In revisiting Mornings in Jenin, The Parlor’s January book club selection, we return to a novel that is not only foundational to contemporary Palestinian literature but urgently relevant to the present moment. First published in 2006 and later expanded after its initial release, susan abulhawa’s sweeping family saga traces the intimate costs of displacement, occupation, and inherited grief across generations.

At just twenty years old, Sofia Isella is carving out a body of work that refuses both aesthetic comfort and political neutrality. Through abrasive lyricism, deliberate visual grime, and performances that challenge the demand for female palatability, Isella positions the female body as a contested site—sexualized, governed, moralized, and surveilled.

In recent horror, the mother has returned as a familiar spectacle: unraveled, unstable, terrifying. From Die My Love to MOM and Bring Her Back, maternal despair is staged as breakdown—legible only when it curdles into violence, hysteria, or monstrosity. Drawing on Adrienne Rich and Erin Harrington’s “gynaehorror,” this essay argues that the genre’s renewed interest in motherhood often reproduces patriarchal myth rather than escaping it.

In On Earth We’re Briefly Gorgeous, Ocean Vuong uses the intimacy of a letter—one that will never be read by its intended recipient—to explore the limits of language in the wake of war, migration, and inheritance. Moving between the protagonist's difficult mother-son relationship, queerness and masculinity, memory and the body, the novel traces how intergenerational trauma is carried, translated, and often misunderstood.

Blending West African musical lineage with Appalachian folk traditions, Mon Rovîa has emerged as an artist whose work is rooted as much in moral inquiry as in melody. At a moment when political power is wielded through fear, erasure, and relentless force, Mon Rovîa’s music offers something increasingly rare: a vision of healing that does not turn away from suffering, but asks listeners to sit with it—and to speak.

From surrealism’s fetishization of madness and innocence to Hollywood’s celebration of beautiful foolishness, women are repeatedly portrayed as fragmented beings—muses rather than subjects, spectacles rather than fully human protagonists. This essay traces how these portrayals, across art, literature, and film, reveal a persistent patriarchal investment in keeping women unmoored, unknowable, and safely contained within fantasy.

As young women become more independent—financially, socially, and politically—the cultural implications of cis-het relationships has changed. What once symbolized safety, stability, and status now feels optional, even fraught, especially as conservative backlash and online misogyny rise among young men.

With From the Pyre, The Last Dinner Party trades baroque-pop grandeur for something sharper and more self-aware. The album burns through myth and martyrdom to explore how women’s pain and power intertwine—less an echo of their debut than a rebirth through fire.

Twitch promises community, but for many women and queer creators, visibility comes with harassment, burnout, and real-world danger.

How Swift and Kelce’s engagement rewrites the script on love, power, and equality

From forgotten forums to billion-dollar feeds, women have been shaping the Internet since its first lines of code.