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Judy Bolton-Fasman is the author of Asylum: A Memoir of Family Secrets. Her essays and reviews have appeared in major newspapers, essay anthologies, and literary magazines. She is the recipient of numerous writing fellowships, and a two-time Pushcart Prize nominee.

This month’s guest Non-Fiction by Non-Men interviewer is Jane Kokernak. She works and teaches scientific writing at Northeastern University. Her essays have published in Pangyrus, Bellevue Literary Review, Technology Review, Medium, and elsewhere.

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Sasha LaPointe is from the Upper Skagit and Nooksack Indian Tribe. Native to the Pacific Northwest, she draws inspiration from her coastal heritage as well as her life in the city. She writes with a focus on trauma and resilience, ranging topics from PTSD, sexual violence, the work her great grandmother did for the Lushootseed language revitalization, to loud basement punk shows and what it means to grow up mixed heritage. With strange obsessions revolving around Twin Peaks, the Seattle music scene, and Coast Salish Salmon Ceremonies, Sasha explores her own truth of indigenous identity in the Coast Salish territory.

She is the author of the memoir Red Paint: The Ancestral Autobiography of a Coast Salish Punk. Her collection of poetry, Rose Quartz will be published by Milkweed in Spring, 2023.

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Meghan Flaherty is the author of Tango Lessons, a personal history of Argentine tango, that was published in June 2018 by Houghton Mifflin Harcourt. Flaherty received her MFA from Columbia University School of the Arts in literary nonfiction. Her essays and translations have appeared in Psychology Today and The Iowa Review, and online at Catapult, The New York Times, The Rumpus, Asymptote, and elsewhere. She lives with her husband, baby, and rescue mastiff in northern California, and enjoys purchasing vegetables in Romance languages around the world. 

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Edwidge Danticat is the author of several books, including Breath, Eyes, Memory, an Oprah Book Club selection, Krik? Krak!, a National Book Award finalist, The Farming of Bones, The Dew Breaker, Create Dangerously, and Claire of the Sea Light. She is also the editor of The Butterfly’s Way: Voices from the Haitian Dyaspora in the United States, Best American Essays 2011, Haiti Noir and Haiti Noir 2. She has written six books for children and young adults—Anacaona, Behind the Mountains, Eight Days, The Last Mapou, Mama’s Nightingale, Untwine—as well as a travel narrative, After the Dance. Her memoir, Brother, I’m Dying, was a 2007 finalist for the National Book Award and a 2008 winner of the National Book Critics Circle Award for autobiography. She is a 2009 MacArthur fellow. Her most recent book, The Art of Death: Writing the Final Story, was published by Graywolf Press in July 2017.

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In the sixth of her series of interviews with women who write nonfiction, E.B. Bartels speaks with bestselling memoirist and opinion writer Jennifer Finney Boylan.

Jennifer Finney Boylan’s memoir, She’s Not There: a Life in Two Genders(Broadway/Doubleday 2003) was the first bestselling work by a transgender American. A novelist, memoirist, short story writer, and an advocate for civil rights, she is the author of thirteen books. Boylan also has been a contributor to the op/ed page of The New York Times since 2007; in 2013 she became Contributing Opinion Writer for the page. She serves as the national co-chair of the Board of Directors of GLAAD, the media advocacy group for LGBT people worldwide, and serves on the Board of Trustees of the Kinsey Institute for Research on Sex, Gender, and Reproduction. Boylan is the inaugural Anna Quindlen Writer in Residence at Barnard College of Columbia University.

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Not only did Fiction Advocate publish the September edition of Non-Fiction by Non-Men today, featuring my interview with Jennifer Finney Boylan (more on that later), but I also heard Mary Karr speak about her new book The Art of Memoir at the Brattle Theatre, sponsored by the Harvard Book Store and GrubStreet!

Mary Karr at the Brattle on September 14, 2015.

Here are some of my favorite quotes from Ms. Karr’s talk:

Every memoir is a survival story by dint of the fact the person who wrote it is still alive.

Reading memoir makes me feel less alone.

Don DeLillo said fiction starts with meaning and then you manufacture events. With memoir, you start with events and look for meaning.

Memoir lives or dies based on voice.

You need an inner life the size of Lake Superior to write a book.

The art of memoir is how we bullshit ourselves.

The well-bred American WASP can ignore reality better than any heroin addict.

How do I choose what memories to cut? That’s easy. You cut anything that’s boring.

Things that I thought would be whole chapters ended up being two sentences, and things that I thought would be two sentences ended up being whole chapters.

For the sake of truth, if someone disagrees with my memory I feel compelled to mention that, but not to represent her point of view. My sister can write her own damn book.

I became an overnight success after writing for twenty years.

Anybody who writes anything is narcissistic. Any artist is narcissistic. If you can spend eight hours alone with your own mind, that is the definition of narcissism.

Social media narcissism is shallow and in the moment. A book, a memoir, should last forever. It’s like the difference between a Tic-Tac and a steak.

A book is a bomb that doesn’t go off until a reader reads it.

Yeah, it was a great night. Every time I hear her speak (the first time I did was back at a Columbia Writing Program Nonfiction Dialogue in April 2013), I feel much better about writing and life. Ms. Karr is pretty much perfect.

Well, except for this:

Major book-signing fail.

Whoops.

But, hey, it’s hard to maintain eye contact and keep up small-talk with a stuttering fangirl reader, while also signing a book. If I’ve learned one thing from reading and listening to Mary Karr, it’s that all humans make mistakes, and that’s what makes us interesting and worth writing about. We’re likeable especially when we’re unlikeable.

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