by Sandra Odell
iction is always political, especially when the author pretends it isn’t. The choice of what to depict and not depict is a judgment about which stories we privilege. To paraphrase something Rabih Alameddine has said much better: If, while the news is full of women calling out powerful men who subjected them to sexual violence, I’m writing a story about a man reconciling with his estranged werewolf father, that’s a political decision. That’s not to say there isn’t a great story there too, or that it’s bad or wrong to write that werewolf story, but we’re kidding ourselves if we say it’s a neutral choice.