What happens when a woman writer decides to write with a male gaze? How does she do it?
Must writing the male gaze be a male writer’s prerogative alone?
Virginia Woolf said once that androgyny is essential for good writing. She felt that it liberates an artist from several social constraints and frees writing because the individual does not operate through the cognitive organising principle of gender. I have always believed that idea, and have observed that combining the feminine and masculine can be truly liberating in writing.
In fact, I have often wondered about the possibilities of taking it further and writing in a way where the masculine and the feminine are unrecognisable. What if there is a kind of writing that is able to traverse from one to the other with ease? What if the reader cannot tell whether it’s a male or a female kind of writing?
Letters to the editor: Jan 2: Nearly left me in tears Readers react to our public health agency investigation, plus other letters to the editor
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Like a Herodian decree
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How Muslim Women Protested in 2020 Hafsa Lodi © Photo by Nicole Najmah Abraham The less fabric, the better”: That isn’t something you often hear in discussions pertaining to modest fashion. This practical style advice appeared in a June email titled “Read this before you protest in hijab” from American headscarf brand Haute Hijab, along with advice like “tuck in your hijab,” “do not wear pins,” and “bring an extra hijab” in case you’re tear-gassed, as the “residue will stay on your original scarf and potentially get back into your eyes and skin.” The advice was sent to support the Muslim women on the front lines in the aftermath of the death of George Floyd. Some conservative communities still separate Muslim women from public spheres, but there’s a resounding number who are determined to stand up for righteousness, and 2020 has set the scene for throngs of female Muslims to take public stances in protest, including rallying against
WE ARE HONORED to present to you the very first
Massachusetts Review issue focused on Native American writing. We are thankful to Associate Editor N. C. Christopher Couch and the rest of the MR team for dreaming up this issue and for asking us to be guest editors, and we are especially thankful to the writers and artists whose work we’ve chosen for this special issue. Their words and images are a gift.
This issue, as it was first imagined, was set to coincide with and push back against Massachusetts’s planned celebration of the four hundredth anniversary of the