By Donna Perry
Agents or sufferers, liberated or oppressed, "bad ladies" or "good girls." What do those labels suggest and do they additional or prevent women's development? How are brand new visions of lady sexuality and tool like or not like these of the earlier? How do younger ladies outline feminism? is not the own nonetheless political?
Dismayed by means of the media's tendency to lessen the feminist company to labels and superstars, Donna Perry and Nan Bauer Maglin made up our minds to determine what a varied workforce of feminists take into consideration girls, intercourse, and gear within the nineties. the result's a provocative and sundry choice of twenty-four essays by means of moment- and third-wave feminists; artists and activists; professors and graduate scholars; expert newshounds and just-published writers; moms and daughters. through concentrating on society's development, containment, and exploitation of woman sexuality, specifically, those essays supply clean views on women's supplier or loss of it.
The participants specialise in the oversimplifications and fake dichotomies in present discussions of woman sexuality, in addition to the privileged viewpoint and individualism that at the moment dominate the popularized feminist message. person writers--including Emma Amos, bell hooks, Ann Jones, Lisa Jones, Paula Kamen, Matuschka, Marge Piercy, Katha Pollitt, Anna Quindlen, Elayne Rapping, Lillian S. Robinson, and Ellen Willis--reexamine women's empowerment within the mild of matters like AIDS, battering, acquaintance rape, narratives of adolescence sexual abuse, and pornography. a number of draw political conclusions from their own struggles, whereas others learn tales and texts--from historical past, the artwork global, the media, pop culture, and social technology research--in new and debatable ways.
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Additional info for Backtalk: women writers speak out : interviews
Another strong viewpoint comes from Chicana writer Gloria Anzaldúa, who usually publishes in English, sometimes with a generous sprinkling of Spanish or her native Tex-Mex dialect throughout. With a small travel allowance, I interviewed writers living in the United States, England, and Ireland, although three were born and raised in the Caribbean. I spoke with the writers in restaurants, pubs, hotel rooms, and lounges, or in their own homes. My companion Neill Rosenfeld accompanied me on six of the interviews; the rest I did alone.
Of course you need to become an individualhow can you not? The real issue is: How can you maintain community? You must. As I understand the Indian world, you have to do both. You become self-responsible-you are responsible for what you do-and you are part of the community. That community is not just those around you; your responsibility extends to the whole group. Q:Given this sense of responsibility, what do literary critics who are reading Native American texts need to be doing now? A:They need to be developing critical dimensions that allow us to assess all American literatures.
MLA [the Modern Language Association] helped a lot. But now we have a community of scholars worldwide and we study Native American literature both in its traditional and its contemporary aspects. It's a real discipline. " Instead, we get literary questions of real substance. All of that has happened between 1970 and 1990. Q:How did the change happen? Some of it was a result of your writing, but what else? A:[Native American writer N. Scott] Momaday. His writing set off this explosion because it was the 1960s and civil rights issues were on the front burner.
Backtalk: women writers speak out : interviews by Donna Perry