Jess Dougherty

“Now I’m just driving past office parks and outlet malls, feeling excited and oddly patriotic. Lana Del Rey plays on the speakers and I see beauty everywhere. There’s that line in Grey Gardens when Little Edie is digging through a pile of what looks like garbage and mutters, This is all art. She says it quietly and it doesn’t appear on the transcript PDF of the film I’ve read over a hundred times on my laptop, but I’m positive she says it. And now I’m repeating This is all art to myself like a schizophrenic mantra while watching an American flag wave perkily above a P.F. Chang’s.”
― Anna Dorn, Perfume & Pain

“You want to know danger? Try living with a man who creates you just so he can eat your soul.”
― Sierra Greer, Annie Bot

“The weird thing about being a writer is that at 25, you’re passionate and eager to share what you consider to be your sui generis perspective, but you haven’t practiced enough to be effective, and no one takes you seriously either way. And then ten years later, you’ve finally written enough to know what you’re doing, but you’ve completely lost the sense of urgency, you’re officially middle-aged and shop at the Gap,”
― Anna Dorn, Perfume & Pain

“How can I tell a story we already know too well? Her name was Africa. His was France. He colonized her, exploited her, silenced her, and even decades after it was supposed to have ended, still acted with a high hand in resolving her affairs in places like Côte d'Ivoire, a name she had been given because of her export products, not her own identity.
Her name was Asia. His was Europe. Her name was silence. His was power. Her name was poverty. His was wealth. Her name was Her, but what was hers? His name was His, and he presumed everything was his, including her, and he thought be could take her without asking and without consequences. It was a very old story, though its outcome had been changing a little in recent decades. And this time around the consequences are shaking a lot of foundations, all of which clearly needed shaking.
Who would ever write a fable as obvious, as heavy-handed as the story we've been given?
...
His name was privilege, but hers was possibility. His was the same old story, but hers was a new one about the possibility of changing a story that remains unfinished, that includes all of us, that matters so much, that we will watch but also make and tell in the weeks, months, years, decades to come.”
― Rebecca Solnit, Men Explain Things to Me