Thinking about #ownvoices within the broader framework of literature suggests that we acknowledge where our representations come from and who controls them—and that we strive to rectify the distortions and erasures generated by centuries of marginalization by always paying attention to whose voices get to be heard.
Weaving together her experiences of womanhood, of her Korean-American heritage, of her place within diaspora, poet Jihyun Yun goes beyond simple dualities, privileging instead what remains irreducible in the face of neat labeling.
In both France and the United States, literature has always been a prime site for these struggles over memory—what gets remembered, and how.
Literature, as a territory of creative speculation, appears especially attuned to tracking our ever-evolving relationship to death and its consequences on how we lead our lives, how we relate to others, and how we cultivate any sort of moral compass.
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.