Michelle Tea. (2016). Black Wave. The Feminist Press at CUNY.

Michelle Tea. 2016. Black Wave. The Feminist Press at CUNY.

Michelle Tea, Black Wave. The Feminist Press at CUNY, 2016.

Michelle Tea. Black Wave. The Feminist Press at CUNY, 2016.

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   • bioText: Michelle Tea is the author of several books, the founder of literary nonprofit RADAR Productions, the cocreator of Sister Spit, and the curator of Amethyst Editions, a collaboration with the Feminist Press.
   • name: Michelle Tea

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Black Wave

fullDescription

This metaliterary end-of-the-world novel is “scary, funny and genre-bending . . . wonderfully strange . . . yet completely universal and true” (Jill Soloway, creator of Transparent).
 
Desperate to quell her addiction to drugs and alcohol, disastrous romance, and nineties San Francisco, Michelle heads south to LA But soon it’s officially announced that the world will end in one year, and life in the sprawling metropolis becomes increasingly weird.
 
While living in an abandoned bookstore, dating Matt Dillon, and keeping an eye on the encroaching apocalypse, Michelle begins a new novel, a meta-textual exploration to complement her vows to embrace maturity and responsibility. But as she tries to make queer love and art without succumbing to self-destructive impulses, the boundaries between storytelling and everyday living begin to blur, and Michelle wonders how much she’ll have to compromise her artistic process if she’s going to properly ride out doomsday.

reviews

1. • premium: False
   • source: New York Times
   • content:

     "A Gen-X queer girl's version of the bohemian counter-canon."

2. • premium: False
   • source: Kirkus (starred review)
   • content: "Gliding deftly through issues of addiction and recovery, erasure and assimilation, environmental devastation and mass delusion about our own pernicious tendencies, this is a genre- and reality-bending story of quiet triumph for the perennial screw-up and unabashed outsider. A biting, sagacious, and delightfully dark metaliterary novel about finding your way in a world on fire."
3. • premium: False
   • source: The Guardian
   • content: "It's this rawness that makes Black Wave so disarming, a rollicking hallucinatory fantasy that's as sobering as cold air. . . .It's sentimental and reckless and not quite like anything I've read before. An apocalypse novel that makes you feel hopeful about the world: could anything be more timely?"
4. • premium: False
   • source: Publishers Weekly
   • content: "In Tea's skillfully loose, lusty prose, Michelle is both vulnerable and brash, blitzing through lovers and bags of heroin, terrified but also convinced of her own invincibility... [A]n important portrait of the late '90s."
5. • premium: False
   • source: Los Angeles Review of Books
   • content: "A philosophical meditation on the end times, complete with suicides, protests, magical dreams, and Matt Dillon."
6. • premium: False
   • source: Tor.com
   • content: "The prose is fucking gorgeous, the characters are hilarious and upsetting and miserable, the world is heart-stopping in its strangeness and bleak crawl to the edge of the cliff, then its tumble over the edge."
7. • premium: False
   • source: New Statesman
   • content: "Out of a messy, scabrous delve into the personal, Tea has created something uncomfortably funny and bleakly gorgeous."
8. • premium: False
   • source: BUST
   • content: "[L]yrical but blunt, capturing her narrator's duel hopelessness and genuine desire for a life full of love and promise. . . .this book exists in a new kind of literary ecosystem--one that doesn't need to fit neatly into the structures of an older era."
9. • premium: False
   • source: SF Chronicle
   • content: "A love letter to literature's lasting power and the ability of writing to save one's future. . . . If the world is going to end, then Tea's way out isn't so bad."
10. • premium: False
    • source: Eileen Myles, author of Chelsea Girls
    • content: "I was unable put to Black Wave down, suddenly afraid and unsure of what was out there beyond my reading. This bad fairytale-come-true is destabilizing and palpable, and it's Michelle Tea's most fearless book. It's a radically honest, scary, and wonderful place that Michelle has spun. It shook me up."
11. • premium: False
    • source: Jill Soloway, creator of Transparent
    • content: "Scary, funny and genre-bending--a mind-blowing meta-poem--Black Wave is Michelle Tea's most ambitious, complex, and imaginative work so far. An investigation of addiction's apocalypse, it's somehow wonderfully strange, daring, and dirty and yet completely universal and true."
12. • premium: False
    • source: Daniel Handler, author of We Are Pirates
    • content: "Listen up: it's the end of the world and Michelle Tea is the best writer to be with. She's got the smarts and the laughs, the sharpness and the love, the grit and the skin and the ink she needs to see us through. I'm sticking with her until there's nothing left."
13. • premium: False
    • source: Kirkus (starred review)
    • content: "I worship at the altar of this book. Somehow Michelle Tea has managed to write a hilarious, scorching, devastatingly observed novel about addiction, sex, identity, the 90s, apocalypse, and autobiography, while also gifting us with an indispensable meditation on what it means to write about those things--indeed, on what it means to write at all. A keen portrait of a subculture, an instant classic in life-writing, a go-for-broke exemplar of queer feminist imagination, a contribution to crucial, ongoing conversations about whose lives matter, Black Wave is a rollicking triumph."
14. • premium: True
    • source:
    • content:

      July 4, 2016
      In the first half of Tea’s (Valencia) autobiographical latest, set in San Francisco’s Mission District in 1999, sex and drugs are the primary occupations of the protagonist, also named Michelle. As Michelle gets drunk one evening, like most evenings, she watches the sunset from the doorway of the bar: “The hue of the sky was the visual equivalent of the alcohol settling into her body—dusky blue shot with gold and darkening to navy.” In Tea’s skillfully loose, lusty prose, Michelle is both vulnerable and brash, blitzing through lovers and bags of heroin, terrified but also convinced of her own invincibility. This tension emphasizes the reckless force of youth as well as the waning freedom of life before cell phones and the full-blown Internet, making this book an important portrait of the late ’90s. The second half of the novel, however, in which Michelle moves to L.A., morphs messily into a metacognitive excavation of what it means to write, rewrite, and revise one’s own story into art. This section of the book, which also plays with chronology, the approaching apocalypse, and the fabrication or conflation of characters, is less successful, in part because it ultimately feels less honest. The one exception, however, is the appearance of Matt Dillon in the used bookstore where Michelle works, a perfect, hilarious celebrity interaction subplot, anchoring Tea back down to the awkward dialogue and fierce desire she does so well.

15. • premium: True
    • source:
    • content:

      Starred review from July 1, 2016
      Churning through lovers, baggies, and bottles, writer Michelle Leduski runs for LA with the end of the world on her heels.In 1999, San Francisco's Mission District is rapidly gentrifying. The gritty glittering landscape of artists and radicals is gradually being supplanted by the sterile manufactured cool favored by dot-com boomers who spread like a fungus, displacing the neighborhood's previous crop of displacers, to which Michelle belongs, "a tribe bound not by ethnicity but by other things--desire, art, sex, poverty, politics." In what seems at first like a lightly fictionalized memoir, Tea (How to Grow Up, 2015, etc.) traverses ground familiar to readers of her previous work: booze, drugs, sex, protracted adolescence, and '90s queer culture. But as time destabilizes, we're irresistibly sucked into an alternate universe where the byproducts of modern living cause illness and alienation, the natural world has been all but eradicated, poisonous mists roll off the Pacific, and compost-powered cars trace the roads. Michelle leaves the Mission and attempts to write about a relationship ruined through the slow decay of self-neglect but is constantly plagued by a memoirist's fears of overexposing and harming those around her. While reality expands and collapses like a gasping lung and the Earth crumbles around her, Michelle digs at the emotional truth of a loss that feels like the end of everything. But, rather than succumb to apocalyptic depression as spectacles of hysteria and petty distractions continue to swirl around her, Michelle claws her way out of her spiral of self-destruction to face the end, clear-minded and resolute. Gliding deftly through issues of addiction and recovery, erasure and assimilation, environmental devastation and mass delusion about our own pernicious tendencies, this is a genre- and reality-bending story of quiet triumph for the perennial screw-up and unabashed outsider. A biting, sagacious, and delightfully dark metaliterary novel about finding your way in a world on fire.

      COPYRIGHT(2016) Kirkus Reviews, ALL RIGHTS RESERVED.

16. • premium: True
    • source:
    • content:

      November 15, 2016
      

      The author of ten books exploring queer culture, pop culture, feminism, and more, plus founder of the literary nonprofit RADAR Productions and cocreator of Sister Spit, Tea makes great literary content from the stuff of her on-the-edge life. This book started as a memoir aimed at examining the end of a long relationship and her sense of finally transitioning to adulthood. Soon, however, it morphed into a closely observed novel starring the hyperkinetic, probing Michelle, who moves from major drug taking at a San Francisco bar to a lucid grappling with life and love. It takes a moment to adjust to third-person Michelle-as-protagonist, but the pleasures of the prose, which is energized and exuberant (one might even say goofy), are the reward. VERDICT Tea paints a terrific portrait, but her great gift is how she makes readers look more closely at themselves.

      Copyright 2016 Library Journal, LLC Used with permission.

popularity

104

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This metaliterary end-of-the-world novel is “scary, funny and genre-bending . . . wonderfully strange . . . yet completely universal and true” (Jill Soloway, creator of Transparent).
 
Desperate to quell her addiction to drugs and alcohol, disastrous romance, and nineties San Francisco, Michelle heads south to LA But soon it’s officially announced that the world will end in one year, and life in the sprawling metropolis becomes increasingly weird.
 
While living in an abandoned bookstore, dating Matt Dillon, and keeping an eye on the encroaching apocalypse, Michelle begins a new novel, a meta-textual exploration to complement her vows to embrace maturity and responsibility. But as she tries to make queer love and art without succumbing to self-destructive impulses, the boundaries between storytelling and everyday living begin to blur, and Michelle wonders how much she’ll have to...

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