![]() ![]() The I that leads us is a woman who played many different women, a woman who had to be many different people in order to survive. ![]() What’s incredible about Alexander Chee’s second no vel, The Queen of the Night, is that he gives us historic and syntactical lushness far more plentiful than water in the nearest ocean while carefully engaging with the intricate life of his late 19th-century female narrator. These narratives mythologize and prioritize whiteness, male glory and female fragility. The heroic simplifications present in movies like Stonewall, Dances with Wolves, The Patriot or any blockbuster about royalty are examples of easy portrayals of historical details that turn context into drama for the sake of feeling good about a collective past. We’d much rather have opulence, a romance with the past. Historical fictions can, and often do, slip into a brand of nostalgia that leaves little space to conceive how life in another time might have been small, suffocated, perilous or desperate. ![]() I couldn’t explain, but no, I did not feel ruined.” “Men always said it that way - I’ve ruined you. ![]()
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