In this eight-week, four-session class, participants will read and discuss an exhilarating selection of queer and trans literature from the last five years, our conversations feeding into short exercises.
Texts will include:
- Larry Mitchell’s (recently reissued) The Faggots and Their Friends Between Revolutions
- Andrea Lawlor’s Paul Takes the Form of a Mortal Girl
- Kai Cheng Thom’s Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir; and
- Carmen Maria Machado’s In the Dream House
This archive is small but carefully chosen, designed to bring us into conversation with a broader LGBTQ+ literary heritage while giving us opportunities and avenues to think about and experiment with genre, form, and voice. One of our particular interests will be the use of fantasy as an expression of queer and trans desire.
From Mitchell’s utopian vision to Lawlor’s shapeshifting aesthete, from Thom’s “dangerous” trans story to Machado’s illusory Dream House, these books show us a lot about the generative power of queer desire, and they give us new models for storytelling as they do so. They demonstrate narrative’s capacity to bind together the historical and the speculative, the real and the fantastic; to blur registers, flip scripts; dream different lives. At the same time, they acknowledge the limitations of fantasy: reckoning with what happens when the revolution won’t come; when the archive is silent; when fantasy fails; when the story you’ve been telling yourself collapses underneath you.
We will spend each class period discussing one book, followed by short craft exercises that students will be invited to revise on their own, building towards a longer writer project that participants can then share with the instructor for feedback during an optional extra one-on-one conference after the final class. Participants are expected to have read The Faggots and Their Friends before the first session.
Note: Any ‘Reading...as Writers’ student can opt in to a 45-minute consultation with the instructor for an additional fee of $105, in which you receive one-on-one feedback on any writing that emerged from the course, including ideas for revision and specific line edits. Email [email protected] after your final group meeting to arrange a consultation.
- Greater familiarity with contemporary LGBTQ+ literature
- Examinations of four different authors’ writing techniques and what they can teach us about our own writing
- Illuminating discussions of the relationship between craft choices and queer and trans experience and politics
- A supportive environment for exploring new literary possibilities, particularly with regard to aestheticizing nonnormative genders, sexualities, intimacies, and desires
- Personal feedback from the instructor on your writing project during optional one-on-one consultations
- Access to Catapult's list of writing opportunities and important submission deadlines, as well as a 10% discount on all future Catapult classes
- Participants must have access to the four assigned books
- Participants are expected to have read The Faggots and Their Friends Between Revolutions before the first session begins
- Each session will focus on one book; participants are expected to have read the book before the session begins
- Students are expected to attempt to do the writing exercises offered at the end of each session
Megan Milks is the author of Margaret and the Mystery of the Missing Body and Slug and Other Stories, a revised and updated second edition of their award-winning first book Kill Marguerite and Other Stories, both forthcoming from Feminist Press. Their book Tori Amos Bootleg Webring, the second installment of Instar Books' new Remember the Internet series, is also forthcoming this fall. They teach writing and gender studies in New York.
“Milks is the BOMB! They gave me really helpful and encouraging feedback and I felt like it helped both my writing and my confidence.”
“The best teacher I have had in my educational experience. I can truly walk away from the class saying I have actually learned something. My writing has improved and so has my ability to think critically. It is all thanks to the intelligence and constructive criticism of the professor and how perfectly structured the class was.”
“Amazing at organizing and igniting discussions. I don't have enough words to describe how amazing this class and professor were!”
“Charismatic and astute … always thought-provoking.”
“Megan made the class environment a place where we could ask questions, take risks, and have enjoyable conversations. They gave in-depth feedback and seemed invested in my growth as a student. Thank you for making this class a fantastic experience.”
“…my favourite thing about this collection is its interest in a particular kind of adolescent girlhood in which other girls are all that matters and where aspiration, desire and the urge to wound are all tangled together. … This is an area of popular culture which literature rarely draws upon — possibly because of its association with young girls, whose tastes are always particularly open for mockery. That Milks sees it as important would be itself be enough to make me love her work. That the collection deals with it in this way — smart, queer, perverse, inter-textual—means even more. The stories in KILL MARGUERITE are unsettling and often unpleasant but they feel like a gift.”
“Some … stories are intertextual puzzles in the best sense, intensely creative in imagining possibilities beyond a heterosexual, able-bodied, white, and affluent vision of life and thus serious about what it intends to interrogate: heterocentric romance narratives, compulsory heterosexuality and its attendant forms of femininity, aspects of affluent white teen girlhood.”
“It’s … surprising, given the vast range of modes on display, how very well Kill Marguerite maintains itself as a unified work; tracing the veins that run from piece to piece is part of the fun. The consistently disciplined prose does nearly as much to this end as the shared themes, sometimes calling to mind the similarly wry and precise Lydia Davis. This collection establishes Milks as a writer who can do just about anything but who will, one expects, keep doing the bidding of [their] macabre but humane imagination.”
“These are genderqueer girl stories of the most awesome kind, taking the basic narrative of boys, youth, sex and identity, scrambling them with their influences (pop music, porn, sexual fantasy, teen magazines and books, even video games), and then destroying them in gory pornographic explosions.”
“The stories in [Megan’s] debut collection KILL MARGUERITE draw influence from cultures both high and low, from Homer and Joyce to video games and teen magazine columns. They never sit quietly, but rather unsettle convention and defy expectation. In fact, the moment you think you know what’s happening, the story opens into an unexpected black hole, thrusting you into a passage that devours and reconfigures expectations.”
“KILL MARGUERITE AND OTHER STORIES mixes pop culture, Greek myth, queer feminism and childhood nostalgia into a gory and gorgeous mess. I got my hands dirty digging into Megan Milks’ sanguine collection of short stories. This prose oozes. This prose dripped perversely into my consciousness and stuck. Only a steady and sagacious writer like Milks can make paddling through this kind of muck so absolutely pleasurable.”
“The stories in Megan Milks’s KILL MARGUERITE are pure force: they norm deviance, make violence effulgent, ungender and regender sexualities. Each story is a kitsch throwback to back in the day when reading was a fun choose your own adventure, or, these stories are not just carnal, not just animalistic, not just girly: they’re amphibian, our full corporeal tenderized to satisfaction, which is to say—hot.”
“Megan Milks is the most interesting prose writer working today. There! I said it. Milks smashes fiction and glues the shards back together. Milks destroys boredom! Milks stans fanfic, retells the New Narrative, lights a million candles at the altar of queer & trans experimental literature, sends love letters to Kathy Acker and Samuel R. Delany and Ovid, hate-reads Sweet Valley High in the sexiest and most disturbing ways. You will never look at Tegan and Sara—or slugs, or tomatoes—in the same way again.”