by Alex Valente
Contains strong language.
If your opinion, if your ideology, if your personal mindset is that certain groups and communities of people are inferior to others, you do not deserve and will not be allowed to promote that idea. Fuck the notion of censorship, fuck the moderate, tolerant conversation, fuck the high road. Your ‘opinion’ denies the existence of a large portion of the world around you, and actively strives to suppress it. So you know what? Fuck you.Continue Reading
by Sara Harrington
A bolshy child running through a busy village, a nanny calls after her. Racing, they pass people conducting business, chatting, carrying linen, selling wares. The responsible guardian calls after the child carrying chaos in their wake; futile exclamations for them to stop and return to their studies. Refusing they rush rambunctiously, weaving in between villagers; who take notice. We take notice.
This scene is composed of women. Upon arrival at their apparent destination the child lashes fists and feet in the air, an indignant display of fighting. Determined to take part, the camera pans to show us the source of the excitement. Women warriors wrangle tacitly dropped shields from atop horses, all spin kicks and slaying swords that clash furiously, deadly blows dealt with gravity defying deft and ridiculous displays of battle prowess in all its slow motion glory. Child Wonder Woman is awash with awe and envy as we, the audience process our thoughts.
This is so fucking cool.Continue Reading
by Ellen Duncan
Content warning: article mentions suicide
I’ll start this review with a confession – Unthology 9, edited by Ashley Stokes and Robin Jones, is the first of the Unthology series that I’ve read. I can’t comment on the progression of the anthology series, nor on where any existing trajectory might take it. This review will stand alone, as Unthology 9 does for me.
It opens with an introduction: ‘Welcome to the Archipelago.’ This is a stylized, imagery-heavy bit of prose that could feel gimmicky, but mostly avoids the trap. And the concept – of an oceanic journey, of travel through and around and between and beyond the islands of an archipelago – feels appropriate to what follows.Continue Reading
In February The Norwich Radical carried an article by Chris Jarvis entitled ‘How I fell out of love with Peter Tatchell‘. This is Tatchell‘s reply.
by Peter Tatchell
A reply to the sectarian distortions of Chris Jarvis.
The future of progressive politics is under threat, again. But this time from the left. Historically, socialists and greens have made gains by building broad alliances around a common goal, such as the campaigns against the poll tax and the bombing of Syria. We united together diverse people who often disagreed on other issues. Through this unity and solidarity, we won. The government of the day was forced to back down.
Nowadays, we are witnessing a revival of far ‘left’ sectarian politics and it is infecting the Green Party too. Zealous activists, seemingly motivated by a desire to be more ‘left’ and pure than rivals, are putting huge energy into fighting and dragging down other campaigners.Continue Reading
by Carmina Masoliver
For those who are partial to a bit of poetry, you’ll probably have heard by now that Sarah Howe has been awarded this year’s T.S. Eliot prize by judges Pascale Petit (chair), Kei Miller, and Ahren Warner. You may also have seen this article, which questioned the negative tinge of the criticism of which Howe has received. Katy Evans-Bush argued that these criticisms were more to do with Howe’s age, gender and ethnicity (Howe is of dual Chinese-British heritage). Some seemed baffled both that it was possible to win on a first collection, yet also that it took her ten years to write. Surely the fact that she spent so long producing the poetry might suggest how it became possible to win? I mean, that, or witchcraft.Continue Reading
by Mike Carey
Continued from part one, published on The Norwich Radical two weeks ago.
I hate to rake up ancient history, but here’s another example from a little further back – dredged up because in this case it is a writer of literary novels (Edward Docx, in the Observer in 2010) who’s saying this, so the agenda is maybe a little more naked.
Even good genre… is by definition a constrained form of writing. There are conventions and these limit the material. That’s the way writing works and lots of people who don’t write novels don’t seem to get this: if you need a detective, if you need your hero to shoot the badass CIA chief, if you need faux-feminist shopping jokes, then great; but the correlative of these decisions is a curtailment in other areas. If you are following conventions, then a significant percentage of the thinking and imagining has been taken out of the exercise. Lots of decisions are already made.
Considering that Docx rails against “a fundamental dishonesty” in the way this subject is usually discussed, I’m going to pick my words with care.
by Mike Carey
The argument about the relative merits of literary and genre fictions just keeps running and running. There’ll be periods of decorous silence, and then it will break out again, usually in the form of some egregious statement in a broadsheet or magazine, and it will be like it never left.
One thing you tend to notice after a while, though: it’s almost never writers of genre fiction who are picking the fight. To be fair, it’s often not “literary” writers either – it’s academics taking up the cudgels on their behalf; considerately telling us which stories are worth serious consideration and which aren’t. And I guess we appreciate the help, right? Because it’s a bewildering fictional landscape out there and an innocent young seeker after truth could easily go astray.Continue Reading