Category Patricia Lockwood

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What we’re reading: writers and readers on the books they enjoyed in September

Writers and Guardian readers discuss the titles they have read over the last month. Join the conversation in the comments

I am really excited by Namanlagh, the first poetry collection in 10 years from the great Tom Paulin. A tone-perfect meditation on illness and recovery, partnership and writing, violence and historical neglect, it is an absolute cracker. There are subtle nods to Derek Mahon and Seamus Heaney, and many of the poems are filled with a sense of late style and unfinished business.

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Will There Ever Be Another You by Patricia Lockwood review – long Covid from the inside

The cult author’s autofictional follow-up to No One Is Talking About This is the story of a breakdown

It sounds like the setup to a joke: a viral author and a global virus walk into a novel. The punchline is long Covid, an illness that defies narrative – dissolves it. Patricia Lockwood’s new autofiction, Will There Ever Be Another You, is the product of that cruel dissolution. “I wrote it insane, and edited it sane,” she explained in a recent interview. The madness is the method. But must you know the mind before you can know the madness?

Lockwood is the literary Frankenchild of Dorothy Parker and Flannery O’Connor: a heretical wit fused with gothic strangeness, vintage quippery rewired for the digital age. She’s the kind of writer who inspires parasocial devotion and copycat haircuts. Even her cats are internet-famous. The sacred text of Lockwood lore is Priestdaddy, her glorious 2017 memoir, which introduced readers to the American author’s trouser-resistant father, an ordained Catholic priest who blew his daughter’s college fund on a vintage guitar.

“What are you working on?” people kept asking me. Little stories, I would evade, and leave it at that, because if to write about being ill was self-indulgent, what followed was that the most self-indulgent thing of all was to be ill. But I was determined to do it. I was going to write a masterpiece about being confused.

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‘I’ve seen so many people go down rabbit holes’: Patricia Lockwood on losing touch with reality

The Priestdaddy author on quitting social media, Maga conspiracies and how her second novel grew out of a period of post-Covid mania

There is a thing Patricia Lockwood does whenever she spots a priest while walking through an airport. The 43-year-old grew up as one of five children of a Catholic priest in the American midwest, an eccentric upbringing documented, famously, in Priestdaddy, her hit memoir of 2017, and a wellspring of comic material that just keeps giving. Priests in the wild amuse and comfort her, a reminder of home and the superiority that comes with niche expertise. “I was recently at St Louis airport and saw a priest,” she says, “high church, not Catholic, because of the width of the collar; that’s the thing they never get right in TV shows. And I gave him a look that was a little bit too intimate. A little bit like: I know.” Sometimes, as she’s passing, she’ll whisper, “encyclical”.

This is Lockwood: elfin, fast-talking, determinedly idiosyncratic, with the uniform irony of a writer who came up through social media and for whom life online is a primary subject. If Priestdaddy documented her unconventional upbringing in more or less conventional comic style, her novels and poems since then have worked in more fragmentary modes that mimic the disjointed experience of processing information in bite-size non sequiturs. In 2021, Lockwood published her first novel, No One Is Talking About This, in which she wrote of the disorienting grief at the death of her infant niece from a rare genetic disorder. In her new novel, Will There Ever Be Another You, she returns to the theme, eliding that grief with her descent into a Covid-induced mania, a terrifying experience leavened with very good jokes. A danger of Lockwood’s writing is that it traps her in a persona that makes sincerity – any statement not hedged and flattened by sarcasm – almost impossible. But Lockwood, it seems to me, has a bouncy energy closer to an Elizabeth Gilbert than a Lauren Oyler or an Ottessa Moshfegh, say, so that no matter how glib her one-liners, you tend to come away from reading her with a general feeling of warmth.

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