Pub Date : 2023-07-18DOI: 10.1080/00497878.2023.2232070
Celiese Lypka
Métis author Katherena Vermette’s The Break (2016) portrays with striking clarity the reality and lived experiences of Indigenous girls within the settler colonial landscape of Canada. The novel centers around a horrifying violent act of sexual assault against Emily Traverse, a thirteen-year-old Métis girl, and the police investigation working to solve the crime. As the novel attempts to reckon with many acts of violence that occur in the wake of this attack, the narrative weaves together the multigenerational voices of Emily’s kinship relations as they attempt to care for her and process what has happened. This framing allows the novel’s female characters, who are of various ages, to reflect on the persistent modes of intergenerational trauma and systemic violence they individually and collectively experience. As these stories come together, readers learn how the women and girls have either grown through or endured their experienced trauma. Strikingly, given the focalizing event of the novel, Emily’s perspective is given little space within the narrative, and the book jacket doesn’t mention her name or character. Still, her perspective and that of two other girls, Phoenix (Métis) and Zegwan (Anishinaabe), are pivotal to the overall structure of The Break . These young
{"title":"“No, it was a girl. A woman”: A Study of Indigenous Resilience and Girlhood in Katherena Vermette’s The Break","authors":"Celiese Lypka","doi":"10.1080/00497878.2023.2232070","DOIUrl":"https://doi.org/10.1080/00497878.2023.2232070","url":null,"abstract":"Métis author Katherena Vermette’s The Break (2016) portrays with striking clarity the reality and lived experiences of Indigenous girls within the settler colonial landscape of Canada. The novel centers around a horrifying violent act of sexual assault against Emily Traverse, a thirteen-year-old Métis girl, and the police investigation working to solve the crime. As the novel attempts to reckon with many acts of violence that occur in the wake of this attack, the narrative weaves together the multigenerational voices of Emily’s kinship relations as they attempt to care for her and process what has happened. This framing allows the novel’s female characters, who are of various ages, to reflect on the persistent modes of intergenerational trauma and systemic violence they individually and collectively experience. As these stories come together, readers learn how the women and girls have either grown through or endured their experienced trauma. Strikingly, given the focalizing event of the novel, Emily’s perspective is given little space within the narrative, and the book jacket doesn’t mention her name or character. Still, her perspective and that of two other girls, Phoenix (Métis) and Zegwan (Anishinaabe), are pivotal to the overall structure of The Break . These young","PeriodicalId":45212,"journal":{"name":"WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44692616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-18DOI: 10.1080/00497878.2023.2235626
J. Coste
Brigid Kemmerer’s 2019 young adult novel A Curse So Dark and Lonely, a Beauty and the Beast retelling, offers a familiar scene: a beautiful young girl is trapped in a well-appointed room in a lavish, enchanted castle. Someone dreadful has imprisoned her here, and she is eager to escape. But Kemmerer’s novel provides agency to its heroine soon after the Beast has turned the lock. Instead of waiting for her captor to allow her out of the room, Kemmerer’s heroine peers out the window, spies a trellis, and leaps for it. She lands gracelessly, the old trellis splintering under her weight as her body judders down the tall wall of the castle. On the ground, after the trellis has broken the worst of her descent, she thinks, “Oh, this was a spectacularly bad idea” (Kemmerer 55). Pushing past the pain of her fall, she hurries to the stable on the castle’s grounds and escapes (for a little while, anyway) on a horse appropriately named “Ironwill.” This heroine, Harper, embodies the kind of persistence and determination readers have come to expect from contemporary YA protagonists. She is bold, headstrong, and unwilling to bend to someone else’s plans – especially if those plans have anything to do with her oppression. At first glance, Harper seems like a typical “strong female character,” bringing a Katnisslevel will to survive to this fairy tale narrative. But she departs from the YA heroine mold in an important way: she has cerebral palsy, and her disability plays an integral part in her determination. Moreover, Harper offers a new kind of fairy tale heroine, one who not only pushes against the social structures that oppress her, but who also resists and redefines cultural norms. The history of the fairy tale retelling is replete with girls resisting and persisting. While literary fairy tales – those well-known stories by the Brothers Grimm, Hans Christian Andersen, and Charles Perrault, for example – often feature passive princesses who patiently uphold the status quo, twentieth and twenty-first-century fairy tale revisions have increasingly offered heroines who flout social norms. Contemporary fairy tale heroines
{"title":"Telling New Stories: Disability and Determination in Contemporary Young Adult Fairy Tales","authors":"J. Coste","doi":"10.1080/00497878.2023.2235626","DOIUrl":"https://doi.org/10.1080/00497878.2023.2235626","url":null,"abstract":"Brigid Kemmerer’s 2019 young adult novel A Curse So Dark and Lonely, a Beauty and the Beast retelling, offers a familiar scene: a beautiful young girl is trapped in a well-appointed room in a lavish, enchanted castle. Someone dreadful has imprisoned her here, and she is eager to escape. But Kemmerer’s novel provides agency to its heroine soon after the Beast has turned the lock. Instead of waiting for her captor to allow her out of the room, Kemmerer’s heroine peers out the window, spies a trellis, and leaps for it. She lands gracelessly, the old trellis splintering under her weight as her body judders down the tall wall of the castle. On the ground, after the trellis has broken the worst of her descent, she thinks, “Oh, this was a spectacularly bad idea” (Kemmerer 55). Pushing past the pain of her fall, she hurries to the stable on the castle’s grounds and escapes (for a little while, anyway) on a horse appropriately named “Ironwill.” This heroine, Harper, embodies the kind of persistence and determination readers have come to expect from contemporary YA protagonists. She is bold, headstrong, and unwilling to bend to someone else’s plans – especially if those plans have anything to do with her oppression. At first glance, Harper seems like a typical “strong female character,” bringing a Katnisslevel will to survive to this fairy tale narrative. But she departs from the YA heroine mold in an important way: she has cerebral palsy, and her disability plays an integral part in her determination. Moreover, Harper offers a new kind of fairy tale heroine, one who not only pushes against the social structures that oppress her, but who also resists and redefines cultural norms. The history of the fairy tale retelling is replete with girls resisting and persisting. While literary fairy tales – those well-known stories by the Brothers Grimm, Hans Christian Andersen, and Charles Perrault, for example – often feature passive princesses who patiently uphold the status quo, twentieth and twenty-first-century fairy tale revisions have increasingly offered heroines who flout social norms. Contemporary fairy tale heroines","PeriodicalId":45212,"journal":{"name":"WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44464885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-07DOI: 10.1080/00497878.2023.2232068
Roxanne Harde
Three recent Young Adult novels feature girls who persist in seeking justice and insist their rapists be punished. Each protagonist epitomizes persistence, continuing obstinately in a course of action despite extreme difficulty. Their methods, however, vary from perjury to planting illegal drugs to murder. In Kiersi Burkhart’s Honor Code, Sam, a near victim of her boarding school’s most popular boy, appropriates the story of a girl he raped. In her singleminded quest to see him successfully prosecuted, Sam both silences Gracie and negatively affects her healing. In Nina Foxx’s And You’d Better Not Tell, which was nominated for an NAACP Image Award, a rapist’s young victims, Rumer and Ranisha, frame him with the same illegal drug he used to assault them. Their route to justice, however, ensures he won’t victimize other girls. In Hannah Capin’s Foul Is Fair, Jade is gang raped at a party and, with the assistance of her friends, crafts Macbeth-inspired methods to avenge herself with the murders of the perpetrators and their accomplices. A substantial proportion of the large catalog of recently published YA novels about acquaintance rape follows standard “rape scripts.” These books sometimes reify rape culture even as they condemn it. In line with current statistics, their victims are reluctant to report the crime and their perpetrators are rarely punished by the law or their educational institutions held accountable. Unlike the victims in most of these texts, the survivors in Honor Code, And You’d Better Not Tell, and Foul Is Fair actually succeed in punishing the rapists. This article works to understand justice brought about through deception and subterfuge by persisting girls. I consider these quests to punish a rapist by any means possible as challenges to commonly held rape myths and as fictional means to subvert or resist rape culture. In “The Subject and Power,” Michel Foucault focuses on sites of resistance as the way to bring to light power relations, their positions, their points of application, and the methods used. He begins with “immediate struggles,” such as opposition to the power of men over women, in which “people criticize instances of power which are the
最近的三本青少年小说讲述了女孩们坚持寻求正义，坚持让强奸她们的人受到惩罚的故事。每个主人公都是坚持不懈的缩影，尽管困难重重，他们仍顽强地坚持着自己的行动。然而，他们的方法五花八门，从作伪证到种植非法毒品再到谋杀。在基尔西·伯克哈特(Kiersi Burkhart)的《荣誉守则》(Honor Code)中，萨姆(Sam)几乎是寄宿学校最受欢迎的男孩的受害者，他借用了一个被他强奸的女孩的故事。在她一心一意要看到他被成功起诉的过程中，山姆既让格雷西沉默了，也对她的康复产生了负面影响。在尼娜·福克斯(Nina Foxx)的《你最好不说》(And You’d Better Not Tell)中，一名强奸犯的年轻受害者鲁默(Rumer)和拉尼莎(Ranisha)用他用来袭击她们的非法毒品陷害了他。这部电影获得了全国有色人种协进会形象奖(NAACP Image Award)提名。然而，他们的正义之路确保了他不会伤害其他女孩。在汉娜·卡平的《犯规是公平的》中，杰德在一次聚会上被轮奸，在朋友的帮助下，她想出了麦克白启发的方法，通过谋杀肇事者及其同伙来为自己报仇。最近出版的大量关于熟人强奸的青少年小说中，有相当一部分遵循标准的“强奸剧本”。这些书有时在谴责强奸文化的同时也将其具体化。根据目前的统计数据，受害者不愿举报犯罪，犯罪者很少受到法律惩罚，其教育机构也很少被追究责任。与大多数文本中的受害者不同，《荣誉守则》、《你最好不要说》和《犯规是公平的》中的幸存者实际上成功地惩罚了强奸犯。这篇文章旨在理解女孩们通过欺骗和诡计所带来的正义。我认为这些以任何可能的方式惩罚强奸犯的尝试是对普遍存在的强奸神话的挑战，也是颠覆或抵制强奸文化的虚构手段。在《主体与权力》一书中，米歇尔·福柯关注抵抗的场所，以此来揭示权力关系、权力关系的立场、权力关系的应用点以及权力关系所使用的方法。他从“直接的斗争”开始，比如反对男性凌驾于女性之上的权力，在这种斗争中，“人们批评权力的实例
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Pub Date : 2023-07-05DOI: 10.1080/00497878.2023.2230509
S. Toliver, Kamala D. Harris, Mike Pence
Following a debate between Vice President Kamala Harris and former Vice President Mike Pence, then President Donald Trump appeared on Fox News to give his reaction statement: “This monster that was onstage with Mike Pence, who destroyed her last night, by the way, but this monster . . . I thought that wasn’t even a contest last night. She was terrible. I don’t think you could get worse . . . And totally unlikable” (Summers, par. 2). Although the use of these descriptors are negative in their own right, Summers also noted that Trump “previously reserved the term ‘monster’ for terrorists, murder[ers] and major natural disasters” (par. 1). In this way, Trump attempted to dehumanize and diminish Vice President Harris, a strategy historically based in the continuous global stereotype of Black women and girls as monstrous Other. According to Muhammad and McArthur, the ‘“double jeopardy’ of being both Black and female in society has continued to create and reinforce a U.S. culture satiated with derogatory representations of Black women and girls” (134). These representations include stereotypes like the Mammy, a desexualized woman so loyal to whiteness that she cares more for her masters than she does for herself and her family; the Sapphire, a loud, rude, malicious, overbearing, and angry woman; and the Jezebel, a hypersexual, innately promiscuous, and sexually deviant woman (Harris 4–6; West 288). Each of these stereotypes positions Black women and girls as Other, a being who is “a threat and a danger” (de Beauvior 88) to those in dominant society. Although the above stereotypes are often associated with Black women, they also influence the lives of Black girls. In fact, numerous scholars have argued that society’s perception of Black girls is distorted by clichéd depictions that create harmful restrictions on and blatant misrepresentations of Black girls’ identities (Muhammad and Haddix 301; Sealey-Ruiz 291; Toliver, “Breaking Binaries” 6). In a survey study of 325 adults from various racial and ethnic backgrounds, Epstein and colleagues found that, compared to white girls of the same age, Black girls are inaccurately described as knowing more about adult topics and sex and therefore need less nurturing,
在副总统卡玛拉·哈里斯和前副总统迈克·彭斯之间的辩论之后，当时的总统唐纳德·特朗普出现在福克斯新闻上，发表了他的回应声明:“顺便说一下，这个怪物和迈克·彭斯在台上，他昨晚摧毁了她，但是这个怪物……我还以为昨晚根本算不上比赛呢。她太可怕了。我不认为你会变得更糟…完全不讨人喜欢”(萨默斯，第2页)。虽然使用这些描述词本身就是负面的，但萨默斯还指出，特朗普“以前把‘怪物’这个词保留给恐怖分子、杀人犯和重大自然灾害”(第1页)。通过这种方式，特朗普试图使副总统哈里斯失去人性，贬低他，这种策略在历史上是基于全球对黑人妇女和女孩的持续刻板印象，即他们是怪物。根据默罕默德和麦克阿瑟的说法，黑人和女性在社会上的“双重危险”继续创造和强化了一种美国文化，这种文化对黑人妇女和女孩的贬损表现感到满意。这些形象包括一些刻板印象，比如嬷嬷，一个没有性欲的女人，对白人如此忠诚，她关心她的主人胜过关心她自己和她的家庭;蓝宝石是一个吵闹、粗鲁、恶毒、傲慢、愤怒的女人;还有耶洗别，一个性欲亢进、天生滥交、性变态的女人(哈里斯4-6;西288)。这些刻板印象中的每一种都将黑人妇女和女孩定位为“他者”，对主导社会的人来说是“威胁和危险”(de Beauvior 88)。虽然上述刻板印象通常与黑人妇女联系在一起，但它们也影响着黑人女孩的生活。事实上，许多学者认为，社会对黑人女孩的看法被陈腐的描述扭曲了，这些描述对黑人女孩的身份造成了有害的限制和公然的歪曲(Muhammad and Haddix 301;Sealey-Ruiz 291;在对325名不同种族和民族背景的成年人进行的一项调查研究中，爱泼斯坦及其同事发现，与同龄的白人女孩相比，黑人女孩被错误地描述为更了解成人话题和性，因此需要更少的培养。
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Pub Date : 2023-07-05DOI: 10.1080/00497878.2023.2230604
A. Alshehri
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Pub Date : 2023-07-05DOI: 10.1080/00497878.2023.2228953
Cristina Rhodes
In a now-viral video, the half Asian/half Latinx band the Linda Lindas took the Internet by storm with their anthem “Racist, Sexist Boy” (“The Linda Lindas”). Anastasia Tsioulcas of NPR called the song “something of a 2021 anthem,” cementing the Linda Lindas’ place as a rising star in the punk world .The Internet’s fascination with the Linda Lindas didn’t just stem from the exigency of their hit song, the band is also composed of tweens and teens – and diverse teens at that. The band’s members are “Half Asian and half Latinx,” according to their website, and range in ages from eleven to seventeen (“About”). Though punk has always been a genre filled with young people, the extreme youth of this particular band stands out – and, while it’s not explicitly stated, their racial and ethnic identities add to audiences’ fascination and exoticization of the band. In a Vogue magazine article about their music and activism, journalist Christian Allaire notes, “Despite being young teens, their music has a clear, strong voice and punchy lyrics that prove they’re wise beyond their years.” Many reactions to the Linda Lindas follow this same pattern: shock at the band members’ ages and at the sophistication of their activist messages. The Linda Lindas’ work is at odds with adults’ views of children as apolitical subjects who need protection. Somehow, many adults perceive that young people are the ones benefiting from activism, not necessarily the ones instigating activism, even as punk is a genre rooted in youth resistance. I begin with this nod to the Linda Lindas and their punk aesthetic to foreground the similar activist entanglements in Celia C. Pérez’s middle grade novel The First Rule of Punk (2017). The Linda Lindas sing about their disenfranchisement as young, minoritized punks. So, too, does Malú, Pérez’s protagonist, sing against norms that seek to shape her to fit within dominant social scripts. The novel follows Malú, a 12 year-old punk, who
在一段现已疯传的视频中，半亚裔/半拉丁裔乐队Linda Lindas以其国歌《种族主义者，性别歧视男孩》（the Linda Linda）在互联网上掀起了轩然大波。美国国家公共广播电台的Anastasia Tsoulcas称这首歌“有点像2021年的国歌”，巩固了Linda Lindas作为朋克世界后起之秀的地位。互联网对Linda Linda的迷恋不仅源于他们热门歌曲的紧迫性，乐队还由粗花呢和青少年组成，以及各种各样的青少年。根据他们的网站，乐队成员是“一半亚洲人，一半拉丁裔”，年龄从11岁到17岁不等（“About”）。尽管朋克一直是一个充满年轻人的流派，但这支乐队的极端年轻人脱颖而出——尽管没有明确说明，但他们的种族和民族身份增加了观众对这支乐队的迷恋和异国情调。记者克里斯蒂安·阿莱尔（Christian Allaire）在《Vogue》杂志上发表的一篇关于他们的音乐和激进主义的文章中指出，“尽管他们还是十几岁的孩子，但他们的音乐有着清晰、有力的嗓音和有力的歌词，证明了他们超越了年龄的智慧。”许多人对琳达·林达斯的反应都遵循着同样的模式：对乐队成员的年龄和他们激进主义信息的复杂性感到震惊。Linda Lindas的工作与成年人认为儿童是需要保护的非政治主体的观点不一致。不知怎的，许多成年人认为年轻人是从激进主义中受益的人，而不一定是煽动激进主义的人，尽管朋克是一种植根于青年抵抗的流派。我首先向琳达·林达斯和他们的朋克美学致敬，以预示西莉亚·C·佩雷斯的中学小说《朋克的第一条规则》（2017）中类似的活动家纠葛。林达一家唱着他们被剥夺选举权的歌，他们是年轻的、少数民族的朋克。佩雷斯的主人公马鲁也唱起了反对规范的歌，这些规范试图将她塑造成符合主流社会脚本的人。这部小说讲述了12岁的朋克马鲁的故事
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Pub Date : 2023-07-04DOI: 10.1080/00497878.2023.2220133
Miranda A. Green-Barteet, Amanda K. Allen
In February 2017, Senator Elizabeth Warren was admonished, silenced, and removed from the floor of the US Senate during then-Senator Jeff Sessions’ confirmation hearings for the position of Attorney General. During the hearings, Warren attempted to read a letter written by Coretta Scott King in 1986, in which King protested Sessions’ nomination for a federal judgeship, to demonstrate that Sessions’ judicial record had long been questioned. Senator Mitch McConnell, in his then position as Senate Majority Leader, cut Warren’s speech short, citing a rule that forbids Senators from “demeaning” one another (Victor). McConnell stated, “Senator Warren was giving a lengthy speech. She had appeared to violate the rule. She was warned. She was given an explanation. Nevertheless, she persisted” (“Senate” S855). While McConnell clearly intended to silence Warren, his admonishment had the reverse effect. As Washington Post Correspondent Amy B. Wang notes, women “bristled at the sentiment – essentially, to sit down and stop talking – and noted it was hardly unfamiliar to them.” Indeed, McConnell’s final sentence – “Nevertheless, she persisted” – immediately became a feminist rallying cry. Together with its accompanying hashtags “#ShePersisted” and “#LetLizSpeak,” that three word sentence – “Nevertheless, she persisted” – rapidly spread around the world, described by Daniel Victor of the New York Times “as a hash-tag ready motto for women at the ready to break barriers.” As Megan Garber observed in The Atlantic, the sentence “was applied to images of not just Warren and King, but also of Harriet Tubman, Malala Yousafzai, Beyoncé, and Emmeline Pankhurst, and Gabby Giffords, and Michelle Obama, and Hillary Clinton, and even Princess Leia. It accompanied tags that celebrated #TheResistance.” Although he intended to reprimand Warren for violating an obscure Senate rule, McConnell inadvertently
2017年2月，参议员伊丽莎白·沃伦(Elizabeth Warren)在时任参议员杰夫·塞申斯(Jeff Sessions)的司法部长确认听证会上遭到训诫、噤声并被赶出参议院。在听证会上，沃伦试图阅读科雷塔·斯科特·金(Coretta Scott King) 1986年写的一封信，以证明塞申斯的司法记录长期受到质疑。金在信中抗议塞申斯被提名为联邦法官。当时担任参议院多数党领袖的参议员米奇·麦康奈尔(Mitch McConnell)以禁止参议员相互“贬低”的规定为由，打断了沃伦的讲话。麦康奈尔表示:“参议员沃伦发表了冗长的演讲。她似乎违反了规定。她得到了警告。她得到了一个解释。然而，她坚持了”(“参议院”第855页)。虽然麦康奈尔显然是想让沃伦闭嘴，但他的警告却产生了相反的效果。正如《华盛顿邮报》记者Amy B. Wang所指出的，女性“对这种情绪感到愤怒——本质上是，坐下来停止说话——并指出这对她们来说并不陌生。”事实上，麦康奈尔的最后一句话——“尽管如此，她还是坚持了”——立即成为女权主义者的战斗口号。这三个字的句子——“尽管如此，她还是坚持了”——与“#她坚持了”和“#让我说话”的标签一起迅速在世界各地传播开来。《纽约时报》的丹尼尔·维克多(Daniel Victor)将其描述为“为准备打破障碍的女性准备的标签座右铭”。正如梅根·加伯(Megan Garber)在《大西洋》(The Atlantic)杂志上所说，这句话“不仅适用于沃伦和金，还适用于哈里特·塔布曼、马拉拉·优素福扎伊、碧昂斯、埃米琳·潘克赫斯特、加比·吉福兹、米歇尔·奥巴马、希拉里·克林顿，甚至莱娅公主。”它还附有庆祝#抵抗#的标签。”尽管他打算谴责沃伦违反了一项模糊的参议院规则，但麦康奈尔无意中
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Pub Date : 2023-07-04DOI: 10.1080/00497878.2023.2221855
Suhaila Meera
A young girl dressed in a prettily embroidered kameez with a white dupatta draped over her head stands at a pulpit in Swat Valley, Pakistan. A poster with images of Leon Trotsky and Vladimir Lenin hangs from the front of the podium; the International Marxist Tendency’s logo marks the poster’s upper right corner. A line from Karl Marx’s The Civil War in France runs along the bottom: “The Political instrument (state) of their (workers) enslavement cannot serve as the political instrument of their emancipation” (Marx). The photo (“Malala Yousufzai [sic] speaking at the Marxist school in SWAT”) was taken between July 13 and 15, 2012 (Woods). Three months later, on October 9, the girl in the photo was shot by a Tehrik-i-Taliban Pakistan (TTP) gunman. Two years later, when she became the youngest person to receive a Nobel Peace Prize, Tariq Ali wrote to Al Jazeera: “The first Trot sympathizer to get the Nobel Peace Prize. Did they know?” (Waraich). Malala Yousafzai, though largely celebrated in the United States and her current home of the United Kingdom, remains a controversial figure. She and her father, Ziauddin Yousafzai, have been condemned by progressives and conservatives alike as Western puppets. Scholars of gender and the Middle East have also relegated Malala to a symbol, analyzing her rise to global fame as emblematic of the neoliberal-imperial impulse among Western nations to ‘save’ Muslim women by waging war in their home countries. Put simply: Malala’s construction as a neoliberal darling by and for the ‘the West’ has been firmly established. But as Rosie Walters correctly points out, depicting Malala “as a young woman whose story has been
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Pub Date : 2023-07-04DOI: 10.1080/00497878.2023.2228441
Regan Postma-Montaño
In her book, Medicine Stories, Aurora Levins Morales prompts us to locate young people at the center of discussions of social justice movements and activism: “we need to listen to children more than we talk to them. We must back the initiative of children themselves, secure resources and share skills, respect their right and ability to lead themselves, and learn to let them lead us” (108). As one of the original essayists for the groundbreaking work on intersectionality and women of color, This Bridge Called My Back, Levins Morales’s directive also points to the way that we, in fact, must let girls lead us as we elucidate the contours shaping resistance literature for and about young people on a hemispheric stage. Girls persist by finding avenues of resistance to the oppressions that impact them. Examining these forms of persistence is a means of listening to girls and letting them lead us. The hemispheric scope of this article on literature for young readers from across the Americas allows me to destabilize national silos and, by this intervention, to foreground connections that exist between diasporic Latinx girls in the US and girls in Latin America. In this way, I highlight the entangled, interconnected nature of our Americas and the possibilities girls offer for resistance. For this article, I examine three examples of youth literature from across the Americas. All the Stars Denied by Guadalupe García McCall (US, 2018), Olivia, el bosque y las estrellas (Olivia, the Forest and the Stars) by Nuria Santiago and illustrated by Ángel Campos (Mexico, 2014), and Al sur de la
Aurora Levins Morales在她的《医学故事》一书中提醒我们将年轻人定位为社会正义运动和激进主义讨论的中心：“我们需要更多地倾听儿童，而不是与他们交谈。我们必须支持儿童自己的主动性，确保资源和分享技能，尊重他们领导自己的权利和能力，并学会让他们领导我们”（108）。作为关于交叉性和有色人种女性的开创性作品《这座桥叫我的背》的原创散文家之一，莱文斯·莫拉莱斯的指示也指出，事实上，当我们在半球舞台上阐明塑造年轻人抵抗文学的轮廓时，我们必须让女孩引领我们。女孩们通过寻找抵抗压迫的途径而坚持下来。研究这些形式的坚持是倾听女孩的声音并让她们带领我们的一种方式。这篇关于文学的文章面向美洲各地的年轻读者，其半球范围使我能够破坏国家的孤立，并通过这种干预，展望美国散居的拉丁裔女孩和拉丁美洲女孩之间存在的联系。通过这种方式，我强调了我们美洲相互交织的本质，以及女孩抵抗的可能性。在这篇文章中，我考察了三个来自美洲各地的青年文学实例。Guadalupe García McCall（美国，2018）、Nuria Santiago和Ángel Campos（墨西哥，2014）绘制的Olivia，el bosque y las estrellas（Olivia，森林和星星）和Al sur de la
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