When Wanda bought the house, she didn’t imagine that anyone in the community would recognize that she and Lynn were queer.
The baby had come from a place none of us could remember. Our grandmother was headed there.
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When Wanda bought the house, she didn’t imagine that anyone in the community would recognize that she and Lynn were queer.
The baby had come from a place none of us could remember. Our grandmother was headed there.
The author of Mother of God discusses the limitations of realism, Frank Bidart, and the anguished duality of shame.
Standing in the wreckage of these spaces unlocks a sensation people often crave, but can’t name.
It’s an imagined past, a pastoral imaginary, an alternate timeline in the multiverse.
The author of A Word for Love on Syria, how we reveal ourselves through language, and love as a place of tension.
In her original incarnation, the only female Smurf reminds me of all the assumptions I've had to navigate about my sexuality and sense of self as a Jewish woman.
On the afterlife of Buffy the Vampire Slayer, what makes a show resonate for two decades, and why we re-watch television.
From public testimonies of grief to video game dispatches from the funeral industry, the way we think about death is changing.
No other producer did for Columbia Pictures what Virginia Van Upp, one of Hollywood's first female executives, did in the 1940s. So why did her influence slowly fade away?
The Victorian supernatural was a transparent manifestation of the period's constant dialogue with death and dying.