Design for the City of Women

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            <title>Design for the City of Women</title>
            <author>Jacqueline Lapidus</author>
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               <persName>Sophie McQuaide</persName>
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               <persName>Olivia Martin</persName>
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               <persName>Bri Perea</persName>
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               <persName>Maya Wadhwa</persName>
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               <persName>Ricky Rodriguez</persName>
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               <persName>Lucy Wadsworth</persName>
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            <funder>Bucknell University Humanities Center</funder>
            <funder>Bucknell University Office of Undergraduate Research</funder>
            <funder>The Mellon Foundation</funder>
            <funder>National Endowment for the Humanities</funder>
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               <name>Bucknell University</name>
               <address>
                  <street>One Dent Drive</street>
                  <settlement>Lewisburg</settlement>
                  <region>Pennsylvania</region>
                  <postCode>17837</postCode>
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               <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0
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                  <title>Heresies Issue #3: Lesbian Art and Artists</title>
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                     <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher>
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      <body>
      	<pb n="97" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue03/Issue3_images/issue3_099.jpg"/>
         <head><title>Design for the City of Women</title></head>
         <byline><note type="researchNote">3rd link on VIAF</note><persName key="Lapidus, Jacqueline" ref="http://viaf.org/viaf/40694137/" type="real">Jacqueline Lapidus</persName></byline>
         <epigraph>
            <ab>to <persName><ref target="https://en.wikipedia.org/wiki/Catherine_Blake"><persName><persName key="Catherine Blake" ref="https://en.wikipedia.org/wiki/Catherine_Blake" type="real">Catherine Blake</persName></persName></ref></persName></ab>
         </epigraph>

<div>
            <head>I.</head>
            <lg>
               <l>a newborn conch</l>
               <l>sparkles on wet sand</l>
               <l>no bigger than a grain of rice</l>
               <l>already</l>
               <l>she knows how to secrete</l>
               <l>her own house</l>
            </lg>
         </div>

<div>
            <head>II.</head>
            <p> Walking along the shore at low tide, I came to a place where the cliffs were white
               with salt, as if the tears of an entire continent had dried in an instant on the
               rock’s flushed face. Above the high water mark was a row of irregularly shaped holes
               in which birds nested; above these, the earth was brick-red, and at the summit tufts
               of wild rosemary, thyme and fern thrust their heads into a hazy sky. As I stood
               admiring the wheeling flight of the gulls, I heard music coming from the next beach.
               I climbed over a shelf of mossy rocks, following the sound, and stumbled into the
               entrance of a grotto worn away in the cliff. The sun had not yet set. A shaft of late
               afternoon light slipped violet into the grotto and fell upon a circle of women
               sitting around a slab of rock that jutted out from the cavern wall like a table.</p>
            <p> The women were not surprised to see me. They moved over to make room for me at the
               table. In the center of the table was a tide pool filled with mussels and clams. One
               of the women dipped her hand into the pool and scooped up several fresh clams with
               fluted shells which she offered to me. I pulled one from its shell with my teeth and
               swallowed it live; it slipped easily down my gullet, and in a few seconds I felt a
               warm, insistent throbbing between my legs as my clitoris emerged from its bed of wet
               moss. The women smiled at me and began to sing, in a language strangely familiar. I
               lay down naked on the rock ledge with my buttocks in the tide-pool, my arms and legs
               outstretched. The women leaned over me. Their cool fingers stroked my hands and feet,
               then my nipples and my clitoris. One woman slid her tongue deep into my cunt, and I felt a great wave surge through my entire body.</p>
         </div>

<l>concerned we are concerned</l>
               <l>we have always been alone together</l>
               <l>we have always confided in one another</l>
               <l>we have always found time to whisper</l>
               <l>amongst ourselves concerning our concerns</l>
               <l>long ago we learned to speak to each other</l>
               <l>with borrowed cups of sugar</l>
               <l>singing together as we washed our blood</l>
               <l>from endless sheets and towels</l>
               <l>nourishing each other with perpetual</l>
               <l>soup concerned we have</l>
            	<pb n="98" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue03/Issue3_images/issue3_100.jpg"/>
               <l>always been concerned</l>
               <l>for centuries our cheeks have brushed</l>
               <l>each other’s cheeks at weddings</l>
               <l>funerals, fairs and church bazaars</l>
               <l>we have tasted each other’s tears</l>
               <l>laying out corpses</l>
               <l>we have stroked our sisters’ bellies</l>
               <l>and held our daughters’ hands</l>
               <l>and sung to their screams, and drawn</l>
               <l>babies gasping from their wombs</l>
               <l>concerned we are always concerned,</l>
               <l>oh yes we are used to one another</l>
               <l>bearing our burden together, struggling</l>
               <l>for a common cause: our own survival</l>
               <l>and now we are doing it</l>
               <l>openly and for ourselves</l>
            </lg>
         </div>
         <div>

<head>IV.</head>
            <p>The women live in the grotto. They gather seaweed, moss and wild flowers which they
               eat raw, or pound into paste to form little cakes baked in the sun. Mussels, clams,
               shellfish and tiny crabs caught in the cracks of the rocks at low tide also nourish
               the women. Their bodies are strong, tanned and healthy. They have learned to conceive
               their babies parthenogenetically. Any woman, by concentrating her energy and
               projecting it into her lover’s fertile womb, can get her with child. During
               pregnancy, the women caress each other’s bellies to prepare the child for community.
               They give birth squatting: friends support the mother as she breathes, blows and
               grunts in rhythm with the others, who also sing to encourage her and maintain the
               breathing pattern. When the baby has emerged from the womb, they bathe it in
               sun-warmed sea water, lay it on the mother’s belly, and massage it gently until it
               begins to smile. When a mother lacks milk for her child, another nursing mother
               offers the baby her breast. The women delight in the taste of one another’s nipples,
               and send shivers of pleasure through their entire bodies by drinking one another’s
               milk.</p>
            <p> The women have lived together for so long that nearly all menstruate at the same
               time. During the menstrual period they feel particularly strong and exuberant. The
               power of their blood surges through them. Squatting on the beach, they study the
               patterns made by their blood on the sand, acquiring an intimate knowledge of the
               inner self. At night they perform the following ritual: The women reach into each
               other’s cunts, extracting the blood with loving fingers, then paint each other’s
               bodies with it. Images of pleasure flow from each woman onto her partner’s face,
               breasts, belly and buttocks. Then they dance in spiral formation, singing of their
               lives, their loves. When a young girl menstruates for the first time, her mother or
               wet-nurse initiates her into the blood-painting ritual. Older women who no longer
               menstruate, excited by the younger women’s caresses, secrete enough cyprine to paint
               their bodies. Although the symbols are colorless on their wrinkled skin, everyone can
               see them clearly.</p>

</div>
         <div>
            <head>V.</head>
            <lg>
               <l>Dear <persName><ref target="https://en.wikipedia.org/wiki/Catherine_Blake"><persName key="Catherine" ref="https://en.wikipedia.org/wiki/Catherine_Blake" type="real">Catherine</persName></ref></persName>, the message</l>
               <l>you could not then transmit to us</l>
               <l>has nonetheless arrived</l>
               <l>as surely as if etched with acid</l>
               <l>on the moon’s dark side</l>
               <l>spreading like bacteria</l>
               <l>nourishing as bread</l>
               <l>decoded in our guts</l>
               <l>absorbed into the very tissues of our being</l>
               <l>and suddenly appearing</l>
               <l>as sweat, saliva, blood, cyprine</l>
               <l>women’s language of love</l>
            </lg>
            <lg>
               <l>the words of the poems dance across the page,</l>
               <l>the birds in the air dance above the clouds,</l>
               <l>the fish in the water dance among the waves</l>
               <l>let us leave the drones to build cities</l>
               <l>let us play with each other like ribbons of light</l>
            </lg>
         </div>
      	<pb n="99" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue03/Issue3_images/issue3_101.jpg"/>

<div>
            <head>VI.</head>
            <p>The women are developing a new language, fully aware that although they have become a
               people capable of reproducing themselves, they can not consider themselves a nation
               unless they share a mother tongue. They expect this to take several centuries.</p>
            <p>"We live,” says <persName type="real"/><ref target="https://en.wikipedia.org/wiki/Catherine_Blake"><persName key="Catherine" ref="https://en.wikipedia.org/wiki/Catherine_Blake">Catherine</persName></ref>, "in the crevices, the hollows, the spaces, the secret
               places, we live on the edge of the wave. The tide never goes out exactly as she came
               in—she always leaves us something we can use.</p>
            <p>She reminds me that the little mermaid’s fatal error was not that she longed for
               feet, but that she paid for them with her voice.</p>
         </div>

<div>
            <head>VII.</head>
            <lg>
               <l>Point.</l>
               <l>Pirouette.</l>
               <l>Spiral.</l>
            </lg>
            <lg>
               <l>Each dwelling shall begin with the self</l>
               <l>firmly planted on her own spot</l>
               <l>concentrating energy.</l>
            </lg>
            <lg>
               <l>Clitoris.</l>
               <l>Navel.</l>
               <l>Plexus.</l>
               <l>Psyche.</l>
            </lg>
            <lg>
               <l>Stretching, unfolding, expanding,</l>
               <l>turning, whirling</l>
               <l>outward upon her axis.</l>
            </lg>
            <lg>
               <l>Ears.</l>
               <l>Nostrils.</l>
               <l>Mouth.</l>
               <l>Vagina.</l>
               <l>Anus.</l>
            </lg>
            <lg>
               <l>Each orifice dilates, opening</l>
               <l>like windows, the air</l>
               <l>dances through the body.</l>
            </lg>
            <lg>
               <l>Cell.</l>
               <l>Chromosome.</l>
               <l>Molecule.</l>
               <l>Atom</l>
               <l>Particle.</l>
            </lg>
            <lg>
               <l>Elements in orbit, exchanging</l>
               <l>surplus for need in perpetual motion,</l>
               <l>pleasurebound</l>
               <l>syntax, uniqueness</l>
               <l>incorporate.</l>
            </lg>
         </div>
      </body>
      <back>
         <p> <persName key="Lapidus, Jacqueline" ref="http://viaf.org/viaf/40694137/" type="real">Jacqueline Lapidus</persName> is a radical lesbian feminist who lives in <placeName key="Paris" ref="http://www.wikidata.org/entity/Q90">Paris</placeName>. Her latest book of
            poems is <title level="m"><title key="Starting Over" ref="https://www.worldcat.org/title/5260196">Starting Over</title></title>, published by Out and Out Press. </p>
      </back>
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