Rebecca Solnit wrote the ﬁrst and titular essay in this collection in 2008, after which it was posted on TomDispatch. Since then it has taken oﬀ and been reposted several times, along the way inspiring the portmanteau “mansplaining.” It was worth rereading that one for a second or maybe third time, but the other six essays in this book aren’t just ﬁller to make a book version of a viral sensation.
Despite giving a feminist eye to some bleak topics — as in the one where she connects Dominique Strauss-Kahn’s sexual assault of a hotel maid with the IMF’s treatment of developing countries — there’s a recurrent sense of hope across these essays, for me most palpably in “Woolf’s Darkness: Embracing...more
In some people (usually willful or grandiose or highly defended types) there’s only a very small diﬀerence between talking incessantly and saying nothing. I vaguely remember a quote from Roland Barthes, who claimed his rhetorical needs alternated between a little haiku that expressed everything and a great ﬂood of banalities that said nothing.
I expected that I would really like this collection of essays, reading about it ﬁrst through D’Ambrosio’s interview with Leslie Jamison for The New Yorker. I was especially curious about their discussion of his work being “marked by a ﬁgure standing outside some kind of threshold.” In actuality, while I appreciate the style of his writing, the overarching themes of the book felt too bleak for...more
Meghan Daum opens her second book of essays by explaining how she hoped that all together they would “add up to a larger discussion about the way human experiences too often come with preassigned emotional responses.” This examination of the disconnect with how one is “supposed to feel” compared to our actual feelings succeeds best in the opening essay, “Matricide,” largely about her mother’s death and complicated relationships between mothers and daughters. Some of the other apparently “unspeakable” topics — like loving dogs and Joni Mitchell and not being a foodie — ring rather false in comparison. But by that point, I was also less inclined to ﬁnd common ground with Daum, since these all came after the essay on her being an “Honorary...more
Roxane Gay is a brilliant writer, and I’m glad to see this book with its hot pink title on the front tables in bookstores, where perhaps people who think they don’t need feminism* might see it. Gay is razor smart and genuine; she has a witty and light-handed writing style, even when digging into complicated issues.
She writes some simple but important bits about privilege, like: “Surrendering to the acceptance of privilege is diﬃcult, but it is really all that is expected. What I remind myself, regularly, is this: the acknowledgment of my privilege is not a denial of the ways I have been and am marginalized, the ways I have suﬀered.”
And she talks about feminism’s...more
The essays in the book range widely in scope, from very personal to more critical to more journalistic, though a theme of understanding others’ pain loosely lassos them together. Often this manifests as her own attempt to understand, like her proﬁle of people with Morgellons Disease, who believe that ﬁbers are expelled from their skin and become so obsessed with the delusion they end up isolated from feeling so misunderstood. She wants to understand them, even though it’s so diﬃcult to believe. Sometimes she even dissects her desire to feel others’ pain, as when her brother is diagnosed with Bell’s palsy, and she imagines herself in his shoes so completely that it becomes more about her than him, leading her...more
I’m on a laid-back mission to make my way through Susan Sontag’s oeuvre, and this in particular has been on my active reading list since I ﬁnished On Photography several years ago. It turned out to be a rather prescient selection, as shortly after I ﬁnished reading, tensions broke open again across Israel and Palestine, making the ideas here profoundly timely. Sontag talks of how “being a spectator of calamities taking place in another country is a quintessential modern experience,” while later clarifying that “speak[ing] of reality becoming a spectacle is a breathtaking provincialism”:
…it is absurd to identify the world with those zones in the well-oﬀ countries where people have the dubious privilege of being spectators, or of...more
Just after I started reading this book, I had a conversation in which someone said that inaccessible art can’t possibly be good art, with a side note about how some people may appreciate art solely because they can’t immediately understand it as they assume it’s smarter than they are. The discussion partially came from me describing my struggle through The Luminaries, not entirely enjoying it, but ﬁnding the structure of it compelling from a technical standpoint. The essays in White Girls vary in their accessibility, and since I was reading primarily for entertainment, I skimmed through the ones that didn’t draw me in enough. In this opinion, it can’t be a “good” book, because it was too much work...more
You know you’re in for some bold and broad declarations when a book starts oﬀ, “Every artistic moment from the beginning of time is an attempt to ﬁgure out a way to smuggle more of what the artist thinks is reality into the work of art.”
Reality Hunger calls itself a manifesto, yet it feels less a call to arms to me — it’s more of a collage of thoughts that are numbered in the hundreds and organized into 26 themes that all circle around the intent to deconstruct artistic creativity. Some of the thoughts are Shields’s but many of are quotes or partially comprised of quotes. He wanted to publish these unattributed but was legally required to include a list...more
I last read this book nearly six and a half years ago; when my friend Eleanor brought it up recently to share a quote from it someone had passed on to her, it felt like perfect time for a re-read. In those six odd years, I’ve read several of Solnit’s books and have come to appreciate her particular way of getting at a subject, where bits and pieces of anecdotes and research fuse together into a nuanced perspective. Much of her work is grounded in history and various arenas of activism, so this feels very personal and nostalgic in comparison, yet I think it has more of those elements than her more recent book, The Faraway Nearby....more