Issue 27 - Columbia: A Journal of Literature and Art

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Dykes To Ulatch Out For AS THE RE WEtWM, A*TH£ EtfNEO- WCOMfe TAKCffiPIT IS S1»WED AW*T» B»y WX CUTS ft* THE R\cH,-m LaS. GR/MEL Oil* BIKEfXTMof HFE BKtWEJ e^K MORE PEKIIOUS ft*TM£ FtoR I Port'T KWoW W•«A)K: I5HOUU>A^ ^ifEPiiu-AfTER ^ SI SCORE° ^ ^ AHO WWT ABoiff HER -mtCMM TAKEOiJiHE P15NEy-A8CA»tf1i VWwa-TufWfR BRmOCASn»/6 MER- AN1HtnWGHT»ftrWHM£W /•WWOPOUEJ PCSETOTHt FRtt FtoW Of WR3WW10M IN OUR SCCIfXy- VEAH. I HAP A REAL BoHER R* BEATRICE OKCE: UITIUI ACTDAUy HAP A CONVERSATION WITH HER. BEAHtiCE?TWHAT?/a»«£ ARf>«OMD- NE>lTHOME,ANl>WAlTCHEPCNM. I ID PRoUWGEP 5£yUAL W; DlESe M«5 (JoiHlUfi HAJTEKIVJ6 I ACTlv/ITy ANP AFFEtriWC • -- • -THE ow&MEtiT. IT'S oor^ OF OUR HW5. , ALISON BECHDEL In the mid-1980s, I started writing and drawing cartoons about the thriving lesbian subculture I had just entered. Lesbians were hungry for stories about their lives, and my work had an enthusiastic reception. I began self-syndicating my comic strip to gay and lesbian papers around the country and had a collection of cartoons published by a small feminist press in 1986 (Firebrand Books). In my youthful naivete, I assumed that my work would continue to win over more and more readers, that eventually I'd be running in alternative weeklies along with Lynda Barry and Matt Greening, and that straight as well as queer people would follow the lives of my cartoon characters. But six books and ten years later, it hasn't turned out that way. I certainly have straight readers—a small, progressive group—and I've gotten sporadic coverage in the mainstream media, but I seem to have hit the glass ceiling in terms of crossover. I write for a queer audience, but I still want everyone to read my work. I see no reason why a dyke can't be a universal subject just as well as Mike Doonesbury or Charlie Brown can. But for the most part, heterosexual comics readers haven't proved willing to make the shift of identity that I make routinely. I feel fortunate to be making my living as an independent cartoonist, with meaningful work and loyal readers. But I am a little disappointed that my cartoons haven't reached more people. Rather than tailor my work to make it more accessible to a broader audience, though, my instinct is to continue with as much lesbianspecificity as I can. I think only the minutely particular can ever be genuinely universal.
"Sure, this is idyllic, but there arejundamentalproblems here that are not being addressed." DRAWING BY KOREN;© ©9-4/THE NEW YORKER MAGAZINE ED KOREN I find myself crossing a border every time I succeed in bringing a little discomfort to what we all experience. The natural habitat for someone out to explore the visible world is where the habitual, conventional and unexamined collides with other barriers—good intentions, self-interest, arrogance, or the silliness in our language, to name a few. This drawing is a small drama of a cultural border that cannot be crossed: an intellectual one that defies passage, and an emotional frontier that can produce only guilt. What makes it comical (and a touch sad) to me is the language—certain of its authority and ultimately powerless—an impassable border.
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TRANSLATION SECTION TRY COAST TO CO
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Editor-in-Chief LORI SODBRLIND Exec
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ELIZABETH MACKLIN SAMN STOCKWELL DA
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IO her with broken locks on pill ca
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o a: ID u. O >- IT 0 in on his face
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18 or his daughter. He said north o
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in charge of the lifted-up-spirits
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The wife says, "Oh, shut up, won't
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then sits down, clutching the baske
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34 They all drink. The wife's head
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Liliana Ursu, a native of Bucarest,
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De la fereastra Ingerului Fan, iarb
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The Key to Mystery Hot is my body a
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5° Everything Kobo Abe ever wrote
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T. 54 "How ironic," the man said, l
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GWYNETH LEWIS Whose coat is that ja
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o < s 0 o In his poem, "Strange Mee
Page 35 and 36: O o 66 So this is the man you dream
Page 37 and 38: ELIZABETH MACKLIN The Secret Note Y
Page 39 and 40: When a woman loves a man, they have
Page 41 and 42: TERESE SVOBODA At the Castle To say
Page 43 and 44: JUDITH BAUMEL Hot One moment it was
Page 45 and 46: JEAN MONAHAN The Concert —Isabell
Page 47 and 48: One of the Last Days As through a d
Page 49 and 50: only to lift their branches for one
Page 51 and 52: 98 always looked at curating as col
Page 53 and 54: 102 structure versus vertical, hars
Page 55 and 56: LINDA BIERDS The Breaking-Aways —
Page 57 and 58: KAY RYAN Weakness and Doubt Failure
Page 60 and 61: DANIEL TOBIN At the Egyptian Exhibi
Page 62 and 63: NATALIE KUSZ After Bedtime At night
Page 64 and 65: Q. Z 3 ID 124 me to visit a squat i
Page 66 and 67: 128 VII. Somehow I knew not to tell
Page 68 and 69: 132 It was an illustrated history o
Page 70 and 71: i36 day might have been some kind o
Page 72 and 73: 3 140 XIV. He must have been there
Page 74 and 75: o z 111 o 144 smiled; she even got
Page 76 and 77: I48 Mostly things are quiet on the
Page 78 and 79: 152 the grass. I imagined him still
Page 80 and 81: 156 other on a mother's shoulder. I
Page 82 and 83: o X < If) 160 us from behind. It wa
Page 84 and 85: (tt> RK60T IB/ER EVEN PTWWNmoW XTSH
Page 88 and 89: "IF OMUY HE HAt> ONt \NTo THE WU «
Page 90 and 91: working on Hula in story form, you
Page 92 and 93: i8o Cinematically, there is the req
Page 94 and 95: WINTER COMPETITION MICHELLE MITCHEL
Page 96 and 97: and she looked at him for hours, an
Page 98 and 99: u in O cc a. H LJ D. o a hi 192 "Co
Page 100 and 101: IT < < o 196 I heard the car door s
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Issue 27 - Columbia: A Journal of Literature and Art

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