Georgia White

Getting sad or getting mad

August 2022, no. 445

In a famous letter to her friend and fellow writer Lorna Sage, Angela Carter declared that no daughter of hers should ever pen a title like Elizabeth Smart’s By Grand Central Station I Sat Down and Wept (1945): ‘BY GRAND CENTRAL STATION I TORE OFF HIS BALLS would be more like it, I should hope.’ The choice between getting sad or getting mad, the dilemma of how to represent the reality of female anguish without romanticising or pathologising it, is a recurring theme in twenty-first-century women’s writing: it forms the main subject of Leslie Jamison’s essay ‘Grand Unified Theory of Female Pain’ (2014); it is the premise behind the post-feminist revenge films Jennifer’s Body (2009) and Promising Young Woman (2020).

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To Paradise by Hanya Yanagihara

by Georgia White •

March 2022, no. 440

Georgia White reviews ‘To Paradise’ by Hanya Yanagihara

In 2015, Hanya Yanagihara’s second novel A Little Life was published to a critical response so effusive as to seem almost hyperbolic. Jon Michaud of the New Yorker described the novel’s depiction of the Promethean repetitiveness of trauma as ‘elemental, irreducible’; Garth Greenwell declared in The Atlantic that ‘the great gay novel’ had finally been written. Even critics who viewed the novel less favourably acknowledged its extraordinary affective force. In one of the few unflattering reviews, Daniel Mendelsohn of The New York Review of Books savagely describes the novel as ‘little more than a machine designed to produce negative emotions for the reader to wallow in’.

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Animal by Lisa Taddeo

by Georgia White •

August 2021, no. 434

Georgia White reviews 'Animal' by Lisa Taddeo

In the prologue to her first book, Three Women (2019), a work of non-fiction exploring the structures and expressions of desire, Lisa Taddeo writes that she had not initially intended to focus on women. ‘I thought I’d be drawn to the stories of men. Their yearnings. The way they could overturn an empire for a girl on bended knee.’ It was not until she began interviewing her subjects that she noticed that, while the stories of men all seemed to adhere to the same pattern, women’s stories were tantalisingly oblique; when a woman spoke of desiring a man, it was almost never (or never just) the man himself that she wanted. At first, the question that Three Women poses is: Why do these women desire the men that they do? But the further Taddeo delves inside the lives of her case studies (Maggie, the abused teenager; Lina, the woman in a loveless marriage; Sloane, the pariah of her community), the more the question becomes: Why, after everything that men have done to them, do women continue to desire men at all?

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Houses of unreason

by Georgia White •

June 2021, no. 432

Is it tautological to describe a work of fiction as ‘family Gothic’? After all, there’s nothing more inherently Gothic than the family politic: a hierarchical structure ruled by a patriarch, as intolerant of transgression as it is fascinated by it, sustaining itself through a clear us/them divide, all the while proclaiming, ‘The blood is the life.’ Yet three new Australian novels Gothicise the family politic by exaggerating, each to the point of melodrama, just how dangerous a family can become when its constituents turn against one another.

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Flyaway by Kathleen Jennings

by Georgia White •

November 2020, no. 426

Georgia White reviews 'Flyaway' by Kathleen Jennings

At the heart of every fairy tale, there is violence: Snow White’s stepmother calling for her heart on a platter, Cinderella’s sisters mutilating their feet to fit the silver shoe. ‘All the better to eat you with, my dear,’ says the wolf, his belly already stuffed with grandmother’s flesh. From this bloodletting, the fairy tale tries to spin something wondrous, turning straw into gold and men into beasts.

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