With her latest book, The Freezer Door, Sycamore breaks down language and genre to confront intimacy, the politics of gay bars, and to find the communities we desire.
In this excerpt from her interview in BOMB’s winter 2021 issue, Mattilda Bernstein Sycamore discusses activism, gay bars, and her forthcoming book, The Freezer Door.
A slacker novel that fights against the philosophy of brokenness, one Hot Cheetos bag at a time.
A feminist manifesto that centers artists as the engineers of a queer and Black imagined future.
The debut writer on how vignettes became a novel, bodies as objects, and why discomfort is comfortable to read.
The first time I saw Jane I was working at the bike shop, a veritable cacophony of grease and gunk I only survived by occupying my hands. Bikes had a purpose that had nothing to do with me—every part fit together properly so my mind could remain free and unviolated. Her left knee was scrapped, with pieces of pavement lodged in the wound. The sight disrupted my hard-earned equilibrium. I tried not to look, but it was too late. I had already imagined retrieving the bits of bloody gravel from her abrasion and rolling them like candy on my tongue.
A new history of Surrealist women artists.
From personal ads compiled as narrative to a frame-by-frame retelling of a short film on grazing sheep, Nao’s poems and stories are acrobatic experiments in form.
On the individuality of grief, demystifying the creative process, and the right time to tell a story.
Photographs addressing gender, sexuality, and popular culture.
The writer on the fiction of autobiography, drugs as a gateway to gender euphoria, and trans writing that remakes the world.
The writer on her new novel, why style is political, and the kinds of subjectivity we experience.
Two artists manifest, claim, and demand space in a society that operates around violence against black women’s bodies while pretending that they don’t exist.
A look behind the scenes of Akhnaten, Philip Glass’s 1983 opera now playing at the Metropolitan Opera, in which the countertenor plays an ancient Egyptian pharaoh who defied gender conventions.
On Sylvia Townsend Warner’s The Corner That Held Them, a witty and subversive novel about life in a fourteenth century convent.
The artist, director, and actress discuss their endurance performance, The Second Woman, and its exploration of gender performativity.
Chavisa Woods tells a linear but fragmented personal story of growing up and coming of age in a misogynist culture
“I preferred that others not be neglected but found the neglected gender suited me better than the not-neglected genders. I found my neglected gender to have a certain style. A style I like.”
On writing a letter of atonement from the perspective of her father, the perpetrator of sexual assault.