Karin Kallmaker has posted the speech she gave for Dorothy Allison’s Golden Crown Literary Society 2018 Trailblazer Award Golden Crown Literary Society 2018 Trailblazer Award. It’s a great and impassioned introduction to Allison’s essential work.
Maggie Terry, A Novel will be released by Feminist Press in September 2018.
Post-rehab, Maggie Terry is single-mindedly trying to keep her head down in New York City. There’s a madman in the White House, the subways are constantly delayed, summer is relentless, and neighborhoods all seem to blend together.
Against this absurd backdrop, Maggie wants nothing more than to slowly rebuild her life in hopes of being reunited with her daughter. But her first day on the job as a private investigator lands her in the middle of a sensational new case: actress strangled. If Maggie is going to solve this mystery, she’ll have to shake the ghosts—dead NYPD partner, vindictive ex, steadfast drug habit—that have long ruled her life.
Seriously cannot wait for this!
Individual loneliness is a fickle, nebulous sensation. Like other emotions, it is deeply situational—it makes a difference whether you feel lonely because every time you walk down the street a slur is shouted at you or you feel lonely because the spouse you beat every third night has finally left you. As individuals we are not owed freedom from loneliness any more than we can demand love from those we want it from. But collectively we can recognize patterns of loneliness as symptoms of awful structural injustices. And we can use our loneliness as impetus to work toward systems that ethically meet our social and emotional needs. The way to help alleviate the loneliness of the oppressed is to continue to destroy oppressive structures and support organizing and resistance. The only way to ethically survive loneliness is to look at labor: to ask who performs care work for me, who I perform it for, what systems are viable and where I transmute being abandoned to resistance.
Amba Azaad, New Inquiry
Women often resist being described as “women writers,” and with good reason. The need to prefix “writer” with a tag suggests that writer really means male writer (or perhaps, more specifically, white, straight male writer). It implies that readers need to be warned; that women are intruders on the default terrain — which, in the pages of many magazines, they are. Similarly, the idea of “women’s writing” provokes ambivalence precisely because it implies that women are writing only from, and about, their experience as women (unlike men, who are asking the big universal questions of interest to all, in their great American novels-to-be). The implication is that women are trapped within their particularity, unable to speak to those who don’t share it, while the writing of (straight, white) men is universal rather than particular. But everyone is shaped by their experience of gender, whatever that experience is; there is no view from nowhere. Men’s experience is no less specific than women’s; it’s just that we fail to see it as such.
Katherine Angel, Gender, blah, blah, blah
Her signature song is as relevant as ever.
You Don’t Own me
“You don’t own me, I’m not just one of your many toys
You don’t own me, don’t say I can’t go with other boys
And don’t tell me what to do
And don’t tell me what to say
And please, when I go out with you
Don’t put me on display, ‘cause