Vladimir by Julia May Jonas is a novel with, as is increasingly prevalent in modern literary fiction, an “unlikable female narrator.” But her unlikability stems from her refusal to sugarcoat the realities of aging and its attendant loss of power.
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Sex, Youth and Power in Julia May Jonas’ Vladimir
Race Against Time: How White Fear of Genetic Annihilation Fuels Abortion Bans
by Carla Bell
Still, in the foreseeable future the country will be, as Elliot puts it, “mostly brown.”
The Naked and The Damned
by Julia Sirmons
“He was soon to become the second most powerful man in Nazi Germany,” reads the tagline for Luchino Visconti’s 1969 film The Damned. It’s an improbable caption for the image below it: a man in drag.
Nothing New in the West
by Clement Obropta
The Old West is an invention, as fake as a ride at Disneyland. It’s a desert filled with paradoxes.
I Know Who Orville Peck Is
by Robin Gow
Often, I tell people, “I like the word queer both for my gender and my sexuality because it makes me feel free.” I love the capaciousness.
Transgressive Divadom in Hedwig and the Angry Inch
by Robert Stinner
The diva, by definition, surpasses her surroundings. Her towering presence commands attention, and everything else fades away.
And You Yourself Calliope:
A Conversation with Rosie Stockton
And of course, it’s always important to say that gender, like genre, is a racialized structure.
Fragmentary Pleasures
by Yasmine Eve Lucas
Before meeting Phil and Elizabeth, I’d hypothesized that longings for pity, care, or power might motivate or inform BIID desires.
On The Member of the Wedding (and its adaptations) Seventy-Five Years Later
by Jennifer L. Gauthier
It is said that McCullers remarked to a cousin about Lee, “Well, honey, one thing we know is that she’s been poaching on my literary preserves.”
The Perpetual Garden with Clement Oladipo and Kandis Williams
by Corey Durbin
I rode my bike to Ridgewood, Queens, where Clement was already outside rolling a cigarette.
