I think the essay on optimization, “Always Be Optimizing,” took me about four weeks to write the first section, and then once I did, I wrote the rest of it more seamlessly. I haven’t learned how to be as flexible as a non-fiction writer yet. NYT Bestselling Author Jia Tolentino Defends Her Human Trafficker Parents Things have been going great for Jia Tolentino, the best-selling author of the essay collection "Trick Mirror". JT: The garnish thing is right—humor as a flourish rather than sort of an approach. Jia’s prose is a new kind of cultural criticism – fun and hard and brave and charismatic, all themselves an extension of her own personality. And you could feel that in her work. One week, she’s exploring the flawed nature of the gig economy and its inversion of the American dream; another week, she’s delving into the narrow world of incels and exposing their misogynist machinations. An engrossing personal history of her experiences with faith and drugs while living in Texas unfolds in “Losing Religion and Finding Ecstasy in Houston.” In a Comment from 2017, she writes about the revolutionary nature of the #MeToo movement and its insistence that we value women’s stories about abuse. ES: You’ve written about some really high profile people. I guess I do think about audience in terms of—what specific forms of freedom and opportunity do I get from this outlet? Is there a different way you approach it when you know your subject is a big name? But mostly I don’t think about it. I was outside of New York and could live on this small grad-school fellowship, and I didn’t need to live anywhere near where anything was actually happening for people to read me. It still feels amazing to have had that kind of luck—a thoroughly life-changing friendship. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. I tweeted his picture with his face in it and wrote up the conversation without naming him. I was already attracted then to situations that make me uncomfortable. But with every single essay I had a question, and then I read everything I possibly could to figure out how to answer that question, or if I could answer that question at all. ES: Writers can shake you, definitely. The New Yorker staffer tackles vaping, Shen Yun, the economy of marriage, and other vexing questions in her acclaimed essay collection Trick Mirror . The magic of fiction is that you have to pull something more real than reality out of thin air. Although she’s been called the voice of her generation, her writing is sharp, clear, and utterly her own. ES: It makes me think of female comics. I always have to say UGK, even though they were technically from Port Arthur. in fiction, and the first short story she ever submitted won Carve magazine’s Raymond Carver Contest. I took some meetings, but I didn’t want to leave Gawker. By Valeria Escobar . Jia Tolentino has been dubbed the ‘voice of a generation’, a blogger turned New Yorker writer whose journalistic musings traverse everything from vaping to religion. On the eve of a small tour to commemorate the book’s launch, Tolentino spoke with me over the phone about her writing process, her favorite Houston rappers, and how she maintains a healthy sense of self in the internet age. In non-fiction it’s more like you’re exploring as you go, and sometimes I feel that fiction doesn’t give you the same liberty to find it out. You can always tell when a writer doesn’t respect his or her readers, feels superior to them. At Jezebel, I edited features and blog posts—we ran a post every 20 minutes from 9 AM to 9 PM, and a couple features a day. And I didn’t even really write it. I liked the work, and how hectic it was. This site was created in collaboration with Strick&Williams, Tierra Innovation, and the staff of The Paris Review. I got into this hypnotic rhythm of listening to a lot of his old mixtapes while I was writing this book, and I found it so soothing. I was still writing fiction, a new novel, and wanted to see if it was good, so I applied to some fully funded fiction programs. JT: One of the easiest traps to fall into in writing is reaching for a conclusion that should be your premise. Writing another book is not going to appeal to me until a specific idea comes. How do you think about the difference? Once, I did do something I think was wrong, and it started when I got offended, which doesn’t happen to me often. JT: It’s different from piece to piece. Jia Tolentino's posts. What that says about the nature of my own constantly bubbling-up self-interest I’ll have to work out in the essay. There’s a deep sort of humor that’s literary that comes from the void. ... Jia Tolentino discusses reporting on campus sexual assault. I recently wrote a magazine piece on Millennials for the New Yorker, and had to regularly remind myself, the reader is not necessarily a leftist 28 year old—you have to understand, and make the most of, the fact that the core audience of this magazine is not precisely you. Columbia Journal Staff on Their Favorite Banned Books, The Word Process: An Interview with Lauren Wilkinson, The 2018 Winter Contest is Now Open for Submissions. To be like, here’s why you might expect me to defend myself, but I’m not going to. But the heroine’s journey is the journey of a woman completely enmeshed within the social fabric. The book is loosely organized around the concept of self-delusion—coming out of this animating idea that there are a lot of new incentives to be hyper-self-conscious, to build up a lot of cognitive dissonance around the self. I think I’m definitely present enough already in my work—I have a strong personality and I think it comes out—and so I’d rather wedge first-person in there when it’s useful in terms of establishing authority or making a point you can’t get any other way. I wanted to write a book because I wanted to do something that was—back to this thing—fun and hard in a way that I could completely determine for myself.
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