ABSTRACT
IN Lesbians Who Kill, Deb Margolin’s wry philosophical bent creates a dissident space of mimicry for Split Britches’ butch/femme performers, Peggy Shaw and Lois Weaver, to play out their seductions. May (Weaver) and June (Shaw) abandon their house because it attracts lightning. While they wait out a thunderstorm in their car, they divine ways to kill time. When they “make time” with men, their eyes are as “open as bulletholes looking right at” each other as they kiss the men they dream of killing. Wanting to be remembered, they “kiss for memory…before fall[ing] into history.”2 Their kiss marks the hope of being together in the impossible present tense.
