Its first bites taste like mainstream contemporary fiction; they go down easy, like candy, or like a Sally Rooney novel. But as you continue to chew — because this novel is chewy — you encounter something quite different.
The book, both in its physicality and content, poses a challenge not to conservative forces who would immediately shut it down, but rather to progressive and “open-minded” people who support queer writing — but only if it’s “literary” and respectable.
In every trip to get punk t-shirts on Melrose or listen to Pink Floyd at Griffith Observatory she is not merely coming of age; she is coming of culture, of heritage, of community.
THE NAKED WOMAN continues to speak to us nowadays as fiercely and urgently as seventy years ago: more than ever, women’s bodies are the place of political battles that seek to change the way we understand desire, consent, and autonomy.
It should come as no surprise that Coleman, an Australian Aboriginal author of the South Coast Noongar people, is particularly poised to enliven the tropes of the science fiction contact genre.