Lit Crawl(R) 2016
We're up during Phase 2 of Lit Crawl(R) during the weekend of Wordstock, PDX. Thanks to Low Brow Lounge. 7 p.m. See you there!
Kickstarter for Unchaste Print Edition
Kalimah Abioto is a genius and created a beautiful video for Unchaste. All gratitude forever. This is the Kickstarter Program here. Go now, please! Will be utterly beautifully worth it.
September 21, 2016 Unchaste Readers Series Event
Literary Arts, Portland. See you there!
August 9, 2016 Unchaste Readers Series at The Waypost
Unchaste will be at The Waypost this month, but will return to Literary Arts in September
July 20, 2016
Many thanks to Literary Arts for the venue, the food, and for providing a cash bar.
Unchaste LA/AWP
Unchaste Readers Series in LA at AWP, 2016
Unchaste LA/AWP
Unchaste Readers Series in LA at AWP
Unchaste Readers Series, June Pride, 2016
Will be such a good show!
May, 2016 Unchaste Readers Series
May, 2016, Unchaste Readers Series
April Unchaste, 2016
Unchaste Readers Series, April, 2016
March, 2016 Unchaste Readers Series
See you there!
Interviewed by Literary Arts, Mel Wells
The wonderful and wicked smart, Mel Wells, sent me some interview questions. I’m so grateful for the opportunity to talk about Unchaste.
“What was your inspiration for the creation of Unchaste Readers?’
‘I’ve always wanted to be involved in a community of women artists, but I’d envisioned living on the land in yurts and having composting toilets. Running a reading series is a lot easier and just as fun. I’m also dead serious.” Read the rest of the interview here.
Learn more about Mel Wells here.
Important Words
From this interview in the Paris Review. I know the Paris Review has done some unjust, unfair things, sure. They also did this interview with Elena Ferrante, and these words are words to consider when considering women’s contributions to literature and literature, in general.
“INTERVIEWER
Do you think female fiction is constitutionally weak?
FERRANTE
Not at all. I’m talking about my adolescent anxieties. For obvious historical reasons, women’s writing has a less dense and varied tradition than male writing, but it has extremely high points and also an extraordinary foundational value—just think of Jane Austen. The twentieth century, besides, was a century of radical change for women. Feminist thought and practice set in motion the deepest, most radical of the many transformations that took place in the last century. I wouldn’t recognize myself without women’s struggles, women’s nonfiction, women’s literature—they made me an adult. My experience as a novelist, both published and unpublished, culminated, after twenty years, in the attempt to relate, in a writing that was appropriate, my sex and its difference. But if we have to cultivate our narrative tradition, as women, that doesn’t mean we should renounce the entire stock of techniques we have behind us. We have to show that we can construct worlds that are not only as wide and powerful and rich as those constructed by men but more so. We have to be well equipped, we have to dig deep into our difference, using advanced tools. Above all, we have to insist on the greatest freedom. Writers should be concerned only with narrating what they know and feel—beautiful, ugly, or contradictory—without succumbing to ideological conformity or blind adherence to a canon. Writing requires maximum ambition, maximum audacity, and programmatic disobedience.
This is the interview link here