[{"id":68944,"date":"2026-09-16T17:32:01","date_gmt":"2026-09-16T21:32:01","guid":{"rendered":"https:\/\/www.hippocampusmagazine.com\/?p=68944"},"modified":"2026-09-16T18:31:47","modified_gmt":"2026-09-16T22:31:47","slug":"alumni-updates-catching-up-with-our-friends-from-winter-til-now","status":"publish","type":"post","link":"https:\/\/www.hippocampusmagazine.com\/2026\/09\/alumni-updates-catching-up-with-our-friends-from-winter-til-now\/","title":{"rendered":"Alumni Updates: Catching Up with Our Friends from Winter &#8217;til Now"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-13742 size-large\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2018\/07\/HM-web-alumni-1024x512.jpg\" alt=\"contributor update banner with image of two writers in back\" width=\"860\" height=\"430\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2018\/07\/HM-web-alumni.jpg 1024w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2018\/07\/HM-web-alumni-600x300.jpg 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2018\/07\/HM-web-alumni-150x75.jpg 150w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2018\/07\/HM-web-alumni-300x150.jpg 300w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2018\/07\/HM-web-alumni-768x384.jpg 768w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2018\/07\/HM-web-alumni-640x320.jpg 640w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2018\/07\/HM-web-alumni-560x280.jpg 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2018\/07\/HM-web-alumni-260x130.jpg 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2018\/07\/HM-web-alumni-160x80.jpg 160w\" sizes=\"auto, (max-width: 860px) 100vw, 860px\" \/><\/p>\n<p>We\u2019re always pleased to share updates from our family of contributor-alumni and event presenters. Think of this as your alma mater\u2019s Class Notes, only the alumni are our volunteers, contributors, and speakers.<\/p>\n<p>This update is long overdue and, because of that, this installment includes almost nine month&#8217;s worth of accomplishments that happened between our last update (in January 2026) and now.<\/p>\n<p>Most of these were submitted via our form, but we also try to keep an eye for exciting news you share on social and your own newsletters. But we can\u2019t catch everything, and we\u2019d really LOVE to grow this feature, so please<a href=\"http:\/\/www.hippocampusmagazine.com\/contributor-updates\/\"> submit your news here<\/a> for inclusion in a future update.<\/p>\n[To browse our past essays and other content by contributor name,<a href=\"http:\/\/www.hippocampusmagazine.com\/about\/browse-by-author-theme\/\"> visit this page<\/a>.]\n<hr \/>\n<p>Steph Auteri, our essays editor, published a several pieces this year. Among them, the flash fiction <a href=\"https:\/\/www.ellipsis-zine.com\/writing\/in-remembrance\">&#8220;In Remembrance&#8221;<\/a> in Ellipsis Zine and the essay <a href=\"https:\/\/hopkinsmedicalhumanities.org\/tendon-magazine\/issue-8-care\/outsized-expectations\/\">&#8220;Outsized Expectations&#8221;<\/a> for Issue 8 of Tendon Magazine from the Johns Hopkins Center for Medical Humanities and Social Medicine.<\/p>\n<p>Deanne Benjamin&#8217;s debut collection, <a href=\"https:\/\/bookshop.org\/a\/4094\/9798899906374\"><em>Blue Ionia and Other Poems<\/em><\/a>, was released by Finishing Line Press in August 2026. Her short fiction appeared in Willows Wept&#8217;s Issue 40.<\/p>\n<p>Articles editor and environmental journalist Molly Bilinksi is a regular contributor to Spotlight PA covering a range of topics, including a new addition to some Pennsylvania state parks,<a href=\"https:\/\/www.spotlightpa.org\/news\/2026\/07\/glamping-pilot-camping-state-parks-hickory-run-timberline-pennsylvania-local\/\"> &#8220;Camping with &#8230; air conditioning? Pa. launches glamping pilot to woo newcomers to outdoor fun.&#8221;<\/a> She also wrote <a href=\"https:\/\/news.moravian.edu\/2026\/07\/16\/why-i-play-game-changer\/\">&#8220;Why I Play: Game Changer,&#8221;<\/a> a student-athlete profile piece for the Moravian University alumni magazine.<\/p>\n<p>Will Dowd&#8217;s short story collection, <em><a href=\"https:\/\/bookshop.org\/a\/4094\/9798990767881\">The Taste of Rain in Buenos Aires<\/a><\/em>, comes out in October 2026 with Etruscan Press. The first literary work created through dream-engineering technology, <em>The Taste of Rain in Buenos Aires<\/em> chronicles 20 extraordinary dream narratives born from this first-of-its-kind experiment.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-68951\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/onfire.jpg\" alt=\"cover of on fire and under water\" width=\"178\" height=\"284\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/onfire.jpg 178w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/onfire-94x150.jpg 94w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/onfire-160x255.jpg 160w\" sizes=\"auto, (max-width: 178px) 100vw, 178px\" \/><\/p>\n<p>Wendy Fontaine, our flash editor, placed second in the 2026 Streetlight Essay\/Memoir Contest for <a href=\"https:\/\/streetlightmag.com\/2026\/08\/07\/lost-boots-by-wendy-fontaine\/\">&#8220;Lost Boots.&#8221;<\/a> She also placed second in the 2026 Q3 WOW! Women on Writing essay contest for <a href=\"https:\/\/wow-womenonwriting.com\/downloads\/printable\/120-FE1-Q32026EssayContest-2nd-printable.html\">&#8220;Ask Your Doctor if Empathy is Right for You.&#8221;<\/a> A companion interview ran along with the piece; <a href=\"https:\/\/muffin.wow-womenonwriting.com\/2026\/08\/interview-with-wendy-fontaine-q3-2026.html?m=1\">read that here.\u00a0<\/a><\/p>\n<p>Nina Gaby is pleased to have an essay in the Fall 2025 edition Fourth River Journal (Issue 0.16), as well as essays out this past spring in Bellevue Literary Review and in the anthology <em>Where it Hurts: Dispatches from the Emotional Frontlines of Medicine<\/em>, edited by Donna Bulesco. Gaby also organized and presented at Where it Hurts, the Healing Power of Narrative Medicine, a reading\/lecture at Writers and Books in Rochester, New York, in March.<\/p>\n<p>Melanie McGehee co-created a workshop series and anthology with Shannon Ivey. <a href=\"https:\/\/theathenaeumpress.com\/projects\/write-home-letters-to-a-younger-me\/\"><em>Write Home: Letters to a Younger Me<\/em><\/a> was published in May by The Athenaeum Press.<\/p>\n<p><a href=\"http:\/\/cemckenna.com\">C.E. McKenna<\/a> published her short story, \u201cLong Nights of the Polar Bear,\u201d in <a href=\"https:\/\/bookshop.org\/a\/4094\/9798999100030\"><em>On Fire and Under Water<\/em><\/a>, an anthology of climate change crime fiction, out now from Rock and a Hard Place Press.<\/p>\n<p>Anthony Mohr&#8217;s essay <a href=\"https:\/\/thievingmagpie.org\/anthony-mohr-essay-2\/\">&#8220;The Next Big Thing&#8221;<\/a> appeared in The Thieving Magpie&#8217;s issue No. 32, Winter 2025.<\/p>\n<p>Rae Pagliarulo, our associate editor, published a craft essay in the Brevity Blog, <a href=\"https:\/\/brevity.wordpress.com\/2026\/06\/15\/close-but-no-acceptance\/\">Close, but No Acceptance (Or, What is the Universe Trying to Teach Me Right Now?)<\/a> in June 2026.<\/p>\n<p><a href=\"http:\/\/www.remirecchia.com\">Remi Recchia&#8217;s<\/a> second full-length poetry collection, <a href=\"https:\/\/bookshop.org\/a\/4094\/9781680034165\"><em>Addiction Apocalypse<\/em><\/a>, was released by Texas Review Press in early 2026.<\/p>\n<p>Donna Talarico was invited to become the co-columnist for <em>U.S. News &amp; World Report&#8217;s<\/em> Higher Ground newsletter for higher ed leaders. She writes the <a href=\"https:\/\/www.usnews.com\/topics\/author\/donna-talarico\">Ahead of the Curve column bi-weekly<\/a> and has covered topics like silent retreats, the return of blue books, digital detoxes on campus, unique advising programs, and AI &amp; the college search. She occasionally facilitates the newsletter&#8217;s Q&amp;A section, The Big Idea. Donna also renewed her committee role as a <a href=\"https:\/\/link.digicol.org\/author\/donna-talarico\/\">writer\/editor for Link Journal<\/a>, the publication of Digital Collegium (formerly HighEdWeb) and will <a href=\"https:\/\/events.digicol.org\/digicol26\/speaker\/2377572\/donna-talarico\">present a lightning talk<\/a> at the organization&#8217;s annual conference in October.<\/p>\n<p>Casey Mulligan Walsh published the essay <a href=\"https:\/\/opensecretsmagazine.com\/p\/questioning-parenting-style-after-child-loss\">&#8220;Maybe It&#8217;s All Fairy Dust&#8221;<\/a> in the June 29, 2026, issue of Open Secrets Magazine. She also appeared on Lisa Keefauver&#8217;s podcast, <a href=\"https:\/\/podcasts.apple.com\/us\/podcast\/grief-is-a-sneaky-bitch\/id1474558908?i=1000771854601\">Grief is a Sneaky Bitch<\/a>.<\/p>\n<p><a href=\"http:\/\/robertweinberger.com\">Robert Weinberger<\/a> won the international 2025 Paul Cave Prize for Literature for his novella, <em>Come Back, Shane,<\/em> published by Tim Saunders Publications. Spanning seven decades, <em>Come Back, Shane<\/em> follows one man&#8217;s journey as he reflects on the joys of the moviegoing experience.<\/p>\n<p>Karen Winn published her second novel, <a href=\"https:\/\/bookshop.org\/a\/4094\/9780593475362\"><em>The Society<\/em><\/a> (Dutton, 2026).<\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>If you\u2019re a past\/current volunteer, contributor, or conference speaker and you have news to share, <a href=\"http:\/\/www.hippocampusmagazine.com\/contributor-updates\/\">you can submit it here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>We&#8217;re catching up on &#8220;alumni updates&#8221; from winter &#8217;til now. This edition shares book news,  contest placements, and more form Hippocampus Magazine contributors. <\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"https:\/\/www.hippocampusmagazine.com\/2026\/09\/alumni-updates-catching-up-with-our-friends-from-winter-til-now\/\">Read full story \u2192<\/a><\/p>\n","protected":false},"author":1,"featured_media":13742,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false,"gopublish_seo_title":"","gopublish_seo_description":""},"categories":[1087],"tags":[],"class_list":["post-68944","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-contributor-updates"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.1.1 - aioseo.com -->\n\t<meta name=\"description\" content=\"We&#039;re catching up on &quot;alumni updates&quot; from winter &#039;til now. 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Judy Sandler, Author of What Kind of Mother: A Reckoning"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-68862\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c2fcd050-6e74-4d43-8c61-e814295ffb36.png\" alt=\"cover of what kind of mother: a reckoning by judy sandler; stylistic pill images with photos behind\" width=\"333\" height=\"500\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c2fcd050-6e74-4d43-8c61-e814295ffb36.png 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c2fcd050-6e74-4d43-8c61-e814295ffb36-200x300.png 200w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c2fcd050-6e74-4d43-8c61-e814295ffb36-100x150.png 100w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c2fcd050-6e74-4d43-8c61-e814295ffb36-560x840.png 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c2fcd050-6e74-4d43-8c61-e814295ffb36-260x390.png 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c2fcd050-6e74-4d43-8c61-e814295ffb36-160x240.png 160w\" sizes=\"auto, (max-width: 333px) 100vw, 333px\" \/>In Judy Sandler\u2019s debut memoir, <i><a href=\"https:\/\/bookshop.org\/a\/4094\/9781959000808\">What Kind of Mother: A Reckoning<\/a><\/i> (West Virginia University Press; Sept. 2026), the author crafts a compelling narrative of how her son&#8217;s adolescent substance-use disorder and later severe mental illness diagnosis affect her family, and especially her relationship with her son. The book chronicles Sandler&#8217;s painful denial and then awakening to mental illness in her family, and her eventual acceptance that she cannot save her son\u2014only he can save himself.<\/p>\n<p>But this is not just a story about how parents must learn that their adult children can only save themselves, and how parents need to let go of the illusion of our control in their lives; it is also a remarkably intimate and candid example of the expansive benefits for the author writing, and sharing, her own story of self-discovery and change.<\/p>\n<p>At various points throughout the book Sandler addresses the reader. For example, one chapter is titled, \u201cI Want You to Know\u201d and in it she says, \u201cI want you to know I tried.\u201d By addressing the reader directly, it gives Sandler the opportunity to feel heard, an important element in narrative medicine (the book is published under the Connective Tissue Series at WVU Press). However, we might also understand the use of second person as a way for the author, the mother who did her best, made mistakes, and has regrets, to offer <i>herself<\/i> the gift of compassion, and the healing power of redemption. In this, <i>What Kind of Mother<\/i>sets an example for all memoirists.<\/p>\n<p>On a sunny summer day by a lake in our home state Maine, Judy and I spoke about the challenges and rewards of writing this tender and brave memoir. What follows are some of the highlights of our conversation.<\/p>\n<hr \/>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-68863\" style=\"max-width: 100%;\" src=\"https:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c0ea2ab8-634d-4a47-99a9-80929fd758fc.png\" alt=\"Judy Sandler author\" width=\"470\" height=\"600\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c0ea2ab8-634d-4a47-99a9-80929fd758fc.png 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c0ea2ab8-634d-4a47-99a9-80929fd758fc-235x300.png 235w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c0ea2ab8-634d-4a47-99a9-80929fd758fc-117x150.png 117w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c0ea2ab8-634d-4a47-99a9-80929fd758fc-560x715.png 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c0ea2ab8-634d-4a47-99a9-80929fd758fc-260x332.png 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/c0ea2ab8-634d-4a47-99a9-80929fd758fc-160x204.png 160w\" sizes=\"auto, (max-width: 470px) 100vw, 470px\" \/><\/p>\n<p><strong>Nina B. Lichtenstein: Your memoir is the story of a process, not just of a family reckoning, but also of profound self-examination and understanding. You invite the reader along on a veritable \u201cheroine\u2019s journey\u201d \u2014through hell, we might say \u2014and we are left with the sense that this, perhaps even more than the labor of working through the relationship with your son, is the larger, more intimate and vulnerable story. The heroine, Judy Sandler, comes out a changed person. Did you have this goal in mind from the inception, or did it reveal itself in the writing, and if so, were you aware of it?\u00a0<\/strong><\/p>\n<p><strong>Judy Sandler:<\/strong> I did not have any goal in mind when I started writing my experiences about raising my son. I definitely did not think of the story as a \u201cheroine\u2019s journey.\u201d When I first began to write about this, I was just describing what happened\u2014to my son, to me, to my family. It wasn\u2019t until I thought about putting the pieces together for a book that I realized I needed to first, focus only on my story, and not my son\u2019s story, and also, that I needed to do some close examination of how I changed. When other people read the stories (think: editors) it became clear that the writing had to have a \u201cso what.\u201d And that \u201cso what\u201d became more about me and what I learned and how I changed, than about my son.<\/p>\n<p><strong>NBL: It\u2019s important for writers to be aware of the shoulders we stand on. Elissa Altman gives glowing praise of your memoir.\u00a0 I know her book, Permission: The New Memoirist and the Courage to Create, and her teachings, have guided you. What is your most valuable take-away from her mentorship, and how has it impacted your writing?<\/strong><\/p>\n<p><strong>JS:<\/strong> I am aware of those shoulders every time I sit down to write. I had already started writing this book when I picked up a copy of Permission. I was doing a lot of writing around what I actually needed to be writing about because I feared the reactions; my family\u2019s, my son\u2019s, the reader\u2019s. After I read Permission, I took a class with Altman through MWPA (Maine Writers and Publishers Alliance) on story ownership, and her advice and the writing we did helped me realize that not only do I have permission to tell my story, but the reason I was holding back was because I was ashamed. \u201cNo other emotion prompts secrecy like shame,\u201d she writes in Permission.<\/p>\n<p>I came to understand that I was allowed to tell my story as long as I didn\u2019t bleed into my son\u2019s story. Altman taught me some craft techniques that allow the writer to stay on her side of the story. I also learned that if writers write about the very thing that shames them, you can bet other people need to hear that story. It is only through stories that as humans we are able to experience empathy and learn that we are not alone in our experiences. Silencing those stories builds walls and perpetuates stigma.<\/p>\n<p><strong>NBL: Your son read the manuscript before it was under contract and was at peace with the story as you have told it. But you\u2019ve also mentioned that in the earlier days of your writing about his substance use disorder and mental health issues he called the editor of the on-line publication and requested the editor remove it from the site. Was there a specific moment of change in your writing about this story, and\/or in your relationship, that contributed to his acceptance? And what might other writers learn from your experience?\u00a0<\/strong><\/p>\n<p><strong>JS:<\/strong> Who is to say who owns a story? Memory, memoir, and writing raise complicated questions about what actually happened. There was not a specific moment of change for my son in his acceptance of my publication of this book, instead I would say it was a gradual enlightenment; both his and mine. I think I came to realize that to my child, no matter how old, I am always his mother. And that is a loaded job. I think my son came to understand that his mom is a person (who experiences shame, guilt, and regret), and although he was the one who lived through the trauma of mental illness, his mother lived through her story of his mental illness. It took a lot of compromise, talk, years of showing him what I was writing and publishing. What other writers can learn from my experience is to be sensitive to the fact that how you remember a scene is not how someone else remembers it, and by allowing family members or friends to read the work before it is published.<\/p>\n<p><strong>NBL: I was pleasantly surprised to see the inclusion of journal entries from your son which not only adds an important perspective and voice to your family\u2019s story, and an important balance to your own narrative, but also gives the memoir, and the reader, access to a \u201cbigger heart\u201d in the story. Reading James\u2019 desires, fears, regrets, and understandings, acknowledges how much our own stories of parenting need our children\u2019s experiences to become more whole. Can you tell us how it came to be that you and your son made this craft choice of the dual voice?<\/strong><\/p>\n<p><strong>JS:<\/strong> I knew very early in the writing process that the chapters were going to be short, flash pieces. I wanted the writing to reflect the way our memories work; that is, more like photographs than videos. Each chapter is meant to bring the reader close to the moment I am describing, like looking at a photograph of the scene. I knew that using my son\u2019s journal entries, texts, and letters, would add important dimensions not only to his character, but also to the structure of the book. Also, it\u2019s important to me and my story that the reader view my son as a whole person; an adult who was once a child, who was an adolescent boy, then a young adult. His voice is hopeful, intelligent, and strong, and I wanted the reader to have access to his personality. Because he wrote letters, texts, and journal entries, I needed to have his permission to publish them in the book and he agreed to that.<\/p>\n<p><strong>NBL: As a writer and teacher of embodied writing, I noticed you often show emotions manifest in your body. In one chapter you write, \u201cMy chest was tight as I tried to pull in air, my eyes narrowed, and a wave of frustration crept across my face and settled in my hands. I had to do something with my hands.\u201d (170). Was this a natural way for you to write, or did you develop it in the labor of the craft?\u00a0<\/strong><\/p>\n<p><strong>JS:<\/strong> Truthfully, I tend to write without noticing emotion in my body. I am guilty of describing entire scenes without mentioning that my mouth is clenched or my hands are squeezed together. It was not until my friend and mentor, Susan Conley, read the manuscript and commented repeatedly, \u201cWhat is your body doing now? How does the reader know how you feel?\u201d that I revised many scenes to include how my emotions were manifesting in my body. I do think it adds huge value to storytelling in that as a reader, one of the only ways we have to understand what a character is experiencing is the words used to describe what is happening in that character\u2019s body. So, yes, I want my readers to feel the tension, awkward moments, joy, and the only way they can really feel that is by the writer noticing what is happening in her body. But it took a good editor for me to understand the value of including those embodied details.<\/p>\n<p><strong>NBL: It\u2019s no secret that parenting can be challenging and humbling as it pushes and triggers us in ways we could never have imagined. In writing What Kind of Mother, you realize many things in retrospect, especially about your own limitations. Would you say writing has helped you to become a better parent?\u00a0\u00a0<\/strong><\/p>\n<p><strong>JS:<\/strong> Writing this book has helped me to become a better parent in that I fully appreciate the words of Khalil Gibran\u2019s \u201cChildren.\u201d \u201cYou may house their bodies but not their souls, for their souls dwell in the house of tomorrow, which you cannot visit, not even in your dreams.\u201d I used to believe I had some control over my children. I think I believed I had control over them at certain points in their lives, and also that I could save them from making bad decisions. I wish I had understood Gibran\u2019s concept long before I wrote the book, but honestly, writing the book helped me come to this realization.<\/p>\n<p><strong>NBL: Writers who are lucky to have had their memoir published know it can be quite a roller-coaster of emotions. I always like to ask authors if they can share what was specifically challenging, rewarding, and (perhaps pleasantly) surprising in the process of writing the book and seeing it through to publication?\u00a0\u00a0<\/strong><\/p>\n<p><strong>JS:<\/strong> Challenging was learning the difference between my story and my son\u2019s story and where that line is. Challenging was learning the craft techniques necessary to write the story in my voice. Challenging was the realization that even once I had an agent, it wasn\u2019t over at all. My agent (a well-known New York literary agent) could not sell the proposal, and we wound up ending the contract. That is when I searched out university presses and found West Virginia University Press.<\/p>\n<p>Rewarding was having WVU Press accept the proposal and then the manuscript. Rewarding is after telling someone the name of the book and what it\u2019s about, having them tell me, \u201cMy mother\/brother\/sister\/daughter, etc., has mental illness and\u2026.\u201d Rewarding is when people tell me that they see themselves in my book.<\/p>\n<p>Surprising (pleasantly!) is when someone comes up to me and says, \u201cI love your book!\u201d Surprising is where I find myself with my son right now; in the very fine liminal, but comfortable position of agreeing on how to proceed with the book.<\/p>\n<p><strong>NBL: Finally, I wonder if you have any words of advice for memoirists who are just starting out on their \u201cheroine\u2019s journey\u201d in telling the story they must tell, but that is also intricately emmeshed with other family members\u2019 experiences? Is there something you wish you had known or understood better as you began this work?<\/strong><\/p>\n<p><strong>JS:<\/strong> You have permission to tell your story. But make sure it\u2019s yours to tell. Take your time and learn the writing craft techniques that help you to maintain friendships and keep lawsuits at bay. I would advise showing your writing to those whose lives are involved. You don\u2019t have to do that, but I have found that they appreciate the opportunity to read something before it\u2019s published. Take your time. This is not a sprint, more like a marathon.<\/p>\n<div class=\"su-box su-box-style-default\" id=\"\" style=\"border-color:#127680;border-radius:3px;max-width:none\"><div class=\"su-box-title\" style=\"background-color:#45a9b3;color:#FFFFFF;border-top-left-radius:1px;border-top-right-radius:1px\">Meet the Contributor<\/div><div class=\"su-box-content su-u-clearfix su-u-trim\" style=\"border-bottom-left-radius:1px;border-bottom-right-radius:1px\">\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-68864\" style=\"max-width: 100%;\" src=\"https:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/90b3e494-b6a5-4be9-8075-967240f004f5.jpeg\" alt=\"Nina B. Lichtenstein\" width=\"232\" height=\"300\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/90b3e494-b6a5-4be9-8075-967240f004f5.jpeg 480w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/90b3e494-b6a5-4be9-8075-967240f004f5-232x300.jpeg 232w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/90b3e494-b6a5-4be9-8075-967240f004f5-116x150.jpeg 116w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/90b3e494-b6a5-4be9-8075-967240f004f5-260x336.jpeg 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/90b3e494-b6a5-4be9-8075-967240f004f5-160x207.jpeg 160w\" sizes=\"auto, (max-width: 232px) 100vw, 232px\" \/>Nina is a native of Oslo, Norway, now living in Maine. She holds a PhD in French literature from UCONN, an MFA in creative writing from the University of Southern Maine, and is a \u201crecovering academic.\u201d Her writing has appeared in many outlets and anthologies. She has blogged as <i>The Viking Jewess<\/i> (since 2014), now <a href=\"https:\/\/ninablichtenstein.substack.com\/\">on Substack<\/a><i>.<\/i> Her book, <i><a href=\"https:\/\/vineleavespress.myshopify.com\/products\/body-my-life-in-parts-by-nina-b-lichtenstein\">Body: My Life in Parts<\/a><\/i> was published in 2025 by Vine Leaves Press. Nina is the founder and director of <a href=\"https:\/\/www.mainewritersstudio.com\/\">Maine Writers Studio<\/a> and co-founder\/co-editor of <a href=\"https:\/\/inaflashlitmag.substack.com\/\">In a Flash Literary Magazine<\/a>. Find out more about Nina\u2019s work at <a href=\"https:\/\/www.ninalichtenstein.com\/\">https:\/\/www.ninalichtenstein.com\/<\/a>.<\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Memory, memoir, and writing raise complicated questions about what actually happened.<\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"https:\/\/www.hippocampusmagazine.com\/2026\/09\/interview-judy-sandler-author-of-what-kind-of-mother-a-reckoning\/\">Read full story \u2192<\/a><\/p>\n","protected":false},"author":1,"featured_media":68863,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false,"gopublish_seo_title":"","gopublish_seo_description":""},"categories":[91,10,14,2087],"tags":[2099],"class_list":["post-68865","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-interviews","category-issues","category-september-october-2026","tag-nina-b-lichtenstein"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.1.1 - aioseo.com -->\n\t<meta name=\"description\" content=\"&quot;Memory, memoir, and writing raise complicated questions about what actually happened.&quot; -- Judy Sandler in her interview with Nina B. 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Jennifer Case, Author of The Carework Project: Reckoning with Love, Labor, and the Living World"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-68868\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ee8b9e55-0f06-4f1f-8e20-4ce41a65f114.png\" alt=\"cover of the carework project by jennifer case\" width=\"375\" height=\"500\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ee8b9e55-0f06-4f1f-8e20-4ce41a65f114.png 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ee8b9e55-0f06-4f1f-8e20-4ce41a65f114-225x300.png 225w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ee8b9e55-0f06-4f1f-8e20-4ce41a65f114-113x150.png 113w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ee8b9e55-0f06-4f1f-8e20-4ce41a65f114-560x747.png 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ee8b9e55-0f06-4f1f-8e20-4ce41a65f114-260x347.png 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ee8b9e55-0f06-4f1f-8e20-4ce41a65f114-160x213.png 160w\" sizes=\"auto, (max-width: 375px) 100vw, 375px\" \/>Iterations of care, like caregiving and self-care, are used with such frequency that they can be easily glossed over, but in her latest book, Jennifer Case urges us to pause and consider care more delicately.<\/p>\n<p>Calling on elements of memoir, collage, interview, research, and cultural reflection, <i><a href=\"https:\/\/bookshop.org\/a\/4094\/9781595343376\">The Carework Project: Reckoning with Love, Labor, and the Living World<\/a><\/i> (Terra Firma; Aug. 2026), illuminates how caregiving\u2014often invisible, gendered, and undervalued\u2014is central to survival. It also reveals how trauma and burnout affect our ability to connect deeply to others and how conversations around care and caregiving are crucial to larger discussions of climate, labor, justice, and self.<\/p>\n<p>Jennie\u2019s background in poetry lends attractive musicality to her prose as she probes less \u201chard-edged science\u201d and more \u201chealing the inner wounds that cause a culture of out-of-control consumption.\u201d Jennie and I live about half an hour down the road from one another. We frequently bump into each other at literary events and conferences and sometimes find pause in our care routines to enjoy lunch. This interview was done by email and is edited for concision and clarity.<\/p>\n<p>Please join me in a conversation with Jennifer Case.<\/p>\n<hr \/>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-68869\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/400c1783-aaf1-4b64-853a-c6cdfb857b2d-684x1024.jpeg\" alt=\"author jennifer case\" width=\"467\" height=\"700\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/400c1783-aaf1-4b64-853a-c6cdfb857b2d-684x1024.jpeg 684w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/400c1783-aaf1-4b64-853a-c6cdfb857b2d-200x300.jpeg 200w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/400c1783-aaf1-4b64-853a-c6cdfb857b2d-100x150.jpeg 100w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/400c1783-aaf1-4b64-853a-c6cdfb857b2d-768x1151.jpeg 768w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/400c1783-aaf1-4b64-853a-c6cdfb857b2d-1025x1536.jpeg 1025w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/400c1783-aaf1-4b64-853a-c6cdfb857b2d-560x839.jpeg 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/400c1783-aaf1-4b64-853a-c6cdfb857b2d-260x390.jpeg 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/400c1783-aaf1-4b64-853a-c6cdfb857b2d-160x240.jpeg 160w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/400c1783-aaf1-4b64-853a-c6cdfb857b2d-600x899.jpeg 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/400c1783-aaf1-4b64-853a-c6cdfb857b2d.jpeg 1367w\" sizes=\"auto, (max-width: 467px) 100vw, 467px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Erin Wood<\/b>:<b> You first encountered the practice of koans reading Thich Nhat Hanh\u2019s <\/b><b><i>Zen and the Art of Saving the Planet<\/i><\/b><b>. A koan is our deepest concern. Often, understanding it is a lifelong endeavor. Carework is your koan. You write, \u201cI have been holding carework like a worry stone, touching it from all directions, turning it in my hands.\u201d How can others determine their koan(s) and what can result from examining them? <\/b><\/p>\n<p><b>Jennifer Case<\/b>: In the Zen tradition, a koan is generally assigned to a student by a teacher, but here I am thinking of a koan more like a question you are asking yourself or the world. It closely parallels Rilke\u2019s oft-quoted instruction: \u201clive the questions.\u201d<\/p>\n<p>Writers and artists almost can\u2019t help ourselves: we make art from our obsessions. As a result, the answer to your question might be simple. We just need to pay attention to our questions and obsessions. If we follow those and start to explore what might be underneath them, we can find great insight\u2014and art.<\/p>\n<p><b>EW: What do you hope will come from worrying this koan into the form of a book? <\/b><\/p>\n<p><b>JC:<\/b> I hope the book will offer something to readers who have asked themselves the same questions about care or struggled in similar ways with care\u2014whether as caregivers or receivers.<\/p>\n<p><b>EW: In your acknowledgements, you thank your publisher for taking on a book with an unusual format. Can you share how the creative process unfolded?<\/b><\/p>\n<p><b>JC:<\/b> I was inspired by Eula Biss\u2019s <i>Having and Being Had<\/i>, which creates a book-length inquiry out of very short sections and chapters. I wanted to do something similar and began by writing brief scenes related to care. Around the same time, I was making collage postcards, most of which addressed climate anxiety and my longing for a more interconnected, caring world. It didn\u2019t take long for me to realize that the postcards and the writing about care came from the same place and explored similar themes. I\u2019ve always loved cross-genre work, so I decided to see what happened if I integrated the collages into the written project. I found that the collages helped keep the environmental theme visible even during sections that stressed economics and my own personal journey.<\/p>\n<p>I knew a cross-genre book with full-color collages was a big ask and that some presses would turn the book down simply because production costs would be high. I\u2019m glad Trinity University Press saw my vision and was willing to follow through on it.<\/p>\n<p><b>EW: How and why do you suppose this book developed differently than your last? <\/b><\/p>\n<p><b>JC:<\/b> While parenting a toddler and infant, I could think in terms of single essays, but I didn\u2019t have the headspace to hold a book-length project in my mind. When I began <i>The Carework Project<\/i>, my children were older\u2014more or less sleeping through the night, entering elementary school, etc.\u2014and I felt eager to try my hand again at a project with a cohesive arc. The fact that the book as a whole asks a single question\u2014What does it mean to care?\u2014also made this structure an intuitive choice.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-68872 aligncenter\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/17507548-82c3-4144-ad7d-b54bb27e7c0b-1024x749.jpeg\" alt=\"collage illustration that says blur the boundaries between the living things around us - with a hand on a frame with butterflies and birds\" width=\"600\" height=\"439\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/17507548-82c3-4144-ad7d-b54bb27e7c0b-1024x749.jpeg 1024w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/17507548-82c3-4144-ad7d-b54bb27e7c0b-300x219.jpeg 300w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/17507548-82c3-4144-ad7d-b54bb27e7c0b-150x110.jpeg 150w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/17507548-82c3-4144-ad7d-b54bb27e7c0b-768x561.jpeg 768w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/17507548-82c3-4144-ad7d-b54bb27e7c0b-1536x1123.jpeg 1536w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/17507548-82c3-4144-ad7d-b54bb27e7c0b-560x409.jpeg 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/17507548-82c3-4144-ad7d-b54bb27e7c0b-260x190.jpeg 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/17507548-82c3-4144-ad7d-b54bb27e7c0b-160x117.jpeg 160w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/17507548-82c3-4144-ad7d-b54bb27e7c0b-600x439.jpeg 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/17507548-82c3-4144-ad7d-b54bb27e7c0b.jpeg 2048w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>EW:<\/b> <b>In the first part of the book, my head swirled with anxiety, \u201creckoning\u201d alongside you with some of the biggest questions of modern-day life\u2014how we can situate ourselves healthfully amidst daily horrors of natural disaster and human cruelty, (women especially) giving until we are \u201cengulfed\u201d within a capitalistic society that normalizes excessive consumption and transactional (health)care, and struggling with the limits of our empathy. When you\u2019re working on a book that is tackling such potentially overwhelming (not to mention depressing) subject matter, how do you tend to yourself? <\/b><\/p>\n<p><b>JC:<\/b> Ironically, I found working on this book to be quite joyful. Maybe because it gave me the opportunity to be so playful with form. I loved working with the short sections and white space. Though the book tackles heavy material, I was always reaching for something larger: a more caring world. Getting to that more caring world became a kind of puzzle, and I enjoy the work of untangling knots and solving puzzles. Hearing the stories of the people I interviewed, and reading the published work I cited, felt affirming and encouraging (and helped keep my own story in context!). I was able to hold onto our collective feelings of care as an aspiration\u2014that deep, warm nurturing\u2014and it carried me.<\/p>\n<p><b>EW: You<\/b> <b>share that 50% of women who caretake a relative report loss of income or loss of professional opportunities or promotions at work, and if this occurs early enough in their careers, they are 2.5% more likely to end up in poverty, often themselves lacking health care. What are some of the other ways that you see women being adversely affected by carework?<\/b><\/p>\n<p><b>JC:<\/b> In addition to financial repercussions, women can experience physical and psychological repercussions. I know so many women who have struggled with burnout after prolonged periods of caretaking. Women who become exhausted, bitter, and physically ill. In <i>The Myth of Normal<\/i>, Gabor Mat\u00e9 actually stresses this quite a bit. He describes how the tendency of women to prioritize others\u2019 needs over their own, to suppress their own anger, and to become the emotional caretakers of others can lead to autoimmune disorders, weakened immune function, higher rates of depression, premature aging, and early death. In our culture, many women are <i>trained<\/i> to tend others before they tend themselves, but the costs of that add up.<\/p>\n<p><b>EW:<\/b> <b>The burden of healthcare has shifted from paid hospital or healthcare workers to family members who must learn quickly to operate often high-tech medical equipment. I think about my daughter coming home after her birth at 23 weeks and 128 days in the NICU . . . how frozen and overwhelmed I felt by going from full hospital oversight to full personal responsibility for her survival while she was still on oxygen and a monitor that beeped constantly. What would you like to see recognized about the way that this shift impacts carework and those providing care at home? <\/b><\/p>\n<p><b>JC:<\/b> Oof. You\u2019ve described that frozen overwhelm so well. I mostly want to validate family caregivers who have found themselves in this role. The medical industry saves money by sending patients home \u201cquicker but sicker\u201d (Kate Washington emphasizes the financial motives behind this trend), but that means the burden of care is increasingly falling on unpaid, untrained family caregivers. Family caregivers who then feel overwhelmed and unprepared\u2014and who blame themselves when caregiving feels like too much. Once we see what is happening and recognize that the system has placed us in this predicament, we have more opportunities to enact change.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-68875\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/f1a02adb-fdbe-47f4-aa98-7a255d7ce902-781x1024.jpeg\" alt=\"collage illustration with owl and leaves that says &quot;individually and collectively recovery grows from the earth&quot;\" width=\"381\" height=\"500\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/f1a02adb-fdbe-47f4-aa98-7a255d7ce902-781x1024.jpeg 781w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/f1a02adb-fdbe-47f4-aa98-7a255d7ce902-229x300.jpeg 229w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/f1a02adb-fdbe-47f4-aa98-7a255d7ce902-114x150.jpeg 114w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/f1a02adb-fdbe-47f4-aa98-7a255d7ce902-768x1007.jpeg 768w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/f1a02adb-fdbe-47f4-aa98-7a255d7ce902-1171x1536.jpeg 1171w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/f1a02adb-fdbe-47f4-aa98-7a255d7ce902-560x734.jpeg 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/f1a02adb-fdbe-47f4-aa98-7a255d7ce902-260x341.jpeg 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/f1a02adb-fdbe-47f4-aa98-7a255d7ce902-160x210.jpeg 160w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/f1a02adb-fdbe-47f4-aa98-7a255d7ce902-600x787.jpeg 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/f1a02adb-fdbe-47f4-aa98-7a255d7ce902.jpeg 1191w\" sizes=\"auto, (max-width: 381px) 100vw, 381px\" \/><\/p>\n<p><b>EW: You say, \u201cWhen things become simply transactional\u2013or when people are forced to work in systems where their work is simply seen as transactional\u2013they can and often will burn out. If the system doesn\u2019t value care, and caring work, but rather efficiency, their caring will suffer.\u201d What are some burnout antidotes?<\/b><\/p>\n<p><b>JC:<\/b> Individually, when we recognize our own burnout, the antidote is often rest. Burnout is exhaustion, and so we need to pull back, give ourselves space to rest and heal, as well as space to rediscover joy and purpose.<\/p>\n<p>Systemically, I\u2019d love to see our culture shift from one that hyper-values efficiency (and thus is always striving, head forward) to one that values quality\u2014and the quality of our presence. In <i>Zen and the Art of Saving the Planet<\/i>, which I quote in the book, Thich Nhat Hanh talks a lot about the transition from striving to mindful presence. That spoke to me (in part because I recognized my own striving energy!), and I think another antidote to burnout is there.<\/p>\n<p><b>EW: You\u2019re frustrated by overuse of \u201cself-care\u201d references, now almost cartoonish because the word is so overplayed. As the term\u2019s punch diminishes, is there another way you\u2019ve found useful to think about this so the underlying care of self doesn\u2019t? <\/b><\/p>\n<p><b>JC:<\/b> Yes, I\u2019m frustrated with the consumerism behind \u201cself-care\u201d and wary of how the term creates a dichotomy between ourselves and others. Buddhist teachers stress that anytime we think in stark differentiations\u2014self versus others\u2014we are deluded! In reality, we are always interconnected, and the moments we don\u2019t see how our wellbeing is connected to others are the exact moments we are lost.<\/p>\n<p>For myself, I\u2019ve found it necessary to learn how to feel that in my body. When I\u2019m overtaxed, or overwhelmed, and giving to others out of a sense of obligation, how does that feel in my body? When I experience burnout, how does that feel? On the other hand, how does it feel in my body to be calm, present, and have a strong sense of compassion for myself and for others? I\u2019ve found that, as I learn to better recognize those differences, I can catch myself quicker when I move from the latter to the former, and interrupt it (by doing something that would essentially count as self-care: going on a walk, drinking water, stepping away and getting rest, etc.).<\/p>\n<p><b>EW: One aspect of care is community, with the underlying notion that we are biologically wired for connection. You suggest that perhaps we could emerge from a current cultural bent toward individualism\u2014in which we all have to buy our own power tools, tend our own gardens, raise our own children, care for our own ill and aging family members\u2014into an era where we are not carrying the psychic and financial burdens of these pursuits alone, where we return to the village mentality that has prevailed in past eras which guards against isolation. Where do you see potential for community carework versus individual carework?<\/b><\/p>\n<p><b>JC:<\/b> There\u2019s been a lot of great work and research on mutual aid, especially coming out of social justice spaces and community organizing. Mia Birdsong, adrienne maree brown, and Leah Lakshmi Piepzna-Samarasinha could answer this question better than me! However, I can say: mutual aid is messy, and community care is messy\u2014just like all relationships. But there are models out there. Anytime a community forms where people are willing and able to support each other\u2014and will do so almost naturally\u2014we have an example, whether it\u2019s within a church community, a neighborhood (Rebecca Solnit has written extensively about this), a civic organization, etc. I hope we start to see how vital these communities are, and to better value them individually and as a culture.<\/p>\n<p><b>EW: In the latter half of the book, we meet a woman who recognizes she is \u201cstruggling thoroughly to open [herself] to the feeling of receiving care,\u201d asking the most terrifying question: \u201cAm I worthy of care?\u201d As a girl, you received the message that \u201cit is dangerous to have needs.\u201d You hid needs, resorting to fantasies in which you were sick and your care needs were met. Fear underscores it all: \u201cHow can you ask to feel cared for when you feel\/fear that the answer is no?\u201d These are enormous questions, so vulnerable, so personal, and also so relatable. What does it feel like to pose them? What is the value? <\/b><\/p>\n<p><b>JC:<\/b> It feels a bit terrifying! That\u2019s the section of the book I was most nervous about publishing, but also the section of the book that I feel is most important to the project. My hope is that this section will offer an invitation to readers to examine themselves and see how their own inner wounds might be impacting their abilities to give or receive care. I\u2019ve come to agree with all of those who\u2019ve said that true change comes from within. We can slap new policies on our society, but until we fundamentally change our internal relationships with care, that larger cultural work will stutter and stall.<\/p>\n<p><b>EW: You find healing in nature and offer it your care in return. How would you describe this relationship? <\/b><\/p>\n<p><b>JC:<\/b> Even more than nature offering me care, nature is a place where the boundaries between me and others (other humans, other species, other life forms) soften, and I get a sense of that vast interconnectedness. When I spend time hiking or kayaking or sitting near a shore, I can feel myself as simply another being on this planet\u2026as worthy and valuable as the frog sitting near me or the fern in the brush.<\/p>\n<p><b>EW: You were hit by a car in a crosswalk several years ago. The urge to keep churning forward was still inside you, but you came up against the limits of your ability to push on. What did you learn about yourself and about carework during that time?<\/b><\/p>\n<p><b>JC:<\/b> I learned so much! It may seem odd, but today I\u2019m incredibly thankful to the woman who hit me. I needed that wake-up call.<\/p>\n<p>I\u2019d always been someone who powered through difficult situations, but after getting hit, I couldn\u2019t do that. I was physically and mentally incapacitated to a degree I hadn\u2019t really experienced before. That, in turn, triggered all of my internal discomforts around receiving care or being dependent on others. It was incredibly uncomfortable (an understatement), but it forced me to really see those parts of myself\u2014and then learn how to tend them.<\/p>\n<p>Now I have a much healthier sense of self and a more mature relationship to care.<\/p>\n<div class=\"su-box su-box-style-default\" id=\"\" style=\"border-color:#127680;border-radius:3px;max-width:none\"><div class=\"su-box-title\" style=\"background-color:#45a9b3;color:#FFFFFF;border-top-left-radius:1px;border-top-right-radius:1px\">Meet the Contributor<\/div><div class=\"su-box-content su-u-clearfix su-u-trim\" style=\"border-bottom-left-radius:1px;border-bottom-right-radius:1px\">\n<p><span style=\"color: #333333;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-68911\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ein-wood.jpg\" alt=\"erin wood\" width=\"266\" height=\"400\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ein-wood.jpg 341w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ein-wood-200x300.jpg 200w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ein-wood-100x150.jpg 100w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ein-wood-260x390.jpg 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ein-wood-160x240.jpg 160w\" sizes=\"auto, (max-width: 266px) 100vw, 266px\" \/>Erin Wood\u2019s work can be found in <\/span><i><span style=\"color: #333333;\">The Sun<\/span><\/i><span style=\"color: #333333;\">, <\/span><i><span style=\"color: #333333;\">Brevity,<\/span><\/i> <i><span style=\"color: #333333;\">HuffPost Personal<\/span><\/i><span style=\"color: #333333;\">, <\/span><i><span style=\"color: #333333;\">River Teeth<\/span><\/i><span style=\"color: #333333;\">\u2019s \u201cBeautiful Things,\u201d and elsewhere, and has been named Notable in <\/span><i><span style=\"color: #333333;\">The Best American Essays<\/span><\/i><span style=\"color: #333333;\">. She is author of <\/span><i><span style=\"color: #333333;\">Women Make Arkansas: Conversations with 50 Creatives<\/span><\/i><span style=\"color: #333333;\"> and is editor of and a contributor to <\/span><i><span style=\"color: #333333;\">Scars: An Anthology<\/span><\/i><span style=\"color: #333333;\">, which assembles the work of nearly 40 contributors on scars of the body. She is working on an essay collection for which she received creative support from the Mid-America Arts Alliance as a 2025 Catalyze Fellow. She owns and runs Et Alia Press in Little Rock. Find her at <\/span><a href=\"http:\/\/erinwood.com\/\">erinwood.com<\/a><span style=\"color: #333333;\"> and <\/span><a href=\"http:\/\/etaliapress.com\/\">etaliapress.com<\/a><span style=\"color: #333333;\">.<\/span><\/p>\n<p>&nbsp;<\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Writers and artists almost can\u2019t help ourselves: we make art from our obsessions.<\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"https:\/\/www.hippocampusmagazine.com\/2026\/09\/interview-jennifer-case-author-of-the-carework-project-reckoning-with-love-labor-and-the-living-world\/\">Read full story 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Soft Targets: Guns in America and the Kids Caught in the Crossfire by Camila Kerwin"},"content":{"rendered":"<p class=\"headline\">Reviewed by DW McKinney<\/p><div id=\"attachment_68925\" style=\"width: 410px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-68925\" class=\"wp-image-68925\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/cover-of-the-book-soft-targets-by.png\" alt=\"Cover of the book Soft Targets: Guns in America and the Kids Caught in the Crossfire by Camila Kerwin\" width=\"400\" height=\"600\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/cover-of-the-book-soft-targets-by.png 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/cover-of-the-book-soft-targets-by-200x300.png 200w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/cover-of-the-book-soft-targets-by-100x150.png 100w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/cover-of-the-book-soft-targets-by-560x840.png 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/cover-of-the-book-soft-targets-by-260x390.png 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/cover-of-the-book-soft-targets-by-160x240.png 160w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-68925\" class=\"wp-caption-text\">Cover of the book Soft Targets by<\/p><\/div>\n<p>The Columbine High School shooting happened on April 20, 1999. I was in eighth grade. The news of the shooting drifted through campus like a rumor. I didn\u2019t believe it until our teachers, their voices shaking, spoke about it. Grief and shock weighed on everyone for the rest of the day. We carried hypervigilance heavy on our bodies as we walked through the hallways.<\/p>\n<p>That could happen? And at a school of all places?<\/p>\n<p>I remember two things most clearly from the aftermath. The Christian martyrdom that rose from evangelicals weaponizing student Cassie Bernall\u2019s death, and how the shooting reshaped who people believed were perpetrators of gun violence. It wasn\u2019t just Black people in crime-riddled neighborhoods. It was also disaffected young white men wearing trench coats.<\/p>\n<p>Who carries the blame for gun violence (and its history) is far more complicated. Journalist Camila Kerwin dissects these complications in her debut nonfiction graphic narrative <i><a href=\"https:\/\/bookshop.org\/a\/4094\/9781951491536\">Soft Targets: Guns in America and the Kids Caught in the Crossfire<\/a><\/i> (Street Noise Books; Oct. 2026).<\/p>\n<p>Gun rights and ownership is a fraught conversation in our country. To put it plainly: everyone has feelings. Kerwin begins the graphic novel by being honest about hers. Her interest in guns began on a personal level. Her stepfather, Bill, taught her how to shoot, and he owned a gun collection that he kept behind lock and key. Kerwin was openly fascinated by his guns and wanted to handle them whenever he allowed her. \u201cThe guns were always there in the big safe,\u201d she writes. \u201cThey were like a totem of his worldview, where toughness, protectiveness, and a sort of cosplay of cowboy self-reliance prevailed.\u201d<\/p>\n<p>Leading that cosplay for a time was actor Charlton Heston. Surprisingly, the five-term National Rifle Association president isn\u2019t mentioned in the book, but I remember reading about his rallying cry at an NRA convention the year after Columbine. As he held up a rifle he growled, \u201cFrom my cold, dead hands.\u201d Even as a freshman in high school then, Heston sounded ghoulish to me. Owning guns seemed to be more important than better protecting people from them. The insistence on owning guns is why, as Kerwin states, \u201cresearchers estimate the United States now has over 400 million guns \u2014 more firearms than people.\u201d<\/p>\n<p>Each statistic in <i>Soft Targets <\/i>arrives with its own devastating revelation. However, the data constructs the<i> <\/i>intricate narrative scaffolding that details the vast scale of gun violence in America and the systemic processes that uphold it. Kerwin profiles former NRA leaders and interviews prominent individuals such as a former CDC researcher and the founder of the National African American Gun Association. Their stories add greater contextualization to both national gun advocacy and its criticism. Kerwin\u2019s goal isn\u2019t to push us in any one direction, but to give us information for us to better shape our own opinions.<\/p>\n<p>For a time, Michael Moore\u2019s 2002 film <i>Bowling for Columbine <\/i>was synonymous with gun violence criticism. Kerwin achieves what Moore was unable to do. She provides comics journalism that treads a balance and respects as many angles to the topic as it can. There\u2019s no skewing (or skewering).<\/p>\n<p>With that, Kerwin steps deeper into the devastating wreckage left behind by gun violence.<\/p>\n<p>\u201cIn 2020, guns became the leading cause of death for kids and teens in the U.S.\u201d These deaths are the book\u2019s gentle heart. Kerwin centers portraits of four children and teenagers touched by gun violence in America: Joaquin Oliver, 17, murdered in the 2018 Parkland shooting; Makiyah Wilson, 10, victim of a drive-by shooting; Jonah Payne, 17, suicide by self-inflicted gunshot wound; and Ethan Song, 15, killed from an accidental gun discharge.<\/p>\n<p>When the research becomes dense and threatens to hamper the narrative, Kerwin breaks it up with one of these portraits.<\/p>\n<p>There\u2019s nothing gory or brutal about them. The graphic novel is mostly illustrated in black and white, but soothing yellow highlights are applied in the portraits. Kerwin\u2019s playful character drawings are slightly cartoonish in a style reminiscent of cartoonist Bill Watterson (<i>Calvin and Hobbes<\/i>). They\u2019re further amplified by quotes and memoiristic recordings of the deceased.<\/p>\n<p>We get a real sense of four distinct personalities and habits that Kerwin imbues with tenderness. She sketches out each child\u2019s daily habits and friendships, before leading us into the moments where gun violence strikes them down. It\u2019s heart-wrenching, but we\u2019re meant to empathize, never pitying or becoming overwhelmed with grief.<\/p>\n<p>What I was drawn to most about the portrayals was how well they depict the breadth of gun violence and how easily it touches our everyday lives. Quite simply, I saw myself in the panels.<\/p>\n<p>Before Columbine rocked my sense of the world, a shop owner shot my birth father dead for robbing his store. I was six. When I was nine or ten, my mother pulled me out of the crossfire between police and a gunman when we were visiting New York City to see a play. In junior high, I knew kids my age who had been shot or would be shot by the time we graduated high school. My senior year of high school, I was caught in the crossfire of a gang assassination. (\u201cThough guns became the leading cause of death of children in 2020, they had already been the leading cause of death of Black children for nearly 15 years.\u201d)<\/p>\n<p>Kerwin\u2019s portrayals don\u2019t merely give face to the statistics; they show a reality that we desperately need to confront completely.<\/p>\n<p>\u201cNearly 47,000 people die from guns in the US each year.\u201d What Kerwin doesn\u2019t mention is how that number doesn\u2019t quantify people who are injured by guns or become secondary victims who witness the violence or suffer mental distress in the aftermath. Considering the sheer number of secondary victimizations, that truth we must face is more monumental than we could ever imagine.<\/p>\n<p>In a book about gun violence, gut punches are expected, but an unexpected one arrives in the unveiling of the book\u2019s title. When you read it, it\u2019s a doozy the more you think about it. For me, it spurred philosophical questions about who gets to protect themselves and how we can foster a society where no one is a target at all.<\/p>\n<p>Since reading <i>Soft Targets<\/i>, the news stories featuring gun fatalities and injuries have accumulated daily. A gunman at an In-N-Out Burger in Idaho. A masked shooter on Coney Island. A man in Montana killed his relatives, including children.<\/p>\n<p>It\u2019s a Sisyphean task to keep track of it all. What seems even harder? Approaching gun regulation with an earnestness and radical empathy to change the trajectory of gun deaths and related violence in the country.<\/p>\n<p>I\u2019ve always thought this solution was na\u00efve in a society bent toward capitalism, exceptionalism, and rabid domination. But Kerwin posits a similar one near the end of <i>Soft Targets<\/i>: could an extraordinary problem be overcome with extraordinary grace?<\/p>\n<p>It seems too simple. But voiced by another person, that insurmountable task appears conquerable after all.<\/p>\n<div class=\"su-box su-box-style-default\" id=\"\" style=\"border-color:#127680;border-radius:3px;max-width:none\"><div class=\"su-box-title\" style=\"background-color:#45a9b3;color:#FFFFFF;border-top-left-radius:1px;border-top-right-radius:1px\">Meet the Contributor<\/div><div class=\"su-box-content su-u-clearfix su-u-trim\" style=\"border-bottom-left-radius:1px;border-bottom-right-radius:1px\">\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-68926\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/woman-in-a-gray-top-posing.jpeg\" alt=\"DW McKinney\" width=\"300\" height=\"400\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/woman-in-a-gray-top-posing.jpeg 1536w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/woman-in-a-gray-top-posing-225x300.jpeg 225w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/woman-in-a-gray-top-posing-768x1024.jpeg 768w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/woman-in-a-gray-top-posing-113x150.jpeg 113w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/woman-in-a-gray-top-posing-1152x1536.jpeg 1152w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/woman-in-a-gray-top-posing-560x747.jpeg 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/woman-in-a-gray-top-posing-260x347.jpeg 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/woman-in-a-gray-top-posing-160x213.jpeg 160w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/woman-in-a-gray-top-posing-600x800.jpeg 600w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>DW McKinney is an award-winning writer and editor based in Nevada. A 2026 Nevada Arts Council Literary Fellow, her work has appeared in <i>Publishers Weekly<\/i>, <i>Los Angeles Review of Books<\/i>, <i>Narratively<\/i>,<i> Ecotone<\/i>,<i> <\/i>and <i>Oxford American<\/i>. She serves as the fellowship manager and editor-at-large for <i>Shenandoah<\/i>. Say hello at <a href=\"http:\/\/dwmckinney.com\/\">dwmckinney.com<\/a>.<\/p>\n<figure class=\"wp-block-image size-large\"><\/figure>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Each statistic in Soft Targets arrives with its own devastating revelation.<\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"https:\/\/www.hippocampusmagazine.com\/2026\/09\/review-soft-targets-guns-in-america-and-the-kids-caught-in-the-crossfire-by-camila-kerwin\/\">Read full story \u2192<\/a><\/p>\n","protected":false},"author":1,"featured_media":68925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false,"gopublish_seo_title":"","gopublish_seo_description":""},"categories":[91,14,8,2087],"tags":[1382],"class_list":["post-68927","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-issues","category-memoir-reviews","category-september-october-2026","tag-dw-mckinney"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- 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03:32:42","updated":"2026-09-11 03:51:48","seo_analyzer_scan_date":null,"focus_keyword":null,"additional_keywords":null,"truseo_locale":null},"aioseo_breadcrumb":"<div class=\"aioseo-breadcrumbs\"><span class=\"aioseo-breadcrumb\">\n\t\t\t<a href=\"https:\/\/www.hippocampusmagazine.com\" title=\"Home\">Home<\/a>\n\t\t<\/span><span class=\"aioseo-breadcrumb-separator\">&raquo;<\/span><span class=\"aioseo-breadcrumb\">\n\t\t\t<a href=\"https:\/\/www.hippocampusmagazine.com\/category\/articles\/\" title=\"Articles\">Articles<\/a>\n\t\t<\/span><span class=\"aioseo-breadcrumb-separator\">&raquo;<\/span><span class=\"aioseo-breadcrumb\">\n\t\t\t<a href=\"https:\/\/www.hippocampusmagazine.com\/category\/articles\/memoir-reviews\/\" title=\"Reviews\">Reviews<\/a>\n\t\t<\/span><span class=\"aioseo-breadcrumb-separator\">&raquo;<\/span><span class=\"aioseo-breadcrumb\">\n\t\t\tREVIEW: Soft Targets: Guns in America and the Kids Caught in the Crossfire by Camila 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Mothers of Magic: Summoning the Wisdom of Our Ancestors by Perdita Finn"},"content":{"rendered":"<p class=\"headline\">Reviewed by Candace Cahill<\/p><p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-68847\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/book-cover-of-mothers-of-magic-summoning-the.png\" alt=\"cover of Mothers of Magic: Summoning the Wisdom of Our Ancestors by Perdita Finn\" width=\"396\" height=\"600\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/book-cover-of-mothers-of-magic-summoning-the.png 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/book-cover-of-mothers-of-magic-summoning-the-198x300.png 198w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/book-cover-of-mothers-of-magic-summoning-the-99x150.png 99w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/book-cover-of-mothers-of-magic-summoning-the-560x848.png 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/book-cover-of-mothers-of-magic-summoning-the-260x394.png 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/book-cover-of-mothers-of-magic-summoning-the-160x242.png 160w\" sizes=\"auto, (max-width: 396px) 100vw, 396px\" \/>I read most of <i><a href=\"https:\/\/bookshop.org\/a\/4094\/9798894140650\">Mothers of Magic: Summoning the Wisdom of Our Ancestors<\/a><\/i><i> <\/i>(Running Press; May 2026) sitting in the Denali wilderness, and that influenced how the book landed for me.<\/p>\n<p>One afternoon, I read on the porch of a cabin built in 1924, sitting on wood a century of feet had worn smooth, considering the author Perdita Finn\u2019s insistence that a long chain of ancestors was within reach if I only asked. I found myself listening harder than usual to birds singing around me, watching the shrubs dance in the wind, and noticing a snowshoe hare casually cross my path while the book lay open in my lap. I did indeed feel more connected to the past than I had in a while, even though I already think of myself as someone deeply tuned to the land I live on.<\/p>\n<p>Reading Finn&#8217;s argument that the natural world is full of mothers speaking to us, if we&#8217;d only quiet down enough to listen, didn&#8217;t teach me something new so much as it opened a door that was already ajar a little wider.<\/p>\n<p>Finn&#8217;s project is part memoir, part theory, part workbook\u2014and together they hand the reader a spirituality with its feminine roots intact: not appended, not softened into a footnote, but load-bearing. The prose does this without turning precious or self-important, which is not a small thing to pull off in a book this openly devotional. I&#8217;ll admit that the devotionalism took me aback at first, but what moved me past that initial resistance was my own confidence in a spiritual foundation that doesn&#8217;t fully align with Finn&#8217;s. That confidence gave me the distance to take the book on its own terms rather than measure it against mine.<\/p>\n<p>Even so, what keeps the book grounded is Finn&#8217;s own raw material: her mother&#8217;s body, her mother&#8217;s hunger, her mother&#8217;s instruction, on her deathbed, to skip the ashes and turn her into mulch for the roses instead. When Finn writes that her mother was a tiger, a seal, a crow, a spider, a snake, a vole, a hawk\u2014&#8221;my mother was an animal&#8221;&#8212;it doesn&#8217;t read as metaphor performed for effect: it reads like someone describing a person she actually knew.<\/p>\n<p>I came to this book already primed by my own history: I spent my college years studying how thoroughly Western religion dismantled and buried the mother goddess, how completely &#8220;God&#8221; got made male and stayed that way. I recognized the history Finn lays out about the witch trials, about communal mothering erased, about the &#8220;soul-silencing terror handed down from one woman to another&#8221; in a patriarchal society intent on muzzling anything \u201cother.\u201d There&#8217;s something in seeing that history stated this plainly, without hedging, that feels like permission to be as angry about it as I already was, and to let that anger sit next to the tenderness the rest of the book asks for.<\/p>\n<p>What I keep coming back to is Finn&#8217;s insistence that this isn&#8217;t only a book about women: she frames motherhood as a birthright available to anyone, regardless of gender\u2014a way of being in relationship to the world that patriarchy has spent centuries trying to convince us belongs to one narrow category of person. Reading this book felt like a small act of defiance against the status quo: not a loud one, just a private refusal to keep accepting the terms I was handed.<\/p>\n<p>The book&#8217;s central conviction is one I already held before I opened it: that we have more say in creating our own reality than we tend to admit. What we dwell on, dread, or actively tend to shapes what we become, moment by moment. Finn&#8217;s version of that idea isn&#8217;t self-help bootstrapping; instead, it&#8217;s an invitation to ask for help. She&#8217;s not arguing that we manifest our way out of collective harm by force of will alone. She&#8217;s arguing that we can ask\u2014the earth, the dead, our own ancestral mothers, whatever form that asking takes for a given reader\u2014and that asking is itself a spiritual practice. Whether the help comes from a mother three generations back or from sitting still enough that a snowshoe hare carelessly crosses my path, we could all use whatever help is on offer.<\/p>\n<p>By the time I closed the book, I wasn&#8217;t sure I&#8217;d absorbed it as theology so much as permission\u2014permission to keep listening to the birds, to be angry about a history I already knew, and to believe that asking for help, from whatever mothers are still willing to give it, isn&#8217;t a failure of self-reliance: it&#8217;s the birthright the book keeps insisting we already have.<\/p>\n<div class=\"su-box su-box-style-default\" id=\"\" style=\"border-color:#127680;border-radius:3px;max-width:none\"><div class=\"su-box-title\" style=\"background-color:#45a9b3;color:#FFFFFF;border-top-left-radius:1px;border-top-right-radius:1px\">Meet the Contributor<\/div><div class=\"su-box-content su-u-clearfix su-u-trim\" style=\"border-bottom-left-radius:1px;border-bottom-right-radius:1px\">\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-48554\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2023\/01\/Candace-Cahill-Head-Shot-side-view.jpg\" alt=\"Headshot of author Candace Cahill against the Alaskan mountains\" width=\"300\" height=\"300\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2023\/01\/Candace-Cahill-Head-Shot-side-view.jpg 634w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2023\/01\/Candace-Cahill-Head-Shot-side-view-300x300.jpg 300w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2023\/01\/Candace-Cahill-Head-Shot-side-view-100x100.jpg 100w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2023\/01\/Candace-Cahill-Head-Shot-side-view-600x600.jpg 600w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>Candace Cahill is a first mother, late-discovery adoptee, memoirist, and essayist whose work explores genetic separation, disenfranchised grief, and what she calls liminal loss \u2014 the grief of those who are neither fully lost nor fully found. Her memoir, <i>Goodbye Again<\/i>, was published by Legacy Book Press in 2022. She lives in Alaska, within sight of Denali.<\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Finn&#8217;s project is part memoir, part theory, part workbook.<\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"https:\/\/www.hippocampusmagazine.com\/2026\/09\/review-mothers-of-magic-summoning-the-wisdom-of-our-ancestors-by-perdita-finn\/\">Read full story \u2192<\/a><\/p>\n","protected":false},"author":1,"featured_media":68847,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false,"gopublish_seo_title":"","gopublish_seo_description":""},"categories":[91,14,8,2087],"tags":[2078],"class_list":["post-68848","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-issues","category-memoir-reviews","category-september-october-2026","tag-candace-cahill"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- 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Executrix by Brittany Perham"},"content":{"rendered":"<p class=\"headline\">Reviewed by August Owens Grimm<\/p><p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-68860\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/48e3c0da-70c2-42aa-8e7d-61d12d1aa703.jpeg\" alt=\"cover of Executrix by Brittany Perham\" width=\"388\" height=\"600\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/48e3c0da-70c2-42aa-8e7d-61d12d1aa703.jpeg 828w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/48e3c0da-70c2-42aa-8e7d-61d12d1aa703-194x300.jpeg 194w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/48e3c0da-70c2-42aa-8e7d-61d12d1aa703-662x1024.jpeg 662w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/48e3c0da-70c2-42aa-8e7d-61d12d1aa703-97x150.jpeg 97w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/48e3c0da-70c2-42aa-8e7d-61d12d1aa703-768x1187.jpeg 768w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/48e3c0da-70c2-42aa-8e7d-61d12d1aa703-560x866.jpeg 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/48e3c0da-70c2-42aa-8e7d-61d12d1aa703-260x402.jpeg 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/48e3c0da-70c2-42aa-8e7d-61d12d1aa703-160x247.jpeg 160w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/48e3c0da-70c2-42aa-8e7d-61d12d1aa703-600x928.jpeg 600w\" sizes=\"auto, (max-width: 388px) 100vw, 388px\" \/>Dead Dad memoirs frequently work towards some kind of peace with the memory of the author\u2019s toxic or absent father. Brittany Perham\u2019s <i><a href=\"https:\/\/bookshop.org\/a\/4094\/9780820377780\">Executrix<\/a><\/i><i> <\/i>(University of Georgia Press; Sept. 2026)<i>,<\/i> selected as the winner of The Sue Silverman Nonfiction Prize by Cheryl Strayed,<i> <\/i>refreshingly resists such post-death reconciliation. She tempers our expectations early on in \u201cBefore We Begin\u201d:<em>\u00a0<\/em><em>\u201cI have to tell you not much changes between the beginning and the end. I don\u2019t know and then I don\u2019t know.\u201d<\/em><\/p>\n<p>I appreciate the up-frontness. Saying she doesn\u2019t know is a welcome shift from the expectation, pressure, cliche, that memoir authors need to be able to fix their problem, finish their grieving by the last page. It takes a lot of pressure off as long as the writing is compelling, which it is here.<\/p>\n<p>I wanted to review this book because of my own Dead Dad story. The similarities between our Dead Dad stories are so uncanny that it made me consider abandoning this review.<\/p>\n<p>Perham drops us right into a Boston ICU where her father, Robert, is dying or dead or both. You see, he\u2019s brain dead. But his body, overwhelmed by alcoholic cirrhosis, is technically alive courtesy of a ventilator and other life-extending equipment. Perham does a fantastic job of letting us in on all the thoughts racing through her mind. Some of the lines burst out in short sentences or small paragraphs. Words, phrases repeat. This structure mirrors what it\u2019s like to have many conflicting emotions about the death of a chaotic father. Making an already upsetting situation more complicated is that Perham has been estranged from Robert for the ten years before her brother summoned her back to Boston from San Francisco. The siblings have decided to take him off those machines, let him fully die.<\/p>\n<p>The word <i>abuse<\/i> appears nowhere in the book (I did a word search in my PDF copy just to make sure). Early on, when giving a list of what to expect and not to expect from the book, she declares, \u201cI have to tell you there was no trauma, don\u2019t even say that word.\u201d However, the only reason Perham declares \u201cno trauma\u201d is because, as she tells her therapist, \u201cI hate the word \u2018trauma\u2019&#8230;Everyone\u2019s using it.\u201d<\/p>\n<p>Her father stalked, harassed, and threatened her.<\/p>\n<p>He called her nonstop until she cut off contact.<\/p>\n<p>Her therapist calls this trauma.<\/p>\n<p>Her therapist says Robert is a sociopath. Or was one, since he is dead by the time this conversation happens in the book.<\/p>\n<p>Her therapist suggests Perham has PTSD from the abuse her father inflicted. PTSD causes unwanted, uncontrollable repetitions of traumatic events. This is effectively visualized, made integral to the story and part of the book through word, information, and\/or sentence repetition, such as when \u201cyour father is a sociopath\u201d appears throughout the \u201cOne Sociopath One Hypochondriac and the Word Trauma\u201d chapter. Towards the end of the session (or at least the end of the scene about the session), her therapist tells her she doesn\u2019t have to use the word if she doesn\u2019t want to. I totally agree with this. Except, saying at the beginning there was no trauma only to find out later that there was, makes me feel confused.<\/p>\n<p>Confused about how to feel about it. Are the seams of the book showing too much? Or is showing the seams the point? Perham does call attention to <i>Executrix<\/i> as a constructed thing. Discussing how she knew on her overnight flight that she would write her father\u2019s \u201cdeath story.\u201d When initially reading the book, I felt the contradiction broke the reader\/writer contract. Now, I wonder if that\u2019s the point.<\/p>\n<p style=\"text-align: -webkit-center;\">***<\/p>\n<p>It\u2019s creepy how similar my Dead Dad story is to Perham\u2019s.<\/p>\n<p>Our fathers were born in the same year and month, but mine died five years before Robert did.<\/p>\n<p>My dad was an alcoholic. Capable of awful things while drunk and sober.<\/p>\n<p>He went into a coma. He needed a ventilator to breathe, to be alive or kind of alive. Not dead. Not yet.<\/p>\n<p>My sister called for me to return to Cleveland from Chicago. I agreed to fly over the next morning.<\/p>\n<p>I had gone no contact with my dad. Seeing him for the first time in four years as he lay in the ICU comatose. We decided to take him off the ventilator and that was that.<\/p>\n<p>Like Perham, I took notes because I had also decided during my plane ride to write about my father\u2019s death. Unlike Perham, I threw my notes away at the hospital because I felt guilty. I regret not keeping them.<\/p>\n<p style=\"text-align: -webkit-center;\">***<\/p>\n<p>As we learn throughout the book, Perham\u2019s father, like many trauma-inflicting parents, wasn\u2019t always awful. Perham perfectly visualizes this by imagining two versions of her father\u2019s ghost, Good Dad-in-the-Sky and Bad Dead Dad. A quick note: I\u2019m not sure why she doesn\u2019t call the good version of her dad, Good Dead Dad. Maybe I like the symmetry of that better since it would truly present them in opposition to each other. Regardless, Perham\u2019s choice is effective, the split between the two makes him a kind of Jekyll and Hyde figure or figures. Based on my experience, however, both did live within him, alcohol letting Bad Dad be more in control. Maybe I\u2019m projecting here.<\/p>\n<p>The Dads can talk to her, and she can talk with them, but no one else sees them. For a moment she considers telling her brother about the Dead Dads then decides against it. Good Dad-in-the-Sky is the fatter, more loving version of him. I appreciate that she equates fatness with goodness since that is rarely the case in books or anywhere. This is the dad she remembers from when she was a kid. Before his alcoholism began to wreak havoc on him and their family. Bad Dead Dad looks like he did in his ICU bed, sickly thin, skin grayish, and he is mean: \u201c\u2018I was dying,\u2019 he says. \u2018Where were you?\u2019\u201d Perham doesn\u2019t call them ghosts or any paranormal word, instead insisting they are just her imagination. Based on my personal definition of ghosts, her dad is haunting her even if his presence or their presence is only in her head.<\/p>\n<p>Robert commits one last chaotic act. Before he died, he made Perham the executrix of his estate. Hence, the title of the book. Her brother, the one closest to him emotionally and physically, had been the executor. While Perham does carry out her duties, trying to sell her father\u2019s house and its contents, the final results of her efforts are largely left unresolved. As are her feelings about Robert, which are far too intricate to resolve. And as my therapist tells me, the emotions around the relationship with my Dead Dad may never be resolved and perhaps this will be the case for Perham. Unlike me, she banishes the ghostly representations of her father, Good Dad and Bad Dad. There is no big catharsis carried out. They simply disappear when she decides it is time for them to go. Maybe I\u2019m a little jealous she\u2019s able to make this happen.<\/p>\n<p>The final pages take us back to the beginning or what could have maybe been the opening of the book, Perham waiting for the call from her brother to know if Robert is dead or dying or both as she walks through the botanical gardens with her love in San Francisco. I really liked, appreciated, the care she and her love show towards each other. It\u2019s a great contrast to her state of mind once she gets to her father\u2019s bedside. Her love is supportive, caring. You could look at this ending as a symbol of Perham being at peace with the events that come before.<\/p>\n<p>You could also consider that ending here shows the cycle of PTSD. Once you get to the end, you start over. I\u2019m fond of saying a haunting is a repetition. If we consider this second ending where metaphorically Perham is going to go through the events of the book again, needing her Dead Dads again, pushing herself to finish writing this book by the time she turns forty. This book is a haunted one. A designation I imagine she might scoff at since she resists categorizing her book throughout the story. But that\u2019s okay.<\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>I almost abandoned this review because working on it caused me to have a very public panic attack in my local coffee shop. Why did this happen during the writing, not the reading? I\u2019ll chalk that up to the mysteries of the brain. I considered stopping, telling the editor I couldn\u2019t do it. If you\u2019re reading this, it means that I, like Perham, kept going.<\/p>\n<div class=\"su-box su-box-style-default\" id=\"\" style=\"border-color:#127680;border-radius:3px;max-width:none\"><div class=\"su-box-title\" style=\"background-color:#45a9b3;color:#FFFFFF;border-top-left-radius:1px;border-top-right-radius:1px\">Meet the Contributor<\/div><div class=\"su-box-content su-u-clearfix su-u-trim\" style=\"border-bottom-left-radius:1px;border-bottom-right-radius:1px\">\n<p><span style=\"color: #444444;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-66488\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/02\/image1-1.jpg\" alt=\"August Owens Grimm\" width=\"348\" height=\"400\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/02\/image1-1.jpg 1206w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/02\/image1-1-261x300.jpg 261w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/02\/image1-1-890x1024.jpg 890w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/02\/image1-1-130x150.jpg 130w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/02\/image1-1-768x883.jpg 768w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/02\/image1-1-560x644.jpg 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/02\/image1-1-260x299.jpg 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/02\/image1-1-160x184.jpg 160w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/02\/image1-1-600x690.jpg 600w\" sizes=\"auto, (max-width: 348px) 100vw, 348px\" \/>August Owens Grimm is an acclaimed horror writer, editor, and essayist. They co-edited F<\/span><i><span style=\"color: #444444;\">at and Queer: An Anthology of Queer and Trans Bodies and Lives<\/span><\/i><span style=\"color: #444444;\">. <\/span><i><span style=\"color: #444444;\">Fat and Queer<\/span><\/i><span style=\"color: #444444;\"> won the 2022 AASECT Book Award for a general audience from the American Association of Sexuality Educators, Counselors, and Therapists. Their work appears in, among others, <\/span><i><span style=\"color: #444444;\">The Rumpus <\/span><\/i><span style=\"color: #444444;\">and in the <\/span><i><span style=\"color: #444444;\">Los Angeles Times <\/span><\/i><span style=\"color: #444444;\">bestseller, <\/span><i><span style=\"color: #444444;\">It Came from the Closet: Queer Reflections on Horror<\/span><\/i><span style=\"color: #444444;\">. They coined the term <\/span><i><a href=\"https:\/\/www.assayjournal.com\/august-owens-grimm-haunted-memoir-assay-71.html\">Haunted Memoir<\/a><\/i><span style=\"color: #444444;\">. They are a 2025 Lambda Literary Fellow in nonfiction.<\/span><\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Perham drops us right into a Boston ICU where her father, Robert, is dying or dead or both<\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"https:\/\/www.hippocampusmagazine.com\/2026\/09\/review-executrix-by-brittany-perham\/\">Read full story \u2192<\/a><\/p>\n","protected":false},"author":1,"featured_media":68860,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false,"gopublish_seo_title":"","gopublish_seo_description":""},"categories":[91,14,8,2087],"tags":[2021],"class_list":["post-68861","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-issues","category-memoir-reviews","category-september-october-2026","tag-august-owens-grimm"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.1.1 - aioseo.com -->\n\t<meta name=\"description\" content=\"&quot;Dead Dad memoirs frequently work towards some kind of peace with the memory of the author\u2019s toxic or absent father. 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All That\u2019s Unseen: An Appalachian Memoir by Emilee Hackney"},"content":{"rendered":"<p class=\"headline\">Reviewed by Nan J. Bauer<\/p><p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-68858\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/5d0e4677-84d3-49be-83af-f0b1f5ca13a8.png\" alt=\"cover of All That\u2019s Unseen: An Appalachian Memoir by Emilee Hackney; lower third of book is a photograph with the top cut off\" width=\"400\" height=\"600\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/5d0e4677-84d3-49be-83af-f0b1f5ca13a8.png 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/5d0e4677-84d3-49be-83af-f0b1f5ca13a8-200x300.png 200w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/5d0e4677-84d3-49be-83af-f0b1f5ca13a8-100x150.png 100w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/5d0e4677-84d3-49be-83af-f0b1f5ca13a8-560x840.png 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/5d0e4677-84d3-49be-83af-f0b1f5ca13a8-260x390.png 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/5d0e4677-84d3-49be-83af-f0b1f5ca13a8-160x240.png 160w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/>Emilee Hackney never refers to herself, or anyone she grew up with, as a hillbilly.<\/p>\n<p>That assessment comes courtesy of her Ivy League peers and teachers. They lob it at her as soon as they hear her accent; \u201cI\u2019ve never heard <i>stairs<\/i> pronounced with two syllables before!\u201d says one with the glee of discovering a real-life gnome. Nearly everyone she meets in Cambridge views Hackney\u2019s home of Appalachia\u2014she pronounces it with short a\u2019s, as in \u201clatch\u201d\u2014as a coal-dust-covered, Trump-loving, opioid-addicted, cousin-marrying monolith.<\/p>\n<p>By the time the insults show up, I was bristling almost as much as Hackney. I\u2019d spent the first half of her just-released memoir <i><a href=\"https:\/\/bookshop.org\/a\/4094\/9780593831403\">All That\u2019s Unseen: An Appalachian Memoir<\/a><\/i><i> <\/i>(Penguin Press; July 2026) seeing the very real place and people that nurtured and formed her.<\/p>\n<p>This is, thankfully, not an elegy, homage, or gooey recounting of a childhood and adolescence in coal country; it\u2019s a sincere, sharply observed portrait, equal parts blistering and tender. We sit inside the Pentecostal church where Hackney grew up, Deliverance Christian, a red T forming the cross. Barely more than a toddler, she feels herself begin to melt under the weight of \u201ca mysterious and all-consuming force: powerful enough to drive me to the ground, and heavy enough to hold me there.\u201d<\/p>\n<p>The wailing and miracles inside the sanctuary supplement a childhood grounded in fantastic stories: grandparents who whisper magic words and swear they\u2019ve seen snakes swallow birds whole, a father who faces off with a bear and kills him with a silver bullet. Yet Hackney resists making her childhood any kind of idyll. When her father worked as a coal miner, he and her mother regularly raided not just Hackney\u2019s piggy bank but her younger brother\u2019s to pay the rent. Financial salvation arrived via a job as a coal mine manager; suddenly, her family regularly drove miles to stock up at TJ Maxx and Walmart, only to get side-eye at school. \u201cThe shame of being poor was nothing like the shame of being rich.\u201d<\/p>\n<p>And then there is the shame heaped on hormonal adolescents by Deliverance Christian, where, as a fourteen-year-old, she meets Sam, a dreamy senior who intends to marry her as soon as she turns 16. Sam plans to become a minister\u2014though throughout their \u201cengagement,\u201d he spends his time, not at any type of seminary, but slacking off at his Mexican restaurant job. Any prodding to contribute to a nest egg for their upcoming nuptials results in a reprimand that Hackney is simply not trusting God. He will provide. Where is her faith?<\/p>\n<p>Watching Hackney continue to insist on the relationship is somewhat akin to being stuck in a movie in which someone continually returns to their demon-possessed house; a couple of times, I caught myself murmuring, <i>Emilee, NO<\/i>. Sam gaslights, nags, whines, and talks her into participating in Domestic Discipline, basically a church-sanctioned type of BDSM. And while Hackney\u2019s parents are always against the relationship, she listens instead to church leaders, who continually bring up a verse in St. Paul about wives submitting to their husbands, and reinforce how Sam is singled out for great things by the Lord.<\/p>\n<p>Eventually, seeing things that are not great at all, that Sam would prefer to keep unseen, jolts her awake. It\u2019s the beginning of a spiritual reckoning that Hackney traces unflinchingly, a slow, fraught process that truly begins once she transfers to the Ivy League after two years at community college. \u201cI was going to make something of myself, and be somebody, and be healed, and be happy.\u201d<\/p>\n<p>And it\u2019s there that she encounters non-stop thoughtlessness and lack of acceptance so profound, they threaten to drive her from school. Yet at home on break, she finds no solace. She\u2019s lost her faith in Pentecostal big-G God, a precarious position in a place where people frequently launch into stories in coffee shops and the aisles at Walmart, exclaiming over how the big guy is working in their lives. Every single person she meets knows she\u2019s the girl who got into that fancy Yankee school and assumes that she must now believe she\u2019s All That. It\u2019s a funhouse mirror of her school experience; their comments, spoken and silent, reaffirm the stereotypes they hold of community ex-pats who head north and get a little too big for their britches.<\/p>\n<p>Feeling spiritually and culturally homeless, Hackney turns to joyless sex, drinking binges, and antidepressants. It\u2019s only when she\u2019s encouraged to write by three influential teachers\u2014one of whom is Michael Pollan\u2014that Hackney begins, finally, to navigate the vast and varied reality beneath the unforgiving and ugly surface perceptions. An essay on tomatoes opens her eyes to the whole world of Appalachia that no one sees, that needs to be seen.<\/p>\n<p>Always, there is balance. She counters a memory of her maternal grandfather as a kind, silent, sober man with her mother\u2019s experience of the same man before he quit booze: a lugubrious drunk who railed against the \u201cupper echelon\u201d that was keeping him down. Visiting a cemetery, she notes how \u201c[t]heir headstones were scattered among rainbow polyester bouquets of an open-armed Jesus, whose pale stone skin was veiled with mold.\u201d<\/p>\n<p>Hackney\u2019s age is not listed, but context clues put her under 30; the energy of youth burst out of the book. Yes, it\u2019s sprawling. Yes, her path is pretty messy. What a relief that she doesn\u2019t try to make it neat, to impart lessons, but instead generously invites us to explore the map of her life right by her side. By the end, like her, I can\u2019t wait to see where she goes next.<\/p>\n<div class=\"su-box su-box-style-default\" id=\"\" style=\"border-color:#127680;border-radius:3px;max-width:none\"><div class=\"su-box-title\" style=\"background-color:#45a9b3;color:#FFFFFF;border-top-left-radius:1px;border-top-right-radius:1px\">Meet the Contributor<\/div><div class=\"su-box-content su-u-clearfix su-u-trim\" style=\"border-bottom-left-radius:1px;border-bottom-right-radius:1px\">\n<img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-65328\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2025\/08\/image2-683x1024.jpg\" alt=\"Nan Bauer\" width=\"266\" height=\"400\" \/>Nan Bauer is a writer currently based in Southeast Michigan, and is completing a memoir on life on the front lines of AIDS during the late 80s in New York and Key West. Her writing has appeared in <i>The New York <\/i>Times and here at Hippocampus Magazine; her Substack,<i><span style=\"color: #444444;\"><span style=\"background-color: #ffffff;\">Oh Yes I Did,<\/span><\/span><\/i> is updated weekly. Check out her Look of the Week and Book of the Week reels: @nanjbauer.<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Emilee Hackney never refers to herself, or anyone she grew up with, as a hillbilly.<\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"https:\/\/www.hippocampusmagazine.com\/2026\/09\/review-all-thats-unseen-an-appalachian-memoir-by-emilee-hackney\/\">Read full story \u2192<\/a><\/p>\n","protected":false},"author":1,"featured_media":68858,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false,"gopublish_seo_title":"","gopublish_seo_description":""},"categories":[91,14,8,2087],"tags":[2061],"class_list":["post-68859","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-issues","category-memoir-reviews","category-september-october-2026","tag-nan-j-bauer"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.1.1 - aioseo.com -->\n\t<meta name=\"description\" content=\"&quot;Emilee Hackney never refers to herself, or anyone she grew up with, as a hillbilly.&quot; -- from Nan J. 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Groundbreaking: My Unmapped Path as an Academic, Mother, and Gardener by Clare Cooper Marcus"},"content":{"rendered":"<p class=\"headline\">Reviewed by Audrey Shipp<\/p><p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-68855\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/a43e8e35-ea5c-47ed-9dd7-fe1a445cce87.png\" alt=\"cover of Groundbreaking: My Unmapped Path as an Academic, Mother, and Gardener by Clare Cooper Marcus\" width=\"400\" height=\"600\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/a43e8e35-ea5c-47ed-9dd7-fe1a445cce87.png 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/a43e8e35-ea5c-47ed-9dd7-fe1a445cce87-200x300.png 200w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/a43e8e35-ea5c-47ed-9dd7-fe1a445cce87-100x150.png 100w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/a43e8e35-ea5c-47ed-9dd7-fe1a445cce87-560x840.png 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/a43e8e35-ea5c-47ed-9dd7-fe1a445cce87-260x390.png 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/a43e8e35-ea5c-47ed-9dd7-fe1a445cce87-160x240.png 160w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/>In the posthumously published autobiographical memoir <i><a href=\"https:\/\/bookshop.org\/a\/4094\/9781613322918\">Groundbreaking: My Unmapped Path as an Academic, Mother, and Gardener<\/a><\/i><i> <\/i>(New Village Press; May 2026) by landscape architect and educator Clare Cooper Marcus, the blasting of the ground caused by bombs in World War II spurs the breaking of ground to grow food and other plants.<\/p>\n<p>Clare Cooper Marcus is five years old in 1940 when Nazi Germany initiates the Blitz and begins targeting bombs on her birth city of London, England. The war propels her father to abandon his job at Rothschild Bank, volunteer for the army, and leave his wife, young Clare, and her brother behind. The banker Rothschild, in turn, invites mom and the kids and other families to live on his Ascott estate in Buckinghamshire, outside central London.<\/p>\n<p>War is upheaval, chaos, and death. Not only is the father figure away in Italy (where he is unfaithful to his wife), but the family left behind must endure the daily struggles of violent confrontation. Clare, her mom, and her brother take cover during bomb raids, bear witness to convoys and tanks passing by, and view soldiers training on the grounds at Ascott. War is deprivation. Thus, the blackouts and the rationing of necessities, including food. Due to food shortages, Rothschild orders the people sheltering on his estate to grow produce. The child Clare then realizes her playground in verdant natural surroundings is not only an inspirational and relaxing oasis, but also a source of food. The Ascott gardens are pivotal in Clare\u2019s development of a love for nature and gardens. And by the time the family leaves in 1945, her admiration is boundless.<\/p>\n<p>As a young adult, nature inspires Clare to study Cultural and Historical Geography at University College London. Passionate about travel and foreign opportunities, she accepts a teaching assistantship at the University of Nebraska and visits the United States for the first time. A brief return to England is followed by an assistantship at UC Berkeley\u2014the city that will become her home base for the rest of her lifetime.<\/p>\n<p>The year is 1961, and young people in the city who are part of a burgeoning counterculture are adamant about the Vietnam and Free-Speech movements. A newly arrived Clare focuses not only on her assistantship; she also pursues a second master\u2019s in Berkeley\u2019s Program in City and Regional Planning. Years later, as a professor, she will give an assignment to her students that foreshadows the creation of her own <i>Groundbreaking <\/i>memoir\u2014she has them write an environmental autobiography.<\/p>\n<p>Devotion to family is as prevalent in this memoir as a love for nature. And far away from her close relatives in England, family life blossoms when Clare begins a relationship with Stephen, one of her students who is a few years younger than her. She discloses their unplanned pregnancy to her partner who is reluctant to commit to the demands of fatherhood. Once their first child is born, he is a happy father for a while. And in a surprising turn of events, Stephen makes a revelation following the birth of their second child that brings their marriage to a screeching halt. Following this familial crisis, Clare is left with the Berkeley home they bought together and its huge backyard beckoning her to garden.<\/p>\n<p>The author shares the richness of her gardening journey by arranging this text as a hybrid memoir. The book has twenty-eight chapters, and beginning with Chapter Four, she includes a reflection on gardening after each narrative chapter. These \u201cGarden Stories\u201d weave through the memoir like a green vine offering a wealth of thoughts on the Berkeley garden and pulling the reader through the narrative. They are distinguished not only by their structural separation from the chapters making up the narrative arc of the autobiography, but by their italic font as well.<\/p>\n<p>Readers will find many aspects of this book memorable and touching. Something that stands out to me is how grounded the writer is in her identity. For example, when she studies during her youth at University College London, she takes courses on the Anglo-Saxons, Vikings, Romans, and Norman-French. And once she moves to the U.S., she is constantly nourishing her connection to her homeland. In 1970, she returns to England to hike for many days and reconnect with her roots. In 1983, she does a sabbatical in Scotland and takes her two kids along with her. After retirement, she\u2019s off to Scotland again for an entire year. And following the death of her eldest brother, she returns to England determined to walk the length of the entire country. She is equally conscientious in Berkeley where she acknowledges that she is living on land stolen from Indigenous tribes. In other words, her deep respect for and connection to the earth give her a remarkable sense of authenticity.<\/p>\n<p>Reflecting on the different roles she played during her life, she acknowledges her multiplicity as a woman:<\/p>\n<p style=\"padding-left: 40px;\"><i>\u201cThere is childhood-me finding solace in nature. There is me in my twenties coming to America. There is young academic-me, starting a teaching career. There is the wife of Stephen, mother of Cooper and Lucy. But the one I recognize most is gardener-me because she connects us all. She has always been there and always will be. She is me, from childhood in England to octogenarian years in Berkeley. Composting takes all the parts, mixes them together, and over time, creates a medium for new, healthy growth. The women blend and merge into someone I now recognize.\u201d<\/i><\/p>\n<p>Even after her retirement from UC Berkeley, Clare will continue groundbreaking. Despite multiple serious health scares, and possibly inspired by her many hospital stays, she helps plan restorative garden designs for hospitals. And she visits California prisons and assists in the design of their recreational gardens.<\/p>\n<p>Deceased in January of 2026, Clare Cooper Marcus was forever grounded in family, profession, and her English identity; she remained a green card holder until 2008. It was her determination to acknowledge a rotation in the trajectory of U.S. political history that prompted her to become a citizen so she could, as she states, vote for the Illinois U.S. Senator who would become President.<\/p>\n<div class=\"su-box su-box-style-default\" id=\"\" style=\"border-color:#127680;border-radius:3px;max-width:none\"><div class=\"su-box-title\" style=\"background-color:#45a9b3;color:#FFFFFF;border-top-left-radius:1px;border-top-right-radius:1px\">Meet the Contributor<\/div><div class=\"su-box-content su-u-clearfix su-u-trim\" style=\"border-bottom-left-radius:1px;border-bottom-right-radius:1px\">\n<p><span style=\"color: #2d3b45;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-68856\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/4cbe8b3c-6f73-421b-843a-60b66383a458-683x1024.jpeg\" alt=\"audrey shipp\" width=\"300\" height=\"450\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/4cbe8b3c-6f73-421b-843a-60b66383a458-683x1024.jpeg 683w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/4cbe8b3c-6f73-421b-843a-60b66383a458-200x300.jpeg 200w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/4cbe8b3c-6f73-421b-843a-60b66383a458-100x150.jpeg 100w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/4cbe8b3c-6f73-421b-843a-60b66383a458-768x1152.jpeg 768w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/4cbe8b3c-6f73-421b-843a-60b66383a458-1024x1536.jpeg 1024w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/4cbe8b3c-6f73-421b-843a-60b66383a458-560x840.jpeg 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/4cbe8b3c-6f73-421b-843a-60b66383a458-260x390.jpeg 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/4cbe8b3c-6f73-421b-843a-60b66383a458-160x240.jpeg 160w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/4cbe8b3c-6f73-421b-843a-60b66383a458-600x900.jpeg 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/4cbe8b3c-6f73-421b-843a-60b66383a458.jpeg 1365w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/>Audrey Shipp is an AWP Writer to Writer mentee and a PEN America Emerging Voices Workshop LA honoree whose hybrid memoir <\/span><i><span style=\"color: #2d3b45;\">When I Was a Bilingual Writer Birthed by Black L.A.<\/span><\/i><span style=\"color: #2d3b45;\"> will be published by Unsolicited Press in 2027. She is the author of the poetry collection <\/span><i><span style=\"color: #2d3b45;\">Poetry, Poes<\/span><\/i><i><span style=\"color: #2d3b45;\">\u00eda, Po\u00e9sie in AfroDiaspora. <\/span><\/i><span style=\"color: #2d3b45;\">Her writing has been published in various literary journals including <\/span><i><span style=\"color: #2d3b45;\">Good River Review, Brittle Paper, Litro USA, A Gathering Together, <\/span><\/i><span style=\"color: #2d3b45;\">and<\/span><i><span style=\"color: #2d3b45;\"> Am\u00e9ricas Review. <\/span><\/i><span style=\"color: #2d3b45;\">She has English degrees from both UCLA and Cal State LA. Her professional life has been dedicated to teaching English and ESL in public high schools in Los Angeles. Find her at <\/span><a href=\"https:\/\/audreyshipp.net\/\">audreyshipp.net.<\/a><\/p>\n<p>&nbsp;<\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Clare Cooper Marcus is five years old in 1940 when Nazi Germany initiates the Blitz&#8230;.<\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"https:\/\/www.hippocampusmagazine.com\/2026\/09\/review-groundbreaking-my-unmapped-path-as-an-academic-mother-and-gardener-by-clare-cooper-marcus\/\">Read full story \u2192<\/a><\/p>\n","protected":false},"author":1,"featured_media":68855,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false,"gopublish_seo_title":"","gopublish_seo_description":""},"categories":[91,14,8,2087],"tags":[2101],"class_list":["post-68857","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-issues","category-memoir-reviews","category-september-october-2026","tag-audrey-shipp"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- 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01:22:30","updated":"2026-09-11 03:51:47","seo_analyzer_scan_date":null,"focus_keyword":"Clare Cooper Marcus","additional_keywords":null,"truseo_locale":null},"aioseo_breadcrumb":"<div class=\"aioseo-breadcrumbs\"><span class=\"aioseo-breadcrumb\">\n\t\t\t<a href=\"https:\/\/www.hippocampusmagazine.com\" title=\"Home\">Home<\/a>\n\t\t<\/span><span class=\"aioseo-breadcrumb-separator\">&raquo;<\/span><span class=\"aioseo-breadcrumb\">\n\t\t\t<a href=\"https:\/\/www.hippocampusmagazine.com\/category\/articles\/\" title=\"Articles\">Articles<\/a>\n\t\t<\/span><span class=\"aioseo-breadcrumb-separator\">&raquo;<\/span><span class=\"aioseo-breadcrumb\">\n\t\t\t<a href=\"https:\/\/www.hippocampusmagazine.com\/category\/articles\/memoir-reviews\/\" title=\"Reviews\">Reviews<\/a>\n\t\t<\/span><span class=\"aioseo-breadcrumb-separator\">&raquo;<\/span><span class=\"aioseo-breadcrumb\">\n\t\t\tREVIEW: Groundbreaking: My Unmapped Path as an Academic, Mother, and Gardener by Clare Cooper 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Legs Heart Minds: Loss and Its Remedies by Chris Jones"},"content":{"rendered":"<p class=\"headline\">Reviewed by Linda Lowen<\/p><p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-68853\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/85f01019-2047-4316-9f98-fb60dec47653.png\" alt=\"cover of Legs Heart Minds: Loss and Its Remedies by Chris Jones; image of person walking away from camera carrying bag of soccer balls\" width=\"396\" height=\"600\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/85f01019-2047-4316-9f98-fb60dec47653.png 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/85f01019-2047-4316-9f98-fb60dec47653-198x300.png 198w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/85f01019-2047-4316-9f98-fb60dec47653-99x150.png 99w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/85f01019-2047-4316-9f98-fb60dec47653-560x847.png 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/85f01019-2047-4316-9f98-fb60dec47653-260x393.png 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/85f01019-2047-4316-9f98-fb60dec47653-160x242.png 160w\" sizes=\"auto, (max-width: 396px) 100vw, 396px\" \/>Chris Jones knows how to play the game. In his memoir <i><a href=\"https:\/\/bookshop.org\/a\/4094\/9780593730935\">Legs Hearts Minds: Loss and Its Remedies<\/a><\/i> (Random House; June 2026), the Canadian author and longtime sports journalist kicks off with an electric moment: the discovery of his wife\u2019s infidelity.<\/p>\n<p>How this impacts his family, children, career, and sense of self is only half the story. The other half is a paean to soccer, specifically Burnley F.C., a professional football club in Lancashire, England, which plays its home games at Turf Moor, a stadium that\u2014he later reveals\u2014is part of his immigrant English\/Welsh family lore.<\/p>\n<p>An award-winning magazine writer with bylines in <i>The New York Times Magazine<\/i>, <i>The Wall Street Journal Magazine<\/i>, <i>Esquire<\/i>, ESPN, CBC, and other outlets, Jones uses the up-again, down-again team as a metaphor for his own rollercoaster fortunes.<\/p>\n<p>\u201cEh,\u201d you may be thinking, \u201cI\u2019m not interested in soccer.\u201d Maybe not, but each of us has an activity or pursuit that offers release and solace\u2014an immersive practice that, in times of duress, is a lifeline of salvation. When we\u2019re wandering and lost, that passion becomes our directional North Star\u2014a truth strikingly illustrated through Jones\u2019s immersive recollections.<\/p>\n<p>In one poignant scene from a childhood visit to his maternal relatives, Jones recreates the moment in which rooting for the underdog football club became more than just an exercise in fandom.<\/p>\n<p>\u201cLate in the summer of 1985, when I was eleven years old, I graduated in my grandfather\u2019s esteem&#8230;he took me to Turf Moor to see Burnley for the first time. I don\u2019t remember anything about the game&#8230;only the feeling I had, being there with my grandfather. I felt anointed.\u201d Jones spent his pocket money on \u201ca scarf, claret with Burnley in sky blue,\u201d and wore it proudly despite the team\u2019s loss that day. As he left the stadium, his grandfather fell into conversation with a stranger who \u201clooked down at me and my new scarf and smiled. \u2018Don\u2019t worry, son,\u2019 he said. \u2018We\u2019ll be back up soon.\u2019 I smiled shyly. I had only a vague idea of what he meant. I know better now.\u201d<\/p>\n<p>Thirty-one years later, in the summer of 2016, Jones returned home from a Paris-based assignment covering the European football championships in France. Just before the trip, though \u201cI\u2019d left for work a thousand times before&#8230;that goodbye felt different. Our marriage was in a bad place, snared in a tangle of resentments,\u201d his wife unhappy at how little time he spent with their eight- and ten-year-old sons. Jet lagged and unable to sleep, he headed to the leather chair in the den where \u201cI decided to make use of my wakefulness. Amy\u2019s MacBook was on the coffee table in front of me&#8230;I figured I\u2019d do a bit of research online. I picked up Amy\u2019s laptop, dropped back into my leather chair&#8230;and opened the screen.\u201d<\/p>\n<p>There he witnessed Amy texting Brad, a friend of theirs, also married with two kids. Gleaning that they were in a longtime affair, he confronted his wife. Mindful of his sons sleeping nearby, \u201cI did not vent the rage that coursed through me. There were only whispered recriminations in the dark. My marriage ended with a hiss.\u201d<\/p>\n<p>With Brad, however, \u201cMy desire for violence was all-consuming. I contemplated going over to his house with a crowbar&#8230;Then I remembered Charley and Sammy&#8230;and realized that enough of their universe was about to change without their father going to jail, too. I stayed&#8230;not out of any self-restraint on my part, or anything like nobility. My sleeping boys kept me&#8230;there.\u201d<\/p>\n<p>The book\u2019s timeline moves forward with occasional flashbacks to revelatory moments that expose a thread of explosive anger\u2014the ugly running stitch throughout his life. Recognizing that \u201cfor years&#8230;I\u2019d chosen anger over sadness because anger gave me an enemy that wasn\u2019t me and my faults,\u201d he seeks therapy to resolve a legacy of sadness passed down from his mother<\/p>\n<p>Jones writes with an unshielded vulnerability, especially in moments where his actions skirt the edge of dangerous outcomes. He\u2019s frank about his depression, suicide ideation, even his occasional inclination toward violence\u2014and he owns his behaviors: \u201cWriting, like football, can be a healing exercise. It can also be wounding&#8230;especially for someone who must atone for as many mistakes as I\u2019ve made.\u201d<\/p>\n<p>The book\u2019s distinctive title comes from Burnley manager Sean Dyche\u2019s \u201cneat encapsulation of the three ways an underdog can win a football game,\u201d Jones writes. The guidance \u201ccaught me in a different way&#8230;It was about you and what you can do for yourself.\u201d<\/p>\n<p>The book\u2019s driving appeal is simple: it\u2019s the story of an individual trying hard to be better.<\/p>\n<p>Beyond his clear confessional voice, Jones\u2019s authorial choices expand what could have been a niche memoir into one of wider general interest. As a magazine writer used to pitching ideas, he understands the hard truth of creative nonfiction: publishers choose stories they believe will sell, a fact that guides editorial decision-making for both periodicals and full-length books.<\/p>\n<p>Non-celebrity, non-influencer, and\/or lesser-known authors who land publishing contracts for their memoirs understand the game of commercial viability. Typically, their manuscripts:<\/p>\n<ul>\n<li>Demonstrate their expertise<\/li>\n<li>Center a universal theme<\/li>\n<li>Focus on an event or time period that encapsulates lifelong struggles<\/li>\n<li>Tie their story to current issues or upcoming headline events.<\/li>\n<li>Reveal mistakes and vulnerability on the page<\/li>\n<\/ul>\n<p>Jones positioned <i>Legs Hearts Minds<\/i> to optimize its success upon release by checking off all the above.<\/p>\n<p>His <b>expertise<\/b> stretches beyond sports journalism; he\u2019s published three previous nonfiction titles on wide-ranging subjects.<\/p>\n<p>Though infidelity is the inciting incident, the <b>universal themes<\/b> touch on mental health issues including unresolved anger, depression, and suicide.<\/p>\n<p>The span of the narrative <b>focus<\/b> is a ten-year period during which\u2014as a father, husband, and son\u2014he learns to handle his lifelong struggle with rage and sadness.<\/p>\n<p>The book\u2019s release coincides with a once-in-a-lifetime <b>headline event:<\/b> the US hosting the 2026 World Cup. With the book publishing on June 2, 2026 in the US and June 11 in the UK, just before the first US World Cup game on June 12, 2026 in Los Angeles, it benefited from media exposure far beyond that which is typically given to memoir; coverage included Kirkus Reviews\u2019 <a href=\"https:\/\/www.kirkusreviews.com\/news-and-features\/articles\/5-books-to-get-you-in-the-world-cup-spirit\/\">\u201c5 Books to Get You in the World Cup Spirit\u201d<\/a> and <a href=\"https:\/\/www.theatlantic.com\/family\/2026\/05\/divorce-soccer-infidelity-chris-jones\/687232\/\">an excerpt in The Atlantic<\/a>.<\/p>\n<p>And Jones\u2019s full-bore commitment to <b>reveal<\/b> himself and his family\u2014which has him offering an apology in the Acknowledgments\u2014corrects his English mother\u2019s belief that \u201ctrauma was something you swallowed. You kept it inside and it made you stronger\u201d; instead, he ends with a reminder to his sons \u201cthat secrets are poison&#8230;grief lessens only when it\u2019s shared,\u201d and his love for them is absolute.<\/p>\n<p>This isn\u2019t a narrative in the cheerful mold of Apple TV\u2019s belief-fueled <i>Ted Lasso<\/i>; in fact, \u201cA Note from the Publisher\u201d precedes the text with a trigger warning of \u201cfrank discussions of suicide\u201d and a brief list of resources.<\/p>\n<p>Instead, it\u2019s real life with incomplete moments, raw edges, rage contained and mostly resolved. It\u2019s the years-long recovery of a man who, on X (formerly Twitter) under the handle @EnswellJones, makes clear his intent in a pinned post: \u201cI used to tell stories here to try to help people feel better. I\u2019ve written a book, and I hope it does the same.\u201d<\/p>\n<p><i>Legs Hearts Minds<\/i> is an affecting memoir that speaks openly of pain, grief, regret\u2014and the satisfaction of each small, hard-earned win toward recovery. In exposing the best and worst of himself and not holding back on either, the author\u2019s losses are the reader\u2019s gains.<\/p>\n<div class=\"su-box su-box-style-default\" id=\"\" style=\"border-color:#127680;border-radius:3px;max-width:none\"><div class=\"su-box-title\" style=\"background-color:#45a9b3;color:#FFFFFF;border-top-left-radius:1px;border-top-right-radius:1px\">Meet the Contributor<\/div><div class=\"su-box-content su-u-clearfix su-u-trim\" style=\"border-bottom-left-radius:1px;border-bottom-right-radius:1px\">\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-68008\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/07\/image1-266x300.jpg\" alt=\"linda lowen\" width=\"266\" height=\"300\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/07\/image1-266x300.jpg 266w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/07\/image1-909x1024.jpg 909w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/07\/image1-133x150.jpg 133w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/07\/image1-768x865.jpg 768w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/07\/image1-1364x1536.jpg 1364w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/07\/image1-560x631.jpg 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/07\/image1-260x293.jpg 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/07\/image1-160x180.jpg 160w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/07\/image1-600x676.jpg 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/07\/image1.jpg 1775w\" sizes=\"auto, (max-width: 266px) 100vw, 266px\" \/>Linda Lowen is a longtime book reviewer for <i>Publishers Weekly<\/i> where she also writes <a href=\"https:\/\/www.publishersweekly.com\/pw\/by-topic\/new-titles\/adult-announcements\/article\/100420-books-for-understanding-america-at-250.html\">feature articles<\/a> and <a href=\"https:\/\/www.publishersweekly.com\/pw\/by-topic\/authors\/interviews\/article\/93907-what-we-hold-onto-pw-talks-with-sloane-crosley.html\">author Q&amp;As<\/a>. She\u2019s compiled nonfiction \u2018best of\u2019 book roundups for <i><a href=\"https:\/\/www.rd.com\/list\/best-nonfiction-books\/\">Reader\u2019s Digest<\/a><\/i>, contributed craft articles to <i><a href=\"https:\/\/www.writermag.com\/get-published\/the-publishing-industry\/reading-literary-journal\/\">The Writer<\/a><\/i> magazine, and she reviews theater in upstate New York. Her creative nonfiction has appeared in various outlets including the Sunday <i>New York Times<\/i> and the anthology <i>Tiny Love Stories: True Tales of Love in 100 Words or Less<\/i>&lt; (Artisan, 2020).<\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Jones writes with an unshielded vulnerability, especially in moments where his actions skirt the edge of dangerous outcomes.<\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"https:\/\/www.hippocampusmagazine.com\/2026\/09\/review-legs-heart-minds-loss-and-its-remedies-by-chris-jones\/\">Read full story \u2192<\/a><\/p>\n","protected":false},"author":1,"featured_media":68853,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false,"gopublish_seo_title":"","gopublish_seo_description":""},"categories":[91,14,8,2087],"tags":[2083],"class_list":["post-68854","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-issues","category-memoir-reviews","category-september-october-2026","tag-linda-lowen"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- 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Frivolity: A Defense by Jehanne Dubrow"},"content":{"rendered":"<p class=\"headline\">Reviewed by Renee K. Nicholson<\/p><p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-68851\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ed7fe3fb-db50-4a7d-991f-b4ab76f18e77.png\" alt=\"REVIEW: Frivolity: A Defense by Jehanne Dubrow; several magenta-ish circles in varying sizes\" width=\"388\" height=\"600\" srcset=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ed7fe3fb-db50-4a7d-991f-b4ab76f18e77.png 600w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ed7fe3fb-db50-4a7d-991f-b4ab76f18e77-194x300.png 194w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ed7fe3fb-db50-4a7d-991f-b4ab76f18e77-97x150.png 97w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ed7fe3fb-db50-4a7d-991f-b4ab76f18e77-560x866.png 560w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ed7fe3fb-db50-4a7d-991f-b4ab76f18e77-260x402.png 260w, http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/09\/ed7fe3fb-db50-4a7d-991f-b4ab76f18e77-160x247.png 160w\" sizes=\"auto, (max-width: 388px) 100vw, 388px\" \/>During the COVID-19 pandemic, Jehanne Dubrow finds herself on a quest. While some of us traded sourdough starters, she dedicated herself to the art of frivolous observation. Hence, <i><a href=\"https:\/\/bookshop.org\/a\/4094\/9780231216159\">Frivolity: A Defense<\/a><\/i><i> <\/i>(Columbia University Press; August 2026)<i>. <\/i><\/p>\n<p>She begins with \u201cThe Year of Perfect Skin,\u201d where Dubrow writes, \u201cIn the time of our global pandemic, I began to watch myself.\u201d After seeing her face reflected back to her on countless zoom calls, Dubrow began purchasing the delicate vials and elegant glass jars that would bring her that promise of a skin-perfect visage. And while I could laugh or even scoff at such superficiality, my own lockdown obsession became champagne tasting, after watching a BBC interview with Judi Dench in which she attributed her well-being to daily walks in the woods followed by a glass of the bubbly. So, to say I recognized a bit of myself in Dubrow\u2019s eccentricity, may not be the epitome of elegant thinking, but makes up for it in honesty.<\/p>\n<p>Though most of us are eager to distance ourselves from lockdown, perhaps, as a collective, we\u2019ve started to metabolize the lessons of our experience. As such, the literature emerging from the pandemic is only in its adolescence, and when we look at its creative nonfiction offerings, it\u2019s easy to separate this body of work into two general categories: those that are about the immediate experience of COVID, and those that aren\u2019t about pandemic life itself but are manifested because of it. Dubrow\u2019s <i>Frivolity: A Defense<\/i> is an example of the latter, her interest in the frivolous a consequence of the lockdown, an inquiry that branches in many directions.<\/p>\n<p>And yet, <i>Frivolity <\/i>defies easy classification. As an author, Dubrow reminds me a bit of the musical artist, Prince, who, in any one showing\u2014album, concert, any other event\u2014might seamlessly integrate musical styles, looks, and performances. Dubrow\u2019s book is a similar shapeshifter. It can be read as lyric essay, personal essay, cultural criticism, listicle, manifesto, book-length essay, academic treatise, and so on. If to be hybrid is to combine forms, then <i>Frivolity<\/i> is hybridity in extremis, and what ultimately emerges is a book whose form is as flexible and rule breaking as its premise, this notion that frivolity itself needs defending.<\/p>\n<p>In fact, <i>Frivolity<\/i> makes an elegant case for its subject, if also a highly associative one. Organized in numbered sections of varying lengths, Dubrow negotiates with her reader the drive to be frivolous and the need for our frivolities. <i>Frivolity <\/i>never feels frivolous itself, however. In her prose, Dubrow tethers the frivolous to the serious, first acknowledging frivolity\u2019s core weakness, our society\u2019s central premise that \u201cFrivolity is always intended as an insult.\u201d She unpacks the nature of the insult, identifying the gendered nature of frivolity\u2014how, culturally, we paint it as female\u2014noting, too, that the frivolous is often also tied to queerness and skin color. The frivolous, Dubrow postulates, is othered.<\/p>\n<p>Dubrow seats her insights within the writings and theory of other artists, writers, academics, and thinkers. In talking about the gendered nature of frivolity, she references art critic and writer John Berger\u2019s <i>Ways of Seeing<\/i>, noting his observations of the unkind ways that women are viewed while, she notes, \u201cMen\u2019s passions are taken seriously.\u201d Untangling our cultural and societal norms around the frivolous, Dubrow\u2019s verbal webbing is taut, which helps the reader to follow her associations and forge their own connections.<\/p>\n<p>There are critiques of frivolities, and in one she cites both the late-Renaissance French essayist Michel de Montaigne\u2019s \u201cOn Vanity,\u201d and literary scholar Sianne Ngai\u2019s <i>Our Aesthetic Categories.<\/i> In \u201cOn Vanity,\u201d Dubrow notes that Montaigne\u2019s writing in general has often been considered its own frivolity, and notes in this specific essay that his version of vanity is \u201cfalse or empty. Vanity is the fruitless.\u201d Then, Dubrow pushes Montaigne toward Ngai\u2019s more modern ideas to lament the frivolous as \u201cthe debris of late-stage capitalism . . . our worst impulse to possess.\u201d Having carefully constructed her argument, Dubrow then pivots to a critique of such a narrow view, dismantling the assertions she so painstakingly put together: \u201cPure frivolity is like a palate cleanser\u2014a small bowl of raspberry sorbet\u2014that we consume before returning to the next somber course of a meal.\u201d Dubrow often resists tidy resolutions, this being one of many examples.<\/p>\n<p>Dubrow\u2019s prose collects as much as it elucidates, and the sheer volume of people she quotes, George Eliot, Susan Sontag, Jericho Brown, Gertrude Stein, Emily Dickinson, Roy Lichtenstein, fashion critic Vanessa Friedman, queer film critic Juan Barquin, and many others, can feel staggering at times. Yet, if the volume feels exhaustive, the individual insights are precise and poised, even as the larger structure becomes an associative romp. I found myself wondering if Dubrow might shrug at a reviewer\u2019s attempt to classify her writing, the point of which seems to be to entice us into chasing her down rabbit holes so that we can see how the book is a subtle assault on the limitations of classification\u2014perhaps, how it, too, can be frivolous.<\/p>\n<p>As we follow her through numbered sections, Dubrow nearly tumbles into insight. \u201cMerriment,\u201d she writes, \u201cis a shield we use, so no one will notice our suffering and call out with sudden concern.\u201d And I cannot help but remember that this work came out of the COVID-19 pandemic, where many of us, unyoked from our regular routines, often searched for ways to divert ourselves from the chaos around us, with activities such as baking, gaming, binge-watching, and crafting, to name a few.<\/p>\n<p>\u201cFrivolity,\u201d Dubrow reminds us, \u201cis a disguise.\u201d This disguise can have its usefulness. To make her point, Dubrow calls upon Flaubert\u2019s Emma Bovary, a character who embraces the gendered notions of frivolity that Dubrow critiques in the earliest pages of the book. \u201cFor Emma, shopping is a release,\u201d Dubrow maintains. \u201cIt\u2019s an activity that approximates freedom and agency.\u201d Yet, frivolity can also be subversive, a point Dubrow nearly insists on in her observation of Jane Austen\u2019s heroines. \u201cIn Austen\u2019s world, beauty is useful,\u201d Dubrow asserts, and it is this usefulness that has kept Austen relevant for hundreds of years. Dubrow artfully catalogues Austen\u2019s leading women to make this point, that their marriage prospects or lack thereof, which is to say their life prospects, hinge on the useful tool that beauty provides or withholds. That is the essential pleasure in reading Jane Austen, Dubrow argues.<\/p>\n<p>For us, one of the pleasures of reading Dubrow is in witnessing <i>Frivolity<\/i>\u2019s accruing momentum, its intellectual and aesthetic velocity. I found myself lured into rereading passages, even as the current of her prose pulled me along with the volition of a page-turning novel. For instance, Dubrow\u2019s agile pivot from Austen to fashion is equally cerebral and personal. Dubrow announces that, emerging from lockdown, she has no idea what to wear. She writes, \u201cClothing has always been a way for me to announce myself,\u201d and while there may be something frivolous about that statement, it also speaks to our shared struggle to reintegrate into society that felt both familiar and foreign after months of isolation.<\/p>\n<p>In examining how clothing and appearance function, Dubrow centers her personal experience and insights among critical and aesthetic sensibilities. From subversive agency to useful beauty, to personal testimony, the lines blur, and we come to understand, as she has, the arbitrary nature of boundaries and definitions. Dubrow traces her frivolous fascination with clothing to her beloved Oma. Her grandmother\u2019s skill as a seamstress should have led to a brilliant career, but her dreams were stunted by antisemitism, and though clothes bring Dubrow delight, her depiction of Oma\u2019s plight is a stark reminder that frivolity itself is often hitched to the weighty and consequential. For all the twists and diversions, Dubrow\u2019s conclusions are sharply observed: \u201c\u2026the clothing put on our bodies tells others what we defy and what we believe. Clothing reveals our aspirations.\u201d<\/p>\n<p>Succinctly stating a takeaway feels like a fool\u2019s errand with this book, but the reading of it is not. In <i>Frivolity, <\/i>there are insights, large and small, and that is part of the delight. However, if one aspect of the book lingered with me long after reading, it\u2019s Dubrow\u2019s observation that, \u201cIdentifying frivolity is not as easy as dividing the world into the silly and the serious.\u201d Perhaps this was the lesson of my own lockdown, which prompted me to discover the pleasure of champagne, consumed not as a nepenthe to forget the perils of the pandemic but as a way to engage new aesthetics.<\/p>\n<p>Since pouring my first glass, I\u2019ve learned about grapes, a two-part fermentation process, artisan makers, and how each sip should reveal something of the earth where its grapes grew. It has spawned ideas about the nature of creativity, as well as the idea for a novel. What is more frivolous than bubbles cascading up, its <i>p\u00e9tillant<\/i>? Jehanne Dubrow might answer both nothing and everything, for the frivolous \u201casks us to examine what we find worthy and what we dismiss.\u201d That is, our own frivolity is the tool we use, whether we recognize it or not, to define ourselves.<\/p>\n<div class=\"su-box su-box-style-default\" id=\"\" style=\"border-color:#127680;border-radius:3px;max-width:none\"><div class=\"su-box-title\" style=\"background-color:#45a9b3;color:#FFFFFF;border-top-left-radius:1px;border-top-right-radius:1px\">Meet the Contributor<\/div><div class=\"su-box-content su-u-clearfix su-u-trim\" style=\"border-bottom-left-radius:1px;border-bottom-right-radius:1px\">\n<p><span style=\"color: #444444;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-67389\" src=\"http:\/\/www.hippocampusmagazine.com\/wp-content\/uploads\/2026\/06\/compressed-headshot-2026-2-1-renee-nicholson-scaled-e1781657096946.jpg\" alt=\"renee nicholson\" width=\"400\" height=\"374\" \/>Ren\u00e9e K. Nicholson is a writer, scholar, and narrative medicine leader whose work spans poetry, creative nonfiction, fiction, and academic articles. She is the author of six books, including <\/span><i><span style=\"color: #444444;\">Fierce and Delicate: Essays on Dance and Illness<\/span><\/i><span style=\"color: #444444;\">, <\/span><i><span style=\"color: #444444;\">Postscripts<\/span><\/i><span style=\"color: #444444;\">, and <\/span><i><span style=\"color: #444444;\">Feverdream<\/span><\/i><span style=\"color: #444444;\">. Her debut novel is forthcoming in 2027. Her writing has appeared in <\/span><i><span style=\"color: #444444;\">The Gettysburg Review<\/span><\/i><span style=\"color: #444444;\">, <\/span><i><span style=\"color: #444444;\">Bellevue Literary Review<\/span><\/i><span style=\"color: #444444;\">, <\/span><i><span style=\"color: #444444;\">AWP Writer\u2019s Chronicle<\/span><\/i><span style=\"color: #444444;\">, and <\/span><i><span style=\"color: #444444;\">Synapsis: A Health Humanities Journal<\/span><\/i><span style=\"color: #444444;\">, where she is a contributing writer. She currently serves as series editor for the Connective Tissue imprint at WVU Press and is a member of the National Book Critics Circle.<\/span><\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Frivolity makes an elegant case for its subject, if also a highly associative one.<\/p>\n<p class=\"more-link-p\"><a class=\"more-link\" href=\"https:\/\/www.hippocampusmagazine.com\/2026\/09\/review-frivolity-a-defense-by-jehanne-dubrow\/\">Read full story \u2192<\/a><\/p>\n","protected":false},"author":1,"featured_media":68851,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false,"gopublish_seo_title":"","gopublish_seo_description":""},"categories":[91,14,8,2087],"tags":[2041],"class_list":["post-68852","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-issues","category-memoir-reviews","category-september-october-2026","tag-renee-k-nicholson"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.1.1 - aioseo.com -->\n\t<meta name=\"description\" content=\"&quot; Frivolity makes an elegant case for its subject, if also a highly associative one.&quot; -- Renee K. 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