gender – Michigan Quarterly Review

gender

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The Year I Was A Boy

I’m not sure how much I was aware of my intention to become a boy. I never verbalized it, and I knew it wasn’t something that was actually possible. I just wanted to be more of a boy than I was a girl. I’m not sure I understand gender very well, even as an adult woman, but as a child, all I saw was that, in a literal way, boys had it better.

The Year I Was A Boy Read More »

I’m not sure how much I was aware of my intention to become a boy. I never verbalized it, and I knew it wasn’t something that was actually possible. I just wanted to be more of a boy than I was a girl. I’m not sure I understand gender very well, even as an adult woman, but as a child, all I saw was that, in a literal way, boys had it better.

Dr. Paul M. Worley and Dr. Rita M. Palacios Head Shots

Reading Mexican and Guatemalan Literatures in Translation: A Conversation Between Dr. Paul M. Worley and Dr. Rita M. Palacios

And so our work as literary critics, translators, and readers of Indigenous literatures is complex. We have to be aware of those essentialisms and the silences and violence they bring.

Reading Mexican and Guatemalan Literatures in Translation: A Conversation Between Dr. Paul M. Worley and Dr. Rita M. Palacios Read More »

And so our work as literary critics, translators, and readers of Indigenous literatures is complex. We have to be aware of those essentialisms and the silences and violence they bring.

lauren levin head shot

A Forensic Scientist of Myself and Everything Else: An Interview with Lauren Levin

“I think part of maturing as an artist is figuring out that the things that may have felt like a lack or an inadequacy can be strengths if you just double or triple down on them. Go all the way into the peculiarity and particularity of one’s own thinking.”

A Forensic Scientist of Myself and Everything Else: An Interview with Lauren Levin Read More »

“I think part of maturing as an artist is figuring out that the things that may have felt like a lack or an inadequacy can be strengths if you just double or triple down on them. Go all the way into the peculiarity and particularity of one’s own thinking.”

Gertrude Stein: A Portrait of the Artist

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I’ve never seen the author of Tender Buttons and Three Lives look as she looks in this painting by Picabia from 1937. Her head is small, perched on wide and rounded shoulders draped in brown. Beneath the cloak, a soft blue blouse with a large brooch peeks through. On her face, a sort of “oh well” smirk on thin, taut lips.

Gertrude Stein: A Portrait of the Artist Read More »

I’ve never seen the author of Tender Buttons and Three Lives look as she looks in this painting by Picabia from 1937. Her head is small, perched on wide and rounded shoulders draped in brown. Beneath the cloak, a soft blue blouse with a large brooch peeks through. On her face, a sort of “oh well” smirk on thin, taut lips.

“The Only Woman in the Room”: An Interview with Eileen Pollack

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“When I teach nonfiction, we talk about writing to a question. If you write what you already know, it’s not going to be interesting for your readers. You need to be looking for some kind of a discovery, and so I went to Yale to see what and what hadn’t changed, because my story needed to be contextualized. After hearing from young women that their experiences were just as bad as mine, it floored me. That’s the moment I knew I had a book.”

“The Only Woman in the Room”: An Interview with Eileen Pollack Read More »

“When I teach nonfiction, we talk about writing to a question. If you write what you already know, it’s not going to be interesting for your readers. You need to be looking for some kind of a discovery, and so I went to Yale to see what and what hadn’t changed, because my story needed to be contextualized. After hearing from young women that their experiences were just as bad as mine, it floored me. That’s the moment I knew I had a book.”

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