writing (post)feminism

Gathering screen images and texts shared by artist Les folies passagères on Instagram, Gravel-Patry addresses issues of care that affect women on a daily basis, from mental health to body dysmorphia - but also creating expansive life worlds through our relationality with the digital image, how we operationalize it so that we might think and feel our lives differently.

On feminist futures of electronic literature (and interactive narrative, more broadly construed).

Against the backdrop of écriture feminine and e-lit texts, Ensslin et. al advance methods and findings of the "Writing New Bodies" project (“WNB”; SSHRC IG 435-2018-1036; Ensslin, Rice, Riley, Bailey, Fowlie, Munro, Perram, and Wilks) to lay the foundations of Applied E-literature Research. Their aim is to develop a digital fiction for a new form of contemporary, digital-born bibliotherapy. In following the principles of critical community co-design and feminist participatory action research, WNB engages young woman-identified and gender nonconforming individuals ages eighteen to twenty-five in envisioning worlds where they feel at home in their bodies. The workshops encourage them to engage, conversationally and through reading, co-designing and writing digital fiction, with key challenges facing young women today, including cis- and heteronormative gender relations, racism, anti-fat attitudes, ableism, and familial influences on the ways young women “ought to look” (Rice). This essay originally appeared as a keynote at the 2019 ELO conference in Cork, delivered by Ensslin.

Ralph Clare reviews After Kathy Acker: A Literary Biography by Chris Kraus.

Julie Cupples reviews a retrospective collection of essays by Chandra Mohanty on the geopolitics of gender and race.

From origin stories to progressive science fiction, Lisa Yaszek studies the changing face of feminsim.

Carolyn Guertin surveys the politics of Hacktivist women.

Is there such a thing as womens' writng? Or, for that matter, womens' media? Elisabeth Joyce moves through the work of Annie Abrahams and writes against restrictive domestications of electronic media.

"Rather than gathering in the South Ballroom for the plenary, we read into gardens, playrooms, cars, stores, home offices, and kitchen tables. These sites are not homey, though, in any Palmolive way." Bill Stobb reviews a collection of writers who consider the complexities of artmaking and motherhood.

Elyce Helford frames Tank Girl as a portrait of the postfeminist woman: hyper-individualist and hyper-sexual - a woman who is quite comfortable in popular cinema but not so much so in reality.