*WARNING: Sisterhood Everlasting begins with a major, surprising event, and I discuss it in this review. Other potential spoilers are marked.*
It's always dicey when an author pushes a series past its logical conclusion. I met each YA sequel to The Sisterhood of the Traveling Pants with skepticism, but all four of Ann Brashares' complex, sentimental tomes won me over, as did her threeseparatebooks. After seven respectable novels, one failure should not seem shocking.
But what a failure it is. I found Sisterhood Everlasting abhorrent.
There are as many ways of being an American Muslim woman as there are American Muslim women, and the contributors to the recently-published I Speak For Myself: American Women on Being Muslim will prove anyone who tells you differently (hello, popular media?) wrong. Edited by Maria M. Ebrahimji and Zahra T. Suratwala, I Speak For Myself, which we're happy to be selling at BitchMart, is an anthology that showcases the voices of 40 American Muslim women who are all under the age of 40, all of whom were born and raised in the US. Through personal stories that portray a vast array of identities, practices, beliefs, and values, this anthology illustrates and celebrates the fact that American Muslim women are, as put in the introduction, "neither the same as non-Muslim American women nor one another."
Pageant competitors in a dire situation? It sounds like a recipe for an overly catty misogyfest (or, let's be honest, a terrible porno). Instead, Libba Bray has crafted a complex, blistering satire that is, dare I say, one of the most explicitly feminist novels I have ever read.
On Saturday, the Wall Street Journal fired a shot heard around the literary world: a so-called book review by Meghan Cox Gurdon condemning the YA genre. Gurdon begins by describing a mother looking at covers in a young adult section and finding nothing she considered appropriate for her daughter, only "vampires and suicide and self-mutilation, this dark, dark stuff." Of course, many YA readers (myself included) could name titles that are not "dark, dark" at all, but Gurdon uses this dubious anecdote as a launchpad for a deluge of problematic assertions, contradictions and tacit accusations.
Read more about this misguided article, and the awesome responses by YA lovers, after the jump!
Alissa Nutting's Unclean Jobs for Women and Girls is a collection of bizarre and wonderful stories about the difficulty of bodies and the possibilities that arise when their inhabitants transcend them. Nutting, who is the managing editor of the awesome Fairy Tale Review, paints a series of women deviants with irresistible fairy-tale simplicity, creating loveliness and magic in some extraordinarily wicked places.
Looking into libraries for this post I decided to talk to my former colleague Tara Robertson. In 2009 Tara put together a group called the Lesbrarians to take part in the Vancouver Dyke March. Last year they had about 35 lesbian, bisexual, and queer women who worked in libraries, archives or other information organizations, as well as writers and library lovers. We met when we both worked at the Vancouver Public Library and she's done quite a bit of work on LGBTQ and feminist issues, so I knew she'd be a great resource.
After interacting with MacArthur Genius Grant recipients at her school, Annie Murphy (author of I Still Live) began to wonder about what makes a genius. "Somebody just comes out of the blue, taps you on the shoulder, and gives you a lot of money?" She realized that her creative friends had just as much, if not more, genius. The seeds of Gay Genius, were planted. Several years (and one Kickstarter campaign) later, an anthology of 18 contemporary queer artists (slash geniuses!) has hit the shelves from Sparkplug Comic Books. Gay Genius is not just a much-needed volume celebrating the work of queer artists, but it's a must-have for contemporary comics lovers as well. And you can buy it at Bitchmart!
Chaz Bono's new memoir, Transition: The Story of How I Became a Man, co-written with Billie Fitzpatrick, brims with candid emotion. It covers his entire life so far, and as the title implies, it frequently comes back to Chaz's lifelong discomfort with being thought to be female and his gradual acceptance of himself as a trans guy. Unfortunately, it's also full of sexist statements about who men and women can be.