“By all means, write at a glacial pace. You know how that thrills me!” I can just hear my agent saying right now.
It’s 79 and gorgeous along the Hudson where I have been leaning out… way out over the last 6 weeks. Hi there, Lovelies. Another shout from the cool, dark little corner of New York where the fan on my desk whirs away and I ponder over how to organize a new thriller tentatively titled MUSE WITCH BEAST. Again, all kudos and love to Jami Attenberg’s #1000wordsofsummer for fueling my creative sleep.
There’s a lot of connective tissue that remains to be woven across the bones of the monstrous creature but if I’ve learned anything at all from writing SPAZ (or Gotham Girl Interrupted as it’s now titled), it’s that the book you set out to write is rarely the book that gets written.
One minute you’re penning a heady little yarn about creativity, electricity, and the brain, the next you’re wading through the swampy musings of what it means to be the loudest mute lady in NYC, and now I’ve ended up with this very long thank you note to the people who’ve looked after me all these years of dealing with epilepsy. One thing I’ve noticed (and I don’t think I’m imagining it) is that as you edge closer and closer toward your release date, the more squirrelly people around you become. They’re entirely more careful about what they say in your presence. Their voices go up an octave, sharpening in this nervous, whistling-past-the-graveyard kind of way. It’s as if they are preparing to be completely horrified by some revelation, embarrassment, or cringe-worthy detail you may have included about them. Some go radio-silent altogether. It’s surreal.
There’s this awful story/rumor that came across my feed during final editing about a memoirist who wrote a tell-all of her marriage. Apparently, her husband read it and immediately committed suicide. The prospect of any reader feeling driven toward such tragic action by anything I might jot down completely terrifies me. We’re all unreliable narrators (even of our own stories) and what if we inadvertently trigger someone or everyone? Should there be some kind of warning label like at the beginning of Incredibles 2? It keeps me up at night.
The thing I woke up to however during the writing process is that while my own style of comedy often vacillates between ridiculous self-deference and subversive snark, the target is always just me. I think I’d always rather have everyone else coming off clever and effing hilarious. I want to ask other comedians and writers about this… I especially want to ask Ottessa Moshfegh if people she knows recognize themselves in her books, or is it all some kind of wild fictitious channeling? I am reading her latest:
Her voice is intoxicating—with zero fear of the grotesque. She also portrays privilege in a manner that makes it hard to look away.
Alas, no big sleep for any of us yet… Get outside today, Lovelies – XOXO – GG