#wellesleyunderground

[wellesleyunderground]

Wellesley Writes It: Conversation with Sumita Chakraborty '08 (@notsumatra), author of ARROW

Sumita Chakraborty is a poet, essayist, scholar, and a graduate of Wellesley College, class of 2008. Her debut collection of poetry, Arrow, was released in September 2020 with Alice James Books in the United States and Carcanet Press in the United Kingdom, and has received coverage in The New York Times, NPR, and The Guardian. Her first scholarly book, tentatively titled Grave Dangers: Death, Ethics, and Poetics in the Anthropocene, is in progress. She is Helen Zell Visiting Professor in Poetry at the University of Michigan - Ann Arbor, where she teaches in literary studies and creative writing.

Sumita’s poetry appears or is forthcoming in POETRY, The American Poetry Review, Best American Poetry 2019, the Academy of American Poets’ Poem-a-Day, and elsewhere. Her essays most recently appear in the Los Angeles Review of Books. Her scholarship appears or is forthcoming in Cultural Critique, Interdisciplinary Studies in Literature and the Environment (ISLE), Modernism/modernity, College Literature, and elsewhere. Previously, she was Visiting Assistant Professor in Women’s, Gender, and Sexuality Studies, as well as Lecturer in English and Creative Writing, at Emory University.

Wellesley Underground’s Wellesley Writes it Series Editor, E.B. Bartels ’10, had the chance to chat with Sumita about publishing, reading, and writing. E.B. is grateful to Sumita for willing to be part of the Wellesley Writes It series in the middle of her book debut!

EB: Thank you so much for being part of the Wellesley Writes It series, Sumita! I’m excited to get to talk to you about writing in general, but especially your debut collection Arrow. Can you start off speaking a bit about how this book came about?

SC: Thank YOU so much! This is such a joy.

The book that’s now Arrow went through about seven prior full versions.

EB: Oh my gosh! Wow.

SC: While there’s a lot going on in there, the most fundamental story I wanted to tell was that of the experience of living in the aftermath of severe domestic violence, other entangled forms of assault, and grief (in my case, particularly for my sister, who died in 2014 at the age of 24). The word “aftermath” is a tricky one, because there is no neat and tidy “after” violence or grief, particularly when one considers the varying scales on which various devastations and mournings take place. One of the main narrative arcs of the collection, though, is that of becoming someone who can embrace love and joy and care and kinship even when those concepts have been weaponized or altogether foreclosed for all of one’s childhood and adolescence. And that’s a narrative that requires a sense of an “after” that I am deeply fortunate to have personally experienced. That’s the main tightrope the collection is invested in walking, which forms the through-line around which and with which its other preoccupations and obsessions orbit and collide.

EB: Wow, thank you so much for sharing all that, Sumita. I especially like what you said about the lack of a “neat and tidy” ending -- isn’t that always the case when it comes to writing about things from our own lives? We want real-life closure but sometimes have to settle for just narrative closure instead.

I meant to say also congratulations on the publication of your collection not only in the US but in the UK as well! What was it like to put that version together? The same? Different?

SC: I was wildly lucky in this regard. Some years ago, I published the poem “Dear, beloved” in Poetry, before it was in Arrow—and in fact before this version of Arrow even existed. At that point, the editor of Carcanet reached out to me to say that the press would be interested in bringing out my collection in the UK. I kind of panicked!

EB: I totally would have, too!

SC: As I mentioned, there was no Arrow yet. I was on a much earlier version that was “complete,” but when I looked at it, I knew: This ain’t it. And querying US presses was therefore not something I was prepared to do at that time; UK publication was even less within the realm of my imagination. I essentially told them the manuscript was in progress and asked if I could reach back out when it was ready and if I had secured a US publisher. Some years later, the collection was picked up by Alice James in the States and I reached back out to Carcanet to see if they were still interested, and they were! Alice James and Carcanet worked together during the production process, so while there were certainly some differences in approaches across either side of the pond, much of it was really streamlined, and that is all thanks to the outstanding and immense labor of the extraordinary editors and staffs at both publishers.  

EB: How did you begin writing poetry in the first place? What was your path to becoming a writer?

SC: I didn’t come into much of a sense that I was interested in poetry and in literature until college. When I got there, I didn’t have a sense of really any passions and skills that I had, and that’s not imposter syndrome speaking—it’s because I had a terrible record in high school and found nothing inspirational there, and I was also pretty busy attempting to survive the violence I was experiencing at home and working toward moving out, which I did before college. In my first year and my sophomore fall at Wellesley, I took a really broad smattering of courses, including (with wild, and probably inappropriate, disregard for prerequisites in both cases) Advanced Shakespeare with William Cain and Advanced Poetry Writing with Frank Bidart. I was very much not good enough for both of those courses! But even as I was flailing around in them, something in my mind clicked: this was something I was willing to be terrible at until I started to understand it a bit better. These were puzzles that I liked, questions I liked, problems I cared about dwelling with. It was pretty much “love at first confusion.”

EB: I love that idea: “this was something I was willing to be terrible at.” That 100% nails how I feel about writing, too.

So, obviously, as you just said, Wellesley was very important in your trajectory as a poet -- the title of your book is a reference to a Frank Bidart poem! Which other faculty, staff, fellow students have influenced or inspired you? Are there any professors or classes you would tell young Wellesley writers that they 100% have to take?

SC: Following “love at first confusion,” I essentially made a second home of the first floor of Founders, so my answer to who at Wellesley influenced or inspired me could fill multiple pages!

EB: I love Founders. I miss Founders.

SC: I will invariably accidentally leave someone out and feel guilty, so I offer my mea culpas in advance. In addition to Bill Cain and Frank Bidart, I am beyond grateful to Dan Chiasson, with whom I worked on both my literary studies (including my thesis) and my poetry, and who graciously offered me more mentorship than I’d ever experienced in my life before that point; to Kate Brogan, from whom I got the bug for twentieth-century poetics, which remains the focus of my literary studies research; to Yoon Sun Lee, who taught the theory class when I took it, and planted a hugely important seed that I didn’t even know had been planted until much later simply by being a brilliant Asian American literary scholar (not a role I had ever before seen filled by someone of this subject position); to Larry Rosenwald, who was the first person I had ever met in a literary context who both knew that English was not my heritage language and, in his infinite and genuine passion for multilingualism, viewed that fact as a strength.

I wish I’d had more of a chance to get to know my peers while actually at Wellesley—my life circumstances while I was in college differed from the typical Wellesley experience in ways that made doing so challenging (for one, I worked multiple jobs the entire way through), but I’ve gotten to better know many people I knew at Wellesley more in the years since and that’s been a wonderful experience.

EB: I’ve also made a lot of Wellesley friends post-Wellesley. The Wellesley experience never ends, in that way.

SC: Since I’ve already spoken to the coursework that inspired me, I’m going to zig a bit where your last question zags: there isn’t a single course I would tell young Wellesley writers or literary enthusiasts that they 100% have to take. I don’t think one could go wrong with anyone I’ve named here (and I’ve been really excited to learn about the new additions to the English department: I would have loved to have learned from Cord Whitaker and Octavio González, and have heard wonderful things about both!). But I think that what made the Wellesley experience truly influential for me was that I had the opportunity, like Whitman’s “Noiseless Patient Spider” (though, um, not very noiselessly or patiently), to “launch’d forth filament, filament, filament,” and really listen to what spoke to me. I came in with no preconceptions, no expectations, no firm career plan (or even career plan). Knowing what undergraduates at environments like Wellesley frequently pressure themselves or feel pressured to do (or achieve or produce or attain), I don’t want to offer advice along the lines of a “must-do.” Rather, try things out and truly listen to yourself. What’s your “love at first confusion”?

EB: I know from personal experience that writing can be a really lonely practice. Who did you rely on for support during those really frustrating writing moments? Other writers? Your spouse? Friends? Fellow Wellesley grads? What does your writing/artistic community look like?

SC: All of the above! The thing is, for me, I don’t think writing is a lonely practice. When I feel most energized about writing, it is because I feel like I am in a conversation—or, to put a finer point on it, when I’m in a conversation that is nestled within hundreds of thousands of other conversations that have happened for millennia, are currently happening all around me, and will continue to happen after I’m a hunk of dirt. Tapping into that is often what brings me to the page in the first place.

EB: That’s such a good point.

SC: So when students, for example, feel really isolated or alone in their writing life, my first recommendation is to remind themselves of their beloveds. These may be actual living ride-or-die humans in their lives; these may be ghosts of writers and artists past that are important to them; they might be their most frequently bustling group text or their favorite TV show. Honestly, if one’s thinking of this question as broadly as I recommend, those beloveds probably belong to all of the above categories, to some degree. When you write, even if none of these beloveds are your subject or your audience or anything quite that easily analogous to the process, they are with you, and they have formed who you are before you’ve even picked up a pen or turned your computer on, so they are with you when you are writing, too.

EB: What is it like to now be teaching poetry to undergrads? Are you channeling your inner Dan Chiasson?

SC: Ha! Thank you for that—I just got a visual of myself trying to go as Dan for Halloween and I cracked myself up. (Dan, if you’re reading this: sorry!) I teach undergraduates and graduate students at Michigan, both in literary studies and in creative writing, and I love it very, very much. My students of all levels are brilliant, thoughtful, curious, and wildly imaginative people who often help bolster my faith in the ongoing importance of literary work. Honestly, particularly during this year, I have frequently been in awe of my students and have felt overwhelmingly lucky to be able to work with them.

EB: I know that you are also currently working on your first scholarly book, Grave Dangers: Death, Ethics, and Poetics in the Anthropocene. How do you approach writing poetry vs. writing an academic work? How is your creative process similar or different?

SC: For me the two have been inseparable since Wellesley. I essentially ask similar questions and have similar preoccupations no matter what genre I write; in terms of deciding which thought belongs to which genre, or which project a particular moment is better suited to, that’s often a matter of thinking carefully of what shapes that I want the questions to take, and what kinds of “answers”—in quotation marks because I don’t strive at certainty or mastery in either genre, or in anything for that matter—for which I imagine reaching or searching. For me, the processes for writing both are very, very similar: I draft wildly and edit painstakingly. It’s more a matter of closely listening to my patterns of thinking on any given subject or day in order to find out if the rhetorical patterns of academic prose would better suit them or if the rhetorical patterns of poetry would better suit them.

EB: What are you currently reading, and/or what have you read recently that you’ve really enjoyed? What would you recommend to read while we (are continuing to) lay low during this pandemic?

SC: 2020 was such an incredible year for books! Which feels somewhat perverse to say, considering everything else was dismal and it was hardly an easy year to put out a book, either. In terms of new poetry releases—and this is not a comprehensive list, so my mea culpas here too to the many that I have loved and will end up accidentally leaving off—I have this year read and loved: Taylor Johnson’s Inheritance, francine j. harris’s Here is the Sweet Hand, Craig Santos Perez’s Habitat Threshold, Jihyun Yun’s Some Are Always Hungry, Eduardo Corral’s Guillotine, Rick Barot’s The Galleons, Jericho Brown’s The Tradition, Shane McCrae’s Sometimes I Never Suffered, Victoria Chang’s Obit, Danez Smith’s Homie, Aricka Foreman’s Salt Body Shimmer, and Natalie Diaz’s Postcolonial Love Poem. Two prior-to-2020 poetry collections that I reread every year are Brigit Pegeen Kelly’s Song and Lucille Clifton’s The Book of Light. I’m currently reading Claudia Rankine’s Just Us and Alice Oswald’s Nobody.

EB: Also what about Lucie Brock-Broido? I know she was a teacher of yours at one time, and she was a professor in my MFA program. I had the pleasure of once sitting in on her lecture, and it was life-changing. Are there any particular poems of hers you would suggest?

SC: I joined Lucie’s summer workshop held at her home in Cambridge, MA the summer after my sophomore year at Wellesley, and I stayed in it until I moved to Atlanta for graduate school in 2012. “Life-changing” is right—in fact, it feels a little too modest. She was transformative. A cosmos-realigner. A hilarious, brilliant, extraordinarily kind meteor. A fox with wings. A unicorn. I could go on, and on. For a reader new to her work, I’d recommend starting with her posthumously published “Giraffe” in The New Yorker. I think “A Girl Ago” and “You Have Harnessed Yourself Ridiculously to This World” from Stay, Illusion (2015) are also remarkable entry points. After that, I would probably recommend reading her collections in this order: first Stay, Illusion; then A Hunger (1988); then The Master Letters (1997); and finally Trouble in Mind (2005). The sequencing here isn’t intended as a ranking in the least—my own personal favorites toggle back and forth depending on where my own “trouble in mind” lives, and each collection is dazzlingly strong and has its own raison d’être—but rather because I think the story those collections tell in that order would let a new reader have a full sense of Lucie’s poetics outside of the story that mere chronology can tell.  

EB: Any advice for aspiring young poets?

SC: Filament, filament, filament. Let your writing life be as huge and wild and disparate as the whole person you are—don’t feel like there’s only a part of you that’s “worthy of poetry,” and don’t let anyone else tell you what kind of writer you should or shouldn’t be.

EB: Thank you, Sumita! That was wonderful.

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Wellesley Writes It: E.B. Bartels ’10 (@eb_bartels) on financial privilege and writing

From the new series on Fiction Advocate -- 

How I Got Here: You Learn, I Pay

Privilege is a topic that doesn’t always receive the subjectivity and nuance it deserves. In “How I Got Here,” writers reflect on their experience of privilege (or lack thereof) in their writing careers. We hope these personal essays will help us appreciate the complexities of individual experience and view each other in a clearer light.

An MFA is a shot in the dark. It is a degree that costs thousands and thousands of dollars to pursue and yet has absolutely zero (0) guarantee of any type of employment. You get an MFA out of sheer love or delusion. When I applied to writing programs in the fall of 2011, I did so simply because I knew I loved writing and wanted to get better at it. I also applied because I had, and have had for my entire life, my own personal patrons of the arts.

There have been many calls lately for writers and artists to be more transparent about their financial situations, from the Twitter hashtag #PublishingPaidMe to essay collections to this very series. I remember when I first read Ann Bauer’s essay on Salon about how her heart surgeon husband “sponsors” her writing career and how much I appreciated her honesty. So, let me lay it all out there for you. When it comes to education, the rule in my family is: they pay, no questions asked. It’s like that scene in The Sopranos, when Meadow’s boyfriend tries to pay for Tony’s dinner and Tony is pissed. But instead of “You eat, I pay,” it’s: “You learn, I pay.”

Education has always been a big deal in my family. Both of my parents have Master’s degrees, my mother’s specifically in Music Education, which she used as a piano teacher. Both of my grandmothers achieved higher ed degrees at a time when it wasn’t common for women to even complete high school. My paternal grandfather nearly completed a PhD from MIT in engineering (everything but the dissertation); my maternal grandfather dropped out of law school, but he did so to take over a local driving school because he loved to teach kids how to use cars. Classes, studying, learning, teaching, books—I was taught that these were the most valuable types of currency. I knew from a very young age that there were limits to what I was allowed to ask for in a toy store or a clothing boutique, but the local bookstore? The word “no” did not exist there. In middle school, I memorized my dad’s credit card number so I could order books on the Barnes & Noble website without bothering him (so advanced for 1998!), and he never questioned what I was buying, as long as it was books. He also never questioned how much I was buying because he had access to that other, more literal type of currency—money.

Read the rest of the essay on Fiction Advocate. 

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Wellesley Writes It: Interview with Patrice Caldwell ’15, Founder of People of Color in Publishing

Patrice Caldwell ’15 is the founder & fundraising chair of People of Color in Publishing – a grassroots organization dedicated to supporting, empowering, and uplifting racially and ethnically marginalized members of the book publishing industry. Born and raised in Texas, Patrice was a children’s book editor before shifting to be a literary agent at Howard Morhaim Literary Agency.

In 2018, she was named a Publishers Weekly Star Watch honoree and featured on The Writer’s Digest podcast and Bustle’s inaugural “Lit List” as one of ten women changing the book world.

Her anthology, A Phoenix First Must Burn – 16 stories of Black girl magic, resistance, and hope – is out March 10, 2020 from Viking Books for Young Readers/Penguin Teen in the US/Canada and Hot Key Books in the UK! Visit Patrice online at patricecaldwell.com, Twitter @whimsicallyours, and Instagram @whimsicalaquarian.

Wellesley Underground’s Wellesley Writes it Series Editor, E.B. Bartels ’10, had the chance to converse with Patrice via email about publishing, reading, and writing. E.B. is grateful to Patrice for willing to be part of the Wellesley Writes It series, even with everything else she has going on!

EB: When did you first become interested in going into writing and publishing? Did something at Wellesley spark that interest?

PC: For as long as I can remember, I’ve loved writing. It’s how I best express myself. That love pretty naturally grew into creating stories. I’ve always had a very vivid imagination. I’ve also always been pretty aware that publishers exist. I remember at a young age noticing the logos on the spines of books (notating the imprint/publisher), so by the time I was a teen I could recall which publishers published my favorite books (served me very well in interviews, haha) and was curious about that process. But I was a theater kid, intensely, that’s what I thought I would do, but then I decided to go to Wellesley and majored in political science (especially theory—I took ever class Professor Grattan, she’s brilliant) but then dabbled in a bunch of other subjects, including English. I think English courses definitely strengthened my critical thinking, but I absolutely do not think you have to be an English or creative writing major in order to work in publishing or be a writer. My theater background is just as helpful as is my political theory one. (I have friends who are best-selling authors who did MFA programs and others who never went to college.)

Wellesley was my safe space. I came back to myself while at Wellesley. I wrote three (unpublished) manuscripts during my time there, starting the summer after my first year, and I held publishing and writing related internships. I also took a fantastic children’s literature course taught by Susan Meyer (who’s a children’s author herself!) that changed my world. I highly recommend it. We studied children’s literature, got to talk to an author and a literary agent, and we wrote our own stories. I later did a creative writing independent study with her, and I truly thank Professor Meyer for expanding my interest in writing and publishing.

EB: How did People in Color Publishing come about? What goals do you have for the organization? What would you like people to know about it?

PC: I founded People of Color in Publishing in August 2016 to allow people of color clearer access into the book publishing industry, better support networks, and professional development opportunities. It really is about sending the elevator back down for others after climbing (& maybe even assembling) the stairs.

We’re currently working towards nonprofit status. You can learn more about us and our initiatives at https://www.pocinpublishing.com/ and sign up for our newsletter, which is incredibly well done. As you’ll see when you visit the site, the organization really is a team effort. I don’t and couldn’t do this alone; I’ve had an amazing team with me from day one. We each play to our strengths and work really well together. (The org is very active on Instagram and Twitter, too!)

EB: I am really excited about your collection A Phoenix First Must Burn, coming out from Penguin Random House on March 10, 2020. What inspired you to put together that anthology? What was challenging about the process of compiling the anthology, and what was rewarding about it?

PC: Thank you; I’m so excited for it as well. I talk about this more in the book’s introduction, but I was inspired by my eternal love for Octavia Butler—the title even comes from a passage in Parable of the Talents—as well as similar adult market anthologies like Sheree R. Thomas’s Dark Matter, and wondering what one for teens would look like. The answer is power and imagination like I’ve never before seen, in the form of a kick-ass, #BlackGirlMagic anthology that’s hella queer—I love it and wouldn’t have it any other way.

Before I became a literary agent, I was a children’s book editor. The editing of these stories was the easy part. It was super fun. The hard part was wrangling of everyone, haha. Thankfully they were amazing to work with and I wasn’t doing it alone—my then editor Kendra Levin also has a fantastic editorial eye.

As for what was rewarding, my younger self needed this. Like I said, it’s Black and queer. Since Toni Morrison passed, a day hasn’t gone by in which I’ve thought, about how she wrote for Black people, especially Black women, unapologetically. I feel that deeply. I got to work with some of my favorite writers writing today. How often does someone get to say that, you know. And, I grew a lot as a writer. I never thought I could write a short story, but I did. We’ve been getting some really great early reviews (like this beautifully-written starred review from Kirkus, OMG!) But going back to how my younger self needed this, the most rewarding thing has been the people who’ve reached out how excited they are to read it and how much they’ve been craving a book like this. It’s a dream come true. A dream I strategized to reach, worked my butt off on, and so yeah, I’m over the moon.

EB: You're also the author of a YA fantasy book (publication date TBD) in addition to the anthology. How is the experience of writing a fantasy novel different and/or similar to compiling an anthology? What advice would you give to someone writing their own book (of any genre)?

PC: It’s such a different experience in that writing this novel is all me, especially because it hasn’t sold yet (I’m finishing revising it now). My agents are amazing, with an excellent editorial skills, and so they’re certainly there to help and advise me should I need them—and then I have author friends I can ask for advice too—but ultimately if I don’t write this book, it doesn’t get written. There’s no one else to nudge.

The similarities, however, between novels and short stories are that ultimately, I’m the same writer, I’m the same person. For instance, I love experimenting with structure. My story for A Phoenix First Must Burnbegins in the present, goes back in time, and ends again at the present. The story I just wrote, for Dahlia Adler’s Shakespeare-inspired anthology, is epistolary—told partially in journal entries, and my third short story (for an unannounced thing) takes place partially on the set of a scripted reality TV show, so there’s definitely going to be script excerpts throughout. My novel is similar in that it’s told through three women, but two of them are narrated in first present tense (like, I am) whereas one is in third past (she was). And then every few chapters I have an excerpt of something from this fantasy world’s archives—oral myths passed down about various gods, peace treaties made over the years, accounts from the war that just ended, etc. It’s been a huge challenge and lot of fun.

I didn’t have the skills to pull this book off when I started writing it, which is something I think a lot of writers deal with at some point. Therefore, I had two options: put the book down and write something more manageable or take the time it took to write this. Neither option is better than the other—the best option is what’s right for you, and I didn’t have anything more manageable that I was as passionate about, so I had to write through it. When you’ve tried everything you can possibly try (including breaks, they’re important!) to unstick your story, you have to write through it. You have to deal with the voices (including sometimes your own) saying you can’t, and the only way to truly deal with those voices is to show up to the paper, the screen, whatever it is, and write. In writing and believing in my own work before anyone else has, I’ve found my confidence. Confidence in your own writing is key because only you can write the book you want to write <3.

EB: What are you currently reading?

PC: Realm of Ash by Tasha Suri. I just loved herdebut novel, Empire of Sand, and I’m so pumped to be diving into this one. Badass women, incredibly rich worldbuilding, and very cool magic as well as a lot about access to forgotten history and assimilation into other cultures.

My Dark Vanessa by Kate Elizabeth Russell. It is getting fantastic early reviews and was pitched as a 21stcentury Lolita (by one of my agents who sold it actually) and given all the #MeToo conversations, it has ended up being super timely. I hated Lolita (could not finish), and I love this book. Oh, and Stephen King loved it, which for me is an auto-buy. It’s out March 10, 2020.

The Midnight Lie by Marie Rutkoski. You definitely don’t have to love someone’s books to be friends with them, but in this case, Marie is a friend whose work I’m obsessed with. It’s set in the same world as another one of her series—one of my favorite series that’s like game theory in a fantasy world and begins with The Winner’s Curse. Marie is brilliant, this book is brilliant, and it’s also very queer. It’s out March 3, 2020.

Spinning Silver by Naomi Novik. This book has been getting the best of reviews and praise, so it’s been at the top of my to-reads list for a while, but I started reading it because a friend mentioned that it has multiple POVs all in first person (which is very unusual), and like I said, I love playing around with stuff like that. This is book is a masterpiece.

As you can tell, I love reading books. I also love book hopping, so I’m always reading a bunch at once. I’m on a bit of a fantasy streak right now. But from October to December 2019 I read like a romance novel a week (sometimes three a week, haha) and revisited my favorite urban fantasy series, so if you’re into those check out Chloe Neill’s Chicagoland Vampires + Heirs of Chicagoland series, Tessa Dare’s Girl Meets Duke series and of course our very own Jasmine Guillory, my favorite of hers thus far is The Wedding Party). After I’m done with my revisions, I wanna take a writing break and sink into Emily Wilson’s translation of The Odyssey and Dan Jones’s The Wars of the Roses: The Fall of the Plantagenets and the Rise of the Tudors.

EB: What future projects/goals do you have for yourself and your career?

PC: I spent most of Wellesley working towards two goals: being published and working in publishing. In doing so, I accomplished a lot in a very short time, and I totally wrecked my mental health—it took most of 2019 to rebuild that. I’m trying to live more in the present and enjoy that. Career wise, I’m just gonna trust that I’m already doing the work I need to do and that I have the support systems I need to help me keep doing that. And for a personal goal, I have been wanting to spend more time in Paris—I went back for the first time in ten years for all of February 2019, and just loved it. My whole soul felt at home, so I’d like to take some French lessons to fill in the gaps (I took French from middle school through sophomore year at Wellesley and achieved proficiency, but I want to become fluent). And then I want to visit more for longer and see where that takes me.

EB: I so admire your freelance hustle, and as someone attempting it myself, too, I know that sometimes it feels like you have to work 24/7 to make it possible. How do you set boundaries for yourself and your work? How do you take care of yourself?

PC: So, I’m a literary agent and a writer, which means my entire income comes from commission I make from the writer client projects I work on and sell as an agent and advance payments (and hopefully royalties down the line) as a writer. That said, I didn’t become a literary agent until June 2019, and didn’t get the first payment from a client book I sold until November, so most my income is still coming from writing (for reference, I received my first advance check in fall of 2018).

As of now, balancing the two isn’t that hard for me. But you have to understand that I was first an editor and a writer, so I had to do most of the deadlines for A Phoenix First Must Burn while also going into an office 5 days a week, from 10-7/8pm. Now, I manage my own schedule.

My main “freelance life” struggle was that I was diagnosed with ADHD this year. When I left my full-time, salaried job, at the end of 2018, I didn’t realize just how helpful that structure had been. To me, that structure was only ever a limitation. I felt like it was ridiculous with all of this technology that we all had to be in NYC, I felt like editors needed to be more proactive, I preferred to travel to book festivals and teach at workshops and meet writers where they are, etc. etc. But then, without that structure, everything fell apart. Suddenly, tasks that used to take me five minutes could actually take me five hours because I only had myself to answer to. I would hyper-focus on everything but what I needed to be doing. It was a really hard time for me because I had all of these things I wanted to do now that I finally had more time to do them, but ADHD had other plans—I constantly felt like I wasn’t achieving what I knew I could because I had done it before.

I had to learn to forgive myself. This is how my brain works, and there are a lot of strengths to it (like if I remove distractions like the internet, I can hyper-focus for hours, I’m a fantastic problem solver, and I thrive in chaos—all things that help me excel at my work). Learning to forgive yourself for not accomplishing all the things, whether you have a mental illness or not, is really important.

You also have to be hyper-aware of your strengths and weaknesses. What are things you know you’re just not good at? Can you pay someone else to do it? Is there an app you can download that can make that task easier? I delegate and outsource every detail-level thing that I can because I’m horrible at details and I’ve finally accepted that that’s okay. One person cannot do everything forever; it’s not sustainable.

And then you also have to say no. If you can afford to say no to something that doesn’t really interest you / have a high payoff, do so. That is how you set boundaries. My health has become so much better ever since I started saying no to more things. Why? It gives me time to do other things, those things I’ve been saying forever I’m going to make more time for (like French lessons and reading books for fun). Now, my evenings and weekends are for non-work things. I love my jobs they’re still jobs.

Trust that you’re on the right path. Trust that you have the support systems you need and if you aren’t or don’t, dream and strategize towards those.

Ultimately, I am the happiest I’ve ever been and that’s because I finally stopped focusing my whole life around my jobs, stopped caring what people who aren’t paying my bills think, and started living my actual life.

EB: What else would you like our readers to know about you and/or your work?

PC: I have a website, Twitter, Instagram, and a newsletter. If you enjoyed this interview, definitely sign up for my newsletter (& check out past issues) as I always give creative life pep talks, share recipes and what books and tv shows I’m loving. I think of my newsletter as a longer form version of my Twitter. My website is a pretty standard website—you can find out more about my own books, my clients, events I’m attending, etc. there. And my Instagram is slightly more personal, with pretty pictures of my face and my book haha, and I share daily/weekly updates about my writing there via IG stories.

And, of course, buy my book: https://patricecaldwell.com/a-phoenix-first-must-burn

Thank you so much for having me and for reading. Happy New Year!

[wellesleyunderground]

WU Self-Care: Surviving a Toxic Workplace

Photo Source

When you’re in a toxic workplace, it can feel like it is poisoning your home life, your time with friends, and your thoughts (especially before bed and upon waking up). How do you maintain your sanity and serenity in the midst of a toxic, draining job?

The first thing to ask is if there is something you can change. Is the problem a person who doesn’t do their job that you can manage your way around? Do you have a toxic coworker with whom you should avoid interpersonal interaction?  Are you not feeling supported or respected by your supervisor? Is there a situation that HR can help with? Is it just you--or is there high turnover and poor morale throughout your team or organization? 

What makes a workplace toxic is the culture, communication from above and between departments, unsupportive or adversarial peers, lack of real leadership, and your boss(es)-- things that are outside of your control. Generally, there are multiple factors working together. HR may be already aware and is doing very little or nothing to solve the problem, and leadership is passively or actively supporting the toxic factors. 

Analyze your workplace and identify where and how it is toxic, and where that toxicity is coming from. Once you grasp how bad and how pervasive it is, the next step is acceptance. 

It sucks, it really sucks, it actually sucks, it is totally and completely sucky. 

When you recognize how bad your workplace really and truly is, it actually makes it easier. You’re no longer caught off guard by the latest development. You realize that the only way to change your life is to get out of your workplace. 

Recognizing that  you can’t change your workplace frees up energy that you can use to 1) cope and 2) look for a new job. 

Coping Strategies (also see here)

Set boundaries around work. Have you gotten in the habit of working every night after you go home? Are you checking emails as soon as you get up? Determine what would be best for you and make those boundaries. If you have to get back on after a full day of work, only work for an hour. Or better yet, don’t go back to work after work! Don’t check your email first thing, and only answer when you’re back in the office. Yes, there will be pushback, but it is up to you to set boundaries and create space away from work to relax and recuperate. 

Keep work and home separate. Don't feel compelled to let coworkers who are not supportive follow you on IG/twitter/FB! 

Work Remotely. Advocate for working remotely if at all possible. Does your workplace have a remote policy? Can you call in HR to get that policy enforced? Can you get a regularly scheduled remote day? Do what you can to get your work done and not be there. 

Email yourself. When I felt overwhelmed and frustrated and like I needed to speak my truth or I would explode, I emailed myself and ranted. It may sound silly-- you already know what’s going on!-- but I found it helpful to be able to vent in writing and confidentially. 

Look at your life outside of work-- friends, family, hobbies, faith/spirituality, community. What else is going well in your life? Do you have great neighbors, a great circle of friends, a loving family? Can you devote more time/energy to those areas?

Call a friend and get together after work (or bedtime, if you’re a parent)

If you don’t have hobbies, make the time to develop one or two to balance out your life. 

Life at work. Do you have work friends you can commiserate with? Do you have friends you can have lunch with, either at your workplace or that you can meet nearby? Can you build in an afternoon coffee break where you walk around the block to get coffee?  If you are not being paid for your lunch period, do your best to take breaks on a regular basis. What can you do to create support and breathing space for yourself at work?

Set limits on discussing your toxic workplace with coworkers. Work friends who get it and support you are great-- you need to vent and unpack what’s happening. However, be cognitive of how much time you’re spending discussing and commiserating. Every workplace conversation shouldn’t be about how much you both hate it there. Also, be mindful of sharing your personal cell phone number with colleagues. While you may be friendly or friends even, being texting buddies with your coworkers could easily lead to conversations about work after hours or on weekends.

Find something small you like at work. Is there a nice tea or coffee? A cute coworker to smile at? A cool mural on your drive to work? Find the small things that give you pleasure at work. 

Make sleep a priority. It’s harder to keep your emotional balance when you’re tired. 

Reading and watching things that give you joy. Rather than reading the most depressing books or watching the most disturbing shows, no matter what the rave reviews may be, sometimes consuming content that makes you laugh so hard you cry or something completely mindless is what you really need. Checkout WU for great reviews of books, movies, and TV shows for something new!

Exercise. Keeping a semi-regular schedule of long walks or yoga or cardio kickboxing (to get out some aggression) can get the endorphins going and help you feel more sane and balanced.  

One warning. Going out for drinks with friends is great, but don’t use alcohol as an escape mechanism-- it’s a depressant. It’s easy to get into the habit of a glass of wine or two after work but it’s only going to further tax your body. 

Looking for a new job.

This is like any other job search-- only you need to get a new job ASAP.

Start your job search now. Get on the job websites, update your LinkedIn, connect to people on LinkedIn, network, get a friend to review your resume, write your first cover letter. 

Change departments at your organization. The fastest way out may be a change within the organization, to a new department. Large workplaces, like universities, may have many different cultures loosely held together. Can you get a similar job-- or a completely different job-- in a different department, under different leadership? 

This may not be the time for a career change to a new field. It’s easiest and fastest to get a job doing what you are already doing somewhere else. 

Apply anyway. Even if the job isn’t perfect, even if you don’t know if you really want it, even if they don’t list a salary range. Just apply for now. Learn more about the job. You can always say no later.

Consider hiring a career counselor to help make that transition faster. 

You may also be interested in: 

Self-Care Strategies When you Hate your Job but Quitting Is Not an Option

[wellesleyunderground]

Best of Wellesley Underground: 2019 Edition

As 2019 comes to a close, we thought we would reflect back on some of our favorite features on Wellesley Underground from this past year. Here are some of our editors’ faves:

“Happy 10 Year Anniversary Wellesley Underground” by our Founder and Editor in Chief, Shelly Anand ‘08

WU Chats with Wellesley College Food Service Union about Current Negotiations - with Managing Editor Fei Mok ‘10 and Union Representative Gloria Figueroa

Wellesley Underground 10 Year Anniversary Series: Allison Bland ‘09

A Chat with Courtney Wilson ‘08 on Self-Care and Being a Veteran

WU Reviews: Elizabeth Holmes and the Theranos Scandal 

Because of Choice I got to Choose You by Hannah Ellenson ‘08

Wellesley in Tech: Liz Klinger (‘06 - 08’), Co-Founder and CEO of Lioness - The First Smart Vibrator for Self-Experimentation

Wellesley Writes It: Interview with Dr. Crystal M. Fleming ‘04 (@alwaystheself ) on her new book, HOW TO BE LESS STUPID ABOUT RACE

For the April 2019 #WAOTM, we mourn the loss of human rights lawyer Tejshree Thapa ‘88

Wellesley in Politics: Interview with Lindsey Boylan (@LindseyBoylan), Candidate for NY’s 10th Congressional District

WU Self-Care: Surviving a Toxic Workplace

[wellesleyunderground]

(PART 1) Wellesley Writes It: Offering Art and Theater Amidst War and Censorship As An “Insider”/ “Outsider” in Kashmir: A Follow-Up Feature of Author and Activist Nandita Dinesh ‘06

Image Credit: Jennifer Arnwine provided with permission from Nandita Dinesh

Interviewed by Shelly Anand and Camylle Fleming, WU Editors

Nandita Dinesh double majored in economics and theatre studies at Wellesley and spent a semester during college at the Eugene O’Neill Theatre Centre’s National Theatre Institute. She also spent a semester abroad in Uganda with the School for International Training’s Development Studies programme. Nandita’s honors thesis and focus after Wellesley concentrated on using theatre in war-affected areas of the world. She has since been a Watson Fellow, earned an MA from New York University in performance studies and a Ph.D. in drama from the University of Cape Town, written a number of academic articles concerning drama and war, and published multiple books:

Theatre and War: Notes from the Field (2016 Edition; 2018 Republication)

The Memos from a Theatre Lab series:

Exploring What Immersive Theatre “Does”

Spaces, Relationships and Immersive Theatre

Immersive Theatre and Time

Scripting Detention: A Project in Theater and Autoethnography with Incarcerated Teens

Information for/from Outsiders: Chronicles from Kashmir

Immersive Theater & Activism: Scripts and Strategies for Directors and Playwrights (Forthcoming)

Wellesley Underground previously interviewed Nandita about her book Theatre and War: Notes from the Field. You can read that interview here. Currently, Nandita teaches Theatre and Literature & Performance, while also overseeing the Juvenile Justice Programming, at UWC-USA.

WU: Tell us about Chronicles of Kashmir, your latest project.

Chronicles from Kashmir has been in development since 2013, as a collaboration between myself and the Ensemble Kashmir Theatre Akademi in Srinagar. It uses Argentine playwright Griselda Gambaro’s (1992) Information for Foreigners as its point of departure, takes place in the promenade, and is site-adaptive -- we've staged it in a two-storied building in Kashmir, and in a sprawling theatre workspace outside Pune. Different scenes take place in different locales and audience members walk around under the supervision of  'Guides' who tell them the route to take.

Audiences 'live' in our theatrical Kashmir for twenty-four hours and in so doing, experience the Valley's many realities: they encounter larger questions around complicity; they are asked to engage with multi-media installations that speak to the exodus of Kashmiri Pandits; they are invited to witness narratives of former militants; they are given occasion to experience how celebrations are conducted under curfew; they are permitted to observe stories from soldiers in the Indian Army.

Pic Credit: Vineet Pandey

Chronicles from Kashmir seeks to create a sense of “balance”: between differently positioned voices that emerge when speaking about Kashmir; between differently placed narratives on the “victim”/“perpetrator” spectrum. While there is an inevitable streak of political commentary that runs throughout the work – a political current that cannot be escaped when talking about Kashmir – Chronicles from Kashmir does not espouse any one political ideology. We see ourselves as being artists and educators, using aesthetics and pedagogy to engage audiences with diverse perspectives from/about the Valley.

Chronicles from Kashmir like any other performance has its limitations. It can never do justice to all the narratives that compose Kashmir... It's a step, though, a small step toward engaging audiences in stories and experiences that mainstream media might never share with them; a small step toward sparking more educated -- and less polarized -- opinions about what is happening in the region.

WU: Recently, you went through quite an ordeal with Facebook, whereby the social media platform censored your book. Can you talk to us about that experience?

It’s been one of the more recent attempts at censorship…

From the beginning of  Chronicles from Kashmir, there has been censorship at play in different ways. First, in Kashmir itself, we would sometimes get explosive feedback from Kashmiri audiences -- often because elements of the content, to them, was made problematic because of who I am (non-Kashmiri, Indian, woman, young, artist). Even now, I daresay that there are still many who think that I am an Indian “agent” who is trying to use this work for some sort of agenda, despite my Kashmiri colleagues’ efforts to dissuade them of this notion.

Then, in 2017, when we had the first 24-hour iteration of the work outside Pune, in western India, the cops showed up. We don’t know who called them and what they were hoping to find, but they were intimidating enough to lead us to cancel the third and final performance of the show (which was for an audience of students; we didn’t want to put them in any risk). And subsequent to this, it has been near impossible to find potential hosts for Chronicles from Kashmir in the Indian subcontinent. People are afraid to host us and in their fear, have led to a censoring the work from public spaces…

Pic Credit: Vineet Pandey

Most recently, in July 2018, alongside Facebook’s “ban” of the book on the publisher’s own marketplace on their page, we were placed under something akin to “house arrest” by the institution that was hosting our filming of Chronicles from Kashmir… At least the institution explained their reasons to us -- they had a journalist on their backs, apparently, and were afraid of bad press from hosting us (though neither the journalist nor our hosts had even read the script, so this bad press would simply have been because they were hosting a project about Kashmir, regardless of content). Facebook, on the other hand, reversed their “rejection” of the book after a few journalists went around, asking questions… Their response was something along the lines of: “Well, the book is up now, so what’s the problem?”... Essentially, we still don’t know why the ban took place to begin with. Whether it was an algorithm that flagged the cover -- at that point only the cover was available on Facebook -- or whether the community moderators who police pages’ adherence to Facebook’s commerce guidelines made a decision based on their own affiliations and agendas… Either way, it was/is incredibly unnerving.

WU: When and how did you first get interested in Kashmir?

When I first went to Kashmir, the “why” (apart from being my doctoral project) was to consider the possibilities of using theatre to access perspectives from across the “victim”/“perpetrator” spectrum in the region: to draw in narratives from civilians; from militants/former militants; from soldiers/former soldiers in the Indian army. What if I were to create immersive, theatrical experiences about Kashmiri civil society, which the army could experience? What if I could design a performance for active militants, about the experiences of armed forces’ soldiers? How could I work with people from each of these identity groupings, to create a polyvocal, theatrical representation of Kashmir?

Gradually though, as I began to learn more about the Kashmiri context, that initial articulation of my intention had to shift. I realized that the idea of bringing “opposing” voices to the table was not only dangerous; it was ethically fraught. Because of my being Indian. Because of my being a woman. Because of the form of the theatre. Because of the many complexities that Kashmir remains mired in.

Pic Credit: Vineet Pandey

So, in collaboration with a team of incredible colleagues from the Ensemble Kashmir Theatre Akademi the intention of Chronicles from Kashmir has become about using theatre to educate (self-identified) “outsiders” about different aspects to Kashmir’s conflicts. Outsiders like myself, of course; but also a whole range of outsiders to whom voices from Kashmir remain inaccessible.

WU: Last time that you talked with WU, you shared the journey in the intentions behind the theater you’re creating. It went from “big ideas” to an emphasis on “beauty” and aesthetics as well as the ethical inclusion of victim and perpetrator narratives. Can you give us an update on where you are calling attention to today?

I think I’m still dealing with those questions of beauty and ethics; but I find myself trying to find more of a middle ground vis-à-vis the “big ideas”. Especially with Chronicles from Kashmir, I find myself wanting the work “to do” more; to create the potential for more tangible shifts to occur in how Kashmir’s conflict are studied, discussed, and considered. Might that mean adapting our script into a study guide, of sorts, that can be used by schools across the Indian subcontinent? Might that mean workshopping ideas from the work with new collaborators across Jammu and Kashmir, and across Indian and Pakistani borders? That remains to be seen…

Pic Credit: Vineet Pandey

WU: You’ve talked about the dynamic of being an “insider”/ “outsider” in your conflict theatre work in Kashmir. How are you handling that balance?

It depends on when you ask me :) Sometimes, the balance is easy to attain; at others; it seems like the complexities will only ever continue to grow. At this point in time, having just returned from another year of developing Chronicles from Kashmir, I am questioning my own role in the future of this initiative. Having been the one to spearhead new directions for this project over the last six years – albeit in constant collaboration with my colleagues at EKTA -- now that the work has been performed live, filmed, and published, I find myself wondering if it’s time for me to take a back seat and to rely on my Kashmiri colleagues to take the lead on where we go from here. Have we come to a point, I wonder, where I (the insider/outsider) must step back (despite my own relative privilege and increased access to resources/opportunities) and wait for my colleagues (the insiders) to catalyze our way forward?

WU: What is something you wish the world knew about Kashmir?

More than something that I wish the world knew, I wish there was more palpable desire amongst the international community to support/advocate for the search for a resolution to Kashmir’s crises.

[wellesleyunderground]

Wellesley Underground Interview with Founders (Sara Hess ‘08 and Shavanna Calder ‘08) of Feminist Fashion & Beauty Magazine, MUJER!

Need a break from the politics? Dive into the making of Issue No.2 of MUJER! Magazine. Interview by Camylle Fleming ‘14.

1. Wellesley Underground (WU): Tell us about the origin of MUJER! Magazine and bring us up to speed on the November launch.

Sara Hess ‘08, Editor in Chief: MUJER! has been a long time coming for us. Ever since Shavanna and I were swapping clothes from each other’s closets when we were roommates at Wellesley, we’ve had an interest in fashion and over the years we’d often played around with the idea of doing a fashion related project together. MUJER! came about in late 2017 when I had reached a point of being really frustrated with fashion magazines (all of the ads and the Photoshop, the lack of any real content and focus on hyper consumption). I also was disappointed to see that several of the fashion bloggers I’d followed over the years and enjoyed for their authenticity were following the same route as they transitioned from blogs to Instagram and started posting highly stylized Photoshopped pics that were all sponsored and very phony. Finally, I had recently turned 30 and it then occurred to me that I was older than nearly all the models I saw in the major fashion publications, which is insane when you think about it. I told Shavanna what I was thinking of doing-- a feminist fashion and beauty mag, all models 25+, no Photoshop on their faces or bodies, more racial and ethnic diversity, a focus on more sustainable production and consumption and no ads. Shavanna is an amazing stylist and has a great eye for design so I was super excited when she agreed to be creative director. I was living between Mexico City and New York at the time. I had developed some contacts in the fashion industry in Mexico and really admired the fashion scene there, which is one of the reasons we went with the name MUJER! It took us about 6-7 months to produce the content for the first print edition which was published in September 2018. 

2.WU: How did fashion and beauty become sites of contestation and rebellion for you two?

Sara: I grew up in a small town in rural Pennsylvania and was constantly getting in trouble for breaking the dress code at my public school. It’s ironic because I was definitely a major nerd-- not your typical rebel. In junior high, I was really upset to find out I had not been accepted to the National Junior Honor Society. I asked one of my teachers why and he told me that it was because the shorts that I wore to school were often too short. Honestly, it was not my intention to be risque. I was just awkwardly going through puberty and had legs that were too long for my body and it was impossible to find shorts that were long enough and didn’t look dorky. After that, I went through a punk rocker phase, where again clothing is a form of rebellion. I was totally into the early Gwen Stefani punk looks. I would get picked on a lot by classmates but then a few months later everyone would be wearing what I had been wearing before, which would be my cue to change styles because I never wanted to look like everyone else. For me, it became a way to stand out and to push back against conservative influences. 

Shavanna Calder ‘08, Creative Director: I can’t say that I’ve thought of fashion for most of my life as a site of rebellion. I just wore what I liked and (especially as a kid) what was on trend.

I had hip surgery 5 years ago and have struggled to be able to wear heels after that. In some ways that forced me to rethink how to dress for formal situations (without heels). Though I am working towards wearing heels again through physical therapy (my profession requires it), I’ve found a certain level of pride in showing other women that we can still look dressed up/professional etc. without wearing heels. Also embracing flatforms has been fun! 

I think beauty, more so, has always been a site of contestation and rebellion for me as a Black woman. Growing up and having hair that was different than most of my friends. Makeup and hair supplies that we had to drive an extra distance for. Reading different magazines than my friends because teen vogue (at that time), seventeen etc never catered to me (thank God for Essence). Now, being natural, my hair oftentimes is a point of rebellion/contestation as I educate and ask for the things that I need as a Black artist instead of accepting the burden of sitting in silence. 

Founders Shavanna + Sara (above)

3. WU: On social media, you’ve discussed the initiative of “showing women as they actually exist in the world”. Can you describe some of the images you two grew up with and how they are in conversation with MUJER!

Shavanna: In some ways growing up when I did, I feel like I did get to see images of women (more often) without photoshop and a ton of contouring etc because that just wasn’t on trend. It’s one thing I miss about the early 2000’s. That being said, the rest of the content oftentimes centered around ways to get men, look flirty etc etc. For us I think “showing women as they actually exist in the world” goes beyond imaging to the content of the magazine (the stories and issues that are discussed) as well as the lack of harmful ads encouraging women to alter their bodies by buying certain products etc. We are able to highlight a diverse group of female identifying folx and the complexity of us instead of the monolith that I often see portrayed.

4. WU: What are the ways in which your Mexico City base contributes to the core principles of MUJER!

Sara: Mexico City is just my heart and soul. I don’t know how else to describe it. It makes me turn to mush as though I’m talking about someone I’m in love with. The creative and design scene here is out of this world funky and unique and I really feel that I can wear anything going out here at night. People are elegant and cool and put a great deal of thought into how they present themselves. The fashion scene is authentic and fun and nowhere near as pretentious as it is in other parts of the world. We try to reflect this creativity and sincerity in MUJER! as well.

Shavanna: Additionally I’ll say that people have really embraced us there. There is an openness, flexibility and sense of collaboration that has made it super easy to throw any ideas we have out there and run with it (more than I’ve seen in other parts of the world).

5. WU: For those of us who are new to publication production, can you walk us through the steps of creating content, finding models, artwork, all without the filler of advertisements?

Sara: We are also new to magazine production, ha! We started by basically bringing together people we knew from the fashion world here in Mexico City. I have a dear friend, Jenny. She’s a stylist from Sweden and was working on the sets of reality shows here so she kind of kicked me into gear to do the first beauty shoot. She had a lot of experience doing shoots so she helped me get a great photographer and scout a location and models. We’ve really been blessed with meeting all of the right people at the right moment. We found a wonderful lead graphic designer, Celina Arrazola who happened to know the neighborhood where all the printers are and was an expert in hand binding books. Advertisements were never an option so we self-finance the production, which was and is intense.

Shavanna: Yes, as Sara mentioned we’re incredibly new to this and are (honestly) still figuring a lot out as we go. However, generally we come up with ideas/stories together that excite us, that we haven’t seen in other fashion magazines. We then reach out to female identifying folx to help us realize these ideas (because we want to support female entrepreneurs as well). The hardest part will be figuring out how to make it sustainable (and take the more of the financial burden off of Sara) and we’re in the process of sorting that out the best way we can!

5a. WU: Okay, same question. Add COVID, go:

Sara: Now, because of COVID, our plans to do another print edition were derailed so we decided to do a digital edition-- everyone featured sent in their own photos and instead of printing we created a PDF version of the magazine, with Celina’s excellent graphic design of course.

It essentially made printing the way we did with the first edition impossible. That was a very manual process that involved visiting the printer in person multiple times and Celina handbound the magazine, with me struggling to be useful to her by folding the pages. This time we went all digital.

Shavanna: In addition we had to become creative since we could no longer conduct shoots or interviews in person. Everything was done via email (except for Sultana’s shoot which happened pre-COVID). All other photos were submitted by the women in the issue. Whilst I missed many aspects of being in person, in some ways the challenge allowed us to lean in to our mission of showing women as we truly are. It also allowed for us to have a remote intern via Wellesley which was awesome!

6. WU: How do you want to grapple with the plurality of feminism(s) in the pages of the magazine?

Shavanna: By being truly intentional about seeking out diverse voices. By celebrating those voices and by taking our readers feedback to heart. Outside of the folx who are interviewed or featured in our magazine we attempt to employ women in the creation of the physical product as well (design, photography etc). The end result is something that has been touched by women from various parts of the world and from different walks of life.

7. WU: Can you share the story of how the magazine gained its title? How do you respond to any pushback and claims of appropriation from Latinx individuals for your usage of the word “Mujer”?

Sara: For starters, we were founded in Mexico City and at least half of our readers are native Spanish speakers. The publication, like many of its readers, is also bilingual. For the interviews and articles that are originally done in Spanish, we leave them in Spanish, only translating key quotes into English and vice versa for pieces that are originally in English. The title is also a global call to women that goes beyond the English-language paradigm.

8.WU: The fashion and beauty industry can carry both an air of superficiality and apoliticism. Tell us what people get wrong about the experience of working within it.

Sara: I think this is hard for us to get into because we are not really working in the fashion and beauty industry-- we are working parallel to it and trying to pick the piece we enjoy while also creating something new and different for women that makes them feel empowered, not inadequate.

Shavanna: Yes neither Sara nor I really work within the industry (nor have we prior to the magazine). I’ve worked as a stylist from time to time, but that’s about it. For the most part we’ve been consumers who were unhappy with what we were consuming and figured we could do something about it.

9. WU: In an effort to not over-glorify the value of success and “making it”, let’s talk about failure. Can you share with our readers what went wrong in the process of producing MUJER!?

Sara: Before our Chilanga shoot, Shavanna and I got horrible food poisoning. Like, nearly had to go to the hospital.

Shavanna: Yes we were living on pepto bismol and had just started eating plain bread and pasta the day of our shoot, but we powered through! Honestly this magazine has felt like a contribution to society that we were meant to be a part of, so despite obstacles that have come up, we know that we can’t be sidetracked.

10. WU: How do you react to the “self-care” trend and it’s correlation to the consumption of beauty products? Relatedly, how do you two take care of yourselves?

Sara: I’m an introvert who fakes being an extrovert, but I definitely know I need alone time so I try to make space for that. As of late, I try to use more natural/ organic beauty products and just less of everything period. Also sleep. Sleep is so important. Finally, I’ve decided I will deal with drama in my professional life because I feel like that’s where I’m making a contribution that’s important but I try to minimize drama in my personal life as much as possible.

Shavanna: I try to take care of myself by reminding myself that rest is ok and necessary (so hard). Practicing my faith/meditation. Asking for what I need. Going to therapy (physical and mental health). Exercising. Connecting with loved ones (friends and family). Being kind to myself.

11. WU: As a follower of your Insta page, I find myself lingering on your original posts, staring into the faces of the individuals you capture. It makes me realize how my brain has been trained to see the same faces featured in public spaces, so much so that they’ve become invisible. Can you share the favorite photos that you’ve captured and why they stand out to you?

Shavanna: My favorite photos are of Wellesley alumna Solonje Burnett. I’ve always admired Solonje’s fearlessness and creativity and I think we truly captured her essence in these. Though she is beautiful, the interview is about so much more and highlights her as the complex, multifaceted woman that she is (instead of just her beauty routine or what her house looks like).

12. WU: What does the day in the life of an Editor-in-Chief look like? How about a Creative Director?

Shavanna: We’re very collaborative. I don’t think we really have hard and fast rules as to who does what necessarily as much as it’s a partnership. One of us will propose an idea (in between juggling the rest of our lives) and we’ll discuss pros and cons and greenlight what works best and aligns with our values. We also just hold each other accountable. Right now there isn’t a typical day in the life as well just because we both have other jobs (though it would be amazing for Mujer! to continue to take off in a way that allowed us to devote more time to it). 

13. WU: Both of you currently have worked with higher education institutions (Harvard + NYU). Can you tell us a bit about your “day jobs” and the types of opportunities they have afforded you in relation to the Magazine?

Sara: While I was working at HBS, I co-authored a case study on Monocle magazine which has helped to inform some of our thinking around the business model for MUJER!

Shavanna: I worked for almost 7 years at NYU, first at Stern and then within the Faculty of Arts & Science. In terms of opportunities? I’d say actually, for me, anyway the two aren’t related. My time at NYU influenced my acting career more so than Mujer! by giving me some flexibility and certainly financial stability.

14. WU: Lastly - a question you ask your features in the upcoming digital issue: how have you been gentle with yourself during this time?

Sara: Uff, I have been eating a lot of ice cream and taking breaks when I need to. I turned off the New York Times news alerts on my phone. I still read the news everyday but this has helped a lot.

Shavanna: Uff indeed. Hm sometimes I remind myself that the fact that I’m functioning is enough. This quote from Audre Lorde has been getting me through: “Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare.” 

Working out and going for walks, journaling, therapy, being in touch with my spirituality, limiting myself on social media (or at least certain groups or accounts), listening to my body in terms of what it wants (whether that be food or change of environment). Talking to friends when I have the energy always brightens my day and constantly reminding myself to take things one moment/day at a time. This is all incredibly hard and I’m grateful to those who have been gentle with me when I struggle to be gentle with myself.

Check out the MUJER! Covid-19 digital issue here: https://www.mujerrev.com/mujer-sale Given the increase in domestic violence and gender based violence around the world during the pandemic, a portion of the proceeds from the issue will go to two organizations helping womxn that are survivors of domestic abuse and human trafficking: Women of Color Network - Blue Lips Campaign and El Pozo de Vida.

MUJER! Homepage: https://www.mujerrev.com/ MUJER! Instagram: https://www.instagram.com/mujerrev/

[wellesleyunderground]

[TW: Suicide] A WU Conversation on Suicidal Ideation - Part I

According to a Centers for Disease Control (CDC) report, suicide is the second leading cause of death in the United States among those ages 10 - 34. While the increasing suicide rate nationwide has been reported, there is also a population of people who have experienced thoughts of suicide or suicidal ideation (SI) but perhaps haven’t necessarily acted on those thoughts. It can often be isolating or uncomfortable for those who experience SI to broach this topic with family or friends due to the stigma surrounding these types of thoughts but also possibly due to feelings of fear or shame. Wellesley Underground would like to tackle this topic head on and start to have conversations about what it is like to be a person who has had or continues to have thoughts of suicide. We reached out to the Wellesley community with a series of questions and are sharing these alum experiences with the hopes that others may feel less ‘not normal’ in hearing from their W siblings who have been in a similar place. Responses included members in classes ranging from 1994 to 2017 with their current industries including academic research, non-profit administration, higher education and law among many others. 

Here is part one in our two-part series. 

How did you first realize that the thoughts you were having constituted suicidal ideation? What age were you approximately?

“19 - I explicitly and specifically planned the least inconvenient death for others to manage.” L, Class of 1996

“Somewhere in my 20s. It's hard to say because it was so much of my thought process.” Anon, Class of 2000

“27. I was sitting in a mall parking lot; I had just finished some last minute Christmas shopping. I burst into tears because I realized I couldn’t drive home. If I did, there was a real chance I would drive my car off the highway and into a tree. I guess I had been ruminating on this strategy in the back of my mind for a while. And suddenly it burst through all the layers of my consciousness. I was very aware of it as a real option, and I felt capable of it, and I also really, really *wanted* to do it. But I also didn’t want to do it, so I just sat in my car. I felt like it would be really alarming/cruel/dramatic/ridiculous to call a loved one to help— and say what? Hey, I know this is out of the blue, but can you come pick me up so I don’t kill myself? So I just sat there, maybe for an hour, until the urge had softened a bit.” D, Class of 2012

“16 or 17 years old” Anon, Class of 2014

“I knew I wanted to die at an early age. Suicidal ideation? That terminology didn't exist at the time.” Anon, Class of 1994

“I remember reading somewhere online about suicide ideation being different from being suicidal. Almost immediately I thought to myself, I think that's what I'm doing. This was last year, I was 24.” Anon, Class of 2017

“I was in 5th grade when I first starting thinking about suicide. I was on the playground thinking about how I would kill myself and I even verbalized it to some kids-- I remember thinking that drinking perfume would kill me and I planned on doing that and even told some kids.” Anon, Class of 2008

How would you describe your experience in terms of having passive versus active suicidal ideation (or both)?

“I would say I have fallen on the passive side of SI for the better part of 20 years of so. It felt more active about 2 years ago after I experienced a traumatic event but for the most part I have sort of hovered in the passive "I'm not really attached to being alive" space.” CH, Class of 2009

“I have attempted suicide once about 6 years ago and have thought about it on and off for many years.” Anon, Class of 2014

“I’ve never been actively suicidal. I’ve never had a plan, *and* been like “Ok sis, today is the day! Let’s do this!” For at least the past four years, I’ve existed somewhere on a passive spectrum that goes from “I really wish to not be alive, and I know how I would make that happen if I ever decide to” to being someone who has no plan but who does daydream like “What if I had a freak accident today and died? That would be fine.” to being someone who is generally cool with being alive, but who takes solace in the fact that one day I won’t be.” D, Class of 2012 

“Most of my experiences have been with passive suicidal ideation. Recently, I went through a period of about a month where I dealt with active suicidal ideation.” Anon, Class of 2017

“I have had both. Usually when its active, its very painful and something has triggered an extreme response-- when i was in college it was getting a bad grade, having a bad fight with someone I love. I feel a lot of shame and doubt myself (am I being dramatic, am i trying to get attention) things of that nature. My depression is very much tied to my period -- in the days right before my period I tend to have suicidal ideation. If I haven't been taking my medication, if something upsetting has happened, if I've had too much alcohol, this combination can lead to active ideation. Otherwise, on a monthly basis I have passive suicidal ideation where I think perhaps everything would be better if I was gone.” Anon, Class of 2008

What’s going on? In your head, in your life? 

“This was before my first intensive therapy and part of what prompted it. I was in grad school, and it was so disappointing after Wellesley. I was depressed and lonely. I had moved to a new city for my grad program.” Anon, Class of 2000

“At different times in life, it differs. Some of it was an intense desire to be with others who had died, to not have to continue with the pain in daily life. If I could die without causing pain to others, I would.” Anon, Class of 1994

“I feel most suicidal when i feel lonely.” Anon, Class of 2014

“I'm 33 and really am fighting against this narrative in my head that says where I am, who I am is not good enough - that I should be prettier or more charismatic, that I should be partnered or have a graduate degree or should have moved out of my hometown or have more stamps in my passport. I know rationally that I have experienced a lot of trauma that has played a part in where I am currently in life but it's hard to quiet that voice that can't accept that reality and also acknowledge what I have been able to accomplish.” CH, Class of 2009

“The first ones were triggered by emotional loss. More recent ones stem from exhaustion and depression.” L, Class of 1996 

“I am currently a graduate student getting a PhD in biology. I am still dealing with anxiety, depression and suicidal ideation, but these issues have become much less intrusive on my life. I currently have stable groups of friends and a significant other who give me a lot of support when things get hard.” Anon, Class of 2017

In thinking about your experience with SI as well as your feelings about yourself and your life overall, what factors or life events do you think contributed to or exacerbated your suicidal ideation?

“At the top of the list is just brain chemistry. I have severe PMDD. My normal current of slight melancholy sometimes morphs into suicidal ideation in the 7-10 days before my period. When I reflect on my most serious phase of suicidal ideation to date, environmental factors definitely contributed. I had a lot going on. I was navigating one very unhealthy romantic relationship, and dealing with the deeply painful end of another. I was applying to grad school. I was in a toxic living situation. Donald Trump had just been elected president. One of my close friendships was under strain. And I had decided to “take a break” from my organizing community, which was one of my most important sources of social support, at probably the exact wrong time.” D, Class of 2012

“Romantic relationships ending, overwhelming nature of parenting and working full time, underlying untreated depression and anxiety.” L, Class of 1996 

“Isolation and people judging me for my mental health exacerbated my suicidal ideation.” Anon, Class of 2014

“Lack of a local support network, loneliness, isolation, emotional abuse from childhood.” Anon, Class of 2000

“I don't have a strong sense of self worth and I tend to be highly critical of myself. Prior to college, I also didn't have any very strong relationships. I am not emotionally close/open with my parents or siblings and I didn't have strong friendships. These things exacerbate(d) my suicidal ideation because I can convince myself that I wouldn't be missed.” Anon, Class of 2017

“Family dysfunction, multiple traumas, not feeling loved or valued, being financially responsible for adult family members, sacrificing my goals/dreams due to family obligations.” CH, Class of 2009

“My personal experiences with suicide (in two years a close family friend, a teammate in college, and my best friend's college friend committed suicide), years of mounting depression.” Anon, Class of 2017

____________________

If you or someone you know is experiencing suicidal thoughts, here are some resources: 

National Institute of Mental Health 

Suicide Prevention Resource Center (SPRC)

American Foundation for Suicide Prevention (AFSP)

Canadian Mental Health Association 

International Association for Suicide Prevention (IASP)