Internet reading that caught my eye over the past week.
The thriller writer probes the psychological underpinnings of female rage.
Because, Abbott says, “girls are darker than boys.”
Sheri-Marie Harrison, associate professor of English at the University of Missouri, explains what she calls the new black Gothic in the novels of Jesmyn Ward and in other popular formats such as television, music video, and film.
Ward’s award-winning novels are among a number of works, literary and otherwise, that rework Gothic traditions for the 21st century… Ward engages specifically the Southern Gothic tradition. In American literature, there is a long tradition of using Gothic tropes to reveal how ideologies of American exceptionalism rely on repressing the nation’s history of slavery, racism, and patriarchy. Such tropes are, as numerous critics have noted, central to the work of Toni Morrison.
A review of Sharp: The Women Who Made an Art of Having an Opinion by Michelle Dean (Grove Atlantic).
This critical history is a rogues’ gallery of literary femaleness – even though most of the women in it rightly bristled at being defined as “woman writers.” Dean’s exemplars are, in chapter if not birth order, Dorothy Parker; Rebecca West; Hannah Arendt; Mary McCarthy; Susan Sontag; Pauline Kael; Joan Didion; Nora Ephron; Renata Adler; and Janet Malcolm. Most have at least a few things in common. While some doubled as novelists, all are distinguished for their non-fiction, with fully half reaching eminence via The New Yorker.
An article about the amazing actor about to appear in the HBO production of Gillian Flynn’s novel Sharp Objects.
Édouard Louis uses literature as a weapon. “I write to shame the dominant class,” said the 25-year-old French writer in a recent interview.
© 2018 by Mary Daniels Brown