Collective feminist narratives can acknowledge, to differing degrees, the stories that are missing from them.
Repeatedly, the film shows this venturesome woman alone at all hours—yet never do we see her fearing or fending off assault.
Anyone who has been called a bitch-witch might have predicted the show’s big twist: there is absolutely no right way to wield your power.
“Given the long, tainted history of sex under patriarchy, maybe we need reparative norms around sex.”
“I don’t quite know what Murphy means by baroque or what he means by camp, but Murphy has never been able to discern tone.”
Why do women and feminized people flee Central America? What do they find when they reach the United States?
History, Ann Stoler showed, is not just political action, disconnected from daily domestic acts. Intimate relations are worthy of serious study.
Videogames that demand female protagonists commit—and receive—violence may be captivating, thoughtful, and moral. But they are not fun to play.
Novelists from George Eliot to Mary Gordon ask readers to confront our lives as ethical dramas that run only once, and with great consequence.
Students must choose to do the work that will facilitate learning, so teachers must give them reasons to make that choice, again and again.
“There are two ways of reading Black invisibility and one of them is futuristic.”
Franco-Moroccan writer Leïla Slimani reveals the dirty underside of bourgeois domesticity. Is her taboo breaking worthy of praise?
It is no exaggeration to say that Evelyn Fox Keller and her compatriots made possible not only my work but entire generations of scholarship on science.
I am tired of catalogues and catalogue poems, and of surveys and surveillance—though I appreciate a bird’s-eye view of the terrain as well as anyone.
Three recent poetry collections have cemented the rise of what we might call the “metalyrical”: poetry that interrogates the conditions of its own expression.
“What we build and how we build influences the kinds of families and relationships that we can have or can even imagine.”
A defaced family photograph—with an ancestor cut out—reveals to Ferrante’s new protagonist how women are erased by the words and deeds of men.
Women writing about women spies who are, themselves, writing. What’s next for women’s espionage writing?
When freedom will not arrive to us, can we get nearer to it?
#MeToo has revived an enduring feminist question: What do women want, and how can they get it?