The Anxiety of Intervention in Leslie Marmon Silko and Marge Piercy

A obra Utopia (1516), de Thomas More, inaugurou, no ocidente, o gênero literário utópico. Essa obra serviu de protótipo para diversos autores criarem ficcionalmente suas sociedades perfeitas. A partir dos anos 1970, as escritoras Joanna Russ, Marge Piercy, Margaret Atwood e Octavia E. Butler descobriram que desde os momentos iniciais da literatura de utopia, ela já vinha sendo utilizada como instrumento de crítica social por parte de diversas autoras. No Brasil, a autoria feminina do século XIX e início do século XX manteve-se em um processo de invisibilidade. Após o resgate historiográfico nacional encontrou-se a obra A Rainha do Ignoto (1899), de Emília Freitas, que é delineada sob a proposição de um mundo novo. Esta pesquisa tem como objetivo discutir a obra de Freitas, tendo como ponto de partida que ela se insere na literatura utópica do romance ocidental, e analisar os imbricamentos políticos e históricos na obra, à luz dos conceitos de interdisciplinaridade e intertextualidade.

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“The World Was Given Us to Fix It”

Worldviews Global Religions Culture and Ecology ◽

10.1163/15685357-02601003 ◽

2021 ◽

pp. 1-23

Author(s):

Anat Koplowitz-Breier

Keyword(s):

Natural World ◽

Women Poets ◽

Feminist Identity ◽

Ecological Change ◽

Human Relationships ◽

Marge Piercy ◽

The World

Abstract This article explores the ecopoetry written by three women poets who also identify themselves as Jewish poets: Alicia Ostriker, Marge Piercy and Naomi Ruth Lowinsky. It examines whether they employ any or some/all of the “emancipatory strategies” characteristic of the ecofeminist re-imagination of nature and human relationships with the natural world, seeking to answer several questions: How far can these poems be considered part of eco-Judaism? Does the fact that their authors are women also make them ecofeminist works? Does the poets’ Jewish feminist identity contribute to their ecopoetic call for ecological change?

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Telling the Traumas of History

Haunting Encounters ◽

10.7591/cornell/9781501713767.003.0003 ◽

2017 ◽

Author(s):

Joanne Lipson Freed

Keyword(s):

Cognitive Distortions ◽

Leslie Marmon Silko ◽

Careful Analysis ◽

Arundhati Roy ◽

The Third ◽

The Past ◽

Non Linear ◽

Third Person ◽

Small Things ◽

The Third Person

Focusing on the novels Ceremony, by Leslie Marmon Silko, and The God of Small Things, by Arundhati Roy, Chapter 2 uses trauma theory to explore how histories of imperial domination refuse to be confined to the past. These two novels invite readers to identify to varying degrees with their traumatized protagonists, holding out the possibility of a resistant and revisionary “history from below.” Ultimately, however, a careful analysis of these two works reveals how literary trauma theorists, in their eagerness to give voice to the voiceless, are too readily taken in by the imaginative construct of the third-person narrator. While individual characters in these novels may suffer the cognitive distortions of trauma, the fragmentary, non-linear account that their readers receive is, in both cases, mediated by the presence of a narrator whose choices are conscious, volitional, and strategic.

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