Jamie Hood

You know, even something like the first chapter, which is in the third person where I sort of write about myself as a character, Jamie H. You know, that's something that I think was very unorthodox because the rape memoir is supposed to kind of be like victim testimony. Yeah. in a way. You know what I mean?

You know, even something like the first chapter, which is in the third person where I sort of write about myself as a character, Jamie H. You know, that's something that I think was very unorthodox because the rape memoir is supposed to kind of be like victim testimony. Yeah. in a way. You know what I mean?

You know, even something like the first chapter, which is in the third person where I sort of write about myself as a character, Jamie H. You know, that's something that I think was very unorthodox because the rape memoir is supposed to kind of be like victim testimony. Yeah. in a way. You know what I mean?

And the fact that I wanted to do this formal play, I think, was very unusual and made it kind of difficult to say to a publisher, like, this is worth publishing. How do we loosen the constraints? One way is for people to imagine that the stories don't have to be always super conventional. Like,

And the fact that I wanted to do this formal play, I think, was very unusual and made it kind of difficult to say to a publisher, like, this is worth publishing. How do we loosen the constraints? One way is for people to imagine that the stories don't have to be always super conventional. Like,

And the fact that I wanted to do this formal play, I think, was very unusual and made it kind of difficult to say to a publisher, like, this is worth publishing. How do we loosen the constraints? One way is for people to imagine that the stories don't have to be always super conventional. Like,

One thing about the case against the trauma plot, that essay in The New Yorker, one example that she uses of like a good trauma plot is something like Michaela Cole's I May Destroy You.

One thing about the case against the trauma plot, that essay in The New Yorker, one example that she uses of like a good trauma plot is something like Michaela Cole's I May Destroy You.

One thing about the case against the trauma plot, that essay in The New Yorker, one example that she uses of like a good trauma plot is something like Michaela Cole's I May Destroy You.

Right. It's a good show. I agree. And like it does feel very experimental and fragmentary and like it attempts to tell the story in a different way. Yeah. The answer is difficult to come to because I think what it requires is that people sort of put themselves –

Right. It's a good show. I agree. And like it does feel very experimental and fragmentary and like it attempts to tell the story in a different way. Yeah. The answer is difficult to come to because I think what it requires is that people sort of put themselves –

Right. It's a good show. I agree. And like it does feel very experimental and fragmentary and like it attempts to tell the story in a different way. Yeah. The answer is difficult to come to because I think what it requires is that people sort of put themselves –

out like and and take risks yeah i don't know i guess the answer is like go right weird well jamie i really enjoyed our conversation thank you so much for coming on and talking about your book yeah thank you so much for having me that was author jamie hood her book trauma plot is out now

out like and and take risks yeah i don't know i guess the answer is like go right weird well jamie i really enjoyed our conversation thank you so much for coming on and talking about your book yeah thank you so much for having me that was author jamie hood her book trauma plot is out now

out like and and take risks yeah i don't know i guess the answer is like go right weird well jamie i really enjoyed our conversation thank you so much for coming on and talking about your book yeah thank you so much for having me that was author jamie hood her book trauma plot is out now