The Atlantic

Trauma Is Everywhere. Write About It Anyway.

Melissa Febos’s recent essay collection shows us not only how to capture the difficult, intimate details of our lives in writing, but why we should.
Source: Najeebah Al-Ghadban

Every day—through TikTok, Instagram, and Zoom—the internet forces us to think about how we present ourselves to the world, giving us endless opportunities to construct our identities anew. Little wonder, perhaps, that the personal feels ubiquitous in contemporary writing, too, with a slew of publications that draw from, or appear to draw from, the lives of their authors. (Think of the novels of Douglas Stuart, the essays of T Kira Madden, and the poems of Ocean Vuong, all writers who mingle personal experiences with exceptional creative writing.) But in the past few years, I’d argue that another driving force has been behind much personal writing: the many traumas of recent vintage, including the pandemic, racist violence, and the . As these events have piled up, my writing students have become more interested in rendering their own experiences—especially the painful ones.

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