Tushnet’s public identity as a celibate Catholic lesbian critic and commentator gestures at the number of vertices in the shape of her own personality; writing Amends must have required a considerable imaginative effort, but not a heroic one, as would have been the case with almost all of her peers. Tushnet demonstrates convincing fluency in the dialects spoken here—of Colton’s archly suave intimations, of Medea’s wanton creative brilliance, of Jaymi’s smirking and haughty intellectualism, even of Sharptooth’s infinite hermeneutic of oppression—and pits the competing vocabularies against one another in fruitful contests of will.
Monday, January 25, 2016
… The University Bookman: Too Much Reality? (Hat tip, Dave Lull.)