The Channel Posts

Cunningham’s simultaneous evocation and minimization of political specificity acts as an exploration of Obama’s cultural iconization, while at the same time producing the conditions for Great Expectations’ success within the literary field.

“Guests of the Nation” distorts boundaries between guest, hostage, and host, as the “guests” of the story are, ultimately, colonial powers, and their ejection comes with the sacrifice of Irish hospitality.

As an externalization of Catherine’s postpartum depression and the emotional struggles she must confront, her symphony issues the cathartic scream Catherine needs to let out in order to escape the cycle of abuse she has been trapped in for years.

The relationship between the titular characters of The Two Gentlemen of Verona perfectly displays the nascent homosocial bond which recurs in Shakespeare’s work.

By weaponizing her abjection, Sethe successfully protects her children and reclaims her humanity, as she radically embodies her freedom through the violence she enacts. 

Like the depressive person recounting a story with withering self-deprecation but betraying an underlying narcissism, Year of the Gun confesses to having lost its resolve in the face of narratively impenetrable systems of power and having blindly relied on an Italo-American relationship that can no longer support the Hollywood dreams of the fifties and sixties.

The notion of homeland and the use of violence in Césaire and Walker’s works are central to their critiques of oppression, ultimately shaping how their audiences engage with themes of resistance and liberation.

As social media reduces the identity of an individual to their appearance, the physical book can come to remind us that more exists between the neatly packaged, aesthetically curated cover.

Beyond merely representing the internet, both Easy A and Eighth Grade use it as a device to communicate key elements of the narrative, highlighting its importance as a site that organizes the teenage social system.