Naudline Pierre, ‘Too Much, Not Enough,’ 2019 2020. Oil on canvas, 60 × 40 in. For as long as I could remember, I wanted to be a girl. Even before I knew what it meant to be a girl, what a girl even was, I wanted it. I wanted to be pretty and to be adored in the way that only femmes could be adored. When you see a beautiful femme, it feels like getting
A still from Thelma & Louise (1991), the first road trip movie with women at the wheel. In the summer of 2021, in those halcyon months between vaccination and the Delta wave, I drove from New York to Los Angeles with my friend Julie. I had barely driven since high school, had never driven west, had taken only short road trips with boyfriends who never let me drive. Like everyone else in the world, Julie
Illustration by Mayra Tuncel. Afterward, Lila felt washed clean. Her face was as bare of makeup as a child’s and her insides had a drained, weightless quality, as though wrung of excess moisture. The hospital bed was stacked with so many pillows, pads, and blankets, it was as though she were floating just slightly above the furniture. The pale gray light also had an aura of suspension. It could have signified morning, afternoon, or evening.
October 2021 The sun is out, and Julie’s still in bed at noon, one, three, and still at half-past four. Another bright October day, one more spent walking, writing e-mails, solitude become habitual, there, here. My mood depends on the temperature outdoors, and if the sky is bright or going dour. I take one of two morning walks, once I’ve had mint tea. Coffee, awakening’s elixir, leaves a sour taste in my mouth now, a
After Geek Love became a best seller and earned nominations for the National Book Award and the Bram Stoker Prize, and after she had earned the admiration of early 1990s punk icons like Kurt Cobain, Courtney Love, Gus Van Sant, and Tim Burton, Katherine Dunn wrote for long stretches in the solitude of a large blue house in Portland, Oregon. Before that, in the 1970s, Dunn was recently separated from her first husband and wrote
Sheila Smith, Martha Scott, and Diane Stevens, arrested in a 1972 raid of the underground abortion service Jane. After Patricia Highsmith’s death in 1995, her friend, playwright and filmmaker Phyllis Nagy, committed to adapting The Price of Salt for film. Nagy expected homophobic resistance—Highsmith herself used a pseudonym when she published this classic lesbian love story—but the real barrier to financing was that it starred two women. Nagy kept the faith and, a mere twenty
Diana Goetsch. Photo by Svetlana Jovanovic Diana Goetsch is the author of eight collections of poetry and the “Life in Transition” blog at The American Scholar. McKenzie Wark talked to Goetsch about gender transition, writing through the body, New York nightlife, and her new memoir, This Body I Wore (Farrar, Straus & Giroux, May 2022). McKenzie: You were an established writer as a poet before you transitioned. How did that change your writing? Diana: In
The Thumb of Thetis Grasping him by one little foot to dip him in the mystic river, Thetis (how can she forget?) overlooks this: that where her thumb presses his flesh, he still is dry instead of drenched in deathless wet, hence subject to mortality. When her baby is a man, that tiny disc of naked skin will let the fatal arrow in. This is where the wound will come. One vulnerable spot is all
Gertrude Stein is one of the biggest, boldest, baddest, most audacious of all modern cultural figures. Born in Pittsburgh in 1874, she died in 1946 while undergoing an operation for stomach cancer in the American Hospital in Paris. I began to study her almost by accident fifty years ago—I was spending a year at Yale on a postdoctoral fellowship, and the Stein papers were in the Beinecke Rare Book Library there. As I sat with
The writer and critic Chris Kraus (I Love Dick, Social Practices, After Kathy Acker, et al.) lived part-time on northern Minnesota’s Iron Range for seven years (2013– 2020), researching The Four Spent the Day Together, a novel inspired by a series of violent methamphetamine crimes involving teenagers. The narrative is intercut with police reports, court documents, text messages, interviews, and monologues. This piece is one of several studies culled from social media accounts and conversa-
