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Archive for the ‘writing’ Category

I’m really proud of this one and delighted to announce….

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The book will be available in stores and online from 17 July 2017.

In this revealingly honest collection, successful Australian women talk about the challenges they have overcome, from sexual assault and domestic violence to racism, miscarriage, depression and loss, and how they let the past go to move forward with their lives. Courageously, the contributors delve deep into how these experiences made them feel, what the personal cost was and why they may have chosen to remain quiet until now.

In a time when bragging about sexual assault doesn’t preclude being elected President of the United States, women must stand together and speak out against violence against women. Unbreakable shows that every woman, no matter her success, has a story, and that together we are stronger.

In Jane Caro’s words:
I want to pass on courage and hope to women who have also gone through such things by all of us speaking up about our own experiences. These things do not need to either define us or destroy us. We can find the strength to move forward, and this book shows how successful women have done just that.

Contributors include Kathy Lette, Mariam Veiszadeh, Tracey Spicer, Lee-Ann Tjunypa Buckskin, Rebecca Lim, Kerryn Goldsworthy, Susan Wyndham, Andie Fox, Dee Madigan, Catherine Fox, Zora Simic, Nina Funnell, Sandra Levy, Polly Dunning and Jacinda Woodhead, with a foreword by Tanya Plibersek.

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Stop everything and go read this short story, it’s amazing. Here’s a taste to tempt you…

There’s a man I hardly know, an academic. He began sleeping with a graduate student when his wife was pregnant, but everything was cool, because, you know, everyone involved read criticism and all three of them really wanted to test the boundaries of just how much that shit can hurt.

I imagine that shit can hurt a whole lot.

Every time I hear about another professor with a student, I think, Wow, that professor I know is way more messed up than I ever thought. Stealing confidence from eighteen-, nineteen-, twenty-year-olds.

Nasty.

This professor, he cleared the fucking of the graduate student with his pregnant wife, and for reasons I don’t understand the wife allowed him to dabble in younger, unwed women while she gestated their child, while her blood and bones were sucked from her body into their fetus.

Though the wife is an interesting part of this triangle, it’s neither her nor the husband I’m thinking of here in bed while Sam bleeds out his last drop of life on our living-room floor. I’m thinking of the poor, stupid graduate student.

She and the academic attended a lecture together one night. After the lecture, there was a party where she was in the insecure position of being a student among people who were done being students. And though everyone was staring at her—they knew the wife—no one wanted to talk to her or welcome the grad student into the land of scholars.

This was not acceptable. She liked attention. She liked performance. She cleared her throat—and the noise from the room—as if readying for a toast. She stood on a low coffee table. Everyone stopped drinking. In a loud, clear voice, one that must still reverberate in her ears, the academic’s ears, everyone’s ears (it even managed to reach mine), she said, “You’re just angry because of what I do with my queer vagina.”

On my living-room wall I keep a photo of my Victorian great-grandmother engaged in a game of cards with three of her sisters. These women maintained a highly flirtatious relationship with language. “Queer” once meant strange. “Queer” once meant homosexual. “Queer” now means opposition to binary thinking. I experience a melancholy pause when meaning is lost, when words drift like runaways far from home. How did “queer” ever come to mean a philandering penis and vagina in a roomful of bookish, egotistical people? How did common old adultery ever become queer?

I feel the grad student’s late-blooming humiliation. How she came to realize, or will one day soon, that her words were foolish. I remind myself there in bed, Dont talk. Dont say words to people, because words conjure images. Her words created a likely unwanted idea of an organ that, like all our organs, is both extraordinary and totally plain. Some flaps of loose skin, some hair, some blood, but, outside the daily fact of its total magnificence, it is really not queer at all.

From Samantha Hunt’s “A love story” in The New Yorker. 

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Nutrition

Set aside an hour for a real lunch. Not food. Ingest the ambient sounds of your workplace.

Interpersonal Connection

Who was your first friend? Dial tech support and whisper his or her name until the I.T. person hangs up. Relationships are important for well-being.

From Krithika Varagur’s “Self-care tips from Yoko Ono” in The New Yorker. 

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This is a good response to Jia Tolentino’s “The personal-essay boom is over” in The New Yorker from Susan Shapiro in Forward with “Taking it personal: A feminist defense of the first-person essay”.

While Tolentino and others espouse the simplistic, paternalistic view that women mining their intimate lives in public could be somehow exploitative and exploited, I quote Nora Ephron: “Everything’s copy” and try to emulate her grace and sense of humor. I always found revealing secrets in print cathartic and liberating, repeating my shrink’s mantra that, to stay healthy, you should “lead your least secretive life.” Indeed, I owe the career my conservative Midwest family hates to this form. I was originally compelled by this so-called 2008 “first-person industrial complex boom” decades before, as I devoured the audacious confessional poetry of Sylvia Plath, Anne Sexton, Ted Hughes, Robert Lowell and Nikki Giovanni in the staid Michigan Jewburbs in the sixties. Getting my MFA at NYU in 1981, I noticed one could turn poetry subjects into essays and books (like the brilliant Mary Karr, Carol Muske-Dukes, and Katha Pollitt.) After working at The New Yorker for four years, I wrote for The New York Times Lives and Hers columns, Newsweek’s “My Turn,” Cosmopolitan’s “Outrageous Opinion,” along with Glamour, New Woman, Marie Claire, which, at the time, paid $1,000 or more.

Tolentino attributes the shifting essay market to politics (a response to Trump’s election) but as her own piece demonstrates, it’s economics. She quotes former Salon editor Sarah Hepola saying the personal essay “boom” of her day was motivated by an online climate where content was needed and budgets were slashed. Yes, after Apple’s iTunes destroyed the feasibility of music albums, the Internet devalued paper tomes with e-books and hurt print. Cheaper shorter faster online essay versions did proliferate, along with internet trolls and pop up adds. Instead of 1,600 word, $1,600 carefully curated Jane Magazine pieces, suddenly XOJane paid $25 or $50 for quick takes, many silly, which I blame on editors (who are, after all, our bosses) and the higher ups in charge, desperate to keep their businesses afloat. I didn’t love all the Tampax and cat hair pieces or prompts from Hearst’s The Mix. Yet it seemed a worthy experiment since it gave young writers I knew clips, exposure, and literary agents. Cream rose, as always.

 

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Because blogging has felt increasingly uncomfortable for me for personal writing, I am going to attempt TinyLetter instead. It’s an e-newsletter platform and you can subscribe here. It will deliver my ‘personal writing’ posts directly to your email rather than on this blog.

This blog was always supposed to be a place for very honest writing.

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I am hoping with TinyLetter I can feel a little more free again, because I will know exactly who is in the room with me when I am talking. I will always keep this blue milk blog going, but the e-newsletter might be the place where I do more of my ‘thinking out loud’ style writing; the way I used to do on this blog.

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This is the most delicious interview.

It’s a conversation with poet, Ocean Vuong at The Creative Independent on “being generous in your work”. It’s about the nature of creativity, the past, being home, the problems of criticism without engagement, the limitations of purity, everything being related to everything, survival, closeness, connection, the fetishism of certainty, and the action of paying attention.

What’s your mood when you write?

When I’m lost in the work, I’m curious. I don’t know if curiosity is a balm, because it often gets me in trouble, but it gives me control. It becomes fuel, and it brings me out of myself and into the world, even if I’ve just been sitting at my desk and thinking about spirals, which is what I’ve been thinking about this morning.

The Italian philosopher Vico had this theory that time moves more in a spiral than it does in a line. He believes that’s why we repeat ourselves, including our tragedies, and that if we are more faithful to this movement, we can move away from the epicenter through distance and time, but we have to confront it every time. I’ve been thinking about trauma—how it’s repetitive, and how we recreate it, and how memory is fashioned by creation. Every time we remember, we create new neurons, which is why memory is so unreliable. I thought, “Well if the Greek root for ‘poet’ is ‘creator,’ then to remember is to create, and, therefore, to remember is to be a poet.” I thought it was so neat. Everyone’s a poet, as long as they remember.

 

 

 

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No woman should be shamefaced about giving back to the world, through her art, a portion of its lost heart

– Louise Bogan

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