The first review of ALL THE LEAVINGS published yesterday, October 1, in the Jacksonville Review, written by Eileen Bobek, owner of Rebel Heart Books in Jacksonville, Oregon.
“In the attempting, it’s possible for an essayist to experiment with form and language in ways that are both natural and rigorous and Easter does that with skill and grace throughout her collection”—Eileen Bobek, Jacksonville Review
There’s been a lot going on in the lead up to ALL THE LEAVINGS making its debut into the world–only three weeks away!–so I’ve been busy and am finally posting the latest news.
First up: ALL THE LEAVINGS was listed on “What To Read When You’ve Made It Halfway Through 2021” at The Rumpus. Technically, this was posted back in June (see that’s how behind I am!), but there are still three months left of 2021, and ALL THE LEAVINGS hasn’t even arrived, so this news is evergreen as far as I’m concerned. It’s a phenomenal list of books by a diverse group of writers (seriously, check out this list!), and I’m honored to be included.
Secondly: My essay “Searching for Gwen” was published in the “Voices on Addiction” column of The Rumpus as an exclusive excerpt from both ALL THE LEAVINGS and A HARP IN THE STARS: AN ANTHOLOGY OF LYRIC ESSAYS, which debuts October 1 from University of Nebraska Press.
A HARP IN THE STARS: AN ANTHOLOGY OF LYRIC ESSAYS is edited by the wonderful writer, editor, and teacher Randon Billings Noble, author of the essay collection BE WITH ME ALWAYS: ESSAYS (UNP 2019). The anthology includes selections from 50 contributors of lyric essays in the forms of flash, segmented, braided, hermit crab, and craft. It also includes a short meditation by each contributor on the lyric essay.
Finally: A week after the publication of “Searching for Gwen,” my essay, “Kindness and Sorrow” was published in Brevity! This is especially thrilling because Brevity has been a dream publication for many years, and I’m so pleased they accepted this particular essay, which is close to my heart. Check out the entire Issue 68, which is full of incredible essays by writers such as Suzanne Roberts, Sarah Cedeño, Katerina Ivanov Prado, Ryan Van Meter, Sven Birkerts, and Alysia Li Ying Sawchyn, among others.
I’m a bit behind, seeing as this posted a few weeks ago, but better late than never, right?
By Laurie Easter
I had the pleasure of being interviewed about my forthcoming essay collection, All the Leavings, by author Sonja Livingston (The Virgin of Prince Street: Expeditions into Devotion) for her YouTube interview series “The Memoir Café.” Being live interviewed was challenging because, like many people, I always think of a better answer after the fact.
The question Sonja asked that I later obsessed over was “How did you decide what to write about and what not to write about?” The first part of this question was fairly easy to answer, but the second part—how I decide what not to write about—was the part that bothered me for days. Perhaps this is because what we leave out of our writing is not something generally discussed.
Initially, I said that if something doesn’t serve the narrative, then it gets cut (or possibly it was never…
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Pre-orders for All the Leavings are now open. Today is my birthday, and I’m hoping you’ll help me celebrate by pre-ordering a copy today. Publishing a book is a challenge, and once you have a contract, the work doesn’t end once the words are written; there is a lot required to get the word out to the public through publicity and marketing, especially for a debut author like me who has published with an independent university press.
There are several ways you can pre-order:
Order direct from the publisher, Oregon State University Press. Use promo code F21 for 20% off and free shipping. (expires 10/15/2021)
Order through Bookshop and support local independent bookstores.
Order through your favorite Indie bookseller. (If you need helping finding one close to you, IndieBound is a great place to search.) Or if you really want to be a cheerleader, ask the local bookstores in your area to stock it.
If finances are a challenge, request your local library pre-order the book.
And finally, there is always the empire called Amazon. I always encourage supporting independent and locally owned first and foremost, but for those of you with Amazon Prime, you will get free shipping.
Why pre-order you might ask?
Pre-orders are an important indicator as to how a book will succeed. They build excitement and buzz around a forthcoming book–especially for a debut author like me–and can influence the size of a print run the publisher places. Pre-orders also encourage booksellers to increase their initial order, which in turn helps promote a book’s success. Additionally, all pre-orders count towards a book’s first week of sales, which gives it a boost for that dream goal of landing on a best seller list.
Today, at 55 years old, I am a debut author. This has been a life-long dream and a hard-earned accomplishment. I have written what I believe is a heartfelt book, and I’m so excited to share it. If you haven’t already signed up for my email list to keep up to date on all my news, please do so by clicking on the “Contact” link of this website, where you will find the form to join. I appreciate all the encouragement and support. It’s time to celebrate! Let’s do this!
Posted on April 26, 2021
I am thrilled to announce my book ALL THE LEAVINGS, forthcoming from Oregon State University Press in Fall 2021, has a cover, and it’s gorgeous! I absolutely love it. It is designed by Erin Kirk New, the designer of several books on my shelf, including my dear friend Jericho Parms’ LOST WAX: ESSAYS. The cover photograph is by my daughter Lily Easter-Thomas and was taken locally here in Southern Oregon, which makes this cover all the more special to me. If you’d like to stay updated on the progress of my book launch, including when pre-orders are available, and all future book-related news and events, please go to the Contact tab in the search menu above and sign up for my email list.
My introduction to Janna Marlies Maron came when my essay “Something to Do with Baldness” was accepted for publication at Under the Gum Tree, a reader supported, full-size, quarterly literary arts magazine that specializes in creative nonfiction, with visual artwork and photo essays alongside feature essays and four regular department sections: Fork and Spoon, Soundtrack, 24 Frames a Second, and Stomping Ground. Janna is the editor and publisher of Under the Gum Tree, which she began five years ago with the publication of the first issue in August of 2011.
Under the Gum Tree was my first creative nonfiction print publication in the January 2014 issue, and I was ecstatic when I received my copy, which has gorgeous artwork by Jane Ryder. The magazine is printed on high quality paper with a thick card-stock cover and the pages have that slick coffee table-display feel. I couldn’t believe my essay was set in such a beautiful display. It was as if I had hit the jackpot. Later, I was honored to have my essay nominated for a Pushcart Prize by the editors, and I got to know Janna more personally when she interviewed me for her podcast series More to the Story (more on More to the Story below).
One thing that impresses me about Janna is her incredible ability of creative manifestation. She has generosity of spirit and is community-minded, qualities that increase her capacity towards that creative manifestation. She is, in essence, committed to the act of creativity, especially personal storytelling. As Janna states on her website:
“If I had to sum up what I’m all about in two words they would be: authentic storytelling. That’s the core of why I write, why I publish stories and why I teach others to write their story. I tell stories that challenge and inspire people to pursue the potential of their creativity; I nurture creativity by making space for exploring and showcasing creativity.”
In addition to editing and publishing Under the Gum Tree, Janna runs TrueStory, a nonfiction reading series and open mic in Sacramento, California, a collaboration she founded with writer and professor Elaine Gale. And just this year, Janna unveiled her podcast More to the Story, an eight-episode series “all about creative nonfiction and telling true, personal stories.” In the introductory episode, Janna talks about “why sharing true, personal stories is important,” and she reads an excerpt from her own story “The Gum Tree,” published in the premier issue. The other episodes include discussions with previous UTGT contributors Penny Guisinger, Maddy Walsh, Timothy Kenny, Samuel Autman, Kate Washington, Katy Sargent.
Janna Marlies Maron holds an MA in creative writing. She teaches as an adjunct professor of English, facilitates writing workshops in Sacramento and online, and offers editorial support services. Janna writes on a variety of topics, including health and wellness, and is the author of three ebooks: How to Manage Depression without Drugs: 5 Game Plans That Helped Me Get My Life Back, Claim Your Throne: How to Manage Your Online Content & Rule Your Corner of the Internet, and Sip, Don’t Gulp. She lives in Sacramento, California with her husband.
A few questions for Janna:
When you began Under the Gum Tree, did you have any idea of what you were embarking upon? Were there particular journals or magazines that you drew from for ideas or inspiration? Will you share the story of how UTGT came into being?
There were a couple of factors that went into my starting UTGT. I found the genre creative nonfiction in grad school and when I graduated, I didn’t see a lot of opportunity for reading or publishing in that genre. That, combined with my professional background in magazine publishing, prompted me to explore the possibility of starting a magazine. When I looked at other literary magazines, one thing I felt was missing is the magazine-size, full-color, glossy experience of magazines—that’s the experience I had with my job history and the experience I loved about interacting with magazines. Color, design, layout, I wanted to bring those elements to the literary publishing world.
Did I have any idea of what I was embarking on? Not really. I mean, before entering the literary publishing space my experience was strictly with lifestyle consumer magazines, and there’s a big difference between that and what I do now. The material that I publish requires such care, and it has such staying power. Not only that, but I am building lasting relationships with the writers whose work I publish, and I often get to watch them grow in their careers. There are writers who were published for the first time in UTGT, and they have gone on to have the essay we published in an anthology, or they get a book deal, or their new work is being recognized as a notable essay in Best American Essays. It’s a pretty cool feeling to look at the list of notables and see so many names that have also been in UTGT, and that is not something I ever imagined would happen when I started the magazine. It’s an honor to feel like a small part in a writer’s publishing journey.
Can you talk about UTGT’s tagline “Tell Stories Without Shame”? For me, this tagline was a defining reason why I chose to submit to UTGT. In the pilot episode of your podcast More to the Story, you read the story you wrote titled “The Gum Tree,” which elucidates the meaning behind the title of the magazine. Will you talk about how these two, the magazine’s title and tagline, are intrinsically linked?
Writing creative nonfiction is the single most important work I have ever done in my life that moved me to a place of self-acceptance. I really hate talking about writing as therapy, because when you craft true stories, personal or otherwise, into art, it moves beyond therapy—it has to in order to be considered art, and it has to be art in order to speak to an audience. So I am not talking about therapy here. But I am talking about the experience of writing about my story—what has made me who I am as a person—in a way that helped me see how it shaped me and how there was nothing in it to be ashamed of. The act of writing allowed the story to take on its own life, apart from me and my interior world, and once I could look at it as something separate from me it wasn’t so painful or awkward or shameful.
People often ask me what it means to “tell stories without shame” because the assumption is that there is no shame in the story. And that’s not it at all—it means that we are not ashamed to tell our story. That is the experience that I’ve had with writing and telling and sharing my story, including “The Gum Tree,” and that is the experience that I want to give others, both readers and writers, with Under the Gum Tree.
This month, UTGT is celebrating its five-year anniversary. When we met for lunch this summer, you were planning an anniversary hoopla celebration. Please share with us what your upcoming event is and how readers can be involved.
Yes! I am super excited to be planning an event I’m calling a National Nonfiction Simulcast. It is in partnership with Creative Nonfiction, River Teeth, and Hippocampus Magazine. Each publication will host a local event with readers, and the entire reading will be broadcast online via a live-streamed video. Anyone can attend at one of the four locations or remotely by watching online! It’s happening on October 29, 5 p.m. Pacific / 8 p.m. Eastern. All the details and info can be found at underthegumtree.com/live, and that’s where the video will be streaming on the day of the event.
You also were planning a redesign and contemplating a minor name change of the magazine. Can you talk about some of the changes you’ve made since UTGT’s inception?
I did briefly contemplate a name change from Under the Gum Tree to simply Gum Tree, and I had an informal poll of previous contributors and subscribers who overwhelmingly voted for the name to stay the same! So that’s not changing.
I did, however, make a big design change by taking the tree symbol off the cover. I did this for a few reasons. The main reason is that it was limiting what we could do with art on the cover. If you look at our previous covers, they are all very similar with virtually the same treatment of the art. Removing the tree gives us more freedom and space to use; it also lets the title come to the top edge of the cover, which is more traditional placement for magazine titles.
That’s the biggest change. Readers may not really notice the other changes because they are subtle and that is intentional. I wanted to retain much of our signature elements like a lot of white space, full-spread treatment for the opening of a piece. But the updates I think add really nice touches, like two column text instead of one, and icon images for each of our themed departments. These are the little details that I think keep our design fresh and updated.
One of the things I love about UTGT is the incredible visual art that counterbalances the writing. How do you find the artwork that goes into the magazine?
We do get some art by submission, but not a lot. I’m very fortunate to have an extremely talented art director and designer who collaborate on the art work. They will often solicit work from artists, collaborate on which issue it should be in, and the design placement of the work in the magazine. One other design change directly affects the art we publish, and that is that we will do full-bleed on the visual art as much as possible. Sometimes file size affects whether we can do that or not, because if files are too small then the quality won’t render in print, but when we can do it, we will because the full-bleed images are so arresting and compelling in print.
I so enjoyed interviewing with you for your podcast More to the Story. What was it like for you to work in the auditory realm, creating a podcast, as opposed to the visual realm of producing a magazine? Can we look forward to new episodes in a second season of More to the Story?
Oh, I love it! I started the podcast so that I could provide a way for people to hear the writers reading their own work, which I think creates a whole new experience with the story compared to strictly reading the text on a page. And then hearing the writer share about the story, how it came to be, what it was like to write about it, also adds a new dimension that I hope will ultimately entice people to check out the magazine. It’s also another way to support the writers that Under the Gum Tree publishes, which I really love doing, so, yes, I do hope to have a second season.
At the top of your “About” page on your website is a terrific picture of your legs in red cowboy boots. You tell a little story about you and these boots:
“I used to be afraid to wear the red boots. Actually, I used to be afraid to do a lot of things: walk the one mile to high school alone, try out for basketball, get my own apartment and live without roommates. I also used to say “no” to avoid feeling uncomfortable. If I didn’t know anyone at the party, I’d send my regrets. If I couldn’t find a friend to go with me to yoga, I simply didn’t go—even though learning yoga was a New Year’s resolution. And I certainly never wore the red boots.
Sound crazy or familiar? If it sounds familiar, then you’re in good company. All of the work that I do—writing, editing, publishing—is in pursuit of helping others to intentionally look for ways to be true to yourself, living the life you were meant to live instead of the one that someone else prescribes for you. Often those prescribed expectations—of parents, teachers, coaches, pastors—keep us from being our true self because we’re so afraid of what might happen otherwise.
I share my story because now I wear the red boots. And I want to help others do the same.”
I love this sentiment of overcoming fear and taking risks to fulfill your true self’s identity and of wanting to help others do the same. How did you come to the place of being able to wear those red boots? What changed for you? Was there a defining moment or experience, or was it a gradual coming to terms with who you were and where you wanted to be?
It was definitely gradual. I was raised in an evangelical Christian home and church, and a lot of my upbringing taught me to pay attention to whether or not I was following the rules, and I think I subconsciously learned that following the rules meant I was living up to everyone else’s expectation of who I should be.
Being a writer makes me naturally inclined toward self-reflection. So as I was coming into my own as an adult in my late twenties I realized that I still wasn’t comfortable with who I was, and I had sort of had this assumption that I’d just all of a sudden get comfortable when I became an adult and left the social construct of high school and college. Except, of course, it got worse. So I did things like forced myself to live alone for one year even though I didn’t want to. I did this when I was twenty-eight and, as the oldest of four kids, I had never lived by myself. I did things like resolve to “stop saying no for comfort’s sake”—that was actually a New Year’s resolution I had one year. The red boots were another self-challenge, because I bought them and couldn’t bring myself to wear them for something like a year or more. I had to remind myself of my own mantra to not say no for comfort’s sake.
On your website, you call yourself “a self-proclaimed ‘woman in progress’” but I like to think of you as a literary mover and shaker. I’m inspired by the many projects you have on your plate and your ability to manifest your creative ideas as well as your strong commitment to community, especially the creative nonfiction community. What motivates you? Where do you get your energy from? How do you balance the many demands of your varying roles as writer, editor, publisher, teacher, and podcast producer with your personal life?
You’re so sweet, thank you! I like the term “woman in progress,” because it helps me to remember that no matter what level of success I feel I have achieved, there is always room to learn, grow, change, and improve.
Energy is an interesting thing for me these days because I have to be very careful how I spend it. I was diagnosed with Multiple Sclerosis in 2012 and even though I have been symptom free for three years, fatigue and depression still creep in from time to time. In spite of that, I have this inherent need to make things happen; it’s just part of how I’m wired. I can’t stand when people talk about the way things “should” be because unless there is some action I can take, the theoretical is very frustrating for me. I guess that makes me a pragmatist (probably also why I prefer nonfiction to fiction!). So, to answer your question, when there’s something I’d like to see exist in the world, my first impulse is to create it myself or to be a part of creating it. It’s probably not the best impulse to have all the time because that’s how I end up doing so many projects that it does get to be unmanageable at times.
In fact, at the beginning of 2015, my husband and I made the decision to close a business that we had had together for four years. That was not an easy decision for us to make, but it was the right decision, and it’s part of what allows me to keep doing other things like the magazine and podcast. When people ask me about how I manage it all, the best answer I can give is to say that I’m constantly evaluating what takes the most of my energy and what gives me the most energy in return. When an activity sucks more energy than it gives, then I know it’s time to let go. I’m always talking through those variables with my husband, who helps keep me in check, because he’s the one who has to deal with me when I’m stressed and take care of me when I’m spent.
What authors inspire you? Which books are some of your favorites?
Joan Didion is my favorite author. Her books The Year of Magical Thinking and Blue Nights are stunning. I have not yet experienced the loss of someone close to me, and still I feel I experienced the heartbreak of loss through those two books. I also love Eula Biss and Michael Pollan for the way they weave reporting and research with their personal stories so masterfully.
What are your favorite things to do outside of the literary world?
As you know I take an annual trip to Ashland, Oregon with my sisters—that’s partly literary because we are there for the Shakespeare Festival plays, but we also shop and eat a lot. My husband works for a winery, and wine tasting is one of our favorite leisure activities. We love to host dinner parties and facilitate conversation among friends over good food and good wine. We travel as often as we can, and our favorite vacation spot is a remote beach where we can lounge and read all day long. We ride our bikes around town when the weather is nice. And I practice yoga regularly.
You’ve already manifested a lot. Where would you like to go from here?
That’s a good question—I’m not sure. My big dream is to see UTGT become self-sustaining and profitable as an independent magazine. Jeremy, my husband, thinks I should start another magazine. I guess we’ll just have to see!
The winner of this week’s book giveaway of Jodi Paloni’s linked short story collection They Could Live with Themselves is Dale Kleinheksel! Congratulations, Dale. I hope you enjoy it!
The featured Writer: Christy Bailey
The featured writing: “El Pañuelo,” published at Hunger Mountain
Today, May 1, is Christy Bailey’s birthday. She was born in Houston in 1967 to Margaret and David Bailey, elder sister to Melanie, and aunt to Lindsey and Grace. Christy would have been 49 years old today if her life hadn’t been cut short nearly a year ago by inflammatory breast cancer on June 12, 2015.
Christy earned a bachelor’s degree in journalism and an MBA from the University of North Carolina at Chapel Hill. In 2002, Christy chose service and adventure over the financial stability of her corporate job by joining the Peace Corps and accepting a post in Honduras, a place that profoundly affected her and influenced her future writing life. After returning from Honduras to her home in Denver, Colorado, Christy earned an MFA in writing from Vermont College of Fine Arts in July of 2011.
After graduation, in addition to continuing her own writing and participating as a member of Lighthouse Writers Workshop in Denver, Christy taught creative nonfiction at both University of Denver and Regis University, taught writing to homeless kids through the nonprofit program Art from Ashes, and was a writer in residence at Children’s Hospital in Denver. Christy also founded, with her friend Robyn Richey Piz, Salon Denver, a monthly writing group that celebrates writing and the writing life and supports risk taking and the development of new work.
I met Christy at VCFA, where we both were pursuing creative nonfiction and were in four out of the five required workshops together. Christy was a semester ahead of me. At VCFA, a low-residency program, new students join at the beginning of every semester (either in winter or summer), which is kick-started by a 10-day residency; thus a group of students also graduates at every residency, and as such, Christy graduated a semester ahead of me.
My first evening on campus, I went to the opening reception in the gallery, a sort of meet and greet to help integrate new students. I can get quite shy in these situations, and I basically entered the gallery (late) and found nearly everyone already in conversation with each other, so I made a quick dash around the room, lingered alone in spare gaps here and there for a couple of seconds—Awkward—and then made my way out and back to my dorm room. On this spin round the room, one person intercepted me: Christy Bailey. She seemed to have radar for a fellow creative nonfiction writer scheduled for her workshop, and in that brief moment of conversation, I felt like she already knew me. It wasn’t until I went back to my room (I can be kind of dense sometimes) that I realized the headscarf-covered woman I had just met was the writer of the engaging memoir chapter in my workshop packet about a woman who suffers from alopecia areata (hair loss from an autoimmune disease that causes the body to attack hair as though it is a virus).
Christy’s in-progress memoir, titled Pañuelo Girl for the colorful pañuelos (headscarves) she wore on her head, detailed her struggle to come to terms with her hair loss and her path to self-acceptance both while serving in the Peace Corps in Honduras and after. When I read Christy’s chapter for workshop, I knew instantly that I was in the hands of a capable writer, one who had a distinct knack for scene development, description, dialogue, and entertaining storytelling. Her narration was at times concise and spare, always charming, downright funny at moments, and tender and soul searching at others.
It was an absolute pleasure to be in so many workshops with Christy and have the privilege of reading her work and sharing in the critique process. As a writer, Christy was very open to suggestions and worked diligently at revision. She wanted her manuscript to be perfect, so she would listen carefully to and consider thoroughly the input of others. During this time at VCFA, Christy wrote a 350+ page memoir that she continued to work on up until her death.
Last June, Hunger Mountain published an excerpt from Pañuelo Girl in the LOVE issue, which was dedicated to Christy Bailey. The excerpt, “El Pañuelo,” is one of the scenes I had read in that chapter Christy submitted to my first workshop at VCFA. Here is an excerpt from “El Pañuelo“:
Finally the photographer breaks the silence, hurls harsh, mysterious syllables at me. “Quítese el pañuelo,” he says. He talks so fast, not like my patient host mother, who enunciated every word while guiding me through her hillside home yesterday afternoon.
“Repita?” My eyes squint into the blinding light of a high-powered, fluorescent bulb.
“El pañuelo,” he says, louder this time, and slower. “Quíteselo.”
My mouth gapes, I’m sure I can piece this together. Pan as in bread? Quita as in quit? Quit the bread, fatty? I stifle a laugh. Gorda I do know, and he did not say gorda. Though from what I’ve read, a stocky woman like me can expect to hear her share of gordas in this country, where the blackest gal in town is called La Negra, the guy with the squintiest eyes is called El Chino, and the most undernourished sticklet is called La Flaca.
“No comprendo,” I concede. I have no idea what you’re saying, Big Guy.
The photographer taps his head in beat with the words. “El pa-ñue-lo. Quí-te-se-lo.”
We lock eyes, my soft baby blues and his black stones. I halt all movement to concentrate. There’s a woodpecker gnawing on his skull. No, wait. On my skull. I’ve got wood for a brain. Or a stain. On my bandanna. Crap. Not bird shit? My hand flits to the knotted scarf.
One of Christy’s last forays into the writing world was to the AWP conference in Minneapolis in April of last year. Christy was very ill at that point, but she was determined to make it to the conference, knowing that it offered her the best opportunity to see many of her dear writing friends from all over the country in one location and for the last time. Here, Christy is at the podium, giving a reading at VCFA’s student and alumni reading. I hadn’t arrived in Minneapolis yet, so I missed it unfortunately, but I hear she rocked the house—or I should say the church, for that’s where it was held.
Christy not only left behind her memoir manuscript, Pañuelo Girl, but she chronicled her journey through cancer in a private Facebook group called “The Christy Bailey Fan Club” that had more than three hundred members. Christy’s posts were brutally honest and real. She took no pains to spare her fans from the challenging reality she faced on a day to day basis. But she also spread beauty, grace, determination, wisdom, hope, and gratitude when she had it. Her chronicle of life with cancer offered those who loved her from afar the opportunity to see into her experience, participate in the process alongside her, and offer words of love and support. Those posts have been compiled into a manuscript and, with some luck, will be published as a book along with Christy’s memoir. Be sure that once there is news of such an event (possibly in 2017), I’ll be singing the praises of her publications with announcements here on my blog.
Normally, my Sunday Spotlight features an interview, but since that is not possible, I have included some thoughts on Christy’s writing and her identity as a writer from some of the people most familiar with her work.
On Christy Bailey’s writing:
“Christy’s writing reflected how she lived—honestly direct, fully engaged, deeply sensual, and wittingly funny. I always closed my eyes when she read her work so I could be transferred to her world of experience, taste new and exotic fruits from Honduras, sway to the rhythm of her words describing the waves hitting the shore or her feet upon the pavement, smile at her stubborn and funny perspective, nod my head to the truths she revealed about herself and the world.”
~ Lia Woodall, friend and writing colleague
“Christy’s memoir about her struggle to come to self-acceptance despite the ravages of alopecia was a model of honesty, courage, and sensitivity. I hope that writing it was some help in preparing her for the greater struggle she waged to maintain her dignity and joy in the face of the cancer that eventually took her life and took from us a writer of talent and heart. “
~ Laurie Alberts, MFA advisor, author of A Well Made Bed and Fault Line
“Christy Bailey’s writing couldn’t be more honest. She never feared sharing her deepest secrets with her readers. She didn’t hide behind her pen—she stood in front of us naked on the page with all her amazing blemishes and pitfalls. This world flung so much at her—divorce, debt (ex-husband induced), self-doubt, weight gain, job loss, alopecia, and stage four cancer. I defy anyone who reads her memoir not to admire her. When I first read her work in an MFA workshop, I wanted to be her friend because of her strength in life and her prose. For about a year, we shared our work in an online writing group. Each time her chapters arrived in my Outlook box, I opened them immediately, eagerly devouring her stories, her life, her intensity, and her insight.
To borrow a few clichés—something Christy would never do—she was the real deal, the brightest star. Unfortunately, she also got away too soon, and that makes me sad.”
~ Sheila Stuewe, friend and VCFA colleague
“Rare is the writer who can translate their innate voice and turn fear and flaws into humor on the page—all the while molding unique crisis into universal message. Rarer still, are those who bare their souls while writing in a stream-of-consciousness … a sort of musing that draws you in with its candor. Christy Bailey was all of these things and much more. I’ve read her stories, been in every [school] writer’s workshop with her, and read the first draft of her memoir. Her everyday self was always present—demonstrating what it means to write your genuine self in memoir. I smiled and cried and hurt right along with her in between commas, blank spaces and question marks. We writers should always aim so high.”
~ Corinne Lincoln-Pinheiro, friend and VCFA colleague
“Christy brought layers of craft, and memoir, and original thought to her writing. She was direct. She took pain and found humor and so delivered poignancy. She diminished the magnitude of struggle to find truths to share. Her writing brings you into her private world. Treating her hair like a scorned lover, I feel her grief, mourn the loss, and begin to grapple with a new sense of self. She always brought the work back to the intention. Her details deliver meaning and are absent of judgment. She used humor delicately, kindly. She gave power to her struggles in a way to involve us, to feel closely her loss. Christy wrote of the universal truths of our vulnerabilities and losses with humor, creating a language to immerse us in her world, a world we very clearly understand.”
~ Annie Penfield, friend and VCFA colleague
“Christy, in her riveting and urgent memoir, Pañuelo Girl, emotionally and metaphorically unwraps the scarf from her head, seemingly layer by layer, as she brings us deep inside the experience of alopecia, a hair-loss disease first noticed by her mother when Christy was a child. But, like any fully realized memoir, it is more than a surface story—in this case, a story of hair loss. At its core, it’s an exploration about self-definition, identity, and self-image. What does the hair loss really mean, metaphorically? How does Christy come to terms with it?
When I worked with Christy her last semester at Vermont College of Fine Arts, I myself arrived at a revelation: we, as writers, and particularly as writers of creative nonfiction, all wear pañuelos of one form or another. Which is to say: We all have secrets we hide from friends, family—ironically, or not, feeling more brave on the page—sharing our secrets first with ourselves, with words written on paper—until later, once our words, once our lives are artistically rendered, we share them with others.
Christy, in the finest tradition of memoir, has done just that. With great courage and intensity, Christy, in this memoir, yes, wears her pañuelo, but also shows us how she ultimately reaches the place to wear it proudly. At the same time, chapter by chapter, she delves beneath the surface of scarves, no scarves, hair, no hair, to arrive at her own deepest and most revelatory emotional truths.”
~ Sue William Silverman, MFA advisor, author of The Pat Boone Fan Club: My Life As a White Anglo-Saxon Jew and Fearless Confessions: A Writer’s Guide to Memoir
Christy was a talented writer, but she was also a fierce and loyal friend. Besides the work she left behind in the form of written words, Christy left a legacy of deep friendships. Christy was a bridge between people, and she will never be forgotten.
*Special thanks to Margaret Rivera Bailey for permission to use photos from Christy’s Facebook page.