Category Archives: Books + Literature

Identity is a Fickle Thing: An Interview with Marisa Silver

A child is born in an unknown country and two things are immediately noticed: The girl, named Pavla by her parents, is both beautiful and her growth is absolutely stunted. So begins Marisa Silver’s magical new novel, Little Nothing, which traces Pavla’s transformations from a young girl with dwarfism to a beautiful non-dwarf teenager, and finally, into a wolf. The story bursts with magic, with the longing to discover identity, and, perhaps unsurprisingly, a forbidden love between Pavla the wolf and the man who protects her. I spoke to author Silver about this new novel, so read on to reveal more of the magic:

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Kati Heng: Is there a metaphor hiding inside Pavla’s transformations from dwarf to beauty to wolf?

Marisa Silver: When I wrote the book, I avoided thinking about what it meant. I know that’s probably an odd thing to say, but if I decide in advance what a novel is supposed to be about, what its big themes are, then the resulting work will not find its way towards surprise. I just put my head down and write characters and try to make their actions and behaviors true for them during any given emotional moment or situation.

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FROM THE STACKS: The Honesty of Jean Rhys

From the Stacks is a new series on Weird Sister wherein we pull a book—old, new, or anything in between—from our bookshelves, and write something about it.

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The Collected Novels of Jean Rhys

The Collected Novels of Jean Rhys #feministshelfie

I recently had a conversation with a man about Bukowski. Had I read much Bukowski? I said I’ve avoided a lot of the bro-writers: Bukowski, Burroughs, Miller, Kerouac (though I’ve come to love Kerouac). He said, Yeah, those guys are great writers, but, you know, they’re not really great toward women.

It’s not surprising we have a whole genre of literature by men who disrespect, objectify, reduce, and silence women. A more interesting question is, who are the women—especially the early women writers—of whom we might say the same: they aren’t really great toward men, you know, but they’re still worth reading.

I posed this question to a brilliant poet friend, who responded that while male writers are often being sexist when they write about women, women are often being honest. So the comparison doesn’t really work, she said, laughing. She then made some contemporary suggestions: Dodie Bellamy. Kathy Acker. Rebecca Solnit.

But what about going further back into the archives?

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Between Memory and Forgetting: An Interview with Gabrielle Lucille Fuentes

Photograph by Brittainy Lauback

Photograph by Brittainy Lauback

I’m lucky to have known Gabrille Lucille Fuentes for several years now– we both live in Athens, GA and attend the same PhD program, and we co-curate a reading series together at our local indie bookstore. The first time I got to hear Gabrielle read her work aloud I was spellbound– not only was her prose riveting, but her ability to embody the work as she read it made for a thrilling listening experience. I knew she was a serious workhorse when it came to writing– working on several novels at once, and more diligently than most writers I know– and brilliant to boot, so it would only be a matter of time before her work began to enter world as books. Fuentes’ first novel, The Sleeping World, is out tomorrow (9/13) from Simon & Schuster/Touchstone, and it is ferocious, a book hot with searching and loss, tension thrumming constantly at the periphery. Per the jacket copy:

“Casasrojas, Spain, 1977. Military rule is over. Bootleg punk music oozes out of illegal basement bars and fascists fight anarchists for political control. Students perform protest art in the city center, rioting against the old government, the undecided new order, against the university, against themselves. At the center is Mosca, an intelligent, disillusioned university student, whose younger brother is among ‘the disappeared,’ kidnapped by fascist police, missing for two years, and presumed dead. Spurred by the turmoil around them, Mosca and her friends carry their rebellion too far and a violent act sends them spiraling out of their provincial hometown. But the further they go, the more Mosca believes her brother is alive and the more she is willing to do anything to find him.”

You can feel this novel in your bones– when the characters are sore and tired, sweatily roaming through Spain and France, your body meets the book in feeling. I was excited to ask Fuentes some questions about her writing process, the seeds of the book, and much more.

Gabrielle Lucille Fuentes is a writer and teacher. Her first novel, The Sleeping World, will be published by Touchstone  (Simon & Schuster) in 2016.  She has received fellowships from Yaddo and Blue Mountain Arts Center and was a Bernard O’Keefe Scholar in Fiction at Bread Loaf. Her work has appeared or is forthcoming in One Story, Slice, Pank, The Collagist, Tweed’s, NANO Fiction, Western Humanities Review, The YokeSpringGun, and elsewhere.

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Gina Abelkop: What and when were the first seeds of this novel planted? Where were you living? Did it begin with a plot, character, or an emotional impluse?

Gabrielle Lucille Fuentes: Song lyrics often start stories for me. I’ll become obsessed with a song—especially one with a scrap of narrative and want to enter into the world of the song through my writing. Or the song will provide entry into a world I’ve carried but didn’t yet have access to. The Sleeping World began as a short story I wrote while listening to The National’s song “Runaway.” I was living in Boulder, Colorado and had just started my MFA. Boulder is a surreal town—it’s surrounded by gorgeous mountains but the town itself like a play-land created by Patagonia and Disney. Very new, very expensive, very white. The initial story came quickly, transported by a few of the lyrics. I wanted to communicate a tension between forgetting and memory, and when I went back to the story, I found that I was writing my own, despite the distance between me and the narrative. My brother had recently passed away and writing was a way for me to grieve, to speak to the dead and carry him with me in the living world.

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Women Working: 10 Poems for Labor Day

women working poems for labor day
Everyone’s last chance to soak up the end of summer, Labor Day is also, of course, a day recognizing workers. Take a break from the sun to read these great poems about women working—in the fields, in the home, in the office and beyond.

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Woman Work – Maya Angelou

I’ve got the children to tend
The clothes to mend
The floor to mop
The food to shop
Then the chicken to fry
The baby to dry
I got company to feed
The garden to weed
I’ve got shirts to press
The tots to dress
The can to be cut
I gotta clean up this hut
Then see about the sick
And the cotton to pick.

Shine on me, sunshine
Rain on me, rain
Fall softly, dewdrops
And cool my brow again.

Storm, blow me from here
With your fiercest wind
Let me float across the sky
‘Til I can rest again.

Fall gently, snowflakes
Cover me with white
Cold icy kisses and
Let me rest tonight.

Sun, rain, curving sky
Mountain, oceans, leaf and stone
Star shine, moon glow
You’re all that I can call my own.

(And Still I Rise. Random House in 1978)

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The Common Women Poems, II. Ella, in a square apron, along Highway 80 – Judy Grahn

She’s a copperheaded waitress,
tired and sharp-worded, she hides
her bad brown tooth behind a wicked
smile, and flicks her ass
out of habit, to fend off the pass
that passes for affection.
She keeps her mind the way men
keep a knife—keen to strip the game
down to her size. She has a thin spine,
swallows her eggs cold, and tells lies.
She slaps a wet rag at the truck drivers
if they should complain. She understands
the necessity for pain, turns away
the smaller tips, out of pride, and
keeps a flask under the counter. Once,
she shot a lover who misused her child.
Before she got out of jail, the courts had pounced
and given the child away. Like some isolated lake,
her flat blue eyes take care of their own stark
bottoms. Her hands are nervous, curled, ready
to scrape.
The common woman is as common

as a rattlesnake.

(New & Selected Poems (1966-2006). Red Hen Press, 2008)

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Cure for the End of Summer Blues: A Review of Mall Brat

Mall Brat Laura Marie Marciano
I met Laura Marie Marciano at a reading in an eminently Instagrammable and chic bookshop in Chicago. My partner noticed how taken I was with her work, and encouraged me to introduce myself. Marciano’s work has a clarity of voice and vision to which we can all aspire to.

She read from her book, Mall Brat (Civil Coping Mechanisms Press, 2016), a collection of poems defined by its unflinching approach to sexuality and memory. Mall Brat’s forward (framed as “From the author at fifteen”) sets up the book brilliantly with details of a summer romance between the speaker at fifteen and a man six years her senior. The facts are excruciating to a reader aware of the power imbalance, begging for someone—anyone—to step in and save this child. Instead, Marciano forces the reader to inhabit the speaker’s thought process at that age, and to remind us that our own was equally short-sighted and precarious:

“I was the type of girl who might be featured in some virgin porn, just a little bit plump, with a second day tan, and extreme insecurity—but, also, smart, because I had read a lot and I had an older brother.”

As I read these poems, I find myself returning to a line from Dorothy Allison’s book of essays, Skin: “I can write about years in a paragraph, but the years took years to pass.” There is often a human desire, and a tendency in some poetry, to simplify the past and obscure it with language—to decide on a narrative that is easy to repeat with a few totemic details for emphasis.  Marciano refuses a smooth rendition of the past and honors those years, reaching into their layers and maintaining eye contact “as i sink my hand deeper/into the barrel of stones.”
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Because We Want Control: An Interview with Melanie Finn

The Gloaming centers on an accident – a woman, Pilgrim, swerves her car to avoid hitting a dog that has run into the street and instead strikes and kills three children waiting for the bus. Recently divorced, her life out of her hands and feeling the weight of whispers all around her, Pilgrim runs away to Africa, only to find the accident haunting her even there.

It’s intense, raw, a story less about moving on with ones’ life than learning how to live aware of life’s messy, connective tissues. And of course, it’s a testament to the striking writing of its author, Melanie Finn. I got the chance to ask Finn a few questions, about the story, her connection to Africa, and how a person should deal with the weight of their own actions:

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FROM THE STACKS: Oriental Girls Desire Romance by Catherine Liu

From the Stacks is a new series on Weird Sister wherein we pull a book—old, new, or anything in between—from our bookshelves, and write something about it.

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Oriental Girls Desire Romance by Catherine Liu #feministshelfie

Oriental Girls Desire Romance by Catherine Liu was first published in 1998, then re-issued in 2012 by Kaya Press, which specializes in Asian Pacific Diasporas. This book fell into my lap at just the right time; my best friend, who worked with Liu at UC Irvine, mailed it to me. (Isn’t it always the surprise-gift books that seem so magical, so resonant?) Catherine Liu is a professor of Film and Media Studies at UC Irvine, and she’s published a number of books of theory. I haven’t read her theory, but when I looked into her work a bit more, I found that this book didn’t receive the rave reviews I would have imagined. It seems to have been a little before its time, though I could see Oriental Girls Desire Romance fitting right in as an Emily Books pick today. The novel is poetic and not very plot-driven, with long, meandering prose detailing the thoughts of a unnamed young woman in New York City in the 80s. Through flashbacks, we come to understand that she has graduated from an Ivy League school, traveled to China to teach at a university for one semester, and returned to NYC, where she then begins graduate school in French and takes a lot of classes on theory. She dates men—a series of short, difficult relationships—and has one relationship with a woman during her last year of undergrad; what’s interesting is how little Liu dwells on this lesbian relationship. While the protagonist often interrogates her identity as a woman and as a Chinese-American, she does not contemplate the question of her sexuality. It seems she just momentarily fell in love with a woman, had some great sex, and then had her heart ripped out when she realizes it’s over. I really appreciated this nonchalance toward what is, essentially, a bisexual character, or what we could call, in today’s terms, a queer novel.

Liu’s protagonist deals with questions of identity, often trying to figure out “how to be a woman.” Recalling a childhood memory of playing chess with her brother, the memory quickly melds into an astute metaphoric observation:

“I said again that I hated the game and he said I was stupid. He told me I was just like a girl.

I did feel stupid. I felt just like a girl, though I had tried so hard not to be stupid, not to be like a girl.

I once overhead two students who looked like football players talking in the streets of our college town. One of them said to his friend, so she says to me, just like a girl she says, oh come on, let me suck your dick. Can you believe that?

I walked around the months saying, thinking, come on, oh come on, let me suck your dick. I was trying so hard not to be just like a girl, but it wasn’t working. Being a girl seemed to be about being tricked into playing games you couldn’t win and then being called stupid for it. Being a girl meant that you could be misrepresented and misquoted by a man in order to enhance his reputation. I was determined to find a way of being a girl that would get everyone back for such gross injustice. […]

Being a girl was beginning to feel more and more dangerous.” (22-23)

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A Mix of a Sassy Teenager and a Crotchety Old Lady: An Interview with Hadley Freeman

One of the most enjoyable, personal, and feminist books I’ve read this summer had to be Hadley Freeman’s 80s film exploration Life Moves Pretty Fast: The Lessons We Learned From Eighties Movies (and Why We Don’t Learn Them From Movies Any More). Not only is this a book that examines in detail some of the greatest films of (dare I say?) all-time such as The Princess Bride, Coming to America, Pretty in Pink, and Ghostbusters; the real draw of the collection is Freeman herself. Reading this book is like having a way cooler older sister watching the film right alongside you, pointing out the lessons you would have overlooked while simply laughing at the classic John Hughes wit. It’s hard to finish the book without feeling like Freeman is that cool upperclassmen in school that for some inexplicable reason, has taken you under her wing as friend, and a girl like me couldn’t waste the chance to extend that feeling into an interview. Read on to see some of the questions I couldn’t help but ask her about the book, feminists in film, and of course, Ghostbusters:

Kati Heng: As I read the book, I kept thinking that the subtitle very easily could have been “What 80s Movies Taught Us About Feminism and Why We Don’t Learn That Stuff from Movies Anymore,” or something catchier. Did you ever consider releasing this book in a more upfront feminist version?
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Romance Novel Bibliotherapy

Romance Novels

Where can we turn when the world feels too painful to bear? I’ve been thinking about this a lot lately. For me, the answer is usually words: poetry, novels, interviews, quotations—all of language seems to have a healing power. Regarding Brexit, and its attendant xenophobia and racism, Joanna Walsh, fiction editor at 3:am Magazine, invited “publishers, writers, translators—people fighting, in their work, to keep our cultural borders open—to contribute a single sentence in reaction to what’s happening right now,” resulting in a powerful litany of “[a]nger, despair, protest, sorrow, love.” Bibliotherapy, the act of therapeutic reading, has a long history; Ceridwen Dovey’s New Yorker piece from 2015 titled “Can Reading Make You Happier?” finds that “Ancient Greeks […] inscribed above the entrance to a library in Thebes that this was a ‘healing place for the soul.’”

I’m traveling for the summer in South America. (Does travel make us feel better? Experiencing the world? Being in nature, looking at wild life through travel binoculars? yes. But still: books.) I took one book with me—Elena Ferrante’s The Lost Daughter—and it was stolen in LAX before my first flight. So I’ve switched to Kindle and Emily Books. As an experiment, I decided to open myself up to the highs and lows of the romance genre: If love heals, then I thought I’d try out, as they say, “trashy” romance novels, or “beach reads.” I suppose the only difference I’ve discovered between the “high art” of literary novels and the “lower art” of romance novels is twofold: 1) the self-publishing writers of the world need editors, badly, and 2) saccharine hope and happiness of “light” literature may be easy to generate and fluffy—but, as sentiments, they are still important, and even necessary.

I’m left wondering why we literary or intellectually-minded readers put down the whole genre of the romance novel when all it is, really, is another attempt to feel okay in the world.

I’ve read four romance-focused books in about as many days. It’s a way of hiding, of healing. Sometimes, I think it may be working. Here they are:

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Talking with Cheena Marie Lo About A Series of Un/Natural/Disasters

A Series of Un/Natural/Disasters (Commune Editions, 2016) by Cheena Marie Lo is a book of poetry that challenges what “poetry” can be. This text “[attends] to the sorts of mutual aid and possibility that appear in moments of state failure. As such it maps long and complicated equations, moving from Katrina to the prisoners at Riker’s Island as they await Sandy. It understands disaster as a collective system, the state as precarious, and community as necessary” (Commune Editions, 2016). While Lo’s original preoccupation concerned headlines of the past, in light of recent events in Orlando, I feel like this text, unfortunately, continues to be relevant today.

so what about the instinct to survive.

so what about birds and burying beetles.

so what about support and what about struggle.

so what about ants and bees and termites.

so what about the field upon which tender feelings develop
even amidst otherwise most cruel animals.

so what about migration. breeding. autumn.

so what about the numberless lakes of the russian and siberian steppes
and what about aquatic birds, all living in perfect peace—

Geraldine KimMany sections in A Series of Un/Natural/Disasters begin with some sort of carrier word or phrase that is repeated throughout that same section (e.g., “Because Another Tropical Storm is Looming,” with the word “because” or “Poor Marks for His Handling of Federal Response” with the word “poor”). Can you talk a bit about the function of this repetition in regards to the overall project/subject matter?

Cheena Marie Lo: Repetition is something that I use a lot in my writing because it reflects my thought process when I’m trying to figure something out. I have a tendency to relentlessly circle around things in my head. Some of these “carrier” words or phrases were part of the procedures I used when writing this– I lifted instances of “because” or “poor” or other “carriers” in the texts that I was working with. Reducing the materials to these words and phrases that surrounded them illuminated patterns and narratives in the source material. My intention with the repetition was to build and expand these narratives out.

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