Jenny Turner

Jenny Turner is a contributing editor at the LRB, for which she first wrote in 1991 (on James Kelman and Janice Galloway). She has written more than sixty pieces for the paper since then, on subjects including Muriel Spark, Trainspotting, Tolkien, Ayn Rand, David Foster Wallace, Angela Carter, Mark Fisher, Debbie Harry, Hannah Arendt and Gillian Rose.

Ready to Go Off

Jenny Turner, 18 February 2021

Thepandemic, the lockdowns, bring new focus, I’ve noticed, to the mythos of the enclave, the citadel, the haven, the safe space inside which lovely things can flourish while the world outside it continues to go to hell. Lauren Oya Olamina, the visionary heroine of Octavia Butler’s Parable books, lived until she was 18 in a gated neighbourhood in Robledo, southern California,...

Iwaswashing up or something ten years ago when an episode of The Reunion with Sue MacGregor came on the radio, the one about the Women’s Liberation protesters who stormed the Miss World competition at the Royal Albert Hall in 1970. I must have known about it already, but it was like I’d never got the point. Listening to that programme, for some reason, took me right back into...

Diary: The Deborah Orr I Knew

Jenny Turner, 20 February 2020

When​ Deborah Orr died, in October, I hadn’t seen her for more than 16 years. We’d run into each other in 2003 at a book party, when I was pregnant with my son, and she’d tearfully told my then partner, now husband, that he’d better look after me, or else: a bit rich, I remember thinking, given how vile she’d been when we were falling out. A few months later,...

Nothing Natural: SurrogacyTM

Jenny Turner, 23 January 2020

Atwoodfans, does it matter that The Handmaid’s Tale is at bottom ‘a deraced slave narrative’, as Sophie Lewis calls it in Full Surrogacy Now? In the novel, as Lewis says, people of colour – ‘Children of Ham’, in Gilead language – are resettled in ‘Homeland One’, somewhere in North Dakota. In The Testaments, a sequel set 15 years later,...

Afloat with Static: Hey, Blondie!

Jenny Turner, 19 December 2019

The name came from Debbie Harry’s experience of being shouted at by men on the street: ‘Hey, Blondie!’ It was ironic, and to do with voyeurism and harassment, from the start. ‘My Blondie character was an inflatable doll but with a dark, provocative, aggressive side,’ as Harry put it. ‘A lot of my drag-queen friends have said to me, Oh, you were definitely a drag queen … Girl drag, not boy drag, [which] was then an act of transgression.’ She was, she writes, ‘furious’ when the band’s record label advertised ‘In the Flesh’ with a picture of her without the others, the focus very much on her ‘little nipples’: ‘Sex sells, that’s what they say, and I’m not stupid, I know that, but on my terms, not some executive’s.’ The band’s next single, ‘Rip Her to Shreds’ was advertised with a poster inviting the viewer to rip Harry to shreds if they liked.

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