Search results for ""Author Sophie Lewis""

The surrogacy industry is worth an estimated 1 billion dollars a year, and many of its surrogates work in terrible conditions, while many gestate babies for no pay at all. Should it be illegal to pay someone to gestate a baby for you? Full Surrogacy Now brings a fresh and unique perspective to the debate. Rather than making surrogacy illegal or allowing it to continue as is, Sophie Lewis argues, we should be looking to radically transform it. Surrogates should be put front and centre, and their rights towards the babies they gestate should be expanded to acknowledge that they are more than mere vessels. In doing so, we can break down our assumptions that children necessarily belong to those whose genetics they share. This might sound like a radical proposal, she admits, but expanding our idea of who children belong to would be a good thing. Taking collective responsibility for children, rather than only caring for the ones we share DNA with, would radically transform notions of kinship. Adopting this expanded concept of surrogacy, helps us to see that it always, as the saying goes, takes a village to raise a child.

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What if we could do better than the family?We need to talk about the family. For those who are lucky, families can be filled with love and care, but for many they are sites of pain: from abandonment and neglect, to abuse and violence. Nobody is more likely to harm you than your family.Even in so-called happy families, the unpaid, unacknowledged work that it takes to raise children and care for each other is endless and exhausting. It could be otherwise: in this urgent, incisive polemic, leading feminist critic Sophie Lewis makes the case for family abolition.Abolish the Family traces the history of family abolitionist demands, beginning with nineteenth century utopian socialist and sex radical Charles Fourier, the Communist Manifesto and early-twentieth century Russian family abolitionist Alexandra Kollontai. Turning her attention to the 1960s, Lewis reminds us of the anti-family politics of radical feminists like Shulamith Firestone and the gay liberationists, a tradition she traces to the queer marxists bringing family abolition to the twenty-first century. This exhilarating essay looks at historic rightwing panic about Black families and the violent imposition of the family on indigenous communities, and insists: only by thinking beyond the family can we begin to imagine what might come after.

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"Rooted in historical, site-based, narrative, and political accounts, Full Surrogacy Now is the seriously radical cry for full gestational justice that I long for. This kind of gestation depends on realizing the implications of knowing that we all actually, materially, make one another, and that this labor continues to be exploited, extracted, and alienated-unequally-at every turn in Capitalism and Patriarchy. Full of brilliant, generative, and also shamelessly biting critique of both bourgeois and communist tracts, feminist and otherwise, Lewis's voice is unique and bracing. I need it; it fills my whole self with reimagined possibilities for making oddkin who are not property. Lewis set out to write an immoderate, utopian, partisan, anti-authoritarian communist defense of surrogates and surrogacy in ramifying registers of meanings and practices, and she has succeeded. Lewis asks the necessary questions, 'Can we parent politically, hopefully, nonreproductively-in a comradely way?' Can we become full surrogates for and with each other? In a book full of fierce demystifications and sharp dissections of injustice masquerading as humanitarianism, nonetheless Lewis convincingly and radically affirms: 'Everywhere about me, I can see beautiful militants hell-bent on regeneration, not self-replication.'"- Donna Haraway

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I was trying not to think about looking for work, which is immoral, I wasn't hoping to earn a living, which is pretty unusual, I couldn't have cared less about the cash, which is reckless in these times of very grave threats, but I was scraping a living already, which was repugnant, on the miniscule royalties from a thickwit novel, which is scandalous, which I'd created from the stories of a brilliant and brittle grand dame of theatre, survivor of a romance full of stereotypes, which makes you think though I don't know what about.' Sparring with the spectre of an over-bearing father, torn between the push to find a job and the pull to write, the narrator wanders into a larger debate, one in which the troubling lights of Kafka, Kraus, and Klemperer shine bright. Set against the backdrop of police brutality and rising nationalism that marked the state of emergency following the 2015 terrorist attacks in Paris, Poetics of Work takes a jab at the values of late capitalism. Hence these ten 'lessons to today's young poets' - a blistering treatise of survival skills for the wilfully idle

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To Leave with the Reindeer is the account of a woman who has been trained for a life she cannot live. She readies herself for freedom, and questions its limits, by exploring how humans relate to animals. Rosenthal weaves an intricate pattern, combining the central narrative with many other voices - vets, farmers, breeders, trainers, a butcher - to produce a polyphonic composition full of fascinating and disconcerting insights.Wise, precise, generous, To Leave with the Reindeer takes a clear-eyed look at the dilemmas of domestication, both human and animal, and the price we might pay to break free.

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'Striking.' ELLE France 'Brave.' iNews 'Powerful.' TLS 'Urgent.' Evening Standard 'Original.' CosmopolitanIn these essays, Leïla Slimani gives voice to young Moroccan women who are grappling with a conservative Arab culture that at once condemns and commodifies sex. In a country where the law punishes and outlaws all forms of sex outside marriage, as well as homosexuality and prostitution, women have only two options for their sexual identities: virgin or wife. Sex and Lies is an essential confrontation with Morocco's intimate demons and a vibrant appeal for the universal freedom to be, to love and to desire.'Leïla Slimani has a knack for breaking taboos. . . Sex and Lies is well executed: the novelist paints vivid portraits of her interviewees.' The Times'Slimani trusts in her outrage, in the force of her own voice, and the voices of the women she listens to.' Guardian

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The Future of Difference theorises contemporary regimes of power as engaged primarily in the violent production of difference. In this moment, the logic of 'other and rule' thoroughly permeates the social and the political; our contemporary condition is increasingly premised on endless subtle hierarchical distinctions, which determine whole populations' attitudes, feelings and actions. Hark and Villa make a compelling case for the detoxification of public and political discourse, in favor of an ethical mode of living-with the world, that is, living with plurality and alterity.

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Sidi Bou Said, Tunisia: on the night after the terrorist attack killing thirty-eight tourists on the nearby beach of Sousse, a woman sits facing the sea, and attempts to take stock. Personal tragedies soon resurface, the unexpected deaths of a dear friend - a fellow writer who died just weeks ago at sea, having forsaken the work that had given his life meaning - and of her father, a quiet man who had left all that he held dear in Tunisia to emigrate to France in his later years. Through childhood memories and the prism of modern French classics, the story of Tunisia's Jewish community is pieced together. Shifting from Tunisia to Paris to a Flaubertian village in Normandy, Colette Fellous embarks on a Proustian lyrical journey, in which she gives voice to loved ones silenced by death and to those often unheard in life. Her love letter and adieu to her native country becomes an archive - or refuge - for stories of human resilience.

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This remarkable Brazilian novel has been garlanded with multiple awards and accolades since its initial publication, as Desesterro: the prestigious Sesc Prize for Literature, the Machado de Assis award and the Jabuti award. The story follows four generations of female characters as they navigate the hardships of life in the parched landscape of the Brazilian sertao. Male figures are peripheral, but are also revealed as the origin of much of the suffering in the novel, generating for the women a kind of exile not only in relation to the land but to their sense of self. This is a ground-breaking feminist work, a bracing modernist fable, of sorts, formally reminiscent of A Girl Is a Half-formed Thing.

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A French woman haunted by her encounter with an American-German pianist-composer who is obsessed with Arnold Schoenberg's portrait, flies home with her lively sister and a volume of Adorno's letters to Thomas Mann. While the impossible heroine unpicks her social failures the pianist reaches towards a musical self-portrait with all the resonance of Schoenberg's passionate, chilling blue. A novel of angst and high farce, Blue Self-Portrait unfolds among Berlin's cultural institutions but is more truly located in the mid-air flux between contrary impulses to remember and to ignore. Noemi Lefebvre shows how music continues to work on and through us, addressing past trauma while reaching for possible futures.

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By turns a handbook of countercultural living, a manual for street protest, and a feminist broadside against the repressive state apparatus, Revolutionary Letters is a modern classic, as relevant today as it was at its inception, 50 years ago. During the tumult of 1968, Beat poet Diane di Prima began writing her ‘letters’, poems filled with a potent blend of utopian anarchism and Zen-tinged ecological awareness that were circulated via underground newspapers and stapled pamphlets. First published in 1971 by Lawrence Ferlinghetti’s City Lights in the US, di Prima would go on to publish four subsequent editions, expanding the collection each time. During the last years of her life, di Prima got to work on the final iteration of this lifelong project, collecting all of her previously published ‘letters’ and adding the new work, poems written from 2007 up to the time of her death in October 2020.

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