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35 Shakespearean insults to take down your enemies and crack up your friends

Nobody beefs like The Bard.

Public domain (attributed to John Taylor)

Even 460 years later, Shakespeare's insults are zingers.

As history's most famous poet and playwright, William Shakespeare had a way with words. His sonnets have been memorized and recited by innumerable students—"Shall I compare thee to a summer's day?"—and his comedies and tragedies have been adapted and performed on stage and film countless times in the 460 years since his passing.

But one place Shakespeare's talent shines the most—or at least entertains the most—is in his insults. The colorful characters he created frequently throw verbal barbs across the stage at one another, and they're still epic zingers, even today.

Insults take many styles and forms, from friendly ribbing to subtle jabs to roundabout roasts to direct hits, and Shakespeare utilized them all. And the beauty of playing with The Bard's insults in the modern day is that you can use them to confound people you have a beef with as well as crack up your friends in playful banter.

Imagine telling the person who won't stop pestering you, "Away, you three-inch fool!" Or saying to your bestie who drank the soda you were saving, "You scullion! You rampallian! You fustilarian! I’ll tickle your catastrophe!” Or calling to your slowpoke kiddos in your best English accent, “Come, come, you froward and unable worms!”

There's just loads of fun to be had with Shakespearean insults, so choose some favorites to commit to memory and whip out unexpectedly when the occasion arises:

1. "How now, thou crusty batch of nature!"

– Troilus and Cressida (Act 5, scene 1)

2. “I’ll beat thee, but I would infect my hands.”

Timon of Athens (Act 4, Scene 3)

3. "Thine face is not worth sunburning.”

Henry V (Act 5, Scene 2)

4. “Thou lump of foul deformity”

Richard III (Act 1, Scene 2)

5. “Thou subtle, perjur’d, false, disloyal man!”

The Two Gentlemen of Verona (Act 4, Scene 2)

6. “Thou whoreson zed, thou unnecessary letter!”

King Lear (Act 2, Scene 2 )

7. “That poisonous bunch-back’d toad!”

Richard III (Act 1, Scene 3)

8. “Thou damned and luxurious mountain goat.”

Henry V (Act 4, Scene 4)

9. “Thou elvish-mark’d, abortive, rooting hog!”

Richard III (Act 1, Scene 3 )

10. “Thou sodden-witted lord! Thou hast no more brain than I have in mine elbows “

Troilus and Cressida (Act 2, Scene 1)

11. "Would thou wert clean enough to spit upon."

Timon of Athens (Act 4, Scene 3)

12. "You, minion, are too saucy."

The Two Gentlemen of Verona (Act 1 Scene 2)

13. "I do desire we may be better strangers."

As You Like It (Act 3, Scene 2)

14. "I am sick when I do look on thee."

A Midsummer Night's Dream (Act 2, Scene 1)

15. "Thou damned and luxurious mountain goat."

Henry V (Act 4, Scene 4)

16. "His wit’s as thick as a Tewkesbury mustard."

Henry IV Part 2 (Act 2, Scene 4)

"Thou leathern-jerkin, crystal-button, knot-pated, agatering, puke-stocking, caddis-garter, smooth-tongue, Spanish pouch!"

Henry IV Part 1 (Act 2, Scene 4)

17. "Thy tongue outvenoms all the worms of Nile."

Cymbeline (Act 3, Scene 4)

18. "Let’s meet as little as we can."

As You Like It (Act 3, Scene 2)

19. "He has not so much brain as ear-wax."

Troilus and Cressida (Act 5, Scene 1)

20. "Thou art a boil, a plague sore, an embossed carbuncle in my corrupted blood."

King Lear (Act 2, Scene 2)

21. "I do wish thou were a dog, that I might love thee."

Timon of Athens (Act 4, Scene 4)

22. "That kiss is as comfortless as frozen water to a starved snake."

Titus Andronicus (Act 3, Scene 1)

23. "Truly, thou are damned, like an ill-roasted egg, all on one side."

As You Like It (Act 3, Scene 2)

24. “You starvelling, you eel-skin, you dried neat’s-tongue, you bull’s-pizzle, you stock-fish–O for breath to utter what is like thee!-you tailor’s-yard, you sheath, you bow-case, you vile standing tuck!”

Henry IV Part 1 (Act 2, Scene 4)

25. “Heaven truly knows that thou art false as hell”

Othello (Act 4, Scene 2)

26. “Out of my sight! Thou dost infect mine eyes.”

Richard III (Act 1, Scene 2)

27. “Here is the babe, as loathsome as a toad.”

Titus Andronicus (Act 4, Scene 3)

28. “Like the toad; ugly and venomous.”

As You Like It (Act 2, Scene 1`)

29. “I must tell you friendly in your ear, sell when you can, you are not for all markets.”

As You Like It (Act 3 Scene 5)

30. “Thou art unfit for any place but hell.”

Richard III (Act 1 Scene 2)

31. “Methink’st thou art a general offence and every man should beat thee.”

All’s Well That Ends Well (Act 2, Scene 3)

32. "Villain, I have done thy mother."

Titus Andronicus (Act 4, Scene 2)

(Yes, Shakespeare really did a "yo mama" joke.)

33. “Away, you three-inch fool! “

The Taming of the Shrew (Act 4, Scene 1)

34. “Come, come, you froward and unable worms!”

The Taming Of The Shrew (Act 5, Scene 2)

35. “You scullion! You rampallian! You fustilarian! I’ll tickle your catastrophe!”

Henry IV Part 2 (Act 2, Scene 1)

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Pop Culture

3 moments that might convince you Edgar Allan Poe was a time traveler.

In the case of Poe, it was his fiction that was, well, stranger than fiction.

I'm pretty positive that Edgar Allan Poe had (has?) the power to travel through time. Hear me out on this one.

It's not just the well-known circumstances of his life — orphaned at a young age, father of the mystery novel, master of cryptology, maestro of the macabre. Nor am I referring to the head-scratching details of the days leading up to his death: how he was found on the street near a voting poll wearing someone else's clothes, and during his subsequent hospitalization, he was alleged to babble incoherently about an unidentified person named “Reynolds."

And I won't even get into the confounding reports of a nameless figure who, for seven decades, would show up to Poe's gravesite in the early hours of his birthday with a glass of cognac and three roses.

Tragic and curious, yes, but hardly evidence that the acclaimed horror writer could transcend the limits of space and time. No, my time travel theory concerns the author's creative output, which you'll soon see is so flukishly prophetic as to make my outlandish claim seem plausible — nay, probable!

The proof is in the pudding, and the pudding is a loosely linked map of flesh-eating floaters, crunched skull survivors, and primordial particles. OK, here we go…

Photo by Albert Sterner/Wikimedia Commons.

Exhibit A: "The Narrative of Arthur Gordon Pym of Nantucket"

Published in 1838, Poe's only completed novel details a mutiny on a whaling ship lost at sea. Out of supplies, the men revert to cannibalism, drawing straws to elect a sacrifice. A boy named Richard Parker draws the shortest straw and is subsequently eaten.

Now here's where it gets weird(er): In 1884, 46 years after the novel's publication, four men would be set adrift following the sinking of their yacht. Shipwrecked and without food, they too would go the survival cannibalism route, electing to kill and eat a 17-year-old cabin boy. The boy's name: Richard Parker.

The extraordinary parallel went unnoticed for nearly a century, until a widely-circulated letter from a descendant of the real Parker outlined the similarities between the novel's scene and the actual event. The letter was selected for publication in The Sunday Times after journalist Arthur Koestler put out a call for tales of “striking coincidence." Striking indeed.

Image from the collection of Jack and Beverly Wilgus/Wikimedia Commons /Wikimedia Commons.

Exhibit B: "The Businessman"

In 1848, a railroad worker named Phineas Gage suffered a traumatic brain injury after taking an iron spike through the skull. Somehow he survived, though his personality would change drastically. These behavioral changes were closely studied, allowing the medical community to develop the first understanding of the role played by the frontal lobe on social cognition.

Except for Poe, who'd inexplicably understood the profound personality changes caused by frontal lobe syndrome nearly a decade earlier. In 1840, he penned a characteristically gruesome story called “The Businessman" about an unnamed narrator who suffers a traumatic head injury as a young boy, leading to a life of obsessive regularity and violent, sociopathic outbursts.

Poe's grasp of frontal lobe syndrome is so precise that neurologist Eric Altshuler wrote, “There's a dozen symptoms and he knows every single one… There's everything in that story, we've hardly learned anything more." Altshuler, who, to reiterate, is a medically-licensed neurologist and not at all a crackpot, went on to say, “It's so exact that it's just weird, it's like he had a time machine."

Photo via NASA/Wikimedia Commons.

Exhibit C: "Eureka"

Still unconvinced? What if I told you that Poe predicted the origins of the universe 80 years before modern science would begin to formulate the Big Bang theory? Surely, an amateur stargazer with no formal training in cosmology could not accurately describe the machinery of the universe, rejecting widely-held inaccuracies while solving a theoretical paradox that had bewildered astronomers since Kepler. Except that's exactly what happened.

The prophetic vision came in the form of "Eureka," a 150-page prose poem critically panned for its complexity and regarded by many as the work of a madman. Written in the final year of Poe's life, "Eureka" describes an expanding universe that began in “one instantaneous flash" derived from a single “primordial particle."

Poe goes on to put forth the first legitimate solution to Olbers' paradox — the question of why, given the vast number of stars in the universe, the night sky is dark — by explaining that light from the expanding universe had not yet reached our solar system. When Edward Robert Harrison published "Darkness at Night" in 1987, he credited "Eureka" as having anticipated his findings.

In an interview with Nautilus, Italian astronomer Alberto Cappi speaks of Poe's prescience, admitting, “It's surprising that Poe arrived at his dynamically evolving universe because there was no observational or theoretical evidence suggesting such a possibility. No astronomer in Poe's day could imagine a non-static universe."

Photo from Dodd, Mead and Company/Wikimedia Commons.

But what if Poe wasn't of a day at all, but of all the days?

What if his written prophecies — on the cannibalistic demise of Richard Parker, the symptoms of frontal lobe syndrome, and the Big Bang theory — were merely reportage from his journey through the extratemporal continuum?

Surely I sound like a tinfoil-capped loon, but maybe, maybe, there are many more prophecies scattered throughout the author's work, a possibility made all the more likely by the fact that, as The New York Times notes, “Poe was so undervalued for so long, there is not a lot of Poe-related material around."

I'll leave you with this quote, taken from a letter that Poe wrote to James Russell Lowell in 1844, in which he apologizes for his absence and slothfulness:

"I live continually in a reverie of the future. I have no faith in human perfectibility. I think that human exertion will have no appreciable effect upon humanity. Man is now only more active — not more happy — nor more wise, than he was 6000 years ago. The result will never vary — and to suppose that it will, is to suppose that the foregone man has lived in vain — that the foregone time is but the rudiment of the future — that the myriads who have perished have not been upon equal footing with ourselves — nor are we with our posterity. I cannot agree to lose sight of man the individual, in man the mass… You speak of “an estimate of my life" — and, from what I have already said, you will see that I have none to give. I have been too deeply conscious of the mutability and evanescence of temporal things, to give any continuous effort to anything — to be consistent in anything. My life has been whim — impulse — passion — a longing for solitude — a scorn of all things present, in an earnest desire for the future."

This story was originally published on HistoryBuff and first appeared on 8.16.16

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Dr. Seuss estate says it will stop publishing 6 books with 'hurtful and wrong' depictions

Dr. Seuss/Facebook, Public Domain

Editor's Note: This article contains imagery that some readers may find offensive.

News about Dr. Seuss today has people discussing history, racism, children's literature, "cancel culture," and what to do with problematic and harmful work from a beloved author.

After years of growing awareness of racist imagery in some of Dr. Seuss's early work, the estate of the children's author has announced that six of his titles will no longer be published or licensed.

"These books portray people in ways that are hurtful and wrong," Dr. Seuss Enterprises wrote, adding "Ceasing sales of these books is only part of our commitment and our broader plan to ensure Dr. Seuss Enterprises' catalog represents and supports all communities and families."

Naturally, people have feelings about this.

Dr. Seuss books are a beloved part of millions of Americans' childhoods. Many of us learned to read with Dr. Seuss books and have fond memories of the rhyme and rhythms inherent in his silly stories. But that doesn't mean that all of his works were benign.

Theodor Seuss Geisel, who wrote his kids' books under the pseudonym "Dr. Seuss," got his start as a political cartoonist. While his anti-Nazi cartoons are largely still palatable, his racist depictions of Japanese Americans during the war are not. Racial stereotypes such as Geisel depicted led to 120,000 Japanese Americans being cruelly placed in internment camps in the U.S. between 1942 and 1945. Geisel also drew horrible caricatures of people from Africa and the Middle East.

Geisel's views evolved, and he expressed regret over some of his depictions. His book "Horton Hears a Who" was meant to be an indirect apology to the Japanese, and "The Sneetches" can be read as a moral story showing the pitfalls of prejudice. Debate over whether or not his racist work can be reconciled with his later anti-prejudice work has raged for years. Some try to defend his early work, saying he was a product of his time—but that ignores the fact that anti-racist people have existed alongside racists for all of history. Some say that his change of heart is enough to forgive his past, but others point out that he never formally apologized for his racist works nor did he do anything to change his portrayal of people of color.

Which brings us to the Dr. Seuss Enterprises announcement that they will stop publishing six of his children's books.

Whether or not Geisel redeemed himself in his personal views later in life, his hurtful portrayals of people of color are still out there. In fact, a study on the racial implications in 50 of his children's books titled "The Cat is Out of the Bag: Orientalism, Anti-Blackness, and White Supremacy in Dr. Seuss's Children's Books" found the following:

"In the fifty Dr. Seuss children's books, 2,240 human characters are identified. Of the 2,240 characters, there are forty-five characters of color representing two percent of the total number of human characters. The eight books featuring characters of color include: The Cat's Quizzer: Are YOU Smarter Than the Cat in the Hat?; Scrambled Eggs Super!; Oh, the Places You'll Go!; On Beyond Zebra; Because a Little Bug Went Ka-choo; If I Ran the Zoo; And to Think That I Saw It on Mulberry Street; and Did I Ever Tell You How Lucky You Are?

"Of the forty-five characters of color, forty-three are identified as having characteristics aligning with the definition of Orientalism. Within the Orientalist definition, fourteen people are identified by stereotypical East Asian characteristics and twenty-nine characters are wearing turbans. Characters aligned with Orientalism are sometimes attributed an ethno-racial identity, but are generally situated within a colorblind lens, often from an unspecified nationality, race, or ethnicity. Only two of the forty-five characters are identified in the text as "African" and both align with the theme of anti-Blackness.

"White supremacy is seen through the centering of Whiteness and White characters, who comprise 98% (2,195 characters) of all characters. Notably, every character of color is male. Males of color are only presented in subservient, exotified, or dehumanized roles. This also remains true in their relation to White characters. Most startling is the complete invisibility and absence of women and girls of color across Seuss' entire children's book collection."

The following tweet contains two examples of racist imagery found in "If I Ran the Zoo":

https://t.co/HT34WAwh7v https://t.co/vWYn6COCOs
— ✡️🌈👩‍🌾- Webdev / Author - old white woman (@✡️🌈👩‍🌾- Webdev / Author - old white woman) 1614704123.0

While there has been a predictable uproar about "canceling" or "banning" Dr. Seuss, this move to remove the problematic books came from the Dr. Seuss estate itself, not some amorphous "cancel culture" mob. It's only six books out of 50 that will no longer be published so they don't keep putting out hurtful images. Some parents and educators have decided there are other authors they prefer to use to help kids learn to read due to Geisel's history—but that's not the same as banning his books. Some libraries and school districts have stopped highlighting Dr. Seuss books, but they are still available on the shelves.

President Biden not mentioning Dr. Seuss during his Read Across America Day proclamation today is also not really "canceling." The day has been around since 1998, and though it coincides with Geisel's birthday, neither Bill Clinton nor George W. Bush mentioned Dr. Seuss in their proclamations, either. Presidents Obama and Trump did—both of them singing Dr. Seuss's praises—but the day is not synonymous with Dr. Seuss.

Do we really want to call thoughtful criticism, personal discernment in book choices, and making changes when harmful things come to light "cancel culture"? Meh. What we're seeing here is learning. It's growth. It's reckoning with the complexities of reality and wrestling with demons of the past. Uprooting racism is messy, but pretending it doesn't exist, even in the works of beloved icons, will get us nowhere.

We'll likely be debating Dr. Seuss's legacy for many years to come, but it's good to see his estate taking action to stop continuing to put out imagery that perpetuates stereotypes.

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A comedy writer tweeted about Jane Austen. It revealed a big flaw in publishing.

When most people think of Jane Austen's novels, they probably think of love and romance. But Jake Weisman doesn't.

In fact, according to a recent tweet from the Comedy Central writer, he wants to make his feelings clear that "Jane Austen does not write love stories."

— (@)

He's not completely wrong. Jane Austen was funny.

She nailed satire, and her commentary on social mores during her time were ridiculously spot-on.

But her stories also featured love. And romance. And (gasp!) feelings. That's not a bad thing. And Austen fans near and far chimed in to remind Weisman of exactly that.

— (@)

Because — spoiler alert — literature can be more than one thing. It can be both satire and romance. It can be both mystery and adventure. It can be both comedy and science fiction. Books can even be all those things at the same time.

— (@)

Clearly, Weisman's tweet struck a nerve, and it's not surprising. Often certain genres of books, like romance, are largely written off or seen as less than.

Why?

Because the people who most often write and read those books are women.

It's a real problem because the publishing industry, like so many others, tends to be very male centered.

Ever wondered why books written by women are often labeled "women's fiction" but books written by men are just "fiction"? It's because, historically, men have been the default and women the subcategory. And attitudes like the one in Weisman's tweet are part of the reason. Those attitudes suggest that "love stories" are automatically beneath brilliant writers like Austen. And that only when her work is called something more "impressive" like "satire" is it worthy, which simply isn't true.

After all, books, like people, can have many layers — many brilliant parts of their whole.

— (@)

"She had an ass like a plump popsicle and I deigned to admire her."

Can male authors write powerful, strong, and accurate female characters? Totally. Do many struggle with it? Well...

Author Gwen C. Katz was scrolling through Twitter, reading a thread about members of marginalized groups advocating for more work written by marginalized individuals. Of course, it went haywire — especially when a man just had to jump in to assure others that he was every bit as capable of writing an accurate female character as any woman.

"I think writers should be able to write from any perspective as long as they can pull it off. It takes research, skill, and creativity, but if a good writer can't do those things, he/she isn't a good writer, right?" he wrote. "My book is a first-person [point-of-view] and the [main character] is a woman. I'm definitely not a woman. But it works because I was able to pull it off. I reject someone saying I couldn't write a female [main character] because I'm a male, because, well, I just did. It's called writing."

Oh boy. Was he able to pull it off?

A male author is insisting that he is living proof that it's possible for a male author to write an authentic femal… https://t.co/HDKEPi0Ou0
— Gwen C. Katz (@Gwen C. Katz) 1522450056

"I sauntered over, certain he noticed me. I'm hard to miss, I'd like to think — a little tall (but not too tall, a nice set of curves if I do say so myself, pants so impossibly tight that if I had a credit card in my back pocket you could read the expiration date. The rest of my outfit wasn't that remarkable, just a few old things I had lying around. You know how it is."

The thread (which you can read in its entirety here) included a few other choice passages from chapter one of this mystery book, but the point was made: Some guys just don't know how to write about women without being really weird about it.

Now, maybe you're saying to yourself, "Sure, but that's just one guy that nobody's heard of." Fair point. For another example, which was uncovered by writer Julia Carpenter, let's look to renowned author John Updike:

[rebelmouse-image 19346834 dam="1" original_size="750x246" caption="Excerpt from "The Witches of Eastwick" by John Updike." expand=1]Excerpt from "The Witches of Eastwick" by John Updike.

It's not limited to books, either. Take, for instance, this 2016 Vanity Fair profile of actress Margot Robbie, which begins:

"America is so far gone, we have to go to Australia to find a girl next door. In case you’ve missed it, her name is Margot Robbie. She is 26 and beautiful, not in that otherworldly, catwalk way but in a minor knock-around key, a blue mood, a slow dance. She is blonde but dark at the roots. She is tall but only with the help of certain shoes. She can be sexy and composed even while naked but only in character."

To be sure, there's nothing necessarily wrong with describing people or characters as sexy (though, if you don't understand how women pee, maybe don't try to go into detail about that). It's just that this type of writing is so formulaic, so common.

Twitter users had a bit of fun with the format after Whitney Reynolds recently offered a challenge: "Describe yourself like a male author would."

The replies were absolutely epic, with thousands of people responding.

@kateleth new twitter challenge: describe yourself like a male author would
— whit, (@whit,) 1522563935

“She was mildly attractive, yearning for a stronger chin and tits that didn’t dangle like masquerading belly chains… https://t.co/LakxNqraWE
— Amber Tamblyn (@Amber Tamblyn) 1522792602

— (@)

Thanks to a new chart from Electric Literature, creating your own personal description is as easy as spelling your name.

The result follows this format: "She had ____ like a ____ ____ and I ____ to ____ her."

For instance, if your name were Sarah, your description would read: "She had knockers like a silken princess and I longed to proposition her." If your name was Brittany, you'd get: "She had a bust like a shrill popsicle and I ached to fondle her."

Fun, right?

Behold the Electric Literature automatic male novelist: Why objectify yourself when you can let our chart objectify… https://t.co/78C88UNiHp
— Electric Literature (@Electric Literature) 1523455204

"The Twitter challenge originated in response to a man who was claiming that his female characters were so convincing, they proved that there's no need to elevate a wider range of voices. White male writers can do it all!" Electric Lit editor-in-chief Jess Zimmerman says. "But when writers take on characters they don't really understand or respect, what you end up with is a kind of puppet show: all the 'real people' look the same, and everyone else is just a weak, potentially offensive bit of 2D guesswork. This is not actually good for the state of literature! It's alienating to readers and impoverishing for books."

Zimmerman elaborates, clarifying that she knows it's #NotAllMen who do this, chalking the prevalence of the detached and unnecessarily sexualized descriptions as the result of a culture that never really asks men to see things from a woman's perspective.

"That's why the joke in our generator is that the woman is described according to the man's reactions: a lot of male writers, including famous ones, never get any closer to 'imagining a woman's experience' than 'imagining my experience of a woman.' But keen observation, empathy, and the ability to take on someone else's perspective are crucial novelist skills. Male novelists should relish the effort it takes to do better."

Let's all have a laugh, and for the authors in the audience, don't let your writing become an internet meme.

In college during summer and holiday breaks, I worked in a mall bookstore.

Our most popular promotion was a summer one: buy two books, get one free. Romance readers loved it. One afternoon, an older woman filled up a milk crate with books and told me as she paid that it was her "favorite day of the year."

Our stockroom guy, who liked parachute pants, muttered "loser" when she left. I wasn't surprised. I wouldn't be surprised if someone said it to me today, nearly 20 years later. Romance novels have been labeled as bad, stupid, insipid, and for "losers" since long before parachute pants existed.

Unfairly, romance novels are still pushed aside as "mommy porn" or the default favorite of lonely, cat-laden spinsters.

In reality, romance novels made up 23% of the U.S. fiction market in 2016 — proof that they deserve more credit than they get.

Romance gets trashed, says Sarah Wendell, co-founder and mastermind of Smart Bitches Trashy Books, because "it traffics in emotion and empathy and personal connection and values happiness."

It's also a business run by women that sells to women. The Nielsen Romance Buyer Survey has consistently tracked women as making up more than 80% of romance-novel buyers. "It is mostly women in publishing houses that work in the romance genre. It's women who are reading it. We are telling our stories to ourselves," she says.

That said, the genre isn't without its problems.

Ironically, romance novels are incredibly diverse in subject and not so much in substance. Subgenres abound: from pregnancy romances to Amish romances to shape shifter romances to male/male romances written for heterosexual women to BSDM books that make "Fifty Shades of Grey" look tame.

But when it comes to people, traditional romance publishing, like the rest of publishing, isn't as diverse as the general population (only 7.8% of books published by romance publishers in 2016 were written by people of color), but romance writers were also among the "earliest to figure out how to make self publishing work and form small group publishing enterprises to publish their stories," Wendell says. "When women of color and from other marginalized communities weren't reaching readers through traditional publishers, they made their own careers and made their own enterprises and connected with other readers."

Popular coverage doesn't often embrace the more modern, diverse side of romance novels, though, and still leans heavily into the "bodice rippers" stereotype, even though that style of romance largely fell out of popularity in the 1970s. The criticism of romance fiction often doesn't line up with the reality. "You just come back to 'it's s**t fiction because women read it,' and the people who condemn it very seldom read it themselves," says John Market, author of "Publishing Romance: The History of an Industry 1940 to Present."

When The New York Times Book Review dedicated its cover to romance novels in September 2017, for example, they gave the assignment to Robert Gotlieb, an 87-year-old white man. The results are about what you'd expect.

But in February 2018, the Times launched a romance column — indicating that, perhaps, the genre is finally being taken seriously.

Still, I don't expect it to be the norm. As long as women are treated as though their greatest value is still determined by what their bodies can provide for men, books written for and by women will be treated like dirt too.

"If those attitudes are there about the woman's place as a sexual object, then we've got a long way to go," Market says. "Since the books are about women's sexuality and focuses on the sexual aspect and emotions revolving around love, it tends to be put down as fluff."

This article was originally published by The Lily, a publication of The Washington Post, and is reprinted here with permission.

Queer literature is the future. And that future looks as bright as ever in New Orleans.

True

It was a steamy New Orleans night, with a dazzling party well underway: There were people on stilts, dancers donning angel wings, and even a fire eater.

It was an unforgettable queer party. Suffice to say, when the LGBTQ community in NOLA decides to do it up, they don’t do it halfway.

But this wasn’t just any old party.

This night was an incredible show of resilience from a community that was no stranger to struggle.

It was part of the Saints and Sinners Literary Festival, one of the oldest queer literary events in the country — and since 2003, it’s represented a legacy of LGBTQ creatives, surviving and thriving under difficult circumstances.

The festival was first designed to create awareness around HIV/AIDS in the LGBTQ community as well as bringing queer and trans creatives together in celebration of the arts.

And that party with the stilts and the puppets? A fundraiser, with proceeds benefiting not just the festival itself, but the NO/AIDS Task Force, the largest AIDS services organization in Louisiana.

[rebelmouse-image 19533133 dam="1" original_size="2048x1356" caption="Photo by Ride Hamilton via Saints and Sinners Literary Festival/Facebook." expand=1]Photo by Ride Hamilton via Saints and Sinners Literary Festival/Facebook.

It's about more than books. It's a festival with impact.

Paul J. Willis, executive director and founder of the Saints and Sinners Literary Festival, sees the festival as a chance to make waves in the community and beyond. "We can be a voice in our local community and an instrument of change," he explains.

By mobilizing the community, LGBTQ writers find new ways to use the arts to create greater understanding and awareness about the issues that impact them most.

Photo by Ride Hamilton via Saints and Sinners Literary Festival.

Saints and Sinners also creates an intentional space for the queer and trans community to connect and network, celebrate successes and new artists, and recognize the awesome history of LGBTQ creatives paving the way in queer literature.

In a wider culture that so often erases the contributions of LGBTQ people, events like these create an intentional space for community-building.

And with so many opportunities for artists and appreciators of art alike, there are so many different ways to connect with others: You can attend a panel discussion or master class with writers, editors, and publishers. You can learn about some of the up and coming names in LGBTQ lit, attend book launches and readings, meet advocates working toward LGBTQ justice, or just take in the infectious energy of the Glitter with the Literati Party.

"You can lean into conversations with some of the best writers and editors and agents in the country, all of them speaking frankly and passionately about the books, stories and people they love," writes Dorothy Allison, National Book Award finalist for "Bastard Out of Carolina."

"[It’s] hands down one of the best places to revive a writer’s spirit," Allison continues.

Writer Justin Torres. Image via Saints and Sinners Literary Festival.

That spirit, and the healing that takes place at Saints and Sinners, is what the event is truly about.

It’s not just about writing — it’s about uplifting one another, walking away with more energy and purpose than you started with.

"I was a victim of a hate crime several years ago," Willis explains. The impact was devastating: He had to have his right eye removed. But it was at the festival that he found strength, friendship, and a bold new fashion choice.

"That year at Saints and Sinners, several attendees chipped in to an effort led by author and editor Ron Suresha and presented me with an awesome assortment of designer eye patches."

Because at its core, Saints and Sinners isn’t just for the love of the arts; it’s for the strength we lend one another in community.

"The festival helps ensure that the written work from the LGBTQ+ community will continue to have an outlet, that people will have access to books that help dispel stereotypes," Willis explains. "[It also helps] alleviate isolation, and provide resources for personal wellness."

And it’s the breaking down of that isolation and bringing folks together that makes the Saints and Sinners Literary Festival unlike any other.

Photo via Saints and Sinners Literary Festival.

"Imagine the flirting, the arguing, the teasing and praising and exchanging of not just vital information, but the whole spirit of queer arts and creating," Allison writes. "Then imagine it all taking place on the sultry streets of New Orleans’ French Quarter."

"That’s Saints and Sinners — the best wellspring of inspiration and enthusiasm you are going to find."

That inspiration is in abundance in a city like New Orleans. And for the queer community and the folks who support them, glitter and literature has turned out to be a winning combination.