There are uniquely white stories that all white people know intimately, and that we aren’t telling: stories of white people perpetrating racism.
It is an understatement to say that Wright’s fourth collection had its work cut out for it, and it is no surprise the reception of the book was dramatically and passionately mixed.
Kim Hyesoon’s poetry collection recognizes the necessity of tracing lives erased and extinguished by political repression, patriarchy, and capitalist imperialism.
Somewhere between “fiction” and “nonfiction” sits the military veteran, pen and paper in hand, wondering why they lived while their friends died.
Edith Maud and Winnifred Eaton, sisters from the turn of the century, dealt with racial ambiguity throughout their lives, learning to navigate how others interpreted them in vastly different ways.
When you immigrate, you bring an entire world along with you, a fifth limb impossible to detach, though internal and external forces demand its removal. Immigrants enter into a state of constant negotiation, deliberating what stays and what goes within their sociopolitical space.
As Claudia Rankine’s new play The White Card premieres at Boston’s Paramount Theatre, Ploughshares is proud to publish Catina Bacote’s “The Other America,” which investigates police brutality and the failure of community policing in New Haven, Connecticut, discussing Rankine’s Citizen in relation to the author’s experiences.
When I first read Frankenstein, I knew that Mary Shelley was the daughter of Mary Wollstonecraft, the blazing eighteenth-century feminist, so I was expecting a text reflecting that parentage. But her women characters were . . . well, dead. Her book was all about men.
When I moved to Rio de Janeiro and read Arlt for the first time, I began to grasp that the distance between expectation and reality, between hope and disappointment, animates and haunts the experience of the outsider to a foreign country.