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Neon in Daylight: HERMIONE HOBY with David Burr Gerrard | The Brooklyn Rail

God , maybe she had—had there been a moment of her actually kneeling somewhere, delirious? Now, as she tried to grasp the words again in daylight, she saw they were dumb—completely dumb.

Bad song lyrics that meant nothing. Inez, a privileged teenager dabbling in drug dealing and sex work whom Kate befriends, and Bill, a washed-up middle-aged novelist whom Kate sleeps with. Though let us hope the gods of real estate spare Milk and Roses.

David Burr Gerard Rail: You've done many author interviews, for The Guardian and elsewhere. I feel like more and more I have been using them somewhat greedily. Even where their work hasn't hugely resonated with me, there's something about talking about writing with someone who's devoted to it that is invariably salutary. Well the last interview I did last year was George Saunders. His work has meant so much to me.

Every interview I do, as with every piece I write, is in some way autobiographical. This is the nature of the thing. I guess that's the same with every interview I do. Often my burning question has to do with the work, but through the lens of the question that's occupying me.

The question that has been occupying me since the George Saunders interview of last year up until now is this question of empathy and compassion. George Saunders writes about this pretty explicitly. I think this is what Lincoln in the Bardo was about—to me that book is like the most trenchant testament to the need for polyphony in the political sense as well as the literal, experimental sense. The question is how far does empathy extend. And, George Saunders talked about residing in literary complexity, how necessary that was in this moment.

And I said to him what about Charlottesville, all those twats holding tiki torches? Are we really meant to pay them attention? Are they deserving of attention? Attention is a form of love, basically. And he said well there has to be the hope that there is still potential goodness in those people and that they have come to that belief and they have come to that belief for reasons.

Rather than some sort of abstract or inherent hatefulness, that hatefulness is sort of learned and that's worth bearing in mind. As in, we have to oppose noxious, hateful beliefs, but not necessarily the people who misguidedly espouse them.

That seems like it leads into the structure of the book. Can you talk about why you decided to write the book both from three perspectives and these three perspectives? Yeah I mean, I am going to sound facetious, but three is the magic number. You know, after I finished the book, way after I finished it, I found I was unconsciously doing this unseemly thing of critiquing it, like I was going to write a shitty undergrad essay on my own novel. I was like, oh I wonder whether those three characters could be considered Ego, Superego, and Id.

Three just feels like the most—. What is going on today? Thesis, Antithesis, and Synthesis. It seemed to me that having three voices allowed me to amplify and complicate each one, that they might, in that way, become more than the sum of their parts. And more prosaically, I just wanted three people for whom New York was very different things. One of the things that really preoccupies me—I almost feel foolish with the extent of this preoccupation—is that New York is both endlessly new and yet ancient.

And I was like, shit this city is changing, and changing me, and it's constantly new and refreshing itself. I like that New York has a slightly careless attitude to its past. It's a very forward-looking city. Or, at least, many of them—I don't want to be denigrating to an entire demographic—sorry, teens! At the same time, I sort of think of all three of these characters as teenagers.

Perhaps Bill is the most teenage of all three. This plays into the idea of neon, which means, etymologically, newness. And I love that neon has become an anachronism. New York's neon signs are actually dying, and this thing that is meant to be newness—it's like retro futurism. You see neon, but it reminds you of the seventies, so it's meant to symbolize newness, but it's also aged.

I have to resign myself to the fact that Kate will most likely be read, incorrectly, as a version of me. I share the most biographical information with her. I too am a woman that moved to New York, though I had a much different experience of it than her. And yet, you know, they are—it's corny, but they are all me. All three of them. Also, they're all composites of real people I have known, who have then superseded their originators in my mind, purely out of having spent way more time with them, these fictional people, than their real life antecedents.

Bill in particular, is surprising. I am curious about how that worked for you. Before I had really conceived of them as characters I was just interested in the power dynamics of a relationship like that. That phrase—a middle-aged man having an affair with a much younger woman—now has a profoundly negative tenor post Weinstein et al. And maybe that's what drew me to the idea of that relationship. Obviously if we're operating in cultural capital, then Bill has the power, but if we're operating in terms of need then I think probably Kate does, as in, she needs him so much less than he needs her.

This isn't her city; she is kind of a tourist here. I think Bill uses that word about her which, for a native New Yorker, is obviously derogatory. And there is a different power in being young and not being washed up. Not having had the major success of your life. Not having known that that's your peak, and now that it's over and that that's as good as it gets. It was a year after graduating when I sort of woke up to how criminally narrow my literary education had been.

I really hope things are different now, in every institution, but it was never talked about while I was there. The canon was never interrogated. There's no way we should stop reading the metaphysical poets, or Shakespeare, or Foucault, or whoever else I wrote crappy weekly essays on. Actually, maybe we can let The Faerie Queen slide; that didn't do much for me.

But, you know, people are shaped by their reading. But it's also sort of spiritual disservice, because we need heterogeneity, polyphony. The great reading experience of my life since graduating has been making my own canon, but also having a sense of what the people I know and love consider their canon too.

So I personally chose to have sex with him. In the moment, I thought maybe it would spark something. I was feeling like it might be a good thing to try. So I did try to do that [sex with Mike] and it was kinda terrible. I was kinda just wanting for it to end the whole time.

I did it because I generally wanted to do it for him. Often, women were so aware of the kinds of pressures they were balancing that they laid out multiple fears in the same quotes. I feel like most girls are the same way, want to make guys like them. I just always want people to like me, especially guys. Having a lot of confidence but also not seeming easy. Cute and sexual but not slutty. Will he tell his friends lies about me because he is angry?

You wanna come off a certain way present yourself as easy going or someone who is cool and down, but at the same time if you are not comfortable with stuff, also balancing that. Seems like women have to have a balance, being fun and experienced but not too experienced? Have to be this in-between. But if a woman is with a lot of guys she is a slut or whore. Our interviews with college women illustrate that women are quite aware of reputational consequences of having or not having sex.

We found three distinct pressures that came up over and over again: Clearly, many women are worried about what men will think of them. While some women discussed just one of these pressures, many acknowledged worrying about two of them simultaneously. These women see themselves as walking a tightrope, and women often find balancing their need to avoid two images difficult.

Of course, we are not suggesting that it is possible or desirable to free sexual interaction from social norms or expectations. And we recognize that in many arenas, one social norm will have to be balanced against another when, in a particular situation, they push one in opposite ways.

I've been a slut my whole life ,I know I'm disgusting and that's why no one is interested me. Why am I so gross, why doesn't anyone like me? Quality men cannot trust sluts since they are only after popular men, they cannot be trusted for long term relationships, a girl that has sex with more than 1 person has a higher chance to divorce her husband.

You cannot expect to fuck popular guys and then start to care about the "nice guys" when the hot guys don't want you anymore. It's just being a bad human being and taken advantage of poor misguided guys because of your own misstakes. It's okay to be a slut, as long as you are up front about it when a guy that is interested in you asks how many you've had sex with. Tell him the truth and if he doesn't like the answer, move on to another guy that will accept you for who you are.

Me myself will only have relationships with a virgin girl, sluts i will have casual sex with. And it isn't double standard because the genders work different, a girl can have sex whenever she wants; a guy has to work for it and become really good at hooking up with girls. Almost college girls tried to have sex their bf or hookup with others. That is a common phenomenon in campus and students. If you said you had not had sex with your gf, no one will believe that and think you are ridiculous.

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And at the play's conclusion, a somber Aaron Burr sings, "They say boring, maybe, or the rebellious one is too slutty or too shrill or too angry. David Burr Gerard (Rail): You've done many author interviews, for The . affair with a much younger woman—we've seen that in a lot of books by men. . And you know, the word “slutty” was used in an unthinking way—it was. women, heterosexual casual sex and the sexual double standard .. Labels such as 'slut', 'slag' and 'skank' are also used to refer to girls/women who and culturally produced through language and discourses (Burr, Burr, V. ().