Interview: Olivia A. Cole

SARAH STEINBACHER: Your young-adult novel, DEAR MEDUSA, received a starred review from School Library Journal, who said, “this tale is one of a girl finding her way back to herself...one that readers won’t put down willingly.” Written in verse, it’s “beautiful, thought-provoking, and filled with emotion” (School Library Journal, starred review). Why was this story best told through verse? What do you like best about writing in verse and what do you like least?

OLIVIA A. COLE: I can’t imagine writing Dear Medusa in anything but verse – same for Ariel Crashes a Train. Both books came from a very unstructured place in my mind and naturally flowed out in a way that didn’t obey a traditional novel’s form. It’s possible that both books involving the characters’ experience of memory lent to this approach as well. I’m not sure if there’s anything I like least about writing in verse – it has its limitations, just different limitations than prose. I enjoy the challenge of both.

SARAH STEINBACHER: The New York Times said DEAR MEDUSA “focuses less on re-examining the Medusa myth and more on channeling the archetypal energies of Medusa’s story, exploring how victims are commonly cast out and what it takes for them to reclaim their power.” What about the myth of Medusa drew you to it for this story?

OLIVIA A. COLE: I never set out to write a story that revolved around Medusa, but as the character Alicia developed on the page I came to realize how monstrous she was made to feel, and how absurd it is that abusers are given so many “gifts,” both in the form of legal protection (shields) and misogynist deflections (swords). I realized this was exactly what the gods gave to Perseus when he set out to kill Medusa. One so-called monster, and all the powers-that-be aligning to strike her down. I think we’ve all seen that happen to women at some point to who tell the truth about their life or who seek justice in various ways.

SARAH STEINBACHER: Publishers Weekly gave DEAR MEDUSA another starred review, saying, “Emotionally raw verse critically portrays one teenager’s experience dealing with the aftermath of assault, and provides a sharp look into cultures built on oppressing survivors’ voices…both vulnerable and fierce, Cole boldly examines agency, bodily autonomy, and internalized misogyny.” DEAR MEDUSA has also been praised for its “raw and uncompromising view into the sexualization of young women” (Booklist) and its “highlighting of multiple forms of sexuality and the power of women supporting women” (Horn Book). Why is this story so important for young adults, especially in today’s society? What do you hope teen survivors take away from it?

OLIVIA A. COLE: The landscape teens find themselves in is so vastly different just in the few years since Dear Medusa was published. In some ways it might even feel obsolete, given that teenage girls are now dealing with an overwhelming number of young men who are being/have been red-pilled online. My hope is that the core of the book still finds a place to land with young women and femmes: that our lives are ours, our bodies are ours. That we, to quote Audre Lorde, “are powerful and dangerous.”

SARAH STEINBACHER: Your young adult novel in verse, ARIEL CRASHES A TRAIN, earned multiple starred reviews. It’s been praised as: “gripping” (Bulletin), “deeply compassionate and sharp-edged” (School Library Journal, starred review), and “a poignant, raw masterpiece” (Booklist, starred review). It was also longlisted for the 2024 National Book Award. How has such recognition impacted your career?

OLIVIA A. COLE: Oh, I think it’s hard to say! These are all wonderful things and I am very proud and full of gratitude. But if there is impact, it exists in shadow. I can’t say I notice any measurable result in my career, but I occasionally get emails from readers that tell me they have been impacted by the work – that has nothing to do with critical recognition though. I value those emails most highly.

SARAH STEINBACHER: ARIEL CRASHES A TRAIN is “a revelatory, razor-sharp, and powerfully honest depiction of the reality of living with OCD” (Kirkus, starred review). Horn Book said, “this powerful novel in verse provides an intimate look at the patterns of obsessive-compulsive disorder and offers an opportunity to explore the ways our inner voices affect our behavior and self-concept.” Publishers Weekly added that, “vivid, emotionally charged verse renders terse, illuminating discussions of gender, race, religion, and sex that candidly contextualize OCD, and give teeth to this dazzling, layered story of self-acceptance and agency” (starred review). Why was it important for you to showcase a character with OCD through an intersectional lens? And why is their self-acceptance and agency so critical for young readers to see?

OLIVIA A. COLE: Whenever I come to the page, I come with the intent to tell the truth. The essential truth at the heart of Ariel was “with community, all things are possible.” Everything in the book – Ariel in coalition with Black and trans peers; Ariel finding a doorway into understanding her gender; Ruth finding a pathway through her grief – all sprang from that foundational truth.

SARAH STEINBACHER: Your middle grade novel, THE EMPTY PLACE, is a “dreamlike portal fantasy [that] examines the nature of home and what it means to be lost” (Publishers Weekly, starred review). It’s “deeply satisfying…[and] will resonate with many readers, especially those who enjoy fantasy and coming-of-age stories” (School Library Journal, starred review). How does writing middle grade fantasy differ from your contemporary young adult stories?

OLIVIA A. COLE: Honestly, not vastly! I approach all my books the same…for better or worse! I think it all comes down to character: who they are and what they’re asking. Naturally an eleven-year-old is asking different questions and has a different worldview than seventeen-year-old. The story that is born there develops based around things like that. But my process doesn’t differ greatly.

SARAH STEINBACHER: Your middle grade novel, WHERE THE LOCKWOOD GROWS, explores themes of environmental justice and activism. How can kids today make a difference for the environment (and other justice issues they care about)?

OLIVIA A. COLE: So many ways! Fighting data centers, for one. It is extremely important that we look at what’s happening in our local communities. The fight is right in your neighborhood, in your city.

SARAH STEINBACHER: Kirkus called your young adult novel, THE TRUTH ABOUT WHITE LIES, “an honest, searing look at the roots and rotten fruits of White supremacy.” Why do kids need access to books on racism and supremacy culture?

OLIVIA A. COLE: When you’re growing up white in the United States, it’s like growing up as a fish in water – white supremacy culture is the water. Does a fish notice the water? No, it’s just swimming. White people with no awareness of the water are unable to interact honestly with the world. This country was built on slavery and genocide. Knowing this and knowing how the ramifications – social, spiritual, economic – have echoed throughout the centuries right up until this very moment is absolutely necessary for young people (or any person) who is struggling to understand how we got here.

SARAH STEINBACHER: Your website includes a free reading guide for THE TRUTH ABOUT WHITE LIES created in partnership with Dr. Asha French. What was it like working with Dr. French on that project?

OLIVIA A. COLE: Dr. French is a genius. She’s the kind of thinker that elevates everyone around her. It was an absolute privilege to collaborate with her on that guide.

SARAH STEINBACHER: Your upcoming young adult novel coauthored with Ashley Woodfolk, QUEERLEADERS, is “infectious queer joy—and romance—worth cheering about” (Kirkus). “Equally heartwarming and hilarious…this sporty romance that tackles bi-erasure will toss hearts in the air and catch them in a solid eight count” (Booklist). School Library Journal added, “This fun, funny piece of realistic fiction is aimed at a queer audience, but the humor and relatable social struggles ensure that it will still be enjoyable for high schoolers of all identities.” Why is queer joy important for all kids to read—not just the queer ones? How did you approach adding humor to the story?

OLIVIA A. COLE: Mirrors and windows and sliding glass doors! Dr. Rudine Sims Bishop wrote her groundbreaking essay in 1990 and it will never, ever be irrelevant. Sometimes books let us peer into others’ lives; sometimes they reflect our lives back to us in a way that is transformative; sliding glass doors, so a reader may step through into the world they’re invited to. We are living in a time of uncertainty and violence – what feels strange to many right now is a reality for queer communities, for Black communities, for immigrant communities, for women. Queer is a verb. These are the times we need queerness most. As for the humor…listen. Ashley Woodfolk and I might’ve gotten a little unhinged for this one. Look around – these are unhinged times. We like to rise to the occasion.

SARAH STEINBACHER: How has teaching shaped your writing and vice versa?

OLIVIA A. COLE: I would not be the writer I am if not for the gift of being invited into community with young people. I barely see it as teaching anymore but generational exchange. I like to think that teaching gives me a stronger grasp of what’s true in the world. That goes into the book. Then while writing the book, I learn something else. And then I turn around and give that to the classroom. Like all the best things on Earth, it’s something like symbiosis.

SARAH STEINBACHER: Do you have any other projects you’d like to share?

OLIVIA A. COLE: Annie Burned the House Down is out next year!

*****Order Olivia’s newest young adult novel, QUEERLEADERS, available now.*****