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ruth curry

@ruthcurry / ruthcurry.tumblr.com

I used to live at home, now I stay at the house
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notice whom for wheels are turning

it seems important to write this, i don’t know why. to capture it, waiting for the bus while new order plays in my headphones. it's the only thing i can listen to. ceremony in particular. 

this is what happened.

i'm not superstitious but monday night i planned for tuesday like for church, which i do not attend. i put out the sweatpants and hoodie i planned to wear to the elementary school around the corner and got my sneakers out of the box where i keep them to save space and stuffed the little footie socks in them. i ground coffee and found the styrofoam to go cups i took from work a long time ago for a morning like this one. a morning where i would need coffee to go. i also hung up my clothes for the rest of the day, my blouse and my blue trousers and the matronly black and white boucle jacket i had just purchased from the Banana Republic factory store for this day and this day only. i cut up the sirloin  and browned it with the onions and peppers and dumped it in the crock pot with the beans and other stuff and set it in the fridge. i googled the instructions for the timer like i always have to and programmed the crock pot to turn on at 1 pm. i made ice and iced tea and bread dough. i shredded some cheese. i portioned out my breakfast and lunch into tupperwares and knotted them together in a grocery bag so they wouldn’t leak and left them in the front of the refrigerator.

i showered. i shaved everything, clipped everything. like i was preparing for a mikvah. i blow dried my hair so i wouldn't have to mess with it in the morning.

i set my alarm and went to bed early.  i thought about praying but fell asleep before i actually prayed.

i don’t pray.  the last time i did was in november 2012.  emily’s novel was out on submission and i learned this while we were having drinks with nozlee. i came home drunk and prayed for it to sell and it did.

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So she walked around that high school with a shadow about her but hardly anyone there was anyone she’d fucked. People looked at her, curious, having heard some thing or another, but they hadn’t experienced her. She picked and chose. She wore red high heels and tight jeans and backcombed her hair. She scared them all. She chewed gum loudly in class, she got great grades and she knew she could fuck whoever she wanted and knew she’d fuck them better than they’d ever been fucked before. So she fucked the ones she chose to fuck. She fucked the ones who deserved her shit. And then she fucked Mark.

Paula Bomer, Inside Madeleine (via emilybooks)

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The first time she told her mother to fuck off, her mother was sitting on the dirty blue velvet couch, reading the newspaper. Polly walked into the living room, excited. Her mother didn’t look up. There was a bottle of beer, open, mostly full, sweating on the table next to her. “Fuck you!” Polly said, clenching and unclenching her fists. Her mother looked up, alarmed, but without missing a beat, she whacked Polly across the face with the newspaper.

Paula Bomer, “Down the Alley” from Inside Madeleine (via emilybooks)

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Very fun, very Portland reading and performance last night at Housing Works Books! [top: Sara Renberg and Joshua James Amberson perform songs inspired by @emilybooks titles. bottom left to right: Joshua James Amberson, Niina Pollari, Chloe Caldwell, and Emily Gould, founder of Emily Books]

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Thanks to everyone who came out last night!

Last night was amazing. I want to hug every single person who came and helped make it so special, but I have to give a special shoutout to Sara Renberg and Joshua James Amberson. Sara not only planned and organized the entire event, she also created four original and great songs based on four Emily Books picks. They’re available for download here and I really think you should!  The first, Orange Sweatshirt, pays homage to Martha Grover’s One More For The People.  The second, Drops, is about Inferno by Eileen Myles. The third, and possibly my favorite though I love them all, Deal With The Devil is inspired by Lolly Willowes by Sylvia Townshend Warner. And the last one, Dead Horse, is inspired by Niina Pollari’s book of the same name. If, like me, you think Liz Phair’s best album is Girlysounds, you will immediately adore Sara’s low-fi aesthetic. 

Sara is a fucking genius, in addition to being a great person. If you’ve read these books, you need to listen to these songs that take some of their words and transform them into funny, intense, fascinating lyrics.  And if you haven’t, probably you’ll want to read the books after listening to these songs!  

Lately Ruth and I have been getting a little bit worried about whether there’s still a point to what we do with EB in a world where Eileen Myles is a “household name.” Is our work here done?  Last night helped keep me convinced that we still have important work to do, and that there’s still an audience of weirdos like us out there who count on us to help make their voices heard. 

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Very fun, very Portland reading and performance last night at Housing Works Books! [top: Sara Renberg and Joshua James Amberson perform songs inspired by @emilybooks titles. bottom left to right: Joshua James Amberson, Niina Pollari, Chloe Caldwell, and Emily Gould, founder of Emily Books]

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Thanks to everyone who came out last night!

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ruthcurry

so much fun was had!!

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A celebration of the release of Emily Songs by Sara Renberg! Emily Songs is a collection of songs inspired by books released by feminist book publisher Emily Books.

Emily Gould, Chloe Caldwell, Joshua James Amberson, and Niina Pollari will read from each of the books, followed by a performance by Sara Renberg + band.

EMILY GOULD is the author of Friendship and And the Heart Says Whatever and is the co-owner, with Ruth Curry, of a feminist publishing start-up, Emily Books, which sells new and backlist titles via a subscription model.

CHLOE CALDWELL is the author of the novella, Women and the essay collection Legs Get Led Astray. Chloe’s next essay collection, I’ll Tell You In Person, will release fall of 2016 from CoffeeHouse & Emily Books. She lives in Hudson, New York.

JOSHUA JAMES AMBERSON is a writer based in Portland, Oregon. He’s the author of the critically-acclaimed zines Basic Paper Airplane and The Prince Zine. He’s a weekly contributor to The Portland Mercury, reviews books for Orca Books through the Soundings site, and is working on both a micro-fiction collection titled Everyday Mythologies and a young adult novel called The Importance of Forgetting.

NIINA POLLARI is the author of a poetry collection called Dead Horse and the translator, from the Finnish, of Tytti Heikkinen’s The Warmth of the Taxidermied Animal.

SARA RENBERG is a musican and poet. Her first record, The Tall Calm, is available on Antiquated Future Records, as is her Emily Songs EP. She lives in Portland, Oregon.

Tonight!

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An excerpt from Eve’s Hollywood by Eve Babitz

The day I was 18, Sally and I had a reunion because we were still friends though we saw less and less of each other. We went to Pupi’s, a place devoted to cake, overlooking the Strip. I invited her to this surprise birthday party my mother was giving me that night (though she would never do anything so unforgivable as actually surprise me; I hate surprises). Sally told me about her new acting class and how the guy who was teaching it was fantastically adorable but wouldn’t give her a tumble and also about how she’d contracted this case of “chronic gonorrhea,” which I thought was unfair, especially the chronic part.

She licked her fork of lemon icing and scowled, “Shit, I’m so depressed, I haven’t been laid in 3 months.” “You’re not missing anything,” I said, having recently come to that conclusion. Our 18-year-old vast jadedness came out in little puffs from our ears, like steamboats. “They’re all assholes, they got no class and I actually met one guy who thought going down on a girl was something called ‘muff-diving’ and only perverts did it.” “Really?” she said. “How bourgeois.”

We watched the fashionable traffic go back and forth on the Strip for a while and felt fantastic. Sally had become a platinum blonde, which made her look like Kim Novak with a brain, and her career, as she referred to her life, looked like it might do something. She actually could act.

Neither of us knew what I was going to do, but it didn’t matter.

“You know, Evie,” she began, “I think it would be fun to be in love.”

“Love?” I scoffed, as cupid hovered above me waiting for just the right moment to take aim.

“Yes …” she said.

“Who would you fall in love with?”

“Oh, Evie, you should see my acting teacher … He’s so adorable … he really is.”

“Actors!”

“But he’s different … He’s …”

Since we both were almost twins about Marlon Brando, I shouldn’t have been surprised if her acting teacher was adorable. But all those Thunderbird Girls were in his class and that whole thing was already decided upon when it turned out I got headaches if there were more than one in the same room with me. My idea of the word “love” anyway was something that other people did to get themselves into the right frame of mind to have children. I’d be satisfied if it were only Zapata and I could appreciate it from afar, the way things were going.

“You know,” I said to her, “I’d just like someone who didn’t make me feel old.”

“That’s love,” she said.

“Oh.”

I finished my Mocha Almond Crunch and wondered at Sally’s definitions. In those days, I still ate cake. My surprise birthday party was filled with a relaxed mixture of relatives and friends. Sally and I left out of the back door without saying goodbye because she heard of a party in Laurel Canyon that wasn’t relaxed. I told my mother I was going and she said goodbye, and to have fun.

Sally dressed like the Thunderbird Girls. She wore all that garter-belt, Merry Widow, boned stuff and black cocktail dresses. Girls of 18 were still trying to look “older,” and then I sort of wished I looked older too, but I wasn’t willing to do anything about it if it stuck into my waist. The party was good and not relaxed. It was a fast crowd.

It was a house in Laurel Canyon where this guy who knew everyone was having about 2 years of winning at the race track, so he threw parties all the time and lechery for young girls was de rigueur.

We were used to it.

Sally and I had been going to these things since she met Wendy, and sometimes you could meet someone who wasn’t an actor. For me by then, anyone who was an actor was automatically an empty space and didn’t count. Nothing they said registered in my brain and nothing they did ever was mistaken for a true action.

All I had were students at L.A.C.C. and these actors. I didn’t know any artists yet, and even though I had nothing to choose from (actors and students being nothing), I stuck to my guns and held out. I wasn’t going to change my mind and think an actor or a student was Zapata or that it didn’t matter. Rainier Ale existed. You could buy it in the store in case you forgot what the real stuff tasted like.    

Sally’s acting teacher came in with a friend from an overcast night, so how is it that I remember him still as coming in alone from the stars? Cupid let go with a spear dipped in purple prose, not just an arrow, and then he drew another one, so there were two, one conventionally through my heart and the other through my head. They were both about 8 feet long and two inches thick. They were crude.

I half rose up against the impact and he saw me across the room as he came in alone from the stars and then disappeared. He was swamped by girls, deluged in a tangle of beautiful arms and feminine exclamations of flower-petal softness. Three of the prettiest had twisted free of their conversations and it was like Santa Claus in an orphanage.

I, it turned out, wasn’t the only one.

Graham, as he was to be called, was one of those people who distinguish certain handfuls of time — like Brando — in the rare arrangements that circumstance occasionally allows so that life is made to seem worth living. A least for people like me. I have girl friends who have met him and are actually frightened of him like people used to be afraid of witches. Not me. Anyway, I think witches are kid stuff.

Graham wore black and had black hair, long and shiny, that fell over his face and got pushed back from his listening brown eyes as you talked to him. His eyes were the true eyes of a liar. The hands that pushed back his hair were the hands of someone who loves women and who knows what to do. His eyes listen to you, carefully watching to see what you want to hear so that it shortens the time until his hands can undo your clothes and touch your back into heaven, into blue heaven and lies. Lies that weren’t lies because there was a blue heaven, the white horse gallops back to the wilderness where Zapata, who is not this lacy corpse, is waiting and if you doubt, there is Green Death at the liquor store.

All really enormous charm, the kind that Graham exuded, does more than it needs to. It gushes out so much that you can live inside it. That was the reason that Graham didn’t just mow down women, which most men would have been satisfied with. Graham had men friends who would have died for him and even gas-station attendants felt it and did his windshield better. Animals woke up and came and sat on top of him when he came into a room. Plants that were dying in my house would get better if Graham fixed them. My grandmother met him accidentally one day and still asks about him.

I sat back on the couch to watch Graham and the girls.

They did it all wrong, those girls. With hair spray. When I found out that hair spray was horrible just like everyone knew in the first place but went ahead and did anyway, I was careful to never do any of that stuff if I could help it again. Just because it’s simpler to forget what you’re doing is not a good reason to put gook on your hair. But they were doing it wrong with nylons and pancake makeup and those Merry Widows on their already slender waists. They were cluttered up with too many formalities to ever get the thing off the ground. One of the main Brando things is dispensed formalities. If you stand around waiting for the guy to open the door for you, you’ll suddenly discover you’re with Ernest Borgnine and that Marlon Brando has gone to Ensenada with the car hop.

Graham, whose name I gathered from hearing it cried across the room, looked at me.

I looked away and then back; he was still looking. He was going, I thought, to play it all the way through. Sally pulled him from the crowd and brought him to the couch next to me where she’d been sitting. It was a strategical error, though how she could have missed those two spears sticking out of me, I don’t know. She introduced us.

“I’d like to talk to you before you go,” Graham said with this intimate Manhattan chocolate-kisses voice, which reminded me of the “Dead End Kids,” all of whom I love except for Mugsy, whom I was enslaved by. Graham reminded me of Mugsy and I’d loved Mugsy since I could see.

“You would?” I asked.

“Are you old enough?”

“I was 18 today,” I said. Jailbait was still a consideration before the Beatles.

“You’re old enough,” he said. His voice was exactly like chocolate. One of my dreams of childhood was opening a door and finding an entire room with nothing but chocolate in it, no air, all chocolate so that you had to chip off a piece with a knife just to begin. I have never wondered how the chocolate got into the room. His voice was what he used to tell the lies with, but it didn’t matter, I suppose, since blue heaven and chocolate noise make distress over lies pathetic.

It was like a skipped formality when he lied, to see if you were true.

Nobody was looking like Brigitte Bardot yet but me, except for beatniks, and that’s no fun, they threw ashes on the spirit of the thing. So what Graham must have seen when he looked at me was a tall, clean California Bardot with too much brown eyeliner, too messy hair and probably too young. I wore my lavender sheath and sandals, no stockings or bracelets. I was dying to kiss him.

“Let’s go,” I said.

“Where?”

I dragged him into a back room where the coats were and locked the door. I’d absconded with everyone’s heart’s desire.

“What’s your name?”

“Graham Thomas.”

“What’s your real name?”

“Graham Thomas.”

“Why are you an actor?”

“Who told you I was an actor?”

“Sally.”

“I’m a director. I used to act but they make you ride horses all day and I got sick of breaking my ass. Besides, horses are so stupid you could hit them with a stick.”

I laughed.

That was the trouble, I suppose, he always made me laugh. I changed the subject. “Do you give head?”

“I’m the captain of the Olympics. Why? Don’t any of the kids at school go down on each other these days?’

“No. They’re callow,” I said. I was sitting on the bed of coats and now leaned back on my elbows so that my skirt hitched up to a point that would be fashionable only a few years later but was then unheard of.

“Do you give head?” he asked. His hands resisted me, he was always very smart.

“Not very good,” I said.

“Somebody should teach you,” he said.

“Oh.”

“I’ll pick you up tomorrow night.”

“Where.”

“Near where you live.”

“How come not at my house?” I asked.

He paused.

“You’re married!” I said. I accused, accurately.

“Yeah,” he shrugged.

“Are you in love with your wife?”

“Madly.”

"You asshole!

My lavender dress and I rose from the coats and slammed into the bathroom, where we doubled up deflated from “married men.” Like the hairspray, I just used it. I drew the line because that’s where the ones who used hair spray and went to UCLA without question said to draw it. There was this huge “married man” neon sign that read like a Times Square newspaper ribbon about “ruining your life” and “only bring unhappiness” and “they only want to use you.” I looked in the mirror — no tears, fortunately for my too much brown eyeliner. Shit, I said to myself, if I stop now I’m liable to wind up with a fucking picket fence.

He was waiting.

“You asshole!” I said again, under the circumstances.

“Well, darling …” his hot-fudge voice trailed, “I’d rather be one than in lovewith one.”

“What time tomorrow?”

***

It lasted a long time and was worth it.

When Kennedy was assassinated, Graham and I’d been having a fight and I hadn’t seen him for 2 months. I went to Santa Monica Blvd. to look for him and even now that he’s got all this money and power, I still think of him in the Arrow Market or Carl’s. He loved walking through markets and making remarks about the products, and I would be stuck to his side, laughing. So I thought, with Kennedy assassinated, he must be in the market because there is, for some people, nothing more of a solace than certain markets.

He was standing out in from of the Arrow Market with an armful of groceries when I finally found him after wandering up and down Santa Monica for two hours. He was talking to friends.

“Hello, darling,” he said. They were always my fights, he never was in them, he used to just wait until I stopped being mad.

“Listen …” I said. “I mean, what do you think? …”

“Oh, about Kennedy?” He laughed. “Well, I’ll tell ya, it is terrible and a tragedy and all that …  but it sure does pick up daytime TV.” ***

Nowadays I drink tequila when I can’t get French Champagne. Graham’s in London in limousines with violent beauties, though I know he’d prefer rumpled 18-year-olds just as I’d rather have Rainier. Sometimes he telephones from some studio in the middle of the night 9,000 miles away and tells me he has always loved me and really loves me still.

“Yeah, well, send me some money,” I say.

“What? I can’t hear you, there’s something the matter with the phone.”

He lies and I’m broke.

But when I hear that liar’s chocolate voice I am, each time, thrown into a confusion of the night he came in alone from the stars.

Buy Eve’s Hollywood here.

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We’re turning four this month! And while we’re not quite crawling or teething anymore, we’re certainly still crying at times–if you read Elissa Washuta’s My Body is A Book of Rules or Suzanne Scanlon’s Promising Young Women with us, you likely are, too.

In celebration of four amazing years of books, triumphs, and awesome subscribers, we are offering our annual subscription at 40% off today and tomorrow. There hasn’t been a better time to join us. Each month for a year, you’ll receive a mindfully-selected book of varying genre in your inbox which can be easily downloaded to your phone, computer, or tablet.

We’d say we’re “not your mother’s book club” …but we really like her taste in Kathy Acker.

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ruthcurry

#emilybooks

#suzanne scanlon

#emily books

#elissa washuta

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So Sad Today

Recently I was #blessed to receive an advance copy of So Sad Today, which I read very quickly and enjoyed thoroughly (as much as one can ‘enjoy’ a book about living with a mental illness, anyway) and then gave to Emily. When I dropped it off at her house her kid was a little fussy.  Emily comforted him while we chatted, sort of murmuring nonsense stuff into his little ear and gently bouncing him, at one point repeating “Why so sad? Why so sad?” to him in one tone of voice in between saying something completely different to me in another, and then I said “So sad today!!” and we both looked at the book and then at Raffi and laughed.  I look forward to running this joke into the ground.

What I liked about So Sad Today is that it takes the experience of severe, chronic depression and treats it, not with a detail-obsessed, third-person remove (here I am thinking about that David Foster Wallace story, “The Depressed Person”) or a first-person from-the-trenches account, either highly medicalized or ending in triumph (I once took The Noonday Demon to the beach. “Your beach read is a book about depression?” -- EG), but as a joke.  A dark joke, with intense repercussions, but a joke.  Don’t get me wrong; So Sad Today is, as the title suggests, very sad.  But it is trying to make the reader laugh.

I also treated my severe chronic depression like a joke.  What I mean by this is that I didn’t take it seriously. I didn’t do anything about it for a very long time, and when someone tried to talk to me about how I was, really, about my depression, a close friend or medical professional, maybe, I would almost always lie or change the subject, in a way I considered to be a ‘joke.’ But it wasn’t a joke, because my behavior was a. a deflection tactic, prima facie, and b. not funny.  If a friend asks how you are, and you say, “Fantastic!”, or worse, “You know, fantastic!”, relying on their ability to read between the lines and intuit that by “you know”  you mean “You know the nasty hoodie I call my “Darkness Visible” sweatshirt that never leaves my house? Well, I’ve been wearing it for 6 days straight,” you are not being funny.  

With acquaintances and strangers it was much worse. “Ha ha!” I’d think.  “This person doesn’t know that by ‘Fantastic!’ I mean, ‘I feel like I want to die 7 out of every 10 seconds!’  What a hilarious brilliant use of irony! God, I’m funny!” Right, yes, because all of this is so fucking hilarious and my own health will never be important enough for me to do anything about, because I hate myself -- how funny.

Are all my jokes about listening to Mogwai and crying really jokes?

Are my jokes about listening to Mogwai and crying  just like 6 years ago really jokes?

I remember around the time I was doing this a lot, laughing at my awful inside jokes with myself about how I was actually “fine,” I also was a few months into a job that I had hoped would be temporary but ended up being pretty permanent.  My responsibilities weren’t enough to fill a complete 8 hour workday, so I spent a lot of time in a beige cubicle clicking around aimlessly on a computer and a lot of time hungover, because clicking around aimlessly on a computer was something I could do quite competently while hungover. Also if I was hungover almost daily I could attribute how bad I felt to the hangover, and not something scarier about my brain chemistry and general disposition. None of this was doing that brain chemistry and disposition any favors as far as feeling purposeful or worthwhile or hopeful about the future, either, but that didn’t seem obvious or even connected.  

Anyway, it was right around lunch, late October or November, grey and disgusting outside, and I was “fine.” An all-office email went out saying there was Turkish food in the conference room left over from a meeting, first come, first served.  The innocuous stampede of people moving towards the free food that always formed like clockwork 2-5 minutes following the receipt of such an email low-key amused me the way it always did -- “People love free food!  Ha ha, we’re all such broke animals and life is nothing but a struggle to push someone else, at least one person, beneath you” -- and I joined it.  When I reached the buffet there was not much left, and nothing I really personally enjoyed (a small list of things, growing smaller by the day), but I put some random food on my plate.  This way at least I would not have to eat my packed lunch, which was doubtless horrible, like all meals I prepared, or go outside in the rain to waste money I didn’t have on something else that would probably also be bad.  Then the person in front of me in line turned around quickly or stopped suddenly or maybe I wasn’t paying attention and just walked right into them -- whatever, the end result was that my plate flew out of my hand, up, high in the air, fully revolving at least once, and landed food-side-down on the carpet.  I can see a way in which this is spectacular and pretty genuinely funny, but in the moment I thought everyone in the room already hated me (because who didn’t?) and I hated myself for being so clumsy and awful, and I burst into tears immediately, right there, in the conference room full of my nice, bookish, nonthreatening coworkers.  I knew I was way overreacting so while the person I had bumped into or whatever apologized I ran out of the room and into the stairwell. I didn’t even pick the plate up from the floor or try to clean anything, which for me and my identity as a Helpful Person is a huge-ish deal.

Once I was safe in the stairwell sitting on the bare concrete landing I cried and cried.  I could not stop.  I thought about how I was crying over pretty literally spilt milk and cried even more about how stupid I was.  I cried about how there was tzatziki or something all over my dress, which was old and stained already and didn’t really fit me or look good anymore because I had lost weight and also chopped off all my hair, and how I didn’t have anything else to wear that I didn’t also hate, at home or in the world, and about how if I tried to shop for something new I would just loathe myself for all the money I had ever spent and didn’t have and then I wouldn’t be able to actually make a decision and buy something, anything, anyway, just like I could not currently  make a decision about the most inconsequential things, such as as to whether to eat my packed lunch or go out for food or go back to the conference room and clean up my mess and get some different Turkish leftovers.  I kept crying and crying, really awful, uncontrollable, silent but wet Claire Danes-style sobs, for a long time.  I would slow down for a while but I couldn’t really stop.  Finally I just left work for the day, even though it was maybe 1:45, because I thought I was probably going to die.

We hyperbolize as a way to express ourselves strongly.  If we prefer a certain shade of nail polish, we’re obsessed with it. When I don’t like someone, I say they’re worthless.  I wanted to die, it was so terrible, we say, about an inconvenient travel experience.  

The thing about depression is that it does not recognize hyperbole. Life is worthless, you are worthless, none of this will ever change and things will always be this way, except the future, which, while remaining the same, will also somehow certainly be worse. You know these to be facts the way you know your birthday and your eye color.

My Darkness Visible hoodie might be a punchline, but it is not a joke.  I spent a long time not really understanding the difference. Now I do.

“‘We convince ourselves we can own the identity of the anxious or depressed person.  Then it sneaks up again.’  It’s like I got this.  Then the mental illness is like, No, I’ve got you.

I read that and felt like I had been kicked in the stomach.  I might have actually involuntarily said, “oof.”  I cried some, not as much as on the day of the Turkish food buffet, but some.  

I am better now.  In February, I finally started seeing a non-crappy therapist.  In March, I began seeing a non-crappy psychiatrist. Sometime in April I started feeling better.  I remember I was walking to or from Emily’s house, waiting for the light to change on the corner of St. James and Greene.  I felt weird.  I wasn’t dreading something I couldn’t understand or describe, I didn’t instantly hate everything I saw and felt, nothing annoyed me, I didn’t wish I was in bed.  I didn’t feel empty or raw or worthless, or like I needed to be alone in the dark. I hadn’t cried yesterday or the day before. There were things I wanted to do in addition to seeing Emily that day, and I knew I would do them.   Is this a good mood? I wondered.  Is this what being in a good mood feels like?

Now I am in a good mood more often than not.  I still get sad, and I still have days when I feel terrible and my mood sucks. I have days where I am terrified that my wellbeing is a fluke and it’s just a matter of time before I am back to being So Sad Forever.  I also get sad sometimes about everything I lost or never did during the many years I was depressed. I lost friends and opportunities and relationships and a LOT of money, it turns out. When I read that a couple weeks ago -- “No, I’ve got you,” -- I felt sad for what a stupid lie I had believed for so long, the lie I had to tell myself about how my feelings were a joke, even though they almost killed me. Because I’m a smart person who doesn’t have feelings, or can’t be serious about them, because that’s not cool.  Or something.  I don’t know.  I don’t have to know everything anymore.  I don’t even know why I wrote this, except to say -- to promise -- that if you feel this way, you don’t have to either.  I know that seems crazy and pointless,  and you don’t have to believe me.  I wouldn’t -- didn’t-- believe me. But you don’t.

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In this way the book is reminiscent of Federico Fellini’s great and final Masterpiece, Amarcord. The coming of age tale which loosely translates to ‘I remember’ in Italian follows the life of young Titta, his family and the characters of a small coastal village in 1930’s Italy. Unfolding in a series of vignettes Fellinini never gives us Mussolini in great sweeping gestures, instead we are told details of a life lived in the land of Mussolini, the beforehand knowledge that things will and will not turn out all right, lending itself to a greater sense of melancholy. Gurba, like Fellini gives us life in the every day and shines a mirror across it’s multi faceted surface, letting each shine in small slices. Life lived in ‘simpler’ more imaginative times, a time that in actuality, exists only in the minds of children. Throughout the book Gurba revisits this metaphor of child like reduction and innocence, wonder and blunt honesty. Weaving myth against a backdrop of contemporary ills, to show in some way how our collective child like refusal to take on issues such as racism and misogyny still haunt our contemporary lives, tangled and misinterpreted by our children and finally held back up in that multi fractured mirror. 
What Gurba gives us is a world on the cusp of change, for the narrator, and the century. Indeed these are ghost stories.

Myriam Gurba’s Painting Their Portraits in Winter is our August Emily Books pick! Make sure to grab a copy from us–but not before reading Nikki Darling’s excellent review of this wonderful short story collection over at Radar Productions.

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In celebration of our forthcoming publication of Chloe Caldwell’s essay collection, I’ll Tell You in Person, here’s a belated #TBT to her heart-wrenching novella and Emily Books selection, WOMEN

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