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[Статья] Интервью с Сарой Тейлор для Rue-Morgue и небольшая статья в Nationalpost


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Отправлено 28 March 2015 - 18:21

Friday, March 27, 2015. Alison Lang

















The Birthday Massacre's SARA TAYLOR aka Chibi on her debut novel.

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Sara Taylor’s debut novel, BORING GIRLS, won’t do much to debunk the idea that violent music begets violent people. The book (due out in April from Toronto’s ECW Press) tells the story of a shy, isolated high-schooler named Rachel.

After discovering death metal, she meets Fern, a like-minded soul. Together, they form their own band and even get the chance to meet a group of Rachel’s musical idols. The encounter goes horribly wrong, however, and the two girls are left irreparably scarred and hungry for vengeance. A dark, coming-of-age story, Boring Girls is brutal but it’s also exhilarating and bizarrely inspiring.


The novel draws from familiar terrain for Taylor, who goes by the moniker Chibi for her day job as lead vocalist of the darkwave rock band The Birthday Massacre (see RM#151). We caught up with the author while on tour in Brazil, and got her to spill her guts on women, music and ultraviolence.

While there are aspects of Rachel’s personality that are extreme, she also reminds me a lot of many women I knew growing up (and also of myself!) What experiences did you draw upon to create this character?
I was pretty unpopular in school, kind of an outcast, and looking for people with similar interests as me. High school stinks. There’s always that conflict between wanting to be cool and liked, and acting like you don’t care even though it drives you nuts. What a horrible time that is.

Do you think women are inherent targets for misogynistic behavior in hard rock/punk/metal scenes?
There’s definitely a boys’ club mentality that exists among a ton of musicians – using women, deceiving them, betraying their partners at home, laughing about it. It’s almost expected in certain circles. What happens on the road stays on the road; if you’re in a different area code it isn’t cheating, etc. Women make themselves available for it as well, which I don’t understand, but whatever. The problem is that if, traditionally, men perform in bands and women serve and adore them, that system can create a pretty unfriendly environment for female musicians and crew members.

How do you want people to perceive this book? Is it a feminist novel?
I don’t know if it is. I am a feminist, so I guess it would be cool if it was a feminist novel. It addresses issues women may face, and talks a lot about the music industry, and it’s also pretty dark. I didn’t write it to be a feminist story, and I don’t think a vengeance for violation plot line automatically means “feminism”, but I’ll take it. I’d be proud to have written a feminist novel, if that’s what this is.

Read the full interview with SARA TAYLOR in the March issue of Rue Morgue!


Nationalpost

The Art of Influence: Sara Taylor on not really being a murderer.

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When I was very young, my parents used to watch Mystery! on PBS. I was transfixed by the opening credits, an animation by the poet and illustrator Edward Gorey. I later sought out everything of his. Gorey combines verse with very dark and eerie illustrations, and something weird or horrible is always happening in his stories; someone’s always in peril. He’s probably the reason I started dying my hair black. He’s also inspired me in my own work; turns out I really do like the creepy stuff.
I’ve spent the past 15 years in the music industry — writing, travelling, performing — and through that I’ve collected lots of experiences that helped me write my book, Boring Girls, which centres on a girl who joins a metal band with her friends.

Generally, the music industry isn’t a particularly welcoming for women. Most musicians, managers, venue staff, stagehands and label executives are men. I’ve made a lot of close female friends in other bands on the road, because being a female musician really sets you apart; you encounter situations that other people can’t really relate to.

I’ve been denied access to my own dressing room because the venue security thought I was a groupie, and told me I would be “sent for” when the guys in my band were “ready for me.” I’ve been barred from going onstage with my band because I was perceived to be an over-enthusiastic fan. I’ve been at meetings with people who make eye contact with everyone at the table except for me. I’ve been expected to lie when the wives and children of rabidly unfaithful musicians come out to shows — that’s part of the “code.” I’ve had my weight, clothing, hairstyle, shoes — you name it — analyzed and critiqued as though my attractiveness is part of the package and is as open for critical discussion as my singing and songwriting capabilities. I’ve been asked in interviews if I ever want to have children. I’ve been treated as a possible conquest by men in bands who see me as more of a challenge than your “typical groupie.” It becomes tiring. It becomes infuriating.

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Although I’ve also had the pleasure of meeting many men on the road who treat female fans, musicians, and crew with respect, I’ve also heard a tour described as a “pirate ship”: a collection of rowdy, lonely guys travelling in a group and feeding off each other. The ladies really are few and far between.
I wrote Boring Girls from the perspective of Rachel, a murderer, with her possible victims being unsavory, difficult, even terrible people. Figuring out a way for readers, and for me, to relate to someone who would actually kill another human being was a challenge. So, I revisited

Exquisite Corpse by Poppy Z. Brite, which is also written from a killer’s perspective and is one of the most disturbing books I’ve ever read — it is very interesting when you can somehow drum up sympathy, or empathy, for characters who are fundamentally loathsome.

It was challenging writing Rachel’s character: my life and experiences definitely inform her character, and yet I have nothing in common with her at the end of the day. Even if I like the creepy stuff, I’ve never killed a bunch of people, you know?

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Sara Taylor sings and writes for the Billboard-charting band The Birthday Massacre. She lives in Toronto with her Shetland sheepdog. Her debut novel Boring Girls is published by ECW Press.

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