Preface

preface That an overtly white-nationalist misogynist demagogue was voted into power in the United States is cause for alarm and despair. As the election results sink in and analyses take shape, we at Feminist Studies mark this moment via poetry, a tradition of feminist expression that we have long nurtured. We include in this issue a special section on poems responding to the election. Raw by necessity, they allow for a collective processing of feelings experienced in this moment, even as we prepare for the courage and acuity needed in days ahead. The scholarly works in this issue offer reflections on the travels of the term gender: in French Canadian feminist circles; the misreadings of gender and sexuality in histories of post-WWII New York City; and the gains and gaps in activism against gender-based violence and inequality. Geneviève Pagé recounts how the term gender was taken up in French Canadian scholarship, while Alix Genter offers a visual history of what butchness meant in 1950s and 1960s New York City. Julie R. Enszer tracks the representation of women writers through literary grants offered by the National Endowment for the Arts and in Norton anthologies, making the case that gender parity remains an elusive goal. Elizabeth Jean Hornbeck narrates the 1980 horror film The Shining as a commentary on violence against women and child abuse that uses the Gothic form to salutary effect. Nikki Lane reviews recent scholarship in black queer ethnography, and Jennifer A. Wagner-Lawlor introduces us to the feminist eco-art of Pamela Longobardi. Our featured poets, apart from our special section, are Hannah Baker Saltmarsh and Karen An-hwei Lee. Our closing forum on trigger warnings narrates the innovative practices that Alexis Lothian and Ramzi Fawaz propose in response to a contentious pedagogical debate. 560Preface Geneviève Pagé describes the history of the journey of the term gender in feminist circles in Montreal, using this case to comment on the dilemmas that arise from Anglocentrism in feminism. Pagé argues that in many ways, the term gender was not well suited to the context she highlights: Quebec feminists already possessed an intellectual infrastructure for referencing the meanings of the term gender through alternative phrasing, such as rapport sociaux de sexe. Furthermore, the grammatical concept of genre was “a concept central to the French language, but only peripheral in the English language,” and therefore, its use in French carried a potential “naturalizing” connotation. Nonetheless, given the dominance of English in feminist theory, Pagé concludes that “the polysemic nature of gender” allowed “for a fluid and multiple account of the local and global processes at work in the construction of women and men” in this context. Alix Genter gives us a nuanced understanding of butch genders and butch-femme aesthetics. Rather than relying on a stereotypical version of the 1950s queerly legible butch in masculine clothes, Genter argues that butchness itself was visually nuanced and coded in different ways than expected. Referencing a rich archive of 1950s-era photographs, Genter demonstrates that butch-identified women “conveyed their identities through alternate means that included clandestine codes and plays on women’s fashions.” This approach to butch aesthetics and lesbian self-representation opens up the common notion of a strict butch-femme contrast and introduces the concept of conscious mutual survival between the two lesbian identities. The appreciation of nuance continues in Nikki Lane’s review essay of reflexive ethnographic research about black queer communities. Lane’s review of recent work by Jafari S. Allen, Marlon Bailey, Mignon Moore, and Mireille Miller-Young highlights the attention these authors give to the complex politics of sexuality in everyday experiences of black communities . With an emphasis on the illuminating potential of ethnography and qualitative methodologies, Lane discusses how each text adds to our understanding of processes of “racialization, gendering, and sexualization .” Lane concludes that black queer and feminist ethnographic methods help accrue an embodied knowledge—the “flesh”—of black queer experience. Preface 561 The art featured in this issue is by Pamela Longobardi, who uses found-plastic objects to create painting, sculptures, installations, assemblages, photographs, and community-art projects. As an artist with training in biology, Longobardi focuses on the...

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