Gender and sexuality

In a colony where blatant police brutality against Indigenous people is the norm, where we suffer the continued desecration of sacred land, live within a health and mortality gap, and a government that seeks to undermine sovereignty in all its forms, we need poets that can see all this – and still celebrate the joy, resilience and love of our community.

New knowledge in creative Writing may only be formed by rejecting established silos of identity, by being attuned to that which is embryonic, that which is pre-conscious and permeable, by reaching for floating, fluid entanglement.

The words are imperfect, flawed approximations of the knowledges we seek to share. But on a good day, with the wind blowing in the right direction, those words might nudge someone to listen to their own gut. Those words might be sparks that help fuel other gender insurrections. I await those fires with glee. For each time someone burns their gender script, and writes a new story for themselves, we all taste a little more freedom.

Ghosts, which takes the form of a video essay-poem, takes the binary bomb gender reveal as a point of departure.

These books lay bare the exhaustion occasioned by capitalism’s resource extraction, the unyielding walls of our workplaces and institutions, and the misogyny, latent or overt, of medical practice. In writing of their chronic and mental illnesses, the authors rupture the narrative that a successful body is a well body, and open a space for new and original accounts of how those bodies mediate the world.

Whilst both Kent’s and Keating’s books will satisfy their very different readerships, there remains a largely unmet need for feminist histories that bridge academic and popular audiences. In this moment of renewed feminist activism, when hard-won feminist gains are under threat from the economic fallout of Covid and the ideological warfare of conservative governments, it’s more vital than ever to cultivate widespread understanding of the complex histories of this movement.

The novel’s central love arc (between a two-party leftist and a ‘radical’), and the centrist protagonist’s personal chem-sexual odyssey towards a revolutionary politics, sketches out an account of what a Marxist, or communist, sexuality could be like in pretty specific terms.

The appearance of Evie Wyld’s novel in Anne Brontë’s bicentennial year prompts thoughts about the relation between the writings of these two angry women. The continuities are striking. Deeply religious, Anne used the back of her prayer book to record, in tiny letters, her response to all she had witnessed: ‘sick of mankind | And their disgusting ways’. We can’t know for certain whether, when she wrote ‘mankind’, she had the human species or the male sex in mind, but I lean towards the latter. Now, reading The Bass Rock, I feel as if Wyld had written boldly underneath Anne’s words: ‘Me Too’.

What becomes evident is not so much a portrait of Daylight as a reader, but her skill as a critic, her ability to distill enough detail from a work to understand – and convey something of – its essence, to trace the author’s thinking and engagement with the world.

His characters are men I have known, men with whom I have lived, hooked-up, been frustrated. They skirt around what they ought to say and try to reinvent themselves and downplay their opportunities and make geographical excuses for their oddities.