My sweet-tooth for stories and books is entirely my mother’s doing. From the beginning, she ingrained in me the importance of make-believe; the easy, seductive escapism that goes along with a good book. My childhood library was a vast, impressive thing, which my mother also had a hand in making. On my last visit home, I climbed the winding staircase with the odd bend in its middle up to my old bedroom, where I remembered seeing these childhood books last.
I found them neatly stacked—tall and glossy with the hardcover’s requisite fierce laminate shine—on the old twin-sized trundle bed, their pages stuck shut by time and that species-specific dust bunny native only to suburbia.
I tried to be gentle as I sifted through them, rereading some entirely like Audrey Wood’s King Bidgood’s in the Bathtub, which I remember being one of my particular favorites as it was about a king who did just that—held court in his bathtub. Bubbles pop and soak marble floors while jesters make silly grimace-grins: I imagine it must have inspired from my then-toddler-self, a deep awe for the interdimensional aspects of the average-looking bathtub. Others, too, like Grandfather Twilight, about a kind old man who puts the moon in the sky after his evening walk each night; The Rainbabies, too—a classically structured folktale dealing in magic rain, the moon, and wishes coming true—depicted in careful sketching and pastel watercolors, soft and cool-toned.
The first time I “seriously” wrote anything was the summer my mother had her first manic episode (bipolar psychosis), and her first stint at the psych ward. It was the summer before eighth grade. It was also the last summer that my mother ever wrote anything seriously again. Specifically, I mean the book she’d started writing a few weeks after quitting her job as a speechwriter. I’d been beyond excited at the prospect of having a real-life author for a mother. I fantasized about this scenario, made sure to brag to my friends at school about it. My mother, the writer.
Because it was true, how it’d always been: my mother was the writer in the family; the reader, the dreamy girl who spent her teenage weekends with bent, seventies’ paperbacks. Looking back on photos of my mother as a teenager and young twenty-something, I see a pretty girl with olive skin and dark fly-away hair who seems to always be laughing with a book in hand. It’s the true sort of happiness that’s hard to fake. Bliss, joy, a silliness I’ve never seen on her. There’s light in those black eyes of hers, and the skin around her happy mouth is stretched tight and young with delight. I wish I’d known her then, could talk to that version of her now that I’m grown.
Originally from Jackson, MS, I now live and work in Seattle, WA, with my Cavalier King Charles Spaniel who I (nerdily) christened Daisy Buchanan after the leading lady in The Great Gatsby. (I’ve always loved her ‘beautiful little fool’ quote towards the beginning of the novel.) I currently am a part time children’s creative writing instructor for Pacifica Writers’ Workshop, a Split Lip Press nonfiction reader, and a freelance writer. Side hustles include: web development, selling on Poshmark, dog sitting, and trying to write a novel.
I graduated with a BA in English Literature from the University of Mississippi in 2013 and an MFA in Creative Writing with a Fiction emphasis from Louisiana State University in 2018, where I served as graduate prose editorial assistant for The Southern Review, social media editor for New Delta Review, and cohost for the Underpass Readers & Writers series. In 2018, my graduate thesis—a hybrid novel, Rapunzel Has Insomnia—was a finalist for the University of New Orleans Publishing Laboratory Prize.
My fiction, essays, articles, and reviews appear in Psychopomp Magazine, Flash Fiction Magazine, Grimoire, Third Point Press, Sidereal Magazine, Crab Fat Magazine, Literary Orphans, Queen Mob’s Teahouse, Dream Pop Press, The New Southern Fugitives, Click Magazine, Mississippi Magazine, Young Professionals of Seattle, and New Delta Review, among others.
For the past decade, I’ve attempted to keep at least one toe in the book publishing and literary worlds, which is why I have such eclectic work experiences: summer editorial assistantships for lifestyle magazines, an NYC-based literary agent, and a couple of online magazines, and Thacker Mountain Radio, a weekly radio show. Fresh out of college I even worked for Fat Possum Records, a record label located in my college town of Oxford, MS, while studying for the GRE and applying to 12 MFA programs. After being rejected from all 12 schools and subsequent identity crisis, I spent the next year working remotely as associate publisher for the small indie press Blooming Twig Books and freelance writing. They would later go on to be kind enough to publish my first collection of short stories, Shoulder Bones, in 2014.
During my time in graduate school, I had the opportunity to live and workshop my writing abroad for one month in Prague, thanks to the 2016 Prague Summer Writers Program. Also, in 2017, I participated in the Sewanee Summer Writers Residency. Recently, my short story “The Other Mother” was second runner up in Psychopomp Magazine’s 2019 Short Fiction Contest. My personal essay “Inheritance: A Timeline” was nominated for a 2019 Best of the Net award, and my short story “Alice and the Moon” was nominated for a Pushcart Prize.
Mary B. Sellers lives and works in Seattle, WA, and is at work on her second book, a novel of autofiction. She holds a B.A. in English Literature from the University of Mississippi and an M.F.A. in Creative Writing from Louisiana State University. Most recently her writing has appeared in Psychopomp Magazine, Flash Fiction Magazine, Grimoire, Third Point Press, Sidereal Magazine, and Young Professionals of Seattle.
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