Quicksand

Sarah Thomson

Edited by Rianna Walcott

Art by Jazmine Sheckleford www.facebook.com/jasmineillustrations13

Despite taking courses titled ‘International Modernism’, ‘World Gothic’ and ‘Comparative Feminist Drama’, it wasn’t until enrolling in a ‘Black American Fiction’ seminar in the final semester of my degree that I was first assigned a text written by a woman of colour, Nella Larsen’s Passing (1929). Although I initially I felt guilt that I’d apparently chosen classes with so little diversity, I soon realised that Passing would have made a fitting addition to a range of courses I’d studied previously. A concise but complex novel, Passing packs articulate discussions of class, gender, sexuality and race into just over 100 pages. It’s an injustice to the quality of Larsen’s prose to see it pigeonholed into the category of ‘black’ fiction, rather than used to enhance a course on something else entirely. The fact that it took enrolling in a seminar built around race before it was addressed in one of my classrooms speaks to the prevailing issue of the erasure of minority voices in academe.

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Metaphor and the Other: The Language of Nightwood

Jessie Widner
Editing by Maria Elena Torres-Quevedo

Art: Mäda Primavesi’ by Gustav Klimt

How does one write about a novel that has already been prefaced by T.S Eliot and Jeannette Winterson? A novel described so perfectly as, “It is like drinking wine with a pearl dissolving in the glass. You have taken in more than you know, and it will go on doing its work. From now on a part of you is pearl-lined,” (Winterson). Both were fascinated with the dark poetics of the novel, the quality and rhythm of its language, and its immersive atmosphere.

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