Special section from 42-3
In the wake of the recent US elections, our editorial collective sent out a call for poems that could reflect our moment. Poetry, we felt, would be an apt genre to convey the deep and complex emotions many were experiencing. What follows is a selection of the submissions we received. These poems are raw and turbulent by necessity; most were written in the first week after the election results. They express some of the depth and range of feminist responses.
Download “Poetry in the Wake” as PDF
The scholarly works in this issue offer reflections on the travels of the term gender: in French Canadian feminist circles; the misreadings of gender and sexuality in histories of post-WWII New York City; and the gains and gaps in activism against gender-based violence and inequality. Geneviève Pagé recounts how the term gender was taken up in French Canadian scholarship, while Alix Genter offers a visual history of what butchness meant in 1950s and 1960s New York City. Julie R. Enszer tracks the representation of women writers through literary grants offered by the National Endowment for the Arts and in Norton anthologies, making the case that gender parity remains an elusive goal. Elizabeth Jean Hornbeck narrates the 1980 horror film The Shining as a commentary on violence against women that uses the Gothic form to salutary effect. Nikki Lane reviews recent scholarship in black queer ethnography, and Jennifer A. Wagner-Lawlor introduces us to the feminist eco-art of Pamela Longobardi. Our special section “Poetry in the Wake” presents work by Deborah Rosenfelt, Rosamond S. King, Ashwini Tambe, Yvette Christiansë, Amanda Solomon Amorao, and Carmen Giménez Smith. Our featured poets, apart from the special section, are Hannah Baker Saltmarsh and Karen An-hwei Lee. In our closing forum on trigger warnings, Alexis Lothian and Ramzi Fawaz propose innovative classroom practices in response to a contentious pedagogical debate.