It was something like 2016 and I was sitting at the big La Colombe in Fishtown, in Philadelphia, reading Dennis Cooper’s THE SLUTS when I realized I was going to pass out.
In every one of the essays in Off Limits, El Saadawi calls for an ethic characterized by relating across difference that, far from reproducing discriminatory violence, might attend to difference as a catalyst of freedom.
A forgotten classic of feminist dystopian fiction, the NATIVE TONGUE trilogy is a brilliant illustration of how writers might use genre to grapple with the problems of patriarchy.
The modern novel feeds almost entirely on free will — a compelling demonstration of the full and rebellious exercise of which, if we are to agree with (among others) Camus, is what separates the literary novel from myth, legend, parable, and genre writing.
FANTASY reminds the reader that as we look at the often broken and crooked stories of ourselves, we can’t forget that history keeps circumscribing us, even as its content eludes us.
MY AUTOBIOGRAPHY cracks the normative bounds of literary scholarship and shows us what kind of knowledge production is possible when the researcher drops the veneer of “scholarly objectivity” and makes herself fully present in the research process.