But those ten centimeters, O grunting, flailing lady, are not the width of the baby's head. No, the average seven-pound baby has a head five inches across, and some fat-headed infants have skulls nearly six inches wide. While the baby's head does compress into something the shape of a keel as it rams and glides its way to the light thank Ishtar for the sutures, fontanel, and ductile plates of the newborn's skull nonetheless you can count on your vagina's stretching during delivery to proportions unimagined when you had trouble negotiating your first tampon insertion. So the vagina is a balloon, a turtleneck sweater, a model for the universe itself, which, after all, is expanding in all directions even as we sit here and weep.
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Yet mouths are expandable clefts too, and who would think of the mouth as a passive receptacle? So it is that the vagina is sometimes thought of as a toothed organ, by analogy with the mouth: a hungry, sucking, masticating, devouring orifice, capable of depleting a man's resources fatally if he gives in to its allure too often. Or the vagina is the moist, soothing, kissing mouth; the word labia means lips, of course, and human ethologists such as Desmond Morris have proposed that women wear lipstick to emphasize the resemblance between upper and lower labia, to recapitulate the lines of the hidden genitals on the poster of the face.
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Nor is the vagina limited to metaphors of opening. It can be thought of as a closed system, hands pressed together in prayer, the Big Crunch rather than the expanding universe of the Big Bang. Most of the time, a woman's vagina is not a tube or a hole; instead, the walls drape inward and firmly touch each other. The vagina thus can switch states between protected and exposed, introverted and inviting. And so it gives rise to the imagery of flowering, of bursting open: lotuses, lilies, leaves, split pecans, split avocados, the wings of a damselfly. The artist Judy Chicago took the notion of the blooming, procreative vagina and fairly hoisted it up a flagpole in one of her most famous works, The Dinner Party , in which such feminist heroines of history and mythology as Mary Wollstonecraft, Kali, and Sappho are seated at a table, preparing to eat from dinner plates shaped like female genitals. Some criticized Chicago's work for its piousness and vulgarity (a neat trick, combining the two), while others attacked it as "reinforcing womb-centered, biologically deterministic ways of thinking," as Jane Ussher recounts in The Psychol-
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