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I’m an Australian writer with a passion for literary fiction, especially novels centered on complex and multi-layered power dynamics. To me, relationships between women are particularly ripe for this kind of exploration – my own friendships with other women have been influential and formative, but not always easy! My interest in these darker and more complex dynamics of close friendship eventually led me to write my own novel on the topic. I’ve also published a range of essays, reviews, criticism, and creative nonfiction.
Nothing Specialfollows Mae, a teenager in 1967, who drops out of school and becomes a typist in Andy Warhol’s Factory studio.
Transcribing taped conversations of Warhol and his contemporaries, Mae feels like she’s entered a new world – along with Shelley, a fellow typist who soon becomes a close friend. But is Shelley all she seems? This is a closely observed psychological novel exploring what it means to truly know another person, and how much we have the right to expect from our friends.
The writing zips along effortlessly, driven by Mae’s poised, ironic voice, which expertly captures the ersatz confidence of being young.
A 2023 HIGHLIGHT FOR: THE TIMES * TELEGRAPH * STYLIST * GQ * GUARDIAN * HARPER'S BAZAAR * GOOD HOUSEKEEPING * WATERSTONES * i-D * IRISH TIMES * HUFFINGTON POST UK
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'A blade-sharp coming-of-age novel' SPECTATOR
'Confirms Flattery as a bracingly original writer' IRISH INDEPENDENT
'In enviably elegant prose, she manages to be both arch and deadly serious' LOUISE KENNEDY
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A wildly original debut novel about two young women navigating the complex worlds of Andy Warhol's Factory, and coming of age in 1960s New York
New York City, 1966. Seventeen-year-old Mae lives in a run-down apartment with her…
My husband of 35 glorious years died of Pancreatic cancer in 2020. In two months, as COVID slammed, we had to put our beloved dog down, my husband’s lesson horse went hooves up, my husband died, I replaced two HVAC units and a water heater. I am a writer/journalist whose style is conversational. Writing about my grief maelstrom as if telling a friend focused me on the dark humor. My book Horse Sluts and articles in Horse Nation and other equine and/or mature-focused magazines are written in the same, “I’m no expert, but this is my experience” POV. I know the tone that helps.
“Bat shit is patient.” Simple, clear, dead on to describe the crazy life-clowns that leap from dark corners as I fend off grief... loss.
I Was Better... may not be a “grief” book, per se, but Fierstein dances us through the fears, struggles, and losses in his journey to live a life he wants. His quote, “Look back, but don’t stare” felt as though he quoted it for me to help deal with many joyous and painful memories of my husband.
I Was Better... is a tropical island where I could escape the squalls of my life of loss. I relished his musicals, strode the flamboyant streets of New York, and was embraced by Fierstein’s poignant and dearly funny honesty. His rage against the night was mine too. He and I kept dog paddling – together.
NEW YORK TIMES BEST SELLER • A poignant and hilarious memoir from the cultural icon, gay rights activist, and four-time Tony Award–winning actor and playwright, revealing never-before-told stories of his personal struggles and conflict, of sex and romance, and of his fabled career
Harvey Fierstein’s legendary career has transported him from community theater in Brooklyn, to the lights of Broadway, to the absurd excesses of Hollywood and back. He’s received accolades and awards for acting in and/or writing an incredible string of hit plays, films, and TV shows: Hairspray, Fiddler on the Roof, Mrs. Doubtfire, Independence Day, Cheers, La Cage…
It took eight years to write New York, New York, New York, and reading hundreds and hundreds of books about all different aspects of New York past and present. There were lots of brilliant ones along the way, but these five changed how I think about New York, flipped assumptions, created entirely new maps and narratives.
This is the primer for everything Downtown during arguably Downtown’s greatest era. The contributions are first-rate, by people who were on the scene, and it’s a handsome book to hold. If you’re interested in anything from Punk and Patti Smith to Haring, Basquiat, and Afrika Bambaataa, this is the place to start, without nostalgia, agenda, or hype.
Downtown is more than just a location, it's an attitude--and in the 1970s and '80s, that attitude forever changed the face of America. This book charts the intricate web of influences that shaped the generation of experimental and outsider artists working in Downtown New York during the crucial decade from 1974 to 1984. Published in conjunction with the first major exhibition of downtown art (organized by New York University's Grey Art Gallery and Fales Library), The Downtown Book brings the Downtown art scene to life, exploring everything from Punk rock to performance art. The book probes trends that arose in…
I like to believe that my own characters struggle with being human. They struggle with their bitterness, their relations to others (or lack thereof), and their unresolved guilt. What happens when guilt is left unresolved? What happens when someone enters into a state of self-imposed isolation? These are topics I enjoy exploring in my work. I’ve enjoyed writing since I was a child. My mother deserves all the credit. At bedtime, rather than reading bedtime stories to me from a book, she would make up a story and then ask me to do the same. This helped me to develop a lifelong love for reading and writing.
I enjoyed Yezierska’s ability to effectively portray the struggles of a young girl growing up in a poor immigrant Jewish household. I found myself cheering Sara on as she yearned to escape her household and the expectation placed upon her to marry.
Yezierska’s use of language and vivid imagery made the act of reading an almost palpable experience. I felt as though I was living Sara’s life as she lived it herself.
First published in 1925, Anzia Yezierska's "Bread Givers" is the tale of a young Jewish-American immigrant woman and her struggle to control her own destiny in Manhattan's Lower East Side at the turn of the century. The novel is based in large part on Yezierska's own life experiences immigrating from Poland as a child and growing up in New York City in an Orthodox Jewish family. "Bread Givers" centers on the story of its main character, Sara Smolinsky, who lives with her older sisters and parents in a poor tenement in the Lower East Side. The Smolinsky family is destitute…
I’m a sociologist, and I study how technology shapes and is shaped by people. I love my job because I am endlessly fascinated by why people do the things they do, and how our cultures, traditions, and knowledge affect how we interact with technology in our daily lives. I picked these books because they all tell fascinating stories about how different communities of people have designed, used, or been affected by technological tools.
My copy of this book has so many dog-eared pages and “!”s scrawled in the margins that it’s almost ridiculous. This is the story of how, in the 1960s, New York City and the RAND Corporation used algorithmic modeling to decide where to locate fire stations in the city. It was pretty much a disaster: because of the choices the modelers made about what to measure and how to measure it, they ended up cutting services to many of the poorest neighborhoods in NYC. Joe Flood is a journalist, and it shows—this book is stunning in how it combines the stories of human beings with crystal-clear accounts of the technical decisions made by the computing “whiz kids.”
New York City, 1968. The RAND Corporation had presented an alluring proposal to a city on the brink of economic collapse: Using RAND's computer models, which had been successfully implemented in high-level military operations, the city could save millions of dollars by establishing more efficient public services. The RAND boys were the best and brightest, and bore all the sheen of modern American success. New York City, on the other hand, seemed old-fashioned, insular, and corrupt-and the new mayor was eager for outside help, especially something as innovative and infallible as "computer modeling." A deal was struck: RAND would begin…
As an American, a Jew, and a novelist—though not necessarily in that order—I’ve always been interested in Jewish-American literature, and the Jewish-American experience in general. What was it like for the first Jews in America? What accounted for their success? What were the costs of assimilation? And where are they—we—headed? These books are a great starting point for anyone looking for answers to these questions. But be warned: in keeping with the Jewish tradition, they often answer those questions with more questions. Not, to quote the Jewish sage Jerry Seinfeld, that there’s anything wrong with that.
If you’ve read all 783 pages of World of Our Fathers and are still looking for more about early Jewish-American life in New York—or just something more immediate—this is the book for you.
An autobiographical fever-dream of a novel, Jews Without Money is a vivid, violent, look at the life of the Jewish slum kids whose parents emigrated to America. A lifelong communist, Gold only wrote one novel, but it anticipates the hallucinatory fiction of writers like Denis Johnson by half a century.
At once entirely Jewish and entirely American, Jews Without Money gives an unvarnished first-person glimpse into the surreal world of turn-of-the-century New York.
As a writer and political activist in early-twentieth-century America, Michael Gold was an important presence on the American cultural scene for more than three decades. Beginning in the 1920s his was a powerful journalistic voice for social change and human rights, and Jews Without Money--the author's only novel--is a passionate record of the times. First published in 1930, this fictionalized autobiography offered an unusually candid look at the thieves, gangsters, and ordinary citizens who struggled against brutal odds in lower East Side Manhattan. Like Henry Roth's Call It Sleep and Abraham Cahan's The Rise and Fall of David Levinsky, Jews…
My first book was Quiver, a collection of erotic short stories. I wrote it to immortalize the hedonism of Sydney in the 1990s, wanting to show a nonjudgmental, joyful side. The fact that it touched a lot of people compelled me to write two more collections Tremble and Yearn – each exploring different themes: Tremble is an erotic re-imagining of various root myths, whilst Yearn has more historical and fantastical elements. I interweave all the characters in the stories throughout the whole collections. Humor is also important to me when it comes to the ironies and emotions around sex, the other aspect is gender power play and all the sublime reversals that can encapsulate.
This collection of short stories is really about how sexual desire and social ambition can lead to all sorts of compromising and bizarre situations. I originally was drawn to it because I’d loved the filmSecretarybased on one of the short stories in the collection. I related to it because it is nearly all from a young female P.O.V – a kind of potpourri of trying to make it in NY in the 1980s. It's the perfect illustration of how powerful short story as a form can be in terms encapsulate an event, mood, and era – It also showed me how fictionalized memoir can be a good source of material and that if the book is really well-observed it never dates.
Mary Gaitskill's tales of desire and dislocation in 1980s New York caused a sensation with their frank, caustic portrayals of men and women's inner lives. As her characters have sex, try and fail to connect, play power games and inflict myriad cruelties on each other, she skewers urban life with precision and candour.
'Stubbornly original, with a sort of rhythm and fine moments that flatten you out when you don't expect it, these stories are a pleasure to read' Alice Munro
'An air of Pinteresque menace hangs over these people's social exchanges like black funereal bunting ... Gaitskill writes with…
I love crime fiction—mysteries, thrillers, espionage, you name it, plots and puzzles that excite and confound and ultimately gratify. I also love the non-genre called literary fiction, sharply observed and beautifully written books that move me, and leave me with a slightly better understanding of humanity. And I think the sweetest spot of all is the intersection of the two, with sparkling prose, fully realized characters, and interesting settings combined with an insistent, credible plot that makes it a matter of urgency to turn the page, presenting the exquisite dilemma of wanting to race through the excitement but also the opposite urge to slow down and enjoy it all.
Richard Price’s propulsive plots revolve around crime, but the novels are always about something much bigger, andLush Life merges many of his favorite themes into one masterpiece: ambition and compromise, race and class, gentrification and crime, the push-and-pull of a city’s progressive leanings against reactionary forces for law and order and property values. Price’s city is constructed on a bedrock of conflict between those who’ve come to New York struggling to create art, those who were born here struggling to get by, and the cops struggling to hold the middle, in a spectacular kaleidoscope of a downtown scene at the turn of the millennium, of hipsters and gangsters, housing projects and trendy restaurants, all these subcultures clashing in one microcosm of urban life.
'So, what do you do?' Whenever people asked him, Eric Cash used to have a dozen answers. Artist, actor, screenwriter But now he's thirty-five years old and he's still living on the Lower East Side, still in the restaurant business, still serving the people he wanted to be. What does Eric do? He manages. Not like Ike Marcus. Ike was young, good-looking, people liked him. Ask him what he did, he wouldn't say tending bar. He was going places - until two street kids stepped up to him and Eric one night and pulled a gun. At least, that's Eric's…
I am a professor of history and Jewish studies at American University and author of America’s Jewish Women: A History from Colonial Times to Today, winner of the National Jewish Book Award – 2019 Jewish Book of the Year. Since childhood I have been reading stories of women’s lives and tales set in Jewish communities across time and space. Yet, the voices that so often best evoke the past are those captured on the pages of great memoirs.
In 1951, Sydney Taylor invented the memorable Brenners—papa, mama, five sisters, and baby brother—a Jewish family on the Lower East Side in turn-of-the-century New York. Taylor’s words and Helen John’s illustrations in this book, the first in a series, set the scene. A calendar in the parlor announced that it was 1912. Tenements lined city streets. When I read these novels as a child, I did not yet know that they were closely based on Taylor’s own life. When the entire series was republished in 2014, I quipped: I became a Jewish historian because of these books.
Meet the All-of-a-Kind Family -- Ella, Henny, Sarah, Charlotte, and Gertie -- who live with their parents in New York City at the turn of the century.
Together they share adventures that find them searching for hidden buttons while dusting Mama's front parlor and visiting with the peddlers in Papa's shop on rainy days. The girls enjoy doing everything together, especially when it involves holidays and surprises.
But no one could have prepared them for the biggest surprise of all!
I'm the writer and artist of the Johnny Hiro graphic novels. In those books, I use pop culture reference humor, but never simply as a joke. A reference can act as a hint to a world beyond the story the writer tells. I often dig slightly into an emotional resonance behind that reference—perhaps the (fictional) story of why it exists, or perhaps it even becomes an integral plot point. Popular media and culture often have a direct influence on our creative arts projects. And just sometimes, that art becomes an integral part of the popular culture itself.
I’ve read a handful of Warhol biographies and this is easily my favorite. It does a good job of breaking down his life experiences, his art and the philosophies behind The Factory, his purposeful creation of himself as an icon, and his adaptations to the American fine art and underground art landscapes that changed throughout his career. The book also has plenty of great party stories involving countless celeb friends. And to offset that all, peaks into his spending. The one bummer for me was that there weren’t enough pictures. But, well, I guess that’s what all my other Warhol books are for.
Pop: The Genius of Andy Warhol is a groundbreaking reassessment of the most influential and controversial American artist of the second half of the 20th century. Writers Tony Scherman and David Dalton disentangle the myths of the great pop artist from the man he truly was, and offer a vivid, entertaining, and provocative look at Warhol’s personal and artistic evolution. Drawing on brand new sources—including extensive new interviews and insight from those who knew him best—Pop offers the most dynamic, comprehensive portrait ever written of the man who changed the way we see the world.
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