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📖 RAISING WOMEN:
🖋 Self-destructive decisions
🖋 Girls destroying girls
🖋 Womanhood
🖋 Reality (and when the lines blur)
🖋 Queerness
🖋 Interactive fiction

Ready to dive into a world where vulnerability meets edge? My upcoming interactive novel, Raising Women, is an immersive journey into the raw and real, and in addition to the book releasing in just over a month, I've got something else that's extra special for you.

Many women will remember cootie catchers (millennials will anyway. Maybe older or younger too? I'm not sure how much they did or didn't play this game). You'd write down colors and numbers and futures and ask your friends to pick, and then you'd all laugh at their tragic outcome. If someone was lucky, they might get rich. (Where are those girls at? I could borrow some money.)

In case you're out of the loop, cootie catchers are origami figures that are used as fortune tellers. The outer parts of the cootie catcher are typically labelled with colors or numbers that a player chooses from, and the fortune teller moves the little paper device, counting numbers based on what was chosen,and then land on the four inside flaps. One of those gets chosen and read aloud. There you go. That's your future, all predicted over the course of twenty seconds.

I'm excited to share that you can now download the exclusive cootie catcher inspired by the book for free! This cootie catcher will offer you predictions straight from the novel. The outer layer of the cootie catcher had a word related to the book, inside you get some numbers to choose from, then you finally get your fortune. This game is not just a trip down memory lane though — it’s a new way to engage with the heart of the story. With each fold and fortune, you’ll explore the darkly delightful twists and turns of your own journey.

Print this, cut it out, and enjoy!

And here are directions on how to put it together in case you forgot.

We're getting so close - just over a month away.
Pre-order here!

And check out the Raising Women site for downloads and other things.

I'm here to share with you the Raising Women book trailer.

We're getting so close - just over a month away.
Pre-order here!

And check out the Raising Women site for downloads and other things.

Video clips shot by the forever wonderful Lindee Robinson Photography.

I'm not sure what to think about I Who Have Never Known Men by Jacqueline Harpman (translated by Ros Schwartz), but it's not entirely what I was expecting (based on the back cover and reviews). It wasn't bad... just, not what I thought. Like when you expect to drink water and then realize you took a sip of Sprite.

I loved the idea of these women being trapped in a cage for some unknown reason, with guards watching them for some unknown reason. And then they escaped, and you're like YES. There's going to be some action! And then there never is... Yes, it's desolate like some reviews say, but other than a very short scene or two, I didn't feel much, and I really wanted this book to make me feel (based on the concept it had). Most of the text was just a lot of wandering.

Critically, I can understand the purpose behind this book, and how if maybe I was to discuss this with others (which I will with my book club next month) I might appreciate certain aspects more. It brings up the idea of community, and how we become who we become, and what we are without those things. It makes you consider the point of life, especially if you are simply on your own with no community. It brings to light motives, and others' stories, and who are people if we don't know who they are? There are many thematic elements that this story brings to light that would be fascinating to discuss with people.

But reading it as it is and reflecting on it by myself, I was left... meh. Wanting more. As a story, it felt like much didn't happen. It isn't a long book, but I felt like Harpman could have written a short story about this and packed a far more powerful punch on these themes. And, to be fair, maybe that's part of the message - forcing readers to metaphorically wander with nothing to do, like the women in the book had to do, but I don't know. This book started off with so many riveting questions and really led me to believe there were going to be answers. I was excited to see what the reasons for the conflict were, but then we got nothing. I think I expected more transgression. In my blog post "What is Transgressive Fiction?" I summarize other author's definitions of the genre:

Palahniuk: Fiction that has characters who misbehave and commit crimes as political acts of civil disobedience.
D’Hont: Fiction that evolves and represents the sociopolitical shifts it explores.
Morrison: Fiction that analyzes the limits of the world.
While all of these definitions involve limits in some way, they still vary from each other. So I’ll look at a few more definitions…

I then go on to say, I think that all of those things, combined with writing techniques and contemporary trademarks (like unreliable narrators with conversational/dialectical tones, for example), are what make the stories that are most widely recognized as transgressive fiction earn that label.

With women endlessly trapped in a cage, watched over by male guards, I expected misbehaving and crimes. I expected gender norms and social commentary. I expected sociopolitics. I thought this book would be more transgressive, but instead it was a little more of a dystopia with no action. It did explore the limits of the world, and I think that is what reviewers who have given it a high rating are holding onto.


Read below if you want my thoughts that includes SPOILERS:
We never find out why the women get locked in a cage. Additionally, we find out that there are other camps set up exactly the same with the same number of women locked in them - then we find out there are also the same camps of men. Still, we never find out why any of these people had been locked up - what was the motive? (And honestly, I was disappointed when we found out there were camps of men too. I feel like the book's message would/could have been drastically different if it had just been women, but also men? And yet we never find out why they were there, what set off some alarms, what happened to everyone else in the world, and like... I get the message is kind of laid out to us at the end, but having these cages of men threw it off for me.) With the title being I Who Have Never Known Men, I thought the book was going to have something specific to say about men/gender, but now I wonder if it was referring to humans and not men? Because men had to deal with the same traumas of being in a post-apocalyptic world, and she decided they also didn't know what was going on. So what does it matter that she's a woman who never knew men? I thought there would be a cooler critique on society regarding that and there wasn't.

The writing is good, and I like the characters and how they are developed, and I like the ideas the book introduces. I would probably like this better if it was for a college class where we discussed it and built arguments about the piece, but as a book I was reading for fun, I wanted something more, and if not all the answers, at least one or two. Instead MC just lives trapped in a cage, escapes, wanders around never knowing community and then she dies. I guess not having this information is saying something, and I guess not having this information can lead us to come up with our own answers, but... meh.

Additionally, I didn't quite understand some details logistically. For example, these wandering women survived by eating food they found at all the other abandoned cage shelters, including meat. For 30+ years? Meat can't last that long, even frozen.

So three and a half? four? stars because it wasn't bad, and I liked the idea and all of that, but ... this could have been really cool and it felt like it was trying but didn't hit the mark. Like, Harpman didn't know the answers to this cool plot herself, so she just let the not answering anything at the end be some deeper meaning instead.

I love experimenting, and playing with different forms. Last year I decided I wanted to write a piece of literary fiction that incorporated an interactive fiction form (I'll blog more about writing in this way soon). Then this last December, I just dove in and decided to do it - I started writing Raising Women. It wasn't planned; I had just finished a fiction workshop for my fall semester and had another one in the winter semester and was in the middle of writing other things, but for two weeks I just decided to write this. I knocked out most of the first draft then, then revisited it a few months later to finish it. Many rounds of editing and revising later, and I'm extremely excited to reveal the cover and announce that Raising Women will be released on October 11th!   Learn more about it here. Look out for more blogs about how I wrote this, what I love about it, and other fun freebies that are coming soon.

I'm excited to share that my one sentence story "Who Branded Jesus?" has been published over on Complete Sentence today.

This is one of those stories that was inspired by the title. I was thinking about crosses hanging from necks and rearview mirrors, fish stickers on the back of cars, and Jesus paintings and t-shirts. I asked myself, who branded Jesus? And then added it to my writing document, which then turned into this story you can read today. I did a bit of research before writing this, and combined what I learned with a contemporary character who would then symbolize my frustration and rage with America's growing ideologies, idolizations, and obsessions.

It's not a sweet story, but I never claim to write sweet stories.

Please enjoy my very long, one sentence story.

In my recent blog post, 5 Ways to Create Visceral Images in Writing, I talk about the five things I use or describe when trying to evoke strong, emotional images. As a teacher though, I think about how it's easy to say, "Using fruit and describing the fruit creates visceral imagery" but then sill have readers thinking, uhh... I also imagine the many ways people can even describe fruit and have it still be boring. 

In my first blog about this, I go over some examples in my own writing on how I employ the strategies I talk about. In this post though I'm going to give a few more examples from books written by other people, and then offer you a free worksheet that will help you practice using this type of language in steps so you can produce a visceral image on your own at the end.

The Road by Cormac McCarthy

• "Nights dark beyond darkness and the days more gray each one than what had gone before. Like the onset of some cold glaucoma dimming away the world" (1).
  

Here, McCarthy focuses on landscape and colors to describe the setting. I absolutely love the use of glaucoma because not only is this an unusual word to use here (which grabs readers' attention), but it really does a great job of of poignantly describing exactly what this world is looking like with no guesses.

The Blood Meridian by Cormac McCarthy

• "The flames sawed in the wind and the embers paled and deepened and paled and deepened like the bloodbeat of some living thing eviscerate upon the ground before them and they watched the fire which does contain within it something of men themselves inasmuch as they are less without it and are divided from their origins and are exiles" (255).
  

In this quote, McCarthy uses such strong verbs like sawed, paled, an deepened. Again, this scene focuses on describing the natural world. By focusing on the nouns (flames, embers, and ground) and what they are doing by using these strong verbs, it's easy to picture what's happening here.

Beloved by Toni Morrison

• "She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs. Nothing else would be in her mind. The picture of the men coming to nurse her was as lifeless as the nerves in her back where the skin buckled like a washboard" (12).
  

I love that Morrison says, "Rinse the chamomile sap from her legs." In this quote, she utilizes both the natural world and the body, and words like rinse, sap, and legs really paint the setting and texture. To top it off, we've got "skin buckled like a washboard" and ahh! What a fantastic image. Again, the verbs and the simile! Utilizing language that is surprising (but still makes sense as a comparison) is a great way to create visceral images.

• "But to be looked at in turn was beyond appetite; it was breaking through her own skin to a place where hunger hadn't been discovered"  (138).
  

This quote focuses on the body - appetite, breaking through skin, hunger. Imagine what being looked at feels like here. This description is so palpable and interesting. It does so much more than just saying, "But to be looked at was needed." Right? Using the language of the body really amplifies the scene and the craving for human connection.

American Psycho by Brett Easton Ellis

• "Torri thinks Tiffany is coming and grinds her own cunt harder onto Tiffany's mouth, smothering her screams, but when I look up at Torri, blood covering my face, meat and pubic hair hanging from my mouth, blood pumping from Tiffany's torn cunt onto the comforter, I can feel her sudden rush of horror" (303).
  

Throughout the book American Psycho, many horrific murders are described, which provides many opportunities for visceral language, especially about the body. In a scene that is both sexual and violent, Ellis uses the destroying of the body to develop his character and themes. The way he describes the body's destruction is also very visceral. As I talked about in previous blog posts, destroying the body is especially transgressive, and now I'm showing you how it's also visceral! This image of a human's meat in someone's mouth is so animalistic that it immediately creates discomfort.

So how do you write your own visceral language? Language that provides your readers with the exact scene you want? Language that evokes emotion? Language that stands out as breathtaking?

This worksheet quickly reviews the five techniques I use when writing visceral scenes, and then offers scaffolded steps that will help you write your own visceral scene. First you'll brainstorm helpful words to use, then work on writing short scenes.

Download the worksheet below!

If you're interested in sharing anything you wrote, post it in the comments below.

Works Cited

Ellis, Bret Easton. American Psycho. United States, Knopf Doubleday Publishing Group, 2010.
McCarthy, Cormac. Blood Meridian: Or the Evening Redness in the West. United States, Knopf Doubleday Publishing Group, 2010.
McCarthy, Cormac. The Road: Pulitzer Prize Winner. Ireland, Knopf Doubleday Publishing Group, 2007.
Morrison, Toni. Beloved. Spain, Knopf Doubleday Publishing Group, 2006.

Citizen: An American Lyric by Claudia Rankine walks the thin line of prose and poetry, using a collection of different text types to tell an overarching story that is inherently American. Through seemingly trivial, everyday occurrences, Rankine develops an understanding of many Black experiences. Vignettes paired with epistolary sources clearly highlight these lived Black experiences, often using second person point of view, allowing readers to go through those experiences for themselves.

Scenes include the narrator visiting a new therapist and mistakenly entering the wrong door get approached angrily, with the homeowner perceiving the narrator as an intruder. You hear the remarks, “Get away from my house! What are you doing in my yard?” The speaker then informs the stranger, the therapist, that she was her new patient, and the therapist, realizing her mistake, says, “I am so sorry, so so sorry” (p115). While for many this may seem like a mistake and not racist, the book layers story after story like this to help readers realize that these types of experiences happen over and over again. It prompts readers to wonder: at what point does someone get tired of experiencing this?

This racism, the kind that so many Black Americans experience regularly, in addition to more violent forms, get addressed in this text.

While this book is often identified as poetry and sometimes has poetic elements, I mostly found it reading far more as prose than poetry, and not quite poetic prose usually either. It does break many boundaries however, both in form and topics, so it made it a very easy text for me to analyze under the scope of transgressive fiction creating social change.

Last year, I began researching the things that create social change and looked into books that have, historically, influenced social change. I started to synthesize these ideas, and began working on a formula that would allow books to do that. Citizen does many things that align with my research on creating change. Some notable things it does include using second person point of view, providing performance/unusual form (through vignettes, incorporating news articles, photographs, etc.), and introducing positive contact (McRaney (2022) and Dovidio et al. (2009)).

I haven't done a lot of talking on the blog yet about the research I did regarding transgressive fiction and social change, but I'll introduce some of it now. This book is definitely transgressive, in both the topic and the way it's written. It is uniquely crafted, and it includes elements my research says makes social change, so it made me wonder why it didn't become successful at doing that.

In David McRaney’s (2022) book, How Minds Change, McRaney compiles evidence for why minds make decisions based on group identity, why people keep the ideas that they do, and what finally changes their minds. He spends time discussing the process of deep canvasing to explore a method that has worked in getting people to change their minds on typically controversial topics. In deep canvasing, a volunteer speaks to people at their homes with the goal of shifting those people's minds. The three steps to deep canvasing include the volunteer building rapport, describing his or her own relation to the topic, and finally, the homeowner telling their own story. The volunteer reflects feelings and asks probing questions that prompt the individual to reflect. Reflection is incredibly important because, oftentimes, the homeowner has never thought about it before. This process helps them realize the origin of their belief and reconsiders it. Providing facts isn’t what prompts the reconsideration, which is where many people go wrong when trying to change other's minds. I'm wondering if Citizen didn't build rapport well enough at first, or include room for the readers to reflect on their own stories. While I understand that was not the point of Citizen, it seems it may be one of the reasons the book didn't pick up enough wind to change society. I imagine that most of the people who read the book are people who are already on the author's side.

Citizen is an enlightening text that really invites readers into an emotional experience. While it has won awards, it is not a household name and did not pick up enough steam to create national outcry or change. I do think though, if you haven't read it, that you absolutely should. Citizen is a very important read that really offers insight into the (tragic) human experience, specifically the American experience, for many. This book can help bridge gaps and create empathy (probably more so if you are someone open to that opportunity, as opposed to someone who immediately gets defensive and shuts down). Rankine offers an exceptional opportunity with this book, so read it and see for yourself.