GIRL CANON

Girl Canon‘s business: publishing women’s “secret canons”—books that were part of women’s formative reading experiences, especially books outside of the canon as it’s taught. The idea comes from n+1‘s conversation between female writers and academics, published as the pamphlet No Regrets. Below is an excerpt from my secret canon. Ladies: consider submitting your own.


 

1. Harriet the Spy, Louise FitzhughHarriet the Spy, Louise Fitzhugh

I read Harriet the Spy when I was nine and thought: YES! I want to write! Except I was nine and not so hot on picking up The Message, so I started a burn book about my classmates. It… did not go well. In the novel and its sequel, The Long Secret (an underappreciated beautiful weirdo of a book), Harriet has this tenacity and knowledge-lust that makes a reader dizzy with the possibility of how much you can know about people, about anything, while still knowing nothing at all.

Click through to read the rest at Girl Canon.

 

British Recluse: Fight a Man and Take to the Sea

Eliza Haywood's "The British Recluse"

For a cosmic hot second in the 200+ years between Eliza Haywood’s death in 1756 and feminism rising from the murky depths of literary scholarship, we lost sight of her work and its role in the development of the English novel. The biographical facts of her life are hard to come by and harder to confirm, but what we do know portrays her as the 18th century’s J.K. Rowling: a single mom with two kids who wrote one of the most popular books of the century (1720’s Love in Excess) and then published a new novel every three months through the 1720s. Haywood was a playwright, a translator, a journalist and publisher, and that was after several years as an actress on the stage. For those two centuries after her death, the literary canon relegated her work and legacy not to the Early English Novelists trophy case, but to the genre sub-basement known as “amatory fiction,” to make room for her contemporaries Daniel Defoe, Samuel Richardson, and Henry Fielding.

Don’t let the amatory fiction label fool you: Haywood wrote novels. Why the long exclusion from the canon, then? Why call it amatory fiction or domestic literature or ovarian dialogues rather than novels? In Haywood’s case, these were romances that had dark turns where women were seduced by rakes that they couldn’t recognize because their families had kept them innocent (read: ignorant). Her novels show the consequences to women who step out of line with the morals of their day: the money and security at stake, the shaming from her family and friends, and the toll those consequences take on a woman’s emotional health.

Click through to read the rest at The Toast.

Revisiting “Ever After”

poster-everafterIn thinking about this piece, I kept coming back to this idea of historical accuracy and the idea that Danielle’s fictional story could lose some of its strength because these inaccuracies (in a fictional story) undermined the world where she lived and therefore her entire story. However, these errors take nothing from the story; if these mistakes were resolved, they would bring nothing to the story. Ever After derives its real strength from the cast of fully realized female characters, who redefined the Cinderella story with a new way fairy tales should be told. Since this October marks 15 years since Ever After’s release date into theaters, let’s look back at Ever After and how it can inform the way we think about the adaptations, reboots, and remakes that populate our current media.

Click through to read the rest at The Toast.