What is the meaning of consent within an oppressive culture? This question lies at the heart of Lilith’s Brood, Octavia Butler’s sci-fi trilogy which presents an extended allegory for colonialism that is inextricably tied to rape and other types of nonconsensual sex.
In The Blazing World, Harriet Burden is a widowed sixty-something artist whose work languished in relative obscurity until she recruits three men to claim her work as their own, which fundamentally changes the reception of the art, and possibly even the art itself.
Last week, the New Yorker released the first English translation of Italo Calvino’s “The Adventure of a Skier,” which first appeared in the 1970 short story collection Difficult Loves. How does this “new” story fit into the themes and philosophical musings of the work as a whole?
Some argue that Fearless Girl is not a “legitimate” work of art because its meaning is dependent on Charging Bull, but works of art often appropriate parts (or even all) of other works in order to synthesize new meaning.
Mad Men was known for its liberal usage of literary allusions, most of which were exactly what you’d expect. But only one allusion lasted the entirety of a season: Dante’s Inferno.
Buffy the Vampire Slayer, which just celebrated its twentieth anniversary, is remembered for its campy, sometimes silly, iconic vampire lore. And yet, while watching it as it aired, it never occurred to me that the classic Prince of Darkness—Dracula—might appear.
In the third season of The Affair, one of the Solloway children comes home excited to tell his mother that he’s participating in a musical version of Jane Eyre.
As bookish '90s teenage role models go, Joey Potter of Dawson's Creek never quite reached the "girl-power" heights of Rory Gilmore, Willow Rosenberg, or Daria.
When I first started watching BBC's serial killer drama The Fall, I was excited to discover that the episode titles were all famous lines from Paradise Lost. But the title is also a reference to another, very different classic poem: “The Hollow Men” by T.S. Eliot.
Emma Cline’s debut novel, The Girls, is an unabashedly feminist novel that freely acknowledges the presence of patriarchal forces in our society.