tending the body of the delicate newborn needingprotection and finding it in a woman's arms.

You want details. You want to know exactly what happened in that park.
Fat chance. Here is the article from the Silver City Herald, December----,
197_.
TWO MEN FOUND DEAD IN PARK
The bodies of two men were found today in Clinton
State Park, according to police reports. The men, iden29

tified as Roger Allston, age 22, and James Johnson, age
24, had been shot with a .38 caliber revolver.
Morris Abramson, a resident of the neighborhood thatborders the park, is reported to have found the bodies
when his dog ran into the bushes and he followed. Mr.
Abramson also confirmed a rumor which the police
have refused to comment on at this time, that a poster
was pinned to the jacket of each man, stating that thedead men had attacked a woman with a knife, and thatthey matched the description of two rapists operating in
the Clinton State Park. The poster, Mr. Abramson said,
stated that women had killed these men to prevent
further attacks against women, and accused the policeof refusing to act.
Clinton State Park has been the subject of controversy
between the Silver City Police and the Silver City Crisis
Line, the Crisis Line claiming they have received reportsof rapes by the same two men from 1~ women in a periodof three weeks. The description of the two men, circulated beginning October 25, matches the description of
Allston and Johnson.

Now you'll say, "You're just as bad as they are." Like the only other woman
in the audience when I saw Platoon: The day after battle, thousands dead,the innocent young hero, barely surviving, spots the wicked sergeant, theone who massacred Vietnamese villagers and murdered the decent sergeant in cold blood. Cold blood makes everything worse, and it was badenough. The hero aims his gun at the fucker, who clearly did not deserve
to live and would do damage to his last breath, and I'm sobbing shoot,shoot, but silently, since I'm alone at the movies. He shoots, and from one
row behind me in the dark theater comes the other woman's sad, shocked
voice: "Now he's just as bad as the others." As if, in the face of evil, the issue
were not "how to stop it" but how to stay pure"-a little finicky for my taste.
So let's get some facts on the table, as they say, like toast and eggs overeasy, the yolks filmed over but sitting up yellow and plump.
The rapes stopped.
The rapes stopped.
The rapes stopped.
Consider for a moment Silver City: the newspapers, the talk shows, theconversation at work and at the laundromat.
Consider all the people-women, men, girls, boys-hearing something
new for a change.

30

Consider those neighborhoods around Clinton State Park, the women
who loved to walk there and had been afraid. The men who had jerked
off thinking about the women's fear.
Consider the women who'd been raped, by these men and by others,
realizing they were not part of an endless chain of seemingly natural
disasters.
Consider the women in the no-name group, the boldness of the decision,
the dignity and strength of the act, the power of taking women's safety
into our own hands once we'd realized keeping our hands clean was not
our primary goal.
I know you don't want to hear this. You'd rather it was the other way,
sad but disillusioned: Power corrupts. Action is guilt. Victims areinnocent. The oppressed, aware but helpless in their oppression, afraidof becoming as bad as the oppressor, refuse to fight for power.
I know you don't like this story. But it could be true.

Note: Sister Gin is a wonderful novel, by lesbian writer and publisher June
Arnold, in which several women, mostly in their seventies, tie up, strip naked anddeposit in the center of town several rapists.

31Leslita Williams

Non-violence
I'm the girl who believes I believe well
I believe in violence in every cellevery sense of body in bones
and blood and back and brain
I'm the girl who put the paper target ,complete with 6 neat .38 caliber holes
through the small red heartof the line drawn picture of a manon my door I taped that target on my front door
one year
It made me smile when I came homelate nights alone afraid
I know about violenceand I'm the girl who knows the name of every tree
on the mountainand the place where lightning took out the topof the old pine the place where the Augustwind storm broke apart an oak
I know about violence
I'm the girl who knows the feelof a nickel blue blade cold
against the skin of rib
the girl who cries when she stands on the beachand the clouds roll and the sky turns pink
I'm the girl who knows the feel of scars healing
on a 12 year old backand the feel of hoping only that they heal
before the next set of leather belt strikes
I'm the girl who lived one summer grown up wild
on berries and roots wild plum & apple
green leaves and fox grapes and asparagus
I'm the crazy girl who can run in the woods
I'm the girl WJlO survives.•
I'm the girl who knows the colour of purple green bruises
from hand and fist on arm and jaw the feelof tracing those old lines about loveand learning and for your own good
I'm the girl who can build things out of wood

32

I'm the girl who has looked into the bloody faceof a boy dying from a shotgun blast hunting accident
and the face of a girl a friend hit killed leftby a man in a white cadillac
and the young face of a father killed slowly
but just as dead from radioactive particles
I'm the girl who talks to her dog and her furnitureand her foodI'm the girl who owns a gun and knows how to use it
and I'm the girl who doesn't
I'm the girl who knows the catch of breath
when someone might when someone holds one
loaded and aimed close
I'm the girl who tamed wild horses
by talking talking softly talking
moving slowly talking soothing
I'm the girl who practices the zen tea ceremonyby herself at home before bed
I'm the girl who drank Guinness extra stout
with 20 year old Irish girls girls
who smuggled guns across the bordersmuggled bombs across the border
girls who liked bluegrass music and sang
sweet sweet harmonies
I'm the girl who wakes up laughing
I'm the girl who gets the burning tower
I'm the girl who stopped a rape in progressby wielding a broom and screamingby hitting the man in the headwith the broom with the wood handle of the broom
and screaming screaming screaming
I'm the girl who was not brave but afraid
I'm the girl who talks nice talks polite
like my mama wanted whenever I see fit
I'm still the girl who survives
and I'm the girl who knows violence
who believes in violence
I'm the girl who's been left slowly and all oh st,ldden
left for an art school left for a Perfect Masterleft for a man left for a plan for a Good Job& a house in the suburbs left for a younger womon
left for a line of cocaine

33

I'm the girl who knows about pain
I'm the girl who's stayed through car wrecks
angry threats screaming fits
the girl who's held on long past common sense
and I'm the girl who still blushes when someone I love
flirts well across the table
I'm the girl who talks out loudI'm the girl who makes mistakes mistakes
and I'm the girl who makes changes
I'm the girl who believes in violence
I'm the girl who owns a broom and knows
how to use it
I believe in violence I believe wellin every cell every sense of bodyand believing is what frees me frees mefrom falling into using it
I'm the girl who can choose34And Brazil Danced With Africa Max Dashu 1972

35

Barbara Ruth

When Marie Laveau Danced in Congo Square".
When Marie Laveau danced in Congo Square
All New Orleans came to see her.
Black and white, men and women,
Her lovers and friends,
Those who feared and despised her - ,All New Orleans came on Sunday evenings
To watch Marie dance in Congo Square.
When Marie Laveau danced in Congo Square
The drummers drummed easy, subdued,
Lightly touching the skins,
A gentle calinda,
The drums of the Rada
They smiled and bowed to Marie,
Understanding that here, in the midst of the city,
There would be no Petro drums,
No possessions,
No prophecies,
No love-making,No loas, spirits of the dead would appear,
This was the Sunday performance,
This was Marie, drumming up business.
In Marie's blood flowed the fire of the nations,
Spain, France,lbo, Yoruba,
Choctaw,
The blood of the Mothers,
The blood of the loas,
Generations of women
Burned in Marie
While she danced.
The swirl of the peacock covered her backOn a magic shawl she wore
A gift from the Emperor of China.
Her hair was so long and thickThat at first
You could not
See the snake

36

Heavy on her shoulders.
At first you thought it another necklace
Or a golden chain for her waist
Or a breast ornament
Like those worn by the ancient
Women of Crete.
But as the jewels moved,
Gleamed opalescent, pulsed to the drumming,
You saw that they lived,
That Damballah, the Snake God
Rode Marie.
When Marie Laveau danced in Congo Square
The people saw her eyes
And at first were afraid.
No eyes of a human could be that black.
They feared her eyes as they feared the snake.
But the people knew that both had the Power.
Both the eyes and the snake could heal.
When Marie Laveau danced in Congo Square
Milk flowed from the thousand breasts of Black Isis,
The golden thighs of Parvati beckoned
And the Blessed Virgin conceived once more.
When Marie Laveau danced in Congo Square
Freda-Erztilie, Goddess of Feminine Beauty
Looked down from heaven and envied Marie.
When Marie Laveau danced in Congo Square
Baron Samedi, Lord of the Graveyard
Took no lives that day.
When Marie Laveau danced in Congo Square
The sick were healed, the broken made whole
And the people knew her Power.
Despite the cross she wore round her neck
The priests smelled a witch
Retired to their churches
Praying to God the Father
To strike the blasphemer down.
But what power had a priest against her?
What did he know
Of herbs and oils
Of fixes and spells?
What could he know
Of the tides of blood37

Of trouble and love
Loas and Power
What could a priest know of these?
When Marie Laveau danced in Congo Square
The white people said
"This is black magic
Before our eyes."
But the slaves and the Free
People of Color
They knew that these were only the previews
For the real dances at Bayou St. John,
Solstices at Lake Pontchartrain,
Where no tourists came to gawk.
The Black people knew
And a few white women, first one or two
Then twelve,
Thirteen with Marie
A baker's dozen
A witches' covenLagniappe.
When Marie Laveau danced in Congo Square
La baliannel, loa of love
Said, ''This is my child."
Brigitte, loa of seduction, disagreed.
"No, this one is mine."
But not even a loa could own Marie.
Many rode her
None could possess her.
When Marie Laveau danced in Congo Square
The slaves thought of Santo Domingo
The drums seemed to whisper the names:
Dessalines, Sandoval,
Toussant.
The snake seemed to hiss
Rise Up.
When Marie Laveau danced in Congo Square
She moved back and forth, propelled by the drums
And the people came to the side lines
To whisper to her,As the snake, the eyes and the peacockFlashed by,
They said:

38

High Priestess,
Voodoo Mama,
Voodooienne,
Mambo
How much for a black cat bone?
I'm going gambling on Saturday night.
I need all the luck I can get.
Marie, Marie, I need you to uncross me.
Better sell me one of those coiled snake candles
And a vial of protection oil.
Somebody gave me the Evil Eye,
No offense, Marie, I don't mean you,
(There ain't no protection against your eyes)
No, one of the immigrants, Italian, I think,
Is cursing me with the evil eye.
Your got some quicksilver?
Maybe a cat's eye charm?
Marie, I want my husband back,
Give me an onyx,
Give me war water and tell me a spell
To break up him and his woman.
I got a court case coming up.
Better give me some saffron
And a guinea pepper.
And Marie, burn a candle on the judge.
Marie, you know my baby's coming soon,
Give me herbs and a piece of chalcedony
Burn a candle and pray over my womb,
Make it an easy delivery.
If it's a girl, I'll name her for you.
Marie, please help me, I'm scared.
I looked in the mirror and saw
The Baron, wearing that old black top hat
And smoking on his cigar.
I knowed he was coming for me.
Marie, I don't want to die, can't you
Make that old Baron take somebody else?
Talk to him, Marie,
All the Saints and the loas listen to you,
Even the Guecies, the gods of death,Even the Baron himself.

39

Marie, I got a toothache oil of cloves won't cure,
Give me a crystal to put on my cheek.
Marie, do you know Mexican witchcraft?
Jesus stole my shoes and I'm scared.
Marie, I been having terrible dreams
I need a garnet for my pillow.
Marie, my milk won't come in.
Give me a piece of serpentine
To wear twixt my breasts,
Don't let my baby go hungry.
Marie, make a doll for me,
Bless my mojo bag,
Sell me some gris gris,
Say a prayer for me,
Marie, make my wishes come true.
Then the drumming stopped and the people were still.
There was just Marie
Lifting her arms to heaven, and calling, as though to her lover
Shango, Oya, Ogun, Elegua, Oshun, Yemaya, Obatala,Oh, Seven African Powers,
Hear my prayer
Give my people the strength
To endure
Give them the vision
To live
High John the Conqueror,
Lift their pain
Like you lifted the slaves from the fields
Stop their fears
Like you stopped the slaveowners' whips
From the backs of our brothers and sisters.
Saint Expedit,
Do it now!
When Marie Laveau danced in Congo Square
The Saints and the loas made love
And Voodoo caught the soul of New Orleans.

40Paula Brooks

Arousing the Poem
Relax.
Say the words slowly.
Let the syllables dancein your mouth
like nipples
erectwith passion
erectwith power
to evoke rhythm,
to incite the flowof other moist syllables
that melt into words
that melt into phrases
that position and clusteron the cool white sheet..

41

ladder, Puye Ruins, Pajarito Plateau, NM
Grace Harwood

42

Teya Schaffer

We Learn
At school we learn

the word 'dog' cannot bite
we learnwords are the map not the territory
Terror nonetheless in certain words"tumor" "malignancy"
along the contours of your breast a laying on of hands
all our disbelieving prayers speaking in a new tongue"contained" "no metastases"
beliefBeliefbeyond words, certainty:
you will not die this year.
chemotherapy would bea crime against our bodies.
Floods follow this terrain earth slides away
uncharted"prophecy" too large a sounddictionaries show no entry
under "I havea knowing"
Instead
I use the word "love"
to set a cord of survival
swaying between us(at school we are taught

the word "love" cannot embracebut they have not heard
our hearts pronounce it)

43

Barbara Rosenblum/Sandra Butler

The Will(Barbara)
I've just finished reading the final version of my will. Irs 11:30
p .m.; Sandy is sleeping in the other room and the house is still. I
glance across the room and see my dog sleeping in Sandy s father's
old brown leather reading chair.
My will. A codified, legal document. The crystallization, the representation of my wishes. I never thought 1'd have any money todivide. I never believed in accumulation and savings, just a pension for myoId age. Now I have money. Medical malpracticemoney. Blood money.

(Sandy)Neither of us ever had any money. Both of us worked for wages. Barbara
was raised in a marginally working class family and had been expected toenter the postal service. Safe, secure work, her father told her. Benefits,pension, security. But she became an academic; I worked as a secretary
while raising my children. Now that they are grown, I am a counselor andworkshop leader. For the seven years we have lived together, we always
contributed equally into our household account. We meticulously added
expenses at the end of each month, gathering receipts from the brownmanila envelope stuck behind the kitchen door. We would sit together at
the kitchen table with a pocket calculator, add the bills (which seldom
exceeded $600.00) and divide them equally, with the exception of a separate accounting of long distance telephone calls. Then we would exchange
checks and drink tea.
(Barbara)
The Kaiser doctors told me that the lump I showed them was not
suspicious. Even as it grew, and I returned for a second evaluation,
the doctors assured me that nothing was wrong. But I was alarmed
and insisted upon a mammogram. Negative. No problem. Andeven when my right breast was twice the size of the other, the third
doctor I saw, a surgeon, told me to stop drinking caffeine. No single
individual doctor in the Kaiser HMO system caught it. And because of their collective incompetence, I am going to die within theyear, at the age of 44 or 45, depending on how I can stretch the timefrom this moment.
And because of their incompetence, and because I was furious
enough to fight, I got a malpractice settlement for $296,000. All in
one check.

44

(Sandy)
It was a series of appalling mistakes. The breast cancer htzs already invaded her lymphtztic system. Barbara was consistently misdiagnosed andgiven inadequate treatment. I watch her undergo painful treatments,
adjust to new limitations and face her own death. I am stunned by themagnitude of my rage, my approaching loss, and feel powerless as Barbara
struggles for her life. And now, we face the outlandish reality of moremoney thtzn either of us has ever imagined.
(Barbara)
I hate this money, this goddamn blood money that comes fromyears taken from me. As if it could ever make up for the negligenceand unfairness of it all. I hate the disease. I hate how my life hasturned into a series of appointments in doctors' offices, scans,blood tests, chemotherapy and its side effects. Am I supposed tosay, 1/$20001/ every time they stick a needle in me? Is every experience of throwing up worth $100? This money was supposed tomake up for my shortened life and the extraordinary emotional
pain that comes with the consciousness of that fact. This money
was supposed to compensate me for the physic al pain I had toendure, the hopitalizations, the morphine shots. This money issupposed to compensate me for the loss of a normal life. Ever since
the day of my diagnosis, I've had to reshuffle the ordinary balanceof attention bet'Y'een self and other. Ever since that day, I've had tobecome more self absorbed, more inward. I have learned to constantly take inventory. I lost my sense of proportion, my sense of anormal life. Am I supposed to have a meter ticking away each timesomething terrible happens to me, financially evaluate it and see if
it all adds up to $296,000?

(Sandy)She cries each time they draw blood. Little childlike whimpering sounds
thtzt she tries to mask with apologetic jokes. I cry at sad and sentimental
television programs. We are both edging toward our own feelings with thesame htzlting steps. Unable to deal directly with the overwhelming realityof this disease, we find smaller, tolerable ways to experience our grief·(Barbara)
During the next few months I tried to wrest pleasure from this grotesque circumstance. We traveled, bought leather furniture, custom-made tables, botanical and architectural engravings, designed
a rug while in New Zealand and had it shi pped. Unable to fabricate
the desire for any more objects, it finally became clear to me that we
could never spend all this money. I had to face the fact that money
would remain after I died. I would need a will.

45

(Sandy)
One night at dinner time, Barbara told me she was preparing to draw up
a will and wanted to discuss her feelings and the provisions with me.
Unable to respond, I busied myself with getting dinner on the table, mymind racing as I tried to sort out all the feelings her matter-of-fact sentence stirred in me. It was real now. She needed to prepare for her death.
She would die. I would be alone. We wouldn't grow old together. Short,staccato-like thoughts that slid away only to be quickly replaced by another. Unable to hold on to anyone feeling, my mind was filled with kaleidoscopic images and I sat down heavily on the kitchen chair and began tocry. I tried several times to postpone the discussion, saying that I wanted
a bit of time to sort out my own responses and the need for us to talk about
this. Gently and firmly, Barbara kept returning to our need to face thefinancial aspect of her illness and approach it in the same way we approached everything else. Clearly, truthfully and lovingly.
We began to talk haltingly about what she wanted to go into her will, how
we would proceed to find a lawyer that would be responsive to the fact that
we are a lesbian couple, and how we would go through this process as we
had all the others; preparing paperwork for insurance coverage, notifying
colleagues of changed plans, interviewing surgeons. We had done all this
together, Barbara reminded me, we could do this as well. Still unable toformulate a reply, having forgotten to eat dinner, I began to clear the tableand do the dishes.
Almost at once, I began to think about this money, dream about it, calculate it and the divisions Barbara had initially proposed. I began to recognize the unstated expectations I had unconsciously formed about thismoney. For Barbara it represented time she would no longer have, while
for me, it was an unexpectedly complex series of assumptions I had neverarticulated to myself or to her. I had unconsciously taken for granted that
Barbara having money would mean that I, too, would have money. The
fact that I had continued to work, travel, give workshops and see clientswas an expression of my own work identity, my own autonomy, my own
need to keep a part of my life for myself. My work was personally gratifying in addition to assuring me that there was more to my sense of myself
than the couple identity of Sandy and Barbara. But since Barbara had received her settlement of $296,000, my work never again had the samefinancial urgency. And now, I was facing the fact that Barbara having
money meant no more and no less than that. It was hers, to do with as she
saw fit. She might spend it all on travel, or artwork, or her family or
political organizations. It was all her decision and nothing at all to do withme. I felt defenseless, jealous, and surprisingly angry.
(Barbara)

I approached the will like I approach everything else in my life:
slowly, steadily, and methodically. I always collect lots of data and46

ask people questions. In effect, I do a little survey. I establish theboundaries of the range of possibilities and then I locate a place onthat continuum that's comfortable for me. I always take a rational,
problem-solving approach to things. This is no different. It didn't
seem to be about emotions, feelings, relationships, or obligations.
For me, it was about doing it "right"and that meant fairly andjustly.
I drew a line down the center of a yellow pad and put the words"money" and "symbolic" at the head of each column. Under"symbolic," I wrote friends' names and decided which objects I
wanted each one of them to have. Under "money," my task was tofigure out the percentages that would go to the important people in
my life.

(Sandy)What are the percentages of loving? How can I translate respect, value,
support, ideology, years spent, shared history into ratios? But that is, ofcourse, what needs to be done-for her will translates the language of theheart to that of a bloodless legalistic document. During all these weeks, I
have not made my feelings about this process of allocation explicit. I could
not tolerate my own yearnings, my own needs to be chosen as the mostimportant person in her life. Some part of my feeling of loss had to do with
understanding that preparing a will would be quite a different matter if I
had remained in my traditional heterosexual marriage of the 50's. There
would be fewer choices, more certainty and unquestioned priorities. But
we had both chosen lives that would not tolerate such assumptions. I knew
she had a family: a recently married younger sister whom she raised andwhom she still protects fiercely and loyally; an infant nephew; aged andfrail parents; close friends. I knew all this but had not allowed myself thedangerous experience of thinking about what it might mean.
"A will is not a negotiable document. These are my wishes," she mutteredwhen I read the first draft of her wishes and began to question some of its
provisions. I began to recognize that I would not be "taken care of" in the
distribution of her assets. I would not be left "well taken care of." Her parents, sister, political commitments were going to siphon off what could
potentially come to me. I had come to think of this as my blood money. My
trade-off for the loss of my beloved partner. If I wasn't going to have
Barbara, I wanted all the money that had come to represent her life.
(Barbara)
I don't want to leave anyone anything. The only reason I'm doing
it is because I have a sense of obligation to my family and to Sandy.
I hate this money. I hate every dollar. I have the image that all thedollars are stuffed inside my stomach cavity and I am pregnant
with money. I can feel their hands dipping inside my stomach
cavity and taking out handfuls of bloodsoaked dollars.

47

I am ashamed of these feelings, of not wanting to leave any money
to my important people. I don't want anyone to have a good timewith my money. 1'd sooner give it away to groups and organizations whose work I support, that do good things in the world. This
blood money is in need of redemption, and good works is the only
way I can imagine redeeming it.

(Sandy)I listen to her plans for giving this money away and recognize for the firsttime how much I resent having to share this blood money with anyone else.
How much I resist any feelings of generosity when this process is predicated on my losing her. How much my heart closes around not "having,"
not"getting," not being cared for. I was faced with the task of confronting
aspects of myself that were carefully masked, guarded, or denied. I had toencounter the infantile, jealous, terrified, competitive, scared Sandy.
While I understood that I was not going to allow myself to act upon thesefeelings or this new knowledge of myself, I lcnew that I needed to face themsquarely. I struggled with my proprietary attachment for Barbara, allowing little room for her love and need of others. I faced my bitterness when
I recognized my patterns of self-denying generosity that left me with few
financial resources as I approached 50. I longed for but feared financial dependence. I tried to balance my need to be "special" with the sense of
belonging and welcome her family has offered me. I try to constantly
remind myself of the meanings of this life that are being reduced to codicils
and clauses.
Barbara became my teacher. I could not allow myself to be less than she
was insisting upon for herself. Wanting to keep my autonomy, my independence, and at the same time allow myself to be financially supported
was a dichotomy that was both mutually antithetical and one I heartily
disapproved of in myself. Having generosity of spirit and sharing myideas, accomplishments and money with others was one of my best qualities and one which Barbara both admired and emulated. I was, however,faced with the irony that there also existed deeply inside me a set offeelings
that were completely at odds with my carefully constructed and thought
out feminist politics, but nonetheless deeply rooted in my psyche. I reminded myself of all my conversations with Barbara in our early courtingdays where we passionately agreed that our partnership (and indeed all
good partnerships) should be formed by two independent women who join
to build a life together on a foundation of competence and economic selfsufficiency generated by work based on care and passion. We were women,
we assured each other, who would make autonomous decisions about how,where, and when to spend our money. Yet I found myself wanting to hear
Barbara ask, "What would you like to do with your time?" How would
you like to spend the time we have remaining to us? How can I make yourdreams possible?" I wanted her to keep me at home. To allow me to care forher-to play with her-to travel with her and not worry or even think48

about making a living. Now that there was enough money, why should I
have to work? How can I continue to feel like the most important person
to her if that fact is not reflected in her financial decisions?
But what if it had been me who had cancer? How would I have divided mymoney among Barbara and my children? My political commitments?
Wouldn't I have found myself struggling similarly with ratios, percentages, choices? Wouldn't I have to evaluate individual life against politicalneed? Collective use against private gain?
The other irony is that even if she had not won the malpractice suit, evenif we had no money except our weekly salaries, I would still have made thesame choices and live exactly as I do now. I chose to cancel my training
workshops across the country to be at home with her. I chose to reduce myincome by 2/3 in order to free up the time that would allow me to be athome with her. I made that decision quickly and clearly and felt no conflictor sense of sacrifice. But I am still left with confusion about the meaning
this money has for me. Do I need proof that she appreciates my choices?
That I mean the most to her? Still, even while berating myself for these
responses, I have felt jealous, angry, and hurt that she appears to care more
about other people than she does about me. The feeling embarrasses me but
is surprising in its intensity. I castigate myself for constructing an equation that makes money equivalent with caring. I feel ashamed of myself
and unable to staunch the feelings that flood me. I hold the intrusive
thoughts in abeyance, but they intrude. Again and again.
(Barbara)
Under the column headed "money," I begin with my history. I
have always given 10% of my income for organizations that reflect
my social values. So-the first step was clear. In my will, I had tocontinue the tradition of giving to others. Not everything would go
to my sister or Sandy or my parents. But, I still had to figure out theother 90%. It is a prob~em of translation, I tell myself, a problem ofnumerical representation: how to express in legal language what I
experience as a deeply interconnected, dense, cross-referenced
narrative which holds together a number of values and principles.
I began by examining how I had lived. I reviewed my history to uncover the consistent and deep values which had informed mydecisions. I reminded myself that I always talked about books, art,
music and movies. I remembered that the most satisfying conversations combined emotional intensity, cultural themes and intellectual analysis. I had always had lots of records and books but
never too many clothes. It became clear to me that the primaryvalues by which I had lived my life centered on intellectual andpsychological development. I became a teacher, a profession that
embodied these values. Now these same values are reflected in thetrust fund which provides for an education for my sister's children.

49

My mother has a second-grade education and has suffered from illiteracy all her life. She was unable to hold a job because she
couldn't read or write or add numbers fast enough. But when she
reads slowly, she understands complex ideas. My father, now half
blind but still hunched over the New York Times every day withhis magnifying glasses, left me a legacy of precision-in language,
measurement and thought. It was my father who measured myhandwriting with his drafting instruments to make sure the letterswere equally sized and properly formed. My parents gave me their
deep love (and awe of) education and learning.
Towards them, I have a sense of obligation. I want to make surethat they are as comfortable as possible in their old age. And, forthem, I created another trust fund, so they could live out their lives
with as much intellectual stimulation and physical comfort as
money can buy.
Once I had articulated my basic values, I coulp. consider how muchmoney each person needed. I could hear my father's voice, repeating Marx, "From each according to ability, to each according toneed." But when I thought about who among my beneficiaries
really needs money, the answer was no one. Yet in another sense,
everyone needs surplus cash. Who among my beneficiaries can't
use a few extra bucks, to have a vacation, buy a better stereo, savefor a child's future, have an education. Make a dream come true.

(Sandy)"What will you do after I'm dead?" she asks me tentatively.
"I don't know, why are you asking me?" I reply, shocked and frightenedby the question.
She becomes angry and explodes, "Because I'll be damned ifyou'regonna
spend this money with someone else. Or buy a house. I don't want you andmy sister to have luxuries as a result of my death. I'd rather give it all
away!"
I pause, wondering what I plan to do with this money, this blood money,
however much it turns out to be. How can I spend it in a way that will
honor its origin? We sit together late at night, huddled together on thegrey sofa and alternately talk and cry about my life after her death. About
our painful acknowledgment that there will be an after" for me. She tells
me of her desire to provide that which I never had:a rigorous education. As
a single mother and even after my daughters were grown, I continued tolive in the service of others, never creating the time or resources just formyself - to think, to write, to move from emotional work to the more clearedged world of the intellect. She encourages me to remember that old
longing, those old dreams.
I feellightheaded as we talk. It feels somehow like a piece of theater. Here
we are, two healthy looking, sturdy, middle-aged women playing roles.
II

50

One is pretending to be a dying woman and the other, her loving partner.
!tell her, "This just doesn't seem realto me. You just don't seem sick." Butthen I begin to sob because her sickness is all too real. It is under thesurface, not visible but centrally determining. It cannot be seen or felt or
stopped, but it is the center now from which all our decisions are made.
"Yes," I tell her much later, tears spent, "you're right. !thinkI would liketo go back to school." I lay with my head in her lap as she strokes my hair.
We had talked for so many hours during these years about my hunger tolearn, about my desire for a more traditional education, about my ache forher to guide me through the books, the discussion, the intellectual subtleties she so relishes. "I think I would like to use whatever money is left to
me to study, to write, to learn. It would be both a reflection of my desire
as well as a way to honor your life. Also, it'll help me get through the next
period of time, however long it takes for me to learn to be alone again."
Her face softens and she takes me into her arms. "Yes. Yes, that's perfect.
It is everything that matters to me. Everything I care about. To spend thismoney on your education sounds right to me. To make your dream cometrue." Understanding we have come to an ending, we stop and look carefully at each other's faces . Gently, we smile with pride in our accomplishment. Hand in hand we tenderly lie down in bed, wrap ourselves aroundeach other and go to sleep.
(Barbara)
A few months later-, we sit at night on the grey leather sofa. The
cancer has spread to my liver. Now these theoretical issues, these
arbitrary percentages, will soon go into effect. Now I'm frightened.
Did I do it right?

(Sandy)Now that I am facing the final year of Barbara's life, I have come tb understand some of the larger meanings embedded in the process of creating thiswill. I have been forced to turn and face parts of myself that lived silent,
invisible, powerfully determining precisely because they were unacknowledged. I have begun to learn how the public values I had espoused often
masked the private feelings I had denied. I have begun to allow the blending of the public and the private self both in this process with Barbara as
well as in my relationships to work, to my family, and within our community.
I have seen Barbara send and receive stirring personal letters to friends
and colleagues across the country, articulating the nature and meaning of
their relationships. I have participated with the women who formed ourhealing circle that first met two years ago to hear Barbara's diagnosis.
They did then, and continue to provide love, support, anger, and a telephone tree. We have together created the anniversary celebration on February 22nd. One, and now two years after her diagnosis, a gathering51

where we honor living consciously with champagne, laughter and tenderness.
My life with Barbara represents the most open, trusting and emotional relationship I have ever had. She has taught me many things and is leaving
me a legacy that will provide me a stable and lasting foundation for the restof my life. I have been blessed with 100% of her time, devotion, courage,
sense of humor and passion. I have been with her for eight full and richyears and flourished in her love. I have stretched and seen her do the same,
both of us moving in directions and on paths we never would have beenbrave enough to choose alone. We have both learned about what it means
to love fully, unquestioningly and unstintingly, for there is finally noother way to love.
And when she leaves, it is not a percentage of herself she leaves, but all thetastes, smells, melodies, and sensations of our loving.
(Barbara)
There it is, all proper and legal. There are many things wrong withit already. If I did it again, I'd give away much more money togroups whose work I support. I'd change things around a little bit,endlessly refining it. But on the whole, these are my values. To beof service; to work to liberate others from ignorance, poverty, anddespair; to help others discover their own possibilities. And thesebasic values, the ones that have shaped my life, are now legallycodified, these passions of a well-examined, well-lived, well-spent,and well-loved life.

52

window, Museum of New Mexico, Santa Fe
Grace Harwood
53

Lynn Crawford

Letter to a Friend
Hello Angie,
My "cat kin" and I, we're out under the grape arbor, and the bees drink
and laze between the vines. It's the first football Saturday in Ann Arbor.
The thick hum of cicadas is punctured by cheers from the stadium. I feel. sad, for this summer grown weary of itself, and for my garden, whose
beds I must soon turn over to sleep. Everywhere the leaves parch a little.
I will be glad when the heat subsides, the colors sharpen, my concentration quickens. The energy to write is ripening like a little plum tucked
under my heart.
Also rising are those voices inside of me that would argue, insinuate anddeprecate to the point of choking off my willingness to write. I am not so
perfectionistic about other aspects of my life; why this one? If only I could
slice off a sentence the way I slice a tomato. Not caring about a little
unevenness and totally absorbed in the way the patterned suspension ofseeds slides off the knife.
Last night, as I crouched in the tub, looking between my thighs at the
gently swirling water, I suddenly heard myself singing, in a soft girlish
voice, ''I just can't make it better / Anymore/ All alone ..."
I heard it like you suddenly hear your pulse in your ears after running,
after long effort, and it was oddly comforting. The song was singing itself
from my unconscious and it was rocking me, freeing me. Suddenly, thisvoice, and me listening, trying to recognize, identify, and pinpoint a timeor place.
It wasn't a little girl I found, it was an older girl. An eighteen-year-old
who would have called herself a woman and who would not recognize
herself as a girl but I can see that girl now who was me. I have just been
told that my mother has had a cerebral hemorrhage and I am leaning
against the wall in an Intensive Care waiting room. My consciousness is
slipping. Somewhere inside of me a coat drops from its hanger andnurses with white uniforms swim the closet-like darkness saying "hereyou are, there you are" as they slide a chair behind me. I stare atthe floortiles, their gum-ball blueness and hide between my knees the redness of
my cheeks. My mother lays flat in the next room with her eyes staring flat
like stones and drying out and I am embarrassed, an eighteen-year-old
woman, embarrassed, that these other women will see my need for thiswoman, my first woman, my mother who is dying and I am embarrassed.
What is wrong with this picture?
Inside I feel the emptiness of the house in which she cooked, cleaned,talked to birds and dogs and entertained no friends. In a closet there is54

a pad of yellowed drawing paper and each piece is blank. Once there
were contours of women's bodies sketched in charcoal but the years
wiped them into a grey blur of cigarette smoke and the cold light oftelevision. There are stacks of books that talked to her but did not tell her
story so after awhile she lost interest in that too. I see the loss of what she
might have been as I see the loss of what she was. My mother, with her
lipstick too red, waiting too intently to hear about my day.
As I straightened up in the chair I stared into the black stripe on a nurse's
hat. I swore silently to myself. I must make it better, with my life and mywords. I will be responsible. I will make the world know the loss andmeaning of her life. I will unravel a saga and it will be beautiful as I knew
her to be beautiful.
That was my vow, March 19,1973, the day my mother died.
More than ten years have passed now. I have worked many jobs, lived
in several houses, loved some men and more women. Sometimes I havewritten. More often I have worked for money. Usually I find myself
returning to this first theme, source, home, mother. Often I have quit,
immobilized. I have not felt equal to the task.
Last night, as the water drained away beneath me and I sang my little
song, suddenly I could see that I simply cannot and will not keep thatvow. I will never write a Great American Novel or Stunning Universal
Poem that will redeem the wastefulness of a culture that assumed theworld was more safe and natural with my mother's and your mother'sartistry /love/ engineering/ intuition/ craft/ anger /mathematics and organizing confined to bungalows / cupboards / "hobbies" / the projects /company coal houses/Kresge's or Kelly Services. I cannot and will not
go back and reconstruct her conversations with sparrows, children andloneliness and offer them up as expressions of a woman with a full andfree life. Instead they will be left as they were. Conversations of a woman
in isolation.
'1 just can't make it better / Anymore/ All alone"- and I won't. The
anger, the sadness, the sense of wasted life cannot and will not be written
off. Instead, it will be used, as part of the need for life lived differently.
No one voice, no one story, no one writer can redeem, rectify, justify orrevise. To think so is to tempt constriction or cultivate haughtiness. To
think so blurs the details of another's life and story.
We need all thevoices,of all the mothers and all the daughters, in all their
particularities.
Specifically, Angie, sometimes I need you, to listen as I squeak my toeson the bottom of my tub, singing; to tell me your stories and revisions; tosing a little song·in your bath.
In these lives lived differently, we need each other.
Openly.
55

Jan Hardy
Memorial Day, three years aftersome trees hold to their leaves all winterno matter how skeletal the stems,
how brittle the brown flags waving 'in the wind,
the trees chatter, branch after branchwhispering denial, they hush themselves to sleep
and sometimes i hold to a lover long after
no matter how fragile the bond,how feeble the hand she lifts, waving, we're casual,
we chatter, and time after time
whispering denial, i hush myself to sleep
and into dreams where i can't let go
and this time it's all right, it's understood,
forgiven, my hands
around her neck, i was drowningin myself and only she
could save me, just tell me
what you want i screamed, i knew
she was leaving me
next day, my fingerprints
violet-blue on her neck
like bite marks,
friends teased and she took itlike a lover, i followed her lead, butshame-faced, not my usual
lusty
self
i knew she was leaving me
now i live here alone, is it penanceor simply learning, watching
the trees as they shrug to the sky
each spring, their hands open,
helpless; then fall
after fall they shed, shuddering, barebranches like arms without hands, my hands
around her neck, fingers pried56

away clenching into fists as i sobbed, disgustknotting my body into dead wood, i would neverhurt her except i was drowningin myself, i held on,a deathgrip
open the hand, touch
the self firstlearn to live alone
there are leaves on the groundthere are more, growing
touch
the self
first

the radical feminist

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ISSUE 11'.h.
• Feminism and AIDS
Lfl
• Interview with Janice Raymond• Taking direct action: women rise in resistance• Against nationalism: the betrayal of Algerian women• The new defeatism: Is the Future Female? reviewed• Writing our own history: Northern Ireland• and the start of a new series: women's reflections on
the state of the movement
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57

Jan Hardy

independence day
i read by the window
leaving the light off
the page mottled with changing patternsof sun and leaves
when it grows darker
the leaf shadows blurand i wish you bright sun for your holiday
on the page, two women are falling in love
i curl up in my chair
the binding of the book rests lightly
in the v between my thighs
your scentand the gentle ease of our bodies
comes back my smile
against the wiry tangle of your hair
the woman in the story is saying
i've never had so muchtime to read before
she and her lover opening
boxes of books they've orderedi remember how carefully i used to arrange
for times by myself to read, to write
now they drop at my feet like ripe apples
i wish you bright sun for your holiday
i begin to hate the magic you fed methat made me lose hunger for my own
sweet orchard

58

Judy Meiksin

Tied

One day the rope pulls taut,stars close in around our bed
whitening the sheets
as love spills down our legs.
Our fingers wrap together
ring against ring,
the rope among our legs
and around our waists
cut twice and tied.
When stars rotate out
to the sky, one of us
reaches a hand to them,
stretching the ropetill it scrapes the skinof the other and bums.

59

Margaret Tongue

Fathers /Daughters
Our fathers grow old at last,
Our fathers who raped us,
They grow old. They send us letters.
They speak to us as if nothing had
Happened or else as if we had really
Been lovers, as if they had neverWounded us, some to the death,
As if time had made us companionable
To them - wives, or their own mothers.
Dear Annie, Dear Clare, Dear Elizabeth,
They write, may I please have a note
So long since I've heard let me knowhow you are and how is my grandson
doing in school? I am still here
Nothing unusual to tell you justthe same routine day after day a wordfrom you would sure make me feel good
Please write. Honey, I miss you a lot.
Such letters traced out in a tremulous
Hand, such letters are beyond us.
How were they written, and how canThey come to us now and what are we
To do with them? Is some answer
Possible? We can crush them, rend
Them in pieces, burn them, we can
Try to forget, but always, admit it
Or not, we end by weeping. Always.
In spite, or because of it all, we care.
We know the brutality of loneliness
When we hear it, the daily, difficult valor
Of old men; their frayed shirts; talcum
And bay leaves, their delicate odors.
Tenderness in us is more than a word.
But the word that would hear? Is it
In us? Can we speak it? The word they
Cannot hear, is it a word we can spare?

60

Oh the fathers, the fathers,
Aching as always after the beauty
Of children, of girls, of their daughters,
Wanting to own it, to make it theirs,
These husbands and heroes, providers,
These scholars and preachers, teachers,
These rapists and killers, these fathers,
Who offer us love at the end, old men
Who write us innocent, beautiful letters.

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61

Rose Romano

Not to be Trusted
La migliore parola e quella che non si dice.
-Italian proverb

Twenty years after
my grandmother died
I'm trying to remember
her words of wisdom.
I hear nothing.
I sayI'm writing a poem, Grandma.
I need your words.
Now I see her hands,
fat, brown, and wrinkled,
flying up over her headand behind her, tossing away
my words.
Words are not to be trusted.
Words have no answers.
Words make trouble.
I sayI need your words for this poem, Grandma.
I know what you meant.
Now give me the words.
I see her hand,the fingertips together,palm up, rising and falling,rising and falling, slowly,
from the wrist.
Words have no answers.
Words aren't necessary.
Words make trouble.
I sayThe world is waiting, Grandma.
Everyone wants to read the wordsof the wise old Italian woman.

62I see her hand,the back against her chin,pulled out from under,
lingeringly, fingers and thumbspread stiffly upward.
Words aren't necessary.
Words are disloyal.
Words make trouble.
IsayI've written this poem, Grandma.
They don't know what it says.
I put my hands in my lap.
I see her hand,fingertips together,rising to her pursed lips,
a quick kiss, and gone.
Words aren't necessary.
Words have no answers.
Words are not to be trusted.

63

Nancy Humphreys

Song of Lilith"When she first came out, Hetty, in the modest dressing room of her
innermost imagination, tried on a relationship with every new dyke shemet. Each fitting brought new glimpses of what might be changed.
Aspects of herself were highlighted; some in a flattering fashion, manyin the manner of those cauliflower stalk clown collars, in a ludicrous
light, and a few in a way that was simply sweet. None, however, really
fit, or rather, the trying on was never, except once painfully impossible,
done with the intention of purchase. Consequently, five years ' and acouple accidental but brief relationships later, a weary Hetty was still
struggling into and out of dreams while wondering when the Fates
would finally yield a lasting reason to cease trying and start buying.
Goddess knows, she'd already paid a high enough price for simply
attempting to mix and match in her mind.""How's that for some characterization?" a grinning Rita asked June after
she laid down her manuscript on the table and took a sip of lemon-limemineral water.
''Well, it's pretty good Reet," drawled June as she leaned precariously
back on the rear two legs of her chair, ''but I think it needs a little
something." She cocked an eyebrow.
"Oh yeah?" Rita felt the little turrets of the tanks in her eyes rotating thebarrels of their guns outward toward June, and in spite of her best
resolve, fired off her first defensive volley, trying to be humorous while
she did so. '1t's got sex; what else could it need?""Uh, oh sorry," said June after bringing her chair down onto Rita's left
foot. "Not hurt? Good! Uh, well I'm not sure exactly what it needs, but...""You think it needs more plot, don't you?"''Well, I guess ...","You think I can't do a regular story, huh?"''Uh, no, I didn't say, .."''Well, I can, you know. I can do a regular story."'Tm sure you can, Reet. I'm sure I never said you couldn't," asserted June
hurriedly.
Rita mused for awhile, sipping her mineral water and massaging her
wounded foot now tucked up under her right leg on the chair. Then, Rita
downed her drink and sat up straightin her chair. "You want plot? Okay,
I'll give you plot!" Her low voice began filling the air around them.

64

The True Nature of Temptation(A True Story)
Once upon a time there were just two people in the world. One's
name was Eve. The other's name was Lilith. Now, both Eve andLilith were created in the image of the One, but there were two ofthem so they could keep each other company. And they weren't
created alike. Eve was big and brown, very strong, but kinda
emotional and had justwhat she needed in the way of brains. Lilith,
she was the opposite. Dark, frail, wily, and maybe just a little toodamn smart for her own good sometimes. You see, she brooded
and questioned everything. Luckily Eve kept Lilith laughing mostof the time. The rest of the time they were either making love or
taking care of the place where they lived.
The place where they lived was called Eve's Den (later shortened to
Eden in the 10th century A.D. when men didn't want women toown property, but that's another story.) It was named Eve's Denbecause Eve was created first. Being alone, Eve named her place
after herself. In fact, Eve was around for quite a long time alone.
During that time she grew a magnificent garden, full of wonderfulthings, and she named everything she grew. She brought home
stray baby ani~als, and she named them, too. Then she decided
she'd like some babies of her own to name. So she went to see thegoddess.
The goddess instructed Eve how to stand in salt water and chant at
the moon. Pretty soon Eve had a litter of her own. Four bright shiny
girls: one black, one copper-red, one cream-yellow and one brown.
Eve sure loved them. Oh how she loved them! But still, something
seemed to be missing. . Eve couldn't figure out what was missing,but when she told the goddess that something seemed to be
missing, the goddess smiled and said, "Aha." Then the goddess
created Lilith. After that, nothing was missing in Eve's life anymore.
Lilith adored Eve's Den, especially the garden. She took to walking
around chanting"garden of Eve Den, garden of Eve Den," because
she liked the rhyme, and after that wrote many songs and poems.
Lilith adored the creator of Eve's Den, too. Many of the songs andpoems were about Eve. Most were spiritual poems and songs,
though. These were about the goddess, especially the goddess as
seen by Lilith's eyes when looking at Eve. This pleased the goddess
very much. She looked down on the garden of Eve Den and said toherself, "Yes, it's very good. Very good indeed. Evenifldo say somyself."Now, Lilith and Eve shared the chores equally, but really there65wasn' tmuch to do, just a little weeding of the garden and occasional
sweeping out of their cave dens. Eve took care of the animals andchildren. Lilith also took care of the children. She even taught Eve's
girls, little Aleph, Bes, Gimmel and Daled, how to talk and sing. She
taught them her songs which they warbled gleefully, their little
Eve's apples bobbing in their little throats. Eve didn't sing because
she couldn't carry a tune. That didn' t daunt Lilith. She just cut areed and made a flute so Eve could pipe along. They made lots ofmusic. They were a most happy family.
Now, Lilith, as I said, had a real keen intellect and time free to use
it, so she invented lots of things. First, she invented paper, pens andink. That was so she could write down her songs. Then she
invented a symbol for each of the daughters, and from that she
created the alphabet. Lilith (with the assistance of the rest of thefamily, of course) compiled the first dictionary -no easy feat, since
they had to make up all the words from scratch. Still, even thatwasn't enough to keep Lilith busy all the time.
Lilith decided that she needed something to do with her hands aswell as her head. So on the eastern edge of Eve's garden Lilith
planted an orchard and started growing all kinds of trees: pines,
maples, walnuts, pear, cherry, all kinds of trees, all in neat little
rows. Soon she started grafting and making new types of trees andnew kinds of fruits. Then she learned to prune. Soon she began tocarve and carpenter and construct gigantic bonfires to roast com
and dance around while loving the goddess. This project added
many, many pages to the dictionary and made Lilith quite proud.
It also pleased the goddess. She looked down on Lilith's orchardand said to herself, "Yes, it's good, indeed. It's as good as Eve's
garden. Yes, indeed, it sure is good."
However, as the goddess herself could've predicted, there's nevera yang without a yin lurking somewhere. In the way of all earthly
flesh, but a little earlier than the goddess had scheduled, little Aleph
met her Omega. She was a bit too incautious while following amountain goat to its home. Eve was in shock. Her first daughter
gone. She couldn't believe it. Then she did believe it. In a rage shestoned the goat. That didn't remove the pain, though. So she criedand cried and Lilith invented kleenex, boxes of it, but still the pain
didn't cease.
Finally Eve decided to go see the goddess. At first, the goddess wasmost sympathetic. She apologized profusely for not keeping abetter eye on Aleph. Eve was not appeased. So the goddess got
tough. She berated Eve for stoning the poor goat. Eve was not tobe shamed. On and on she complained. After awhile the goddess
got royally weary of that. Sternly she reminded Eve that death was66

an obligation, not an option. The goddess explained patiently that
as Crone of the World she had to remove little Aleph to make way
for others. Eve would see the value of Death if Eve would just open
her eyes and use her brain a little. Eve did open her eyes, but she
did not see how good Death was.
Instead, Eve saw an ugly old hag sitting on a wood throne cacklingover the cold body of her dear little Aleph. ill disgust, Eve denounced the goddess and stormed out of the interview. When she
got home, Eve sat and pondered a long while. Finally it all became
crystal clear. Eve realized that the wood throne was an invention
from the orchard, and that Ulith was the ugly old woman who sat
on the throne. Eve took to sleeping in her own cave den and oncea week, solely for the sake of the children, had a silent breakfast in
the garden with Lilith.
ill vain did Lilith plead and cajole Eve to speak of her grief. Eve
responded only with the Original Silent Treatment. Lilith knew the
Coldness of Eve's arms and shuddered as the ache of its icinessspread through every cell of her body. After that, Lilith spent lessand less time at home, and more and more time with the wolves andweasels who hung out in the orchard among the nectar trees.
Gradually she solaced her pain. Pretty soon Lilith was so into
nectar and songs with her animal companions that she stopped
coming home at all. The goddess was extremely displeased, butthere was nothing she could do. Eve wouldn't listen to her, andLilith couldn't. Miffed, the goddess packed a few things and took
off on a tour of the rest of the galaxy. The goddess figured that Eveand Lilith could settle things themselves.
Eve, at least, did settle down finally. With the sweet assistance oflittle Bes, Gimmel and Daled, Eve's sorrows in waves of peaks andtroughs gradually crashed and subsided on the shores of the sandsof time. One day, in a mood of placid bitterness, Eve (merely out of
idle curiosity, she told the children) decided to find out what had
become of Ulith. When Eve reached the nectar patch, however, she
was too horrified to go in. There in the trees ahead sat a hideous
skeleton of the former self that had once been her dear sweet friend.
The memory of lovemaking long ago with Ulith made Eve shudder; every cell of her body revolted. ill disgust and anger, Eve
stumbled away from the nectar patch. ''How could Lilith havebecome such a beast?" Eve wondered in righteous indignation.
Then she stopped and wailed in pure rage.
It was in the midst of Eve's most aggravated wail that Satan
stepped, or rather slithered, out from behind an apple tree in
Lilith's orchard and hissed at her. The wail abruptly halted. Thenit became a shriek. Eve did not like snakes, even though she'd seen67

that the goddess often wore them around her arms and even carrieda few spares down her bosom. Still, Satan was not your ordinarysnake. The more Eve stared, the more there seemed to be tounderstand. Yes indeed, Satan was quite a salesperson, and Eve,although she didn't know it yet, was hooked even before he'dspoken a word.
Satan sold Eve on the idea that second best is better than best.
"How's that?" she asked, skeptical at first. , He explained, it's
because the second is a new and improved model, with all theglitches and bugs of the first ironed out. So, second best was better
than first best. You see, claimed Satan in a voice like velvet, thegoddess had lied to Eve.
''Now darlin', don't flinch like that. Hear me out, just hear me out.
You see, the goddess told you that you were created in the image of
the One. Am I right? Yeah. I am. And she told you that you andLilith were One, right? Aha! I see you're beginning to get my drift,
hey? Surely you don't believe that hooey anymore, do ya darlin'?"Eve hesitated, fatally. Satan smiled. He knew he had her now.
"Yes, indeed," concluded Satan as they sat back from the lunch
table Eve had spread, "it's a dog-eat-dog world, Eve. You got tolook out for number one, 'cause sure as hell, no one else will. Now
I tell you you've got just a great deal here for yourself. You try thisnew and improved model for thirty days, and I guarantee you'll besatisfied enough to keep it forever. But if you're not, you just holler
before the 30 days are up, and I'll come and take it back. Now
what's to lose, huh? Nothing! Now surely that's a great deal, isn't
it darlin'?" Eve hesitated. As if oblivious, Satan crooned on, "Now
Eve, no down payment even. All I ask is if you like it, yougive me
credit for it. As much credit as you would have given the goddess
if she had made you as good a deal. Now where's the harm in that,huh?"
Eve looked high and low, but she had to admit it. She couldn't findwhere the harm was. Face it, Satan was right. Yes indeed. It was
an offer she couldn't afford to pass up. Sheepishly she bent andsigned the contract Satan's secretary had typed up. Eve signed.
Then she looked up. Satan was gone. A rustle made Eve turn her
head. From behind the bushes at the end of Lilith's apple orchard
Satan emerged, beaming in anticipatory satisfaction. "Yep. Herehe is, Eve, in all his glory - ADAM!" Uncertainly, Adam took one
step forward, then stopped and grinned. Eve was utterly taken
aback. Those flat breasts! And what was that hideous thinghanging between the legs?
Satan, as if reading her mind, eagerly grabbed the thing in question.
"Yeah darlin'. This is it. Remember what I told you about? The68

instant babymaker? Right! No more standing around at night incold saltwater. Just insert this and poof you got a kid. Nice huh?"
Adam continued to grin sillily as Satan held up the thing between
his legs. Eve began to feel annoyance well up inside her innermost
energy channel, but she shoved it back down. After ali, she hadn't
agreed to take Adam, just to try him for thirty days. Surely, even
if he was an absolute moron, she could get some fun out of having
him around? Maybe the kids could use him for something? So she
assured herself, then calmly held out her hand to Adam. Satan,chuckling delightedly, disappeared.
Adam took one step forward, then stopped, a look of terror beginning to steal into his eyes. Fearing Adam would run off and shewouldn't even get her thirty day free trial, Eve desperately looked
around for a way to keep him with her. Spying an apple above her,she snatched it off the tree and held it out to him. Adam sniffedsuspiciously. "Oh damn!" grumbled Eve, then took a bite of it
herself, chewed and swallowed. Adam waited a moment to see
what would happen to Eve. When nothing happened he grabbed
the apple and, grinning, crunched into it. Neither of them heard thenoise in the bushes behind them.
Mothers, as we well know, have inherited many gifts from thegoddess, not the least awesome of which is their power to appear
at just the precise moment one is doing something one ought not to.
So with a cosmic swish and to no one's surprise except Adam andEve's, the goddess arrived home from her tour of the galaxy at theexact instant Adam bit into the apple. The goddess arrived. And
was she ever pissed? You bet. Eve knew it immediately because of
the way the ground shook under her feet. Adam, however, being
utterly inexperienced in the ways of the goddess, mistakenly
assumed it was Love which had just arrived. Tossing away theapple, he made a lunge for Eve.
Well, to make a long sad story short, the goddess kicked them bothout of the garden of Eve's Den. Adam, of course, being none toobright, thought it was because of the apple they ate. Eve, although
she knew better, decided not to tell him. It was a good joke, shethought, and heaven knows she needed a good joke during the firstforsaken days when she found herself out of the goddess' favor.
Often she chuckled silently to herself. Really, that Adam w as sodumb!
Life outside the garden was mostly peaceful, except that now Eve
had cramps every moon, and childbirth from Adam' s babymakerhurt like the devil, and Adam, for some crazy reason, worked out
in the fields ali the time, but unlike Lilith he wasn' t happy about itand sure was slow to learn anything productive out there. Still, her

69

life was mostly peaceful. Eve didn't think she could complain.
After all, as Satan had pointed out, it was a dog-eat-dog world, andEve had made a pretty good deal for herself. It could be worse, shereminded herself. With a shiver of revulsion, she recalled the lasttime she had seen Lilith. Yes indeed, it could be worse, thought Eve
as she worked on mixing up a new perfume that Satan hadpromised her would for sure bring Adam back from the fields tospend more time with her and the kids. Uh~huh, it could be worse.
The goddess did, of course, repent of her anger, but not, unfortunately, until the thirty day trial period was over. The goddess
dropped in on Eve one day while Adam was out tinkering in thefields, and asked her to come back to Eve's Den and be forgiven.
'Without Adam?" Eve wondered.
"Yes, of course," replied the goddess testily. ''Whatever would you
need him for?"'Well," Eve lowered her eyes and pouted. She'd kind of gotten
used to him being around. And really he was so helpless without
her to pick up after him. He'd never manage without her. And ifanything happened to him she'd feel so guilty. No, she'd have totake Adam to Eve's Den too.
"Absolutely not!" raged the goddess while the earth shook.
'Well then," pouted Eve as she dabbed the new perfume on, "forget
it. Who needs you or your stupid garden anyway?" Divinely hurt,
the goddess wrapped herself up in her favorite snakes and departed.
Back at Eve's Den the goddess turned her angry eyes on Lilith. It
took all of her power to get Lilith out of the nectar patch, but thegoddess at last succeeded. Clean and sober now, Lilith refused tobelieve the goddess' story about Satan and Adam. She looked allover Eve's Den for Eve. But gradually her forays became less andless frequent. Lilith did not return to the nectar patch, but she sat
so lonely and forlorn-looking that the goddess just had to say, '1t's
not good. No siree, it's not good." Satan tried a couple of times tointerest Lilith in another second best model, but she talked him incircles and sent him slithering off. Finally she made a decision. If
Eve didn't want the den, Lilith didn't want the den either. Sadly,
the goddess assented. Eve's Den would be abandoned.
But there was one condition. The goddess insisted that Lilith was
not to let herself be seen, at least not as long as Eve remained with
Adam. Lilith argued, protested, and even whined, but the goddess
was adamant. So, disguised, Lilith left. Lilith left Eve's Den anddrifted about the hills above Adam and Eve's home. There she sangso sweetly and sadly that they came to believe they were blessed70because a goddess roamed their hills. And sometimes late at night,
while Adam was asleep, Eve even sang along.
Rita leaned back in her chair and smiled contentedly at the ceiling. She'dseen the wide-eyed look and the gradual leaning forward as June's
younger self had emerged to listen to the story. While the part of her in
her head s till argued that she was too worthless for anyone to lis ten to her,the part of her near her heart gloated contentedly as if swinging in ahammock on a glorious summer day.
Quietly June sighed and said, as Rita knew she would, '1eez, I wish I'dwritten that!" They sat in silence for a moment. Then June asked, ''Reet,I thought Lilith was created first?""No, Eve was. See, when Eve finally told Adam about herself and Lilith,
he was utterly humiliated. He had to tell the other guys something before
Eve did, so he told them he'd had Lilith as a partner, but she was too
uppity, so he'd gotten rid of her. And you know how guys are. The had
to pretend they believed him, but they knew better. They figured it was
Lilith that dumped Adam. But, of course, they never said so, except
among themselves, so as not to make him mad.""Oh, yeah. Sure!""You know, June, Lilith did write down her story, but Adam's greatgreat-great-great-grandson, Alan, substituted "Genesis" in place of ''The
Song of Lilith" as he was taking the Bible to the scrollmakers. Actually,
Alan changed a lot of the other chapters too. Say, did I ever tell you about
the day the Queen of Sheba met Jezebel? No? Well, . . ."IWOMAiJEWS---------- c-,- -:'I N'IC ~NfWSIW'(II AH{) CAUNOAA Of MNB

I'. k*8 a one-year IUblCriptIon:o '12 ftrat-cloaa maY
0115 IUpportingo 120 buMneIIIlnltltution-~ --------------C Ity ---- -...... Q~

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Patricia Filipowska

According to Guinness
twenty languages on this planet
now hang by threadsin each caseby a single human's
vocal chords.
There isn't one set of ears
alive to hear
nor another pair of lips
left to answer
the last speaker of each tongue.
ButEyakis still spoken
in southeast Alaska
by two old sisters
if they meet.

Pshi-Polnitsa - The Flax Crone
Max Dashu, 1986

72

Gloria Anzalduathat dark shining thing(for Sandra Rounds, Bessie Jo Faris, & Denise Brugman)
You've shut the door again
to escape the darkness
only it's pitch black in that closet.
Some buried part of you prevailed
elected me to pry open a crack
hear the unvoiced plea
see the animal behind the barsof your eyelashes.
This is not new.
Colored, poor white, latent queer
passing for white
seething with hatred, anger
unaware of its source
crazed wHh not knowing
who they arechoose me to pick at the masks.
I am the only round face,
Indian-beaked, off-coloredin.the faculty lineup, the workshop, the panel
and reckless enough to take you on.
I am the flesh you dig your fingernails intomine the hand you chop off while still clinging to it
the face spewed with your vomit
I risk your sanity
and mine.
I want to tum my back on you
wash my hands of you
but my hands remember each seameach nail embedded in that wall
my feet know each rock you tread on
as you stumble I falter too
and I remember
he/me/they who shouted
push Gloria breathe Gloria

73

feel their hands holding me up, prompting me
until I'm facing that pulsing bloodied blackness
trying to screamfrom between your legs
feel again the talons raking my belly
I remember hating him/mel they who pushed me
as I'm pushing you
remember the casing breaking
flooding the walls
remember opening my eyes one day
sensing that something was missing.
Missing was the pain, gone the fearthat all my life had walked beside me.
lt was then I saw the numinous thing
it was black and it had my nameit spoke to me and I spoke to it.
Here we are four women stinking with guilt
you for not speaking your names
me for not holding out my hand sooner.
I don't know how long I can keep namingthat dark animal
coaxing it out of you, out of me
keep calling it good or woman-god
while everyone says no no no.
I know I am that Beast that circles your housepeers in the window
and that you see yourself my prey.

But I know you are the Beast
its prey is you
you the midwife
you that dark shining thing
I know it's come down to this:vida 0 muerte, life or death.

First published in Borderlands/La Frontera, Spinsters/ Aunt Lute Book Company, SF, 1987

74

Winn Gilmore

Just Plain Hanna
The alarm clanged me awake, yanking me out of the protective cloak
of sleep. "Damn!" I mumbled. "What an eerie dream! If that clock hadn't
gone off, I'd have remembered it."In the hotel bathroom, I flipped on the tape player and stepped into theshower. My pre-recorded voice spilled out: ''Leave Birmingham by nine.
Head south on thirty-five for Opelika. Interview Hanna Driscoll." I
almost remembered the dream. I shivered with the presentiment that I
was going back to an old, well-known place to retrieve something longforgotten. To a place even more frightening than it was beautiful. I
stepped out of the shower and began collecting my things.
At nine o'clock on that balmy Birmingham Saturday, I tossed mybattered briefcase-which sheltered this writer's prized pens, paper,
camera, and tape recorder-into the BMW's back seat. By eleven fifteen,
I had exhausted the meager portion of smooth highway which testified
to the South's drunken lurch toward the wavering lights of progress. I
was near the tree-studded, lazy, twenty-five square miles of sticks called
Opelika, Alabama. .
As if it were a protective charm over the racist perils which awaitedme, I turned up the radio. Already I'd discovered how little Birmmghamians' collective mentality had changed. I could only guess what I'd
encounter in Opelika, where I was sure change happened about as
quickly and uneventfully as the polar cap shift.
From Birmingham's sole classical station, strains of Delibes' ''Lakme''poured. I breathed deeply as my fears quieted, subdued by the honeyand-jasmine voiced Indian maid serenading her mistress. I shuddered.
I'd heard and seen the opera at least twenty times, but it had neveroccurred to me that this loving "maid" was actually a slave. I wondered
whether she was treated as were my foreparents. The trip was alreadygetting to me. Unbidden memories were invading. Angry and a bit
unnerved, I changed the station. Tammy Wynette was still begging
women to stand by their men, and I changed the station again, settling ona thunderous voice booming out the benefi ts of eternal salvation over theperils of everlasting damnation and writhing in fire. I smiled wryly. I
was in the South, alright. I was back home.
The sun had climbed high enough to make me grateful for the rented
car's air conditioner and painfully aware of my thirst. I pulled over to theantiquated Sinclair gas station with a rusted sign admitting that this was
Jimmy's Gen'ral Store. The sign hung limp as a once-white sheet trying
to dry in a windless backyard. I stopped in front of the unleaded pump,75

pulled out my Nikon, and shot the sign. No one materialized to pump
the gas, so I headed for the store.
The gravel, red mud, and warring chickens made the short trip to therickety store treacherous. I pulled open the squealing screen door andsighed relief at stepping into the cool, mois t, but musty place. I'd enteredanother world.
Darkness transformed the Alaga syrup bottles into stalagmites in thisprimeval cave; changed the benign kitchen and farm utensils into eerie
sacrificial instruments; and metamorphosed the long, low, cool Coke
freezer into a yawning sarcophagus.
A frail, stooped figure, scuffling along like a pre-human which had
just learned the trick of bipedal motion, moved toward me. Once my eyes
adjusted to the lack of light, my ears picked up the powerful silence.
Walking to the shack,l' d heard the tinny twanging of country chords andhigh-pitched human hooting. Now, all was silent. The peering deathskull before me frowned. It drew together its deeply furrowed and slack
cavern of a mouth.
''Whut c'n I do fer ye, gal?" The voice was soggy and sexless as a paper
towel.
"In." My voice cracked. ''I need ten dollars of unleaded and a six-packof Mountain Dew, please." I fished through my wallet, almost laughing
when my fingers touched the well-used MasterCard. I pulled out atwenty.
"Humph!" the frown sneered. "Ain't cha got no thin' smallah, gal?"
It spoke slowly, like thick, cold ketchup glugging out of a bottle. "Ain't
got enuf to change thayat . .. Ma'am." The frown became an obscene thing
trying to imitate a smile.
Suddenly, I felt their eyes on my body, their razor-thin animal noses
sniffing for victim. The three women and two men perched like vultureson the upturned Coke cases. They spat tobacco juice into Thrifty Maid
pear cans. Had I been a Black man, their vulpine greed and stale deathly
smell would have been my last experience in life.
''Here, then," I said with smooth bravado. I handed the creature a ten
and a five, then snatched my twenty out of its hand.
"Zeke," the bent-over person yelled, "go 'n git 'er ten dollars unleaded, heyer? Ah'm sure gas nevah poured thuw them purty darkie
fingahs." It was a she. And she was jealous. She shoved the six-pack ofsoda to me. "Has it, gal?" she crooned. The five pairs of murderous eyes
grew snickering, snarling mouths. They cackled acknowledgment at thesick, centuries old game their people played with mine: Bum the nigga.
The bristling hairs on my back and neck, the sudden and maddening
tingling of my scalp, the dark rusty taste of fear in my mouth. .. allrelayed to my soul the command old as hate, itself: Survive! I took mychange and walked blindly to my car.
76

I pushed the button to roll down the window, and shakily drank asoda. Zeke leaned his hirsute arms on the windshield and squinted piglike at me. "Sure is a nice car, gal."
My hand froze en route to my lips.
"You ain' £rum roun heah, is ya?"
I stared at the grinning, sparsely-toothed, tobacco-stained mouth; atthe shaking, sweat-smudged, and fat-stained t-shirt; at the malicious
little eyes into which greasy, yellow-gray locks fell. Instead of puking onhim, I rolled up the window and sped away. What else could I havedone?
What else could I have done? Fantastic resolutions danced throughmy brain, absorbing me as my car shot through the dead Alabama heat
like an arrow from the god's bow. I could've slammed open my door into
his groin. He'd've doubled over, and I would've slammed a knee kickinto his face. Then, the others would've slunk out of the store, and ...
I was so absorbed in this fantasy of avenging those hurt and murderedby the Zekes who carried their foreparents' legacy of hate in their veins
as surely as I carried the strength and perseverance of mine, that I nearly
missed the sign. The weather-beaten piece of wood was almost swallowed in the field of ragweed, black-eyed Susans, and Queen Anne's lace:''Miss Hanna Driscoll: 5 mi." I took my first real breath since leaving thestore. I could hardly wait to get to Hanna's house. Unfortunately, I'dhave to rush the interview in order to get back to Birmingham in time tomake my self-imposed ten p.m. deadline. The interview was due on myeditor's desk in two days. I'd have to hurry.
The wicked, jutted road divined my thoughts. It began to wind, rise,and dip maniacally. I felt like a june bug on a wet sheet with amischievous child on either end, shaking the sheet for all its worth.
Finally, the road ended. A sign proclaimed that I'd have to walk theremaining two miles, and that ''Patience is a virtue." This Hanna had asick sense of humor.
To romanticizing, homesick Southerners and frigid, fantasizing
Northeners, a solitary trek through a pine-studded Southern woods isthe closest thing to god's great heaven. They envision an undulating, richbrown earth coquettishly covered with goldenrod stretching as far as theeye can see.
For me, it was hell. I stomped through pastures of fermenting cow
dung and plodded over a defiant wench of an earth who threatened totrip me up and reclaim me. All this to interview an old woman who'dnever been out of Alabama.
I stooped under an ancient willow tree and suddenly Billie's voice
moaned through the woods. Southern trees bear a strange fruit. We had
run so hard, so determinedly, from this land of murdering ignorance, thisland inhabited by the mutant Zekes, that we'd left behind some neces-77sary baggage. What it was, I certainly didn't know. But my editorhimself a runaway from the South-thought this Hanna Driscoll could
provide me and my Southern compatriot expatriates with some clues.

The burning flesh, the lolling tongue.
I just hoped I could get through the interview quickly and catch myflight back to New York, to civilization. At least I'd have some amusing
stories to tell my colleagues at the next cocktail party. I smiled. A vine
clawed into the skin beneath my left eye, snapping the smile off my face.
"Shit!!" I screamed.
Forty-five harrowing minutes later, I emerged sweat-drenched, beestung, and burning, from the thicket. My briefcase dangled from myright hand like a forgotten rag doll. I'd long ago relinquished my rightpump to a fresh pile of dung, and used the left as a machete, slapping
aside tendrils and vines which blocked my progress.
Lifting the shoe over my eyes, I squinted at the hovel about one
hundred feet in front of me. Two old Black women sat fanning themselves and drinking deeply from tall jelly glasses. They lowered theirheads conspiratorially, then flung them back in conjuring laughter. I
walked closer, still mesmerized by their camaraderie, by the necks whichpulled tight as drumskins as they drained their glasses, Adam's apples
sliding up and down, more graceful than any lover's body I'd ever swum.
They flicked small, pink tongues over soft, berry-colored lips, and shook
their heads.
"Hello." I grinned foolishly. 'Tm Margaret Mays. Is one of you ladies
Ms. Driscoll?" That's the last thing I remember before the greedy earthcame up and grabbed me.
I awoke to warm brown kitchen smells and the clatter of pans. The
sinking sun's rays lighted the bedside clock which read five fifteen, but
shadowed the overstuffed armchair, chest of drawers, and other furniture which crowded the neat bedroom. I closed my eyes and floated backto a place 1'd left long ago and never visited: my childhood.
Summer was my favorite time of the year, not because I was out ofschool, but because I got to leave already-beginning- to-sprawl Atlanta
for much smaller Valdosta, Georgia. My grandparents lived there, on
sixteen acres of land so fertile that my grandmother didn't even have tohope it produced.
"All the sweat an blood we colored done put in this here land, she got
no choice but to be fruitful," she'd declare. Looking up at the woman who
towered even over my grandfather, my mouth would drop open inwonder. "Yep, honey. Hang on to this land, cause it holds the memries.
The good and the bad. Your past. And if ya don't know where ya comefrom, how can ya know where ya gain? Humm?""Yep," I'd say, as if I understood.
Why had I locked up the memories, as if they were an unwanted,

78

embarrassing child? Who was looking after the land now? I sighed.
At the end of summer, my grandfather would stomp through thewoods, searching for the most potent dandelions. From them, mygrandmother would make a viscid brew to ward off that otherwise
inevitable winter demon, the common cold.
''Margie,'' she'd say, "drink this an get under those covers, yonder, answeat." She'd wrap me up in a bed as deep, soft, and high as Hanna's.
Then the tales began. She'd spin those old tales around me as lovingly
as she wound precious yarn around her large hands. Then''Hi there, Margaret. Feelin better?" Hanna stood beside me, bearing
some steaming potion. "Sassyfras tea, honey. Don't you worry none.
Just drink it up an rest a spell longer, whiles I finish fixin supper. We'll
have plenty time for your interview." She straightened the pillows
beneath my head. ''Passed out like a shot deer, you did. Common sense
oughta told you to take it easy on these burnin hot days. Fall still a few
weeks off." A few more pats and an admonishing frown, and she wasgone. Turning back, she said, "You look a little puny anyhow. Don't
know wlult you city folks eat." Then, under her breath, she added, "Notmuch, by the looks a you."
I stifled the grin which threatened to grow like the sun over a freshly
plowed field.
''Hope you like fresh garden picked collards, venison-shot it myself,
you know-cornbread, an garden tomatoes. But of course you will!" shedismissed with a wave of her hand.
Venison. It had been years since I'd last tasted the tender, wild sweetmeat. "Yes, ma'am," I said to the empty doorway.
She walked back to the door, legs spread wide and her head cocked to
the right. Peering through narrowed eyes with crows feet radiating out
almost to her hairline, she challenged, ''Where you from, child?"''Well, New Yo .. ." I stopped short of giving my stock, long-winded
explanation, and said, "Atlanta. But my grandparents had a farm in
Valdosta. I spent my summers there."''Well, well, well," Hanna moaned, shaking her head. "I got family
down Valdosta way, myself. Ain it a small world? Why, we practicallykinfolks, chile!" The grin finally broke across my face. This Hanna andI would have more to talk about than I'd imagined. "You can go on an
git washed up. Supper's bout ready."
As I wrapped my lips around the first bite of venison-so delicate it
lay like a kiss on my tongue- my eyes teared with gratitude and remembrance. So long it had been, but my salivary and olfactory ~lands
recognized the feast. I closed my teeth over the morsel, and I s~mled to
Hanna, who was watching carefully. She beamed, then dove mto one
dish, then the other. "Yep, you're from the South, alright. ~ry thecollards," she mumbled, filling her mouth with a forkful of unbehevably79red tomato. I cut some slices onto my plate, the seeds spilling out,
scarleting the dark greens.
"Ummm," I moaned in abandon, naked toes curling over the woodfloor. ''It's been years since .. . ""Yep." She took a long, lithe drink of lemonade, then swallowed.
"Y' all leave here thinkin you can forgit all this ... " she continued, sweeping her hand over the room and toward the back porch beyond which theland lay. "But, you can't." She pounded the table for emphasis. "You're
smart, though. Even if you ain't got sense enough not to go traipsin
through the woods in the dead of summer. You came back. Yeah, you're
smart. Pass the cornbread, please."
I was so confused, but I knew all along that there was somethinginevitable about my coming back South. The truth was in the old woman
strong and sure enough to fell a deer, strong enough to remain in theSouth. It was in me, brave enough to leave and come back. Even if only
for a while. It was in the food, springing up ouf of the earth as relentlessly
as our people, themselves.
I inhaled, and my hunger leapt again. I refilled my plate, then sliced
a couple choice pieces of venison for Hanna.
Finally, I pushed back from the nearly empty table. I was sated. In a
way that no amount of quiche and salad or steak tartar could ever havedone. Hanna passed me a broomstick twig and said, "Well, Margaret, I
reckon you'll be here for quite a spell. Yep . . . it's gonna be-"''No; I'm sorry, Ms. Driscoll. I've got to get back tonight.""Well, chile. You can call me Hanna." And she burst out laughing. I
sat up straighter. Had I said something funny? ''JustplainHanna. That'sme." She tried to cover her guffaw by clearing her throat. Then Ilaughed,too. How could I call her Ms. Driscoll after sharing that repast. Old habits
die hard, I mused. ''It's gonna rain cats and dogs tonight, honey. An thatole road? Pshaw. Even ole Noah wouldn't be able to travel it. Anyhow,
how d'you expec to find your way back through them trees?"
I smiled generously. Hanna was kind, incredible, but obviously dotty.
There wasn't a cloud in the sky. So, about five minutes later, when thefirst pelting sheet of rain pinged against the tin roof, I was more than alittle surprised. Now, it was Hanna's turn to smile.
''I got a little help with the predictin," she admitted, placing her
weathered, warm hand on top of my manicured one. "Ole Arthur Eyetis
been actin up on me like nobody's business. But I tole you we'd haveplenty time for that interview, didn't I?"©1987Winn Gilmore

80Leslita Williams

Purple Garlic
I miss you yes when I see purple
and white garlic cloves when I take knife
in hand to peel and slice and mince I remember
the hot day you showed me how patientand amazed that I was a woman overthirty years old and had never cooked garlic
I miss you yes when I hold my one kitchen knife
ready to cut up onions shallots leeks what I remember
from our years is in slices trimmed moments and patient
hours around stoves trips to the grocery dishes full to overflowing with food even alone I always add garlicnow and see you sometimes by my sink wearing that purple
faded shirt I miss you best when I remember
our cooking our dinner parties easy talk the patientmeasured moments waiting for a pie to set I eat left oversalad spaghetti gnaw on yesterdays garlicbread and want to.stop at this the sky grows purple
dark orange jagged pink a sharp knife
cuts clean cuts quick best you said my hands practiced & patient
still want to pare away the bad spots we were overeach other suddenly cool & sure raw wild garlicand dandelions grew up fast in the side yard our purple
bruises faded while we moved furniture you gave me the good knife
I stay busy buy books try new recipes still remember
still find I miss you when I almost lie outloud and stop overcome with recounting the lies I told you garlicflavoured spicy and smooth you knew all along said purple
is a colour of healing as though that would help put down your knife
put down a handful of carrots glanced shrugged I remember
I was in a hurry for some reason for some reason you were patient
for some reason this all comes back to me at the first taste of garliccomes back whole uncut a bulb with little roots purple
around the top I'm less apt to slip these days find knife
suddenly cutting flesh of other hand I'm more apt to remember
the words without mincing them bruised I'm more patientperhaps I miss you yes when I say something hard something true
to someone else I miss you and this is not over81Sawnie Morris

Through Daylight(for Sally)In the morning, between Albuquerqueand Socorro, at some just beginning hour,when the blue-purple mesa takes on shapes
like the moon, I am riding in my truck,
my mind up against the impossible,
when the hawk slams against my windshield.
A hawk, rising up off the ground andturning into the glass unexpectedly.
A little hawk, andI cannot tell it if is immature,or only small.
Bird who can see far.
Predator, with an eye for detail.
Bird that circles, in the early hours
hits the shield between my bodyand the world,
slams its body, with the full force
of unrestrained flight, into theforce of my own flight, at
sixty miles per hour,in another direction.
My black hair flies out frombehind my round head like a storm,
my white polished teeth,
my small brown eyes,
my hands weathered with thecreases of the desert and black
earth of a plowed field,
gripping the wheel as I drive
into the face of the hawk, that has risen
and come to meet me.
Who suffers,
the burst of energy into form
like an eggshell dropped in haste,
like a bird who rose off the82

warm skin of the pavement before
me, with perfect grace.
The breaking up of bones, thebashing flat of a small skull,
the small, or only immaturebody left behind me on the road,for which I do not stop, keep
no souvenir, no feather,claim nothing.
I fly on through daylight.

Leave the desert behind.
And in the cool dark, behindthe drawn curtains of the city,
I lie down between pale sheets,
cramped swollen
to bleed.

©1987SudieRakusin

83

Cathy Czapla

My Heart is a Forest

Sitka spruce and ironwood
Ramu River meranti for plywood
mahogany veneer from the Ivory Coast
All measured for maximum yield
all weighed on the scales of time between
systole and diastole
For you I have brought in bulldozers
to scrape the skidroads for you
through underbrush through Hanas
For you the chippers their IS-ton bladeschewing For you the trucks dragging
logs over muddy forest roads
For you I have slashed and burnedand abandoned the clearings Windand rain carry the ashes away
Eroded and scarred the heart faltersat last Nothing remains but silt
to slow the dark arterial stream

84

Elana Dykewornon

the real fat womon poems
I

I went to get a glass of water
and was overtaken by grief
grief at the kitchen sink
womyn's grief
for the life that vanishes
hot water and grease
for the hundred fears
about what we eat
and what size we are
and whether standing,with soap lining the creases of our hands,
hurts our backs or feetand if that's our fault.
It was dark in your kitchen.

You had been complaining
about your body,bitter attacks on the new swells
that define your belly and hips.
And I said
so why don't you hack yourself to pieces?
And you said I wish I could.
When I got to the sink
I couldn't turn the faucet on.
The white porcelain
under the light from the yard
couldn't speak
my back to you
my back against the world
grief at the kitchen sinka womon's drama
the fat womyn's fightthe silence we were born into
catching us.

85

II

Will the real fat womon please stand up?
We want to take a good look at you.
Don't you trust us to look?
What is it you think will come to focus,
where do you think we'll begin?
With your double chin, the roundness,Of your cheeks,
the width of your upper arms-there
does the flesh ripple, or are they full?
Do they bulge, are they smooth?
Where are your stretch marks?
Did you gain weight fast or slow?
Do you eat a lot at once or
do you eat a little all day long?
We all know a fat womon iswhat she eats.
Can we watch you eating?
You must be hiding somethingin your flesh,
is it rage or sex?
C'mon, we're your friends,
we just care about you and we want to seethat ass, those hips, your thunder thighs,
calves like treesWhen was the last time
you went out in shorts or a bathing suit?
A bathing suit now,
let's see how you look in that
where the fabric hugs the expanse of your stomach
the rolls at your waist
the fat that collects in pockets on your upper back.
What kind of stomach do you have?
High and round, or does it slip, slowly,
towards your knees, do your nipples
scratch the top of your pants?
Do your pants fit?
When your clothes are too tight
do you feel like you're
exploding out of theminto the street
and all you wflnt to do is
get out of sight?
86

III

Asshole, asshole,I can answer for myself,
you don't know anything
You ask these questions
as if I were an interesting specimen
as if I wasn't you
Who did this to us?
And what makes you think
I would ever trust you?
IV

There is being fat,and there is eating.
There is eating, andthen there's the food.
There is fat andthere is aging
There is aging
and ther~ is disability.
None of these things
are the same things
though they are used,
often, interchangeably.
Who did that?
Who did that to us?
And with each of these words
is the word: ugly.
Even with the word
eating, the word ugly is paired
bywomynin North America
in the late 20th century.
V

Now there are politics
for these things.
Unpopular politics,
but there are some.

87We live in a country
that consumes,that needs consumption
to continue consuming,
and what gets consumed
are the resources and the livesof dark skinned and poor people,
the lives of womyn in sweatshops,
of womyn carrying rocks on their heads
in India to build American hotels.
We saw a lot of newsreels in the 60s.
Some of us stopped watching the news
but the news doesn't change.
Even if I choose carefully,
don't want my "major purchases"
to contribute to the evil
done to people in Soweto,some womon in a factory
compromised her eyes or her lungs
her back or her laborfor my computerfor your vcr
for the stereo, hell, for the music.
When did we let ownershippurchase our analysis?
Consider it: they don't have to buy us out
we pay them.
It would be nice to have a target
an easy simple target who could takesome of this uneaseabout our consumerism.
The fat womon, she'd do.
She moves slow, and she's wide.
It's her who starves children
across the globe
it is her hideous appetitethat makes us ashamed to be Americans.
All those fat cats living off the fat of the land
we don't have access to,
the fat cats who arelean ~en in limousines.
88

We call them fat
because we have been taughtthat fat means eatingmeans consumingmeans taking the rights to what is not yours
and these things which are not the same things
become the fat womon's fault
it's a shame she's so out of control.
We hope she stays indoors.
VI

Oh, those politics
I thought you were going to talkabout the other stuff.
What other stuff?
You know, the stuff about the diet industry
and the stuff about womyn
hating ourselves
wanting to hack off parts of our bodies
sew our'mouths shutpull out our intestines
suck the fat with syringes
wrap ourselves in constricting plastics
take drugs that make our hearts race
race away from us.
VII
In the zoo they have signs

polar bears may weigh up to half a ton.
A girl is reading the sign out loud.
'Wow!" she says.
We are standing there admiring the polar bear
who is doing back flips in her pool.
If they stuck a sign on the human raceand said members of this species
occasionally reach a weight of 1,000 pounds
but weights in the range of 1-400 are most common
would that help?

89

VIII

Saturday afternoon, doing errands,
I catch pieces of a radio speechon power relations.
A womon is talking about
the pleasures of mutuality,
not power over, but power with.
How we might better express power to our benefit
by touching and being touchedhugging and being hugged
feeding and being fed.
On the radio she said
it is a good and mutual pleasure

to feed and be fed.
I catch my breath.
Is it still possible
to transmute
the power relations
around eating
so that there ismutual pleasure left?
IX
I am a fat womon
I can speak for myself
but what would I say to you?
Why do I think I needto tell you how muchsugar, how much meat
I eat in a day, in a year?
Why do I think I needto tell you how often I go swimmingor how, if my feet hurt,
it's a problem anyone can have,
fat or thin, why
do I want to tell you
the statistics about dietingthe fact that it's thin people
who suffer most from heart disease.

90And why do 1 thinkno matter what 1 tell you
you will you think 1m lying.
Unless 1 tell you 1 spend all my timeeating chocolate cake in front of the tv.
That 1 eat three chocolate cakes a day
and two six packs of cokein between my six meals
and 1 get up in the middle of the nightto eat pancakes.
You'd believe that, wouldn't you?
And 1 remember
when they characterized
fat womyn as dumb.

X
1 am a lucky fat womon.
If 1 lie in bed and have a fantasy

about eating six chocolate cakesof being fed six chocolate cakesby six fat womyn
who are admiring my six new rolls of flesh
1 can get pleasure from my fantasy
and know that it's resistanceto this ridiculous persistence of shame
thrown at me.
1 can get up and go about my businesswithout too much pain,
struggle with how 1 eat like every womon 1 knowdoes wheat give you arthritis,do the chemicals they inject into apples
give us cancer in our apple juice?
How do 1 balance my years of anger and deprivation
with my desire to eat what's "good for me"?
How do 1 know, when they say it's good,
it isn't this year's medical fashion hoax,
another way to hate fat womyn?
1 like to eat.
1 like to feed other womyn
and be fed
when 1 can bear that intimacy.

91

I like intimacy when I can bear it when I can trust you.
I have appetites in my mind
that I cannot express in my bodyat least not yet,
I work on it.
But I hear what's been said
when I look in the mirror
and I'll be honest
I have the words fat and ugly
paired in me.
The pairing of the words
makes me turn away fasterthan what I actually see.
I touch myself and I
feel good beneath my hands
Sometimes I have lovers sometimes
they enjoy my body and enjoy me
enjoying theirs.
When I don' t have lovers
I feel good beneath my hands.
This makes me a very lucky fat womon.
If I believe the evidence,

the testimony of other fat womyn,
it makes me an extraordinary fat womon

and that's a tragedy.
XI

A very thin womon, disabled,
tells me how she spent a day crying
because she was afraid to geton cross country skis
afraid of her own fragility,
afraid to be physical in the world.
She tells me because I would understandand I do.
I know womyn who are fat who vomit.
I know womyn who are thin who vomit.
Womyn close to me hate their bodies,
womyn who know everything in this poem already92

hate their bodies.
Womyn hate our bodies.
We have been working for justice, out of love,in the different ways we understand it,
for years, in a hundred movements.
We have been going to twenty therapies
bodyworkers and twelve-step groupsAnd remember we're lesbians
we lust for one another in our good moments
we tickle and rub
hate
ourbodiesandweWhat keeps you from understanding
what you do to me?
What did they pay you to do this to yourself?
Who does this to us?
Where is our courage?
And what happened to our resistanceto our simple stubbornness
not to let our enemy win
not to let our enemy win inside us.

93

Susan Stinson

The Lesson
The white girl wakes up with a charley horse.
It's a suburb, but she's naked.
She rubs her fist against the knot,
then eats an english muffin.
It's the first day of school.
She gets a blue dittoed handout.
Her vocabulary words are:sparklers, gumballs, Pez,
Tampax, and Judy Garland.
She square dances in gym class.
Down come her hips, not to blame them,but bells rings when she shakes them.
She doesn't have to shake her breasts
to make them an issue.
In science, her throat hurts.
There's nothing she can ask.
The filmstrip starts with"clean, safe energy."
The voice doesn't say, "bodies in the water tanks,"or, "women with their skin in flaps,
their hair straight up,
walking in the street."
They are talking about
how blood is like saltwater.

The Cool Reticence of Privilege Covering Its Ass
Well, yes.
It could be that.

94Blue Whale Skeleton '86
Anita Schriver

95

96

Cleve Boutell

Camp Stories
THE FIRST
The summer I was twelve, my Girl Scout leader tried to drown me.
Well, I don't think she was actually trying. But her cavalier notion ofswimming instruction came very close to accomplishing it. This all
happened at Scout camp in Minnesota. It probably wouldn't have,
except in the magic year of 1930 my Scout leader was the last of that kindof racy, casually self-assured sort of women just far enough over the edgeof being young to be regarded as daringly worldly; maybe touchingly
bitter. It was a class advantage that would have otherwise left her rather
cheap and overlooked.
Mrs. Larson, that social title a fact of her status I found impossible toreconcile with her image and thus set arbitrarily aside, utilized a voice
called "deep" in a woman and made arresting by a trace of huskinessacquired from smoking too many Chesterfield cigarettes straight out offlat white and black and yellow tins of 50. It was a voice meant to be heard
and felt that insinuated itself into all the unexposed responses churning
half-formed in my twelve-year-old libido.
Mrs. Larson also drove a pure white Kissel roadster; a car of elaborate
sporty elegance slung so low that only her sure elan made it possible tonegotiate the single, deep-rutted road into camp.
One bright intoxicating morning, as luck and unrevealed design
would have it, she chose me to drive with her to a sort of general store on
the opposite side of the lake where we would ostensibly pick up necessary supplies for camp. Like cigarettes, a case of Canadian Club Soda anda large heavy brown paper sack containing four bottles of bootleg gin
which the man from the store stowed with anxious solicitude and annoying gallantry behind the driver's seat.
On that day, I sank down beside Mrs. Larson into the pure white Kisselroadster. The soft leather seats warm in the Minnesota sun, smelling of
saddle soap and Coty perfume, the sudden sulphurous flash of a struck
match, cigarette smoke indolent in the sunshine; all mingled in a musk
redolent of her alone. I became more drunken with every moment as she
drove with enviable arrogance, and the sunlight flickered a shower ofgold coins ahead of her path through the pale green poplar trees. The
scent of deep green balsam pitch streamed like honey on the breeze, andthe white paper birch trees were crisply shadowed like the linen driving
jacket she wore and the white silk scarf wrapped and tied around her
short black hair.
When she smiled a dashing red-limned smile and handed me her
cigarette to hold while she pulled on first one and then the other creamy
97capeskin glove, I just held my breath and crawled inside of them to share
the touch of both her lovely, lean, tanned hands. I could have died blissfully then. Drowning was another matter, however.
How could I refuse when at afternoon swim she said, "Just hold ontome and we'll swim out to the raft and then I'll let you go and you'll see
how easy it is." Well, it wasn't. I drank a lot of the lake and finally got
back to shore in a canoe with one of the counselors. Of course, I forgave
Mrs. Larson.
I swim very well now, but she reminds me that few of us are ever bornat the right time.

THE SECOND
The summer I was fifteen, I fell in love with my Girl Scout leader. The
same one who nearly drowned me when I was twelve. Or at least I
thought it was my Scout leader I was falling love with. The two experiences, being drowned and falling in love, were astonishingly similar
since they both involved me in situations where life is considered to be
writ large.
At twelve and upon the point of just possibly being drowned, thepageant of my years was neither vast nor enviably exotic; a shoot-andchase marbles championship of the fifth grade; beating up Billy Wharton
when he tried to show me his dumb dick; in sixth grade getting my hair
cut like Tarzan of the Apes. With little more than that to flash before myeyes, drowning lacked romantic appeal.
So, throughout most of that fifteenth summer, in resigned and soulful
secrecy, I bathed Mrs. Larson in the fevered glow of my emotion. A
landscape imagined in languid fin de siicle detail, gracing me with world
weariness and a mantle of casual disillusionment absolutely essential totrue maturity which, fortunately for her, largely escaped her notice. It
found instead a focus far more appropriate and rich with abrupt enlightenment.
That summer was my fourth at Scout camp; one more and I would bea Junior Counselor. That summer was also the second I spent with
Jeanne-Marie LeBrecque. She was my best friend at camp. She was a year
and a half older and she was French; the real thing. She had actually beenborn in Paris. Her mother was a concert pianist who had remarried when
Jeanne-Marie was eleven. Her step-father worked for Agfafilm which,she told me, was sort of the Eastman Kodak Company of Germany. By
1933, he didn't much like what was going on in Germany. He had his
own reasons, according to Jeanne-Marie, which were okay for him, but
she didn't much share them. Because of them, he had persuaded hermother to send Jeanne-Marie to live with some relatives of his in Minnea-

98polis. She hated it, really, and she hated the relatives even more. Although she was fair enough to admit it was hardly their fault. But she
wasn't ready to admit it to them. I think she joined the Scouts and cameto camp to escape them.
Nobody at camp liked her too much. She was dark and beautiful in asurly, superior sort of way that I found went rather well with my attempts at ennui. When she attached herself to me, I didn't mind at all
because her bristling foreignness made me feel a little less like a fake.
Besides, she read a whole lot. Things I had at first found throughsuggestively vague and puzzling references in other reading. Things I
had bird-dogged for hours and finally flushed out of the cover of endlesscard files obscured in the thickets of the Minneapolis public library. A lotof the time, my searches would run down fading paths that ended
nowhere, or that veered off in to things like Natalie Barney being ambigu0usly transformed into a brokerage house in New York with international connections, and none whatever with her. For all of that, I was
pretty sure there was a whole lot more than loneliness to draw out of thewell.
At first, Jeanne-Marie would just smile in a half-secret, condescending
way when I told her about things like I guessed my wanting to Junior. Camp Counselor next year was not working too well with how I was
beginning to feel about helping little old women across streets andrunning useful errands for them. I wanted to help more than ever, but the
women were suddenly getting younger and certainly didn't need thatkind of attention. Whether there would ever be merit badges for what I
had in mind, however vaguely, Jeanne-Marie assured me was doubtful.
One terribly hot afternoon, all of us in camp were allowed to spend rest
hour out of doors instead of confined to our bunks in assigned cabins
which was the usual stricture. Obviously, during that time, we were
supposed to rest. Which meant sleep, or just staring at the roof of thecabin in an agony of compressed fitfulness, because reading or conversation was deemed inimical to rest and so, off-limits. Most of us sneaked
candy bars, made slingshots out of rubber bands and blasted wads oftinfoil out of gum wrappers at those pious enough to be lying in obedientrepose, hands penitently folded on their breasts. Or we sent notes of aconspiratorial nature from bunk to bunk through a chain of reliablehands. These usually had to do with speculation about Vera Utley's
menstrual periods, which seemed as endless as her satisfied talk aboutthem.
But Jeanne-Marie at rest hour would lie in her bunk and read, withchallenging arrogance, poetry in French. All of her books were in French,and since none of the counselors could read French and none of her books
had pictures, they didn't have a clue. So they left her alone. If an~o~e hadthought of taking them away from her out of prudence, SuspiClOn, .or
their own duplicitous curiosity, I doubt if they'd have gotten away WIth99

it. So, on that particular afternoon, Jeanne-Marie took one of her books
out of the bottom of her dufflebag and while everyone else in our cabinwent down to the lake shore, we walked off together to a small grove of
birch and poplar trees across the softball diamond.
There was a little clearing among the trees, covered with green sorrel
and white clover, and tiny pink and yellow flowers Scouts are supposed
to know the names of and I didn't. Jeanne-Marie flung herself down,
stretched out on her back, and turned her head and looked moodily at me
for a long moment as I sat cross-legged beside her. Then she put her arm
across her eyes, the book held loosely in her fingers. In the silence, I
brushed the clover with my hand, looking for a four-leaf wi thout finding
one. I wondered if she wanted to talk about something. Not because she
was silent; Jeanne-Marie was given to long silences she never felt obliged
to explain, and I had learned not to ask her to. I jus t felt she had somethingon her mind.
"What are you going to do? Just lie there and read that book?"
Without moving her arm away from her eyes, she smiled just a little,
the corners of her mouth moving in a way 1'd not noticed before.
''What would you do if I did? Go off someplace and do somethingforbidden and athletic?""No, of course not.""You'd rather stay here and do something forbidden."''What's that supposed to mean?""That I would rather you stayed." Jeanne-Marie opened the small
yellow paper book and began to read to me. She read in French and I
didn't know one word of it, but I felt I understood it all.
"Do you know what that means?" she asked.
"You know I don't."''Which means you think you do, doesn't it?" Jeanne-Marie turned thebook over, folded open on her chest and clasped her hands behind herhead. She raised her chin and squinted through the leaves overhead.
Like she was waiting for me to do something with my discomfort.
''Well, I do," I bluffed. "I mean I certainly understand some of it."
Jeanne-Marie put the book aside and sat up. She pulled ablossom from the clover and separated it carefully with her fingers
and began to suck the sweet nectar out between her teeth.
"If you do, why do you have this stupid crush on Larson?"''Well, that's why I do, isn't it?" I had no idea why I said that. It justcame. "Anyway, I don't. All I ever said is I think she's pretty neat. And
she's awfully nice looking, for your information.""Her looks are passe." Jeanne-Marie tossed the wilted clover blossom
aside. ''Which is something else you should know. For your information.
Besides, she makes me sick, running around in boots and riding breeches
100all day. With that scarf.""What's wrong with that?" As if! didn't know. People just didn't go
riding and then sit around in smelly riding clothes hoping it created theright effect. Nor did they wear them to give the impression they were into
all that when they were not.
"It's tacky," Jeanne-Marie said. "That's what's wrong with it. She's
not Vita West, after all."'Who?""Vita West. Virginia Woolf's lover." Jeanne-Marie smiled at me,
watching me intently, waiting while I bit into a sorrel leaf and the sudden
crisp, sweet and sour taste lingered while I tried to think of what to say.
No, Mrs. Larson wasn't Vita West. Nor anything else much.
''What you were reading just now. What is it?""Something from Renee Vivienne. A Woman Discovered Me.""It sounds so lovely. I mean the way you read it.""Actually, it isn't. Renee Vivienne led a wretched life. What there wasof it.""I guess I mean it sounds so lovely to be discovered by a woman."'1t is. That's why you deserve something better than Larson."
Jeanne-Marie had graciously given me a little breathing room withthat remark. She ran her hands through her tangled dark hair and a,ssumed at least some of her more usual air of casual boredom.
Relieved, I said, "That sounds like stuff my mother says." JeanneMarie raised an eyebrow at that, and I stumbled on in an imagined
sophistication. '''You should have friends your own age, dear.'""One's peers are only for sharing ignorance.""Is that what you think of me?"''There are exceptions. But I do think it is rather true. What can you
possibly learn from them?"'1'm learning a great deal from you."'Tm only giving you names for what you already know."'1 guess I can't imagine anyone having to do that for you.""There's always someone who does. That and more.""So there was someone for you.""There is now."
I just sat there without saying anything and sucked in a long breath offragrant, warm summer air. Everything I knew about how I felt, all ~edisparate bits and pieces I had read about fell into marvelous sh.ape likethe bright, hesitant patterns in a kaleidoscope The perfect des~gn was
revealed, and I stopped turning the tube against my eye, ag~nst mymind, satisfied. Wanting to know more, yet not ready to turn agam to the101next pattern where 1 wanted Jeanne-Marie to be standing; where hervoice was coming from.
"I would never tell anyone but you, Jessi. Her name, 1 mean. But 1
think you might know who she is. Frances Cash." Yes, 1 did. 1 had seen
her picture in the paper. 1 always found myself looking at pictures ofwomen like that; finding them so easily. Some sortof story about brilliant
law students at Minnesota. Standing there" leaning against her golf bag,one ankle crossed over the other, Frances Cash looked like she could havebeen Gary Cooper's twin sister. "She came to dinner at the house because
my uncle was trying to get her to join his law firm."'1s she going to do that?""No. Fran says she doesn' t want to practice that kind of law. Protecting corporations and all that. She wants to protect people; women especially, and getting laws changed that don't. You've a lot of those in thiscountry, too." Jeanne-Marie looked at me and 1 hoped 1 didn't look too
guilty, as though everything wrong with this country was something 1
was about to defend. Or had to.
'1s she a good lawyer?" Which was scarcely what 1 wanted to ask.
"I think she is. Fran likes to say she'll have to be if we go on together
much longer. But 1 keep telling her I'll be eighteen so soon she doesn't
need to worry about it."'Worry about what?"
Jeanne-Marie unwound herself from where she was sitting and wason her knees close in front of me, her back very straight. She put her handon the back of my neck, her fingers curling, moving just a little into myhair still cut and straggling like Tarzan of the Apes. Her eyes were moreclear and more green than 1 had ever seen them.
"About sleeping with me, that's what. About making love. Jessi,
dummy, please grow up." And she kissed me. Deep. Inside me. "Itreally isn't forbidden. When you read the right sorts of books." Shelaughed and kissed me again, as lightly as the touch of her laughter. "I
think this rest hour is about over, and 1 don't want to hear anybody
blowing that whistle on us. Come on."102

Karen J. Hall

Misdemeanor
for Radclyffe Hall (1886-1943)

Long after I have diedmisunderstood and alone,
long after my work
has gone out of print,
long after my bodyhas fallen in on itself,
my writing will live
on a shelf, forgotten.
A young woman
hiding in study
will find a dust-coveredbook with the last due datethirty-eight years old.
Intrigued by the title,
by my picture on the frontispieceand by the story I have left for her,
she will sign it out,take it home to sharewith her lover, her friends.
And though she may bean honest young woman,
let this be the first book she steals.

103

Meredith Rose

For a Limited TimeAn old man lies on the grass. He's not drunk or infirm, he's just trying
to have the best edged lawn in town. So he l'ies there every weekend, on
his side, in his khaki pants and plaid shirt and fisherman's cap with his
clippers in one hand and a basket in the other so he can deposit his grass
droppings in a convenient place. By the end of the summer he shouldhave no lawn left, just the gray dusty dirt that settles under the green
blades.
This wasn't the worst summer of my life, only the strangest. I never
had enough nerve to ask the man why he did it, why he worked so hardat destroying his own lawn, and I bit another nail as I walked past his
house and tried not to stare.
That was also the summer when I met the woman who had moved into
the red brick house behind me. When my face flushed hot as the July sun
as she called me over to her backyard to help her lift something, but she
called, "boy," not "girl," and I had to say my name loud and two times
over before she apologized and said, "You can't tell nothing from nothing these days." I helped her every now and then when she called myname, but the fondness I expected to develop was lost in my resentment.
This was the summer when everyone vowed to do something, but
only a handful of people actually did. When the popular attitude was tobe positive and the out of character response was despair. Bad wasn't"in." Apathy wasn't even "in." Good was. ButIwas immersed in a silent
fear, and without trying, I avoided all of these categories.
''No one's paranoid these days," my sister said as we ate lunch together
one afternoon. "What do you have to worry about?" But then paranoia
for her arrived only in the mail in the form of forgotten credit card charges
or temptations to purchase the entire works of Beethoven.
I knew what her response would be before I even told her all of mycurrent perceptions. She was a good sounding board, but always said
"walk" when I was shouting "run." I appreciated her pragmatism andleft our talks filled with the urge to feel better. Right now I was screaming"dig" while she was whispering "roll." A roll would have been a relief.
I imagined a gently sloping hill covered with clover and wild blue phlox.
Tall grass blew in the warm breeze. I lay down on my side on the top of
this hill and pushed myself off. Before long I was at the bottom, a little
dizzy and out of line, but farther along. You already know what happens
when you try to dig your way somewhere, dirty fingernails are the leastof the effort.
But this feeling I had, this fear, was something my sister couldn't
104

understand. It wasn't that she was insensitive, but only that her approach was different than mine. For her, in order to feel something it had
to sound nice to begin with. I remember one time we were having one of
our few discussions about sex and she said if the word "masturbation"
didn't sound so awful she'd probably do it more often. We were different, but she tried to help in her own way.
Part of what made this summer so strange was my location. It seemed
as if I was living in a foreign country. This made no sense because I had
been born and raised an American. Except for an ethnic identity thatplaced me in a three percentile category and a sexuality that removed mefrom around ninety percent of the population, there was no reason to feelon edge.
My friend, Sandy, said she had the answer to my feeling of alienation.
All I had to do was buy a plane ticket and go to some strange land. Let
me see for myself what was foreign and what was home. She brings thisup as we are lying in bed, the type of Saturday morning when two womenare naked and taking the time to talk to each other. A piece of morning
sunlight rests on her shoulder as she props herself up on one elbow. Herbangs are masking her eyes. One of them is brown like her hair, the othergreen, shades lighter than the old man's lawn. I see myself in her iris andregret that I do~' t feel like kissing her.
Instead, I tell her about the man and his lawn, how he's out there every
weekend, destroying his beautiful carpet of grass.
''This is what's making you upset?""I suppose there should be more," I answer.
"How about this," and Sandy offers me her theory on the Big Bang.
"There was this world before us made up of all the same stuff this earth
is made of-trees and rocks and water and stuff. All different types ofsocieties Iived on this planet with their own systems of government. But
it was all basically the same as now-fighting, pollution, nuclear doodahs. So one day abigwar started. Bang,theworldwas blown up. Poof,it was gone, but that big bang was the beginning of our present life cycle.
This is going to happen forever and ever. Life based on death on the
primary level."I told her I felt much better after hearing this and then we did kiss andI had no regrets.
I was working that summer, trying to save up money to see how highthe number could go on the piece of paper the bank sent me eve:y month.
It was a new job. I could never keep the old ones because theIr old nesswould creep up on me and then it would be time to change. Also, I neverreally knew what I wanted to do so I kept trying different things. I knew
what I wanted to be when I grew up, but not what to do. I wanted to behealthy. In this way, my career choices, were limited. There was thatspace on the resume, after the heading "Education," where I was sup-105

posed to say what my goals were, my aspirations. I would tuck "healthy"
right in that space and there weren't many positions available.
This job wasn't so bad. Someone paid me to collect money at the toll
bridge. I wore a khaki colored uniform with an ominous looking hat
placed on my head. The brim was shiny black patent leather with fancy
silver braid thrown across it. I worked Tuesday through Saturday. Everyweek I'd get a different eight hour shift. During the early part of thesummer something vaguely familiar and uncomfortably odd happened.
It was near the end of my shift, around three a.m. and I was trying to concentrate on my work. I had to. I just couldn't sit there and hand outchange. Always I was watching for some drunk driver to plow into thetoll booth or a speed demon who would try to zoom by without paying
and run over the little wooden crossing gate. But three a.m. was a slow
time. I was thinking about that old man and wondering if he knew he wasruining his lawn or if he thought he was ennancing it. A car pulled in andI handed the driver his change and he said, 'Wait a minute, son, I gave
you a ten." I didn't know what to do. I didn't know if I should tell him
I was really a daughter or ignore his mistake and spare both of us the embarrassment. I felt slandered. I handed him some more money andglared. He looked at me for two extra seconds and drove off. I wasn't
sure if he saw what he expected to see or if my hair was too short.
"You're too gray," Sandy said. We were in bed again. This was the one
place, where in a physical way, we fully understood each other. Ourbodies spoke the truth. Sandy thought this understanding extended
equally as far into our psyches, but she was wrong. She had just finishedproving that I really was a woman and all those people out there were
mistaken. "You're much too subtle for this culture. Everything in thiscountry is predicated on the obvious. Obvious is 'in.' Subtle is 'out' andyou're too fuzzy around the edges."''I'm not well defined," I suggested.
"Let's just say you're veiled and whateverremains veiled is tossed out
as not being black or white. In this country, gray is against the law. It's
not like some other places I've heard about where gray is a national
pastime. There are countries where people engage in gray to the point ofchaos and that is still regarded as an acceptable social order, but this is notthat place."
My sister agreed that I was too gray, but again she missed the point.
She insisted we go shopping together and she would help me find theright thing to wear - bold, brave colors that brought out the real me.
Bold is "in" she told me.
"1 don't want to be 'in.'""It's jus t an expression," she said as she handed me something in dayglo orange to go with the neon green shirt I had just purchased.
Later that evening I got dressed up in my new clothes and went overto Sandy's house. We were going out to see a foreign film.

106Since I couldn't leave the country, she thought this would be the next
best thing. All through the movie she kept nudging me when importantscenes flickered on the screen. Afterwards we went out for coffee anddoughnuts.
"Did you see how they drank their coffee out of a bowl? Would you
want to do that? And all those men wearing white socks and smart black
shoes and driving motor scooters allover the place. That's what it means
to live in a foreign country."''What about the women that walked arm-in-arm on the sidewalks inthe middle of the day?" I asked.
''They have to walk like that so as to appear unavailable.""But didn't they seem to enjoy life, get the most out of it?""You can do that here. We've got baseball and free speech and gay
rights. Do you think those women could walk down the street like that
if they were queer? Hell no."''We can do that here?""If we wanted to, in certain cities, maybe not this one."
I took her hand and brought it to my lips but she pulled away and said,''What's wrong with baseball and free speech?"On the way home I told her I wanted to pick up some art supplies, so
we stopped by the grocery store. I bought a can of soda, a chicken pot pie
and a box of those little paper towels that stay damp forever as long as
you don't open the package. The next day I poured the soda in a glasswith some rum and drank it. The cats ate the chicken pot pie. I emptied
all the packets out of the box of paper towels. I cut a hole in each one ofthem large enough for my finger to fit inside. Next I marked the date on
the outside of the packages and set them on the kitchen table. I planned
to test the dampness of the contents and see how long it took for the little
paper towels to dry out. Then I glued all the containers to a wooden
board and painted on it "Offer Good For A Limited Time Only." This wasto be my new morning prayer. Each day when I woke up and went into
the kitchen I would know what the boundaries were.
Throughout that strange summer my limits expanded. At first they
were confined to the kitchen, but as the weeks went by the lines became
jagged and stretched. On television, in the grocery stores and gas s ta tions
offers were being made for a limited time only. I was able to travel more
freely throughout the city and know that I was in my own territory. This
made everything easier except for the comer house where the old man
lived and that occasional person who insisted on calling me "sir."
My sister noticed a change. She said I seemed calmer and thought it
was due to her saying "walk" all the time, but she was mistaken. Underneath it all was a quiet panic. If the offer was good for a limited time only,that could only mean an eventual end. I could wear all the bright colors
in the world and still the offer would end.
107

"Everything ends," Sandy said matter-of-factly one evening. "Thenature of life is death.""I've heard this theory before," I mumbled into the pillows.
''Well then what do you want from me?""One more kiss.""One more kiss, one more kiss. That's all you ever want," she said withan edge of desperation in her voice.
''What else is there?"''We could live together for one thing."
I sighed the heavy sigh that meant everything except what Sandy
wanted to hear. Our si tuation contributed to those alien summer months.
When Sandy and I were just friends I would always tell her who I was
sleeping with and it was always my bedrQom wall. I learned to curl up
right next to its coolness and feel the silent pressure on my arm or my ass.
I knew that any night I didn't want to be alone I could be with my wall.
At the end of spring Sandy offered to help. She suggested that I sleep
with her or us together-some combination that would put us together
during the darker hours. It was not a question of saying yes, but of notsaying no. I slid into this arrangement that went from weeks to months
to her final suggestion of temporary permanency. The nature of therelationship was open ended and was a sore point between us.
''We could just try it out. That's all I'm asking," Sandy persisted.
"But I don't want to. After we love each other we live together andafter we live together we leave each other. So now we only love eachother but at least it's the best of the three choices.""Maybe for you. I don't even know what we are."''We're friends with a twist," I said trying to comfort her.
Sandy stood up and walked over to the window. A light breeze blew
at the curtain and brought in the smells of summer night and jasmine.
"You're so nonchalant about it all," Sandy said. "I'm the only surething you have in your life right now. You're looking at dependability.""I'm looking at dependency." I got out of bed, stood behind her wrapping my arms around her body. "One more kiss," I said softly. "Onemore nonchalant kiss." At least this was something we both agreed on.
The summer travelled past my life with no answers and no explanations. At a party I met a man who was studying to be a foreign war correspondent. His confidence emanated from the worldwide knowledge
that there would always be a war waging somewhere. He felt secure in
his marketability. Meanwhile, the newspapers proclaimed that this was
the year to be American, a nationality every other person in the world
either strived to attain or denigrated out of jealousy. I was part of thestrongest nation in the world and we were peaceful and loving and fullof wrath just like god used to be.

108All the cheering and free giveaways on the radio and all those offersthat were good for a limited time only were a magical spell. The country
ran around buying everything in sight for fear the shelves might beempty one day. People went to work and didn't bother to vote with theconviction that if one does the same thing every day then it will lastforever. The machine was working overtime, but that's not what madethe sweat form above my lip. I wasn't a cog in this machine. I was on theoutside, veiled, staring in with my mouth agape. I didn't feel caught up
in the swirl and false hope of Madison Avenue. There was something else
tugging at my sleeve-that old man and his lawn.
In the middle of August I vowed to ask him the question. I decided
that before summer ended I would just walk up to him one Sunday when
he was out in front of his house and ask. The worst that could happen is
he would snarl at me and maybe threaten me with his garden clippers.
Just knowing I was going to do this put my mind at ease. During work
my thoughts turned from the old man to that hill, yellow sweet cloverand crimson clover blanketing its gentle slope. Me on top on my side,
wearing loose shorts and a soft shirt, no shoes. The sun shone and thewind blew. With a steady movement from side to side I would roll mybody over and spin away.
The last couple of weekends in August I didn't see the old man at all.
The grass was overtaking the bare gray patches of dirt and reclaiming its
rightful place. Instead of the man I saw an old woman who walked
slowly down the front walk, using a silver colored walker to help her
make her way to the empty mailbox and back again. I stood on the
opposite side of the street and watched her, not wanting to get too close
for fear she would want my help, and mistake my sex, at the same time.
Summer would be over soon and I looked for the man every day now.
I made sure I drove or walked by his house once a day. It wasn' t hard to
imagine him dead. The natural state of affairs as Sandy would say. His
clippers and basket would collect dust in the garage. His clothes would
be folded neatly in his bureau. The woman who walked with a personal
pain would punish herself for not dying first. Now he's dead, I thought.
Now I'll feel better not having to think about this guy and his weekend
recreation. But even though I never saw the man clip the edges of hislawn again, I remembered that he had. And just as he had departed I felt
other things leaving too.
My job was getting dull and routine. Eight hours a day handing out
change and listening to the radio. My sister wanted me to stick with it,
check out opportunities for advancement. But! didn't want to travel up.
Even the thought of rolling down that hill became distant.
"This is your third job this year," she said in bewilderment. "No
wonder you don't feel stable.""1 never said I wasn't stable. I said I was afraid, and that was months
ago."
109

"But you didn't even know what you were afraid of. It's obvious thata lack of job securi ty has you on edge. This is a common symptom of theunderemployed."
I didn't consider myself underemployed. That implied a better andmore satisfying job awaited me somewhere, somehow. I wanted to behealthy for a living; therefore I considered myself unemployable andtherefore every job I got was a bonus and earned me a gold star on mykitchen calendar. Now I was bored at work and that was unhealthy so
it was time for a change.
Sandy also marveled at my desultory career changes. She was interested in stability these days, our stability, and was frightened by any
movement on my part. She wanted a guarantee. During one of the lasttimes we would be in bed together, I reminded her about my morning
prayer.
"You can convert to a different religion," she said. "You don't have tobelieve in a limited time only.""But I got that philosophy from you. You' re the one that's always
saying everything changes with time. Death after life. Entropy. The
universe falling in on itself."''That's different and you know it. We can' t control nature but we cancontrol ourselves.""You want me to say I'll love you for ever and ever.""I just want you to say you love me."I knew I didn't which made the words more difficult to say, but I told
her what she wanted to hear so her world wouldn't change too quickly.
The summer was almost over and the image of my gently sloping hill
was replaced with a different imagining. This was a picture of an endlessnight in any of three summer months. My lover was leaning over me
kissing my hair and lips and throat. I was carried away by these movements, taken to a land of pure physical pleasure. And at the same timethat I was watching this occur we both smiled at each other with looks
that could turn on the kitchen stove. This summer night was repeated in
the daytime also, for a limited number of weeks. Of course the offer was
limited, as part of a national heritage it had to be. When it expired, I
feared I might also, but instead I had a sorrowful summer and wondered
why an old man destroyed what he so tenderly raised up.

110

Ann Hutchinson

The Intensity of Our Loving
I've kissed you
like a carrot from the ground,fall-thickened and heavy,clayed-earth still clinging.
Crisp carrot bites I've kissed
all up and down your thighs.
Bright eyed caresses you've given
over smooth ridges of skin,
skin like the surface of a carrot
filtering everything: pesticides
manure decay, to make into foodfor the next growing.
I remember being a carrot,of sure steady orange with
two or three sturdy legs or odd
curvings from growing 'round rocks,
occasionally straight and narrowthin enough to be packaged
eight to a bag to the pound.
I remember being a carrot
with you,the steady orange burning of
my cunt growing against thesolid of your side;
you, dark warm clay, wrappedaround and through the curvingsof me rooting into you.
The force of my plant curving
against the giving of your stone.
The intensity of our loving
unearthedlike a carrot from the groundpacked in sandoverwinters in root cellars
brings spring sprouting
curving 'roundfor the next growing.
111

Michal Brody

Transit Waltz
On the wall of her bedroom hangs a silver-framed photo
Of a large, smiling woman running next to a bus.
And from all the bus windows there are many hands waving,
And it's signed on the bottom, "With love from all of us."
-CHORUSOh, cry for us, dance for us
Jump and sing chants for us,
Centuries pass with noMore than romance for us.
Cry for us, dance for us,
Keep making plans for us,
It's starting to look like
There's a pretty good chance for us now.
I opened the icebox. There was nothing much in it,
But a crumpled-up brown paper bag caught my eye.
Inside was a carton of milk and a mango,
And a note signed "Love, Mom" that said ''Eat well. Goodbye."Oh, die for us, live for us,
What will you give for us,
Jungle and desert us,
Ocean and river us.
Save and deliver us,
Some are carniverous,
Rumble your mountains, andCome on and quiver us now.
We went for a ride in her shiny new Plymouth,
But the headpipe fell off and she started to cuss.
Inside I was choking, my heart it was broken,
But I looked down the road and saw, here comes the bus.
Oh, dance for us, sing for us,
Round in a ring for us,
Boxes and straight lines, they
Don't do a thing for us.
Glide on the wing for us,
What did you bring for us,
Exquisite autumns, and tender green springs for us.
-REPEAT FIRST CHORUS112

very sing song...

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11I
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©1987 Michal Brody

113

Revievv ____________________________________________

Borderlands/La Frontera: The New Mestiza
by Gloria Anzaldua (Spinsters/Aunt Lute, 1987. $8.95.)
This book is a map of Gloria Anzald~a's odyssey, her becoming:

mestiza, curandera, writer, resident of la frontera . It is a chronicle of the individual specific woman, the tejana/ chicana/ dyke/ bruja/poet, and all
she is linked to by those identities. Gloria shows us the struggle, thetension between the one and the whole. And how to make art from that.
As she says in "Cihuatlyotl, Woman Alone": ''1 remain who I am, multiple and one . . . of the herd, yet not of it."Also, this book contributes to the tradition exemplified by This Bridge
Called My Back, which Gloria co-edited. Both books provide instruction
to women seeking to unlearn racism and classism. ''We need you to
accept the fact that Chicanos are different, to acknowledge your rejection
and negation of us. We need you to own the fact that you looked upon
us as less than human, that you stole our lands, our personhood, our selfrespect." Gloria's words expose the brutality of poverty, of prejudice.
This is particularly true of the poems in the first and second sections("Mas antes en los ranchos" and "La P&dida"). The order of the poems in
the first section is very effective, beginning with three stories of la gente(although one suspects the "Prieta" of "Cervicide" is Gloria herself) to
the overtly autobiographical "Immaculate Inviolate: Como Ella." Thereand in "Nopalitos" we are shown Gloria's otherness within her biologicalfamily.
In "La P&dida," the stories presented in "El sonavabitche" and ''We Call
Them Greasers" are unforgettable. The first is Gloria's recollection of anevent from her past, triggered by a sight caught from the window of a car.
In ''We Call Them Greasers" she assumes a male Anglo persona andmakes undeniable the connection between imperialism and rape, theinvasion of the land, of woman's body. Between these two devastatingly
powerful poems, "A Sea of Cabbages" gets lost; it isn't strong enough tohold its own.
The poetry section is preceded by a footnoted prose section called"Atravesando Fronteras/Crossing Borders." (The footnotes were so fascinating, I found myself frustrated when they were occasionally out oforder or missing altogether. I hope this will be rectified through editing
a second edition.)In the first chapter, ''The Homeland, Atzlan," Gloria explains how formestiza/os who came North to the U.S. Southwest as porters for theconquistadores and for contemporary mestiza/ os who come North toescape starvation the journey is actually a return to the homeland, toAtzlan. Gloria demonstrates how history shapes us, how injustice injures us.
114

Gloria reveals her personal iconography, and how she makes art of her
pain, her explorations. In the chapter "The Coatlicue State," she describes
the darkness, the inertia, from which the words emerge. (Coatlicue"Serpent Skirt"- is a Mesoamerican creator-destroyer goddess, precursor of Our Lady of Guadalupe.) Gloria writes, "As the Earth, she opens
and swallows us, plunging us into the underworld, where the soul resides, allowing us to dwell in darkness." Gloria returns to this theme
again and again. She tells of being"Alone with the presence in the room"
and in "Canci6n de la diosa de la noche" she writes, "1 seek la diosa/ darkly
awesome. / In love with my own kind, / I know you and inspirit you. Allothers flee from me."
It is not only the others but Gloria herself who is tempted to flee,
though compelled to stay. In "Creature of Darkness" she spells out thetension of this ambivalence: '1 want to sit here and pick at these scabs/
watch the blood flow. lick the salt from my face,/ while all the time/ apart of me cries Stop Stop / Behind that voice/ shadows snicker / No welike it here in the dark/ we like sitting here with our grief." The poem
ends: "a creature afraid of the dark/ a creature at home in the dark." Andas further exploration of this territory, the sweet compulsion of picking
injury, picking the scabs, making poems from the blood found there, shewrites, ''Wounding is a deeper healing" and "jumping off cliffs/ an
addiction" ("Poets have strange eating habits").
In order to be able to write, Gloria must not only invoke the Coatlicue
state, but, having lived her entire life subjected to what she calls "linguistic terrorism," must continuously assert the legitimacy of her languages.
Language is central to identity: "For some of us, language is a homelandcloser than the Southwest."
In the chapter "Tlilli/Tlapalli: The Path of the Red and Black Ink,"
Gloria names writing as shape-changing and describes its transformative powers: "I write the myths in me, the myths I am, the myths I want
to become."
This is lonely work, this shape-changing. Gloria makes poetry of thehard truth of this solitude, this separated core in each of us, and of the
futility of our desire to be rescued. In "Letting Go" she says, "No one's
going to storm/ the castle walls nor / kiss awake your birth/ climb down
your hair / nor mount you/ on the white steed . . . There is no one who/
will feed the yearning/ Face it. You will have/ to do, do it yourself."
Interestingly, the closest thing to a love poem in the book is written toa spirit. It is a marvelous poem, describing what it feels like to love
someone discorporate who, through the course of their "affair" acquires
a body. Many of the phrases are lush and lyrical: ''What does it feel like,she asked/ to inhabit flesh," "a smell between candles and skin," and '1
wanted no food no water nothing/ just her-pure light sound insideme."
In general, I find the narrative poems such as "horse" and "Nopalitos"
115

more successful than poems such as "The Cannibal's Canci6n," in which
metaphors are developed to elucidate a point about the "we" being
described. Gloria is a wonderful storyteller and I like best her poems thattell specific stories.
Gloria takes what is given and turns it upside down, throwing away
what does not further her/us, re-combining what is left with what she
has unearthed, synergistically layering mortar with brick, blood withink. I look forward to maps of her future journeys.
For now, I delight in the new/old ways of knowing that she reveals,
and in her naming of the common ground. This "tolerance for ambiguity," this delight in contradictions is how we mongrel queers survive, towrite and write again. As she says in "To live in the Borderlands meansyou": "Cuando vives en la frontera/ people walk through you, the wind
steals your voice ... (I)n the Borderlands you are the battle ground/
where enemies are kin to each other ... You are wounded, lost in action/dead, fighting back ... To survive the Borderlands/ you must live sin
fronteras/ be a crossroads."-Barbara Ruth

Books Received ___________________________________
Sinister Wisdom makes a special effort to support the work of the
independent lesbian and women's presses. Unfortunately we can't review all the new releases, but we would like to draw your attention
especially to the following:out here flying, lesbian poetry by Jan Hardy, $3.95, Sidewalk Revolution
Press, P.O. Box 9062, Pittsburgh, PA 15224.
To Live With The Weeds, lesbian poetry by D.A. Clarke, $7.00, Her Books,
P.O. Box 7467, Santa Cruz, CA 9506l.
Awakening, An Almanac of Lesbian Lore and Vision, by Nett Hart, Lee
Lanning and others, $6.95, Word Weavers, Box 8742, Minn., MN 55408.
It's Time, a novel of an "alternate reality set in the here and now," by Jana
Bluejay, $7.95, Tough Dove Books, Box 548, Little River, CA 95456.
Different Daughters: A Book by Mothers of Lesbians, edited by Louise Rafkin,$8.95, Cleis Press, P.O. Box 8933, Pittsburgh, P A 1522l.
Sex Work, Writings by women in the sex industry, edited by Frederique
Delacoste and Priscilla Alexander, $10.95, also from Cleis Press.
Shoulders, A lesbian novel by Georgia Cotrell, $8.95, Firebrand Books, 141
The Commons, Ithaca, NY 14850.
The Threshing Floor, short stories about the lives of Black women in
England by Barbara Burford, $7.95, also from Firebrand.
116Sanctuary, A Journey of a member of Witness for Peace captured by theContras in Nicaragua in 1985, by Judith McDaniel, $7.95, from Firebrand.
Look Under the Hawthorn, a novel of a stonedyke's search for her daughter
by Ellen Frye, $7.95, New Victoria, Box 27, Norwich, VT 05055.
Runway at Eland Springs, a novel set in the 1930's in East Africa by ReBecca
Beguin, $7.95, also from New Victoria Publishers.
Radical Feminsts of Heterodoxy, Greenwich Village 1912-1940, history of theclub for "unorthodox women," by Judith Schwarz, $8.95, New Victoria.
Searching for Spring, lesbian novel of incest recovery and love by Patricia
A. Murphy, $8.95, The Naiad Press, PO Box 10543, Tallahassee, FL 32302.
Memory Board, life-long lesbian couple deals with one's loss of memory,the other's brother, by Jane Rule, $8.95, The Naiad Press.
The Always Anonymous Beast, lesbian mystery set in Victoria, Canada byLauren Wright Douglas, $8.95, The Naiad Press.
Dreams and Swords, lesbianshort stories of mystery and speculationby
Katherine V. Forrest, $8.95, The Naiad Press.
Dusty's Queen of Hearts Diner, homophobia in 1972 threatens Dusty's
diner and relationship, by Lee Lynch, $8.95, The Naiad Press.
Going Out o(Our Minds: The Metaphysics of Liberation, by Sonia Johnson,$10.95, The Crossing Press, Freedom, CA 95019.
Long Time Passing: Lives of Older Lesbians, edited by Marcy Adleman,
Ph.D., $7.95, Alyson Publications, 40 Plympton St., Boston, MA 02118.
Naiad has also republishedAnnAllen Shockley's three books, and wewill run a review of them by SDiane Bogus in SW #35.
This listing does not necessarily imply editorial endorsement.

Correction
Sinister Wisdom regrets a misprint in Vickie Sears' poem, "On Father's
Death" inSW 32. On page 45, the last line should read "Shadow shatteredsplendor." The last three stanzas, then, read:
Irene poked at remembering with"He left you this."holding out his fountain pen.
Shadow shattered splendor
I never cried for my father.
I just hit the ball in twelve-year sun
and ran.
We also apologize for the incorrect spelling of Vickie Sears' name in
the Table of Contents of SW #32.

117

Contributors' Notes ____________
Gloria Evangelina Anzaldua: I am a Chicana-tejana-Iesbian-anarchistfeminist who loves to write. My problem is there are not enough hours
in the day. Right now I'm soliciting material for De las otras/de los otros: A
collection of writing and art by lesbian and gay Chicanos. I'm also working on
Entreguerras/Entremundos, a book of stories mentioned in my essay.
Borderlands/La Frontera, a book of essays and poems came out in July.
Cleve Boutell is a begun-again writer and a positive, happily out lesbianliving in Southern California. After spending twenty-two years working
for a publishing company getting other people's stuff into print, I'm now
seriously concentrating on my own. One story and a novel excerpt were
published a long time ago. I'm currently working on another novel.
Michal Brody lives in Chicago (her kind of town) and works in a
printshop as an engraver. She is currently writing a novel (slow going),
and collecting recipes for Five Fish Salad. Please send her yours c/o thismagazine.
Paula Brooks is studying Psychology and Creative Writing at the University of Tennessee. She lives in Knoxville with two persian cats. "Asidefrom the expected joy of being published for the first time, I'm especiallyeuphoric at the idea of being read by a lesbian-feminist audience. It has
always been my desire to write for my sisters."
Sandra Butler and Barbara Rosenblum are currently working on theirbook, "Cancer in Two Voices," from which this excerpt is taken. They arelife partners, colleagues and collaborators.
Chyrstos: Born in San Francisco, 1946. Continuing work with Big Mountain support. My relationships keep me going - a particular thanks to Vi
Haskell, Dian Million & Amanda White who make it so much easier tobe a Native Dyke. Press Gang of Canada will be publishing a collectionof my work called Not Vanishing.
Lynn Crawford is a poet and clinical social worker. She practices in SF
and at the Iris Project, a multi-cultural women's drug and alcohol
recovery program. Her work has been featured previously in Sinister
Wisdom #21 and #32, Broadside (A Canadian Women's Publication), The San
Francisco Bay Guardian, and at local readings in San Francisco and Ann
Arbor, Michigan, her former home.
Cathy Czapla: Born 1950, fat (like in huge), part-Abenaki native person.
Born and raised in Rutland County, Vermont. Recent chapbook, Abenaki
Ghosts, from Blue Cloud Quarterly. Now customer services representative
for a wood stove manufacturer.
Max Dashu teaches women's history freelance via her Suppressed Histories Slide Series. She writes, draws and paints in Oakland, California.
118

Patricia Filipowska was born in Iowa, studied art under Moholy-N agy in
Chicago (this will date me), lives in Lexington, MA. Her poems haveappeared, or will soon appear, in Sandscript, The Christian Science Monitor,
Radcliffe Quarterly, The Worcester Review, Farmer's Market and Poet andCritic.
Winn Gilmore: I am an inveterate lover of language, martial arts, travel,
music, and fishing. Having grown up in a house full of Black women in
the American South, I continue to explore life's dichotomies, ironies, andsubtleties in my writing. After graduating from Smith College, I moved
to California, where I continue writing short stories, erotica, sci fi, andessays.
Karen J. Hall is a recent graduate of Denison University. She has been
writing poetry for many years and is very pleased her work is beginning
to reach the community which inspires it.
Jan Hardy believes that honest poetry can do more than crystals, aspirin,
and therapy put together. Her new chapbook, out here flying, is available
from Sidewalk Revolution Press, P.O. Box 9062, Pittsburgh PA 15224.
Grace Harwood is a recovering lover who lives in Oakland, CA. Her
photographic images are available through WomanCrafts West on
Valencia St: in S.F. Her short fiction and poems have appeared inpublications as diverse as Bridges, Chrysalis, Christopher Street, Feldspar
Prize Stories, Paragraph, and Zyzzyva; her interviews and opinions regarding contemporary feminist fiction are often found in Mama Bears
News & Notes and in The Bay Area Women's News.
Nancy Humphreys: I am a recent transplant to the Bay Area, a joyfulplace for me. I write to make myself and other women more aware of theimportance of our lives. My thanks to Mary O'Sullivan and the womenin Sandy Boucher's writing group for helping me to shape this story.
Ann Hutchinson: I live in Maine, the state I was born in. I was born adaughter to a family of three daughters, to a mother with three sisters, toa father the only and youngest son in a family of three daughters. I'mfond of country music, cilantro, and the words of women in laundromats.
Melanie Kaye/Kantrowitz was editor and publisher of Sinister Wisdom,
1983-87. With Irena Klepfisz, she co-edited and co-publishedThe Tribeof Dina: A Jewish Women's Anthology (available from SW Books, POB
1308sw, Montpelier, VT 05602 $9.95 + 1.25 P /h). In the 70s she worked in
the movement to stop violence against women. ''War Stories, 197-" isfrom a new collection of stories entitled Some Pieces of Jewish Left·
Jasmine Marah, eclectic eccentric.
Judy Meiksin is an MFA candidate at the University of Pittsburgh andteaches composition writing. She designed a poetry workshop for
women and her next project is to design a literature course on 19thcentury women poets. She also loves raising her 21/2 year old daughter.
119Sawnie Morris lives in Taos, New Mexico and is currently at work on acollection of poems and short stories.
Sudie Rakusin: I am a lesbian, a Jew, a painter, 39, an Aries with 5 otherplanets in Fire .. .live in the woods with my 3 dog companions ... paint anddraw whenever I can, giving back to the goddess what I have been given.
Adrienne Rich is living and writing in Santa Cruz, California, teaching
part-time at Stanford, and is on the National Steering Committee of New
Jewish Agenda as one of two open lesbians elected at-large.
Rose Romano: The theme of "Not to be Trusted" is Silence- as is thetheme of the first issue of La Bella Figura (see ad on p. 121). Because of ourSilence, in part a defense against prejudice, Italian-American women are
suffocating in white male misinterpretation while our culture is destroyed by assimilation. I hope that La Bella"Figura will provide a place for
us to preserve our stories while helping others to understand. My mostrecently published work is a poem, "Family Reunion," about ItalianAmericans, in Footwork. I've also had work in Common Lives, Earth's
Daughters, Home Planet News, and the last two issues of Sinister Wisdom.
Meredith Rose: I am a transplanted Southerner living in the cold North.
I write short stories and am working on a book. A couple of my stories
have appeared in Common Lives/Lesbian Lives. I try to write for fun.
Barbara Ruth is a warrior and a peace maker, a dream weaver and a rank
opportunist. Although broken in body, heart and mind, she fully intends
to survive to struggle another day and love another dyke.
Teya Schaffer is holding on to her wisdom while getting educated.
Anita Schriver is a photographer and a special education teacher living
in Oakland, California.
Susan Stinson is a fat lesbian who has been reading about how the lungs
work because of the importance of breathing. She often goes about thingsin this way. Her writing will be in upcoming issues of Common Lives/
Lesbian Lives, Heresies, Yellow Silk and others. She lives in Boston.
Margaret Tongue: I am alive and writing in Michigan, finding my own
voice at last. Have published in such places as Poetry, Kenyon Review,
Hiram Poetry Review, Vassar Review, Stone Country, etc. About a thousand
years ago I was a Robert Frost Fellow at Breadloaf.
Leslita Williams was born & raised in north Florida swamps by a familyof possums. She's the author of Hidden in This Picture, poetry, and amember of the Websters writers group in Atlanta. She lives with 2 dogs
and she's an herbalist, a separatist, and has an odd sense of humour.

120

- - - - - - Announcements and Classified Ads
CALLS FOR SUBMISSION
la bella figura Finally, a literary journal devoted exclusively to Italian-American
women, with a special welcome for Lesbians. If you're an Italian-American
woman wondering why your work is so often rejected, or if you're anyone
wondering why you so rarely come across poetry, fiction, non-fiction, and art
work by Italian-American women, send SASE for writers/ artist's guidelines
and subscription information to: Rose Romano, P.O. Box 411223, SF, CA 941411223.

Submissions sought for an anthology of short stories by women to be publishedin 1988 by Cleis Press. Theme: Unholy Alliances - how people interact, collide,make connections across differences of lifestyle, race, sex, politicS, etc. Louise
Rafkin, 10441 / 2 53rd St., Oakland, CA 94608. Deadline: December 31,1987.
Lesbian Bedtime Stories are wanted for book of same name already guaranteedpublication. Although all topics are welcome, we want quality fiction or first
person non-fiction stories that inspire our sisters and offer them empowering
visions for a good night's sleep. Payment in copies at least. Write it down! Send
to Bluejay, Tough Dove Books, Box 528, Little River, CA 95456.

For an anthology on women and their relationships with other animals (earthly,
imaginary, extraterrestrial & otherwise), we are seeking short stories, poems,
non-fiction articles & graphiCS in a diversity of styles, lengths, genres, points ofview, etc. Deadline: 12/31 / 87. Guidelines for SASE from Theresa Corrigan, 2224
J St., Sacramento, CA, 95816 or Stephanie T. Hoppe, 612 West Standley, Ukiah,
CA95482.
Submissions are being soughtfor an anthology about the experiences oflesbians
whose sexual assault or attempted sexual assault by men was motivated byanti-lesbian sentiment. By recognizing this extreme form of violence, the anthology seeks to empower survivors and expose the extent to which our homophobic
society condones crimes against lesbians. We welcome short stories, journal
entries, poetry, political analysis, and essays. Selections will be published anonymousl y upon request, but a name and address must accompany all submissions.
Deadline: March 1, 1988. Send to: Sharon Vardatira, Box 2304, Harvard Sq.
Station, Cambridge, MA 02238.
HURRICANE ALICE: A FEMINIST QUARTERLY publishes essays, re-views,
creative prose, autobiographical excerpts, and the occasional poem. Upcoming
Issues: Women and Violence-Victims, perpetrators, violence against the self,
resistance. Deadline: Jan. 15, 1988. In Honor ofMeridel LeSueur (Fifth Anniv. Issue)-Appreciations of her work, original contributions in her spirit. Deadline: April
1, 1988. SASE to: 207 Lind Hall, 207 Church Street SE, Minneapolis, MN 55455.
Lesbians who have relinquished children for adoption - including intrafamily adoption. Contrary to what most of us were told, the effects of surrendering a child for adoption are life-long and negative. This book is for the articulationof our experience. Send manuscripts, queries, and SASE to: Natural Mothers'
Publishing Project; P.O. Box 146401, SF, CA 94114.

121

There's Something I've Been Meaning to Tell You - an anthology on lesbian andgay parents explaining their sexual orientation to their child(ren), is looking forsubmissions from anyone who has had any significant child-raising interaction
around this issue. They are especially interested in configurations that are notexclusively white, middle class and upwardly mobile. Send submissions andinquiries to Loralee MacPike, P.O. Box 6369, Alt~dena, CA 9100l.

THE NAIAD PRESS is looking for several full length lesbian science fiction
novels. They want an intelligent balance between the fields of interest, notpseudo science fiction nor tacked on lesbian characters. Contact Barbara Grier,
P.O. Box 10543, Tallahassee, FL 32302.
The National Women's Studies Association announces NWSA Quarterly Journal, a new interdisciplinary, multi-cultural, feminist journal. They are soliciting
scholarly articles of interest to women's studies researchers, teachers, and others
involved with feminist concerns. For more info-rmation, write: MaryJo Wagner,
Editor, NWSA Quarterly Journal, Center for Women's Studies, 207 Dulles Hall,
230 West 17th Avenue, Ohio State Univ., Columbus, OH 4320l.
The APA Committee on the Status of Women announces the FEMINISM AND
PHILOSOPHY NEWSLETTER. They are interested in literature overviews,
book reviews, suggestions for curriculum revisions or transformations, discussion of feminist pedagogical methods, and so on. Manuscripts and other inquiries should be sent to: Nancy Tuana, Editor, Arts and Humanities, JO 31, The
University of Texas at Dallas, Richardson, TX 75083-0688.

UPCOMING CONFERENCESCONFERENCE: WOMEN AND SPIRITUALITY, Univ. of Colorado, Colorado
Springs, April 8-9,1988. Seeking papers, panels and proposals. We would like toattract participants representing diverse academic, religious, cultural, and ethnic
points of view. Deadline is December 15, 1987. Send two copies of all papers (notover 25 pages), abstracts of panels, and proposals for performances to: Lois
Frankel, Dept. of Philosophy, Univ. of CO, Colorado Springs, CO 80933-7150.
The National Women' sStudies Association (NWSA) announces its tenth annual
conference, LEADERSHIP AND POWER: WOMEN'S ALLIANCES FORSOCIAL CHANGE, at theUniv. of Minnesota in Minneapolis, June 22-26, 1988.
Inquiries: NWSA 88, Lori Graven or Ann Veverica, Dept. of Professional Development, 315 Pillsbury Drive S.E., Univ. of MN, Minneapolis, MN 5545-0139.
The Third IntemationalFeministBookFairwillbeheldinMontrealJune 14-21,
1988. Bringing together editors of books, magazines and newspapers withwriters, translators, distributors and booksellers from around the world, the Fair
provides a unique forum for feminists to network and discover each other's work
while making feminist authors known to a wider audience. For more information, write the Organizing Committee at 420 Est, Rue Rachel, Montreal, Quebec,
Canada, H2J 2G7.
GENERAL
1987-88 DIRECTORY OF ALTERNATIVE PERIODICALS Over 300 periodicalslisted; $2. Write: Alternative Press Center, P.O. Box33109, Dept. P, Baltimore,
MD21218.

122

The International Women's Guesthouse Registry (IWGR) was founded to meetthe increasing needs of lesbian travelers. They maintain confidential listings ofwomen-owned and operated Bed & Breakfasts, inns, and campgrounds. Write
formoreinforrnation: Fountain Institute for Women, P.O. Box 700, Rego Park, NY
11374.
A LIFE OF SONG: A portrait of Ruth Rubin, Yiddish folksinger and folklorist,
is a 38-min., color videotape available in 3/4", VHS and Beta. For more info ororders, contact: Cindy Marshall, 76 Columbus Ave., Somerville, MA 02143.

Independent Women is a free newsletter containing hard-to-find inforrnationon
new books for women from England and abroad. It can be obtained by sending
a second class stamp or international postal check to Lavender Menace Bookshop, 11a Forth St., Edinburgh EH1 3LE England.
Throwing Our Weight Around: a Video About Fat Women's Lives is being
made under the premises of Fat Liberation, to be released in Summer, 1988. For
more info, or to send contributions, write: Sandy Dwyer, 14 Glenside Ave.,
Jamaica Plain, MA 02130

Sinister Wisdom needs to move 35 boxes from Montpelier, VT to Oakland, CAif you are making a coast-to-coast move and have room in your vehicle or moving

van, please contact Melanie Kaye/Kantrowitz at PO Box 1308, Montpelier VT
05602, or Elana Dykewomon, PO Box 3252, Berkeley, CA 94703. Some funds areavailable.

I New Third Volume!
An Alm anac of Lesbian Lore and Vision
Volum es 1, 2 and 3
Companion
sourc ebooks in eight seasonal secti ons.
Ripening $4.95 Dreaming $4.95
Awakening $6.95. All prices include"dI'IiXbtful ami reI)' alirl'. llikl'dtbl' combillatioll of SI'I·ioUSlI l'ss.
filII ami sl'lIS/lali(I'... filii' ami
1'1'1), toucbillg POl'tl) '. ..
- ~: lIe ll Bass
Bookstores may order from Inland Book
Company , Inc., 254 Bradley St. , East
Haven, CT 06512 , or call 800· 243·0138.
Individual orders 3.95 plus 1.50 postage
and handling . prepaid, to Sidewalk Revolution Press. P.O. Bo x 9062, Pitt sburgh,
PA 15224.

nora ~ Word weave~

r1
, I-V

CWeallers

ISBN: 0· 961 · 74060 ·4

123

BOX 8742
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JUMP CUT
no. 32
Entre Nous, Peggy Sue,
Brazil, 1984, Aliens
Love Boat, Fantasy Island

Hollywood Reconsidered
The Stepford Wives, Rosie the
Riveter, Melodrama's Perfect
Moment, Imitation of Life, The
Far Shore, Honeymoon Killers~~~~lesb;"an.~ E t h ;" c sA forumforethicalissuesamong
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Envisioning theWorld We Were All
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THE TRIBE OF DINA:A JEWISH WOMEN'S ANTHOLOGYEDITED BY: MELANIE KAYEJI(ANTROWITZ& IRENA KLEPFISZ" The richness and diversity of the lives of Jewish womenare stunningly documented in this new collection ...

-Women' s RevIew of Books" AjoyOus celebration ... Sephardi( and Ashkenazi. Israeli
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ISBN 0-931103-C2-9 • 1986 336 pp • S9.95

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OVER 10,000 COPIES SOLDISBN 0-9311 0)'{)0-2 • 19&1 2~0 pp • 59.50"I have never read a better sequence
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sinister wisdom
Current & Back Issues(partial list of contents)#32/Special Focus on IDness, Death, Mourning, Healing, the disappeared,
hunting season, dealing with suicide, cancer, new ritual observances• Maia Allegra Sears McDonald Waters Hansell Rosenblum Butler Stinson •#311Special Focus on Sex and Fiction, Coming out in the South, Found Goddesses, Waiting, Bobe Mayse, Sex and Socialist Feminism• Smukler Blackwomon Romano Davenport Dykewomon McNaron •#29/30IThe Tribe of Dina: A Jewish Women's Anthology, edited by Melanie
Kaye/Kantrowitz and Irena Klepfisz#28/Special Focus on Women & Work; Body Image, Size & Eating, Aging,
Comedy about Outlaw Lesbian Communities, Courage, PCIPI, Letter on #26• Clarke Heather Klepfisz Sturgis Gould Boucher Gomez Sardella Moran •#27/Special Focus on Girlhood, Sexuality and Violence, Office Work, Navy
Dykes, Feminism & Snobbery, White Trash, Passion, Poetry/Performance,
Women of Color/women in Israel/women in Lebanon, Ed. Statement on #26• Adnan Felman Grahn Schalet Bogus HaMa'avak Touch Quintanales Anzaldua •#26/Special Issue: To Go To Berbir by Jill Drew, a book-length journal written
by an American nurse working in Beirut during the 1982 Israeli invasion#25lButchlFem in the 50's, Women's Peace Encampments, Erotic Satire, Native
American Roots of White Feminism, Welfare Motherhood, Palestinian, Haitian, Puerto Rican struggles, Jewish Radical Identity, Sexuality, SciFi• Allen Cotrell Root Stecenko Love paz Smukler Hall Lipstadt Brant •#24Niolence Against Women & Resistance, Alcohol, Fighting Racism, Leaving Husbands, Black Lesbians, White Working Class Identity, Censorship,
Jewish Identity, Dyke Culture• Harjo Derricotte Nestle Lynch Sylvester Pratt Moirai Parkerson •#211Separatism Revisited, Jewish Survival & Defiance, Black Lesbian Writing,
Photographs of Dykes in Drag, Suicide, Bars, Letters about Anti-Semitism• Klepfisz Arobateau Segrest Simpson Tornes Addisonjustice Foley Crawford Wagstaff·#20ILesbians Getting Fired, Madness & Incarceration, Class Pain, Mirrors, Fat,
Dykes in the Army, Japanese-American & Jewish Lesbians, Dyke Buddies• Allegro Nestle zana Herstein De Araujo Moran COUl-tOt •#19Nulnerability & Power, Anti-Semitism, Sobering Up, Coming Out, Scars,
Halfbreeds, Mothers & Sisters, Black Student/White College• Deming Gordon Miriam Smith Stevens Perez-Trevino Hoagland Gertler Katz •127

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1 year = 4 issues
SUBSCRIPTION RATES
Individuals: 1 year, $17; 2 years, $30
Out of U.S.: $20 (U.S. $)Hardship: $6
Institutions: 1 year, $30
Sustaining: $35-200
Free on request to women in prisons and mental institutions

Thtal Enclosed- usual discount for stores -SINISTER WISDOM P.O. BOX 3252 BERKELEY, CA 94703
SINISTER WISDOM BOOKS, including "The Tribe of Dina" (#29/30) $9.95, "A Gathering of
Spirit" (#22/23) $7.95 , and "Keeper of Accounts" by Irena Klepfisz $5.95,
are available from Sinister Wisdom Books, P.O. Box 1308, Montpelier, VT 05602
Include the same postage & handling; same bookstore discount
Available on tape from the Womyn's Braille Press, PO Box 8475, Minneapolis, MN 55408

What to do with
MANUSCRIPTS, MONEY, SUBSCRIPTIONS,MAGAZINE ORDERS & BOOK ORDERS?

MANUSCRIPTS
Send all Manuscripts to Sinister Wisdom, rOB 3252, Berkeley, CA 94703.
Submission Guidelines
All written work should be SUBMITTED IN DUPLICATE. Submissions
may be in any style or form, or combination of forms . We prefer you type(or send your work on Macintosh discs). Legible handwritten work
accepted. SASE MUST BE ENCLOSED. Selection may take up to ninemonths. If you want acknowledgement of receipt, enclose a separate,
stamped postcard. Graphic artists should send B&W photos, stats, orother duplicates of their work. Let us know if we can keep your artworkon file for future use.
We are par~icularly interested in work that reflects the diversity of ourexperiences: as women of color, ethnic women, Third World, Jewish, old,young, working class, poor, disabled, fat. We will not print anything thatis oppressive or demeaning to lesbians or women, or which perpetuates
negative stereotypes. We do intend to keep an open and critical dialogue
on all the issues that effect our work, joy and survival. See pp. 8-9 fordetails on upcoming issues. The themes are intended as guidelines, notas rigid catagories. If you have work that doesn't fit an upcoming theme,
but belongs in Sinister Wisdom, don't hesitate to submit it.
SUBSCRIPTIONS, MAGAZINE & BACK ISSUE ORDERS, &CHANGES OF ADDRESS
Should be sent to PO Box 3252, Berkeley, CA 94703
BOOK ORDERS

A Gathering of Spirit, The Tribe of Dina and Keeper of Accounts will continue
to be distributed by SINISTER WISDOM BOOKS, rOB 1308, Montpelier,
VT 05602. All orders for these books and all payments for book orders
should continue to be sent to Vermont.
SW Magazine and SW Books are no longer housed or managed together.
We are functioning as two separate companies.
Thanks to all the lesbians in Vermont who helped Sinister Wisdom makea smooth transition to California!

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