Join my list to receive a free copy of  Transgressive Writing Essentials A Starter Guide, plus exclusive updates and more.

A deep exploration redefining transgressive fiction—from shock and taboo to transformation, ethics, and self-reflection in contemporary literature.

Female desire in fiction isn’t always soft, safe, or empowering—and that’s exactly the point. From Lust in Paris to Animal and Adèle, feminist literature is reclaiming eroticism as power, not performance. These stories explore messy, dangerous, and unapologetic female desire, challenging the sanitized norms of sexuality in fiction. Let women want. Let them burn. Let their longing disrupt the page—and everything it touches.

Transgressive feminist literature doesn’t seek approval. It doesn’t heal, uplift, or behave. Instead, it dives into rage, obsession, madness, and sexual power—without apology. From Medea to Moshfegh, this mode of writing centers women as complex, carnal, cruel, and unsanitized. This isn't about empowerment through perfection—it's about the freedom to be unlikable, unreadable, and unforgettable. Here's a deep dive into its history.

Long before feminism had a name, women were writing it. From Margery Kempe’s unruly confessions to Táhirih’s revolutionary poetry in Qajar Iran, female voices across the globe defied silence. Nana Asma’u educated women in 19th-century Nigeria, Rābiʿa al-ʿAdawiyya penned mystic verse in 8th-century Iraq, and Sor Juana challenged patriarchy with poetry. These weren’t footnotes in history—they were its uncredited authors.

Feminist speculative fiction isn’t about escape—it’s about disruption. From Lust in Paris to Us, Women, stories that center morally complex women dare to imagine worlds beyond sanitized feminism. These narratives reject redemption arcs and performative empowerment, embracing rage, desire, and contradiction. What if a woman didn’t heal, didn’t obey, didn’t explain? In feminist hands, speculative fiction becomes rebellion—alive, messy, and unapologetic.

Intersectionality in fiction isn’t about adding token characters—it’s about reflecting the real, messy collision of race, class, gender, sexuality, and power. Feminist storytelling that only centers white, cis, middle-class women isn’t liberation—it’s exclusion. In Lust in Paris, Lili exists in those fractures: too brown to belong, too complex to simplify. Write stories that hold all of us. Because if your feminism isn’t intersectional, your fiction is just a prettier form of