Gabrielle Bondi


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Gabrielle founded The Young Folks in 2010 with Luciana Villalba. Since then, she has served as editor-in-chief and oversees the staff and editorial content on The Young Folks. She recently graduated from Northwestern University and is now working on her master's degree at the Medill School of Journalism.

‘Jay’s Gay Agenda’ interview: Jason June talks queer joy and sex positivity in his YA debut

Jay’s Gay Agenda bursts with queer joy, which also happens to be author Jason June’s agenda for his debut YA novel. He wants to let queer readers know­—or remind them—that they too are “deserving of being the star of their…

‘Baby & Solo’ review: Friendship is at the heart of Lisabeth Posthuma’s 90s coming-of-age novel

This review of “Baby & Solo” is sponsored by Candlewick Press. Author Lisabeth Posthuma may transport readers back to the mid ’90s in her new novel Baby & Solo, but this YA coming-of-age story is much more than a nostalgia…

Women & Horror: Bodies, power and taboo in Claire Denis’ ‘High Life’

One of the opening scenes in Claire Denis’ High Life shows the main character, Monte (Robert Pattinson), baby-talking the word “taboo” to his baby daughter, Willow (Scarlett Lindsey). They are alone on a spaceship, and the scene is initiated by Monte’s discussion of how people do not eat their own body waste.

Women & Horror: Lynne Ramsay explores motherhood and identity in ‘We Need to Talk About Kevin’

“Women & Horror” is a four-part series of features on horror films directed by women. Content warning: This article discusses plot details, which include disturbing behavior and school-related violence. “What mama did was very, very wrong, and she’s so, so…

Women & Horror: Female sexuality and monstrosity awakens in Julia Ducournau’s ‘Raw’

Female sexuality seems to have always been closely linked to monstrosity. For example, tracing back to classic mythology, sirens were known to lure men using their inherent sexuality in order to devour them. This notion of women using their sexuality from lesser to larger monstrous and aggressive degrees is still prevalent in stories and media today. As horror critic Barbara Creed argues in her book, The Monstrous-Feminine, the connection between females and monstrosity is “almost always in relation to her mothering and reproductive functions.” Essentially, the perceived source of a female’s monstrosity is in what makes her different than a male.

Women & Horror: ‘Marlina the Murderer in Four Acts’ is a genre-bending victim-avenger story from director Mouly Surya

Marlina the Murderer in Four Acts is at first glance a convergence of cinematic influences. Set in a rural Indonesian town, the story follows the recently widowed Marlina’s (Marsha Timothy) journey after she murders a band of thieves and rapists in self-defense when they invade her home. The film, with its simplistic narrative divided neatly into four acts, is less about the moral gaze and more about visual and aural rhetoric, recalling the works of Sergio Leone and others that make up the “spaghetti western” genre.

Meet Monica Gomez-Hira, the author making her debut with ‘Once Upon a Quinceañera’

Monica Gomez-Hira’s fascination with quinceañeras began more than 25 years ago when she attended one for the first time while she was an English major at Wellesley College. The spectacle of the 15-year-old’s party amazed the then aspiring author. “They…