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Too many details make them solely my own. And I want to leave room for your own stories. If I tried to do more, I’d get it all wrong. All I can do is give you some snapshots and notes.
I do this in the form of poetry because there are too many intangible and ephemeral things I can’t put into fully formed sentences or paragraphs. I could see us in my dreams and suddenly we were the two girls worshipping Immolaine-only one of us remaining to tell the story, just like in the poem. She was in my head every night, probably because I was thinking so much about those years and at the same time, still grieving her. The final push came when I started dreaming about a friend of almost thirty years who had overdosed some months prior.
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I took to watching a lot of true crime documentaries and Buzzfeed: Unsolved, which is a funny series about mysterious events-which sent me, once again, down some folklore and ghostly rabbit holes. I don’t even remember her name.īut with the weight of her resolution heavy on my mind, I wrote “The Thing About Girls with Hammers,” and a bunch of doors starting opening, creaking at first, then slamming. I’ll never forget going there with our mutual friends and whispering in her room about how sketchy the guy was and how she pulled a hammer from under her mattress and said, “If it comes to that, I’ll do what I have to do.” She wasn’t even upset. She’d left home under bad circumstances and was renting a room in an older man’s apartment. I thought about one girl in particular, who I only knew tangentially in high school.
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I started spiraling, thinking of all of the girls I knew when I was younger who were full, and all the times I, myself, was too full and wanted to burn it off. I started.thinking of all of the girls I knew when I was younger who were full, and all the times I, myself, was too full and wanted to burn it off. I couldn’t stop thinking about the young women in my piece or the character Maud-driven by passion and desperation, spirit and obsession, looking to find connections and signs everywhere because without them, what if there’s nothing? They are ultimately driven to violence because they are just so full of fear of that nothing and the chaos and mania it brings until there’s no space left inside. So, if you’ve seen Saint Maud, you can understand how it all clicked in my head.
I resurrected her in Choking Back the Devil, this time as a saint in "The Cult of Immolaine," which was less about her and more about the two young women who find and embrace her and interpret her in a way that makes sense to them, to tragic results. Years ago, I wrote a short poem for Daughters of Lilith called "The Burner," wherein I imagined an entity called Immolaine, who is an involuntary fire starter, unable to regulate her emotions and contain her power. If I can ever write something that makes the reader feel the way that scene made me feel, I will die happy. Truly, the last thirty seconds of that film of the most enthralling and horrific scenes I can think of. I had also watched a film by Rose Glass called Saint Maud that took my breath away, and something started turning in my brain. I’d written a couple of folklore pieces on a whim but shelved them because there are plenty of books on folklore and I didn’t feel motivated enough by the topic to do a whole collection.
There was series of events that led me to this theme, and I may have them out of order, because it’s been 2020 for several years now and I’ve lost the timeline. Okay, this going to be a lot, because you’ve asked some really great questions.
What made you want to write this book? Why was now the right time to tell some of these stories, and why did poetry feel like the right medium to tell them in? Girls From the County, while similar in tone to your other books, is vastly different in its own right as you’ve pulled from memory, nostalgia, and place. Her most recent collection, Girls From the County, is a book that not only challenges fears about our homes, it makes us questions our childhood memories and the things we tell ourselves didn't happen or weren't possible. Donna Lynch is a two-time Bram Stoker Award-nominated dark fiction writer, spoken word artist, and the co-founder-along with her husband, artist and musician Steven Archer-of the dark electro-rock band Ego Likeness (Metropolis Records).