The generation straddled wars, genres, and identities, leaving behind the staid writing of Edwardians, or what Hemingway referred to as “broad lawns and narrow minds.” Gertrude Stein was their godmother, acting as both an artist and a supporter of the arts.
Only in a Japanese RPG can a boy band save the world from the empire and its demonic biotechnological army. In Final Fantasy XV, four male friends use the empire’s language of violence to decolonize the kingdom of darkness. Somewhere, Fanon’s ghost is drinking sake and smoking Peace cigarettes.
Bodies in literature always bear the first marks of difference. What isn’t recognized as “normal” (meaning, not perceived as male, cis, straight, white), always verges on the monstrous, to be rejected or feared, or at the very least cloaked in mystery.
I may not have been the only teenaged boy in America in the 1990s to listen over and over to Tori Amos’ 1992 album LITTLE EARTHQUAKES, but it felt like I was.
Lately, I have been thinking a lot about interrogating gender in poetry, and I’m especially interested in the work of three trans poets that use a wild arsenal of strategies to unsettle notions of gender and sexuality.
It’s hard not to notice the word girl writ large on book covers and film posters everywhere. It’s also tough to ignore the flurry of opinions on whether titular appropriation of the word is sexist and offensive or just smart marketing. Turns out the word is surprisingly flexible.
Last year, we announced our gender statistics following the release of the 2014 VIDA Count. We’re keeping with the tradition this year, and are happy to announce our count for 2015. The gender identity, race, sexuality, and disability disparities in the publishing industry are concerning, and we hope that making the Ploughshares demographic data transparent helps to emphasize…
Sade Murphy pauses time in her prose piece(s) “Entry 098 &/or Monday Night Before Thanksgiving or//Venus & Mars in Libra” in DREGINALD. A series of moments—walking down Grand Street, pivoting on Putnam, taking the bus to Greenpoint—become infused with back-and-forth switches of vision, allowing Murphy to double her text. This doubling is literal: two prose blocks appear…
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