At the Irish Times, Derek Flynn considers genre fiction, particularly crime fiction, and working class experience. “And when I say that the voices of the working class can be heard in genre fiction, I’m not just talking about crime or thriller novels. Take, for example, the much-maligned genre […]
At the LA Review of Books, Sarah Weinman writes about one of the finest–and most unfortunately overlooked–noir writers, Dorothy B. Hughes. “In a Lonely Place, which had then been re-released by The Feminist Press, blasted my mind open to new ways of reading. I wasn’t only enjoying the […]
Angelica Jade Bastién writes about Harley Quinn, Margot Robbie, Birds of Prey (2019) and “unruly women.” “Robbie has shirked the bombshell image by embracing the opposite: the unruly woman, a type exemplified by Harley Quinn, who has become one of the most popular characters in the DC Comics […]
“On the afternoon of May 28, 1903, Leoti Blaker, a young Kansan touring New York City, boarded a Fifth Avenue stagecoach at 23rd Street and settled in for the ride. The coach was crowded, and when it jostled she noticed that the man next to her settled himself […]
At the New Yorker, Christine Smallwood looks at Dorothy B. Hughes’ “forgotten Noir,” The Expendable Man (1963). “The creation of difference itself was her subject. Her books were widely praised for their atmospheres of fear and suspense, and criticized when they reached, as the New York Times said […]
Jeannette Ng thinks about The Rise of Skywalker, The Last Jedi and “memorabilia without memory.” “The central plot of Rise concerns Rey’s parentage which was very satisfyingly resolved in The Last Jedi. They were no one in particular, not great heroes nor villains. Along with the rest of […]
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The Cultural Gutter 