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Her Body and Othe...
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by Carmen Maria Machado (Goodreads Author)
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""Mothers" - the premise here (pretend child of a couple takes on a greater reality to the abused partner after the breakup) has potential, but we learn all of it in the first page or so and there's no real development." Aug 10, 2026 05:31PM

 
Trans and Disable...
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  (page 30 of 160)
"Meg-John Barker: transmasc non-binary, white, UK, editor's writing partner, multiple degrees, therapist, disabilities named: autism, fatigue, plurality, hard of hearing, post-traumatic stress.

"Plural, trans, and disabled" - no personal reflection or vulnerability - in a scholarly mode. Defines plural, trans, and disabled in such a way that everyone is all three."
Aug 01, 2026 08:41PM

 
Embodied Exegesis...
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progress:  On page 125. "Her throat bore pinkish words reading, _This machine is not a place of honor._

[from Hailey Piper’s “The Majestic Art of Flesh”. I’m probably not supposed to think this at this point in the story but a Sandia nuclear waste warning tattoo is extremely hot]"
Dec 22, 2024 07:09AM

 
Book cover for Hyperbole and a Half
But I keep allowing it to happen because, to me, the future doesn’t seem real. It’s just this magical place where I can put my responsibilities so that I don’t have to be scared while hurtling toward failure at eight hundred miles per hour.
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Garth Greenwell
“It is really is just true that I don't think of a reader when I'm writing. Maybe that's because for twenty years I was a poet and knew no one would read me.”
Garth Greenwell

“At some point, Tracy sent me the demos for the next Static Saints album. I was knocked out, and soon became fixated on the song "Useful and Beautiful." It would likely be heard as an ode to sexual debasement, but I think it's also an invitation to root your life and your art in utility and beauty. I found myself returning endlessly to this question: How can we make Tracy's memoir more useful and more beautiful. I love that her song enacts what it extols. It reminds us that we can revel in sexual pleasure and perversity ("I've got uses, I've got bruises") while also opening up to become more expansive, more useful, and more beautiful ("Oh let me be a crashing wave. Oh let me be a secret cave.").”
Hazel Jane Plante, Any Other City

“For many of us, feminism denotes the task of abolishing all organized scarcities, from the private nuclear household to the nation. It’s the deprivatization of love, via the insurgency of mothers of every gender against the patriarchal institution of motherhood, the decoupling of survival from the wage, the destruction of markets, the ecological insistence on interspecies responsibility, the decarbonization of every mégapole, and the communization of continent-wide architecture: waterways, seed banks, and libraries. It’s a local proletarian strike against work (that always already gendered and stolen substance otherwise called alienated labor) and a planetary revolution in values that prioritizes care over accumulation. It’s a perfectly good name, too, for the horizon wherein work’s myriad precarious, abject, wageless, mad, incarcerated, and otherwise remaindered victims are avenged. As a revolutionary movement, feminism abolishes gender qua differential, while remaking genders qua lush, interesting, and pleasurable difference.”
Sophie Lewis, Enemy Feminisms: TERFs, Policewomen, and Girlbosses Against Liberation

Johanna Hedva
“Ajax falls on his sword. Juliet drinks the poison. Jane Eyre is undone by fire. Prometheus pays for his transgression with his liver.”
Johanna Hedva, How to Tell When We Will Die: On Pain, Disability, and Doom

James Longenbach
“Some poets have argued that the rejection of line carries a kind of political charge, just as poets once felt that the rejection of rhyming verse for blank verse or blank verse for free verse carried a political charge. This may be true in a particular time at a particular place. But it cannot be true categorically. For example, even if the heroic couplet was once associated with hierarchical thinking in the eighteenth century, it does not follow that the heroic couplet will always inevitably be doomed to reproduce the same hierarchies in our thought. The relationship between formal choice and ideological position is constantly shifting, and it isn’t possible to predict the repercussions of formal decisions except inasmuch as we might see them played out in the work of individual poets.”
James Longenbach, The Art of the Poetic Line

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