Whitney Mallett is a vital voice in literary criticism at a moment of profound media upheaval. Founder and editor-in-chief of The Whitney Review, she is also a regular contributor to some of her personal favorite titles, such as PIN–UP. From her New York home—where this winter’s relentless snow is finally thawing—she operates at the intersection of high-concept art and commercial utility.
When we speak, she is literally supported by literature; her computer is stacked on a pile of galleys. Surrounding her are the physical traces of the current “reading circuit”—proofs and publications sent by writers and presses hoping to find a home in her magazine’s “omnivorous” pages. Here, Mallett talks to hube about the tension of the erotica paywall, the claustrophobic morality of Canadian literature, the vitality of indie publishing, and why she is deliberately trying to attend fewer events.
hube: In London, there is an attempt to convert literary scene events into a sort of in-person dating app. Is this something that’s also happening in New York? Did you do anything this past Valentine’s Day?
Whitney Mallett: I actually met my partner at a reading years ago, so yes—I do think “hot people” hang out at readings partly to meet their Valentine. I was even invited to read at a Valentine’s event last year. The night before this most recent Valentine’s Day, one of my best friends eloped at the courthouse. They booked a sexy suite at the Standard Hotel and threw a very fun party to celebrate, which felt very apropos. Then, on Valentine’s Day itself, I went to the Anna Sui show and grabbed a burger with a friend I ran into there. In the evening, my man and I went to a housewarming party, followed by a party I was co-hosting, so it was a packed day.
h: That’s a Valentine’s marathon.
WM: I even squeezed in a business meeting somewhere, but things are a bit calmer now. I’m always trying to go to fewer events—there’s always something I want to do. For example, someone might be performing a piece they’ll never do again. Last night, there was a Peaches performance and I had FOMO when I saw it on my phone. But you won’t get anything done if you’re constantly at everyone else’s events.
h: Do you ever get FOMO from books?
WM: As we speak, I’m surrounded by galleys people have sent that I haven’t even started yet. Andrew Durbin’s book on Hujar and Thek is one I’m especially looking forward to; it’s meant to be deeply researched but also sexy.
