More Than A Victim: Lakshmi Holdström’s The Inner Courtyard

Avani Udgaonkar

Edited by Ketaki Zodgekar

Illustration by Olivia Prenderghast: https://liviprendergast.wordpress.com/

TW: sexual violence mention

The study of Indian literature in Western universities has always been disappointing. Even in the best of courses, Indian literature is still limited to the Salman Rushdie – Jhumpa Lahiri – Vikram Seth (if you’re lucky) trifecta that is as irresponsible as it is exhausting. While the works of second-generation and diasporic writers are important, to use their limited voices as representative of an entire subcontinent with hundreds of languages and cultures, hardly constitutes an education. The depiction of Indian women, in particular, from Slumdog Millionaire (2009) to The Satanic Verses (1988), are hardly more than one-dimensional stock caricatures of stereotypically oppressed “third world” women. Individuality, independence, rebellion, and cultural nuances, all vanish against this overwhelming backdrop of Bollywood tropes and toxic masculinity.

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Perfect Little Mouthfuls

Phoebe Anson

Edited by Muireann Crowley

Illustration by Holly Summerson hollysummerson.wix.com/arts

Recently, I started searching for interesting contemporary writers for my creative writing module. This was so I could draw inspiration from up and coming writers to improve my own writing. I came across Patricia Lockwood, an American essayist and poet. Her poem ‘Rape Joke,’ (2015), was the work that first invited me to explore her comedic and absurdist style of writing. Drawing on her own experience, Lockwood, in ‘Rape Joke,’ presents the common stereotypes associated with rape incidents and the perpetrators themselves, questioning whether it is acceptable to joke about sexual assault. Reading this persuaded me to buy her collection Motherland Fatherland Homelandsexuals (2014) in which she tackles many current topics, like the media, gender and identity, in a fascinating and innovative way, making her work relevant to contemporary society. The poem I will be focusing on in this essay is ‘Perfect Little Mouthfuls,’ in which she presents the current issue of the impact of societal expectations on young girls, which I feel is very relevant today, especially with the power of the media in contemporary society.

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The Joy Luck Club

Lily Thwaites

Edited by Maria Elena Carpintero Torres-Quevedo

Illustration by Holly Summerson hollysummerson.wix.com/arts

Ying-Ying, you have tiger eyes. They gather fire in the day. At night they shine golden”’ – Amy Tan (The Joy Luck Club 1989) (246)

Many times in my life I have wished to be more like my mother; she is strong, independent, smart, but also a little bit wild. When I was eleven, I went over to one of our bookshelves and found a fairly worn copy of The Joy Luck Club, picked it up and brought it to her. She told me to read it and I did.

Seven years later and only now am I beginning to understand the significance of this book for women like my mother; strong and independent women who were once caught between cultures, but also for others, who cannot grasp the complexities of a mother-daughter relationship strained in a cultural cross-fire. It is a book my mother and her friends have all given their partners to read, and it is one that deserves attention, specifically in English Literature syllabi, where I find texts with Asian influences are often disregarded.

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Black Girlhood in ‘Bone Black’ by bell hooks, and ‘Zami’ by Audre Lorde

Francesca Sobande

Edited by Veronica Vivi

Art by Olivia Twist: http://www.yesoliviatwist.com/

For some, the work of bell hooks needs no introduction. It may have represented their entry into Black feminist media and cultural critique, or the starting point of their understanding of the intersections of sexism and racism. I will always remember when I first came across the writings of hooks. I found such excitement in reading a distinctly Black feminist voice that is rarely found in university curricula. As I read hooks’ engaging analysis of media and consumer culture, I thought to myself “I never knew that academic writing could be like this!”.

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More Than Just Blood

Angie Spoto

Edited by Maria Elena Carpintero Torres-Quevedo

Illustration by Iara Silva https: https://www.instagram.com/iiaraz_/

I hadn’t felt my baby move yet and wasn’t sure I wanted to. I confessed this to a friend in a café, who, bringing his hands together in front of his chest and clawing his fingers, said, ‘Yeah, it might feel, you know, like Alien.’ And his hands exploded outward, raining imaginary blood across our lattes.

My friend touched on a fear of mine: that having a baby would be like hosting an alien creature in my body. A fear no doubt inspired by my consumption of science fiction. Immediately, the prospect of pregnancy makes me think of the 1979 movie Alien, which undeniably plays out humanity’s pregnancy fears in the form of chest-ripping, murderous alien children. There’s also the ‘mystical pregnancy trope’: women in science fiction media are regularly forcibly or accidentally impregnated by aliens (Sarkeesian). This trope appears in Stargate SG-1, the X-Files, and Torchwood among other television shows and films.

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There but for the

Allie Kerper

Edited by Ketaki Zodgekar

Illustration by Edith Pritchett https://www.instagram.com/edithpritchett_art/

Ali Smith’s novel There but for the tells the story of a man who, in the middle of a dinner party, locks himself in the spare room. The story unfolds over the course of the following year or so through the perspectives of four different characters whose lives the man, Miles, has touched in small ways. The characters whose voices comprise the story are Anna, an unemployed Scottish woman; Mark, a middle-aged gay man; May, an elderly woman with dementia; and Brooke, a 10-year-old Black girl. In each of their narrative turns, these characters reflect on experiences in their lives and how others perceive and react to them, giving the reader a rich and textured composite image of what human life can be in and around Greenwich, London in 2009-10. Smith’s novel marries realism and surrealism, satire and earnestness, and weaves it all together with wit and wordplay to create a compelling story of what it feels like to live in the political moment of the Recession.

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NOTHING OF WOMAN IN ME

Diane Lowman

Edited by Abigail Eardley

Art by Iara Silva: www.instagram.com/iiaraz_

Often, the contemporary eye looks at Shakespeare’s plots and characters with a certain skepticism. No matter how timeless and universal the themes – the joy, the anguish, the love – we cannot help but wonder: how could a mother not recognise her own twins? Do those simple disguises really trick everyone? And perhaps most persistently for me, as Jerry Seinfeld would say, what’s up with all these women? Under the auspices of the patriarchal system in early modern England, female Shakespearean characters are often submissive, with few admirable exceptions: the Princess in Love’s Labours Lost and Beatrice in Much Ado About Nothing come to mind.  Ultimately however, Kate in Taming of the Shrew and others like her, leave modern women shaking their heads.

Any author of fiction – and Shakespeare is no exception – asks an audience to momentarily suspend disbelief. In novels, films, and plays, ghosts walk, witches prophesize, and statues come alive. But still, that final question persists: what is up with all these women? In Nothing of Woman in Me, which debuted in February 2018 at the Shakespeare Institute in Stratford Upon Avon, and will be reprised in July at the RSC Dell, director and playwright Juliano Zaffino attempts to answer this question. Zaffino earned his MA in Shakespeare and Theatre from the Shakespeare Institute in Stratford Upon Avon, and will pursue his PhD there next year. As a gay man, he has first-hand experience of belonging to a marginalised group in society. By exploring the psyches of some of Shakespeare’s most complex and thought-provoking female characters, Zaffino hoped to give expression to all silenced populations by “capturing the voice of women throughout history and in our modern day, and unifying these voices through the vehicles of Shakespeare’s voiceless women.”[1] He “brought his experience to the table: my life as a gay man, the women who had raised me and whom I had grown up with, the reading and watching and listening I had done.” The dawning of the #MeToo era has offered a relevant and powerful backdrop for his work, having finally provided the opportunity for many muted female voices to whisper, speak, and shout above decades of oppressive abuse. No longer willing to suffer in silence as if that were the norm, women from professional, political, academic, and personal backgrounds are setting each other free by telling their truths. Women in Shakespeare’s time could not do that: but Zaffino imagines what it might have been like if they could have.

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INTERVIEW with LUCAS LAROCHELLE, founder of QUEERING THE MAP

Interview by Toby Sharpe

Editing by Abigail Eardley and Toby Sharpe

Could you start by explaining what Queering the Map does – and why you think it’s important?

Queering the Map is a community-generated mapping project, which geo-locates queer memories, histories, and experiences in relation to physical space using an online platform. Part of the idea is to open up the question of what constitutes queer space, or even more basically, what constitutes queerness. So, it’s a very open call in terms of submissions: whatever counts for the person submitting counts to the project and the process of queering space.

In the context of queer theory, there’s value in trying to unsettle what queer identity means. Queering the Map offers the opportunity for people to define what queerness means for them on their own terms, adding nuance to this term which can be endlessly changed and expanded – moving beyond a singular understanding of queerness, towards a collective understanding.

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Black is Beautiful: A Philosophy of Black Aesthetics

Temitope Ajileye

Edited by Veronica Vivi

Art by Anonymous

“I don’t know where to begin […] because nothing has been written here. Once the first book comes, then we’ll know where to begin”. Barbara Smith

There is some irony in how I came across Black is Beautiful, a masterpiece created by African American scholar Paul C. Taylor. I was looking for Russell’s History of Western Philosophy and, while waiting for the bookshop staff to locate it (their attempts would eventually prove unsuccessful despite their certainty that ‘Russell has to be in the shop’), my eyes wandered and settled on Taylor’s book. How lucky I was!

        The opening quote, taken from Barbara Smith’s Toward a Black Feminist Criticism, immediately presents us with the urgency that the book tackles and tries to solve. There is much art by, about, and with black people, but not enough thought to connect them together, help us think more productively about black expressive culture, which would allow us to contextualise and understand our reactions to black art. There is a strong feeling that much can be said about this art and an even stronger desire for these intentions to be finally clearly stated.

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Rift

Queering the void: how Erlingur Thoroddsen’s Rift transforms horror cinema

Miranda Wilkie

Edited by Abigail Eardley

Art by Raj Dhunna http://rajdhunna.co.uk/

TW: Sexual Violence

Horror cinema is a genre that, with its subversive and confrontational intentions, is arguably ripe for queer filmmaking: yet as a queer horror fan it is rare I find myself represented on screen. In many horror films, academic readings of character’s queerness are often reduced to subtext. While queer characters are admittedly not totally absent from horror cinema, their sexuality often forms the basis of the horror itself. Depictions of canonically queer characters tend to form two extremes: ironically mannered villainy or predatory perversity. A Nightmare On Elm Street 2: Freddy’s Revenge (1985) became a cult film with queer audiences due to its fairly explicit homoeroticism, including a high-camp portrayal of leather-clad ‘daddies’ in a gay bar. More recently, however, queer representation has shifted markedly. While visibility of queer communities within mass media increased at the turn of the century, the subsequent backlash from religious and conservative groups reignited the spectre of the sex-crazed, corrupting queer figure that first originated during the AIDS epidemic (Bronski, 99). Several New French Extremist horror films, such as Haute Tension (2003) and Irreversible (2002) exploited this undercurrent of fear, featuring characters whose same-sex desire is voracious and violent to the point of explicit homophobia.

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