I’m still drawn to stories about teenage girls’ lives, real or fantastical, and a part of it is trying to glimpse a world I never fully got to walk in.
A lot of my fears have been made real by the last year. And somehow, some way, I have returned to an insatiable appetite for things that scare me.
While I am shedding my femme clothes, I’m reminded of how my grandmother reclaimed her femininity, stolen from her by the Nazis, with a new dress.
Though the person in the skirt and I weren’t the same, when I saw them, I felt something I never had before at work: like I could be totally, completely myself.
My obsession with the group was the first step I took away from the life prescribed to me as the Korean American daughter of devout Christian parents.
It’s not just a single driver who’s lost direction and seeks a new destination—it’s an entire population.
I occupy an unusual space: Black enough to be terrified of the police, but white enough to not get pulled over for driving while Black.
In listings for old pottery that was not intended to be crazed, sellers will disclose what they see as damage: ‘Some crazing.’ Sometimes that’s how I feel. Some crazing.
Whiteness, not a fantasy, is what grants the Black English aristocracy its legitimacy in this fictional world.
The largest archive of footage of myself, ages twenty-three to thirty-years-old, never belonged to me but is owned by brands.