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Bodies in poetry, territorial dysphoria, collective politics : A conversation with Aurora H. Camero In this podcast episode, DC Marina Casado invites the poet and collagist Aurora H. Camero to talk about a wide variety of topics: poetry, migration, art, transness, erotics, and everything in-between that needs to be thought and built collectively, hand in hand. The conversation is a shapeshifting poem, where the pauses and brackets give insights on contemporary poetry and different writing strategies. Together they also converse about Camero’s two poetry collections: Violeta and La vía sutil. The conversation also merges poetry with politics and gender with territory, generating reflections about the inseparability of identity categories and the urgency of moving our bodies and our theories beyond white-centered trans and queer imaginaries. The transcript of the podcast (both in Spanish and in English) can be found here . To learn more about the Aurora H. Camero please visit: https://www.labellavarsovia.com/aurora-h-camero/ https://www.instagram.com/borealis_camero/ This episode is part of the EUTERPE podcast Library on European Literatures and Genders from a Transnational Perspective. The podcast is powered by the European Union, UKRI, and the Central European University Library. Grant Agreement: 101073012 EUTERPE HORIZON-MSCA-2021-DN-01 Project. For more information about the EUTERPE project please refer to the official project webpage https://www.euterpeproject.eu/ , or follow us on Instagram @euterpe_project_ or Facebook at EUTERPE Doctoral Network Project . This episode was produced and edited by Marina Casado Guerrero . Thank you to Alexander Walker for the music and to Alice Flinta for the voice over. Thank you also to Ninutsa Nadirashvili, Evangeline Scarpulla and Kris Orszaghova for designing the podcast covers.

Review of 'White is for Witching' by Helen Oyeyemi Helen Oyeyemi’s 'White is for Witching' combines elements of the gothic tradition, vampire stories and haunted house stories to craft a narrative which probes issues of xenophobia and racism in contemporary British society. The novel follows Miranda, a young woman with vampiric qualities, as a sentient house intervenes in her life to protect, control and possess her. by Séamus O’Kane 23 April 2025 Review: Oyeyemi, Helen. White is for Witching. Helen Oyeyemi found literary success early. She wrote her prodigious debut, The Icarus Girl (2005), and secured a publisher while she was still in secondary school. The years since then have seen her produce a tremendous output: seven more novels, two plays and one short story collection. Born in Nigeria and raised in London, Oyeyemi’s nomadic trajectory has taken her to Paris, Berlin, New York, and, finally, Prague, where she now resides. White is for Witching (2009) is Oyeyemi’s third novel and garnered her the prestigious Somerset Maugham Award in 2010, placing her in the company of such luminaries as Doris Lessing, Angela Carter and Zadie Smith. White is for Witching opens with a cryptic and disorienting prelude as its protagonist, Miranda, lies already dead, with competing accounts of how this occurred. These segments set the stage for the narrative perspectives that make up the novel: Miranda herself, Eliot (her twin), Ore (her friend and partner), and the house itself, 29 Barton Road. The house is in Dover, a coastal town in England which serves as a major port to Calais, and therefore acts as a main entry point into England for many migrants and refugees. This setting allows Oyeyemi to examine contemporary issues of racism and xenophobia in her setting of England in the year 2000. Much like the welcoming façade of the house, the locals of Dover are superficially friendly but harbour a deep-seated racism. Refugees from Kosovo are stabbed, with Miranda’s twin, Eliot, blaming other refugees for the crime. Chinese migrants die in a truck trying to cross the border. There are protests outside the immigrant detention centre after a man commits suicide. When Miranda and Eliot’s mother, Lily, inherited the house, their father, Luc, persuaded his wife to turn the seven-bedroom Devon home into a B&B. Upon moving into the house, Miranda develops the same eating disorder which afflicted her great-grandmother. This disorder, pica, causes her to constantly chew on chalk and plastic, spurning regular food unless she makes a sustained effort to eat, usually to please her parents. When Miranda and Eliot’s mother dies, shot dead at a polling station in Haiti, Miranda finds herself in a psychiatric clinic for six months. Her memory of the events is already untrustworthy as she cannot recall how she got there. Consequently, an ambiguity persists when events are recounted from Miranda’s perspective. Physically weak from her eating disorder, her perception of reality is also unreliable, meaning that it is difficult to separate the supernatural events of the novel from Miranda’s own hallucinations. The house itself often casts aspersions on the reliability of Miranda and Eliot’s stories, whilst slyly suggesting multiple possibilities of its own. When recalling the fate of one of Miranda’s predecessors, the house presents two competing stories: she could have been strangled to death or allowed to reside within the house’s walls until she reached middle age. As the novel progresses, we learn more about the house, including the origins of its sentience, beginning at the time of Miranda’s great-grandmother. Thereafter, the house’s desire to “protect” the female members of the family becomes a corrupted, unwanted inheritance, as its desire manifests as possession and control, seeking to deny them any agency or autonomy. Miranda’s eating disorder is implied to be part of this supernatural inheritance as it afflicts subsequent generations who are connected to the house. As part of this disorder, she symbolically internalises chalk, connecting to the novel’s larger themes of racialisation and whiteness. This repeated act not only allows the house to symbolically extend its xenophobia beyond its physical boundaries, but it also weakens Miranda, causing her to become reliant on the house, and foreshadows the novel’s ending where the ultimate aims of the house’s idea of protection becomes clear. One of the novel’s focalisers is Ore, a woman with a Nigerian mother and white adoptive parents, who strikes up a friendship and romance with Miranda in Cambridge in some of the novel’s most touching scenes. Her perspective gives an insight into the discomfort and impostor syndrome of an elite academic environment. Furthermore, we see how Ore is subjected to the casual, mocking racism of her white cousins, who read aloud sections of leaflets distributed by the fascist British National Party. These scenes further add to the various manifestations of racism within the novel, emphasising how the xenophobia that the reader encounters is not simply a supernatural curse that is generations old, but a contemporary reality which can personally impact characters even in a familial context. In White is for Witching , neither the family nor the home, both traditionally associated with safety, can provide refuge. Oyeyemi’s novel subverts the trope of the monstrous, racialised Other, turning it back onto the white, colonial culture of England (indeed, the house has a fondness for the glory days of Rule Britannia). The uncanny is now the British family home. Sade, the Yoruba housekeeper, uses her culture’s charms and superstitions to counter the house’s malevolence. Ore, meanwhile, recalls the Nigerian folktale of the soucouyant, a shape-shifting old woman who feeds on the souls of her victims. She projects her understanding of this tale onto her experience of the haunted house, allowing her to defend herself against it. Miranda’s eating disorder leaves her pale and thin, visually recalling the vampire, a metaphor for the parasitic, colonial draining of resources and, indeed, her relationship with Ore leaves her lover in a similarly weakened state. A kissing scene towards the novel’s climax also heightens the novel’s supernatural elements and further troubles the boundaries between perception and reality. Drawing on Gothic tropes, Oyeyemi’s novel brilliantly conveys a sense of unease, foreboding, creeping uncertainty and inescapable decline throughout its narrative. Oyeyemi’s pages list various authors of dark fairytales and gothic stories which presumably shaped her writing, including the Brothers Grimm, E. T. A. Hoffman, and Sheridan LeFanu. However, it is the influence of Edgar Allen Poe which is felt most strongly in the novel. Humorously, one scene features Miranda and Eliot discuss how they could easily deal with the events of a Poe story. Indeed, one could view the novel as a reworking of The Fall of the House of Usher (1839), with its sentient home tied to a doomed bloodline. Oyeyemi’s story, like Poe’s, hints that there is an incestuous connection between the twins. Miranda possesses many characteristics shared by the Usher twins: she suffers from a mental illness which manifests itself physically, she has uncanny, pale white skin, and soft, ethereal hair. Like Roderick Usher, her fate is inseparable from the home. The reader is left to question whether she has control of her own actions. Upon the novel’s conclusion, it is natural to return once again to the prelude, now armed with the knowledge of what happens to Miranda and able to slice through its disorienting opacity. Yet, despite everything they have read, the reader will wonder about her fate long after the book is closed. This encouragement of circularity mimics the novel’s own themes, triggering many questions and unsettling any easy resolution. Although there are scattered, individual acts of resistance to the house and its xenophobia, it ultimately achieves its goal, raising the question of whether it is possible to break the cycle of victimhood and the continuity of a colonial past. Will the house, and by extension, the racist spectre of empire, continue to haunt British society forever?

Hélène Cixous, Echo, Subjectivity, Diffraction (Part 2): A Conversation with Professor Birgit Kaiser In this two-part episode of the EUTERPE Podcast, doctoral candidate Uthara Geetha (University of Oviedo) speaks with Professor. Birgit Kaiser (Utrecht University) about her second monograph ‘Hélène Cixous's Poetics of Voice: Echo - Subjectivity – Diffraction. Prof. Kaiser reveals how Hélène Cixous’s poetic fictions perform a radical, anti-essentialist model of subjectivity as “voice”– one that emerges not from a closed individual but from a ceaseless echo of other beings, places, and times. Kaiser introduces the concept of “echology” (ecology with a silent *h*) to reframe Cixous’s much-debated “feminine writing” as a material, relational, and deeply situated mode of becoming that includes the dead, the non-human, and the absent. Through a diffractive reading that thinks with Cixous rather than merely about her, this podcast shows how her work offers a timely, decolonial, and eco-logical path for reimagining selfhood, solidarity, and critique in the twenty-first century. The episode transcript can be accessed here . This episode is part of the EUTERPE podcast Library on European Literatures and Genders from a Transnational Perspective. The podcast is powered by the European Union, UKRI, and the Central European University Library. Grant Agreement: 101073012 EUTERPE HORIZON-MSCA-2021-DN-01 Project. For more information about the EUTERPE project please refer to the official project webpage https://www.euterpeproject.eu/ , or follow us on Instagram @euterpe_project_ or Facebook at EUTERPE Doctoral Network Project . This episode was produced and edited by: Uthara Geetha . Thank you to Alexander Walker for the music and to Alice Flinta for the voice over. Thank you also to Ninutsa Nadirashvili, Evangeline Scarpulla, and Kris Orszaghova for designing the podcast covers.

Europe beyond Europe. On Macau, water heritage, and “the language of women.” A conversation with Mariana Pinto Leitão Pereira. Mariana Pinto Leitão Pereira is a heritage and diaspora researcher, and in this podcast she talks to York-based EUTERPE candidate Alice Flinta about what it means to be and grow up as Macanese. Having lived through Macau’s transition period and vividly remembering the handover day, she reflects on identity at the historical and political fringes of Europe, as well as what feelings of belonging are possible when the landscape changes in the blink of an eye and childhood geographies morph. As the Macanese are the “Sons of the Land” who have been led to redefine their footing time and again beyond their physical territory, we wonder whether belonging, which many populations already experience as fluid, would be better encapsulated by the flowing delta, by the changing courses of waterscapes. The episode transcript can be accessed here . Further resources: Dóci Papiaçám de Macau [The sweet language of Macau]: https://www.youtube.com/c/docipapiacamdimacau Hespanha, A. M. (2019). Filhos da Terra: Identidades Mestiças nos Confins da Expansão Portuguesa . Tinta da China. Jorge, C. (2020) Poemas para Macau . Livros do Oriente Pereira, M. P. L. (forthcoming) "Deltascapes: The Heritage of Macao’s Waterborne Communities amidst the Geoeconomics of the Pearl River Delta". International Journal of Heritage Studies . About Deolinda da Conceiçāo: https://app.pt/escritora-do-mes-itinerarios-de-pesquisa-deolinda-da-conceicao/ This episode is part of the EUTERPE Podcast Library on European Literatures and Genders from a Transnational Perspective. The podcast is powered by the European Union, UKRI, and the Central European University Library. Grant Agreement: 101073012 EUTERPE HORIZON-MSCA-2021-DN-01 Project. For more information about the EUTERPE project please refer to the official project webpage https://www.euterpeproject.eu/ , or follow us on Instagram @euterpe_project_ or Facebook at EUTERPE Doctoral Network Project . This episode was produced and edited by: Alice Flinta. With thanks to the Creativity Lab and Podcast studio team at the University of York. Thank you to Alexander Walker for the music. Thank you also to Ninutsa Nadirashvili, Evangeline Scarpulla and Kris Orszaghova for designing the podcast covers.

Item List Our Time in Utrecht: Transnational reflections Read More This is a Title 02 Read More This is a Title 03 Read More

Uthara Geetha University of Oviedo Doctoral Candidate Uthara Geetha is a doctoral candidate at the University of Oviedo, Spain working on ‘The role of transnational literatures in the decolonization of understandings of gender within the European academe’. She was an Erasmus Mundus scholar (2019-21) of Gender Studies from University of York (UK) and University of Oviedo (Spain). She also holds a master’s degree in applied economics from Centre for Development Studies, Jawaharlal Nehru University, New Delhi. Her main research interest is on the intersections of gender with race, caste, and class inspired from her Dalit identity. In addition to her academic works, she also writes online articles on popular culture from a decolonial intersectional feminist perspective. Contributions: Prose and Counter-history: Review of The Emperor's Babe by Bernadine Evaristo

Team Coventry Katherine Wimpenny Principal Investigator Katherine Wimpenny, PhD, MA, DipCOT, CertEd, is a Professor of Research in Global Education at the Research Centre for Global Learning, Coventry University, UK. She is the Theme Lead for ‘Education without Boundaries’ and has 24+ years of experience in higher education research and practice. Katherine’s research with colleagues, locally and globally, is grounded in comprehensive internationalisation, emphasising inclusive pedagogies, interdisciplinarity, social justice, decolonisation, and the role of the ethically engaged university. Her research considers a diversity of learning spaces (digital, face-to-face, blended, formal, informal, and non-formal) that interweave to impact educational opportunities that can connect international learning communities and the university to its locale. She is experienced in a range of approaches to inquiry, including Qualitative Research Synthesis, Arts-Based Educational Research, Participatory and Action Research, Appreciative Inquiry, and Transdisciplinary Feminist Research, including Post Qualitative Inquiry. Jaya Jacobo Researcher Jaya Jacobo is a transfeminine thinker and artist based at Coventry University where she currently does work on trans feminist pedagogies in literature, art and performance. She has worked alongside travesti and transsexual women artists, scholars and community workers in Rio de Janeiro, Brazil, as well as with trans, queer and nonbinary Filipina/x/o performers from the Philippines and Filipino diaspora abroad. Jacobo was a former Board Member of the Society of Trans Women of the Philippines (STRAP), a former President of the Film Desk of the Young Critics Circle (YCC) of the Philippines, a Founding Co-Editor of Queer Southeast Asia: A Transgressive Journal of Literary Art and Co-Editor of BKL: Bikol/Bakla, Anthology of Bikolnon Gay Trans Queer Writing . Jaya is the author of Arasahas , her debut volume of poetry in Filipino from Savage Mind Publishing House. Suzanne Clisby Employability Mentor Suzanne Clisby (FRSA) is Professor of Education and Social Justice at the University of Lincoln with longstanding experience and expertise in academic research and leadership, teaching and authorship. She has conducted over 15 research projects, totalling circa. £8m and has trained numerous scholars in feminist methodological approaches and qualitative methods. She provides expertise in gender analyses, participatory development, life history narrative methods and creative praxis across a range of academic and NGO contexts, including a University of Iceland/UNESCO international fellowship programme. Professor Suzanne Clisby was the UK PI of the Horizon Europe European MSCA EUTERPE project (2022-24) and continues to work closely with the EUTERPE Consortium as a Special Project Advisor, Supervisory Expert Advisor (Coventry) and Employability Mentor (Granada). Professor Clisby was the Co-Director of the UKRI GCRF Global Gender and Cultures of Equality  (GlobalGRACE) Project (2017-2022), PI and Director of the Horizon 2020 MSCA Gender and Cultures of Equality in Europe (GRACE) Project (2015-2019), and, for over a decade, Co-Editor of the Journal of Gender Studies. Her research focuses on gender, education and development. Her publications and edited collections include Gendering Women: identity and mental wellbeing through the life course  (with Holdsworth, 2016, Policy Press), in which she provides a materialist feminist analysis of the symbolic, structural and visceral violence of everyday encounters with constructions of gender; The State of Girls Rights in the UK  (with Alsop, 2016, New Internationalists Publications); Theorising Cultures of Equality  (with Johnson & Turner, 2020, Routledge); Gender, Sexuality and Identities of the Borderlands: Queering the Margins  (2020, Routledge); Investigating Cultures of Equality (with Golańska and Różalska, 2022, Routledge); and Performing Cultures of Equality (with Durán-Almarza and Rodríguez-González, 2022, Routledge).

Laura Bak Cely University of Oviedo Doctoral Candidate Laura Bak is a Gender and Diversity Ph.D. student at the Universidad de Oviedo. She holds a B.A. in Literary Studies from the Pontificia Universidad Javeriana, with a minor in Philosophy, and an M.A in Literature from the Universidad de los Andes in Bogotá, Colombia. Her work has focused on the problems and representations of space in exiled Latin American Jewish women’s autobiographical writing, emphasizing in the search and creation of places that have disappeared in the current geopolitical maps. Her research continues to explore the subject of ‘autocartography’ within life-writings by migrant women through the lens of counter-mapping, spatial justice, and geocriticism. The subject of imagination and representation of lost places in life-writings has been at the centre of Laura's research trajectory. In this research phase, she plans to study how migrant women in Europe produce life-writings in an exercise of creating alternative representations of the spaces they inhabit and transit. She intends to designate this type of writing as counter-autocartographies as they challenge dominant cartographic representations and weave counter-maps that represent the perspective and understanding of the spaces dwelt by migrant women.

Book Review 'Down with the Poor!' By Shumona Sinha, 2022 by Les Fugitives An evocative portrayal of those who arrive but never truly ‘arrive.’ Down with the Poor! is a novel about borderlands—geographic, linguistic, and personal. by Laura Bak Cely 4 August 2025 Book Review Down with the Poor! By Shumona Sinha, 2022 by Les Fugitives Assommons les pauvres! , originally published in French in 2011, has been published in English in Teresa Lavender Fagan’s exceptional translation that preserves the poetry of Shumona Sinha’s language. The author borrowed the title from one of Charles Baudelaire’s short prose poems from Le spleen de Paris , to which the novel has direct links to. This intertextual reference not only pays homage to Baudelaire but also situates Sinha’s contemporary narrative within the context of the French literary tradition. Like Baudelaire’s poem, Sinha’s novel invites readers to reflect on the complexities of power dynamics and the human implications of individual actions in the grey zones that many people inhabit. Shumona Sinha is a Bengali author who has lived in France since her early twenties. Since then, she has accumulated awards and accolades for her novels in which she explores the themes of identity, racism, and migration in both her adopted and native country. The story takes place in Paris, albeit a distant Paris, demarcated by the borders not only of a foreign territory but of another reality. The novel quickly introduces us to the world of the narrator, an Indian woman who, years earlier, migrated with her parents to France. Residing in Paris, she, whose name we never get to know, works at Ofpra, the French Office of the Protection of Refugees and Stateless People. She is an interpreter whose job is to be the communication link between people seeking political asylum, their lawyers and the officials who have the power to decide who stays and who does not. The novel, however, revolves around one fact: the narrator is detained because she struck another immigrant on the head. Monsieur K, an official, interrogates her. The echo of Kafka’s The Trial is unmistakable. Spaces that never end, doors that open and close set the tone of the story. Throughout the narrative, the protagonist grapples with her actions, attempting to rationalize and understand the motives behind her outburst to both herself and Monsieur K. Besides that, she also recapitulates scenes from her labour life: numerous men and women whose stories she had to translate. Her work, as she makes it clear, is translating, and only translating literally, without interpreting, without getting in the way, without clarifying, without explaining, and especially without taking sides. “[I]n the People’s Theatre I didn’t exist. My role was to erase myself. My entire effort consisted in not existing” (115). This marginalisation delineates the space that she is allowed to occupy as a woman, and as an immigrant. The world which the narrator inhabits exists outside the city of lights, beyond the RER (Regional Express Network) train line, behind other borders. The migrants she encounters through her work left their homelands and underwent crusades to reach France, only to realise that arriving is only the beginning of another journey: a crossing that involves other forms of violence, of erasing oneself, inventing, lying, becoming someone else. That other is the subject who will receive political asylum. Down with the Poor! highlights how the process of applying for asylum brings the veracity of the truth to a critical point. When crossing borders and arriving in another place, the truth of what earlier happened ceases to exist. “Crossing the border has something irreversible about it that resembles mourning, a secret crime, a loss of self, a loss of reference, a loss of life” (124). Through the immigration cases she recalls the narrator points out that what happened on the before or during the journey has little or nothing to do with what the immigrants need to say to gain asylum. The reasons why they fled must, in cases, be set aside and a story that meets the legal criteria for state protection must be told. “Here, everything was in the language, in the words, between the lines. The name of a river erroneously placed next to the name of a village, a vague adjective describing an incident, planted like a knife in flesh, bits of sentences uttered under one’s breath, a voice extinguished, out of fear, expectations, despair” (80). The narrator outlines the different manifestations of this necessity to reinvent the truth. She explains the challenge of translating the information given by the interlocutors. In some cases, the narrator says, it is enough to paraphrase what they said happened. In others, the inability to understand what facts are necessary within their stories, makes them fall into an abyss of lies and meaningless phrases from which no one can rescue them. As a translator, she is a witness to the full scope of human imagination. The novel does not portray human beings in terms of a simple good-versus-evil binary. Its coherence and critique lie precisely in showing that such a division does not reflect how the system works. It captures people’s desperation and reveals the thin line between those who receive asylum and those who do not. Down with the Poor! shows that it is not always the good, the innocent, or the most at risk who are granted asylum. Often, it comes down to who can tell their story most effectively. Sinha writes from an thought-provoking position in contemporary French literature. She is an outsider who has been in France for a long time and knows European literature very well, both as a great reader and as a scholar. Through the novel’s references to Kafka and Baudelaire she initiates a dialogue with canonical European literature. The exploration of alienation, bureaucracy, and existential angst as well as the dark and complex aspects of human experience, explored by Kafka and Baudelaire, serve Sinha to speak from the core of European culture and thus construct a scenario that, although still conceived as on the outskirts of Europe, is very much a part of its reality. Sinha is magnificent in the way she weaves the story. Her way of constructing the places where migrants and refugees live is reminiscent of the non-places described by Marc Augé, with the gravity that, in these cases, these places of transit are places from which it is difficult for the refugees to escape. The peripheral and temporary places are, in the end, the definitive places for them. In this profoundly human novel, the narrator leaves us with the unpleasantness that obtaining asylum, obtaining a ‘safe’ place, repeatedly implies suppressing oneself, living in non-places, trying to stay as far away as possible, arriving without ever arriving, without ever being able to be anywhere definitively, that is, today, the utopia of migration.

Olga Fenoll Martínez Univeristy of Lodz Doctoral Candidate Olga Fenoll-Martínez holds a BA in Translation and Interpreting (University of Granada) and an MA in English Literature and Linguistics (University of Granada). She has been granted with different scholarships for early researchers provided by the Spanish Government and the University of Granada, and she has also engaged in R&D research projects. In her works, Olga has aimed to display a queer approach through different intra-actions such as contemporary queer poetry, translation studies or located audiovisual cultures from a feminist new-materialist lens. Olga’s PhD project aims to tackle located and nomadic transnational womxn’s art and writings as assemblages that are in-the-making by exploring the plastic potentiality of those works through a diffracted approach guided by onto-epistemological new materialist optics and interferenced logics.

Reshuffling: Feminist Collaboration and Transnational Solidarity with Rebecca L. Walkowitz This lecture is dedicated to the memory of Susan Stanford Friedman. Susan Stanford Friedman's work was seminal for the conception of EUTERPE, and we deeply grieve her passing. She was not only a highly respected and influential scholar, but also a special friend known for her warm personality and intellectual generosity. This lecture series was created in her honour, to celebrate her legacy and to keep her presence alive. This episode features a lecture delivered by Rebecca L. Walkowitz, Claire Tow Professor of English and Provost and Dean of the Faculty at Barnard College. The episode also includes an introduction given by Jasmina Lukić, Professor with the Department of Gender Studies at Central European University in Vienna and the Principal Leader for the EUTERPE project. The lecture pays tribute to the legacy of Susan Stanford Friedman as a scholar and mentor by reflecting on the concept of “reshuffling,” which Friedman developed in her later work as a way of thinking about feminist collaboration across differences of generation, nationality, race, religion, and class. Sewing together moments from Friedman’s scholarship across several decades, the lecture highlights her persistent engagement with models of feminist collaboration and transnational solidarity that she finds in the writings of Virginia Woolf, as well as in the work of other readers and re-writers of Woolf’s texts. “Reshuffling” is the methodology Friedman derives from this dynamic of reading and writing over generations. It is a methodology she both describes and performs, and in that sense it demonstrates her commitment to creativity as well as to criticism, to building up ideas in the presence and on the shoulders of distant others, and to making room for future generations to build up anew and to stand on her shoulders in turn. This lecture was originally delivered on 11/09/2024 at the third biannual EUTERPE Doctoral School, held at Central European University in Vienna, Austria. The episode transcript can be accessed here . This episode is part of the EUTERPE podcast Library on European Literatures and Genders from a Transnational Perspective. The podcast is powered by the European Union, UKRI, and the Central European University Library. Grant Agreement: 101073012 EUTERPE HORIZON-MSCA-2021-DN-01 Project. For more information about the EUTERPE project please refer to the official project webpage https://www.euterpeproject.eu/ , or follow us on Instagram @euterpe_project_ or Facebook at EUTERPE Doctoral Network Project . This episode was edited by Evangeline Scarpulla. Thank you to Alexander Walker for the music and to Alice Flinta for the voice over. Thank you also to Ninutsa Nadirashvili and Kris Orszaghova for designing the podcast covers.