Podcast appearances and mentions of Melissa Febos

To some, the act of writing a memoir might seem daunting, invasive, or navel-gazing. But excavating memories, noticing patterns, and revisiting events from other points of view can lead to healing—regardless of whether your work gets published. On this episode of How To!, Carvell Wallace brings on Melissa Febos. Melissa is the bestselling author of five books, including Girlhood—winner of the National Book Critics Circle Award in Criticism—and a forthcoming memoir, The Dry Season. She teaches us how to create our own narrative in ways that are safe for you and empathetic of others.  If you liked this episode check out: Carvell Wallace on Another Word for Love, How To Start Writing (with Anna Quindlen and John Dickerson), and How To Get Your Book Published Do you have a problem that needs solving? Send us a note at howto@slate.com or leave us a voicemail at 646-495-4001 and we might have you on the show. Subscribe for free on Apple, Spotify, or wherever you listen. The show is produced by Rosemary Belson, with Kevin Bendis. Our technical director is Merritt Jacob and our supervising producer is Joel Meyer. Want more How To!? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the How To! show page. Or, visit slate.com/howtoplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

To some, the act of writing a memoir might seem daunting, invasive, or navel-gazing. But excavating memories, noticing patterns, and revisiting events from other points of view can lead to healing—regardless of whether your work gets published. On this episode of How To!, Carvell Wallace brings on Melissa Febos. Melissa is the bestselling author of five books, including Girlhood—winner of the National Book Critics Circle Award in Criticism—and a forthcoming memoir, The Dry Season. She teaches us how to create our own narrative in ways that are safe for you and empathetic of others.  If you liked this episode check out: Carvell Wallace on Another Word for Love, How To Start Writing (with Anna Quindlen and John Dickerson), and How To Get Your Book Published Do you have a problem that needs solving? Send us a note at howto@slate.com or leave us a voicemail at 646-495-4001 and we might have you on the show. Subscribe for free on Apple, Spotify, or wherever you listen. The show is produced by Rosemary Belson, with Kevin Bendis. Our technical director is Merritt Jacob and our supervising producer is Joel Meyer. Want more How To!? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the How To! show page. Or, visit slate.com/howtoplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

To some, the act of writing a memoir might seem daunting, invasive, or navel-gazing. But excavating memories, noticing patterns, and revisiting events from other points of view can lead to healing—regardless of whether your work gets published. On this episode of How To!, Carvell Wallace brings on Melissa Febos. Melissa is the bestselling author of five books, including Girlhood—winner of the National Book Critics Circle Award in Criticism—and a forthcoming memoir, The Dry Season. She teaches us how to create our own narrative in ways that are safe for you and empathetic of others.  If you liked this episode check out: Carvell Wallace on Another Word for Love, How To Start Writing (with Anna Quindlen and John Dickerson), and How To Get Your Book Published Do you have a problem that needs solving? Send us a note at howto@slate.com or leave us a voicemail at 646-495-4001 and we might have you on the show. Subscribe for free on Apple, Spotify, or wherever you listen. The show is produced by Rosemary Belson, with Kevin Bendis. Our technical director is Merritt Jacob and our supervising producer is Joel Meyer. Want more How To!? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the How To! show page. Or, visit slate.com/howtoplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

To some, the act of writing a memoir might seem daunting, invasive, or navel-gazing. But excavating memories, noticing patterns, and revisiting events from other points of view can lead to healing—regardless of whether your work gets published. On this episode of How To!, Carvell Wallace brings on Melissa Febos. Melissa is the bestselling author of five books, including Girlhood—winner of the National Book Critics Circle Award in Criticism—and a forthcoming memoir, The Dry Season. She teaches us how to create our own narrative in ways that are safe for you and empathetic of others.  If you liked this episode check out: Carvell Wallace on Another Word for Love, How To Start Writing (with Anna Quindlen and John Dickerson), and How To Get Your Book Published Do you have a problem that needs solving? Send us a note at howto@slate.com or leave us a voicemail at 646-495-4001 and we might have you on the show. Subscribe for free on Apple, Spotify, or wherever you listen. The show is produced by Rosemary Belson, with Kevin Bendis. Our technical director is Merritt Jacob and our supervising producer is Joel Meyer. Want more How To!? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the How To! show page. Or, visit slate.com/howtoplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

To some, the act of writing a memoir might seem daunting, invasive, or navel-gazing. But excavating memories, noticing patterns, and revisiting events from other points of view can lead to healing—regardless of whether your work gets published. On this episode of How To!, Carvell Wallace brings on Melissa Febos. Melissa is the bestselling author of five books, including Girlhood—winner of the National Book Critics Circle Award in Criticism—and a forthcoming memoir, The Dry Season. She teaches us how to create our own narrative in ways that are safe for you and empathetic of others.  If you liked this episode check out: Carvell Wallace on Another Word for Love, How To Start Writing (with Anna Quindlen and John Dickerson), and How To Get Your Book Published Do you have a problem that needs solving? Send us a note at howto@slate.com or leave us a voicemail at 646-495-4001 and we might have you on the show. Subscribe for free on Apple, Spotify, or wherever you listen. The show is produced by Rosemary Belson, with Kevin Bendis. Our technical director is Merritt Jacob and our supervising producer is Joel Meyer. Want more How To!? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the How To! show page. Or, visit slate.com/howtoplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

To some, the act of writing a memoir might seem daunting, invasive, or navel-gazing. But excavating memories, noticing patterns, and revisiting events from other points of view can lead to healing—regardless of whether your work gets published. On this episode of How To!, Carvell Wallace brings on Melissa Febos. Melissa is the bestselling author of five books, including Girlhood—winner of the National Book Critics Circle Award in Criticism—and a forthcoming memoir, The Dry Season. She teaches us how to create our own narrative in ways that are safe for you and empathetic of others.  If you liked this episode check out: Carvell Wallace on Another Word for Love, How To Start Writing (with Anna Quindlen and John Dickerson), and How To Get Your Book Published Do you have a problem that needs solving? Send us a note at howto@slate.com or leave us a voicemail at 646-495-4001 and we might have you on the show. Subscribe for free on Apple, Spotify, or wherever you listen. The show is produced by Rosemary Belson, with Kevin Bendis. Our technical director is Merritt Jacob and our supervising producer is Joel Meyer. Want more How To!? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the How To! show page. Or, visit slate.com/howtoplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

PUT EXPLICIT ON HERE:This week, I'm joined by author Kristen Arnett. We chat about clown and how they relate to her latest novel, Stop Me If You've Heard This One. Guest Book Author Recommendation: Eliza Kennedy Lucky Night recommends The Empusium by Olga Tokarczuk Book Recommendations:State of Paradise by Laura Van Den BergHot Air by Marcy DermasnkyLot by Bryan WashingtonKate & Frida by Kim FeyDry Season by Melissa FebosWomen's Hotel by Daniel M. Lavery Substack through my  Read with Me program.Giveaway: Kristen Arnett's Stop Me If You've Heard This One on Instagram LINK UP Closes April 16th.  Click here to find out ways in which you can help the attack on Federal funding for libraries. On Social Media: Twitter @Instagram Kristen_ArnettBlue Sky Kristen ArnettSubstack: Dad LessonsLink up to her column, Am I the Literary Asshole on Lit Hub  Support the showGet your Books Are My People coffee mug here!I hope you all have a wonderfully bookish week!

Brea and Mallory talk about how to write a good book review! Plus, they review a projector for ebooks, and recommend books where the protagonist is part of a weird subculture. Email us at readingglassespodcast at gmail dot com!Reading Glasses MerchRecommendations StoreSponsors -GreenChefwww.greenchef.com/GLASSESFREECODE: GLASSESFREELinks -Reading Glasses Facebook GroupReading Glasses Goodreads GroupAmazon Wish ListNewsletterLibro.fmTo join our Slack channel, email us proof of your Reading-Glasses-supporting Maximum Fun membership!The No Pressure Book Journal!Daughter of Daring - Signed CopiesDaughter of Daring LA LaunchReading Smut!Mini ProjectorBooks Mentioned - Death of the Author by Nnedi OkoraforThe Staircase in the Woods by Chuck WendigThe Future of Another Timeline by Annalee NewitzWhipsmart by Melissa Febos

In this episode, artist Camille Henrot and author Melissa Febos explore how relationships reveal the dynamics of control and connection. Henrot discusses how caregiving, education, and societal structures inform her creative process, while Febos reflects on her experiences as a dominatrix and the liberating process of writing about attachment. Together they consider how art can untangle the contradictions of intimacy and control. Learn more about your ad choices. Visit megaphone.fm/adchoices

Deesha Philyaw and Kiese Laymon sit down with Minda Honey to discuss her recently published memoir, The Heartbreak Years, and the role that Honey's own experiences, and the stories told to her by family, have had on shaping her work.  With her debut, Honey — who also edits Black Joy at Reckon — was praised for her ability to linger in the body and the desires of a Black woman while also seamlessly moving through not just place, but time. As Kiese Laymon says, “I actually thought what Minda was doing was like a new kind of travel writing. And so I was just so excited when everybody got to read it.” Reading List: Authors, Stories, and Books Mentioned The Heartbreak Years (Minda Honey) “The Reality of Dating All Men When You're Black” (Minda Honey, Gawker 2014) “Woman of Color in Wide Open Spaces” (Minda Honey, Longreads 2017) Black Joy at Reckon Cheryl Strayed's Dear Sugar Sari Botton Sweet Valley High Series (Francine Pascal) Roll of Thunder, Hear My Cry (Mildred D. Taylor) Milk Blood Heat (Dantiel Moniz) “On Being Black in Kentucky and Charles Booker's Historic Run for Senate” (Minda Honey, Salon 2020) Praisesong for the Kitchen Ghost (Crystal Wilkinson) Their Eyes Were Watching God (Zora Neale Hurston) “Writing for the Bad Faith Reader” (Susie Dumond, Melissa Febos, BookRiot 2023) Danielle Buckingham  “A Farewell to Fuckboys in the Age of Consent Culture” (Minda Honey, Longreads 2018) Listening List: “Doo Wop (That Thing)” (Lauryn Hill) More from Deesha Philyaw and Kiese Laymon:  The Secret Lives of Church Ladies (Deesha Philyaw) Heavy (Kiese Laymon) Long Division (Kiese Laymon) How to Slowly Kill Yourself and Others in America: Essays (Kiese Laymon) Ursa Short Fiction podcast (Deesha Philyaw & Dawnie Walton) Produced by Ursa Story Company in partnership with Reckon.  Hosted by Deesha Philyaw & Kiese Laymon Show Producers: Dawnie Walton & Mark Armstrong Associate Producer: Marina Leigh Episode Editor: Kelly Araja Reckon Editor In Chief: R.L. Nave Reckon Deputy Editor: Michelle Zenarosa Audience Director: Katie Johnston Creative Strategist: Abbey Crain Sr. Social Producer: Sid Espinosa

Join co-hosts Annie Liontas and Lito Velázquez in conversation with LitFriends Melissa Febos & Donika Kelly about their grand statements, big revelations, sentential seduction, queering forms, the power of vulnerability, and love poems. We're taking a break and will be back for our next episode with guests Yiyun Li & Edmund White on January 16,  2024. Happy Holidays, LitFam!   LINKS Libsyn Blog www.annieliontas.com www.litovelazquez.com www.melissafebos.com www.donikakelly.com LitFriends LinkTree LitFriends Insta LitFriends Facebook TRANSCRIPT Annie: (00:00) This episode is dedicated to Chuck, a dog we have loved, and Donika and Melissa's sweet pup.   Annie & Lito: Welcome to LitFriends! Hey Lit Friends!   Annie: Welcome to the show.    Lito: Today, we're speaking with memoirist Melissa Febos and poet Donika Kelly, lit friends in marriage,   Annie: About seduction, big boss feelings, and sliding into DMs.   Lito: So grab your bestie,   Annie & Lito: And get ready to fall in love!   Annie: What I love about Melissa Febos, and you can feel this across all four of her books, is how she declares herself free. There's no ambiguity to this. This is her story, not your telling of it, not your telling of her. I meet her on the page as someone who's in an act of rebellion or an act of defiance. And I was not really surprised but delighted to find that, when I read Donika Kelly, I had sort of the same reaction, same impression. And I'm wondering if that's true for you, and, Lito, what your understanding of vulnerability and its relationship to power is.   Lito: The power for me in these conversations, and the power that the authors that we speak with possess, seems to me, in the ways that they have found how they are completely unique from each other. And more so than in our other conversations, Donika and Melissa, their work is so different. And yet, as you've pointed out, the overlap, and the fire, the energy, the defiance, the fierceness is so present. And it was present in our conversation. And so inspiring.   Annie: Yeah. I'm thinking even about Melissa Febos has this Ted Talk. (01:54) Where she says "telling your secrets will set you free." And it feels that not only is that true, but it's also very much an act of self reclamation and strength, right? Where we might read it as an act of weakness. It's actually in fact, a harnessing of the self.   Lito: Right, it's not that Melissa has a need to confess. It's that she really uses writing to find the truth about herself and how she feels about something, which that could not differ more from my writing practice.   Annie: How so?   Lito: I find that I sort of, I write out of an emotion or a need to discover something, but I already sort of am aware of where I am and who I am before I start. I find the plot and the characters as I go, but I know sort of how I feel.   Annie: Yeah, I think for me, I do feel like writing is an act of discovery where maybe I put something on the page, it's the initial conception, or yeah, like you coming out of a feeling. But as I start to ask questions, right, for me, it's this process of inquiry. I excavate to something maybe a little more surprising or partially hidden or unknown to myself.   Lito: That's true. There is a discovery of, and I think you're, I think you've pointed to exactly what it is. It's the process of inquiry, and I think both of them, and obviously us, we're doing that similar thing. This is about writing, about this, this is about asking questions and writing through them.   Annie: Yeah, and Donika Kelly, we feel that in her work, her poetry over and over, even when they have the same recurring, I would say haunting images or artifacts. Each time she's turning it over and asking almost unbearable questions.   Lito: Right.   Annie: And we're joining her on the page because she is brave enough and has an iron will and says, no, I will not not look this in the eye.    Lito: That's the feeling exactly that I get from both of them is the courage, the bravura of the unflinching.   Annie: I think something that seemed to resonate with you was (03:58) how they talk about writing outside of publishing right? Yeah.   Lito: Yeah, I love I love that they talk about writing as a practice regardless, they're separated from The need to produce a work that's gonna sell in a commercial world in a capitalist society. It's more about the daily practice, and how that is a lifestyle and even what you said about the TED talk, that's just her. She's just talking about herself. Like that she's just telling an absolute truth that people don't typically talk about.   Annie: Right. And it's a conscious, active way to live inside one's life. It's a form of reflection, meditation, and rather than just moving through life, a way to make meaning of the experience.   Lito: I love that you use the word meditation because when you talk about meditation, you think of someone in a lotus position quietly being, but the meditations that both of them do, these are not quiet.   Annie: No. And of course we have to talk about how cute they are as married literary besties.   Lito: Oh my god, cute and like, they're hot for each other.   Annie: Oh my god.   Lito: It's palpable.   Annie: So palpable, sliding into DMs, chatting each other up over email.   Lito: They romanced each other, and I hope—no—I know they're gonna romance you, listener.   Annie: We'll be right back.   Lito: (05:40) Back to the show.   Annie: Melissa Febos is the author of four books, including the best-selling essay collection Girlhood, which won the National Book Critics Circle Award, was a Lambda finalist, and was named a notable book by NPR, Time Magazine, the Washington Post, and others. Her craft book Body Work is a national bestseller and an Indie's Next Pick. Her forthcoming novel The Dry Season is a work of mixed form nonfiction that explores celibacy as liberatory practice. Melissa lives in Iowa City with her wife, the poet Donika Kelly, and is a professor in the English department at the University of Iowa, where she teaches creative writing.   Lito: Donika Kelly is the author of The Renunciations, winner of the Anisfield-Wolf Book Award in poetry and Bestiary, the winner of the 2015 Cave Canem Poetry Prize, a Hurston Wright Legacy Award for poetry, and the Kate Tufts Discovery Award. Donika has been a finalist for the National Book Critics Circle Award, the Publishing Triangle Awards, the Lambda Literary Awards, and was long listed for the National Book Award. (06:00) Donika lives in Iowa City with her wife, the writer Melissa Febos, and is an assistant professor in the English department at the University of Iowa, where she teaches creative writing.   Annie: Well, thank you for joining us for LitFriends to talk about the ultimate lit friendship. It does seem like you've won at the game of lit friends a little bit, having married your lit friend. I think of you both as writers who are in the constant act of subversion and resisting erasure. And that's the kind of work that Lito and I are drawn to, and that we're trying to do ourselves. And your work really shows us how to inhabit our bravest and most complex selves on the page. So we're really grateful for that.   Melissa: Thanks.   Annie: Yeah, of course. I mean, Donika, I think about poems of yours that my friends and I revisit constantly because we're haunted by them in the best way. They've taken residence inside of us. And you talk about what it means to have to do that work. And you've said, "to admit need and pain, desire and trauma and claim my humanity was often daunting. But the book demanded I claim my personhood."   And Melissa, I think you know how much your work means to me. I mean, as someone who is raised as a girl in this country and writing creative nonfiction, Body Work should not be as revelatory as it is. Yet what I see is that you're shaping an entire generation of nonfiction writers, many of them women. So, you know, also very grateful for that. And you've talked about that in Body Work. You've said "the risk of honest self-appraisal requires bravery to place our flawed selves in the context of this magnificent broken world is the opposite of narcissism, which is building a self-image that pleases you." So we'll talk more in a bit about courage and vulnerability and how you all do the impossible things you do, but let's dive into your lit friendship.   Melissa: Thank you, Annie, for that beautiful introduction.   Donika: Yeah, thank you so much. I'm excited to talk about our friendship.   Lito: We're so excited to have you here.   Melissa: Talk about our special friendship.   Annie: Very special friendship. Friendship with benefits.   Lito: So tell us about your lit friend, Melissa, tell us about Donika.   Melissa: (09:07) Tell us about her. Okay, she's fucking hilarious, like very, very funny and covers a broad spectrum of humor from like, there's a lot of like punning that goes on in our house, a lot of like silly wordplay, bathroom humor, and then like high level, like, literary academic sort of witticism that's also making fun of itself a lot. And we've sort of operated in all of those registers since like the day we met.   She is my favorite poet. There's like those artists that whose work you really appreciate, right? Sometimes because it's so different from your own. And then there are those artists whose work registers in like a very deep sort of recognition where they feel like creative kin, right? And that has always been my experience of Donika's work. That there is a kind of creative intelligence and emotionality that just feels like so profoundly familiar to me and was before I knew anything about her as a human being.   Okay, we also like almost all the same candy and have extremely opposite work habits. She's very hot. She only likes to watch like TVs and movies that she's seen many times before, which is both like very comforting and very annoying.   Lito: Well, I'm gonna have to follow that up now. What are some of the top hits?   Melissa: Oh, for sure, Golden Girls is at the very top. I mean…   Annie: No one's mad at that.   Lito: We can do the interview right now. Perfect. All we need to know. A++!   Melissa: She's probably like 50% of the time that she's sleeping, she falls asleep to the soundtrack of the Golden Girls or Xena, maybe. But we've also watched the more recent James Bond franchise, The Matrices, (11:00) and Mission Impossible, never franchises I ever thought I would watch once, let alone multiple times at some point.   Annie: I mean, Donika, your queerness is showing with that list.   Lito: Yeah.   Donika: I feel seen. I feel represented accurately by that list. She's not wrong. She's not wrong at all. But I've also introduced to her the pleasure of revisiting work.   Melissa: That's right.   Donika: And that was not a thing that Melissa was doing before we met, which feels confusing to me. Because I am a person who really likes to revisit. She was buying more books when we met, and now she uses the library more, and that feels like really exciting. That feels like a triumph on my part. I'm like…   Annie: That is a victory. Yeah.   Donika: …with the public services.   Melissa; Both of these examples really allude to like this deep, fundamental sort of capitalistic set of habits that I have, where I… like there's like this weird implicit desire to try to read as many books as possible before I perish, and also to hoard them, I guess. And I'm very happy to have been influenced out of that.   Annie: Well it's hard not to think—I think about that tweet like once a week that's like you have an imaginary bookshelf, and there are a limited amount of books on that you can read before you die, and that like troubles me every day.   Melissa: Yeah it's so fucked up. (12:22) I don't want that. It's already in my head. I feel like I was born with that in my head, and I'm trying to get free.   Lito: Same. Serious book FOMO, like…   Donika: There are so many books y'all.   Lito: I know. It's not possible.   Donika: And, it's like, there are more and more every year.   Annie: Well, uh Donika tell us about Melissa.   Donika: Oh Melissa As she has already explained we have a lot of fun It's a funny household. She's hilarious. Um, and also she's a writer of great integrity, which you know I'm sitting on the couch reading Nora Roberts, and she's like in her office hammering away at essays, and I don't know what's going on in there. I'm very nosy. I'm a deeply nosy person. Like, I just I want to know like what's going on. I want to know the whole history, and it's really amazing to be with someone who is like here it is.   Annie: How did you all meet?   Donika: (13:20) mere moments after Trump was elected in 2016. I was in great despair. I was living in Western New York. I was teaching at a small Catholic university. Western New York is very conservative. It's very red. And I was in this place and I was like, this place is not my place. This place is not for me. And I was feeling very alone. And Melissa had written an essay that came out shortly after about teaching creative writing at a private institution in a red county. And I was like, oh, she gets it, she understands.   I started, I just like looked for everything. I looked for like everything that she had written. I read it, I watched the TED talk. I don't know if y'all know about the TED talk. There was a TED talk. I watched the TED talk. I was like, she's cute. I read Whip Smart. I followed her on Twitter. I developed a crush, and I did nothing else. So this is where I pass the baton. So I did all of that.   Melissa: I loved Bestiaries, and I love the cover. The cover of her book is from this medieval bestiary. And so I just bought it, and I read it. And I just had that experience that I described before where I was just like, "Oh, fuck. Like this writer and I have something very deep in common." And I wrote her. I DMed her on Twitter.   Sometimes I obscure this part of the story because I want it to appear like I sent her a letter by raven or something. But actually, I slid into her DMs, and I just was like, "hey, I loved your book. If you ever come to New York and want help setting up a reading, like I curate lots of events, da da da." And I put my email in. And not five minutes later, refreshed my Gmail inbox, and there was an email from Donika, and…   Donika: I was like, "Hi. Hello. It's me."   Annie: So you agree with this timeline, Donika, right? Like, it was within five minutes.   Donika: Yeah, it was very fast. And I think if I hadn't read everything that I could get my hands on that Melissa had written, I may have been a little bit slower off the mark. It wasn't romantic. Like the connection, I wasn't like, oh, this is someone who like I want to (15:41) strike up a romantic relationship with, it really was the work. Like I just respected the work so much.   I mean, I did have a crush, like that was real, but I have crushes on lots of people, like that sort of flows in and out, but that often is a signifier of like, oh, this person will be my friend. And I was still married at the time and trying to figure out, like that relationship was ending. It was coming to a quick close that felt slow. Like it was dragging a little bit for lots of reasons.   But then once it was clear to me that I was getting divorced, Melissa and I continued writing to each other like for the next few months. Yeah. And then I was like, oh, I'm getting divorced. I was like, I'm getting divorced. And then suddenly the emails were very different. From both of us. It wasn't different.   Melissa: There had been no romantic strategy or intent, you know, and I think which, which was a really great way to, we really started from a friendship.   Annie: And sounds like a courtship really. I mean, it kind of is an old fashion.   Melissa: Yeah, in some way, it became that. I think it became that. But I think it was, I mean, the best kind of courtship begins as a, as a friendly courtship, you know what I mean? Where it was about sort of mutual artistic respect and curiosity and just interest. And it wasn't defined yet, like, what sort of mood that interest would take for a while, you know?   Lito: So how do you seduce each other on and off the page?   Donika: That's a great question.   Melissa: That is a great question.   Donika: I am not good at seduction. So that is not a skill set that is available to me. It has never been available.   Lito: I do not believe that.   Annie: I know. I'm also in disbelief out here, really.   Melissa: No one believes it, but she insists.   Annie: I feel like that's part of the game, is my feeling, but it is not.   Melissa: It's not. Here's the thing I will say is that like Donika, I've thought a lot about this and we've talked a lot about this because I balked at that statement as well. It's like Donika is seductive. Like there are qualities about her that are very seductive, but she does not seduce people. You know what I mean? Like she doesn't like turn on the charisma and shine it at you like a hypnotist. Like that's not… (18:08) that's not her form of seduction, but I will say…   I can answer that question in terms of like, I think in terms of the work, since we've been talking about that, like in a literary way, both in her own work, like the quality, like just someone who's really good at what they do is fucking sexy, you know? Like when I was looking for like a little passage before this interview, I was just like, "ah, this is so good." Like it's so attractive when someone is really, really good at their craft. right? Especially when it's a crop that you share.   Donika: So Melissa does have the ability to turn on what she has written about, which I think is really funny. Like she like she has like, she has a very strong gaze. It's very potent. And one of my gifts is to disrupt that and be like, what are you doing with your eyes? And so like, when I think about that in the work, when I'm reading her work, and I'm in like its deepest thrall, it is that intensity of focus that really like pulls me in and keeps me in. She's so good at making a grand statement.   Melissa: I was just gonna bring that up.   Donika: Oh, I think she and I like often get to, we arrive at sort of similar places, but she gets there from the grand statement, and I get there from the granular statement, like it's a very narrow sort of path. And then Melissa's like, "every love is a destroyer." I was like, whoa, every one? And there's something really compelling about that mode of— because it's earnest, and it's backed up by the work that she's written. I would never think to say that.   Melissa: I have a question for you, lit friend. Do you think you would be less into me if I weren't? Because I think for a nonfiction writer, I'm pretty obsessed with sentences. It's writing sentences that makes, that's the thing I love most about writing. It's like where the pleasure is for me. So I'm a pretty poetically inclined nonfiction writer. If I were less so, do you think that would be less seductive to you as a reader or a lit friend?   Donika: I mean, that's like asking me to imagine like, "so, what if… (20:30) water wasn't wet?" I just like, I can't like, I can't imagine. I do think the pleasure of the sentence is so intrinsic to like, I think there's something in the, in your impulse at the sentence level. That means that you're just careful. You're not rushing. You're not rushing us through an experience or keeping us in there and focused. And it's just it's tricky to imagine, or almost impossible to imagine what your work would look like if that weren't the impulse.   Lito: Yeah, I think that's an essential part of your style in some ways, that you're taking that time.   Melissa: Mm-hmm.    Annie: And how you see the world. Like I don't even think you would get to those big revelations Donika's talking about without it.   Melissa: Yeah. Right. I don't, yeah, I don't think I would either. We'll be right back.   Lito (21:19) Hey Lit Fam, Lit Friends is taking a break for the holiday. We hope you'll join us for our next episode with our guests, Ian Lee and Edmund White on January 16th. Till then, may your holiday be lit, your presents be numerous, and your 2024 be filled with joy and peace. If you'd like to show us some love, please take a moment now to follow, subscribe, rate, and review the LitFriends Podcast on Apple podcasts, Spotify, or wherever you listen to podcasts. Just a few moments of your time will help us so much. Big hugs to you and yours. Thank you for listening. And thank you for making season one a big success!   Annie: (22:05) Welcome back.   Lito: I've noticed that both of you, you know, you have your genres that you work in, but within that you're experimenting a lot with form and structure. Does anything of that come from being queer? I guess it's a question about queering forms of literature, and what that has to do also with the kinds of friendships that queer people have, and if that's different, maybe. So I guess I'm asking to connect form with queerness and friendship.   Melissa: That's a beautiful question. I think, and I'm starting with thinking about my relationship to form, which has been one of inheriting some scripts for forms. This is what an essay should look like. This is what plot structure looks like. This is how you construct a narrative. And sort of taking those for granted a little bit, and then pretty early on, understanding the limitations of those structures and the ways that they require that I contort myself and my content such that it feels like a perversion or betrayal of sort of what I'm dealing with, right? And so the way I characterize my trajectory, the trajectory of my relationship to form has been sort of becoming conscious of those inherited forms, and then pushing the boundaries of them and modifying them and distorting them and adding things to them and figuring out, letting my work sort of teach me what form it rests most easily in and is most transparent in. And I suspect that my relationship to friendship and particularly queer friendship mimics that.   Donika: Yeah, that sounds right to me. And I'm reminded of Denise Levertov has this essay titled "On the Function of the Line." And in it, she presents an argument that closed forms, received forms, are based on a kind of assumption of resolution, and that free verse or open design, like in a poem, it shows evidence of the speaker's thinking.   (24:24) Right? So that where the line breaks, the speaker is pausing, right? To gather their thoughts or like a turn might happen that's unexpected that mimics the turns in thinking. And I really love that essay. Like that essay is one of my favorites. So when I think about my approach to form, I'm like, what is the shape that this poem is asking for? What is the shape that will do, that will help the poem do its best work? And not even like to be good, but just like to be true.   I really love the sonnet shape. Like it's one of my favorite shapes. And it's so interesting and exciting to use a shape that is based on like argumentative structure or a sense of resolution, to explore. Like to use that as an exploratory space, it feels like queering our, like my expectations of what the sonnet does. Like there's something about the box. If I bounce around inside that box, there's gonna be something that comes out of that, that I wouldn't necessarily have gotten otherwise, but it's not resolution. Like the point is not resolution.   And when I think about my relationships and my chosen family, in particular, and to some degree actually my given family, part of what I'm thinking about is how can I show up and care and what does care look like in this relationship and how can I make room to be cared for? And that's so hard, like being cared for is so much more alien to me than, like, as a concept, like I feel like very anxious about it. I'm like, "am I asking for too much?" And like over and over again, my chosen family is like, "no, it's not too much. Like we, we got each other."   Melissa: I think particularly for queer people, we understand that it doesn't preclude romance or healthy kinds of dependency or unhealthy kinds of dependency, you know, that all of the things that happen in a very deep love relationship happen inside of friendship, where I think sort of like straight people and dominant culture have been like, "oh, no, like friendship isn't the site of like great romance or painful divorce or abuse." And queer people understand that all of those things happen within relationships that we call friendships.   Annie: (26:46) Yeah, I mean, I'm hearing you both talk about kind of queer survival and joy and even, Donika, what you were saying about having to adjust to being cared for as a kind of, you know, that's a sort of, to me, it's a sort of like a survivor's stance in the world. One of the things that I love about my kinship with Lito as, you know, my queer lit friend and, you know, brother from another mother is that he holds that space for me and I, you know, vice versa.   Even thinking about vulnerability, I think you both wield vulnerability as a tool of subversion too, right? And again, Lito and I are both creating projects right now that require a kind of rawness on the page. I'm about to publish a memoir called Sex with a Brain Injury, so I'm very consciously thinking about how we define vulnerability, what kind of work it does to reshape consciousness in the collective. And the ways that you each write about trauma helps us understand it as an act of reclamation, you know, power rather than powerlessness. So maybe you could talk a little bit about what is or what can be transformative about the confessional and maybe even more to the point, what does your lit friend teach you about vulnerability?   Melissa: (28:06) Oh, God, what doesn't she teach me about vulnerability? It's interesting because like you're correct that vulnerability is like very central to my work and to the like lifelong project of my work, and also like there's literally nothing on earth I would like to avoid more. And I don't think that is visible in my work, right? Because my work is the product of counteracting that set of instincts, which I must do to survive because the part of me that wants to avoid vulnerability, its end point is like literally death for me.   It is writing for me often starts from like kind of a pragmatic practice. I don't start like feeling my feelings. I write to get to my feelings and sometimes that doesn't happen until like after a book is published sometimes. You know like it's really interesting lately I've been confronting some feelings in like a really deep way that I think I have gotten access to from writing Girlhood, which came out in 2021. And it's like I had to sort of lay it all out, understand what happened, redefine my role in it and everyone else's. And I definitely had feelings while I was writing it. But like the feelings that Donika refers to as the big boss, like the deepest feelings about it. Like I, I feel like I'm only really getting. to it now.   My relationship to vulnerability, it's just like, it's a longitudinal process, you know? And there's no one who's taught me about that and how to be sort of like gentle and patient within that and to show up for it than Donika.   And I'm just thinking of like, you know, starting from pretty early in our relationship, she was working on the poems in The Renunciations, and over the years of our early, the early years of our relationship, she was confronting some childhood, some really profound childhood trauma. And she was doing that in therapy. And then there were like pieces of that work that she had to do in the poems. And I just watched her not force it. And when it was time, she like created the space to do the work. And like, I wasn't (30:35) there for that. I don't think anyone else really could have been there for that. And just like showing up for that work.   And then like the long tail of like publishing a book and having conversations with people and the way that it changes one's relationship and like the act of the vulnerability—achieved feels like the wrong word—but the vulnerability like expressed or found in the writing process, how that is just like a series of doorways and a hallway that maybe it never terminates. Maybe it doesn't even turn into death. I don't know. You know, but I've just seen her show up for that process with like a patience and a tenderness for herself at every age that I find incredibly challenging. And it's been super instructive for me.   Donika: Ooh. I, I'm, it makes me really happy to know that's your experience of like being like in like shared artistic space together. I think I go to poetry to understand, to help myself understand what it is that I'm holding and what it is that I wanna put down. Like that's what the poems are for. You know, like the act of writing helps me sort out what I need and what I wanna put down because narrative is so powerful. It feels like the one place where I can say things that are really hard, often because I've already said them in therapy.   Right? So then it's like, I can then explore what having said those hard things means in my life or how it sits in my life. And what Melissa shows me is that one can revise. I know I've said this like a few times, but that one can have a narrative. Like I think about reading Whipsmart and the story that she has about herself as a child in Whipsmart, and then how that begins to change a bit in Abandon Me. And then in Girlhood, it's really disrupted. And there is so much more tenderness there, I think. It looks really hard. Like, honestly, that joint looks hard because I might be in a poem, but I'm in it for like, like we're in it, like if I were to read it out loud for like a minute and a half.   Melissa: (33:50) It's interesting hearing you talk. I wonder if this is true. I think I'm hearing that it is true. And I think that's where it's with my experience that you often get to the feelings like in therapy or wherever, and then write the poems as more of a sort of emotional, but like also cognitive and kind of systemic and like a way of like making sense of it or putting it in context. And I think very much I, there'll be like deeply submerged feelings that emerge only as like impulses or something, you know, but I experience writing— I don't that often feel intense emotion while I'm writing. I think it's why that is writing is almost always the first place that I encounter my own vulnerability or that I say the like unspeakable thing or the thing that I have been unable to say. I often write it and then I can talk to my therapist about it or then I can talk to Donika about it.   And I think I can't. I'm too afraid or it feels like too much to feel the feelings while I'm writing. So I sort of experience it as a cognitive or like intellectual and creative exercise. And then once I understand it, sometime in the next five years, I feel the feelings.   Annie: Do you feel like it's a kind of talking to yourself or like talking outside of the world? Like what is it in that space that does that for you?   Melissa: Yeah, I do. I mean, it's like. Talking outside the world makes more sense to me than talking to myself. I mean, it is talking to myself, right? It's a conversation with myself, but it's removed from the context of me in my daily life. That's why it's possible. Within my daily life, I'm too connected to other people and my own internal pressures and just like the busy, superficial part of me that's like driving a lot of my days. I have to get away from her in order to do that work.   And so the writing really happens in a kind of separate space and feels like it is not, it has a kind of privacy that I don't experience in any other way in my life, where I really have built or found a space where I am never thinking about what other people think of me, and I'm not imagining a skeptical reader. (35:18) It is really like this weird spiritual, emotional, creative, intellectual space that is just separate from all of that, where I can sort of think and be curious freely.   And I think I created that space or found it really early on because I was, even as a kid, I was a person who was like so concerned with the people around me, with the adults around me, with what performances were expected of me. And being a person who was like very deeply thinking and feeling, I was like, well, there's no room for that here. So I need to like find somewhere else to do it. And so I think writing became that for me way before I thought about being a writer.   Lito: That's so fascinating to me. I think that's so different than how I work or Donika works or a lot of people I know. We'll be right back.   Lito: (36:26) Back to the show.   So this question is for both of you really, but it just makes me wonder then like, what is the role for emotion, but in particular anger? How does that like, when things get us angry, sometimes that motivates us to do something, right? So if you're not being inspired by an emotion to write, you're writing and then finding it, how does anger work as not only a tool for survival, but maybe a path towards personhood and freedom?   Donika: Oh, I was just thinking, I can't write out of that space, the space of anger. It took me a long time to get in touch with anger as a feeling. That took a really long time because in my family, in my given family, the way that people expressed anger was so dangerous that I felt that I didn't want to occupy those spaces. I didn't want to move emotionally into that, into that space if that was what it looked like. And it took me a long time to figure out how to be angry. And I'm still not sure that I'm great at it. Because I think often I'm moving quickly to like what's under that feeling. And often what's under my feelings of being angry, often, not always, is being hurt, feeling hurt. And I can… write into exploring what that hurt is, because I know how to do that with some tenderness and some care.   Melissa: I feel similarly, which is interesting, because we've never talked about this, I don't think. But anger is also a feeling that I think, for very different reasons, when I was growing up… I mean, I think just like baseline being socialized as a girl dissuaded me from expressing anger or even from feeling it, because where would that go?   But I also think in the particular environment that I was in, I understood pretty early that my expressions of anger would be like highly injurious to the people around me and that it would be better if I found another way to express those things. I think my compulsive inclinations have been really useful in that way. And it's taken me a lot of my adult life to sort of… (38:44) take my anger or as Donika said, you know, like anger for me almost always factors down to something that is largely powerlessness, you know, to sort of not take the terror and fury of powerlessness and express it through like ultimately self harming means.   Writing can be a way for me to arrive at like justifiable anger and to sort of feel that and let that move through me or to be like, oh, that was unjust. I was powerless in that situation. You know? Yeah, it has helped me in that way. But like, if I'm really being honest, I think I exhaust myself with exercise. And that's how I mostly deal with my feelings of anger.   Annie: Girl.   Melissa: Yeah, there's also a way I will say that like, I do think it actually comes out in my work in some ways. Like there is like a very direct, not people-pleasing vibe and tone in my work that is genuine, but that I almost never have in my life. Like maybe a little bit as a professor, but like    When Donika met me, she was like, "Oh… like you're just like this little gremlin puppy person. You're not like this intense convicted former dominatrix." You know, which is, I express it in my writing because it is a space where I'm not worried about placating or pleasing really. It's a space where I'm, I am almost solely interested in what I actually think.   Donika: I was just thinking about like the beginning of, I think it's "Wild America," when you talk about like not cleaning your room, Melissa. Because you didn't, like when you were a kid, right? It was like you cleaned your room when you wanted to appear good, but that didn't matter to you when you were alone in your room. Like you could get lost in a book or you could, you know, like just be inside yourself alone when you were alone in your room. And that's one of my favorite passages that you read. Like I'm always sort of like mouthing along, like it's a song.   Melissa: (40:57) I'm just interested and I really love the sort of conception of like a girl's room as a potential space that sort of maps on to the way I described the writing space where it's just like a space where other, where the gaze of others, or the gaze that we're taught to please like can be kept out to some extent. And just like, you know, that isn't true, obviously for like lots and lots and lots of girls, but just that there is an impetus for us to create or invent or designate a space where that is true.   Lito: Yeah, I think that's what she's up to in "A Room of One's Own."   Annie: It makes me think of like girls' rooms as like kind of also these reductive spaces, like they all have to have pink or whatever, but then you like carve out a secret space for yourself in that room, which I think is what you're talking about with your writing.   Donika: Oh, I was just thinking about what happens when you don't have a room like that, cause I didn't, like I absolutely did not have a room that was… inviolable in some way or that like really felt like I could close the door. But writing became a place where that work could happen and where those explorations could happen and where I could do whatever I want and I had control over so many aspects of the work. And I hesitated because I was saying I didn't have that much control over the content.   Like I might think, oh, I'm gonna write a poem about this or a poem about that. And as is true with most writing, the poems are so much smarter and reveal so much more than I might have intended, but I could like shape the box. There are just like so many places to have control in a poem, like there's so many mechanisms to consider where like when Melissa was first sharing like early work with me, I would get so nervous because I would wanna move a comma.   Because in a poem, like that's a big deal, moving somebody's commas around, changing the punctuation. And she was like, "it doesn't matter."   Melissa: I would get nervous because she would be like, "well, I just have one note, but it's like, kind of big." And I would be like, "oh, fuck, I failed." And she would be like,    Donika: "What's going on with these semicolons?"   Melissa: She'd be like, "I just, these semicolons."   Annie: You know, hearing you both talk about (43:20) how you show up for one another as readers, right? In addition to like romantic partners. I mean, we do have the sense, and this can be true of all marriages, queer or otherwise, where like we as readers have a pretty superficial understanding of what you kind of each bring to the table or how you create this protective space or really see one another. I imagine that you've saved yourselves, but I'm curious about to what extent this relationship may have also been a way to save you or subvert relationships that have come before. And yet at the same time, we've asked this question of other lit friends too, which is, you know, what about competition between lit friends? And what does that look like in a marriage? What is a good day versus a bad day?   Donika: I mean, we could be here for years talking about that first question. And so I'm gonna turn to the second part to talk about competition, which is much easier to handle.   I feel genuinely and earnestly so excited at the recognition that Melissa has received. Part of what was really exciting for me about the beginning of our relationship that continues to be exciting is that, is getting to watch someone be truly mid-career and navigate that with integrity. It feels like such a good model, for how to be a writer.   I mean, she's much more forward-facing than I would ever want to be. But I think in terms of just thinking about like, what is the work? How, like, where is the integrity? Like, it's just, it's always so, so forward and it feels really grounding for me and us in the house, so it's always big cheers in here. It helps that we write in different genres. I think that's super helpful.   Melissa: I think it's absolutely key. Yeah.   Donika: It's not, I mean, I think, and that we have very different measures of ambition. I think those two things together are really, really helpful.   But I've read everything that Melissa has written, I think. (45:38) There might be like a few little, I mean, I've read short story, like that short, there was like a short story from like shortly, I think after you, like before you were in your MFA program, maybe.   Melissa: Oh my God. What short story?   Donika: I can't, I'll find it. And show it to you later.   Melissa: Is it about that little plant?   Donika: No, no, it might've been an essay. I'm not sure.   Annie: I love this. This is sort of hot breaking news on LitFriends.   Donika: It's like, I've just like, I did a deep Google dive. I was like, I want to read everything and it's, it feels really exciting.   Melissa: You know, I've dated writers before, and it was a different situation. And I think even if I hadn't, even before I ever did, I thought, that seems unlikely to work. Because even though there are lots of like obvious ways that it could be great, the competition just seemed like such a poison dart that it would be really hard to avoid because writers are competitive, and I'm competitive. And maybe it would have been harder if we were younger or something.   And certainly if we were in the same genre, I think actually, who knows? Maybe it would be possible if we were in the same genre, but it would require a little more care. Even if for some reason we would never publish again, we would keep writing. It just like it functions in our lives in similar ways. And it's like a practice that we came to, you know, I have a more hungry ambition or have historically. And I think our relationship is something that helps me keep the practice at the center because we're constantly talking about it. And I'm constantly observing Donika's relationship to her work. So it really hasn't felt very relevant. Like it's kind of shocking to me how, how little impact competition or comparing has in our relationship. It's really like not even close to one of the top notes of things that might create conflict for us, you know, and I'm so grateful for that. And so happy to have like underestimated what's possible when you have a certain level of intimacy and respect and sort of compatibility with someone.   Lito: We'll be right back.   Annie: (47:57) Welcome back. Well, then I'm wondering, you know, you both have had some like incredible successes in the last few years. And I'm wondering if conversely, you've been able to show up for one another in moments of high pressure or exposure, or, you know, having to confront the world, having been vulnerable on the page in the ways you have been.   Melissa: Donika was not planning on having a book launch for The Renunciations.   Donika: What's a book launch? Like, why do people do that?   Annie: Listen, mine's going to be a dance party, Donika. So…   Melissa: And I made, meanwhile, like when I published Abandon Me, I had a giant dance party that I had like several costume changes for during. But I remember feeling pretty confident about making a strong case multiple times for her to have a book launch for The Renunciations. And also like having a lot of respect and like tenderness watching her navigate what it meant to take work that vulnerable and figure out how to like speak for it and talk about it and like present it to the world. Parts of her would have preferred to just let the book completely speak for itself out there.    Donika: But you were right it was a good time.   Melissa: I was right.   Donika: Because like when Melissa's so when Girlhood came out it was like, that was still the time of like so many virtual events. And it was just like, I think that first week there was like something every day that week, like there was an event every day that week. And now, now like, again, I had to be talked into having a book launch. So I own this. Um, but I was like, Ooh, why, why would you do that? Oh, yeah. Four?   Melissa: This is definitely one of the ways that she and I are like diametrically opposed, and therefore I think, helpful to each other in sort of like creating a kind of tension that can be uncomfortable but is mostly good for both of us to be sort of pulled closer to the middle.   Donika: But my favorite part of that is then hearing you give advice to your friends who are very similar and be like, "whoa, you did too much. You put too many things on the calendar."     Melissa: (50:15) You know, some people would say that that's hypocrisy, but I actually think, I have a real dubious like position and thinking about hypocrisy because I am an expert in overdoing things. And so I think I speak from, I am like the voice of Christmas future. You know what I mean? I'm like, let me speak to you from the potential future that you are currently planning with your publicist. And like, it's not pretty and it doesn't feel good. And it's not, it has not delivered the feeling that you're imagining when you're scheduling all those events.   Annie: I can appreciate this. And I appreciate Donika's kind of role, this particular role in a relationship, because sometimes I just have to go see Leto and literally just lay on Lito and be like, stop me from doing anymore.   Melissa: I know, I know.   Lito: You and Sara are like super overachievers. I have to be like, "can you calm down?"   Annie: We do too much.   Lito: Way too much. What would you like to see your lit friend make or create next?   Donika: I got two answers to this. The first one is the Cape Cod lesbian mystery. I'm ready. You know, we got, I've offered so much assistance as a person who will never write prose. Um, but I got notes and ideas. The second one is, uh, a micro essay collection titled Dogs I Have Loved. Cause I think it would be a New York Times bestseller.   Lito: Oh, I love that.   Donika: I know.   Lito: Speaking of, who's the little gremlin puppy there?   Donika: Oh, yeah, that's Chuck. Chuck is a 15-year-old chihuahua. I've had him since he was a puppy.   Annie: Is Chuck like a nickname, or is that just, it's just Chuck?   Donika: It's just Chuck.   Lito: I love that.   Melissa: His nickname is Charles sometimes. One of his nicknames is Charles, but his full name is Chuck.   Melissa: OK, so I would say, I mean, my first thought at this question was like, I want Donika to keep doing exactly what she's been doing? As far as I can tell, she doesn't have a lot of other voices getting in the way of that process. My second thought is that I'm really interested. I've never heard her talk. She has no interest in writing prose of any kind. She is like deeply wedded to poetry. But I have heard her talk more recently about potential collaborations with (52:40) other artists, visual artists and other writers. And I would, I'm really excited to see what comes out of that space.   Lito: Would you all ever collaborate beyond your marriage?   Annie: I could see you all doing a craft book together.   Melissa: I feel like we could make like a chapbook that had prose and poems in it that were responding to a shared theme. I could definitely see that.   Donika: I really thought you were gonna say Love Poems for Melissa Febos, that's what you wanted to see next.   Melissa: I mean, I already know that that's on deck, so I don't... I mean, it's in, it's on the docket. It's on deck. Yeah. So…   Lito: Those sonnets, get to work on the sonnets.   Donika: Such a mess.   Melissa: This is real, you think, this is not, like, a conversation of the moment. This is…   Annie: Oh no, we can, this is history.   Donika: "Where's my century of sonnets?" she says.   Lito (53:33) What is your first memory?   Donika: Dancing?   Melissa: Donika telling me I'm pretty.   Annie (54:15.594) Who or what broke your heart first?   Melissa: Maddie, our dog.   Donika: Kerri Strug, 1996 Olympics. Vault.   Lito: Atlanta.   Donika: The Vault final. Yeah. Heartbreaking.   Lito: Who would you want to be lit friends with from any time in history, living or dead?   Donika: I just thought Gwendolyn Brooks. I'm gonna go with that.   Lito: I love Gwendolyn Brooks.   Donika: Oh yeah.   Melissa: My first thought is Baldwin.   Donika: It's a great party. We're at a great party.   Melissa: I just feel like I would be like, "No, James!" all the time.   Melissa: (54:30) Or like Truman Capote.   Lito: It'd be wild.   Donika: Messy. So messy.   Annie: What's your favorite piece of music?   Melissa: Oh my god, these questions are crazy! "Hallelujah"?   Donika: Oh god, there's an aria from Diana Damraus' first CD. She's a Soprano. And it's a Mozart aria, and I don't know where it's from, and I can't tell you the name because it's in Italian and I don't speak Italian, but that joint is exceptional. So that's what I'm gonna go with. Oh God, just crying in the car.   Lito: If you could give any gift to your lit friend without limitations, what would you give them?   Donika: Just like gold chains. So many gold chains. Yeah! If I could have a gold chain budget, it'd be a lot.   Annie: (55:23) Donika, we can do this.   Lito: Achievable.   Donika: I mean, yeah. Yeah.   Lito: Bling budget.   Donika: That's the first thing I thought.   Annie: Love it.   Donika: Just like gold, just thin gold chains, thick gold chains.   Melissa: I'm going to go with that, then, and say an infinite sneaker budget.   Lito: Yes. Oh, I want a shoe room. (55:50) That'd be awesome.   Melissa: We need two shoe rooms in this house, or like one. Or we just need to have a whole living room that's just for shoes.   Donika: I just like there's just like one closet that's just like for shoes. Like that's what we need.   Lito: That's great.   Donika: Yeah, but it's actually a room. Yes. With like a sorting system, it's like computer coded.   Annie: Soft lighting. That's our show.   Annie & Lito: Thanks for listening.   Lito: We'll be back next week with our guests Yiyun Li and Edmund White.   Annie: Find us on all your socials @LitFriendsPodcast.   Lito: Don't forget to reach out and tell us about the love affair of you and your LitFriend.   Annie: I'm Annie Liontas.   Lito: And I'm Lito Velázquez. Thank you to our production squad. Our show is edited by Justin Hamilton.   Annie: Our logo was designed by Sam Schlenker.   Lito: Lizette Saldana is our marketing director.   Annie: Our theme song was written and produced by Robert Maresca.   Lito: And special thanks to our show producer, Toula Nuñez.   Annie: This was LitFriends, Episode Three.    

Join co-hosts Annie Liontas and Lito Velázquez in conversation with LitFriends Lucy Corin & Deb Olin Unferth about their travels in the Sahara, ancient chickens, disappointments, true love, and why great books are so necessary. Our next episode will feature Melissa Febos & Donika Kelly, out December 22, 2023.   Links Libsyn Blog www.annieliontas.com www.litovelazquez.com https://www.lucycorin.com https://debolinunferth.com LitFriends LinkTree LitFriends Insta LitFriends Facebook   Transcript Annie Lito (00:00.118) Welcome to Lit Friends! Hey Lit Friends!   Lito: Welcome to the show.    Annie: Today we're speaking with Lucy Corin and Deb Olin Unferth, great writers, thinkers, and LitFriend besties.    Lito:  About chickens, the Sahara, and bad reviews.    Annie: So grab your bestie   Annie & Lito: And get ready to get lit!   Lito: You know those like stones that you can get when you're on like a trip to like Tennessee somewhere or something, they're like worry stones? Like people used to like worry them with their thumb or something whenever they had a problem and it would like supposedly calm you down. Well, it's not quite the same thing, but I love how Deb describes her and Lucy's relationship is like, “worry a problem with me.” Like let's, let's cut this gem from all the angles and really like rub it down to its essential context and meaning and understanding. And I think essentially that's what like writers, great writers, offer the world. They've worked through a problem and they have answers. There's not one answer, there's not a resolution to it, but the answers that lead to better, more better questions.    Annie: Yeah, and there's something so special about them because they're, worry tends to be something we do in isolation, almost kind of worrying ourselves into the ground.   Lito: Right. Annie: But they're doing it together in collaboration.    Lito: It's a collaborative worry. Yes, I love that.    Annie: A less lonely worrying.    Lito: It's a less lonely place to think through these things. And the intimacy between them is so special. The way I think they just weave in and out of their lives with each other, even though they're far away from each other.   I think there's a romantic notion that you're tuned into about Lucy and Deb's trip to the desert. Do you want to say something about that? There's a metaphor in it that you really love, right?    Annie: (1:52) Yeah. Well, so I remember when we first talked about doing this podcast and invited them, we were at a bar at AWP, the writer's conference. And they were like, oh, this is perfect. We just went to the Sahara together. And I was like, what? You writers just decided to take a trip together through the desert? And they said, yeah, it was perfect. And they have adorable photos, which we of course are going to share with the world. Um, but it felt like such a, I mean, the fact that they would go on that kind of adventure together and didn't really plan ahead, I think it was just Deb saying, I really want to go to the desert. And Lucy saying, sure, let's go. Which feels very much a kind of metonym of their friendship in some ways.    Lito: Absolutely.    Annie: (2:42) Yeah. That they wandered these spaces together. They come back to art, right? Art is a way for them to recreate themselves and recreate their friendship. And they're doing such different things on the page.    Lito:  Oh yeah, no, they're very different writers but they do share a curiosity that's unique I think in their friendship, then unique to them.    Annie: Yeah and a kind of rigorousness and a love for the word.    Lito: (3:10) Oh and a love for thinking and reading the world in every capacity.    Annie: Tell me about your friendship with Lucy because you're quite close.   Lito: I was at UC Davis before it was an MFA program. It was just a Master's. After undergrad, I went to the master's program because I wasn't sure if I wanted to be an academic or do the studio option and get an MFA. I loved how Lucy and the other professors there, Pam Houston, Yiyun Li, showed us the different ways to be a writer. They couldn't be more different, the three of them. And, I particularly was drawn to Lucy because of her sense of art and play and how those things interact.    Lito: (03:59) And here was someone that was extremely cerebral, extremely intelligent, thinking through every aspect of existence. And yet it was all done through the idea of play and experimentation, but not experimentation in that sort of like negative way that we think of experimentation, which is to say writing that doesn't work, but experimentation in the sense of innovation. And. Lucy brought out my sense of play. I got it right away, what she was going for, that there is an intellectual pleasure to the work of reading and writing that people in the world respond to, but don't often articulate. Lucy's able to articulate it, and I admire her forever for that.    Lito: (4:52) And perhaps I'm not speaking about our friendship, but it comes from a place of deep admiration for the work that she does and the way she approaches life. You have a special relationship with Deb. I would love to hear more about that.    Annie: (5:04) Yeah, I think I've been fangirling over Deb for years. Deb is such a special person. I mean, she's incredibly innovative and has this agility on the page, like almost no other writer I know. Also quite playful, but I love most her humanity. Deb is a vegan who, in Barn 8, brings such life to chickens in a way that we as humans rarely consider. There's an amazing scene which she's like with a chicken 2000 years into the future. Also, I know Deb through my work with Pen City, her writing workshop with incarcerated writers at the Connally Unit, a maximum security penitentiary in Southern Texas.   Lito: How does that work? Is it all by letter or do you go there?    Annie: (5:58) Well, the primary program, you know, the workshop that Deb teaches is on site, and it's certified. So students are getting, the incarcerated writers, are getting now college credit because it's an accredited program. So Deb will be on site and work with them directly. And those of us who volunteer as mentors, the program has evolved a little bit since then, (06:22) but it's kind of a pen pal situation. So I had a chance to work with a number of writers, some who had been there for years and years. And a lot of folks are writing auto-fiction or fiction that's deeply inspired by the places they've lived and their experiences. It's such a special program, it's such a special experience. And what I saw from Deb was just this absolute fierceness. You know, like Deb can appear to be fragile in some ways (06:53.216), and it's her humanity, but actually there's this solid steel core to Deb, and it's about fortitude and a kind of moral alignment that says, we need to do better.    Lito: We have this weird connotation with the word fragile that it's somehow bad, but actually, what it means is that someone's vulnerable. And to me, there is no greater superpower than vulnerability, especially with art, and especially in artwork that is like what she does at the penitentiary. But, can I ask a question?    Annie:  Sure.   Lito: Why is it so special working with incarcerated folks?    Annie: (7:27) Oh, that's a great question. I mean, we need its own podcast to answer it.   Lito: Of course, but just sort of the...    Annie:  I think my personal experience with it is that so many incarcerated writers have been disenfranchised on all levels of identity and experience. Voting rights, decent food, accommodations, mental health, physical, you know, physical well-being. And we can't solve all those problems necessarily, at least all at once, and it's an up, it's a constant battle. But nothing to me offers or recognizes a person's humanity like saying, "tell us your story. Tell us what's on your mind. We are here to hear you and listen."  And those stories and they do come out, you know, there have been other programs that have done this kind of work, they get out in the world and there's, we're bridging this gap of people we have almost entirely forgotten out of absolute choice.  (8:27) And Deb is doing that work, really, I mean she's been doing that work for a long time and finally got some recognition for it, but Deb does it because she's committed.   Lito: That is really powerful. Tell us your story. Tell us your story, Lit Fam. Tell us your story. Find us in all your social media @LitFriendsPodcast or email us at LitFriendsPodcast@gmail.com   Annie: We will read all your stories. We'll be right back with Lucy and   Deb.   Lito: (09:00) And now, our interview with Lucy Corrin and Deb. Lucy Corin is the author of two short story collections, 100 Apocalypses and Other Apocalypses and The Entire Predicament, and two novels, Everyday Psychokillers and The Swank Hotel. In addition to winning the Rome Prize, Lucy was awarded a fellowship in literature from the NEA. She is a 2023 Guggenheim Fellow and a professor of English in the MFA program at UC Davis.    Annie:  Deb Olin-Unferth is the author of six books, including Barn 8, and her memoir, Revolution: The Year I Fell in Love and Went to Join the War, which was a finalist for the National Book Critics Circle Award. Deb is an associate professor in creative writing at the University of Texas at Austin. She founded and runs Pen City Writers, a two-year creative writing certificate program at Connally, a maximum security prison in southern Texas. For this work, she was awarded the 2017 Texas Governor's Criminal Justice Service Award.   Lito: (09:58) Annie and I thought this up a year ago, and we were talking about what is special about literary friendships and how writing gets made, not as we all think, totally solitary in our rooms alone, but we have conversations, at least I think this way. They're part of long conversations with our friends, our literary friends and living and dead, and you know, all times, in all times of history.   But the idea here is that we get to talk to our literary friends and people we admire and writers who are close friends with each other and friendships in which literature plays a large role.   Annie: (10:37) Yeah, and I'll just add that when we first floated the idea of this podcast, you know, your names came up immediately. We're so in awe of you as people and practitioners and literary citizens, and we love your literary friendship. I mean, I really hold it dear as one of the best that I know of personally.    Lucy, I think of you as, you know, this craftsperson of invention who's always trying to undo what's been done and who's such an amazing mentor to emerging writers. And Deb, you know, I'm always returning to your work to see the world in a new way, to see something I might have missed. And I just, I'm so moved by your generosity in your work and in your life's work with Penn City and elsewhere, which I'm sure we'll have a chance to talk more about.   Annie: (11:30) But I think I recall the first day I realized how close the two of you were when Deb told me that you all were taking a trip to the Sahara. And I was like, oh, of course, like, of course, they're going to have desert adventures together. Like, this makes so much sense. So I hope we'll, you know, we'll talk more about that too.    Annie (11:53) But we're so grateful to have you here and to have you in our lives. And we're going to ask you some questions to get to know a little bit more about you.    Deb:  Sounds great.    Lucy: Thanks.    Deb: It's great to be here. It's really great to see everybody.    Lito: Thank you so much for being here. Deb, will you tell us about Lucy?   Deb: (12:16) I mean, Lucy's just one of my very favorite people. And I feel like our friendship just started really slowly and just kind of grew over a period of many years. And some of the things that I love about Lucy is she is, well, of course, she's a brilliant genius writer. Like, I mean, no one writes weird like Lucy writes weird and no one writes like more emotionally, and more inventively and some of her books are some of my favorite books that have ever been written. Especially her last two books I think have just been such just major literary accomplishments and I just hold them so dear.    (13:05) And as a friend some things that I really love about her is that she will worry a problem with me that's just bugging me about like literary culture or about writing or about, you know, just it could be anything about aesthetics at all. And then she'll literally talk to me about it for like five or six days straight without stopping. Like we'll just constantly, dinner after dinner, like, you know, if we're on a trip together, just like all day, like I'll wake up in the morning and I'll be like, here's another piece of that pie. And then she'll say, oh, and I was thinking, and then we'll like go off and work and then we'll come back at lunch and be like, "and furthermore," you know? And by the end, I remember at one point we were doing this and she said, this is a very interesting essay you're writing. And of course, like it wasn't an essay at all, but it was just like a way of thinking about the way that we were talking.   (14:06) And then she is hilarious and delightful and just like so warm. I don't know, I just love her to pieces. She's just one of my favorite people in the whole world. I could say more, but I'll stop right there for a minute.    Annie: Lucy, tell us about Deb.    Lucy: (14:24) Yeah, I mean, Deb, I mean, the first thing, I mean, the first thing you'll notice is that Deb is sort of effortlessly enthusiastic about the things that she cares about. And that's at the core of the way that she moves through the world and the way that she encounters people and the way that she encounters books.   (14:44) I'm more reserved, so I'll just preface what I'm going to say by saying that like, my tone might not betray my true enthusiasms, but I'll try to list some of the things that I think are special and extraordinary about my friend Deb.   One is that there's this conversation that never stops between the way that she's thinking about her own work and the way that she's thinking about the state of the world and the way that she's thinking about the very specific encounters that she's having in daily life. And so like moving through a conversation with Deb or moving through a period of time with Deb in the world, those things are always in flux and in conversation. So it's a really wonderful mind space to be in, to be in her presence.   (15:35) The other thing is that she's like the most truly ethical person that I am close to and in the sense that like she thinks really hard about every move she makes.   The comparison I would make is like you know Deb is like at the core like, the first thing you might notice about Deb's work is that she's a stylist, that she works sentence by sentence and that she always does. But then the other thing she does is that she's always thinking hard about the world and the work, that it never stays purely a love of the sentence. The love of the sentence is part of the love of trying to understand the relationship between words and the world.    (16:15) And, and they're both an ethics. I think it's an ethics of aesthetics and an ethics of trying to be alive in as decent way as you can manage. And so those things feed into the friendship where she's one of the people who I know will tell me what she really thinks about something because we can have a baseline of trust where then you can talk about things that are either dangerous or you might have different ideas about things or you may have conflict.    (16:47) But because of my sense of who she is as a person, and also who she is with me, we can have challenging conversations about what's right about how to behave and what's right about how to write. And that also means that when the other parts of friendship, which are just like outside of literature, but always connected, which, you know, about your own, you know, your other friendships, your, the rest of your life, your job, your family, things like that, that you wanna talk about with your friends. Yeah, I don't know anybody better to sort through those things than Deb.    And it's in part because we're writers, and you can't separate out the questions that you're having about the other parts of your life from who you're trying to be as a writer. And that's always built into the conversation.   Annie: (17:40) I knew we asked you here for a reason.   Lito: We'll be right back.    Lito (17:58) Back to the show.    Annie: I'm hearing you, you know, you're both, you're sort of really seeing one another, which is really lovely. You know, you're, Deb, you're talking about Lucy wearing a problem with you, which I think conveys a kind of strength and... Of course, like I'm quite familiar with Deb's like strong moral anchors. I think we all are and truly respect, but I'm just wondering, what do you most admire about your friend? What do you think they give to the world in light of this portrait that you've given us?   Deb: (18:28) Lucy is a very careful thinker, and she's incredibly fair. And I've just seen her act, just behave that way and write that way for so many years and it just the quality of it always surprises me.  Like I mean, there was a writer, most recently there was a writer who's been cancelled, who we have spent an enormous amount of time talking about and trying to figure out just exactly what was going on there. And I felt like Lucy had insights into what had happened and what it was like on his end and what about his culture could have influenced what happened. Just all of these things that were.   (19:36.202) It was so insightful and I felt like there's no way that I could have moved that moved forward that many steps in my understanding of what had happened. And in my own like how I was going to approach what had happened. Like there's no way I could have done that without that just constant just really careful thought and really fair thought. Just like trying to deeply understand. Like Lucy has an emotional intelligence that is just completely unparalleled. That's one thing I really love about her.    Another thing is that she's like up for anything. Like when I asked her to go to the Sahara with me, I mean, she said yes in like, it was like not even 12 seconds. It was like 3 seconds, I think, that she was like, yeah.   Annie: You need a friend who is just gonna go to the Sahara.    Lucy: Deb, I don't even know if you actually invited me. The way I remember it is that you said something like, Lucy, no one will go to the Sahara with me. And I said, I would go to the Sahara with you.   Lito: That is lovely.   Lucy: (20:53) It's in Africa, right?    Lito:  Was there something specific about the Sahara that you need to go over for?   Deb:  Yeah, I mean, there was. It's a book I'm still working on, hopefully finishing soon. But it's mostly it's like...I just always wanted to go to the Sahara. My whole life, I wanted to go to Morocco, I wanted to go to the Sahara, I wanted to be surrounded by just sand and one line. You look in 360 degrees and you just see one line. I just wanted to see what that was like so badly, stripping everything out, coming down to just that one element of blue and beige. I just wanted that so much. And I wanted to know that it just went on and on and on and on.   (21:48) Yeah, and you know, people talk a big talk, but most people would not go. And so at one point I was just kind of rallying, asking everyone. And then Lucy happened to be in town and I just mentioned to her that this is happening. And then she said, yeah, and then we went for like a long time. Like we went to Morocco for like over three weeks. Like we went for like a month.    Lucy:  A month.    Deb: Yeah, crazy. But she's always like that. Like whatever I want to do, she's just up for it. I mean, and she called me up and she's like, hey, we want to come to Austin and like, go to this place that's two hours from Austin where you can see five million bats, right? Five million bats? Or was it more? Was it like 20 million?    Lucy:  That's right.    Deb: It was like 20 million bats and a lot of them are baby bats. It's like mama bats and baby bats.     Lucy: Yeah, like it's more when there's the babies.   Deb: (22:46) And yeah, and you were like, I want to come with them as the babies. Yeah, we like went and she just like came and Andrea came, and it was just absolutely beautiful.    Lucy: Well, you were just right for that adventure. I knew you would want to see some bats.    Lucy: Well, I could I could say a couple of more things about what Deb gives the world.    Annie: Sure. Love it.    Lucy: So some of the things that Deb gives the world and though when I listen to you talking about me, I realized why these things are so important to me, is that you have a very steady sense of who you are and a kind of confidence in your instincts. That I know that some of the ways that I worry things through are really productive and some of them are just an ability to see why I could be wrong all the time, and that can stymie me.    (23:48) And one of the things that I love about you and the model that you provide for me in my life is an ability to understand what your truth is and not be afraid to hold onto it while you're thinking about other people's perspectives, that you're able to really tell the difference between the way that other people think about things and the way that you do.   And it doesn't mean that you don't rethink things, you constantly are, but when you have a conviction, you don't have a problem with having a conviction. And I admire it enormously. And I think it allows you to have a kind of openness to the world and an openness to people who are various and different and will challenge you and will show you new things because you have that sense that you're not gonna lose yourself in the wind.    Deb: Mmm. That's really nice.   Lito: I am in awe of everything you've said about each other. And it makes me think about how you first met each other. Can you tell us that story? And why did you keep coming back? What was the person like when you first met? And why did you keep coming back to each other? Do you want to tell Lucy?     Lucy: Yeah, I'll start and you can add what I'm missing and... (25:06) tell a different origin story if you want. But I think that what we might've come to for our origin story is that it was one of the, one of the early &Now Festivals. And the &Now Festival is really great.   Lito: Could you say what that is? Yeah, say a little bit about what that is.   Luch: Oh, it's a literary conference that was started to focus on small press and more innovative—is the term that they used at the time anyhow—innovative writing as a kind of response to the market-driven culture of AWP and to try to get people who are working more experimentally or more like on the edge of literary culture less mainstream and give them a place to come together and have conversations about writing and share their work.   So it was one of the early ones of those. But I think it was, I think we figured out that there were like, yeah, there were three women. It was me, you, and Shelley Jackson. But it was, there were not that many women at this conference at the time. And we were, and I think we were noting, noting our solidarity. Yeah. And that, that's what. That's like some of the first images.   But I knew we were like aware of each other because in some ways we have tended to be up for the same jobs—Deb gets them—up for the same prizes—Deb gets them first, I'll get them later. And so I see her as somebody who's traveling through the literary world in ways that are... I mean, we're very different writers, but as people... You know what I mean? But I still... We still actually...come from a lot of the same literary roots. And so it makes sense that there's something of each other in the work that makes us appeal to overlapping parts of the literary world.   Deb: Yeah, I definitely think that there was in our origins, not only do we come from the same sort of influences, and just things that we admired and stuff, but I also feel like (27:28.018) a lot of our early work would have appealed more easily to the exact same people. As we've gotten older, our work isn't quite as similar. We're a little more different than we used to be. But there's still enough there that, you know, you can see a lot of the same people admiring or liking it.   But I was remembering that first time that we met, you playing pool. And we were, so we were like at a bar and you were like, and you were playing pool, and you had like just had a book out with FSG, I think, or something. I don't know if I even had—   Lucy: FC2. Very different.   Deb: FC2. That's right. FC2. And the FC2 editor was there. And I don't think I even had a book out. I don't remember what year this was. But I don't think I had any kind of book out. All I had was I had nothing, you know. And I was just so in awe of FC2 and the editor there, and you there, and like you could play pool, and I can't play pool at all. And it was just, it was—   Annie: Lucy's so cool. Yeah, she was cool. She was cool. And Shelly Jackson was cool. And it was like all the cool people were there and I got to be there, and it was great.   And then, yeah, and then I think how it continued, I don't know how it continued, we just kind of kept running into each other and just slowly it built up into a really deep friendship. Like at some point you would come through town and stay with me.   (29:25.782) And we moved, we both moved around a lot. So for a while there, so we kind of kept running into each other in different places. We've never lived in the same place.   Lucy: No, never.   Lito: How have you managed that then? Is it always phone or is it texting, phone calls?   Lucy: Well, we'll go through a spate of  texting.   Deb: Yeah, we do both. I think I like to talk on the phone.   Lucy: Yeah, I will talk on the phone for Deb.   Annie: The mark of a true friendship.   Lito: (30:01) Time for a break.   Annie Lito (30:12.43) We're talking with Lucy Corin and Deb Olin Unferth.   Lito: How has literature shaped your friendship then? Despite being cool. What kind of books, movies, art do you love to discuss? You can name names. What do you love talking about?   Deb: Well, I remember the moment with Donald Barthelme.   Lucy: That was what I was gonna say.   Deb: No, you go ahead.   Lucy: Well, why don't?   Deb: Oh, okay, you can tell it.   Lucy: I mean, I'll tell part and then you can tell part. It's not that elaborate, but we were, one of the things that Deb and I do is find a pretty place, rent a space, and go work together. And one time we were doing that in Mendocino and Deb was in the late stages of drafting Barn 8 and really thinking about the ancient chickens and the chickens in an ancient space. And we went for a walk in one of those very ferny forests, and Deb was thinking about the chickens and among the giant ferns. And I don't know how it happened, but Deb said something with a rhythm. And we both said to each other the exact line from Donald Barthelme's "The School" that has that rhythm.   (31:34) Is that how you remember it though? You have to tell me if that's how you remember it.   Deb: That's exactly how I remember it. Yeah. And then we like said a few more lines. Like we knew even...    Lito: You remember the line now?   Lucy: I mean, I don't... You do. If you said it, I could do it. I'm just... I was thinking before this, I'm like, oh God, I should go look up the line because I'm not going to get it right, like under pressure. It was just in the moment. It came so naturally.   Deb: It was one of those lines that goes... (32:03) Da da da-da da, da da da-da-da. There's a little parenthetical, it's not really in parentheses in the story, but it might be a little dash mark. But it has, it's something like, "I told them that they should not be afraid, although I am often afraid." I think it was that one.   Deb: I am often afraid. Yeah. And then it was like, we just both remembered a whole bunch of lines like from the end, because the ending of that story is so amazing. And it's, so the fact that we had both unconsciously memorized it and could just like.   And it was something about just like walking under those giant trees and having this weekend together. And like we're like marching along, like calling out lines from Donald Barthelme. And it just felt really like pure and deep.   Annie: It's I mean, I can't imagine anything sounding more like true love than spontaneously reciting a line in unison from Barthelme. And, you know, you both are talking about how your work really converged at the start and that there are some new divergences and I think of you both as so distinct you know on and off the page. There's like the ferociousness of the pros and an eye towards cultural criticism and I always think of you as writing ahead of your time. So I'm just wondering how would you describe your lit friends work to someone, and is there something even after all this time that surprises you about their writing or their voice?   Lucy: I mean, what surprised me recently about Deb's voice is its elasticity. I came to love the work through the short stories and the micros. And those have such a distinct, wry kind of distance. They sort of float a little separate from the world, and they float a little separate from the page.   (34:10) And they have a kind of, they have a very distinct attitude and tone, even if the pieces are different from each other, like as a unit. And that's just really different than the voice that you get in a book like Barn 8 that moves through a lot of different narrators, but that also has just a softer relationship with the world. Like it's a little more blends with the world as you know, it doesn't stay as distant. And I didn't know that until later.   Vacation is also really stark and sort of like has that distinctiveness from the world. And so watching Deb move into, you know, in some ways like just more realistic, more realistic writing that's still voice-centered and that still is music centered was a recent surprising thing for me.   But I'm also really excited about what I've read in the book that in the new book because I think that new book is sort of the pieces that the bits that I've read from it are they're marking a territory that's sort of right down the middle of the aesthetic poles that Deb's work has already hit I mean the other thing is that you know Deb does all the genres. All of the prose genres. Every book sort of is taking on it is taking on a genre And the next one is doing that too, but with content in a way that others have been taking on new genres and form. And so...    Lito: I love that. And I like that it's related to the music of the pros and sound. I feel like musicians do that a lot, right? There's some musicians that every album is a new genre or totally different sound. And then there's artists who do the same thing over and over again. We love both those things. Sorry, so Deb...   Deb: So I love how complicated Lucy can get with just an image or an idea. I just feel like no one can do it the way that she can do it. And my like her last in her last book, which I love so much, we're just brought through all these different places and each one is sort of (36:31.29) dragging behind it, everything that came before, so that you can just feel all of this like, pressure of like the past and of the situations and like even like a word will resonate. Like you'll bring like, there's like a word on maybe page like 82 that you encountered on like page 20 that like the word meant so much on page 20 that it like really, you can really feel its power when it comes on page 80.   And you feel the constant like shifting of meaning and just like the way that the prose is bringing so much more and like it's like reinterpreting that word again and again and again, just like the deeper that you go, like whatever the word is be it you know house or home or stair or um you know sex, whatever it is, it's like constantly shifting. (37:40.952) And that's just part of like who Lucy is, is this like worrying of a problem or worrying of a word and like carrying it forward. And so yeah, so like in that last book, it just was such a big accomplishment. And I felt like it was like her best work yet.   Lucy: So I will say, try and say something a little bit more specific, then. (38:09) Like I guess in the sort of 10 stories that I teach as often as possible in part because I get bored so easily that I need to teach stories that I can return to that often and still feel like I'm reading something that is new to me is the title story from Wait Till You See Me Dance and that story is a really amazing combination of methodical in its execution, which sounds really dull.   But what it does is sort of toss one ball in the air and then toss another ball in the air and then toss another ball in the air. And then, you know, the balls move, but you know, the balls are brightly colored and they're handled by a master juggler. So it's methodical, but it's joyful and hilarious. And then, and then, and you don't   And the other thing is that Deb's narrators are wicked and like they're wicked in the way that like… They are, they're willing to do and say the things that you secretly wish somebody would do and say. That's the same way that like, you know, in the great existential novels, you love and also worry about the protagonists, right? They're troubled, but their trouble allows them to speak truthfully because they can't help it. Or they can't help it when they're in the space of the short story. It's that like, you know, the stories are able to access—a story like this one and like many of Deb's—are able to access that really special space of narrator, of narration, where you get to speak, you get to speak in a whisper.   Annie: You get to speak in a whisper. That's beautiful, Lucy. You get to speak in a whisper.   Lito: We'll be right back.   Lito: (40:15) Welcome back.   Annie: I'm wondering about what this means, you know, how this crosses over to your own personal lives, right? Because of course, literary friendships, we're thinking about the work all of the time. But we're also, you know, when I think of my literary friendship with Lito, I think of him as like a compatriot and somebody who's really carrying me through the world sometimes. I'm wondering if there was for either of you, a hard time that you went through personally, professionally, you know, whether it's about publishing or just getting words on the page or something, you know, um, you know, family related or whatever, where you, um, you know, what it meant to have a literary friend nearby at that time.   Lucy: I mean that's the heart of it.   Deb: Yeah, I mean for sure.   Lucy: One happened last week and I'm sort of still in the middle of it where you know my literary mentor is aging and struggling and so that's painful for me and who gets that? Deb gets that.   The other one, the other big one for me was that the release of my last novel was really complicated. And it brought up a lot of, it intersected with a lot of the things going on in my family that are challenging and a lot of things that are going on in the literary world that are challenging. There were parts of that release that were really satisfying and joyful, and there were parts of it that were just devastatingly painful for me.   And, you know, Deb really helped me find my way through that. And it was a lot, like it was a lot of emotional contact and a lot of thinking through things really hard and a lot of being like, "wait, why do we do this? But remember, why do we do this?" And Deb was the person who could say, "no, you're a novelist." Like things that like I was doubting, Deb could tell me. And the other thing is that I would come closer to being able to believe those things because she could tell them to me.   Annie: Lucy, can you talk a little more about that? Like what did that? (42:27.126) What did that look like, right? Like you talked about resistance to phone calls, and you're not in the same place.   Lucy: It was phone. Right, it would be phone or it would be Zoom or it would be texting. And then, you know, when we would see each other that would be, we would reflect on those times in person even though that wasn't those immediate moments of support and coaching and, you know, wisdom.   Annie:  And that requires a kind of vulnerability, I think, that is hard to do in this industry, right? And I'm just wondering if that was new for you or if that was special to this friendship, right? Or like what allowed for that kind of openness on your part to be able to connect with Deb in that way?   Lucy: I mean, I think I was just really lucky that we've had, like even though we have really, I think, only noticed that we were close since that Morocco trip. Like that was a little bit of a leap of faith. Like, "oh my gosh, how well do I know this person and we're gonna travel together in like circumstances, and do we really know each other this way?" But the combination of the years that we've known each other in more of a warm acquaintance, occasional, great conversation kind of way towards being somebody that you, that you trust and believe and that you have that stuff built in.   And, you know, that over the years you've seen the choices that they've made in the literary world, the choices they've made in their career, when they, you know, everything from, you know, supporting, you know, being a small, being small press identified and championing certain kinds of books over other kinds of books. And like those, just like watching a person make choices for art that you think are in line with the writer that, watching her make choices in art that are in line with the writer that I wanna be in the world makes it so that when you come to something that is frightening, that's the kind of person you wanna talk to because she's done that thinking.   Deb: Yeah, I mean, I feel like there are like so many things that I could say about that. Like one thing is that the kind of time that I spend with Lucy is really different from the kind of time that I spend with most people. Like most people, (44:51) they come to town and I have dinner with them. Or I go to like AWP or whatever and we go out for dinner. Or maybe I spend like one night at their house like with their partner and kid or something, you know. But Lucy and I, we get together and we spend like four days or something all alone, just the two of us, you know, or a month or whatever. And we don't spend a ton of time with other people. And so there's, but then we also do that, but just like not very much.   And so there is something that just creates, like that's a really good mode for me. It's a, that's like the way that I make really deep friendships that are kind of like forever-people in my life. And I've always been like that. And so, but not a lot of people are willing to sort of do that with me. Like, I have so many acquaintances, I've got like a million, I feel like I could have dinner with someone just about any night, as long as it's only like once every few months or something, you know, but I don't have people who are willing to be this close to me, like spend that kind of time with me one-on-one. And the fact is like, they're not that many people that I really feel like doing that with.   And you know, every time Lucy and I do one of these, I just come away feeling like I thought about some really important things and I talked about some really important things and I saw some beautiful things because Lucy always makes sure that we're somewhere where we can see a lot of beauty. And so that just means so much to me. And it's like, and so for me it creates like a space where, Yeah, I can be honest and vulnerable, and I can also tell her, if I can tell her things that I don't tell other people, or I can be really honest with her if I feel like, if I'm giving her advice about something, I can just be honest about it. And so it's really, really nice.   (47:07) I mean, the other thing is like, we're so similar. Like we've made so many similar life choices. And we've talked about that. Lucy and I have talked about that. Like, you know, we both chose not to have kids. We live pretty, like we're both like kind of loners, even though we have partners. Like I think our partners are more like, they just kind of would, they would prefer that we.   I don't know, I shouldn't probably say anything, but I know that Matt would prefer if I was not quite as much of a loner as I am. Yeah, so I look at Lucy and I see the kind of person that I am, the kind of person I wanna be, so if I have a question, I mean, it happens.   Lucy mentioned a couple of things. I have... You know, she's had some pretty major, major things. I have like little things that happen all the time, and they just like bring me to tears.   Like there was this one moment during the pandemic when I was like driving across the country by myself. I was like in Marfa, and I was trying to get to California and I had like a toilet in the back seat. Remember when we were all doing that kind of thing?   Lucy: It was really amazing.   Deb: It was so crazy.   Lucy: But Deb, not everybody had a toilet in their back seat.   Annie: I know. I need that now.   Deb: It still comes in handy.   Annie: I'm sure.   Deb: (48:43) And I was in, and yeah, Lucy is amazing. She'll talk to me on the phone, but Lucy will do because I love to talk on the phone and I love to Zoom. Lucy does not. So she'll tell me in advance, okay, I will talk to you, but it's gonna be for like 20 minutes or I'm gonna have to get off like pretty soon.   But she Zoomed with me and Marfa and I just didn't realize how upset I was about this one rejection that I'd gotten. And it was a really small rejection, I don't know why it bothered me so much, but I just like started crying and like I was like way out in like so many miles from any so many hours from anyone I knew and you know the world was going to shit, and I'd gotten this like tiny rejection from a magazine like a little like I had it was the page was it was like a piece that was like a page long or something, and Lucy just like knew exactly why I I was so upset, and just was able to talk to me about what that meant to me. And just refocus me to like, "look, you don't have to write those. You don't have to be that writer. You don't have to do that." And it was so freeing to know that I didn't always have to be, I don't even know how to describe it, but it was meant a lot. And things like that happen all the time.   Annie: (50:15.265) That's such a wonderful model of mutual support.   Lucy: We'll be right back.   Annie: Hi Lit Fam. We hope you're enjoying our conversation with Lucy Corin and Deb Olin Unferth, and their love for the word, the world, and each other. If you love what we're doing here at LitFriends, please take a moment now  to follow, subscribe, rate, and review our podcasts on Apple Podcasts, Spotify, or wherever you listen to podcasts. Just a few minutes of your time will help us so much to continue to bring you great conversations like this week after week.  Thank you for listening. Back to a conversation with Lucy Corin and Deb Olin Unferth.     Annie: I'm also aware that we're working in an industry that's a zero-sum construct. And, you know, Lucy, you were sort of joking earlier about... Deb winning all of the awards that you later got. But I am curious, like, what about competition between literary friends when we're living in a world with basically shrinking resources?   Lucy: I feel competition, but I don't really feel it with my literary friends. Does that make sense? Like, I'll feel it with my idea of somebody that I don't really know except for their literary profile, right? But when someone like Deb gets something, it makes the world seem right and true, right? And so that's not hard to bear, right? That's just a sign of a good thing in a world that you're afraid isn't so good.   Deb: I guess I feel like if Lucy gets something, then that raises the chances that I'm gonna get something. I'm gonna get the same thing. Because if we're kind of in the same, like we both published with Grey Wolf, we both have the same editor, so we've multiple times that we've been on these trips, we've both been working on books that were supposed to come out with Graywolf with Ethan. (52:16.3) You know, so I feel like if Lucy gets something, then the chances go up.   Like there was just, something just happened recently where Lucy was telling me that she had a little, like a column coming out with The Believer. And I was like, "oh my God, I didn't even know that they were back." I'm like, "man, I really wanna be in The Believer. Like, I can't believe like, you know, they're back and I'm not in them. I gotta be in it. I said that to Lucy on the phone. And then, like the very next day, Rita wrote me and said, "Hey, do you want to write something?"   And so I wrote to Lucy immediately. I was like, did you write to Rita? And she was like, "no, I really didn't." So it's like, we're in the same— Did you, Lucy?   Lucy: No, I didn't! Rita did that all by herself.   Lito: You put it out into the universe, Deb.   Annie: Lucy did it. Hot cut, Lucy did it!   Deb:  So we're like, we're like in the same, I feel a lot of the time like we're kind of in the same lane and so that really helps because like, I do have writer friends who are not in the same lane as me and maybe. Like I'm not as close, but maybe that would be, but if I was as close, maybe that would cause me more confusion. Like I would be like, you know, "geez, how can I get that too? Or it's hopeless, I'll never get that, you know? So I just don't do that thing," or something. So that's really comforting.   Lito: What are your obsessions?   Lucy: Well, I mean-   Lito: How do they show up on the page?   Lucy: I feel like it's so obvious with Deb that like, you know, Deb got obsessed with chickens, and there was a whole bunch of stuff about chickens. First there was a really smart, brilliant Harper's essay where she learned her stuff. And then there was the novel where she, you know, imagined out the chickens (54:19) to touch on everything, right?   Annie: Then there was a chicken a thousand years in advance.   Lucy: Right, and then there's a beautiful chicken art in the house, and there's, you know. And I'm sure that she's gotten way more chicken gifts than she knows what to do with. But then the Sahara, like, you know, she was obsessed with the Sahara and you'll see it in the next book. It's gonna be— It's not gonna be in a literal way, right? But it'll be like, you'll feel the sand, you'll feel that landscape.   So I don't know, like I feel like the obsessions show up in the books. I mean, are there, I mean, this is a question like, Deb, do you think you have obsessions that don't show up in your work? We both have really cute little black dogs.   Deb: (55:07) Oh, not really. I mean, but I do get obsessed. Like I just get so, so like obsessed in an unhealthy way. And then I just have to wait it out. I just have to like wait until I'm not obsessed anymore. And it's like an ongoing just I'm like, OK, here it comes. It's like sleeping over me. Like how many years of my life is going to be are going to be gone as a result of this?   So I'm always like so relieved when I'm not in that space. Like Lucy's obsession comes down to that, with her language, that she's like exploring one idea, like she'll take an idea and she like worries that over the course of a whole book and that she'll just it's like almost like a cubist approach. She'll be like approaching it from so many different standpoints. And that is like, I mean, Lucy is so smart and the way that she does that is just so genius. And so I feel like that's the thing that really keeps drawing me to her obsessions, that keeps bringing me back to that page to read her work again and again. And yeah, and that's how she is in person too.   Lito: Why do you write? What does it do for the world, if anything?   Lucy: (56:37) I know I had a little tiny throat clear, but I think it was because I'm still trying to figure it out because I feel like the answer is different in this world order than it was in earlier world orders. Like when I first answered those questions for myself when I was deciding to make these big life choices and say, "you know, fuck everything except for writing," like I was answering, I was answering that question a different way than I would now, but I don't quite have it to spit out right now, except that I do think it has something to do with a place where the world can be saved. Like, writing now is a place of respite from the rest of the world where you can still have all of these things that I always assumed were widely valued, that feel more and more narrowly valued. And so I write to be able to have that in my life and to be able to connect with the other people who share those kinds of values that are about careful thinking, that are about the glory of the imagination, that are about the sanctity of people having made things.   Annie: Lucy, I need that on my wall. I just need to hear that every day.   Deb: I mean, I feel like if I can think about it in terms of my reading life, that like art changes my mind all the time. Like that's the thing that teaches me. Like I remember when I was a kid, and I lived right near the Art Institute of Chicago, and I remember going in, and they had the Jacob Lawrence immigration panels, migration panels up there that was like a traveling exhibition. And I had none of that information. I did not know about the Great Migration. I just didn't know any of that. So I just remember walking from panel to panel and reading and studying it, (58:47.952) reading it and studying it and just like getting like just getting just it was like a It was such a revelation and I just learned so much and like changed my mind about so many things just in that moment that it was like I'll never forget that.   And I feel like I, I totally agree with Lucy that the reasons that I write now and the reasons that I read now are very different than they were like before, say 2015, or something. But that, that maybe it has its roots in that sort of Jacob Lawrence moment where, you know, just I read these things and it's, I like, I love sinking deep into books that are really changing my mind and like teaching me about the world in ways that I never could have imagined, and I love that so much and I… I don't know if I have that to offer, but I really try hard, you know. Like I tried that with the chicken book. I'm kind of trying that, I hope, in this book that I'm trying to finish and— ha finish!—that I'm trying to get through. And so I think that that's why I think that art is so important.   I don't know if that's truly why I write though. I feel like why I write is that I've always written, and it's like I love it so much. Like I just, sometimes I hate it, sometimes I hate it for like a whole year or whatever, but it's just, it's so much a core of who I am. (01:00:39) And I just, I can't imagine my life any other way. It's just it's just absolutely urgent to me.   Annie: Yeah, urgent. Yeah. I think we all feel that in some way.   Annie:(01:01:04.374) Thank you both for talking to us a little bit about your friendship and getting to know a little bit more about how you started and where you're at now. We're going to move into the lightning round.   Lito: Ooooo Lightning round.   Annie: (01:01:16) Deb, who were you in seventh grade? Who was I in seventh grade? In one sentence, oh my God, the pressure is on. I was unpopular and looked, my hair was exactly the same as it is now. And I wore very similar clothes.   Lucy: (01:01:44) I was a peer counselor, and so I was like the Don who held everybody's secrets.   Lito: Beautiful. Lucy.   Lucy: It saved me. Otherwise, I wouldn't have had a place in that world.   Annie: Makes so much sense.   Lito: Wow. Who or what broke your heart first, deepest?   Lucy: I mean, I would just say my mom.   Deb: I guess, then I have to say my dad.   Annie: Okay, which book is a good lit friend to you?   Deb: Can I say two? The Autobiography of Alice B. Toklas by Gertrude Stein and The Known World by Edward P. Jones.   Annie: Excellent.   Lucy: My go-to is White Noise. Still. Sorry.   Lito: No need to apologize.   Lucy: Yep.   Annie Lito (01:02:27) Who would you want to be lit friends with from any point in history?   Lucy: For me it's Jane Bowles.   Deb: Oh, whoa. Good one. She would be maybe a little difficult. I was gonna say Gertrude Stein, then I was like, actually, she'd be a little difficult.   Lucy: What a jerk!   Deb: I think Zora Neale Hurston would be fun.   Lucy: Well, yeah, of course. For sure.   Annie: We were gonna ask who your lit frenemy from any time might be, but maybe you've already said.   Lucy: Oh, right. I accidentally said my lit frenemy instead of my lit friend.   Annie: Yeah.   Lucy: Mm-hmm.   Deb: (01:03:08) A frenemy from any time?   Annie: Any time. Yeah, it doesn't have to be Jonathan Franzen. I feel like most people will just be like Jonathan Franzen. But it could be any time in history.   Deb: I mean, if you're gonna go that route, then it would probably be, um, like...   Lito: Kierkegaard.   Deb: I don't know, maybe Nietzsche? If you're gonna go that route, if you're gonna go like, like existential philosophers.   Annie: (01:03:34) That's great.   Lito: That could be a podcast too.   Annie: Just like epic frenemy. The most epic frenemy.   Lito: (01:03:35)  Well, that's our show.   Annie & Lito: Thanks for listening.   Annie: We'll be back next week with our guests Melissa Febos and Donika Kelly.    Lito: Find us on all your socials @LitFriendspodcasts   Annie: And tell us about an adventure you've had with your Lit bestie. I'm Annie Liontas.   Lito: And I'm Lito Velazquez.   Annie: Thanks to our production squad. Our show was edited by Justin Hamilton.   Lito: Our logo was designed by Sam Schlenker.   Annie: Lisette Saldaña is our Marketing Director.   Lito: Our theme song was written and produced by Roberto Moresca.   Annie: And special thanks to our show producer Toula Nuñez.   Lito: This was Lit Friends, Episode 2.

Today's topic is one that sets our hearts racing and pages turning: the Enemies to Lovers trope. We dissect some of the most iconic enemies to lovers stories in literature and on screen and dive deep into the intoxicating dance of characters who start off at odds, only to find their hearts entwined as the story unfolds and explore why this trope captures our imaginations and keeps us hooked, from the fiery initial clashes to the eventual tender admissions of love.    Grab Leslye's current favorite The Hating Game, the book https://amzn.to/3N9sUwa or the film https://amzn.to/3RaLzce.   Interested in the Save the Cat plotting method? Here's the book: https://amzn.to/3uzsKaT  And here's a blog post that discusses the Thesis, Antithesis and Synthesis: https://savethecat.com/tips-and-tactics/revisiting-save-the-cat-strikes-back-the-three-worlds Snyder goes more into this theory in Save the Cat Strikes Back: https://amzn.to/3MVUi0v    Check out the only bully romance that Ines and Leslye could handle Never Sweeter by Charlotte Stein: https://amzn.to/3Rde1v9    Check out the Kresley Cole's unlikeable heroine in Kiss of the Demon King: https://amzn.to/3uxNzn6   Check out Angelina Lopez's super strong heroine in After Hours on Milagro Street: https://amzn.to/3GpF5Ru   Laini Taylor's Daughter of Smoke and Bone trilogy is chef's kiss: https://amzn.to/3Ge4JIY    Check out Ines' nonfiction recommendation Body Work by Melissa Febos: https://amzn.to/47ucer4   Check out Leslye's recommendation Dragon Chained by Kenley Davidson (The Dragon of 23rd Street series): https://amzn.to/3Gm0XNA    Want to learn worldbuilding from Leslye? Sign up here: https://learn.myimaginaryfriends.net/ Want to learn story structure from Ines? Sign up here: https://ineswrites.com/PTP Get ready for Caressed by Ice, coming in next week! Grab your copy to read along: https://amzn.to/47Pnv5b    Subscribe to the podcast at: https://inkandmagic.net/    Find us online at: L. Penelope: https://lpenelope.com/  Ines Johnson: https://ineswrites.com/  Credits: "Moonlight Hall" Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 4.0 License.

I've been writing personal essays for over a decade, and I believe that my personal essay practice allowed me to leave social media.So in today's episode, I share how I blend the personal, the poetic, and the political in my writing. And I unpack how that supports me in speaking up and sharing my work without shying away from what's happening in the world.I hope this episode inspires you to share your writing with the people. Tune in to learn about—The importance of your life storyHow to share your political valuesFacing fear when we don't know what to sayBeing willing to get it wrongWhy you should choose a container for your writingHow personal essays can help you leave social mediaLinksGet the Creative Ideation PortalSign up for my weekly newsletter, Monday MondaySign up for Writing the Personal, Dec 3 -17Mentioned in the episode — Body Work by Melissa Febos, 69herbs, Sister Spinster, Lukaza's Substack, Fariha's Substack, Friendship Village book, Bear Hebert, Off the Grid podcast, Ayana Zaire Cotton SubstackFind all these links & more at codycookparrott.com/commonshapes

Essayist Melissa Febos & memoirist Hua Hsu discuss coming-of-age, identity, art-making, & community in these discussions from 2022 #PDXBookFest.

In today's flashback, an outtake from Episode 460, my conversation with Melissa Febos, author of Body Work, Girlhood, and other books. Girlhood was a national bestseller, a Lambda Literary Award finalist, and the winner of the National Book Critics Circle Award in Criticism. Body Work was also a national bestseller, an LA Times Bestseller, and an Indie Next Pick. Her fifth book, The Dry Season, is forthcoming from Alfred. A. Knopf. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Google Podcasts, Spotify, Stitcher, iHeart Radio, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch @otherppl Instagram  YouTube TikTok Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Melissa Febos has always had a penchant for operating outside of convention. Whether it was her eagerness to try all of the drugs she was warned about in her school's D.A.R.E program or deciding to self-homeschool herself at 16, she knew she was different from her peers. Now as a bestselling author and associate professor, Melissa joins us to explore the complexities of desire, empowerment, and self-discovery, drawing from her experiences as a professional dominatrix and her recovery from heroin addiction.In this conversation Erin and Melissa have no limits when it comes to talking about sexuality and the power of embracing your true self, including:Working outside of conventional norms and institutions, while being driven and intellectually curiousLiving with addiction and working in the sex industryWriting about your life experience and how it can be used to make sense of yourself and your pastExploring sexual empowerment, and the desire to be desired over 40Talking about sex with your kids, from expectations and pornography to the language of consentWhy not telling yourself the whole truth can be a survival mechanismEmbracing change and recognizing that personal and sexual evolution are constantThe value of open and communicative relationships to sustain personal developmentOUR GUEST: Melissa Febos is the bestselling author of four books, most recently, Girlhood, winner of the National Book Critics Circle Award in criticism, and Body Work: The Radical Power of Personal Narrative. She is the recipient of awards and fellowships from the Guggenheim Foundation, the National Endowment for the Arts, MacDowell, LAMBDA Literary and others. She is an associate professor at the University of Iowa.Want more Melissa? Find her online at https://www.melissafebos.com/ and follow her on:Instagram: @melissafebosTwitter: @melissafebosFacebook: https://www.facebook.com/melissafebosWant more Hotter Than Ever? Find us online at www.hotterthaneverpod.com and sign up for our mailing list! Follow us on:Instagram: https://www.instagram.com/hotterthaneverpod/ TikTok: https://www.tiktok.com/@hotterthaneverpod Youtube: https://www.youtube.com/channel/UChwbEXbAVqoNYd_g5ok7VPg Facebook: https://www.facebook.com/profile.php?id=100090728330453 Follow Hotter Than Ever wherever you listen to podcasts - we're on Apple Podcasts, Spotify, Stitcher, and more! That way you'll never miss an episode. We'd love to hear what you think about the show, too - it helps us know what stories are resonating with you. DM us on Instagram and write us a review!

Melissa Febos sits over tea with Alice and talks about the traps and joys of memoir; writing about real people, and how art can be reality, shape reality and help process reality.

ATELIER VISIT WITH WRITER KRISTEN MILLARES YOUNG: Recently we listened back through all of our ATELIER VISIT installments and, wow, it's a series just too damn good to leave scattered and languishing in the depths of our episode archives. So, for your pleasure, dear listener, we're gathering all these episodes together and running them back to back. These aren't interviews -- they're more intimate and creative than that -- and they're all unique in form and focus. Each is an atmospheric journey into the brilliant imaginative mind, process, and working environment of an artist sure to inspire you. You're welcome! KRISTEN MILLARE YOUNG's debut novel, Subduction (Red Hen Press) was named a Finalist for two International Latino Book Awards in 2020. Her writing appears in The Washington Post, The Seattle Times, the Guardian, the Los Angeles Review, Joyland Magazine, Psychology Today, Hobart, Crosscut, Moss, and elsewhere. Kristen was the researcher for the New York Times team that produced "Snow Fall: The Avalanche at Tunnel Creek," which won a Pulitzer and a Peabody. Visit KristenMYoung.com. Mentioned in this episode: writing while standing; showing your work; taking your time; Makah Tribe; Luis Alberto Urrea; emotion and rigor; Frida Kahlo; Joan Didion; Literary Hub; mica and peeling rock; Sappho; ecstasy; mother goddess worshipping cults; Elissa Washuta; Washuta's "White Magic"; Tin House Books; Melissa Febos; Febos's "Girlhood"; Hugo House. Music: "Walkman Snail Shoes" by Peter Spacey; "Blue Moon Cafe" by Stefano Mastronardi; "Where I Find Rest" by Sun Wash; "Bloody You" by Racoon Racoon; "Clouds" by Stanley Gurvich. (Music used by courtesy of the artists through a licensing agreement with Artlist.) --- Support this podcast: https://anchor.fm/in-the-atelier/support

继续回顾去年的阅读，本期聊一些女性作家的非虚构作品和与写作本身相关的写作，包括散文集、日记书信和传记回忆录。 Female writers writing about writing. :) 提到的书： Melissa Febos, Abandon Me (2:08) Virginia Woolf, A Writer's Diary (14:04) Virginia Woolf and Vita Sackville-West, Love Letters: Vita and Virginia (22:47) Nigel Nicolson, Portrait of a Marriage (26:25) Lydia Davis, Essay Two (30:50) Susan Sontag, Reborn: Journals and Notebooks, 1947-1963 (41:45) Ray Chow, Not Like a Native Speaker (46:48) Yiyun Li, Dear Friend, from My Life I Write to You in Your Life (48:47) --- Send in a voice message: https://anchor.fm/GFtherapy/message

Judson Brewer ("Dr. Jud") is a renowned addiction psychiatrist and neuroscientist who has spent over two decades studying the mechanisms of addiction and the effects of mindfulness on behavior change. On this episode of Flourishing After Addiction, it was great to talk with him about some extraordinary connections between the science of addiction and contemplative practice. We talk about Jud's own experience with panic attacks, how he found mindfulness to be a powerful tool to work with anxiety, and how this personal experience helped him to see the connections between addictive cravings and the fundamental processes of anxiety. More broadly, we discuss how the urge to control our experiences is often the root of our suffering ("control is the problem, not the solution"). He connects this notion in how the brain's reward-based learning system works and how it can lead to perversely reinforcing unhelpful habits. And connecting this work to broader topics in contemplative practice, he describes how Buddhist philosophy and the concept of craving relates to the underpinnings of addiction he's uncovered in his neuroscience lab. We talk about the role of values and ethics in recovery and in treatment, including how to work with ethics as a practice without getting bogged down by a sense of obligation or guilt--approaching ethics with a sense of curiosity and openness, rather than judgment or rigidity.And, to conclude the episode, Jud leads us through a beautiful guided practice of opening and curiosity, a mini-meditation to help us cultivate awareness and non-judgmental acceptance.Dr. Jud Brewer is an addiction psychiatrist, neuroscientist, mindfulness practitioner, and author. He is the Director of Research and Innovation at the Mindfulness Center and an associate professor at the School of Public Health at Brown University. His research focuses on the neural mechanisms of mindfulness and how it can be used to treat addiction and other behavioral disorders. He has published numerous scientific articles, and he is the author of The Craving Mind (Yale University Press, 2017) and the New York Times best-seller, Unwinding Anxiety (Avery/Penguin Random House, 2021). He is also an experienced mindfulness teacher and has trained thousands of people in the art of meditation and mindfulness-based approaches to behavior change.In this episode: - Jud's website- his apps for habit change - Episodes mentioned: Melissa Febos, John Kelly, Elias Dakwar, and Eric Garland - Jud's academic work connecting addiction science to the Buddhist concept of dependent origination: "Craving to quit"- "Meditation experience is associated with differences in default mode network activity and connectivity"Sign up for my newsletter and immediately receive my own free guide to the many pathways to recovery, as well as regular updates on new interviews, material, and other writings. 

Ahu Terzi opened The Hound Books, named after her beagle mix pup, in Roscoe, New York, last fall. In this episode, she shares how she's managing to learn the ropes of the bookselling business while balancing the store with a full-time job and a commute from NYC. Books We Talk About: Upstream and Felicity by Mary Oliver, Hiking the Catskills by Randi Minetor and Stacey Freed, Upstate by Lisa Przystup, The Idiot and Either/Or by Elif Batuman, Nineteen Reservoirs by Lucy Sante, Body Work by Melissa Febos, Nights of Plague by Orhan Pamuk, Island of Missing Trees by Elif Shafak, and Walking on the Ceiling by Aysegul Savas.All Business. No Boundaries.Welcome to All Business. No Boundaries, a collection of supply chain stories by DHL...Listen on: Apple Podcasts Spotify The Brave MarketerBrands are navigating the new Web3 and marketing in the metaverseListen on: Apple Podcasts Spotify

Essayist Melissa Febos & memoirist Hua Hsu discuss coming-of-age, identity, art-making, & community in these discussions from 2022 #PDXBookFest.

A little check in, a little recap and a little teary at the end to know it's the most tender part of the year. Endings and beginnings. What did I learn in 2022? How is that informing 2023? Do New Years resolutions work? I talk about why I set intentions instead. Resources mentioned:Take Kate Devine's Lyric Essay course Get to know Katherine, and pre-order her book. Melissa Febos' Work Love Jillian Turecki's work around self abandonment We the Urban Where to find me:Subscribe to the How to be Human Substack Leave a message on SpeakpipeHow to Be Human InstagramAnna's InstagramBook a session with AnnaIf you like the podcast please rate, review and subscribe. It truly means the world.

Melissa Febos' latest publication is her craft book, “Body Work: The Radical Power of Perosnal Narrative.” “Body Work" is a national bestseller and an Indie Next Pick. Drawing on her own path from aspiring writer to acclaimed author and writing professor - via addiction and recovery, sex work and academia - Febos has created a captivating guide to the writing about life.

Episode 156 Notes and Links to Namrata Poddar's Work        On Episode 156 of The Chills at Will Podcast, Pete welcomes Namrata Poddar, and the two discuss, among other things, Namrata's multilingual upbringing in Mumbai and abroad, her early reading, her early reading and writers who inspired her with their decolonial and other writing, her “living with her characters” for many years for her wonderful debut novel, how she would label/distinguish the novel, and salient themes of misogyny, home and its shifting definition, class division, and diaspora.        Namrata writes fiction and nonfiction, serves as Interviews Editor for Kweli, and teaches literature and writing at UCLA. Her work has appeared in several publications including Poets & Writers, Literary Hub, Longreads, The Kenyon Review, and The Best Asian Short Stories. Her debut novel, Border Less, was a finalist for Feminist Press's Louise Meriwether Prize. Buy Border Less   Namrata Poddar's Website   2022 LA Times Article: “Namrata Poddar's debut novel traverses borders — and conventional storytelling”   February, 2022 LA Times Review: “Review: A novel set in L.A. and Mumbai aims to reinvent the South Asian immigrant novel” At about 7:10, Namrata discusses the title's significance and her positioning “borderless” as two words   At about 7:40, Pete shouts out an original usage of language in Namrata's book   At about 8:10, Namrata responds to Pete's questions about her relationship with languages and the written word in her childhood   At about 13:40, Pete asks Namrata about how her ancestral lands of Rajahstan and the Tar Desert   At about 15:30, Pete uses the famous Toni Morrison quote in asking Namrata about representation and its connection to her own book; Namrata expands upon her early assigned reading and the “divorce” between colonized readings and the English she heard in her daily life   At about 18:10, Namrata lists writers who inspired her in her younger days; she cites both writers with colonial and non-colonial foci, including her “first brush…with the world of literature” in America's Children by Rushdie   At about 25:35, The two discuss Frantz Fanon and him as part of the tradition/”legacy” that has inspired Namrata   At about 27:25, Namrata lists and describes some of the many countless writers who thrill and inspire her, including Natalie Diaz and Melissa Febos, and Imani Perry   At about 30:10, The two discuss Sandra Cisneros' skill and standout stories   At about 31:15, Namrata reflects on the title's myriad meanings for her book Border Less    At about 34:20, Pete notes the clever book structure and asks Namrata to talk about how she labels her book and why; she notes ideas of “fragments” coming from many non-Western traditions, and how her epigraph from Edouard Glisaant relates   At about 40:25, Pete wonders about the story 9/12 and talks about the alchemy of what makes it a great story/chapter; he asks Namrata what she thinks the story “accomplishes” and she connects the chapter to other parts of the book   At about 43:30, The two discuss the dynamics of the dynamic first story, and Pete   At about 44:50, The two discuss the “Ladies Special” chapter and Pete notes Mumbai serving as a character on its own, and Namrata discusses the myriad significance of som many parts of the story    At about 50:10, Pete notes some salient themes, including financial issues and class divisions, from the book, and Pete highlights      At about 55:00, The two discuss ideas of stability and independence, and Pete shares a simple but powerful quote from the book   At about 56:00, Namrata expands on the hyphens that mark those in the Indian Diaspora and differing views of, and experiences with, a return to India   At about 59:45, Pete discusses ideas of connectedness and ancestral ties    At about 1:00:30, Namrata outlines the paradox that is set up with families that are scattered “yet find family in each other,” as well as the evolving definition of “family”   At about 1:03:10, The two discuss the significance of the haveli that has been in Día's family for generations    At about 1:04:00, Namrata responds to Pete's questions about continuity in the book and writing a book that is a family saga that spreads out over many decades and multiple generations   At about 1:07:40, Namrata and Pete discuss Ricki, Día, and other strong female characters who buck the traditional gender roles and Ricki's father's nostalgic writing At about 1:10, Namrata gives her rationale for ending the book with a chapter that she uses    You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl     Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.    Please tune in for Episode 157 with Ilana Masad. Ilana is a queer Israeli-American writer of fiction, nonfiction, and criticism; her work has appeared in The New Yorker, New York Times, LA Times, and many more; she is the author of the critically-acclaimed and awarded novel All My Mother's Lovers.     The episode will air on December 20.

Today, we talk about how experiences coming of age impact us into adulthood. Melissa Febos, author of the bestselling memoir Girlhood, joins us. She writes about what she learned about herself, including the ways we begin to understand consent and how this impacts our relationships long-term. And later, what should parents and educators consider when teaching about consent? GUESTS: Melissa Febos - author of Girlhood Kelsey Alexander - Training and Prevention Coordinator at Connecticut Alliance to End Sexual Violence Cat Pastor contributed to this show which originally aired February 18, 2022. Where We Live is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Stitcher, or wherever you get your podcasts. Subscribe and never miss an episode!Support the show: http://wnpr.org/donateSee omnystudio.com/listener for privacy information.

originally aired 07.14.2022Dr. Bryan Mark Rigghttps://bryanmarkrigg.com/BOOKS: FLAMETHROWER: Iwo Jima Medal of Honor Recipient and U.S. Marine Woody Williams and His Controversial Award, Japan's Holocaust and the Pacific War andCONQUERING LEARNING DISABILITIES AT ANY AGE: How an ADHD/LD kid graduated from Yale and Cambridge, became a Marine officer, Military Historian, financial advisor and caring father.Dr. Bryan Mark Rigg, the Biographer of Woody Williams, the Last WWII Medal of Honor Recipient and author of Flamethrower. Dr. Rigg is a recipient of the 2002 William E. Colby award for his work Hitler's Jewish Soldiers. https://bryanmarkrigg.com/originally aired 03.07.2022Serge Prengel is a therapist and a co-founder of the Integrative Focusing Therapy training program. This program puts person-centered therapy within the context of neuroscience, trauma-informed therapy, and depth psychology. Serge is the editor of the Relational Implicit series and of the Active Pause podcast. His most recent book, The Proactive Twelve Steps: A Mindful Program For Lasting Change, has received high praise as “a user-friendly guide to the application of mindfulness in everyday life.” https://activepause.com/https://proactive12steps.com/originally aired 05.26.2022Melissa Febos is the author of the memoir Whip Smart, the essay collection, Abandon Me, and a craft book, Body Work. She is the inaugural winner of the Jeanne Córdova Nonfiction Award from LAMBDA Literary and the recipient of fellowships from The National Endowment for the Arts, MacDowell, Bread Loaf, Lower Manhattan Cultural Council, and others. Her critically acclaimed, Girlhood, examined the narratives women are told about what it means to be female and what it takes to free oneself from them. https://www.melissafebos.com/girlhood

Author Melissa Febos has consistently flipped the literary paradigm. Her memoirs chronicling her time as a dominatrix and her musings on relationships and female adolescence have challenged traditional notions of memoir writing. Melissa tells Claire about her process for writing intimately and honestly about trauma, desire, and other life experiences. She also talks about her latest book, Body Work, which invites readers to grasp the radical power of writing your personal narrative.    Resources from the show Check out Melissa's latest book Body Work: The Radical Power of Personal Narrative Read Melissa's essay, The Heart-Work: Writing About Trauma as a Subversive Act, in Poets & Writers Do you have something you want Claire's help with? Send her a question to be featured on an upcoming episode by emailing us at newday@lemonadamedia.com or submitting one at www.bit.ly/newdayask.   Want to connect? Join the New Day Facebook Group!  https://www.facebook.com/groups/newdaypod   Click this link for a list of current sponsors and discount codes for this show and all Lemonada shows go to lemonadamedia.com/sponsors.   To follow along with a transcript and/or take notes for friends and family, go to lemonadamedia.com/show/newday/ shortly after the air date.   Follow Claire on IG and FB @clairebidwellsmith or Twitter @clairebidwell and visit her website: www.clairebidwellsmith.com.   Stay up to date with us on Twitter, Facebook, and Instagram at @LemonadaMedia.    Joining Lemonada Premium is a great way to support our show and get bonus content. Subscribe today at bit.ly/lemonadapremium.See omnystudio.com/listener for privacy information.

Given the obvious risks, why write a revealing memoir? On this edition of The Weekly Reader, we review two new books that reveal the radical power of personal narrative: "Body Work" by Melissa Febos and "Normal Family" by Chrysta Bilton.   See omnystudio.com/listener for privacy information.

All August we're celebrating with our favorite guests of the past year—but with a fresh take on the topic at hand and a new book trend. This week's episode basks in the smart, intimate, and insightful energy of Ashley C. Ford and Melissa Febos, two wonderful memoirists who share about writing intimate truths. Brooke gives her take on why memoir is a force that's changing the culture, and we celebrate Grant's latest side gig, the Reality TV project “America's Next Great Author”—which we're excited to share about on this week's show. Learn more about your ad choices. Visit megaphone.fm/adchoices

Melissa Febos is one of our most accomplished memoirists and essayists, a passionate and fiercely honest writer who, across several of her works, has often discussed her own path through addiction and into recovery. (Among her many, many accolades, she is the recipient of a 2022 Guggenheim Foundation Fellowship and a National Book Critics Circle Award.) I was thrilled to talk with her on this latest episode of Flourishing After Addiction and learn more about this harrowing and inspiring part of her life.There are so many gems in this episode. We talk about Melissa's experience of addiction and how she works her recovery program today . We discuss how her creative practice is part of that recovery; how evaluation, performance, and internal and external criticism was problematic for her; and how writing helped her in recovery. How her definition of recovery expanded over time. How she had to write to survive, and then to thrive. Whether you're interested in the craft of writing, or just how to craft a life, you shouldn't miss this one.Melissa Febos is the bestselling author of four books, most recently, Girlhood, winner of the National Book Critics Circle Award, and Body Work: The Radical Power of Personal Narrative. She is the recipient of awards and fellowships from The Guggenheim Foundation, the National Endowment for the Arts, MacDowell, LAMBDA Literary, The British Library, and others. Her work has appeared in publications including The Paris Review, Granta, The Believer, The New York Times Magazine, The Guardian, and many more.She is an associate professor at the University of Iowa. You can find her on Twitter, Instagram, her faculty page and her author website. In this episode: - her books:      Whip Smart     Abandon Me     Girlhood     Body Work Some of her recent longform: - "The Kindest Cut" in the New York Times Magazine- “Jeanette Winterson, My Therapist, and Me” in the New York Review of Books-  Girlhood excerpt in the New York Times-  “Do You Want to Be Known For Your Writing, or For Your Swift Email Responses?” in CatapultAlso mentioned:  Resmaa Menakem, author of My Grandmother's Hands and The Quaking of AmericaSign up for my newsletter and immediately receive my own free guide to the many pathways to recovery, as well as regular updates on new interviews, material, and other writings.

Today, we talk about how experiences coming of age impact us into adulthood. Melissa Febos, author of the bestselling memoir Girlhood, joins us. She writes about what she learned about herself, including the ways we begin to understand consent and how this impacts our relationships long-term. And later, what should parents and educators consider when teaching about consent? GUESTS: Melissa Febos - author of Girlhood Kelsey Alexander - Training and Prevention Coordinator at Connecticut Alliance to End Sexual Violence Cat Pastor contributed to this show which originally aired February 18, 2022. Support the show: http://wnpr.org/donate See omnystudio.com/listener for privacy information.

For author Melissa Febos, memoir isn't just personal – it's political, powerful and transformative. The associate professor at the University of Iowa and bestselling author of four books, including Girlhood and Body Work, sits down with Tamara for an intimate discussion about confronting societal taboos; sparking necessary conversations about women's bodies and sexuality; and why sharing shame and trauma can build, and heal, community.

'Girlhood' and the unending assaults that young women face. What is the story that we tell about ourselves? Is it our own or is it what someone else has told us? Award winning author Melissa Febos, gives us first hand insight into what happens when we learn to adopt stories about ourselves. A physical metamorphosis at the early age of eleven changed how the world around her perceived her. Melissa Febos is the author of four books, including the nationally bestselling essay collection, GIRLHOOD, which is a LAMBDA Literary Award finalist and won the National Book Critics Circle Award in criticism. GIRLHOOD was named a notable book of 2021 by NPR, Time, The Washington Post, and others. Her craft book, BODY WORK (2022), was also a national bestseller and an Indie Next Pick. Her essays have won prizes from Prairie Schooner, Story Quarterly, The Sewanee Review, and The Center for Women Writers at Salem College. She is a four-time MacDowell fellow.

Donika Kelly is the author of The Renunciations (Graywolf), winner of the Anisfield-Wolf book award in poetry, and Bestiary (Graywolf), the winner of the 2015 Cave Canem Poetry Prize, a Hurston/Wright Legacy Award for Poetry and the Kate Tufts Discovery Award. Kelly's poetry has been a finalist for the National Book Critics Circle Award, the Publishing Triangle Awards, the Lambda Literary Awards, and longlisted for the National Book Award.  A Cave Canem graduate fellow and member of the collective Poets at the End of the World, she has also received a Lannan Residency Fellowship, and a summer workshop fellowship from the Fine Arts Work Center. She earned an MFA from the University of Texas at Austin and a PhD in English from Vanderbilt University. Her poems have been published in The New Yorker, The Atlantic, The Paris Review, and elsewhere. Donika lives in Iowa City with her wife, the nonfiction writer Melissa Febos, and is an assistant professor in the English Department at the University of Iowa, where she teaches creative writing. donikakelly.com Twitter: @officialdonika “Self Portrait as a Body, a Sea” was originally published in the Sewanee Review, 2017.  Text of today's poem and more details about our program can be found at: deerfieldlibrary.org/queerpoemaday/ Find books from participating poets in our library's catalog.  Queer Poem-a-Day is directed by poet and teacher Lisa Hiton and Dylan Zavagno, Adult Services Coordinator at the Deerfield Public Library. Music for this second year of our series is the first movement, Schéhérazade, from Masques, Op. 34, by Karol Szymanowski, performed by pianist Daniel Baer. Queer Poem-a-Day is supported by generous donations from the Friends of the Deerfield Public Library and the Deerfield Fine Arts Commission. Queer Poem-a-Day is a program from the Adult Services Department at the Library and may include adult language.

Now appearing in paperback, this bestselling collection of personal essays won a National Book Critics Circle Award; it was also named a "Best Book of the Year" by NPR, The Washington Post, Kirkus Reviews, The Millions, and Ms Magazine.

It's the end of our ‘The World Around Us' capsule of episodes! MENTIONED: Jordan calls up Ross Gay to talk about his garden and something called a goumi an outtake from our convo with adrienne maree brown, on the power of expressing the thing that needed to be expressed updates about cool Thresholds alums like Alex Kleeman, Melissa Febos, Margo Jefferson, and Susan Orlean some book recommendations from Typo's dad, Ed Yong our audio engineer/composer Lora-Faye Åshuvud whips up a sonic treat just for you We'll be back with our next capsule starting 5/18! For more Thresholds, visit us at www.thisisthresholds.com Be sure to rate/review/subscribe! Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode of the Good Writing Podcast deals with the ethics that the writer must grapple with when writing, especially when that writing deals with people from the so-called real world with the help of Melissa Febos' parables. "A Big Shitty Party" by Melissa Febos. Good Writing is a podcast where two MFA friends read like writers and lay out craft ideas for fellow writers to steal. Co-hosted by Emily Donovan and Benjamin Kerns. Twitter: @goodwritingpod  Email: goodwritingpodcast@gmail.com

In this episode, Kimberly and Melissa discuss Melissa's several books, including "Girlhood" and "Body Work". They discuss writing personal experiences and its impact on close relationships, as well as mother/daughter dynamics, writing as a medium for processing shame and trauma, and cultural responses to women's stories of coming of age, consent, trauma, sex work, and more.    Bio Melissa Febos is an author and an assistant professor at the University of Iowa, Nonfiction writing program. She is author of four books, including the nationally bestselling essay collection, “GIRLHOOD,” which is a LAMBDA Literary Award finalist and won the National Book Critics Circle Award in criticism. “GIRLHOOD” was named a notable book of 2021 by NPR, Time, The Washington Post, and others. Her craft book, “BODY WORK” (2022), was also a national bestseller and an Indie Next Pick. What She Shares: –Experiences writing books about self, sex, and traumas –Family responses to writing –Cultural responses to stories of sex, shame, etc. –Writing as part of reparative process –Newest book Body Work   What You'll Hear: –Power of story-telling –Openness of media and culture for book like Girlhood –Bringing topics of sex and affirmative consent on national television –Experiences of stalker and associated traumas –Doing the difficult work for self and relationships –Experience of cuddle parties and consent –Awareness and consent as a life's work –Process of writing and remembering –Love and tenderness for past selves –Mother's experience of reading book about harm and adolescence –Complexities of trauma for girls, women, and mothers –Difficulties of traumatic experiences for mothers and daughters –Mothers' experiences knowing details of daughters' trauma –Process of writing narrative fueling healing with privacy before publishing –Taking time necessary for writing –Victim-blaming regarding sexual assault –Quick to suppress personal desires in relation to others' –Conflicts in female friendships building resiliency and love –Social conditioning for girls to please others over selves –Bodies, aspirations, talents as an “affront to femininity” –Experience becoming a sex worker –Internal conflicts due to second-wave feminism –Feeling safe exploring parts of sexual self through dominatrix work –Backlash from community after publishing experience in sex work –New book Body Work   Resources Website: https://www.melissafebos.com/ IG: @melissafebos 

Sometimes the hardest story to tell is your own. Melissa Febos teaches in the nonfiction writing program at the University of Iowa, and she joins host Krys Boyd to discuss writing her memoir, walking the line between vulnerability and over divulgence, and to offer guidance to other aspiring writers on how to begin their journey. Her book is called “Body Work: The Radical Power of Personal Narrative.” This episode originally aired on Mar 17, 2022.

Melissa Febos is the author of four books, including the nationally bestselling essay collection, “Girlhood,” which is a LAMBDA Literary Award finalist and won the National Book Critics Circle Award in criticism. GIRLHOOD was named a notable book of 2021 by NPR, Time, The Washington Post, and others. Her latest publication is her craft book, “Body Work: The Radical Power of Perosnal Narrative.” “Body Work is a national bestseller and an Indie Next Pick. Drawing on her own path from aspiring writer to acclaimed author and writing professor - via addiction and recovery, sex work and academia - Febos has created a captivating guide to the writing about life.

Host Charity Nebbe talks with memoirist Melissa Febos about her new book, Body Work: The Radical Power of Personal Narrative

Melissa Febos talks about her new book about writing, and historian Leo Landis discusses Iowa's history with year-round Daylight Saving Time.

Melissa Febos is the critically acclaimed author of Whipsmart, Abandon Me, and Girlhood. She joins Laura and Adrian for a candid and captivating conversation on her newest book Body Work (out 3/16). They explore the craft and complexity of writing truthfully about our lives and loved ones.

Debra Gwartney joins Let's Talk Memoir for a conversation about the difference between character and narrator in memoir, navigating writing about loved ones, why memoirists need to hold their own feet to the fire, and what question every memoir asks.    Also in this episode:  -memoir and essay recommendations -craft book suggestions -tips for avoiding common pitfalls when writing memoir   Memoirs/Work mentioned in this episode: The Sisters Antipodes by Jane Alison The Invention of Solitude by Paul Auster Borrowed Finery by Paula Fox Fierce Attachments by Vivian Gornick The Situation and the Story by Vivian Gornick To Show and to Tell by Phillip Lopate "The Fourth State of Matter" by Jo Ann Beard "Thanksgiving in Mongolia" by Ariel Levy Authors mentioned: Melissa Febos, Eula Biss, Ann Carson, Claire Vaye Watkins, Ander Monson   Debra Gwartney is the author of two book-length memoirs, Live Through This, a finalist for the National Book Critics Circle Award, and I Am a Stranger Here Myself, winner of the RiverTeeth Nonfiction Prize and the Willa Award for Nonfiction. Debra has published in such journals as Granta, The Sun, Tin House, American Scholar, The Normal School, Creative Nonfiction, Prairie Schooner, and others. She's the 2018 winner of the Real Simple essay contest. She's also a contributing editor at Poets & Writers magazine and received a Pushcart Prize in 2021 for her essay “Suffer Me to Pass,” from VQR. Debra is co-editor, along with her husband Barry Lopez, of Home Ground: Language for an American Landscape. She lives in Western Oregon.    Connect with Debra: https://www.facebook.com/writerdebragwartney/ http://www.debragwartney.com   Ronit's essays and fiction have been featured in The Atlantic, The Rumpus, The New York Times, The Iowa Review, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in both the 2021 Best Book Awards and the 2021 Book of the Year Award and a 2021 Best True Crime Book by Book Riot. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and will be published in 2022. She is host and producer of the podcasts And Then Everything Changed and The Body Myth. More about Ronit: https://ronitplank.com More about WHEN SHE COMES BACK, a memoir: https://ronitplank.com/book/ Sign up for monthly podcast and writing updates: https://bit.ly/33nyTKd   Follow Ronit: https://www.instagram.com/ronitplank/ https://twitter.com/RonitPlank https://www.facebook.com/RonitPlank   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

Live Wire celebrates Women's History Month by honoring some unsung heroes from the past; filmmaker Andrea Nevins shines a light on the challenges and triumphs of female comedians in her documentary Hysterical; writer Melissa Febos opens up about her collection of essays, Girlhood, which looks at the forces that shape the lives of girls and the adults they become; and genre-bending musical group Pink Martini performs a soaring cover of the 1970s hit "I Am Woman."

A lot of us folks in recovery have big collections of self-help and memoir books, and with good reason. Books give us solace, they help us see how other people deal with similar challenges, they are a source of community through contact with other minds, and, as articulated by Eva Hagberg, this week's guest on the Flourishing After Addiction podcast, books, and particularly memoirs, are a way of trying on different “moral selves.” Eva is an author who has written beautifully about her own addiction and recovery in her  memoir, How to be Loved. It's an honest and raw account that includes her experiences with chronic medical conditions, grief, loss, romances, and friendship. In this episode, we talk about being seen and wanting to be known, the creative process, what she has learned from memoirs—addiction and otherwise—and her own experience with different varieties of 12-step recovery. And, with my own book coming out soon, she gives me some great advice about focusing on what matters most. Eva Hagberg is an author, cultural and architectural historian, architecture critic, speaker, and more. Her critically-acclaimed memoir, How to Be Loved, is out now from Mariner Books. In a fun twist, we also talk about an unexpected set of connections between recovery and architecture, related to her next project: a biography of Aline Louchheim Saarinen, forthcoming from Princeton University Press.  She teaches at Columbia University in the Graduate School of Architecture, Planning, and Preservation, and at Bard College in the Language & Thinking Program. She lives in Brooklyn. Find her at her website, or on Twitter.In this episode: - Ira Glass on the “taste gap:” “Nobody tells people who are beginners — and I really wish somebody had told this to me — is that all of us who do creative work … we get into it because we have good taste. But it's like there's a gap, that for the first couple years that you're making stuff, what you're making isn't so good, OK? It's not that great. It's really not that great. It's trying to be good, it has ambition to be good, but it's not quite that good. But your taste — the thing that got you into the game — your taste is still killer, and your taste is good enough that you can tell that what you're making is kind of a disappointment to you”- Melissa Febos, author of Whip Smart, Girlhood, Abandon Me, and Body Work. - A Round-Heeled Woman: My Late-Life Adventures in Sex and Romance, by Jane Juska- Dani Shapiro, author of Slow Motion, Devotion, Inheritance, and other books. - The sociologist Robin Room analyzing codependency and Adult Children of Alcoholics, in the context of other 12-step thinking: Alcoholics Anonymous as a Social Movement - Erving Goffman, The Presentation of Self in Everyday Life - Someday This Pain Will Be Useful to You, by Peter CameronSign up for my newsletter for regular updates on new interviews, material, and other writings.

This week, we're talking all things SUBSTANCES with Melissa Febos!! Looking for the show notes? Everything we talk about each episode — books, shows, sex toys, resources — can finally be found in our *free* Substack. Or, if you wanna support the pod, become a Zaddy or Queen Mother subscriber and get even juicier content while becoming a patron of our work

Kaveh Akbar, Melissa Febos, and Megan Stielstra catch up and reprise their 2017 Portland Book Festival panel for this conversation with moderator Marisa Siegel.