Welcome to the DYKE, A Quarterly online annotated archive. We invite you to discover the depth and scope of our files.

If you have comments or concerns, please feel free to post in comments section. Comments are moderated.

 

DYKE A Quarterly, DYKE IS OUT publicity flier signed copy
DAQ announcement flier. ©Liza Cowan, Tomato Publications

 

 DYKE A Quarterly of Lesbian Culture and Analysis, was published in NY City in the mid 1970s. Editors Liza Cowan and Penny House created a magazine that was as beautiful as it was radical, and as personal as it was political. After it ceased publication in 1978, it languished in private collections until, in 2010, curators from The Library of The Museum of Modern Art and The Schlesinger Library requested copies and papers.

While Cowan was doing graduate studies in anthropology in the 1990s, she was dismayed to discover that scholars were depending on secondary source material to write about Lesbian Feminist activism of the 1970s. Cowan decided to produce the digital archive to provide primary source documents about Lesbian Feminism to scholars everywhere.

Although rigorous in presenting the scans and searchable transcriptions of the original materials, the DAQ archive presents another dimension as well. The annotations to the original articles are written as personal essays and as research essays about the women or groups mentioned in the articles. Hyperlinks make this a useful tool for both scholars and for the non-academic reader. Because the archive is published in blog format, readers can respond with their own stories and links.

DYKE A Quarterly is now available for research at The Museum Library of The Museum Of Modern Art in New York City. The issues as well as ephemera, letters, and collateral material are available for research at The Schlesinger Library at Radcliffe College.

 


DYKE GOES TO THE MUSEUM OF THE CITY OF NY

 

 

DYKE A Quarterly, DYKE IS OUT! ARE YOU? poster draft for Museum Of The City Of NY Gay Gotham
The poster may look like this. We're still working on the design. But the flier will be the focus.


A few images from DYKE, A Quarterly will be featured in an upcoming show at The Museum Of The City Of NY called Gay Gotham: Art and Underground Culture in 20th Century NY.  The show opens October 7th 2016.

We've been working for months with curator Stephen Vider, figuring out what pieces would work best, how to title them, what sizes, who owns the rights and etc. We are not sure yet which images, or how many images,  will be in the exhibit but we do know for sure that our iconic flier, DYKE IS OUT! ARE YOU? will not only be feature in the exhibit, but will be available as a poster in the Museum gift shop, along with postcards and magnets with that image. 

And there will be a book, which will include at least some of our pages. 

You can read more about the exhibit here

Meanwhile a version of the magnet is now available to buy. The one for the museum will be the same design as the poster and the postcard. The one available now just has the flier image and our URL 

DYKE, A Quarterly, DYKE IS OUT! ARE YOU? magnets
DYKE IS OUT! ARE YOU? magnets on fridge.

Magnets are for sale here, at Liza's etsy store  All sales hep to fund the DAQ online annotated archive.

 

We will keep you updated. 


"Casting spells for a female future with 70s lesbian separatist Liza Cowan"

 From i-D magazine. By Charlotte Gush. December 7, 2015. Original here:

In 1975, Liza Cowan photographed her girlfriend wearing a T-shirt that read ‘The Future Is Female’. Fast forward to 2015 and a replica bought by Annie Clark for girlfriend Cara Delevingne has caused an Instagram-based feminist fashion frenzy. i-D caught up with Liza to find out about the T-shirt’s lesbian separatist roots, her magazine DYKE and what ‘The Future is Female’ means to her.

 

 

 Alix Dobkin, photo ©Liza Cowan. the future is female 1975 high res copy 2
Alix Dobkin wearing original The Future Is Female Shirt form Laybris Books. Photo ©Liza Cowan 1975

 

In recent weeks, perhaps the very first truly Insta-famous feminist fashion item has emerged: a sweatshirt worn by Annie Clark, of St Vincent, and girlfriend Cara Delevingne that reads, 'The Future Is Female'. Far from being the latest catwalk creation, the design actually has its roots in the radical feminist movement of lesbian separatists in the 70s, having been created originally to raise funds for Labyris Books, the first women's bookshop in New York City, which opened in 1972.

In 1975, photographer Liza Cowan photographed her then-girlfriend Alix Dobkin wearing the slogan T-shirt, for an advert the magazine DYKE: A Quarterly, which she co-edited with Penny House. [note from Liza - this isn't actually true. I took the photo for my slideshow, What The Well Dressed Dyke Will Wear] Fast forward to 2015 and the lesbian feminist Instagram account @h_e_r_s_t_o_r_y posted Cowan's image, where it was seen by graphic designer Rachel Berks, who sells feminist products from her studio-store, Otherwild. With permission, Berks recreated the T-shirt and began selling it -- with 25% of profits going to women's health organisation Planned Parenthood -- in her online store and in the gift shop of a lesbian feminist haunted house called KillJoy's Kastle, where St Vincent singer Annie Clark bought two slogan sweatshirts for herself and girlfriend Cara Delevingne. Paparazzi shots of them wearing the designs spread across social media and a feminist fashion frenzy was set in motion.

i-D caught up with photographer, artist and feminist Liza Cowan to find out more about lesbian separatist feminism in the 1970s, her magazine DYKE: A Quarterly and what 'The Future is Female' means to her.

Alix dobkin and liza cowan at three maple farm NY circa 1975
Alix Dobkin and Liza Cowan at Three Maple Farm, NY. Circa 1975



 

How does it feel to see a radical statement created by your community of lesbian feminists in the 70s become famous on the internet in 2015?
If you had told me 40 years ago, when Alix Dobkin and I made this photo, that it would become a pop culture sensation of this magnitude, we would have said that the idea was impossible.

Are you concerned that the feminist message gets lost and people think it's just a cool image?
In some ways the message 'The Future Is Female' is, if not lost, then certainly understood differently than it was in the 70s. Feminism has changed, the world has changed. It is difficult for many younger women to imagine the power, the excitement and the urgent need for women to come together to change the world. This may change. I do like that people think it's a cool image. It IS a cool image.

What does 'The Future is Female' mean to you?
The beauty of the phrase is that there is no precise meaning. We are asked to absorb two powerful archetypes, and to imagine them in relationship to each other. It is a dynamic phrase, a lively phrase. In order to make sense of it, we have to engage with the words. The archetype of 'the future' asks questions about the nature of time: When does the future begin? Where is the future? How does it happen? As an archetype, 'female' covers broad territories. Flora or fauna. Virgin Mary or Kali. Medusa or Quan Yin. Astarte or Parvati. Bringer of peace, or destroyer of illusion. Nurturer or avenger. Mother, sister, daughter, aunt, grandmother. Nymph, maiden, crone.

'The Future is Female' reminds me that all life formed in a matrix. Matrix means womb, matrice, mother. Life springs from the female. Whether the future starts right this second, or in a million years, it emerges from the female body; not just the body of women, but of all female sentient beings, including the body of our home, Gaia.

I have also said that the slogan is a call to arms. While I think this is true, it is also true that it is an invocation. If we are to have a future, it must be female, because the rule of men -- patriarchy -- has just about devastated life on this beautiful little planet. The essence and the spirit of the future must be female. So the phrase becomes not just a slogan, but a spell. For the good of all.

 

DYKE IS OUT flier Liza Cowan, Alix Dobkin, Penny House
First flier for DYKE, A Quarterly. Circa 1974

 

The image of Alix was part of a photography project about women. Tell us more?
From 1972 to 1978 I wrote a series of articles called What The Well Dressed Dyke Will Wear, starting in a small lesbian magazine I published called Cowrie Lesbian Feminist, which ran from 1973 to 1974. Later I published them in my bigger magazine, DYKE: A Quarterly of Lesbian Culture and Analysis, which I co-edited and co-published with Penny House.

Today, you can get a PhD in fashion theory. In those days, it was considered trivial. I knew it wasn't, and I knew and that clothing carried a social message. I wanted to decipher it. In the seven part series, I covered general observations, histories of lesbian clothing -- including ancient Amazons -- contemporary lesbian clothing designers, the politics of hair and the history and politics of footwear.

How did you discover feminism and when did you start to identify as a feminist?
I first heard about Women's Liberation in 1970, listening to Robin Morgan being interviewed on the New York City listener-sponsored radio station, WBAI. My life changed immediately. I joined a consciousness-raising group, and I never looked back.

After you became a feminist, you began to identify as a lesbian separatist -- what does that mean and why was it an important distinction?
I was not a lesbian when I became a feminist. I came out gradually over the next year or so. In the process of producing feminist radio shows at WBAI (the same station where I'd first heard Robin Morgan), I had the opportunity to interview many many accomplished and exciting women, including some lesbians. One morning I had a dream in which I revealed to myself that I deeply loved women, and I decided at that very moment to be a lesbian. Soon after that, I met Alix Dobkin, a recently divorced folksinger and mother of a nine month old daughter. We met when she came to the station to be a guest on my late-night feminist radio show, Electra Rewired. We became friends, and then fell in love.

Over the course of the next few years, we spent much of our free time reading and discussing lesbian books, periodicals and theory, with each other and with friends. The new ideas about lesbian separatism resonated for us, and we developed our own ideas, which I wrote about in DYKE, and Alix sang about. Our work took us to women's actions and communities in New York City and soon, all over the United States, where we enjoyed the opportunity to work out ideas with many brilliant lesbians.

Contrary to popular belief, lesbian separatism was never a prescriptive code for behaviour or relationships. It did not dictate who to be friends with, what 'family' should mean, or how to live your life. It was an analysis, a lens through which to observe the world. There was no centrally-distributed dogma. Lesbian Separatism, boiled down, was a way to figure out what it meant to be a woman, without having to bother with men telling you what you could not think or say.

It was a way to develop networks of women's businesses, publishers, bookstores, conferences, cafes, trade organisations, credit unions, music production, health care centres, media, schools, self-defence courses, cooperative farms, festivals, auto-repair shops, distribution networks. We did everything. Not everyone who participated was a lesbian, but most were. Women-only networks, spaces and actions are one of the cornerstones of creating community, and forging effective feminist activism. That's why it's such a difficult and contested thing to do these days.

 

Liza Cowan and Penny House circa 1975 photo by Alix Dobkinjpg
Liza Cowan and Penny House at Three Maple Farm, 1975. Photo ©Alix Dobkin

Why did you create DYKE: A Quarterly, and what was the reaction to it?
DYKE: A Quarterly (DAQ) was my second feminist magazine, following a smaller predecessor, Cowrie Lesbian Feminist. Before that I'd been a radio producer. I like media, I like to write, I like to design; and we had wonderful resources of lesbian writers, artists and activists to draw on as contributors. Co-editor Penny House and I decided that publishing a lesbian feminist magazine would be our perfect contribution to the movement.

Some women loved it. Some hated it. Some loved how brave and honest we were. Some women were frightened by that. Some hated that we wrote about such 'frivolous' topics as clothing and fashion. Others found that enlightening. Some women loved that we tried our best to make it beautiful and substantial. Others were suspicious of us because it was beautiful and substantial. But we were always taken seriously.

All our articles were written by lesbians, (except one, by our woman dentist, about oral hygiene.) Our typesetters were lesbians, and the magazine was printed by a lesbian printshop. We sold only by subscription, or in women's bookstores. Sometimes we sold the magazine in person as we toured the country with Alix Dobkin. All our advertisers were lesbian feminists. We paid for everything we published. It was quite the cottage industry. Our biggest problem was funding. But that was par for the course in what was then known as 'alternative publishing'. We folded after four years and six issues.

Back cover DYKE A Quarterly photo ©Irene Young

In DAQ Issue 1, the introduction says that subscriptions will be returned to men, that you don't want male readers or straight women, just lesbians. Why did you want to be exclusive in that way?
The idea of women talking seriously to other women is often seen as a threat to the social order. We just wanted to talk amongst ourselves. Nobody else was interested, anyway.

Some people feel that lesbians have been ignored in the history of both the feminist movement and the gay rights movement. What's your take on that?
I agree, that absolutely happens, and I find it infuriating; but that doesn't mean that nothing has been written. It does depend on where you look. Lesbians have been writing both popular and scholarly works about lesbians for decades now, and there are some wonderful documentary films. Once you start searching, you will uncover a goldmine.

The DAQ archive is now held at The Museum Library at MOMA in New York. Do you think more needs to be done to preserve original feminist and lesbian cultural history?
Absolutely. I always encourage lesbians to donate their personal papers and their personal lesbian libraries to local or national women's or lesbian archives.

Flier for DYKE A Quarterly photo ©Irene Young
Flier for DAQ, Media issue. Photos ©Irene Young

 

The Future Is Female statement spread around the world after Annie Clark and Cara Delevingne were photographed wearing the Otherwild sweatshirts, and there is a big resurgence in celebrities endorsing feminism, like Beyoncé, who performed in front of a huge bank of lights that read 'FEMINIST' on her tour. What do you think of celebrity feminism?
I don't keep up much with celebrity feminism. I'm not a huge consumer of contemporary pop culture. I don't think it can be a bad thing for women celebrities to endorse feminism, and if it encourages other women, particularly young women, to feel good about being feminist, that's a good thing. For me, it depends a lot on the scope and content of their message. If there is no analysis or activism, feminism becomes a symbol with no substance. "The map is not the territory. The name of the thing is not the thing named." -- Alfred Korzybski, 1931. The word 'feminist" is not the same thing as feminist activism.

Although is it very popular to say you are a feminist now, some of the achievements of 70s feminists seem to be being undone. Has progress been made or are we slipping backwards?
I hope that we are reaching the end of an era of mean-spirited attacks, critiques and disavowal of 70s Lesbian activism, attacks which have been painful to witness, and are filled with lies, distortions and half-truths. I see a new generation of folks who have discovered us, and appreciate our work. The h_e_r_s_t_o_r_y Instagram account is one of many examples of this. I hear from more and more young people every day who are truly excited to know more about what we did, and are inspired to carry on the work.

Photoshoot for DYKE IS OUT circa 1974
Image from contact sheet, photoshoot for DYKE IS OUT flier 1974

 

What advice do you have for young feminist and lesbian activists today?
KNOW YOUR HERSTORY: Read, read, read. There is so much to read, so much scholarship, so many articles, so much literature. Get to know the radical roots of feminist theory. Read about 1st and 2nd wave feminists. Become familiar with the legions of amazing feminist and lesbian feminist women who came before you: activists, artists, scholars, scientists, trade-unionists, abolitionists, community leaders, organisers. Likewise, listen to women's music, watch feminist and lesbian films and documentaries. Explore lesbian theatre, and lesbian novels.

Form consciousness-raising groups with a few trusted women-friends. Consciousness-raising was the foundation of second wave feminism, and I can't stress enough what an important tool it is. Meet weekly, pick a topic for each week, and talk honestly and openly with one another. You'll be surprised what you discover. Things you thought were your private problems are not just common, but are the very structure of oppression. This is the technique by which we discover that "the personal is political". Not only will it expand your consciousness and political understanding, it will help you develop the small, trusted and intimate groups from which all kinds of networks and activism can spring.

lizacowan.com

Credits

Text Charlotte Gush
Photography Liza Cowan


DAQ #5, 1977. Lesbian Hoboes by JR Roberts with illustrations by Roberta Gregory

 DYKE, A Quarterly #5, 1977,  featured this historical essay by JR Roberts, with illustrations by Roberta Gregory. Click images to enlarge.


"While reading the book, Sisters Of The Road: The Autobiography of Box Car Bertha (1937) I came across more than a dozen references to Lesbians during the 1920’s and 1930’s. While this life story of Bertha Thompson, as told to Dr. Ben L. Reitman, presents a negative and stereotypical view of Lesbians, it does provide the only references I have uncovered so far which document the existence of numerous and visible Lesbian hoboes during this period. After peeling away the stereotypes there wasn’t much substance left, so I began an investigation to learn more about their lives as women and as Lesbians during those Depression years. This article is the result of that beginning investigation, an investigation which I now consider an on-going project."

 

DAQ Lesbian Hoboes, JR Roberts, illustrations by Roberta Gregory ©Tomato Publications 1977, DYKE A  Quarterly

 

 

DAQ Lesbian hoboes JR Roberts illustrations Roberta Gregory ©tomato publications Dyke a quarterly 1977 pp 38, 39

 

DAQ Lesbian Hoboes JR Roberts, illustrations Roberta Gregory ©Tomato Publications DYKE A Quarterly 1977 pages 40 and 41

 

DAQ lesbian hoboes jr roberts,illustrations by Roberta Gregory. ©Tomoato Publications Dyke a quarterly 1977 pp 42 43

DAQ lesbian hoboes JR Roberts,illustrations by Roberta Gregor ©Tomoato Publications Dyke a quarterly 1977 pp 44 45

 

DAQ lesbian hoboes JR Roberts, ilustrations by Roberta Gregory ©Tomato Publications Dyke a quarterly 1977 pp 46 47

DAQ lesbian hoboes JR Roberts, illustrations by Roberta Gregory ©Tomato Publications Dyke a quarterly 1977 pp 48 49

 

DAQ lesbian hoboes JR Roberts, illustrations by Roberta Gregory ©Tomaoto publications Dyke a quarterly p 50

 

JR Roberts (aka Barbara Henry) is a Lesbian Librarian who founded The New Alexandria Women's Library in Chicago,within the Lesbian Feminist Center, in 1974. She is also the author of Black Lesbians,  An Annotated Bibliography, Naiad Press 1981. Forward by Barbara Smith. 

61Fg7VY8t3L._SY464_BO1,204,203,200_

 

Roberta Gregory lives in Seattle Washington and is responsible for a lot of comics over the years. Best known for "Bitchy Bitch" and "Bitchy Butch" characters and is currently working on Mother Mountain and True Cat Toons. Visit Robertagregory.com and truecattoons.com

She was also a contributing artist to DYKE, A Quarterly. 


61Al6FqRznL._SX345_BO1,204,203,200_


The Future Is Female - the button

The future is female liza cowan design liza cowan archives liza cowan photo
the future is female, 1974

 

Labyris Books was the first feminist bookstore in NYC. It was owned by Jane Lurie and Marizel Rios, fresh from their experiences at the takeover of the 5th Street Women's building. The slogan of the store was "the future is female" and in 1974 they asked me, Liza Cowan, to make this button for them. At the time, I was running a feminist button business, White Mare Buttons. It's hard to believe that I still have a bunch of these left...but I do. They are great, don't you think? And the slogan is just as fresh today as it was in 1974.

 

I have a limited quantity of mint-condition, vintage buttons available  at my online store. 
www.smallequals.com

All sales help support the DYKE, A Quarterly Annotated Online Archive. 


From The Vaults: Chai Labyris rubber stamp

Chai Labyris rubber stamp ©liza cowan for White mare 1978

 

White Mare, Inc. was a feminist Lesbian button company owned and operated by Liza Cowan, co-editor of DYKE, A Quarterly. This image of the Chai inside a Labyris was very successful, so White Mare made it into a limited edition rubber stamp in addition to two runs of buttons.  

This design combines several powerful words and symbols: the Star of David (a cross -cultural geometric symbol- here indicating Judaism,) the Chai, the Hebrew number 18, which is good luck and other resonating numerology .The Labryis, the double headed axe, symbol of Matriarchy and Amazons. The circle sitting atop the Labyris, turns it into a Venus or women's symbol. 

 

More about White Mare buttons HERE

 


Prototype cover sketch for DYKE A Quarterly. 1975

DYKE A Quarterly  prototype cover drawing by Liza Cowan and Alix Dobkin. September 1975

 

"DYKE The punchy magazine for today's Dyke."

I'm fairly sure that Alix Dobkin, Penny House and I (Liza Cowan)  were sitting at The New York Women's Coffeehouse when we made this sketch, one of several we made as we were beginning to conceptualize the magazine. 


Issue #6, Summer 1978. Lesbians & Animals, Editorial

dyke a quarterly. Lesbians & Animals, editorial by Liiza and Penny. Summer 1978

DYKE A Quarterly #6. Lesbians & Animals, editorial. Summer 1978

 

DOMESTICATION

We love animals. We believe that women traditionally have had, and still have, a special relationship with animals. The relationships between women and animas can be satisfying, healthy, consciousness-raising, productive and life sustaining. We are interested in exploring the biological  emotional and behavioral connections between women and other species. 

Between us we have to geldings (castrated male horses) nine castrated male cats, tow spayed female cats, and one spayed bitch. We love our animas and think they are as important as our lovers and friends. We think that relationships with animals are as mutually viable as our involvements with women. Some people, some Lesbians included, feel the domestic animal is, because of domestication, oppressed; they feel that, “human/animal relationships are power relationships with the human having total say over the course and directions of that relationship as well as over the very life of the other creature.”* A comparison is often made between the relationships of animas and people to those between husband and wife or slave and slave-owner. It is said that people use animals a a substitute for human relationships, to fill out their otherwise emotionally empty lives. 

Certainly it is true that some people, women included, abuse animals. However, we think that animal and pet liberationists make no distinction in their arguments between abuse and care or between coercion and cooperation. Many children are abused, too, but the solutions is not tat no one have children. 

The solution to animal abuse is for people to understand and respect animal’s needs and natures. Animal liberationists make too fuzzy a distinction between domestic and wild animals. To be against domestication itself is, at this point, meaningless. From the beginning of human history animal domestication, the interdependence between people and animals, has shaped our cultures, our architecture, our art, in short, the development of our world. 

Whether we approve of it or not, through human history we have been dependent on animal power and animal products. Fields have been cleared for food production by people and animals working together. Horses, camels, elephants, oxen and dogs, among others, have provided overland transportation. Animals have been eaten, and their hair and hides used to make clothing, shelter, tools and musical instruments. 

Until the Industrial Revolutions, animal labor and human labor were among the main sources of energy in the world. For centuries, war technology was based on animals: horses, camels and elephants. Cats protect people from diseases carried by rodents, and protect food from rodents. In the fourteenth century the bubonic plague killed twenty five million people. This plague was possible because men, associating cats with witches and the devil, killed almost the entire cat population of Europe. This the disease, carried by rodents, spread unchecked.

Life without domestic animals is unthinkable. Nowadays modern technology is dependent on machines and computers. But is this a state to be desired? Agribusiness and centralized food processing has lowered the nutritional value of food in this country and elsewhere. It has also made food into a corporate business, and made small farming untenable. Also, by so extensively removing horses and oxen from the land, we lose one of the best fertilizers that Mother Nature can provide: manure. 

Domestic animals have developed to what they are now because of human intervention. They have been bred by humans to work as animals and companions. These domestic breeds no longer exist in a wild state. Animal liberationists claim that by domesticating animals we are perverting them from their natural, wild state. But there is no wild state of, for example, a Golden Retriever, just as there is not wild, i.e. more true, more natural state of a Yankee farmer. Domestic animals have co-evolved with humans. 

PETS

We think that it is natural and healthy for people to enjoy and want the companionship of animals. It is a further exploration of nature. We know that our lives, and many people’s lives, are enriched by pets. Having close relationships with animals is not an imitation of human relationships. Some people prefer to have relationships with animals instead of people and we consider this an honorable choice. To include animals in one’s daily life can be a mutually gratifying and healthy experience. Recently therapists have been working with domestic animals and mentally disturbed and retarded children with beneficial results for both. 

ABUSE

Cruelty to animals is a worldwide problem. We are going to discuss here the abuse we have seen done by Lesbians. The abuse we have witnessed came not from cruelty, not from neurosis, but from ignorance and irresponsibility. We have seen many Lesbians who are reluctant to discipline and train their dogs. Dog psychology is different from women’s psychology. By not understanding their dog’s nature, some women accord them the same rights they feel women should have: complete freedom of choice, total mobility, not enforced discipline or reproductive freedom. This is s distortion of a dog’s nature. Anthropomorphizing is exactly what Walt Disney does. 

There are too many homeless dogs and cats in the world, and too many animals with hereditary defects, such as diplasia, caused by unthoughtful breeding, so spaying and castrating is a must. 

Unfortunately many women think this is unfair to the animal, which it is not. 

A dog needs to be told what she can and cannot do. In the wild, with wolves for example, one wolf is dominant and in the pack there is a dominance chain. In domestication, the human must be dominant. Women, on the other hand, are not pack animals. Adult women do not need a pack leader. The confusion, and therefor the abuse, stems from women believing that a dog’s needs, and therefore the dog’s rights, should be the same as women’s rights. This is not the case. If a human is not the dog’s leader, then the dog, by her nature, will have to become the leader, a task she is not equipped to handle. Some women feel it is oppressive to discipline their dogs, but cute puppy behavior, if undisciplined, soon becomes obnoxious and destructive dog behavior. 

Is it a dog’s right to chew furniture? Is hist a dog’s right to shit in the house? Is it a dog’s right to run deep and kill sheep? Is it a dog’s right to knock down the neighbor’s garbage and shit on the neighbor’s lawn? Without training, discipline and care, a dog will do all these things and more. The result usually is that the dog will become habituated to obnoxious behavior and will have to be locked up all the time, passed from home to home, or even destroyed. 

Liza and Penny

 

 

End of original article. DAQ.

 

We designed and layed out each issue very carefully. This was before the era of the personal computer, so our production was very very laborious and time consuming. We started with thumbnail sketches, laying out the whole magazine in teensy squares on a grid on paper. Here's the page for Issue #6. You can see the layout for the editorial. 

Dyke A Quarterly thumbnail mockup for issue #6 1978


Flier for DYKE, A Quarterly. 1975

 

We sent out this flier/mailer in 1975. You can read about it here:

 

flier for DYKE, A Quarterly. 1975. New Magazine Begins
Flier for DYKE, A Quarterly. Photo of Penny House reading DAQ #1.

 

Please note that the description of DYKE #2 says "future issues will carry stories on bitch sexuality..." We were talking about dogs. It would never have occurred to us to use the word "bitch" to refer to human females. Today, however, we'd have to be much clearer. And still, we'd never use the word "bitch" to refer to human females.


Side Trip: White Mare Buttons

Buttons from white mare inc. liza cowan archives

DAQ editor Liza Cowan also had a business making and distributing feminist and Lesbian buttons, under the company name White Mare. White Mare advertised in DAQ, of course. These buttons are now collectors' items. If you have any, hang on to them or donate them to an archive. Please.