All posts tagged: Melody Nixon

On Naming

Filthy McNasty's SignTo exist humanly, is to name the world, to change it. ~Paulo Freire

When I was 19 my full-time job was bartending a pub called Filthy McNasty’s. McNasty’s sat on Rose Street in Edinburgh, Scotland, one of the roughest streets in the city center at the time. Fights punctuated each hour of the night and later, after I’d moved on up from McNasty’s, a friend was stabbed near there in a skinhead-like attack. Indoors, customers called me “Garth” because of my wild, unkempt hair, like Garth in Wayne’s World. I didn’t wear makeup and favored baggy jeans and t-shirts; I guess this made me infuriatingly gender ambiguous. My fellow bartenders, with their straightened, bleached-blonde hair, penciled-on brows and figure-hugging polyester tolerated Garth to the best of their abilities, aside from one woman, whose actual name I don’t remember, but whose tan outfits—tight pants and jacket—and extremely thick accent conjured the name “Tanner” in my mind. This word, Tanner, also captured the sound of her voice. She clearly despised me/Garth. She would sashay away from us when the bar wasn’t full enough to force us close together. We could barely understand one another’s accents so the physical distance was a welcome relief.

On Naming
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The Overachieving Underachiever: An Interview with Benjamin Anastas

MELODY NIXON interviews BENJAMIN ANASTAS

Benjamin Anastas

Benjamin Anastas is the author of Too Good to be True, a memoir described by The New York Times as “smart and honest and searching,” and “so plaintive and raw it will leave most writers… with heart palpitations.” He has written two novels, An Underachiever’s Diary, and The Faithful Narrative of a Pastor’s Disappearance, as well as multiple reviews and essays, one of which, “Boys with a Synth,” is published in Issue 06 of The Common. Melody Nixon talked with Anastas about his skepticism for social media, the role of the writer in society, and memoir as fiction’s “whiny and embarrassing stepchild.” 

The Overachieving Underachiever: An Interview with Benjamin Anastas
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I Believe in New Yorkers

By MELODY NIXON

skyline from subway

“I believe New Yorkers. Whether they’ve ever questioned the dream in which they live, I wouldn’t know, because I wont ever dare ask that question.”

– Dylan Thomas

In my first months in New York City I rode in the back of taxicabs through Central Park thinking, “When will this sink in? When will it feel like I know where I am.” I didn’t think I was dreaming – rather, I felt the whole city was dreaming with me inside of it, a poppy-field illusion, a drug trip induced by hidden valves releasing an experimental hallucinogen. The city needed to pinch itself awake, collectively, and climb out of the hollow to find out what was really going on.

“I stopped at Lexington Avenue,” wrote Joan Didion of her arrival in the city, “and bought a peach and stood on the corner eating it and knew that I had come out of the West and reached the mirage.” You arrive, you reach the mirage, and you wait for it to clear.

I Believe in New Yorkers
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We Don’t Ride Reindeer Here: An Interview with Justin Taylor

MELODY NIXON interviews JUSTIN TAYLOR

Justin Taylor

Justin Taylor is the author of the short story collection Everything Here is the Best Thing Ever (2010) and the novel The Gospel of Anarchy (2011). His latest collectionFlings is forthcoming from HarperCollins in August. Melody Nixon caught up with him in Brooklyn, New York, to discuss the progression of his work, fiction like a warm bath, and riding reindeer into rivers.

We Don’t Ride Reindeer Here: An Interview with Justin Taylor
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Searching the In-Between: Flight MH370 and the Emotional Landscape of the Missing

By MELODY NIXON

clouds

Charlie Kaufman imagines a plane crash at the beginning of his semi-autobiographical film Adaptation; he envisions himself nonplussed while the passengers around him scream and fight each other for oxygen masks. I always imagine frantically writing an invariably optimistic goodbye note to my family as my plane descends – reassuring them, falsely or not, depending on the day, that I enjoyed what life I had. Almost anyone who’s flown in an aircraft has played a similar “What if we all die?” scenario in their minds, even if just half-consciously while watching the safety demonstration.

Searching the In-Between: Flight MH370 and the Emotional Landscape of the Missing
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Rethinking Utopia: An Interview with Rich Benjamin

MELODY NIXON interviews RICH BENJAMIN

Rich Benjamin

Rich Benjamin is a journalist-adventurer and the author of Searching for Whitopia: An Improbable Journey To The Heart Of White America. He is a senior fellow at the think tank Demos in New York City, and a frequent commentator on NPR, Fox News, The New York Times and many other media outlets. Melody Nixon caught up with Rich Benjamin this spring, at his office overlooking the Flatiron building in Manhattan.

Rethinking Utopia: An Interview with Rich Benjamin
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Bed-Stuy – Buy or Die?

By MELODY NIXON

 

Grafitti

As I approached the corner of Throop Avenue and Van Buren Street in early summer 2013, I couldn’t help but notice the giant “Murder – $50,000 Reward” sign that loomed over the intersection, emblazoned with the photo of a dead businessman. The New York City neighborhood of Bedford-Stuyvesant, I’d heard, was still a little “rough,” but the sign was unlike anything I’d seen outside of Wild West movies. Almost comically, the image was plastered with a blood-red ‘Solved’ caption, as though calling out a fatuous warning: attention, would-be Bed-Stuy murderers – you might, eventually, be caught.

Bed-Stuy – Buy or Die?
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Where I Don’t Write

By MELODY NIXON

In his autobiographical novel on D.H. Lawrence Out of Sheer Rage, Geoff Dyer laments his inability to write the book he wanted because he couldn’t figure out where to live. “One of the reasons, in fact, that it was impossible to get started on [the Lawrence book] was because I was so preoccupied with where to live. I could live anywhere, all I had to do was choose—but it was impossible to choose because I could live anywhere.”

House in black and white

I have the same problem. I’m a migrant and a wanderer, and I’m never really sure where my home is located – in the environment, or inside me? I’ve come to an unsteady way of dealing with this uncertainty, mostly by rolling with it. I’ve also learned that direct, personal experience in the world is essential to my writing. Last summer I wrote my way through a Trans-Siberian train ride from Moscow to Novosibirsk while hanging on to the side of a swaying second-class bunk bed, trying to explain to my babushka compartment-mates that I was working on an historical novel. Last fall I finished off several stories and articles for publication amid showers of asbestos at Art Farm, Nebraska, a cooperative, self-sustaining artists’ colony that is about as close to nature and rusticity as one can get without actually becoming a wild animal. Every day from my desktop I was obliged to sweep away the powder of synthetic insulation and possibly cancerous substances that had rained from the homemade ceiling during the night. As winter approached, we practically burned floorboards for warmth. We wrote and wrote as we huddled around the fireplace.

Where I Don’t Write
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On Burning Your Own Books and Bashing Off the Track: An Interview with Carrie Tiffany

MELODY NIXON interviews CARRIE TIFFANY

Carrie Tiffany headshot

Carrie Tiffany is an Australian writer and author of the novels Everyman’s Rules for Scientific Living (2005, shortlisted for the Guardian First Book Award and the Orange Prize for Fiction), and Mateship with Birds (2012, shortlisted for the Women’s Prize for fiction, winner of the Stella Prize), as well as several short stories. Born in England, Tiffany’s work draws on the complexities of the British migrant experience in the antipodes. Tiffany talked with fellow antipodean Melody Nixon last week, on a call from Canada where Tiffany is currently teaching creative writing at The Banff Center.

On Burning Your Own Books and Bashing Off the Track: An Interview with Carrie Tiffany
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Writing at War: An Interview with Masha Hamilton

MELODY NIXON interviews MASHA HAMILTON

Masha Hamilton headshot

Last month Masha Hamilton published her fifth novel, What Changes Everything, while working around the clock as the Director of Communications and Public Diplomacy at the U.S. Embassy in Kabul, Afghanistan. Against a background of suicide bomb attacks and early Fourth of July celebrations in Kabul, Masha talked to Melody Nixon long-distance about Afghanistan, storytelling as a human right, and the delicate act of writing in a war zone.

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Melody Nixon (MN): Can you describe to me what is outside your window right now?

Masha Hamilton (MH): It’s nighttime here, it’s dark. Outside my window there’s a big tent where we’ll be gathered tomorrow with our Afghan colleagues, and partners, to mark an early Independence Day. Now it’s fairly quiet, but sometimes I do hear helicopters flying low overhead. There’s not a lot of green on the compound, but right outside my window there is a bit of lawn, which I’m very grateful for. In the distance you can see the beginnings of the Hindu Kush mountain range, beyond Kabul.

Writing at War: An Interview with Masha Hamilton
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