Reading Wittig as abstract (and using abstract as a means of being subtly anti-feminist) is misreading her: her whole point is to restore the body within the text.
Witch-hunting, Silvia Federici has written, developed in a world where communal relations were crumbling under the emergence of capitalism; from that moment on, the witch was the woman who escaped and defied patriarchal authority—and for this, she has always had to be punished.
The initial image of the sphinx in Garréta’s first novel seems to haunt the project of each of her subsequent books: a chimera-like assemblage of parts (the exact composition of which can vary) that remains enigmatic, that resists understanding.
Despentes is blunt, upfront, and unapologetic about upending normative rules of decorum regarding what can be discussed and how it must be discussed.
As is painting, so is poetry: the connection between the two cannot be denied, but its nature and significance have been heavily debated. Is poetry a verbal painting? Is painting silent poetry?
Stephen Cone's film is about a queer teenage girl who, for one summer, discovers herself—what she desires, what she needs, and how she could fit in this world. It’s also, and just as importantly, a movie about words—writing and reading them.
Provence is one of these regions, like Bordeaux and the Atlantic seaboard, that have always had a strong connection to Anglophone cultures, starting in the seventeenth century when the court of the House of Stuart went into exile in Avignon.
Future Home of the Living God has been hailed as the heir to Atwood’s The Handmaid’s Tale, mostly because it talks about women forced to carry out pregnancies and dystopian political repression. Those two ideas together, however, are nothing new.
Last year, Julie Maroh published another graphic novel, Body Music, a series of short vignettes about people and their love stories. It takes place in Montreal, starting July 1st – the day when people usually move out or in – and spans one year, coming back full circle.
Not all representations of museums overtly highlight the way they structurally rely on certain power dynamics, and yet the adherence to a certain normalizing discourse is always there, lurking, even when the explicit intention of the museum is to reconnect with a lost past.