Pub Date : 2023-01-02DOI: 10.1080/00497878.2022.2156506
Azucena Trincado Murugarren
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Pub Date : 2022-12-06DOI: 10.1080/00497878.2022.2147178
Katharine Aha, C. Ross, Catherine Hiebel
The 2015 Spanish national parliamentary elections marked a new era in Spanish politics as the traditional two-party system was disrupted by the emergence of new populist parties that capitalized on a widespread frustration with the status quo. Since that landmark election, Spain’s party system continues to be fractured, demonstrating the shift away from the post-Franco era dominance of the Partido Popular (Popular Party or PP) and the Partido Socialista Obrero Español (Spanish Socialist Workers’ Party or PSOE). The populist newcomers have positioned themselves across the political spectrum: Podemos on the left, Ciudadanos near the center, and Vox on the far right. Despite ideological differences, they all have committed themselves to the populist notion of changing establishment politics, explained by Ciudadanos as a pledge to political “regeneration” (Encarnación). These new parties have grappled with how to capture support from voters, like women, who are frustrated with traditional representation. In order to stand out, Spain’s populist parties have staked out positions on issues that have not received much attention in the past. One such issue, gestational surrogacy, is a fascinating example of how populism and women’s issues interact. Gestational surrogacy is defined as the implantation into the womb of the surrogate mother of an embryo created through in vitro fertilization with gametes from the intended parents or donors (Foret and Bolzonar 1). Ciudadanos sought to gain votes from socially liberal, family-oriented Spaniards, especially women, by including support for surrogacy in its platform, prompting Podemos and Vox to oppose lifting Spain’s current surrogacy ban. While the issue of surrogate motherhood only affects a small percentage of the population at large, Spain’s traditionally restrictive stance on surrogacy, or as detractors call it, womb rental (alquiler de vientres), makes this topic a flashpoint of debate, particularly as more Spanish couples pursue the option of surrogacy abroad. Additionally, it stands out from other feminist issues, like abortion, as it has traditionally received opposition from both the
2015年西班牙全国议会选举标志着西班牙政治进入了一个新时代，传统的两党制被新兴民粹主义政党的出现所打破，这些政党利用了民众对现状的普遍不满。自那次具有里程碑意义的选举以来，西班牙的政党体系继续分裂，表明了从后佛朗哥时代的人民党(人民党或PP)和西班牙社会主义工人党Español(西班牙社会主义工人党或PSOE)的主导地位的转变。这些民粹主义新来者把自己定位在政治光谱的各个角落:我们可以党(Podemos)站在左边，公民党(Ciudadanos)站在中间，Vox站在最右边。尽管意识形态存在差异，但他们都致力于改变现有政治的民粹主义概念，Ciudadanos解释为政治“再生”的承诺(Encarnación)。这些新政党一直在努力争取选民的支持，比如对传统代表制感到失望的女性选民。为了脱颖而出，西班牙的民粹主义政党在过去没有受到太多关注的问题上表明了自己的立场。其中一个问题，妊娠代孕，是民粹主义和妇女问题相互作用的一个引人入胜的例子。妊娠代孕被定义为将胚胎植入代孕母亲的子宫，胚胎是通过体外受精从准父母或捐赠者那里获得的(Foret和Bolzonar 1)。Ciudadanos试图从社会自由、以家庭为导向的西班牙人，尤其是女性那里获得选票，通过将支持代孕纳入其竞选纲领，促使Podemos和Vox反对解除西班牙目前的代孕禁令。虽然代孕问题只影响到一小部分人口，但西班牙传统上对代孕的限制立场，或者像批评者所说的，子宫租赁(alquiler de vientres)，使这个话题成为争论的热点，特别是越来越多的西班牙夫妇选择在国外代孕。此外，它从其他女权主义问题中脱颖而出，比如堕胎，因为它传统上受到了两党的反对
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Pub Date : 2022-11-29DOI: 10.1080/00497878.2022.2145564
Marwa Alkhayat
The two novels at hand, Michael Cunningham’s The Hours and Sahar AlMouji’s The Musk of the Hill, address the nature of time in personal experiences through multiple interwoven stories. Cunningham’s The Hours is a reworking of Woolf’s Mrs. Dalloway (1925) in which aspects of Woolf’s life, criticism, and novels are elegantly intermingled. The original title for Mrs. Dalloway was The Hours, a writing enterprise conveying the significance of time to offer a deep insight into the human mind within the framework of the stream-of-consciousness technique. Cunningham’s remaking of the original novel is a rhizomatic exploration of the fragmentation and multiple nature of the self to empower the female identity as a multiplicity. The uniqueness of Cunningham’s The Hours resides in the ability to fictionalize females’ lives outside the orthodox male-centered patterns to foreground “three women of ambivalent sexuality, one of whom is Virginia Woolf” (Wroe 1), and to interrogate hierarchical, fixed, and linear writing. The Musk of the Hill, on the other hand, is a tale of psychotherapy. It dramatizes the moments of transformation of both Catherine Earnshaw, the stubborn protagonist of Emile Brontë’s Wuthering Heights, and Amina, the docile wife of Naguib Mahfouz’s Trilogy. The fictional protagonists’ radical transformation takes supremacy over plot construction with complete loss of authorial control through the dual temporality of the past and the present. This zestful aesthetic act manifests an intellectual originality by positioning Cathy and Amina in twenty-first-century Cairo so they can experience contemporary political events within the clock-inner time dichotomy. The Musk of the Hill is a critique of patriarchal ideology and a psychoanalytic study of the female subjectivity.
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Pub Date : 2022-11-17DOI: 10.1080/00497878.2022.2138029
E. Myles, M. Nelson
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Pub Date : 2022-11-17DOI: 10.1080/00497878.2022.2160164
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Pub Date : 2022-11-17DOI: 10.1080/00497878.2022.2149521
J. Goldman
^ afterglow’s afterglow is like flush’s flush & everything is rosie & getting like pinka & i-i’m in it too a wee woolf-pup up in the night caught between prowl & nuzzle listen to them read i-i like the way eileen leans into their own name just to put their butt in the place flush’s flushes are legion flush was played on stage by a dog also named flush their sole role in life with an understudy also named flush i-i’m glad honey is honey & not rosie & gets a film of her own with puppets of her own & when her subtitles say don’t make me human & i-i’m not a mountain either i-i can’t help think of rose before the wave & eileen smitten etching her into an eternally
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Pub Date : 2022-11-17DOI: 10.1080/00497878.2022.2127722
R. Campbell, J. Duncan, Jack Parlett
In the conversation between Eileen Myles and Maggie Nelson that we commissioned for this issue, the two writers begin by reflecting on the recent article about Myles published in The New York Times (May 18, 2022). The article focuses on Myles’ fight against the destruction of trees in East River Park on the Lower East Side of Manhattan, close to the apartment where Myles has lived since the 1970s. Myles complains of the article, “I’m so sick of the public account of who I am. It’s not like I think I’m a household name, but those same particular details have been trotted out so many times – it’s like sitting through a boring introduction of yourself at a reading.” It is perhaps inevitable that any biographical account of Myles will bore its subject, whose various existences include being a subcultural icon. Nelson responds to this problem, though, by reflecting on how the narrative of Myles’ life and work continually changes, if only by, for example, adding more decades to the amount of time Myles has lived in New York City. Nelson declares, “wow, what an honor for me to have heard you thinking about time, for the past thirty years,” which leads Myles to reflect on how the “constant movement” of time exists beyond any judgment of its quality: “I think probably the thing that was so disturbing about what happened in the park was the trees are that too. They’re this incredibly beautiful collective austere rendition of time that we live among and around. And a park is one of the many studios of the writer.” In American (and specifically New York City) poetry, trees and leaves become, both literally and metaphorically, books, poems, and people. Think, for example, of Whitman’s Leaves of Grass (1855), John Ashbery’s Some Trees (1956), and Myles’ own Sorry, Tree (2007). Myles has themself been around since 1949, and their work – currently twenty-two books, with a new anthology of Pathetic Literature announced on Instagram as we write – is itself being increasingly recognized as a beautiful collection of time. As is the case for Nelson and many others, for we who are editing this special issue of Women’s Studies on “Eileen Myles Now,” reading, writing and thinking about Myles’ work has become part of our living room, our studio. Our
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Pub Date : 2022-11-17DOI: 10.1080/00497878.2022.2130314
Stephanie Anderson
Imagine the sensory chaos of the bumper car rink: the thumps and screeches, the laughter and shouts, the vibrations of the floor. In the little magazine dodgems, two issues of which were published in 1977 and ’79, editor Eileen Myles sought to create a space where poems from different scenes metaphorically slam against each other like bumper cars. Myles says, “It was my favorite ride in the amusement park in Revere Beach, Mass. I loved riding in those cars, deliberately smashing other kids. It was a total vehicle for tomboy rage” (“About dodgems”). The accident-on-purpose, bumper cars are a sanctioned way to unleash aggression, as when children deliberately do something and claim it was an accident, not sure themselves of their own impulses. That this subliminal energy, on the knife’s edge between play and fight, should then get aestheticized in dodgems reveals how modes of aggression – competitiveness, coercion, insult – are present in artistic circles, and how they are often conveyed through humor: as a game, bumper cars are not only fun but also can be funny, depending on who is driving, who is observing, and who is getting hit. The humor in Myles’s writing, especially the prose, is often stylistic: it involves a conversational, straightforward syntax that sometimes shades into deadpan and plays with our expectations regarding the differences between speaking and writing. This essay argues that their editing of dodgems is shaped by a serious consideration of how humor functions in group dynamics, including how it indicates who is included and who is excluded, how it reinforces aesthetic expectations, and how it shapes even the imagined reader. It is perhaps intuitive to think about artistic circles as places of creative foment, often collaborative, and further, to think about an editor’s role in shaping and guiding that foment. But as we also know, little magazines provide more than a showcase; their pages reveal gossip – itself a complex and constitutive force, as Reva Wolf argues – and skirmishes, and slights. Myles’s editorial practices emphasize humor and its lack as a strategy to both draw attention to and defuse the dynamics of group formation in the late seventies, in the context of burgeoning contemporaneous scholarship about the so-called firstand secondgeneration New York Schools. Furthermore, their use of editorial humor
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Pub Date : 2022-11-15DOI: 10.1080/00497878.2022.2145478
Qianqian Li
Scholars have been much concerned with Toni, Morrison’s portrayal of states of exile and displacement in A Mercy (2008). However, most critics discuss the characters’ diaspora in terms of race and ethnicity, focus on how their racial and ethnic backgrounds contribute to their orphanhood, and overlook Morrison’s depictions of women’s specific diasporic experiences compared to men’s. The lack of a distinctly feminist viewpoint leads critics to ignore not only the specificity of women’s diaspora but also the liberating potential that diasporic experiences may generate. Existing discussions mostly treat the characters’ diaspora in A Mercy negatively and examine both how the characters are victimized by their dislocation and how they at the same time employ their wits to counteract the side effects of their dislodgement. As a result, critics tend to overlook how diaspora per se may also generate a liberating space for women where women can free themselves from a rigid patriarchy. Different from men who may lose masculine privileges in becoming diasporic subjects, women in diaspora are usually viewed from two opposite perspectives: on the one hand, diaspora may provide them with opportunities to transcend national boundaries and escape from the strict gender norms that are imposed on them; on the other hand, it may also assist in reproducing those norms and even increase women’s sufferings due to the intersection of oppressions due to gender, race, ethnicity, and nationality in the precarious space of diaspora. As Nadje Al-Ali writes, “one underlying issue which has interested feminist scholars of different disciplinary backgrounds is the question of whether diasporas provide enabling contexts in which previous gender norms can be challenged or whether they reproduce and possibly even harden existing gender ideologies and relations” (119). Given women’s special diasporic experiences, this article proposes to read Morrison’s A Mercy as a story of multiethnic women’s diaspora and analyze
学者们一直非常关注托尼，莫里森在《慈悲》（2008）中对流亡和流离失所状态的刻画。然而，大多数评论家从种族和民族的角度讨论角色的流散，关注他们的种族和民族背景如何促成他们的孤儿身份，并忽视了莫里森对女性与男性相比的特定流散经历的描述。由于缺乏明显的女权主义观点，批评者不仅忽视了女性散居的特殊性，还忽视了散居经历可能产生的解放潜力。现有的讨论大多对《慈悲》中人物的流散持负面态度，并考察了人物是如何因错位而受害的，以及他们如何同时运用智慧来抵消错位的副作用。因此，批评者倾向于忽视散居者本身如何为女性创造一个解放空间，让女性摆脱僵化的父权制。与可能在成为散居者时失去男性特权的男性不同，散居者中的女性通常从两个相反的角度看待：一方面，散居可能为她们提供超越国界、逃离强加给她们的严格性别规范的机会；另一方面，它也可能有助于复制这些规范，甚至增加妇女的痛苦，因为在散居国外的不稳定空间中，由于性别、种族、民族和国籍的压迫交织在一起。正如Nadje Al Ali所写，“不同学科背景的女权主义学者感兴趣的一个根本问题是，散居者是否提供了可以挑战以前性别规范的有利环境，或者他们是否复制甚至可能强化现有的性别意识形态和关系”（119）。鉴于女性的特殊流散经历，本文建议将莫里森的《慈悲》解读为一个关于多民族女性流散的故事，并对其进行分析
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Pub Date : 2022-11-14DOI: 10.1080/00497878.2022.2134129
M. Holman
Twenty-four years after running for President of the United States, on a platform of combating the AIDS epidemic and providing housing for all, Eileen Myles wrote an “Acceptance Speech.” It is partly – but only partly – a joke. Staged on a “beautiful rapturous sunny day in New York” (114), Myles poses as the President-Elect of the 2016 national election, a position later reserved in reality by Donald Trump, and implores their imagined electorate “to turn around, to look back and look at all that we’ve won” (114). Myles admits that they “may be getting ahead” of themselves, and that they may also be the only President to have eaten at the Bowery Mission and devoured “very rubbery, very chewy chicken” with the homeless, as well as the only President to identify as a “dyke” (114). They call for a New Deal-style program of radical redistribution of resources: multiplying the National Endowment of the Arts by tenfold, the refunding of the CETA Employment of Artists which federally employed more than 10,000 artists between 1974 and 1981, and the opening up of that “metonym,” The White House, to veterans of the “pointless wars” of Iraq and Afghanistan (114). It is difficult to see the invitation to “look back” on the victory of progressive politics in the United States, particularly from the vantage point of 2016, as anything other than ironic or profoundly misjudged. However, “Acceptance Speech” is a contradictory and lyrical text that defies easy categorization; it refuses to be, or to be only, a melancholic lament for progressive programs articulated through the cool detachment implicit in a tone of mock-triumph and humorous ambivalence. One summative reading might be: the national political battles have been lost, and instead, against those losses, we take up the call for “an art in America” (114). Myles, however, has consistently refused to acknowledge this as a retreat from forms of political commitment, and in an interview centered on “Acceptance Speech,” they defended “poetry [as] vastly political” and “as much a multiple as people and languages are . . . Even a poet who resists the idea that their work is political, that’s their politics” (qtd. in; Satran). Indeed, beyond the hyperbolic historical revisionism of its ostensible premise, “Acceptance Speech” performs a sincere ideological gesture: by self-consciously repurposing the epideictic rhetoric of shared
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