Lacing cultural criticism, Victorian literature, and storytelling
together, TOO MUCH spills over: with intellect, with sparkling
prose, and with the brainy arguments of Vorona Cote, who posits
that women are all, in some way or another, still susceptible to
being called too much. (Esme Weijun Wang) A weeping woman is a
monster. So too is a fat woman, a horny woman, a woman shrieking
with laughter. Women who are one or more of these things have
heard, or perhaps simply intuited, that we are repugnantly
excessive, that we have taken illicit liberties to feel or fuck or
eat with abandon. After bellowing like a barn animal in orgasm,
hoovering a plate of mashed potatoes, or spraying out spit in the
heat of expostulation, we've flinched-ugh, that was so gross. I am
so gross. On rare occasions, we might revel in our excess--belting
out anthems with our friends over karaoke, perhaps--but in the
company of less sympathetic souls, our uncertainty always returns.
A woman who is Too Much is a woman who reacts to the world with
ardent intensity is a woman familiar to lashes of shame and
disapproval, from within as well as without. Written in the
tradition of Shrill, Dead Girls, Sex Object and other frank books
about the female gaze, TOO MUCH encourages women to reconsider the
beauty of their excesses-emotional, physical, and spiritual. Rachel
Vorona Cote braids cultural criticism, theory, and storytelling
together in her exploration of how culture grinds away our bodies,
souls, and sexualities, forcing us into smaller lives than we
desire. An erstwhile Victorian scholar, she sees many parallels
between that era's fixation on women's hysterical behavior and our
modern policing of the same; in the space of her writing, you're as
likely to encounter Jane Eyre and Lizzie Bennet as you are Britney
Spears and Lana Del Rey. This book will tell the story of how
women, from then and now, have learned to draw power from their
reservoirs of feeling, all that makes us Too Much.
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