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.
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.