"Post-colonial, Queer: Theoretical Intersections" Edited by John C. Hawley (2001)

I can understand why this is considered a foundational text for anyone interested in post/neocolonial or queer studies. That being said, due to when this was published, it’s obvious in both the language and content that amendments are required, especially revolving around trans theory (or honestly the trans experience as a whole). An example of outdated content would be in the chapters about queerness in Thailand and the taboo that impacts both social and legal rights of the citizens. Luckily, this is now outdated as Thailand (just recently in the past few weeks) became the third Asian country (behind Nepal and Taiwan, the latter is also the focus of an essay in this book) to legalize gay marriage. Additionally, this book was published when the predominant term was “post-colonial,” something heavily criticized in later years as it implies that the impact of colonization has ended. As this is not the case (as also proven is not the case within the book itself), I will be using the term “neocolonial.”

However, this book did give a lot of insight into the over-erotizing of colonized cultures, particularly men. I have read about this phenomenon, but the focus was more specific to people of sub-Saharan descent. This book has several essays that look at this phenomenon across the Northern African continent and the Middle East, which definitely deserves more scholarship.

The essays I believe deserve further review and are most relevant to modern scholarship are:

• “Rupture or Continuity? The Internalization of Gay Identities” by Dennis Altman

• “Vacation Cruises; or, The Homoerotics of Orientalism” by Joseph Boone

• “Transcending Sexual Nationalism and Colonialism: Cultural Hybridization as Process of Sexual Politics in ‘90s Taiwan,” by Chong Kee Tan

• “Out in Africa” by Gaurav Desai

• “Broadening Postcolonial Studies/Decolonizing Queer Studies: Emerging ‘Queer’ Identities and Cultures in Southern Africa” by William J. Spurlin

Each of the above has building blocks for more contemporary scholarship I’ve reviewed in recent years. I think further study could be done and is necessary for many of the locations covered by the above essays as well. However, what I would argue is most significant about this collection is the integration of intersectionality and “third genders” which were common in numerous cultures before colonization (and will also be covered in other books I’m due to read, Redefining Realness by Janet Mock with her discussion on mahus in Hawaiian culture, for example).

Since the material is so outdated in so many areas, I only think this book is worth reading in a context similar to my own: as a foundational text that can be referred to when referencing more up-to-date scholarship.

"On Writing Well: The Classic Guide to Writing Nonfiction" by William Zinsser (1976)

Zinsser's "On Writing Well" is the midpoint between Lamotts "Bird by Bird" and Wood's "How Fiction Works": more personal than Wood and more craft-centerd than Lamott. The primary difference between his "personal" and Lamott's is that Zinsser tends to stick to stories from his life that center around writing: being a guest speaker, interacting with his students, being a featured pannelist, whereas Lamott tends to center her experiences and rotate the writing tips around that (not unlike Chee in "How to Write an Autobiographical Novel). Zinsser is explicit about what he thinks is good writing versus "hack" writing, being as bold as to say "hack" himself.

Zinsser is hyper-aware of the prominence of non-fiction writing and offers valuable information for writers and non-writers alike. His book is broken into four parts: principles, methods, forms, and attitudes. However, for most people (i.e., anyone not pursuing journalism) the principles and methods sections are where a bulk of the information come from. A lot of the actual "tips" stop after this point, where he begins to get specific about forms and clichés to be mindful of once the book hits the "forms" section. At that point, you can really skim to any area you're interested in and leave the rest untouched.

Zinsser has a few recurring tips: be yourself, avoid clichés, all elements must be cohesive (unity), and, perhaps most important, writing won't be any fun to read if you don't have fun writing it (enjoyment). That being said, Zinsser's first couple sections open the door for anyone to learn how to better their writing abilities and become aware of what their pitfalls may be.

"A New Anatomy of Storyworlds: What Is, What If, As If" by Marie-Laurie Ryan (2022)

SPOILERS AHEAD

Ryan's main goal is to advocate for a new form of narratology: "Possible Worlds (PW) Theory." She advocates for this new theory by pointing out holes in adjacent theories that are typically used to dissect truth, fiction, narrators, plots, characters, and mimesis and diegesis. Chapters 1 - 6 address these concepts before she moves on to the potential applications of PW Theory in theoretical physics, current technology, narratology and transmedia, and future technology (such as AI) in the remaining 4 chapters.

When dissecting a new theory, there are thought experiments required to identify the highlights and pitfalls of the new ideology. Ryan is exceptional at identifying the weaknesses and strengths of her ideas, along with how PW Theory can blend with existing theories to try to fill the gap identified by science and technology. For anyone interested in narrative structure and ways to analyze reader thoughts, reactions, and contexts from the perspective of a writer or scholar, this could be a beneficial text if you can wade through the dense scholarly language reminiscent of the writings of Judith Butler.

"Compulsory Heterosexuality and Lesbian Existence" by Adrienne Rich (1980)

SPOILERS AHEAD

Rich's "Compulsory Heterosexuality and Lesbian Existence" is a thorough dive into the gaps in feminist study during the time period (1970s-early 1980s). Rich defines "compulsory heterosexuality" and evaluates the ways that it informs gendered expectations, the impact it has on how we interact with others, and the real-life manifestations and implications of this practice. Most shocking is the similarities we see between the environment that inspired this essay from Rich and gender/sexuality studies of the modern day.

Rich's main complaint is the interdisciplinary assumption of heterosexuality as "default." She argues that this has major implications for how women, especially lesbian women, navigate the intersections of femininity, sexual orientation, economy, and identity. She mentions how historically women did not have the luxury of loving what is natural to them as heterosexuality was required for economic survival via marriage. Failure to adhere to social expectations often resulted in social or even violent consequences, vastly skewing older studies about femininity, sexual orientation, and "womanness."

Rich also believes that how "modern" gender and sexuality studies are built on a foundation of female (particularly lesbian) sexuality as viewed through the male heterosexual lens. In other words, Rich wants future scholarship to consider heterosexuality as a "political institution" as scholarship does with lesbianism (637). She continues this by listing concrete examples of how female/lesbian sexuality is evaluated in erudition with the masculine heterosexual tilt.

Rich's article shows the shift between more archaic gender and sexuality studies to where we are today which, even by Rich's standards, is better but not where we need to be. This is most important to her as gendered discrimination is akin to other forms of domination. She ends the article by prompting the reader to achieve a better "grasp of the politics and economics, as well as the cultural propaganda, of heterosexuality to carry us beyond individual cases or diversified group situations into the complex kind of overview needed to undo the power men everywhere wield over women, power which has become a model for every other form of exploitation and control" (Rich 660).

"How Fiction Works" by James Wood (2008)

James Wood's "How Fiction Works" is simultaneously a wonderful and horrible starting guide for what to pay attention to as you embark in fiction writing. His use of examples can be inaccessible to those who are not familiar with the authors, but his use of example quotes is helpful in identifying some of his more challenging concepts.

This book works to serve as a step-by-step guide of considerations for fiction writers and readers, giving the reader a better vocabulary to discuss primarily realism or "lifeness" in fiction. He looks at characters, language, narration, narrative styles, detail, dialogue, and convention along with the history of literature that led us to what we recognize as a contemporary novel. This book focuses less on making a clear argument, instead dissecting the contradicting approaches to fiction by notable authors. If there is any concise argument to be found here, it's that Wood does not believe in a right or wrong way to approach fiction, just good and bad writing (all of which can only be delineated through context).

Perhaps what stood out most to me is the recurring theme Wood brings up: fiction makes us better at noticing life and articulating our experiences. He gives countless examples of authors describing the mundane, the extravagant, the pure, the horrific, all of which involve close attention to human experiences in the "real world." For Wood, literature is not only a tool for escape, but a way to call attention to what we tend to overlook in our daily lives.

"Borderlands/La Frontera: The New Mestiza" by Gloria Anzaldúa (1987)

Anzaldúa's "Borderlands/La Frontera" is informational, harrowing, dramatic, and sourlful. Remarkably, she is able to weave together essays and poems that inform the reader about her culture and how the modern understanding "Chicano" came to be. This book flows between Mexican, American, and Indigenous history into Anzaldúa's life, giving the writer a vivid picture of the foundation of her identity. To Anzaldúa, she is everything: an insider and outsider, indigenous and foreign, soft and strong.

This book has a lot of similarities to other female writers of color from this era: Maxine Hong Kingston's "The Woman Warrior" and Toni Morrison's "The Bluest Eye" are the most recognizable. All three discuss culture, violence, gender and its expectations, whiteness, heritage, and Capitalism. For anyone who has read similar novels or collections, Anzaldúa's poetic, blunt yet purple language allows her to remain striking and individual. What emotions and images she doesn't have room to capture in her prose, she covers in the second half of the book with her poetry and lyrics, reminding the reader that her experiences are both individual and collective, reinforcing the theme of "everythingness" throughout the piece.

"Bird by Bird" by Anne Lamott (1994)

Lamott’s book walks the line between a fiction craft book and memoir. The book comprises four main sections, “Writing,” “The Writing Frame of Mind,” “Help Along the Way,” and “Publication—and Other Reasons to Write.” Though the book is organized by writing tips, the heart of the book is in Lamott’s experience as a writer, friend, daughter, and mother. The primary benefit of this book is being able to see the applications of Lamott’s writing advice through her experiences she shares. She finds inspiration for her work in tragedy, humor, and the relationships she builds with other creatives primarily in the San Francisco Bay Area and New York.

Lamott advocates for the creepier parts of the writing process, like eavesdropping and adding non-favorable details about people to avoid libel, while giving credit where it is due, citing the people in her life that helped her be a better writer. Writing is an isolating venture, one that is frequently plagued by negative feelings of self-doubt and isolation. Lamott comforts the reader, letting them know the horrible parts of writing are real and your feelings are valid. Though the tips Lamott gives may not make the entire process of writing easier, it makes being a writer feel easier, more communal, and authentic. After reading this book, I have new techniques I look forward to trying for my weak points—like ways to try turning a string of scenes into a cohesive plot and ways to combat writer’s block—and the reassurance that the difficulties I may feel as a writer are not mine alone.

"Playing in the Dark: Whiteness and the Literary Imagination" by Toni Morrison (1992)

Toni Morrison’s monograph is mostly concerned with the intersectionality between what she refers to as “American” and “Africanist” literature. The text is broken into three sections, “Black Matters,” “Romancing the Shadow,” and “Disturbing Nurses and the Kindness of Sharks.” Morrison argues that without African Americans, there is no “Americanness,” and thus, the Africanist presence is essential to deciphering the American literary canon. She uses examples like Willa Carther, Edgar Allan Poe, Mark Twain, and Ernest Hemingway to demonstrate the explicit and implicit nods to African Americans.

Morrison’s goal with analyzing the work of famous American authors is to highlight how American literature is inseparable from the presence of African Americans, emphasizing that African Americans were part of the foundation of creating what it means to be “American.” Consequently, Morrison is addressing what it means to write, read, and analyze American literature. She does this by breaking down “American” and “non-American” literature, looking closely at how social status and race are what determines “Americanness.” Morrison concludes by stating that her analysis is not to condemn American authors or the American literary canon, but to call for further analysis by present and future scholars to consider Africanism within that canon.

This book is useful when assessing the past of American literature, determining whose presence was the focal point and whose presence was erased or written about only in subtext.

"Understanding Edward P. Jones" - "Lost in the City" Chapter by James W. Coleman (2016)

James Coleman’s chapter argues that Edward P. Jones’s Lost in the City is tied together by more than location, but by Black tradition, community, and storytelling. To Coleman, these elements are what ties the collection together as a cohesive whole and allows Jones to explore the overarching theme of “lostness.” Coleman dissects each story highlighting the “lostness” theme along with justifying the story’s placement in the collection.

Coleman argues that the ambiguity and seeming disjointedness of Jones’s collection is not just beneficial to emphasizing “lostness,” but is also verifiably intentional. Coleman points out the flaws of the primary characters, driving home that their satisfaction, or lack thereof, can be directly contributed to their relationship to Blackness in Washington. This informs the focus of the chapter: showing how the movement through Washington, D.C. in Jones’s collection mimics the Great Migration from South to North. Depending on the relationship between the protagonists and Black culture and tradition, their position in the city changes. Coleman believes that Jones’s collection is a masterwork of weaving past, present, future, and individual relationships of Blackness. This chapter illustrates how a fiction collection can be organized and how seemingly unrelated stories can belong together and strengthen one another.