Posts Tagged: Maggie Nelson
Reading Maggie Nelson can be like banging your head against the wall of categories—or being miraculously freed from them. At Fiction Advocate, Colter Ruland elicits an explanation of hybridity from Nelson:
I just do what’s natural, I’m not thinking, “this is high,” “this is low,” “let’s combine them.” Often I don’t know that something wasn’t “supposed” to be in conversation with something else until someone else reads it that way and tells me so; to me it’s just one flow.
[Memoir] comes alive at the fissures of its coherency: when a narrator is struggling to hold the self together in a text—for the reader’s sake if not also her own.
Scott F. Parker met up with Maggie Nelson at AWP to talk about her writing, her sudden popularity, memoir (or life writing), autotheory, and Buddhism for The Believer’s interview series, Stories of Self—complete with illustrations by Nelson’s partner, Harry Dodge....more
I’m spending National Poetry Month at the Millay Colony, former home of Edna St. Vincent Millay. My colleague and friend, poet and writer Jen Fitzgerald, will be writing the Mixtape column this month—and we are all lucky for it. Enjoy Jen’s robust selections and I’ll see you in May....more
Hilton Als of the New Yorker speaks with Maggie Nelson and her partner Harry Dodge about the continuum of life, work, love, and gender. Nelson’s most recent book, The Argonauts, rises with the tides of her own transformation in pregnancy, and Dodge’s transition toward maleness....more
As we said our vows, we were undone. We wept, besotted with our luck.
Maggie Nelson, interviewed by Paul Laity for the Guardian, talks about her life before and during her deservedly acclaimed autobiotheoreticalnovel The Argonauts, from following Eileen Myles to New York after graduate school to the investigation of her aunt’s brutal murder, and the love she’s found and made continually new....more
Memoirs get a bad rap, for reasons both legitimate and superficial. With a work of unintentional autobiography under his belt, Lucas Mann grapples with the stigma of the reflexive:
To put it bluntly, memoir is the only literary form still defined by its shittiest iterations.
The body in writing is a vessel to feeling—to empathy. Reading Lidia Yuknavitch, Maggie Nelson, Ta-Nehisi Coates, among others, is to feel.
“The normative/transgressive dichotomy is so deep. I remember a student I had a while ago, a trans person deeply invested in anti-assimilation, who was saying to me quite plaintively one day, “I just don’t see how to keep resisting the normative!” So I asked him, “Can you name what it is, exactly, that you feel like you have to resist?” And he said, “Well, I don’t want to get married or have a baby.” After he left my office I just kept thinking, Well, that’s weird, ‘cuz I’m married, and I have a baby.”
It’s that time of year again, where writers young and old, from all corners of the country, come to congregate in one gigantic, frenetic, neurotic, alcohol-infused crowd, in a couple of fancy hotels no one can really afford, to stay in and talk shop (or not, depending on how your writing’s been this year)....more
After four years in England, I know that summer is not the season of budding trees, shy morning sunlight, blue skies, and merry picnics on the grass that my Midwestern American childhood promised me. It is the season of gray. Every day....more
In her new book, The Art of Cruelty, Maggie Nelson draws upon a wide range of work (from Diane Arbus to Brian Evenson to name just two) as she grapples with what cruelty means and how its representation impacts us.