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I think the mad wives and mistresses are my hysterics - even the fictionalized ones. I want to trace how they were silenced, I want to find for them an escape route.

Kate Zambreno

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Kate Zambreno
Age: 47
Born: 1977
Born: January 1
Novelist
Writer
Mount Prospect
Illinois
Thinking
Mistress
Fictionalized
Mad
Hysterics
Escape
Mistresses
Ones
Silenced
Wife
Route
Find
Trace
Even
Wives
Think
Routes

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I think for a woman, getting older can help, through personal experience, although of course older women are then rendered invisible in our society, another existential crisis.
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I have almost never been compared to male writers in any review. All women.
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If one writes the rules then one can contradict oneself. It's all about rhetoric, about official narratives.
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How difficult it was for a woman, once she was named by doctors, to become a writer, because many aspects of her behavior that are accepted in the genius or creative man are regarded as dangerous in the woman.
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I think genius can have a lot to do with nerve. And permission.
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I think the online space can be a free space, in that we are not reliant online on the publishing industry or readers who just don't get it.
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People are more concerned about the economy then these ridiculous concerns as to gender inequity in society, as manifested in marriages, in the mental health system, and then in literature.
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For years and years I carried these notebooks around with me - I had hundreds of pages of notes, these fragments that consisted of biographical anecdotes, diary passages, critical rants, agitations, scenes of my marriage.
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It is only through having a stable loving partnership that I began to feel in control enough to attempt a strict writing discipline, to realize something I always knew was simmering underneath.
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Patriarchy is having the power to name.
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I do teach fiction and non-fiction, and usually I'm interested in works that confuse genre, but I'm very new to teaching creative writing, I don't have an MFA, or a PhD, I tend to approach it just through my own practice.
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I do think that memoirs by women are reviewed differently and considered somewhat outside of the canon.
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I think the key to writing the truth of our existences, so much of this is being incubated online, is examining the conflicts and the messiness, our sometimes dividedness, dealing with gender and other hierarchies, and also our identities outside of them, deeply personal and yet somehow critical and circumspect.
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I'm exposing faultlines, dealing especially with rhetoric. Showing that heterosexuality is a disease, or at least its inheritance.
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The concept of girl-on-girl crime is perplexing to me, and it happens in many ways. There are those, who refuse to identify with women as a group, preferring the shade of the mythologized men, who want to keep up the status quo.
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The memoir by women, read by female readers, is considered a market form, not great literature.
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I always remember my childhood as traumatic, for various reasons I always felt alienated, outside.
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One of my moments of coming to writing, of needing to write to attempt to create myself, to attempt to absolve and understand my past passivity, came when a girl I loved very much, who I had been estranged from for some time, killed herself.
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The hope in literature is that we are allowed to be imperfect, to write of our imperfection, without being overly critiqued for being unlikeable.
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I think that writing and publishing are different. I think I will always write I might not always publish. The idea of not publishing is wonderful!
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