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When I was in college I started writing prose, because a very smart professor asked me what I like to read and I said, Novels, and she said, You should be writing them then. Memoir never even occurred to me. I think I was afraid of nonfiction and I was afraid of navel-gazing, and of being seen.

Melissa Febos

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Melissa Febos
Age: 44
Born: 1980
Born: September 28
Journalist
Writer
Even
Asked
Nonfiction
Never
Afraid
Professor
Think
Novel
Memoir
Thinking
College
Occurred
Like
Started
Professors
Seen
Novels
Read
Prose
Navel
Writing
Smart
Gazing

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Letting go of the cozy stories you've been carrying around is devastating. But there's more room for new stuff after you do it.
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I see consensual S&M no differently than I see consensual anything: as beautiful, and never any one thing.
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The story of the memoir is a story of me creating certain narratives so that I could live with my own experience and with the uneasy relationship between what I was doing and what I believed in - or what I saw as an uneasy relationship between those two things.
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I'm always writing to a younger version of myself, or a young woman who is like I was. I want that girl to know that I really existed and that it all went down that way.
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I always wished I could go to confession. I was so full of things I couldn't name and had an instinct to hide. I felt burdened by the loneliness of my interior life. I wanted some container that I could empty myself into, some ear that would never be shocked, even if it offered me some kind of penance.
Melissa Febos
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Music isn't seeking to comment on the experience or transmit some finding about it - it is only seeking to express it. The vicarious experience is much more accessible. We all recognize the sound of that howling, because we all have a similar howling inside of us, however we heed it or hold it or muzzle it or repress it or live in bondage to it.
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The frustration of being marginalized often gets misdirected at the most visible members of one's own community, because they are more accessible than the real agents of marginalization.
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I have always trusted writers, books, thinkers, psychologists in figuring things out. Maybe because they don't know me, so they are always honest, if that makes sense. Their wisdom and counsel are always unconditional.
Melissa Febos
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Children's stories force logic upon the gruesome facts of our lives. They mirror our troubles and submit them to a chain of causality.
Melissa Febos
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We often think that bad relationships are motivating by self-loathing or a wish for self-destruction, but I think that loving people who hurt us is more tied to a profound and earnest wish to soothe ourselves and recover from older hurts. And I've also found that having empathy for that urge is the best way to move through it, and beyond it.
Melissa Febos
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I tell my students all the time is, for better or worse, no publisher is going to come wrench your story out of your hands before you're ready to let it go. You will have time to take stuff out. You don't have to show it to anybody. That's what I did.
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Abandonment by a lover won't kill us. But it awakens the parts of us that remember when it could.
Melissa Febos
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You can turn off the song the way you cannot the actual experience.
Melissa Febos
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Our lives are a long series of acquiring and then sloughing narratives.
Melissa Febos
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Fiction stymies me with its possibility. I can't see the bottom and I freeze, cling to the side, or just choke. In nonfiction, particularly that which takes personal narrative for its primary topic, I have a finite space and a finite amount of material. I can't fabricate material, I can only shape and burrow into it.
Melissa Febos
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I do believe that we all have these stories inside of us, these scars that we compulsive worry as we do wounds, and that drive for redemption, to change the story or resolve it, governs a lot of what we do in love. We are irresistibly drawn to opportunities to reenact those traumas out of a desire to heal, not to punish ourselves.
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The craft work becomes a mediator between me and my secrets, between me and the listener.
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Being celibate was so wonderful. It taught me a lot about love, but even more about my own self outside of love. I'd never met myself out of love before, really.
Melissa Febos
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I am secretive. Always have been. And one way that secrecy manifested in my early life was that I was adept at juggling multiple social realities: I could get by no problem in many social arenas (including that of high school), but also felt alienated and totally uninspired by everything that happened there.
Melissa Febos
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Anyone who makes a life of what they love is a hero to me, and it's important for those people to be visible in every kind of life, every kind of love, every kind of work.
Melissa Febos