“I am worried about the implications of throwing the label ‘women’s pain’ around individual experiences of suffering, and I am even more uncomfortable with women who feel free to speak for all women. I worry about making pain a ticket to gain entry into the women’s club. And I worry that the assumption of vulnerability threatens to invigorate just the sexist evils it aims to combat by demanding that men serve as shields against it.” In an essay for the Boston Review, Jessa Crispin shares her concerns about the “wounded women” trend in literature right now, citing Leslie Jamison‘s The Empathy Exams and Roxane Gay‘s Bad Feminist as well the Twitter campaign #yesallwomen as particular examples. Pair with Ryan Teitman‘s Millions review of The Empathy Exams.
As part of their 80th anniversary celebration, the Academy of American Poets recently revamped their website. The updated website now boasts such features as “geographically relevant information (such as local poetry events),” “interviews with renowned poets,” and “free lesson plans tailored for K-12 teachers.” Go take a look for yourself. I recommend starting with Sally Van Doren’s poem, “Thief.”
Lit-mag Meanjin Quarterly is taking a cue from The Millions and kicking off a new series, The Best Australian Fiction of the 21st Century (so far).
Recently there’s been a lot of talk about the famously reclusive Harper Lee, and with good reason – her long-awaited second book, Go Set A Watchman, was released last week, and isn’t quite what readers expected. Over at The Atlantic, Ari N. Schulman takes a slightly different approach to Lee and her work by focusing instead on Maurice Cain, Lee’s longtime agent, friend, and “co-conspirator.”
Michael Ondaatje’s The English Patient won the Golden Man Booker Prize, the one-off award celebrating the best work of fiction from the last five decades of the prize. About the prize, Ondaatje said “I wish in fact that those of us on this Man Booker list had been invited to propose and speak about what we felt were the overlooked classics—in order to enlarge what ought to be read, as opposed to relying on the usual suspects.” Read the rest of his illuminating and gracious speech over at Literary Hub.
Noting the rise of the television recap, the folks at The Paris Review Daily, aided by promising early reviews by Teddy Roosevelt and T.S. Eliot, are recapping Dante’s Inferno. Their suggestion for readers looking to follow along? Sit down with a Canto every Sunday at 9 p.m.