I’ve been a fan of Artists’ Tea since moving to Joshua Tree, California, 3 years ago, and I am thrilled to be the guest artist on Sunday, Feb 16, 2020. Join me in this exquisite setting for a free talk about how I seek metaphorical connections to find a “way in” to writing creative nonfiction, particularly the personal narrative. Participants will have an opportunity to produce a short written piece that they may, if they wish, share with the group. If you’re in or anywhere near Joshua Tree, I hope you’ll meet us at Cap Rock.
At the end of 2018, as the Feckless Cunt Anthology promotional tour wound down, I thought about how much I wanted to continue that conversation—about politics, feminism, the patriarchy, race, class, gender, binaries, queerness, oppression, everyday abuses, and the moments that change everything, forever. I hoped that others in my local community of Joshua Tree, California, wanted to talk about the things we can’t ignore. The Desert Split Open Mic was born. One evening a month, we meet in a cozy, funky lounge and share words and work in progress. We keep it simple: read your own poetry or prose–or the work of a favorite writer–8 minutes max. Our first meeting was in January 2019, and we met again in February, March, April, and May. We took off June, as we helped plan Joshua Tree Pride. We love seeing some of the same faces return each month, and there are always a few new faces, too, which is thrilling. The evening is shaped by the truths each reader brings, and there always seems to be a balance.
The Desert Split Open Mic allows me to continue in the role of facilitator of other writers’ words, which I have come to realize is a role I love. It also gives me motivation to keep writing my own new work in this vein. I am grateful to those who have or soon will publish work written for this open mic:
My satirical, imagined conversation, “What’s Your Problem with Joe Biden?” recently ran at The Weeklings, just days after Joe announced his 2020 candidacy.
My furious, feminist, flash rant, “Ingrown Rage,” is set to appear in Cliterature‘s forthcoming HAIR-themed issue.
On Saturday, June 29, I will perform “ID, please,” a piece about fluidity, contradiction, and queerness, at the Art Theatre of Long Beach, for OUT LOUD: A Cultural Evolution.
These pieces exist because The Desert Split Open Mic exists.
Joshua Tree goes quiet in the summer, thank goodness–or quieter, at least. We slow down, conserve energy in the staggering heat. Should we resume The Desert Split Open Mic in July? Or wait until September? We’re still considering. But, soon or very soon, we will meet again. Please join us, if you can. Everyone is welcome. We’re listening.
In 2017, I moved home to the Mojave, although I grew up in Connecticut. I’ve been in a writing frenzy ever since, trying new things, playing with form, opening up to everything I might want (need) to write. Lately, it seems my words are landing with enthusiastic publishers, and that is so good I almost don’t want to say it out loud lest I jinx it.
Today, Pine Hills Review published my little story-as-answering-machine-message Neighborhood Watch, circa 2009. Just last week, The Weeklings posted my short, satirical and all-too-timely piece What’s Your Problem with Joe Biden? Last month, my contemplative, desert-y flash I Was a Pink Bath Bomb went up at Mojave He[art] Review.
I even tried my hand at sci-fi and wrote From The Angels to Snakes, which was performed with a full cast and original music on the Simultaneous Times podcast.
As always, a full list of my publications can be found HERE.
I am (forever) grateful to all those who publish, produce, read, and share my words.
Huge thanks to Read Her Like an Open Book for allowing me to explain how Feckless Cunt: A Feminist Anthology came to be. As Editor Bill Wolfe said on Twitter: “When enough is enough, it’s time to take out the bullhorn.”
From Not Feckless: How a Writer Becomes a Publisher in a Moment of Rage: “I became a publisher impulsively, in this moment of rage. My own words failed. But I knew there were writers who still had theirs, who could articulate their fury, indignation, sorrow. That’s how it works, in this resistance marathon: we take turns. We share, and our collective words carry us. … I had no idea how to publish a book. I figured I would learn.”
I get it. Some of you are uncomfortable with the word “cunt.” You certainly don’t want to hear it said aloud. You don’t even want to see it written, each letter just sitting there, brazen, unashamed, like a naked body sprawled across the floor you have to step over and can’t avoid:
C U N T.
Here’s the thing: I’m not sorry. I won’t apologize for Feckless Cunt: A Feminist Anthology. Never. I will not tiptoe around your discomfort. I will not even soften it by inserting asterisks where letters belong. Although, of course, I realize that some people and publications will require asterisks, I will never use them. Words are powerful, yes. If a word makes you uncomfortable, look at it harder. Your discomfort is the point. If you’re not a member of a marginalized group that has had “cunt” used to oppress you: YOU DON’T GET A SAY. If it has been used against you, I’m sorry. And, also: I think you’re going to want to read this book. These 36 fierce contributors have the guts to confront this word, and—more importantly—the sexist culture that defined and weaponized it. These contributors take back “cunt.” They take control of the narrative of our own lives.
These 55 lean, feminist pieces (poems and very short prose) don’t back away from controversy. They run headlong toward what we’ve been told not to say, think, be. They reject the patriarchal idea that we’re forbidden to speak the words used against us. I invite you to join us.
It’s okay if you’re not ready. But do not ask me to spend time and energy explaining or excusing myself. The time for that sort of endless, unpaid, emotional labor by women is over. Read Feckless Cunt to understand why I think it is not only okay but necessary to write and say
C U N T
as many times as it takes to change the world, a little. You do not have to listen. You do not have to stay in this room where C U N T is sprawled across the floor. I just ask that you let us speak and write and confront what needs confronting. I am not afraid of words or your disapproval. I am afraid of losing my freedom of speech—an understandable fear, I think, considering how the current administration makes daily noise against the free press and dissent. Speak now or forever…better yet, listen: Feckless Cunt will be available for order in the next couple of weeks. I will let her have the final say, without asterisks or apologies.
In Joshua Tree, California, we have a community lecture series called “Teddy” Talks, a take on the famous TED talks. They’re held at Beatnik Lounge, an art space and JT’s unofficial community center. This month I appeared with two other authors, Rose Baldwin and Gabriel Hart. We had a blast. The crowd was kind and interested, the conversation stimulating. My talk was titled: Rejecting the Rules and Criticism that Derail Writers. The subject is dear to me. I also discussed both my novel Not On Fire, Only Dying and my brand-new, flash fiction chapbook, Swap / Meet.
So if you have fifteen minutes for my two cents, click below.
The latest issue of Cholla Needles is out, and I’m thrilled to have 3 short pieces included. Buy it here for just 5 American dollars. Cholla Needles Press started earlier this year and has published books in addition to the magazine, which is now on Issue 12, so that gives you an idea of the literary energy here in Joshua Tree, CA. They hold monthly readings on an outdoor stage behind local bookstore Space Cowboy Books, drawing together a vibrant and welcoming crowd that includes many talented local writers and others who regularly come through to visit and read.
These are my first publications since moving out here. They were all written in this ecstatic creative flurry I’ve happily and gratefully surrendered to since I finally unpacked my boxes. There is something about this place: the expanse, the silence, the glorious sunshine.
My 3 pieces are: “About a Month In The Desert,” flash CNF about my experience moving to the desert from someplace very different; “HUMAN | NATURE,” micro prose inspired by the view from the mineral-encrusted “rainbow” terraces, or cliffs, of Thermopolis, WY; and a flash piece called “1 table, 2 chairs: ugly,” part of a series I’m working on called SWAP/MEET (virtual).
There is so much good work within these pages and I am honored to have mine included. And I’m thrilled to see my name against the brilliant blue sky that is making me a writer again, at last.
I move in 30 days. The house I’m moving to is quite small, less than half the size of this one. So far I’ve culled mountains of STUFF: donated most, tossed some. It is glorious, that unburdening. The more STUFF you shed, the more easily you see what might be shed next, and next! Space opens up and, as you move what hasn’t moved in years, you literally shift the air. You release swirls of dust and complacency you hadn’t noticed accumulating beneath furniture, behind books, in the crevices of knick-knacks that used to mean more. Suddenly, STUFF is hindrance: literal weight on a truck you will pay for. Ask: Does it serve me? Do I love it? It seems like a lot to ask STUFF to “spark joy,” but, sure, ask that too.
In the back of one closet I found a box of books and papers, mostly research for Not On Fire, Only Dying: the Ashokan Dam, New York State sentencing laws, missing child procedures, the Romani people, psychiatric meds and diagnoses, strains of marijuana. Bus schedules. A Hudson Valley street atlas. Poems and paintings that inspired NOFOD from its beginnings. I’m getting rid of more than you might think and holding onto more than I should.
The box also held a binder of stories and miscellaneous literary efforts I’d published in online journals, printed out as if I’d worried the internet might suddenly, permanently crash (not gonna lie—sometimes I do worry about that.) I came across a tiny list I wrote for Treehouse Magazine:I hadn’t known, but I’d needed to find and re-read this. I needed to be reminded of the Susan who wrote it. I needed to remember that I’ve found inspiration after long silence before and I will again. In the midst of this move, people sometimes ask, “Are you writing?” and I want to kill them (maybe not all the way dead) because NO—of course I’m not writing. I am cleaning and sorting and packing and getting my only child off to college and changing my whole life—but no, I’m afraid I am not writing. Some writers write through everything—storms much worse—and many more panic when they can’t. For me, occasional silence is expected and necessary. I still absorb material and dialogue and formulate ideas, but for now it’s a one-way process. Maybe I’m okay with breaking rules like “WRITE EVERY DAY” because I’m finally old enough to see how many rules are bullshit.
In any case, I’ve given myself permission to fall short.
“Five Paintings” accompanied a flash piece published by Treehouse Magazine: “Just Like Lily.” I went online and re-read it. I liked it, a few years on. That’s always a relief. It was a departure of sorts—something about the tone. It was also one of my most openly feminist pieces. I think I need to write more of those.
This got me thinking about Treehouse Magazine, which I hadn’t seen anything from in a while—years, it seemed. A quick search found a recent announcement of their relaunch this October! I am thrilled. Who doesn’t love a comeback? What’s better than a return to words? I look forward to mine. And if yours are also somewhat out of reach at present, please take a look at one or all of those five paintings. Anywhere is a good place to start. The words will come when you’re ready.