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by Peta Jinnath Andersen

8 Feb 2011


Image from the cover of Diana Peterfreund's Rampant

Note: This is the second installment of this topic.  See also Scott Westerfeld Talks with PopMatters About Bitch Media’s Top 100 Feminist YA List Debacle

Young adult author Diana Peterfreund was the first author to call out Bitch Media on their removal of Jackson Pearce’s Sisters Red, and the first to ask for her book to be removed.

Last week, Peterfreund elaborated on her issues with Bitch’s actions. Her novel, Rampant is 71 on the list (it’s in alphabetical order).

by Peta Jinnath Andersen

7 Feb 2011


Note: This is the first installment of this topic.  See also Diana Peterfreund Talks with PopMatters About Bitch Media’s Top 100 Feminist YA List Debacle

Bitch Media has a lot of wins under its belt—its flagship project, Bitch Magazine, is a must-read for feminists everywhere. The non-profit has been lauded by critics, authors, and readers for its mission “to provide and encourage an empowered, feminist response to mainstream media and popular culture,” and for calling out anti-feminist attitudes in a thought-provoking, often entertaining, way.

Until now. Last week, Bitch Media published a list of 100 feminist young adult books on their blog. Packed with excellent reads, the list was quickly gobbled up buy YA authors and enthusiasts, and there was joy all around. Except there wasn’t—the day after the post, a commenter questioned the inclusion of Jackson Pearce’s Sisters Red and Bitch Media removed the book. Soon after, it removed two other books Margo Lanagan’s Tender Morsels and Elizabeth Scott’s Living Dead Girl, for the same reason—comments and an email about the books’ rape, rape culture, and trigger content (e.g., content that might trigger flashbacks or have other detrimental effects in survivors). Shortly after, the internet exploded—the YA section of it, anyway. (As of this writing, there are 379 comments on the original post.)

 

by Rodger Jacobs

1 Feb 2011


Religion, the Marxist “opium of the masses”, was a bright cynosure that I curiously indulged and eventually dispensed with early in my youth, an adolescent dalliance with romance that was more about lustful infatuation than anything resembling true love. My one true faith is and always has been literature, and my first introduction to the cathedral of books was through organized religion.

In Parkersburg, West Virginia, in the summer of 1965, when I was six-years of age, my younger brother and I attended Vacation Bible School at our community First Baptist Church; it was there that my attention was arrested by the spellbinding stories, symbols, and imagery of Noah and the Great Flood, Moses and the Ten Commandments, Joshua and the Battle of Jericho, Daniel in the Lion’s Den, and the Sermon on the Mount. The Biblical tales were laid out in vibrantly illustrated children’s Bibles (the saints and prophets always smiling and benevolent) with easy-to-read verse and we were also gifted with Holy Bible coloring books. Who said religion can’t be fun?

by Rodger Jacobs

11 Jan 2011


Since I have commenced writing a new novel, I have been forced on a literary diet: most novels and other works of fiction have been strictly eliminated from my daily intake of reading material to reduce external influence. I am ingesting instead heaping loads of non-fiction with a savory accent on history, beginning with Pulitzer Prize winner Joseph J. Ellis’s terrific American Creation (2007), a masterly examination of the founding years of the United States.

After Creation I moved on to Storm Over the Land (1942), Carl Sandburg’s exploration of the American Civil War. Known primarily as a poet, the Illinois-born writer was an absolute fetishist for American ballads and folklore (he was an avid collector and editor of books on the topic) and there is scarcely a more folkloric figure in the history of the United States than Sandburg’s fellow Illinois native and 16th President of the United States, Abraham Lincoln.

by Rachel Balik

16 Sep 2010


Five years ago, when I was an intern screening submissions in the literary development office of a Broadway theater company, I read a play called Hunting and Gathering,by Brooke Berman. At 22, I was morbidly fascinated by the emotional and physical transience experienced by the characters. New Yorkers of all ages were utterly unable to settle into homes or relationships. Was this real life or real melodrama?

This summer, Berman published her first book, No Place Like Home: A Memoir in 39 Apartments, inspired by Hunting and Gathering. The book engages similar themes and events with a new tone and raw emotions. It slaked my thirst for more explanation and insight, but it also inspired new questions about what it was like to move from playwriting to memoir writing. I got in touch with Berman and had the opportunity to ask her some questions about this transition, and her process.

//Mixed media
//Blogs

NYFF 2017: 'Mudbound'

// Notes from the Road

"Dee Rees’ churning and melodramatic epic follows two families in 1940s Mississippi, one black and one white, and the wars they fight abroad and at home.

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