At a time when female “others”—black, brown, and yellow—together constitute the largest block of the world’s population, their persistent invisibility to Westerners not only means they are overlooked in the present moment, but that they are consistently erased from the historical record.
Rafia Zakaria reacts against “the challenges that arise from a Western literary canon that, despite decades of feminist intervention, remains largely male and white” with a look at key texts that have helped her in her “own self-fashioning as a lettered woman of color.” In her series Reading Other Women in Boston Review she undertakes “a journey into complexity, into the lives and literary worlds of those who are challenging their own marginalization through the power of the story.” While “little brown girls” must undertake such a reading journey out of necessity, Zakaria hopes that the “Western reader must choose to do it.”
On The Many Visions of Voyeurism in Crime Fiction
Claire Fuller, whose novels include Swimming Lessons, discusses the frequent presence of characters she calls watchers in crime fiction, “ staring via two-way mirrors, spying through surveillance cameras, peeping from behind trees, and peering through train and car windows” at other characters. But, she adds, we as readers are staring at the watchers just as those watchers are looking at other people. “Does that make us in some way complicit in the crimes committed between these pages?” Fuller asks.
be careful who you’re judging when you’re horrified by a fictional watcher or voyeur, and remember that readers—you included—could be considered guilty of the same crime.
These writers are embracing a more elastic literary form — the novel — and a number of recent works, often genre-bending as well as gender-bending, have won critical acclaim.
In The New York Times Peter Haldeman discusses recent works of literature that, “[I]n a field previously dominated by memoir and genre fiction (sci-fi, young adult), [includes] a number of first novels with more purely literary designs — including playing with genre — [that] are getting attention.” The works discussed here include the following:
- Paul Takes the Form of a Mortal Girl by Andrea Lawlor
- Confessions of the Fox by Jordy Rosenberg
- Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir by Kai Cheng Thom
- An Unkindness of Ghosts by Rivers Solomon
- Freshwater by Akwaeke Emezi
- Little Fish by Casey Plett
- The House of Impossible Beauties by Joseph Cassara
Read how these authors are bending and blending literary types and genres to create new forms to portray new narratives of being.
Halloween was last week, but I’m still coming across interesting articles about all the usual trappings of that holiday. Here Sarah Perry explains why “[t]o understand the literary gothic—to even begin to account for its curious appeal, and its simultaneous qualities of seduction and repulsion—it is necessary to undertake a little time travel.” Perry explains how the term gothic, originally applied to architecture, came to be applied to literature that “repels and appeals in equally fervent measure.”
I make no secret of the fact that I like mysteries, and I read a lot of them. So I enjoyed this journey down memory lane by John Wilson (who is just my age) of his own love of and history with reading mysteries. There’s a bit of a Christian-theology overtone in his account that I do not share, but he seems just as fascinated with the ways mysteries probe the human condition as I am.
© 2018 by Mary Daniels Brown