Melissa Febos Quotes

The frustration of being marginalized often gets misdirected at the most visible members of one's own community, because they are more accessible than the real agents of marginalization.

I was in the fantasy. I was selling myself on the fantasy as I was doing it. It never occurred to me. I did take notes, but just because I am a writer. I've been a writer since I was five. You don't have any sort of outlandish, shocking, extraordinary, horrifying experience without writing it down, because I know and knew that you forget things. No matter how outrageous and amazing and extraordinary and seemingly unforgettable an experience is, it's kind of like a dream. It will erode inevitably, for me.

I more seriously considered publishing it under a pseudonym than I considered publishing it as fiction. I think the decision to write it as nonfiction happened at the very outset of the process, because the overwhelming impetus for writing this book was to understand what the experience meant, and to override my own reductions and rationalizations, whatever story I had that was not true. It didn't sit well with me and I needed to answer that. That's sort of the reason I write everything.

Abandonment by a lover won't kill us. But it awakens the parts of us that remember when it could.

I could not kick heroin to save my life, literally, until I started telling my secrets. It was some of the clearest evidence I've ever found of anything. It was the only immediate change in behavior I've ever undergone. I told the most frightening truths, and I was free.

I think trauma gets a reductive treatment. We tend to think only violence or molestation or total abandonment qualify as "childhood trauma," but there are so many ruptures and disturbances in childhood that imprint themselves on us. Attachment begets trauma, in that broader sense, and so if we've ever been dependent on anyone, I think there is an Imago blueprint in us somewhere.

Being a dominatrix, sticking my foot up people's asses for money, necessitated that I divorce myself from any sort of objective perspective on what I was doing. In order to think about things as a writer you have to objectify your experience. I couldn't have been enacting that experience if I was objectifying it.

The story of the memoir is a story of me creating certain narratives so that I could live with my own experience and with the uneasy relationship between what I was doing and what I believed in - or what I saw as an uneasy relationship between those two things.

I am secretive. Always have been. And one way that secrecy manifested in my early life was that I was adept at juggling multiple social realities: I could get by no problem in many social arenas (including that of high school), but also felt alienated and totally uninspired by everything that happened there.

I have replaced my instinct for secrecy with an instinct for confession.

Because of the irresistible nature of our own Imagos, I think the replication of it in music is a siren song - we love those tormented songs, and we listen to them over and over and over the way that we smash ourselves into our lovers, or the same kind of lover, over and over. That drive is tireless, until it is resolved. And we can "enjoy" it safely through music, which is a simulacrum we have power over.

You can turn off the song the way you cannot the actual experience.

We often think that "bad" relationships are motivating by self-loathing or a wish for self-destruction, but I think that loving people who hurt us is more tied to a profound and earnest wish to soothe ourselves and recover from older hurts. And I've also found that having empathy for that urge is the best way to move through it, and beyond it.

All our stories are part invention - the way we've decided to make sense of what has happened.

At a glance, addiction, sex work, mad passion, and all forms of extreme behavior might look like pushing or trying to obliterate boundaries when, more honestly, they are a search for them. I want to find the endpoint, the place where my own powers end, so I can yield to something that I'm certain is bigger than me.

Behaviors and lifestyles that are classified as "normal" rarely get so generalized, public perception of heterosexual relationships, for instance, or of the "white" experience, allow for the infinite variety of experiences that exist under such headings, but people love to reduce the vastness of individuality and subjectivity within marginalized types of experience.

Children's stories force logic upon the gruesome facts of our lives. They mirror our troubles and submit them to a chain of causality.

Our lives are a long series of acquiring and then sloughing narratives.

I think we all are born inside of our parents' narratives. We stay there for a good while. We are taught their narratives about everything: their marriage, the world, God, gender, identity, etcetera. Then, at some point, our own narrative develops too much integrity to live inside that story. We don't ever fully escape it, but we move into our own stories.

The lovers enter into a story together - "this how we met, this is how we were meant for each other" - and then at some point (in my experience, at least), the story splits, and they no longer share it. Then, you either change the story, or you break up. I've always broken up.

Early in my career as a domme, I both admired and feared becoming one of those career dommes. I saw, in myself, and in some other women in that industry, the way that sex work could eclipse the other parts of your personality, the way that I started to feel as if I wasn't qualified to do anything else. I had always known that I wanted to be a writer, and I stopped writing for a time while I was domming; the experience subsumed my other interests, and it scared me. Now, however, I have nothing but admiration for them.

A lot of the experiences I write about could be described as grasping for boundaries, trying to find the limits of things.

When I was a kid, I was told that I had a biological father, but that he didn't have much importance. I had an adoptive father who was present, who loved me, who was up to the task. And he was. So, I didn't question that story, until I was thirty-two, and suddenly realized that I was curious, that he did have something to do with me.

I have always trusted writers, books, thinkers, psychologists in figuring things out. Maybe because they don't know me, so they are always honest, if that makes sense. Their wisdom and counsel are always unconditional.

I've always looked very closely at people, and seen a lot; that was true even when I was a kid. That's what made me a good domme, but it's also what makes me well suited to being a writer, and a teacher.

I absolutely think that women told that writing about themselves is somehow not worthy enough for a public audience all the time. I hear it so often from my students and friends. As if it doesn't take rigorous craft, and intellectual acuity to write a slammin' book of any kind. But perhaps, especially, about the body.

S&M is just a set of practices that get classified as a single category, when more accurately they are a part of much larger set of behaviors: expressions of love, and self, and play, and even art. There is no hard line between "vanilla" sex and S&M sex, or any other kind of relation between people.

Maybe feeling of presence in my body is why I've always sought out extreme experiences; it forces me to be in a moment, to face the fact of my existing in that particular moment, in my body.

Desperation precludes reflection. That is one of the reasons why smart people can get involved in very obviously unworkable relationships. Like addiction, that deep, Imago attachment is more powerful than logic, and in fact disables logic. So, any explanation or analysis or reflection on such a feeling is already many steps removed from the experience.

I always wished I could go to confession. I was so full of things I couldn't name and had an instinct to hide. I felt burdened by the loneliness of my interior life. I wanted some container that I could empty myself into, some ear that would never be shocked, even if it offered me some kind of penance.

I tell my students all the time is, for better or worse, no publisher is going to come wrench your story out of your hands before you're ready to let it go. You will have time to take stuff out. You don't have to show it to anybody. That's what I did.

I never think about anything in my brain. I think in very small repetitive circles inside my own brain. That's why I'm a writer. It's the only way I get any sort of conclusion or understanding about anything.

I couldn't have articulated this process at the time; I just sort of did it instinctually. But now when I talk about this with my students all the time, it's one of the first things I address in memoir classes - that you have to put it all in because you're writing your way into the ending of your own story. Even if you think you know what the story is, you don't until you write it. If you start leaving things out you could leave out vital organs and not know it.

I think that more so, my wonderful skill of dissociation came in very handy. I care very much what other people think. I'm a total pleaser. I want everyone to like me all the time. I feel like people who don't feel that way on some level are lying, but particularly female memoirists. We want to be seen and we want to be forgiven. So that occurred to me very early on.

Me writing the book and the subsequent interactions that we had were actually the cap on that experience. We were still in this weird purgatory about it when I published the book. When I gave them the galleys and what ensued after that, then I understood a lot more about our relationships and what the experience meant to them. I'd never wanted to know what they thought about it at all.

You don't know how people are going to respond. But I would add to that, that getting your heart broken is not the worst thing and it's actually quite unavoidable. I think in some ways I had to break my father's heart and then face that in order to have a real relationship with him.

I saved letters from my boss. There are things in there that are directly transcribed. I was so glad I did that. Sometimes when I was writing the book I wondered if some little writer hobbit part of my brain was back there puppeteering that action. But it really never, on any conscious level, occurred to me that I would write about it. I will say, I thought probably some day there would be an ancillary character in some novel - not in the one I was currently writing - that would be a dominatrix or something.

I'm always writing to a younger version of myself, or a young woman who is like I was. I want that girl to know that I really existed and that it all went down that way.

The other reason I didn't want to fictionalize it is because one of the main points of publishing a memoir in nonfiction was that I wanted to write about what had been a very lonely experience. The books that most saved my life as a kid were the ones that articulated lonely experiences that I had thought were mine alone.

When I was in college I started writing prose, because a very smart professor asked me what I like to read and I said, "Novels," and she said, "You should be writing them then." Memoir never even occurred to me. I think I was afraid of nonfiction and I was afraid of navel-gazing, and of being seen.

Even though novels were the love of my life, I started off writing poetry. I think because I had a knack for image and lyricism, even though I didn't really have anything to write about, or I didn't know what to write about. I could just couple words together that pleased me and so poetry seemed sort of natural.

I think the addiction stuff, because I was already sort of outed in my family as a sexual person: as a sexually-adventurous and sexually-conflicted person and sexually-driven person. They already knew that about me. They knew that about me when I was eleven. My parents very consciously tried to provide an environment that would protect me from becoming a drug addict.

My father was raised by a violent alcoholic. There was alcoholism in my mother's family. I'm half-adopted, and my birth father was a drug addict and alcoholic. So, I think they very consciously made decisions and parented me in a way that was aimed to help save me from that. So, I knew it would be particularly painful and it was, especially for my father.

I made a conscious decision when I was writing that book to depict in real time how I treated it, and how I thought about it, and how I portrayed it to other people, because I wanted the story to be one of change from that to a more honest appraisal, a more accepting appraisal of myself and other people in that world.

When you conceal inner reality, this pressure builds. You often don't expose yourself until it reaches extremity, a breaking point, and what emerges is a dramatic shift - at least in the eyes of others, from whom you've hidden the truth. So, dropping out of high school was like that for me. I was fine, I got straight As, I had friends, and then boom, I was like, I'm done.

It has been my experience that the people I judge most harshly are the ones in whom I recognize some part of myself.

I do believe that we all have these stories inside of us, these scars that we compulsive worry as we do wounds, and that drive for redemption, to change the story or resolve it, governs a lot of what we do in love. We are irresistibly drawn to opportunities to reenact those traumas out of a desire to heal, not to punish ourselves.

Anyone who makes a life of what they love is a hero to me, and it's important for those people to be visible in every kind of life, every kind of love, every kind of work.

Fiction stymies me with its possibility. I can't see the bottom and I freeze, cling to the side, or just choke. In nonfiction, particularly that which takes personal narrative for its primary topic, I have a finite space and a finite amount of material. I can't fabricate material, I can only shape and burrow into it.

I didn't know enough as a writer to understand why I needed to do this, but I understood in a very gut way that I could not entertain those thoughts of pleasing people and write this book - that it would be a very different book. Without really sort of investigating that instinct, which I'm glad for, I just made a conscious decision to put blinders on and not think about anything and put it all in. And I did. I put everything in. I had to look at the whole picture to see what I needed.