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The Weird Sister Collection

Writing at the Intersections of Feminism, Literature, and Pop Culture

ebook
1 of 1 copy available
1 of 1 copy available

Collecting the best of the underground blog Weird Sister, these unapologetic and insightful essays link contemporary feminism to literature and pop culture.

Launched in 2014, Weird Sister proudly staked out a corner of the internet where feminist writers could engage with the literary and popular culture that excited or enraged them. The blog made space amid book websites dominated by white male editors and contributors, and also committed to covering literary topics in-depth when larger feminist outlets rarely could. Throughout its decade-long run, Weird Sister served as an early platform for some of contemporary literature's most striking voices, naming itself a website that "speaks its mind and snaps its gum and doesn't apologize."

Edited by founder Marisa Crawford, The Weird Sister Collection brings together the work of longtime contributors such as Morgan Parker, Christopher Soto, Soleil Ho, Julián Delgado Lopera, Virgie Tovar, Jennif(f)er Tamayo, and more, alongside new original essays. Offering nuanced insight into contemporary and historical literature, in conversation with real-life and timely social issues, these pieces mark a transitional and transformative moment in online and feminist writing.

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    • Publisher's Weekly

      January 15, 2024
      In this stimulating anthology, poet Crawford (Diary) collects entries from her Weird Sisters blog, which she created in 2014 to publish accessible perspectives on literature and feminism. Several selections draw parallels between classic literature and pop culture from the 1990s and 2000s, including “Anonymous Was a Riot Grrrl,” in which Eleanor C. Whitney suggests that the riot grrrl movement of the 1990s “seized the means of punk cultural production” to create the kinds of women-controlled spaces Virginia Woolf called for in A Room of One’s Own. Elsewhere, Naomi Extra explores how Toni Morrison’s 2015 novel, God Help the Child, critiques the “bad bitch” archetype, and Emily Gaynor defends the “sad girl” for refusing to conceal her sorrow: “A woman who needs instead of gives is threatening.” A few entries feel undercooked; for example, Cathy de la Cruz’s reflection on her viral tweet suggesting a Texas sculpture resembles a guy “mansplaining” something to a woman concludes with the pat assertion that the story “highlights the importance of women’s conversations with each other” because the tweet began in a group chat with Cathy’s female friends. Still, the best pieces balance a breezy style with intelligent interrogations of what it means to be a woman today. The result is an approachable examination of contemporary feminism.

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Languages

  • English

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