Lauren Berlant and Kathleen Stewart’s collaborative work, a collection of hundred- or multi-hundred–word pieces on art, affect, and politics, draws on the women’s backgrounds in cultural criticism as much as their attunement to the types of feelings that arise from situations or experiences.
Not all wandering is equal; not all bodies can move easily through all spaces. While there is always the possibility of danger in wandering, there is also, however, a benefit to changing our surroundings and seeing a world beyond what we are used to.
Those of us who experience trauma find it difficult to put our experience into words in the first place. Many of us flounder, sputter, or stay silent, at a loss for how to adequately translate our experience into language.
Fumiko Enchi’s 1958 novel, 女面, grapples with women’s rage within a system that is structured to work against them, as well as the ways some women perform what is expected of them in order to usurp the system itself—with messy consequences.
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.