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Trente, un nombre qui n’arrivera jamais et s’il arrive, je l’éviterai, comme j’ai une fois évité un chevreuil en conduisant sur la route, le chevreuil courait devant mon auto, à gauche il y avait la rivière et à droite il y avait le fossé, c’est beau la Montérégie, au lieu de choisir l’un ou l’autre il continuait d’avancer droit devant, puis il a fini par bondir vers le fossé. Moi j’aurais choisi l’eau et d’ailleurs, à chaque fois que j’empruntais ce chemin-là, ça me chicotait de savoir que juste un petit coup de volant pouvait m’envoyer dans la rivière, un jour on est en vie et un jour on ne l’est plus, c’est tout.
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« In this groundbreaking and timely book, antiracist educator Robin DiAngelo deftly illuminates the phenomenon of white fragility. Referring to the defensive moves that white people make when challenged racially, white fragility is characterized by emotions such as anger, fear, and guilt, and by behaviors including argumentation and silence. These behaviors, in turn, function to reinstate white racial equilibrium and prevent any meaningful cross-racial dialogue. In this in-depth exploration, DiAngelo explores how white fragility develops, how it protects racial inequality, and what we can do to engage more constructively. »--Page 4 de la couverture.
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In this book, Jaime Harker uncovers a largely forgotten literary renaissance in southern letters. Anchored by a constellation of southern women, the Women in Print movement grew from the queer union of women’s liberation, civil rights activism, gay liberation, and print culture. Broadly influential from the 1970s through the 1990s, the Women in Print movement created a network of writers, publishers, bookstores, and readers that fostered a remarkable array of literature. With the freedom that the Women in Print movement inspired, southern lesbian feminists remade southernness as a site of intersectional radicalism, transgressive sexuality, and liberatory space. Including in her study well-known authors—like Dorothy Allison and Alice Walker—as well as overlooked writers, publishers, and editors, Harker reconfigures the southern literary canon and the feminist canon, challenging histories of feminism and queer studies to include the south in a formative role.
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The field of lesbian studies is often framed in terms of the relation between lesbianism and invisibility. Annamarie Jagose here takes a radical new approach, suggesting that the focus on invisibility and visibility is perhaps not the most productive way of looking at lesbian representability. Jagose argues that the theoretical preoccupation with metaphors of visibility is part of the problem it attempts to remedy. In her account, the regulatory difference between heterosexuality and homosexuality relies less on codes of visual recognition than on a cultural adherence to the force of first order, second order sexual sequence. As Jagose points out, sequence does not simply specify what comes before and what comes after; it also implies precedence: what comes first and what comes second. Jagose reads canonical novels by Charles Dickens, Henry James, Virginia Woolf, and Daphne du Maurier, drawing upon their elaboration of sexual sequence. In these innovative readings, tropes such as first and second, origin and outcome, and heterosexuality and homosexuality are shown to reinforce heterosexual precedence. Inconsequence intervenes in current debates in lesbian historiography, taking as its pivotal moment the fin-de-siècle phenomenon of the sexological codification of sexual taxonomies and concluding with a reading of a post-Kinsey pulp sexological text. Throughout, Jagose reminds us that categories of sexual registration are always back-formations, secondary, and belated, not only for those who identify as lesbian but also for all sexual subjects.
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La vérité a souvent un goût amer. Nous ne savons comment accepter nos histoires. Faut-il s’en tenir aux faits et dire la vérité ? Cet ouvrage monumental si richement documenté est précieux, il nous tire de l’oubli et du silence. Que savons-nous de l’esclavage au Canada ? Que savons-nous de la répression exercée sur les femmes et les hommes noirs ? Que savons-nous du racisme systémique ? Que savons-nous de la détresse des Autochtones, des sans-papiers, des personnes réfugiées ? Enfin fort peu… Parce que l’État construit et déconstruit les récits à travers les institutions. Les citoyen.ne.s sont ainsi condamné.e.s à reproduire une histoire qui nous échappe.