Brandy is a new contributor to our band of reviewers, and is currently finishing an Honors BA degree in English Language and Literature in St. Catharines, Ontario.
Here’s the beginning of her review:
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving” quantity and degree of attention. What is also unsurprising—and slightly depressing—is the rather gossipy nature of the comment and controversy surrounding Labé’s work, both past and present. Her contemporaries, we are told, spread rumours that she was a courtesan, albeit one with discerning taste in her clientele. In recent years, one Renaissance scholar has claimed that Labé’s poetry was actually written by a group of men, and that Labé herself never even existed. The life of a female writer, it seems, comes with some interesting occupational hazards.
Regardless of what she was or wasn’t, Labé herself is proudly conscious of her femininity in her work, and Love Sonnets & Elegies offers some rewarding insights into a pioneering female mind. In her dedicatory epistle to Clémence de Bourges, Labé expresses her desire to see women “surpass or equal men not only in beauty but in learning & worthiness,” and her poetry contains nods toward a community of presumably like-minded women, whom she addresses with a charming spirit of familiarity in “Sonnet 24” (“Don’t reproach me, ladies, for having loved”) and in “Elegy I,” in which she pleads, “Join in my sorrows, / Ladies, when you read of my regrets. / Some day, I may do the same for you.” Such disarming intimacy is hard to resist.
For the rest of the review, go here.
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Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .