“We have to take over spaces because we are not going to be invited in.”
Where do working-class women who are literary and experimental find, first, their models, and next, their readership?
Chicago—for women artists of various backgrounds—demanded a new art to advance the struggle for freedom by imagining other possible worlds.
“I didn’t pay much attention to what was being put in the archives… there are letters that, if I had been paying attention, wouldn’t be there.”
“I have an appetite for silence,” Emily Dickinson wrote, for “silence is infinity.” But are women today relishing in their solitude?
There are so many utopias. Could one be a small collective of nuns, performing their chores, far from the disasters of the 12th century?
In 1963, a Panamanian assemblywoman took to Cuban radio to condemn the United States and its control of the Americas.
Very much against the grain of most standard leftist work, “Daughter of Earth” remains unsettled and unsettling throughout.
What does it take to live without the ability to smile or move half of one’s face? For that matter, what does it take to live at all?
“One way to think about the act of annotating is that you are that meddlesome party gossip, telling the reader how to draw connections between the different parts of the text.”
Few know the film—the first feature-length film by a West African director—was based on a real-life incident, a real tragedy lost in colonial archives.
South African literature has long struggled to become drought-resistant: its plotlines, and even its paper production, presuppose abundant water.
"The real value, the biggest value, of sport to me is that it is this gigantic arena for feeling."
The transnational struggles of Black women throughout history are different experiments in the practice of freedom.
Remember that anti-Black violence has been the central dynamic of US history—and how Black women have struggled with this violence for centuries.
Contemporary TV series that take on Latinx life have increasingly embraced the complexity of their subject matter.
For poet Honorée Fanonne Jeffers, as for the Black Romantics, history is the repetition of anti-Black violence that has yet to be abolished.
Novelists from George Eliot to Mary Gordon ask readers to confront our lives as ethical dramas that run only once, and with great consequence.
While some progress has been made, TV is still trying to figure out how to tell the stories of male-identified rape survivors.
Hazzard was given to lingering in the fraught silences that follow great tumult, taking the time to find something worth saying.