I Love Dick is a manifesto for a generation of women who want to have it all, say it all, and be it all. Its journey from an underground, experimental novel to a cult classic shows far how ideas about women and femininity have evolved in that time.
“When I write, I’m not a woman, I’m not a Moroccan, I’m not a Muslim, I am whatever I want.… Love has no nationality,” says author Leïla Slimani. This raises the question, and a paradox for our age: Should authors from a minority background be restricted to writing novels based on their own experience?
Mainstream literature can learn a lot from YA fiction about writing characters. It should be remembered that not all characters need to be straight and white. YA provides a great, safe place for BAME and LGBT+ writers and readers alike to see themselves represented.
One of the most successful and prolific horror writers of all time, Stephen King has sold over 350 million copies of his novels since the start of his career. King’s kingdom expands further than the territories of literature, however, with a new crop of cinematic adaptations gaining worldwide praise and success.
With the #MeToo movement bringing sexual violence to the forefront of public discussion, isn’t it time we consider the impact of the movement on literature?
Historical fiction provides an enjoyable means of learning about the past, making history accessible for those who haven’t, or don’t want to, read a scholarly dissection of the French Revolution or the Tudor Court. Learning about history through fiction provides a fun and engaging alternative, but what are the perils and pitfalls for both authors and consumers?
Margaret Atwood recently announced a sequel to The Handmaid’s Tale, inspired, she says, by “everything you’ve ever asked me about Gilead and its inner workings”. The Testaments, to be narrated by three […]
