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Linked Infrastructure for Networked Cultural Scholarship Genre Vocabulary

Ten Ways of Looking at Prison Lunch

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					<persName>Maggie Smith</persName>
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					<persName>Maya Wadhwa</persName>
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				<funder>Bucknell University Humanities Center</funder>
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						<title level="a">Juggling Contradictions: Feminism, the Individual and
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							<surname>Braderman</surname>
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<head>Ten Ways of Looking at Prison Lunch</head>
						<byline>Gloria Jensen</byline>
						<note>(With apologies to Wallace Stevens)</note>
					<lg>
						<l>1. With both hands over your eyes, releasing</l>
						<l>one hand slowly to peep.</l>
						<l>2. Through the eyes of a friend you have by</l>
						<l>the hand—who reads braille.</l>
						<l>3. In the bing [solitary] where you can refuse</l>
						<l>to have the thing brought in at all and just lie</l>
						<l>there and sleep.</l>
						<l>4. From across the steam line, where people</l>
						<l>marvel at your petite body (if only they knew</l>
						<l>it's not by choice you prefer to remain frail and</l>
						<l>cautious).</l>
						<l>5. From a prison visitor's point of view — when</l>
						<l>suddenly, miraculously, all one sees is steak,</l>
						<l>greens and potatoes.</l>
						<l>6. From your window late at night as you</l>
						<l>watch one man run with a rake, followed by</l>
						<l>another with a sack, followed by a corrections</l>
						<l>officer, followed by a ruckus you've not seen</l>
						<l>but heard — then all three returning, dragging</l>
						<l>a heavy sack.</l>
						<l>7. Witnessing something come ashore in the</l>
						<l>bay and thinking: my, but it gave up a great</l>
						<l>fight.</l>
						<l>8. Wondering why they have signs saying DO</l>
						<l>NOT PEE ON THE GRASS. Then seeing the</l>
						<l>kitchen girls go out, mow it down and bring it in.</l>
						<l>9. Good Friday—when all the world's</l>
						<l>generous and the relief truck pulls up to the</l>
						<l>kitchen door to drop off loads of potatoes they</l>
						<l>couldn't unload anywhere else.</l>
						<l>10. Seeing more clearly the lunch of steak,</l>
						<l>greens and potatoes—as you attack the steak</l>
						<l>first and realize the fight you witnessed (#6) is</l>
						<l>not yet over, for the beast is biting you now too.</l>
					</lg>
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Around Coming Around

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					<persName>Maggie Smith</persName>
					<resp>Editor</resp>
				</respStmt>
				<respStmt>
					<persName>Maya Wadhwa</persName>
					<resp>Editor</resp>
				</respStmt>
				<funder>Bucknell University Humanities Center</funder>
				<funder>Bucknell University Office of Undergraduate Research</funder>
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				<funder>National Endowment for the Humanities</funder>
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						<postCode>17837</postCode>
					</address>
				</distributor>
				<availability>
					<licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial
						4.0 International (CC BY-NC 4.0)</licence>
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						</author>
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<head>Around Coming Around - a performance</head>
				<byline>Marty Pottenger</byline>

<lg>
					<l>I WAS SIXTEEN</l>
					<l>WAS I A CHILD?</l>
					<l>I WAS SIXTEEN</l>
					<l>I CAN'T REMEMBER</l>
					<l>I CAN'T REMEMBER</l>
					<l>WAS I A CHILD?</l>
					<l>I WAS SIXTEEN</l>
					<l>MY FATHER AND I</l>
					<l>WERE DRIVING HOME</l>
					<l>AFTER VISITING A COLLEGE</l>
					<l>AFTER DRIVING ALL DAY</l>
					<l>WE STOPPED AT A MOTEL</l>
					<l>THE WALLS WERE GREEN</l>
					<l>THAT TERRIBLE LIGHT GREEN</l>
					<l>USED IN MOTELS</l>
					<l>THE DESK CLERK SMIRKED</l>
					<l>AND I WAS EMBARRASSED</l>
					<l>I DIDN'T KNOW WHY</l>
					<l>I WAS SIXTEEN</l>
					<l>WAS I A CHILD?</l>
					<l>I CAN'T REMEMBER</l>
					<l>THE DESK CLERK ASKED</l>
					<l>DO YOU WANT SINGLE</l>
					<l>OR DOUBLE BEDS, SIR?</l>
					<l>AND I SAID</l>
					<l>TWO BEDS TWO BEDS</l>
					<l>TWO SINGLE BEDS</l>
					<l>WAS I A CHILD?</l>
					<l>THE CLERK SMIRKED</l>
					<l>MY FATHER SAID</l>
					<l>IT DOESN'T MATTER</l>
					<l>AND I SAID INSIDE</l>
					<l>BUT IT DOES MATTER</l>
					<l>IT DOES MATTER</l>
					<l>I WAS SIXTEEN</l>
					<l>I WAS A CHILD</l>
					<l>AND WE WENT</l>
					<l>TO THE ROOM</l>
					<l>WITH THE TWO SINGLE BEDS</l>
					<l>I WENT INTO THE BATHROOM</l>
					<l>TO PUT ON MY NIGHTGOWN</l>
					<l>A SHORT NIGHTGOWN</l>
					<l>WITH GREEN AND BLUE FLOWERS</l>
					<l>I CAN'T REMEMBER</l>
					<l>AND I GOT INTO BED</l>
					<l>THE BED BY THE BATHROOM</l>
					<l>AND SAT ON MY BED BEFORE</l>
					<l>WAS I A CHILD?</l>
					<l>AND HE WAS IN THE BATHROOM</l>
					<l>A LONG TIME</l>
					<l>HE CAME OUT</l>
					<l>AND SAT</l>
					<l>I CANT REMEMBER</l>
					<l>ON MY BED</l>
					<l>AND PUT HIS HAND</l>
					<l>ON MY KNEE</l>
					<l>AND I LAY THERE</l>
					<l>AND DID NOT MOVE</l>
					<l>HE TOUCHED MY BREAST</l>
					<l>I CAN'T REMEMBER</l>
					<l>STROKING MY BREASTS</l>
					<l>ON TOP OF MY NIGHTGOWN</l>
					<l>AND HE CAME DOWN</l>
					<l>ON TOP OF ME</l>
					<l>IWAS SIXTEEN</l>
					<l>WAS I A CHILD?</l>
					<l>I CAN'T REMEMBER</l>
					<l>I CAN'T REMEMBER</l>
					<l>HE LAY THERE</l>
					<l>I DID NOT MOVE</l>
					<l>THE BLANKET BETWEEN US</l>
					<l>I WAS SIXTEEN</l>
					<l>HE STROKED MY BREASTS</l>
					<l>BREATHING IN MY FACE</l>
					<l>AND ASKED ME</l>
					<l>ICAN'T REMEMBER</l>
					<l>IF I LIKED IT</l>
					<l>AND I</l>
					<l>AND I</l>
					<l>AND I CAN'T REMEMBER</l>
					<l>INSIDE I SAID NO</l>
					<l>INSIDE I SAID NO</l>
					<l>I CAN'T REMEMBER</l>
					<l>AND HE STAYED THERE</l>
					<l>ON TOP OF ME</l>
					<l>MOVING AROUND</l>
					<l>TOUCHING MY BREASTS</l>
					<l>TOUCHING MY NECK</l>
					<l>AND HE ASKED ME</l>
					<l>IF I LIKED IT</l>
					<l>AND I SAID NO</l>
					<l>AND HE GOT UP</l>
					<l>AND HE GOT OFF</l>
					<l>AND THE WHOLE NIGHT</l>
					<l>I STAYED AWAKE</l>
					<l>WAITING</l>
					<l>I CAN'T REMEMBER</l>
					<l>AND THE NEXT MORNING</l>
					<l>WE GOT UP</l>
					<l>WE HAD BREAKFAST</l>
					<l>AND WE DROVE</l>
					<l>THE REST OF THE WAY</l>
					<l>HOME</l>
				</lg>
			</div>
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				<pb n="103"
					facs="https://raw.githubusercontent.com/djakacki/heresies/refs/heads/main/issue01/images/01_105.jpg"/>
				<head>mime</head>
				<lg>
					<l>open blade pause</l>
					<l>take small knife out of pocket</l>
					<l>hold knife in right hand</l>
					<l>turn left forearm palm up</l>
					<l>cut lightly/carefully 3 times</l>
					<l>holding left arm still</l>
					<l>put knife away closing</l>
					<l>blade against right thigh</l>
					<l>turn cut wrist over</l>
					<l>catch blood in right hand</l>
					<l>when hand almost full</l>
					<l>pour blood from right hand</l>
					<l>into left hand</l>
					<l>apply pressure/release</l>
					<l>pressure/release</l>
					<l>with right fingers</l>
					<l>upon left wrist</l>
					<l>stopping flow of blood</l>
					<l>eyes focus always on action</l>
					<l>take two right fingers</l>
					<l>and dip in blood</l>
					<l>look up as if in the mind's</l>
					<l>mirror and slowly paint lines</l>
					<l>down right cheek</l>
					<l>repeat and paint left cheek</l>
					<l>repeat and draw a line</l>
					<l>across forehead</l>
					<l>repeat and place both fingers</l>
					<l>on chin</l>
					<l>drop hands and stare</l>
					<l>at own reflection</l>
				</lg>
			</div>
			<div type="verse">
				<lg>
					<l>one for me. one for you. one for me. (dealing</l>
					<l>imaginary cards) one for you. one for me. one</l>
					<l>for you. one for me. let's see what you got?</l>
					<l>MONEY .... ULCERS ... and a PENIS. how 'bout that—</l>
					<l>i got LESBIAN... LOVE.. and uh...A TERRIBLE FEAR</l>
					<l>i tell you what, i'll trade you some of my fear</l>
					<l>for some of your—no? so ok. we stick with what</l>
					<l>we got.</l>
					<l>(photo: Libby Turnock)</l>
				</lg>
			</div>
		</body>
		<back>
			<p> Marty Pottenger lives in New York City, is a carpenter, and performs
				improvisationally "with whoever's in the room, whatever's on hand, and what's inside
				all of us." </p>

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Lament on the Eve of Her Daughter's Birthday

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               <persName>Sophie McQuaide</persName>
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            <respStmt>
               <persName>Olivia Martin</persName>
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            <respStmt>
               <persName>Zoha Nadeer</persName>
               <resp>Editor (2022-2023)</resp>
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               <persName>Bri Perea</persName>
               <resp>Editor (2022-2023)</resp>
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               <persName>Carrie Pirmann</persName>
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               <persName>Valeria Riley</persName>
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               <resp>Editor (2021-2024)</resp>
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               <analytic>
                  <title>Patterns of Communicating and Space Among Women</title>
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      <body>
         <pb n="47"/>
         <div type="essay">
            <div type="poem">
               <head>Lament on the Eve of her Daughter's Birthday</head>
               <byline>Estelle Leontief</byline>
               <lg>
                  <l>My head doesn’t ache </l>
                  <l>no one pulls out my fingernails </l>
                  <l>what I eat sits easy</l>
               </lg>
               <lg>
                  <l>On this long </l>
                  <l>blue night each year </l>
                  <l>leven forget that </l>
                  <l>hard hard laboring</l>
               </lg>
               <lg>
                  <l>a magician </l>
                  <l>hacking a woman in two</l>
               </lg>
               <lg>
                  <l>If I lie still </l>
                  <l>your thirty-six years </l>
                  <l>blow my mind.</l>
               </lg>
               <lg>
                  <l>II try to reach you </l>
                  <l>I'm too short</l>
               </lg>
               <lg>
                  <l>But now at last </l>
                  <l>night darkens </l>
                  <l>into day</l>
               </lg>
               <lg>
                  <l>and you may wish for </l>
                  <l>what you want </l>
                  <l>What is it</l>
               </lg>
               <lg>
                  <l>Write me </l>
                  <l>Tell me something </l>
                  <l>Sing</l>
               </lg>
            </div>
            <div type="poem">
               <head>September Solitaire</head>
               <byline>Ann Lauterbach</byline>

<lg>
                  <l>There are always added difficulties: unwashed glasses, </l>
                  <l>the box with some sweaters, the floral arrangement </l>
                  <l>in the kitchen, the kitchen floor. It was a grid </l>
                  <l>of pale blue and gray linoleum; it no longer exists. </l>
                  <l>All of us move in time for winter. </l>
                  <l>Things are most dangerous when habits are kicked; </l>
                  <l>birds, and the way you imagine.</l>
               </lg>
               <lg>
                  <l>We tell stories. </l>
                  <l>This to restrain the sense that we would give in </l>
                  <l>too easily when the time came. The time had come. </l>
                  <l>The first red and the first green are not the same; </l>
                  <l>between death and birth are radical colors, </l>
                  <l>of which the trees are stain. I told stories for hours, </l>
                  <l>each made from imminent, rendered places; talk itself </l>
                  <l>a terrain. I recall games: ducking and kisses and tails. </l>
                  <l>Someone is always blinded. Someone was removed in a chair.</l>
               </lg>
            </div>
         </div>
      </body>
      <back>
         <p> Ann Lauterbach is a native New Yorker. She has just compiled her first collection of
            poems, titled Chalk. Estelle Leontief was poetry editor of Colloquy magazine, has
            published two books of poetry—Razerol and Whatever Happens—with Claire van Vliet of
            Janus Press, Vermont. She is now a reader of poetry and fiction for the Partisan Review.
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What Is Left?

<lg>
				<l>AFTER THE BARS AND THE GATES AND THE DEGRADATION</l>
				<l>WHAT IS LEFT?</l>
				<l>AFTER THE LOCK INS AND THE LOCK OUTS AND THE LOCK UPS</l>
				<l>WHAT IS LEFT?</l>
				<l>I MEAN, AFTER THE CHAINS THAT GET ENTANGLED IN THE GREY OF ONE'S MATTER</l>
				<l>AFTER THE BARS THAT GET STUCK IN THE HEARTS OF MEN AND WOMEN</l>
				<l>WHAT IS LEFT?</l>
				<l>AFTER THE TEARS AND DISAPPOINTMENTS</l>
				<l>AFTER THE LONELY ISOLATION</l>
				<l>AFTER THE CUT WRIST AND THE HEAVY NOOSE</l>
				<l>WHAT IS LEFT?</l>
				<l>I MEAN, LIKE, AFTER THE COMMISSARY KISSES</l>
				<l>AND THE GET-YOUR-SHIT-OFF-BLUES</l>
				<l>AFTER THE HUSTLER HAS BEEN HUSTLED</l>
				<l>WHAT IS LEFT?</l>
				<l>AFTER THE SAD FUTILE MANEUVERS</l>
				<l>AFTER THE SHRILL AND BARREN LAUGHTER</l>
				<l>AFTER THE CONTRABAND EMOTIONS</l>
				<l>WHAT IS LEFT?</l>
				<l>AFTER THE MURDERBURGERS AND THE COON SQUADS AND THE TEAR GAS</l>
				<l>AFTER THE BULLS AND THE BULLPENS AND THE BULLSHIT</l>
				<l>WHAT IS LEFT?</l>
				<l>I MEAN LIKE, AFTER YOU KNOW THAT GOD CANT BE TRUSTED</l>
				<l>AFTER YOU KNOW THAT THE SHRINK IS A PUSHER</l>
				<l>THAT THE WORD IS A WHIP, AND THE BADGE IS A BULLET</l>
				<l>WHAT IS LEFT?</l>
				<l>AFTER YOU KNOW THAT THE DEAD ARE STILL WALKING</l>
				<l>AFTER YOU REALIZE THAT SILENCE IS TALKING</l>
				<l>THAT OUTSIDE AND INSIDE ARE JUST AN ILLUSION</l>
				<l>WHAT IS LEFT?</l>
				<l>I MEAN, LIKE, WHERE IS THE SUN?</l>
				<l>WHERE ARE HER ARMS AND WHERE ARE HER KISSES?</l>
				<l>THERE ARE LIP PRINTS ON MY PILLOW</l>
				<l>I AM SEARCHING</l>
				<l>WHAT IS LEFT?</l>
				<l>I MEAN, LIKE, NOTHING IS STANDSTILL AND NOTHING IS ABSTRACT</l>
				<l>THE WING OF A BUTTERFLY CANT TAKE FLIGHT</l>
				<l>THE FOOT ON MY NECK IS A PART OF A BODY</l>
				<l>THE SONG THAT I SING IS A PART OF AN ECHO</l>
				<l>WHAT IS LEFT?</l>
				<l>I MEAN, LIKE, LOVE IS SPECIFIC</l>
				<l>IS MY MIND A MACHINE GUN?</l>
				<l>IS MY HEART A HACKSAW?</l>
				<l>CAN I MAKE FREEDOM REAL? YEAH,</l>
				<l>WHAT IS LEFT?</l>
				<l>I AM AT THE TOP AND BOTTOM OF A LOWER-ARCHY</l>
				<l>I AM IN LOVE WITH LOSERS AND LAUGHTER</l>
				<l>I AM IN LOVE WITH FREEDOM AND CHILDREN</l>
				<l>LOVE IS MY SWORD AND TRUTH IS MY COMPASS</l>
				<l>WHAT IS LEFT?</l>
			</lg>

</body>
		<back>
			<p>Assata Shakur/<persName key="Assata Shakur" ref="http://www.wikidata.org/entity/Q467961">Joanne Chesimard</persName>; courtesy of Assata Shakur Defense Committee.</p>
		</back>
	</text>
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Zucchini Poem

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         	<head><title>Zucchini Poem</title></head>         	
         	<byline><persName key="Zelvin, Elizabeth" ref="http://viaf.org/viaf/285000059/"><persName key="Elizabeth Zelvin" ref="http://www.wikidata.org/entity/Q112492894">Elizabeth Zelvin</persName></persName></byline>
</div>
<div>        
<lg>      	
<l>the zucchini crouches</l>
            <l>behind a broad green leaf</l>
            <l>patient in her camouflage</l>
            </lg>
      	<lg>
            <l>imperialist tentacles of vine</l>
            <l>are taking over the garden</l>
            <l>shouting <emph>mine mine</emph></l>
            </lg>
           <lg> 
            <l>like a woman waiting</l>
            <l>for the revolution</l>
            <l>the zucchini bides her time</l>
            </lg>
           <lg> 
            <l>rain falls in the night</l>
            <l>first stealthy</l>
            <l>then triumphant like a coup d'état</l>
            </lg>
           <lg> 
            <l>come morning</l>
            <l>the zucchini squats</l>
            <l>swollen in the sunlight</l>
            </lg>
            <lg>
            <l>proud of her belly</l>
            <l>covering the earth</l>
            <l>with a yellow flower behind her ear</l>
         </lg>
</div>
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   	<back>
   		<p>Elizabeth Zelvin is a writer living in New York who has poems appearing in <orgName key="WomanSpirit" ref="http://www.wikidata.org/entity/Q48732990"><title key="WomanSpirit" ref="http://www.wikidata.org/entity/Q48732990">Womanspirit</title></orgName> and <orgName key="13th Moon" ref="http://www.wikidata.org/entity/Q95584323"><title key="13th Moon" ref="http://www.wikidata.org/entity/Q95584323">13th Moon</title></orgName>. She has
   			recently completed a book about an alternative marriage, and among her other
   			interests are "singing and song-writing, teaching creative movement, and trying to
   			understand the synthesis of anarchism and feminism." </p>
   	</back>
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Sewing With My Great-Aunt Leonie Amestoy

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            <head><title>Sewing With My Great-Aunt Leonie Amestoy</title></head>
        <byline> <persName>Suzanne Noguere</persName></byline>
         
           <lg> 
            <l>Today you bend over organdy</l>
            <l>In organic toil, working the small red squares</l>
            <l>The way in your youth old men bent over earth</l>
            <l>And still coaxed wheat and corn from the Basque soil.</l>
            <l>You fold the cloth, then slowly roll the edges</l>
            <l>Until rose petals bloom in your hands,</l>
            <l>Vivified by the stitch that shirs them softly</l>
            <l>The way the skin is shirred around your eyes.</l>
           </lg>
            <lg>
            <l>Crooked like a mitered edge, your index finger</l>
            <l>At rest stays poised above an unseen needle.</l>
            <l>Indoors, surrounded by left-over silk</l>
            <l>And wool, we rearrange the rainbow’s spectrum,</l>
            <l>Sorting the tools of your trade–bright spools of thread,</l>
            <l>Small silver thimbles, scissors, and the red</l>
            <l>Pincushions studded with glass-headed pins-</l>
            <l>As we need them, laboring in your field.</l>
            </lg>
            <lg>
            <l>We overlap the petals; roses thrive</l>
            <l>Under the lamplight in your wintry room.</l>
            <l>Next you teach me the genesis<note>Below it is mentioned that "the Virgin" may have relation to the teachings of Christianity. Therefore "genesis" may be referring to the first book of The Bible's first five books. </note> of frogs:</l>
            <l>We turn the tubing and vivid cloth emerges</l>
            <l>Out of itself like a snake sloughing its skin;</l>
            <l>You whorl it tightly and I think this is</l>
            <l>How your great spirit must exist in you</l>
            <l>Compactly, coiled like a spring.</l>
            </lg>
            <lg>
            <l>From what misfortune could you not recover</l>
            <l>Who as a child made the pilgrimage</l>
            <l>To <placeName key="Lourdes" ref="http://www.wikidata.org/entity/Q3327" cert="medium">Lourdes</placeName>, eastward through the low green mountains</l>
            <l>Of your own land? You say the Virgin slept</l>
            <l>And say it lightly as if you had not been</l>
            <l>Bitterly born to your mother’s shame</l>
            <l>In an age when no one could tell you of</l>
            <l>The tiny gland that kept you tiny.</l>
            </lg>
            <lg>
            <l>Self-taught and independent by your own</l>
            <l>Inventions, you make buttons out of thread,</l>
            <l>Handbags with pockets hidden within pockets,</l>
            <l>And dresses that unfold as if corollas</l>
            <l>With minute parts inside. You instruct me in</l>
            <l>Techniques as secret as nature’s, my fingers</l>
            <l>Sure when yours are, atremble when yours falter</l>
            <l>Those sharp days when you feel more and more mortal.</l>
            </lg>         
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        <p>Suzanne Noguere lives in New York City.</p>
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