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INTERVIEW

nora canby + thea murray

july 20, 2019

sweet briar, virginia






Nora and Thea met in the summer of 2016 as residential teacher-counselors at the UVA Young Writers Workshop and have been involved with YWW for multiple years. This summer they were spreadsheet masters on the administrative B-team, which coincided with Ava’s debut as a counselor. After successfully coordinating a handful of themed outfit days with Thea and Nora, Ava decided it was time to conduct a corner office interview to discuss their collaborative practice. This interview has been edited for length and clarity.


Adele: Where do you live when you don’t live at Sweet Briar?

Nora: I live in Brooklyn.

Ava: Where in Brooklyn?

Nora: Park Slope. Thea’s a drifter.

Thea: Yeah, I’m a drifter. We’re both drifters.

Nora: I’m not a drifter.

Thea: I lived in Miami but now I’m moving to Athens, Georgia, but I don’t have a place to live yet, so everything I own is with me.

Ava: Besides your cat.

Thea: Besides Geckl. Geckl’s staying in a motel in Charlottesville.

Nora: Do you know it?

Adele: I… don’t… know if I do.

Nora: What is it called?

Thea: It’s called Pet Motel and Salon. But they wouldn’t do my eyebrows there, so… they’re not foolin’ anybody.

Ava: That’s a great lead-in to our next question.



Adele: Are you a cat or a dog?

Nora: I’m a cat and Thea is a dog, but Thea wants to be a cat.

Thea: Do you want to be a dog?

Nora: No, I don’t.

Thea: I do want to be a cat.

Nora: What do you think is better about cats than dogs? What would make you want to be a cat more than a dog?

Thea: Dogs are needy, and dogs are gross. Cats are like… smooth.

Nora: Some cats are gross.

Thea: Not Geckl!

Nora: My foster cats were gross.

Thea: They were gross.

Ava: I’ve had gross foster cats, too.

Nora: Really? You’ve had foster cats?

Ava: It was when I was in college, and we weren’t even supposed to have pets, and we wanted cats in the apartment but we didn’t want to own them.

Nora: That’s exactly what I’ve been doing.

Thea: Would you ever have a dog? You have a dog.

Nora: I have a dog.

Thea: Nora wrote this beautiful—can I tell them?

Nora: Yeah, sure.

Thea: Nora wrote this beautiful poem when they were little, and it’s called “Kimba Doesn’t Know.” And Kimba’s the name of their dog growing up, and it was during like—fourth grade?

Nora: Yeah, I think so.

Thea: And it was a poem about how Kimba doesn’t know that Kimba’s gonna die someday. How dogs are just unaware and blissful because of it.

Nora: And he still hasn’t died.

Thea: He’s very old.

Nora: But he must know now. Because my mom keeps bringing people over to the house to see if they should put him down.

Thea: Who do you bring over to the house to question that?

Nora: Literally, I just don’t want to be there when my dog is put down. And I was home for like, one week in the past year, and during that week my mom insisted that he needed to be put down and had like, a vet come to put him down! And then the vet was like, he doesn’t need to be put down.



Ava: Ohh my god. Wait, where is home?

Nora: LA.

Thea: And I’m from western New York, small town called Hornell. And my grandma had it in her will that when she died, her dogs should be put down. But we didn’t do it. They were pretty young, the dogs. I guess sometimes you don’t have to obey the will. The executor can like, ignore parts of it. Did you know that?

Ava: Well, it seems like putting an animal down is kind of…

Thea: But then they didn’t do other stuff, too.

Adele: Yeah, because what if it was in your will to like… hurt someone else. It’d be like… hmm.

Nora: I think it’s probably illegal to put an animal down before they have to be put down.

Thea: If I had a will, my first thing would be infinite wills.

Adele: That’s like the genie wish. If you only have one wish: infinite wishes.



Ava: Next question is our favorite question: describe your collaborative/creative practice as a party.

Nora: I think it would be totally sober.

Thea: You’re right. It’d be straight-edge.

Nora: A straight-edge daytime party.

Thea: People would be there and they’d be like, why am I here?

Nora:

There would be a mandatory programmatic activity, but we’d be really excited at the turnout.


Thea: They’re required to be there but we love that they’re there.

Ava: What are the activities? Is there music, is there food?

Thea: There are children pumping water from a well.

Nora: And we make them sing. We write a song for them to sing.

Thea: Even if they cry.

Nora: And then we make them write their own song for us to sing. That’s what collaboration’s all about!

Thea: Yeah, a lot of that. Not a metaphor.

Adele: What kind of decorations?

Nora: Just… streamers. What else would happen?

Thea: There would definitely be a lot of like, people having to do things they didn’t want to do, but then loving it.

Nora: Oh yeah, but things like —

Thea: Cool things. Yeah, not scary things.

Nora: Posing. I think there’d be a lot of posing.

Thea: There’d be a photobooth.

Nora: There’d be a lot of peer pressure.

Thea: Yeah. Absolutely.

Ava: That sounds so nice.

Thea: And some codependency. Not us, but like, other people.

Adele: Everyone’s walking around in pairs.

Thea: Everyone has to have a friend.

Nora: Yeah, if you come without a friend…

Thea: Then what? They can’t come, or we assign them a friend?

Nora: I think we’d assign them a friend.

Thea: Do you like going to a party where you don’t know anybody? I hear this is a thing. You go to a party where you don’t know anybody and you just make… small talk?

Ava: I go to plenty of events by myself, but if it’s actually just a social party, I don’t really like to go just by myself.

Adele: Like, I’ll go to a show…

Ava: Yeah, I’ll go to a show or like, literally anything else by myself, but I’m not very good at small talk at all, so—

Adele: I don’t enjoy it, so I don’t really see the point.

Thea: Our party would also have choreographed dances that are like, way on the nose.



Adele: What media/genres do you work with, both individually and as partners?

Thea: Dance.

Nora: We do dance together.

Thea: Yeah. Comics musicals are probably our most regular thing.

Nora: The thing we do together. And then we also do street art—what do we call it? community arts outreach—together. Separately? We do a lot of things.

Thea: I’ll list you separately and then you list me separately?

Nora: Sure.

Thea: So separately, Nora does music. And they should sing more. But put an instrument in front of them and they know how to play it.

Nora: That’s really not true.

Thea: And they can hear a song and then play it on the piano. It takes them a second to figure it out, but then they just play it on the piano. It’s amazing. They’re a fledgling cartoonist and I’m very proud of them.

Nora: Yeah, I’m making a comic right now.

Thea: It’s beautiful.

Nora: Thea is teaching me. Sort of. She taught me how to animate.

Thea: First they learned animation and now they’re going back and learning how to make a comic. There’s this on-the-spot stuff that they get excited about and then do. I feel like they have tangents of talent that they follow, or passions. Tangents of passion. Like, magic was a thing. You’ve also done a lot of like, stage performance—

Ava: Magic like, The Gathering? Or magic, magic tricks?

Nora: Magic wasn’t a thing. I was interested in magic, I would say, more as a subject. And I did some magic shows and stuff.

Thea:

The best thing Nora’s ever done… is be themselves.


But another thing they did was a magic trick where they had a deck of cards. They practiced this a lot and were really nervous about whether or not it was gonna work. They did a magic trick, and the entire time they were doing the magic trick, they were like, “look at the card, and you’ll notice how long and beautiful my slender fingers are,” and then they held it by their face and talked about how their face is just so symmetrical, and went on about their beauty, and then at the end the magic trick worked, but they said, “the real magic trick was, as long as I was up here, I made you all think I was beautiful.” And then they just put the cards down and walked away. And it was just—so sad and funny. I feel like they do a lot of like, stage improv—not improv.

Nora: I definitely don’t do any improv. I also don’t do a lot of stage stuff.

Thea: You follow your heart, I think, and that takes you to the stage. More than the average person, you’re on stage. They also go up to people on the street and talk to them. But I guess we do that together.



Nora: I feel like mostly I just write stuff.

Thea: Oh, that’s right, I forgot about the whole writing thing.

Nora: But that’s not very exciting.

Thea: Yeah. But it is exciting when you do it.

Ava: But Nora, I’m so obsessed with your tree piece. I’ll just say it again. Or I’ll say it to your face.

Nora: Thank you.

Thea: Join the club.

Nora: It was inspired by a real event, which was amazing. I was in like, Cape Cod, so away from where I normally am, and on my phone I was typing “gn,” for goodnight, and usually it suggests—oh, so this piece is about predictive text on your phone. Usually the suggestions for “gn” are like, gnocchi and some other random thing, but the word gnanarelli appeared! And then it kept appearing the next few days I was there, and I searched, and the only Gnanarelli out there is a real estate agent in New Jersey. It didn’t happen on anyone else’s phone when I was there, and I was with a lot of people. Then it was gone. And I’ve never seen it again. And nobody cares about it! No one cares. I don’t know, no one thinks it’s interesting.

Ava: I’m fascinated.

Adele: That is wild.

Thea: The piece they wrote was about someone living in a world where trees just don’t exist. And this person is doing predictive text and trees come up in the text. So the phone’s predictive text knows about trees, and this person is using predictive text, but then the predictive text is silly, like how it is, but also sad in some ways.

Nora: And Gnanarelli’s Twitter—he posted like, a quote a day. The most generic quotes. Yeah, that was very exciting. Ok, I’ll talk about Thea.

Thea: No, I’m not done. I want to talk about one more thing. So what Nora does a lot of times is silly and sad mixed together. They’re doing this thing now with a project that I love. Can I tell them about your poetry from young?

Nora: Yeah, sure.

Thea: They have a bunch of poetry from when they were a kid, from like fourth grade on, kind of—

Nora: Mostly teen.

Thea: So they’re taking their teen poetry, and they’re putting it to this song, and they’re repeating lines when necessary, or adding lines when necessary, so it’s like they’re collaborating with a younger version of themselves, which is really cool.

Nora: Yeah, that’s fun. I wrote crazy things.

Thea: They’re always doing something new and exciting.

Nora: Thank you so much.

Thea: Now talk about me.

Nora: God. Um, Thea does a lot of things and she’s very talented at all of them.



Thea: Thank you. Be more specific.

Nora: I think she primarily identifies as a cartoonist.

Thea: I definitely do. As a zany cartoonist.

Nora: As a zany cartoonist. So she makes a lot of comics. Thea says she hates creative nonfiction but she’s working on a memoir right now. Which she believes is not a memoir. But it’s a memoir! Do you wanna say why you think it’s not a memoir? This is such a different tone than yours was.

Thea: Yeah, it’s kind of combative. I don’t think it’s a memoir because it’s autofiction. I’m taking a lot of liberties with what happened. And I end up addressing the fact that a lot of this is just what I remember, it’s not like—

Nora: That’s so common. I’m not saying it’s so common, like, it’s not interesting, I’m just saying—

Ava: I mean, fiction is better.

Thea: Yeah, exactly.

Nora: I just think it’s so not like you to hate a genre with like, no nuance.

Thea: I hate labels.

Nora:

Thea’s working on a really amazing comic about her life right now and the town where she’s from, and growing up, and becoming who she is.


She has an amazing ability to hyperfocus. She’s been working nonstop on this comic for the past few days. I feel like she’s made like, 100 pages in the past two days. It’s really an amazing ability. She does so many different things and she can actually do them, which is different from me, I think.

Thea: Thank you. But I’m making thumbnails, I’m not making like, final art.

Nora: She has a very minimalist style, but it’s really developed a lot. She started an MFA in fiction and then she started doing comics there. She didn’t know how to draw really at all. She’d never done it, and then it became her big thing. She also writes a lot of poetry right now. She does poetry comics. And she’s learning the keyboard. She’s just started writing songs since she’s been here. Well, she wrote lyrics before she started writing music. And she’s doing an amazing job. And… you hate prose now.

Thea: But I wrote something in prose this summer and liked it.

Nora: What prose did you write?

Thea: The leaf thing was kind of prose.

Nora: It was kind of prose.

Thea: Well. Maybe I like kind of prose.

Nora: Oh yeah, she did a performance. She read something about leaves and brought a pile of leaves up with her. The inspiration was like, I’m gonna go up with a pile of leaves and just talk about them. She also does a lot of humor and sad, and I think she can switch really quickly between them. Like, word by word, even.

Ava: Those are my two focuses. Humor and heartbreak is my catchphrase. My tagline.

Nora: That’s amazing. We have a thing where—well, it’s Thea’s thing—she has people come up with three core virtues. This is like Thea’s main genre: asking people their three core virtues. And I feel like humor and heartbreak could be two of yours—

Thea: And the third one is supposed to be something you’re trying.

Nora: [referencing a list of core virtues taped to the wall] Can you guess which ones are me and Thea’s?

Adele: Umm… Thea is chaos, intentionality, and trying to be small.

Thea: Wow! How did you know?

Adele: And Nora is drama, experimentation, and trying to be nice.

Nora: Yes. So Ava, you would say yours are humor—well, I don’t want to put that on you.

Ava: I would say humor, heartbreak, but then I need a third thing.

Thea: That you’re trying.

Ava: I don’t know. Adele, help me. I would say I’m trying to be quiet—more quiet—but I’m already quiet. And so then I would say I’m trying to be more loud, but I feel like I’m already loud here.

Thea: Trying to balance your voice?

Ava: Maybe that’s it.

Thea: What are your three core virtues Adele?

Adele: I do really appreciate humor but I’m not feeling particularly funny right now. I feel like I would say observant, intuitive, and trying to be slower.

Thea: Oh, I love that.



Ava: Do you have any projects currently in progress or planned for the near future?

Thea: Can you tell us what question you skipped?

Ava: I skipped “tell us about your first or maybe favorite collaborative project and how did it come about?

Nora: We can combine those. Our first project, and a thing we still do, is called My American Musical. So what we do is go around to different towns and cities, but we call them all towns, and we go up to people on the street and say that we’ve promised the town a musical, but we forgot to write it, and it’s in an hour—

Thea: “We were very busy.”

Nora: “We were like, really busy, so would you wanna like, see it or be in it?”

Thea: “Or help us write it?”

Nora: And then we get people to write them and perform them and we get people to watch them.

Thea: Yeah. So like, while some people are writing and rehearsing, we go and grab an audience. One time from a bank.

Ava: Where have these performances taken place?

Thea: Our first one was in Lynchburg, Virginia.

Nora: Yeah. One of our best, actually. We do it with our friend Ophelia, too. We’re doing a state a year until we hit all fifty.

Thea: And then we don’t know what we’ll do—we might start over.

Nora: We’ve done New York, Massachusetts, and Pennsylvania so far. We have a web series. So that’s that thing. Thea, do you wanna talk about our other thing?

Thea: And then the other thing we do is comics musicals, and that started from—what was the first thing?

Nora: Magical Realism with Lyndsay.

Thea: Was that really the first thing?

Nora: Yeah! That was our first one.

Thea:

Nora was doing music more and I was doing comics more, and then we wanted to mash our genres, so we decided to make comics musicals.


I do a couple pages of comics, and then they write a song that I animate, in like a minimalist way, and then we made one called Lyndsay with an A—

Nora: Magical Realism.

Thea: Magical Realism. About this girl wants to be a magician, but her parents don’t believe in magic tricks, so she runs away to the desert and meets a lot of people and one woman wants to like, steal her soul or something? To be young again.

Nora: She meets a critic whose parents don’t believe in criticism, but they don’t actually end up bonding over that.

Thea: Yeah, it’s like this absurd parallel that they never recognize.

Nora: And then at the end, she performs—we really don’t need to go into the plot and all.

Thea: And then there’s bows. Act 4 is always bows. With everything we do.

Nora: Yeah, there are four acts, and there are always bows. We’re working on a longer one of those right now. We’re moving slowly, but it’s a book. Maybe we shouldn’t reveal anything about that. It has a really complicated plot.

Ava: Ok, yeah, save that.

Thea: And what we’re struggling with is—

Nora: We’re saving it, Thea.

Thea: We’re trying to think about absurdity. One of our goals with this new project is balancing absurdity with sincerity. Magical Realism got really absurd.

Ava: I like that a lot.

Thea: And we have things to say.

Nora: We have a lot to say.



Adele: You’re both teachers, right?

Nora: More or less, yeah.

Adele: Where and how and who do you teach and is teaching/pedagogy part of your creative collaborative work?

Ava: And what is the value of chaos and how do you utilize it in your work?

Thea: So, chaos is one of my core values. I was teaching at a traditional school in Miami and it didn’t work out and now I’m going to work at an agile learning center, which is like a no curriculum school where the kids do whatever they want. If they have questions or need resources I can help them go in that direction. I’ll also facilitate by making art and stuff alongside them. When I was interviewing at these places, cool stuff I saw was like, this girl was trying to make a battery for a remote-control car. She was trying to make a crank battery, so she could charge by cranking it. She just knew that you could crank and make a lightbulb go, so she figured she could make a battery go. She was just trying to figure it out, all on her own. I don’t know if she ever did it, or if she got electrocuted. And then another girl was like, do you wanna make art? And I was like, yeah! So I went in to make art and she pulled out an Xacto knife—and I was working with high schoolers, and my instinct as a teacher was to be like, you don’t get a knife. But I had never learned how to use an Xacto and she showed me how to use one. It’s like, if you trust them, the worst case scenario is that they cut themselves and need to get stitches or something. It’s really not the end of the world. But we always think it is. So I like that. Letting them explore is chaos. When I was first defining my pedagogy, I would say chaos pedagogy, because I’m obsessed with chaos, and I was using it to mean something that it doesn’t really. It’s already an established term and I didn’t know that. I was just saying chaos pedagogy as the classroom being this experience and the kids come in and the experience is going to be what it is and then they learn something. But then at the end if you tag on like, by the way, this is what you were supposed to learn—it deletes what they actually learned. Chaos pedagogy—the real one—is similar, but it’s a feminist pedagogy, and I love this. It’s like an added element that I love. Every student coming in contains multitudes and has so much going on and there’s no way of knowing what’s going on and then they go through something, either a lecture or an experience, and you have no way of knowing how they took it or what they’ll take from it.

It’s like all these chaotic systems coming together, and there’s no predicting what will come out of it or happen.


That’s kind of defeatist in a way, but it’s also like, they’re going to take something from this and my job is not to step on it. So teaching to me a lot of times is like, getting out of their way. The less you do, the more they do. Other people have told me that it looks or sounds easy, but it’s hard because I care about the kids a lot and I want to step in and help make it easy, but I have to not do that. And then the other thing is, with all the kids following these different directions, individual learners and explorers need individual direction, so you need to know them really well. It’s a lot of work, but it’s a lot of different work, work that I like better than grading or planning.

Nora: I’m not really a teacher. I’ve taught stuff. I’m going to be unemployed in a week.

Thea: But you know so much about pedagogy.

Nora: Yeah. Starting in like, fifth grade—fifth to seventh grade—I was obsessed with educational philosophies and alternative education. That was all I did—read stuff and research schools. And then my obsession switched to baby names, so I really slid intellectually. But it changed everything for me, because before that I was really obsessed with being smart and doing well in school and then I became so upset that I had to be in traditional school. I really became interested in the kind of school where Thea’s going to teach, but even more so. Like, democratic free schools that are entirely run by the kids basically, as far as like, what the rules are.

Thea: Like the Kids Choice Awards.

Nora: Yeah, and like, no classes. I really hardcore believed that then. I still hardcore believe it, I guess. I hate schools. So yeah, I guess that’s my pedagogy. Honestly, it’s pretty much the same as Thea’s. I think chaos is really Thea’s word.

Thea: I think I’ve really moved away from—chaos pedagogy is a thing that’s been so established, but I’ve moved—I don’t know what I call my pedagogy now.

Nora: I feel like my equivalent of chaos is drama. That’s my word, chaos is your word.

Thea: Can you talk about yes pedagogy? Because that was your thing, too.

Nora: Oh, my yes pedagogy was just saying yes to anything anyone asked me. It started at [UVA] Young Writers, when a kid wanted to get an apple from the dining hall after we were supposed to be going to class, and I really wanted to say no, because it would just be so much easier if the whole class didn’t have to wait for him to get an apple. But I decided to just say yes, and then that inspired me to always say yes. But then I started working with like, five year olds, and it got harder.



Ava: Ok, our last question: what are you excited about?

Thea: Finding someone who doesn’t think my body’s gross.

Nora: Is that what you’re most excited about in your whole life? Honestly, I think it is, it was your bud—we do rose-bud-thorn every night. Thea’s bud was finding someone to date or make out with or something.

Adele: That’s what I’m trying to manifest in the next two weeks.

Nora: Making out with someone?

Adele: Yeah, on the full moon.

Thea: What I’m really excited about is the comic I’m working on. I’m hyperfocused into it, it’s been something I’ve been working on for years, and it’s getting to a place where it’s like, if I do a good solid two months hyperfocusing, I could have a product. I’m also excited about the thing I’m working on with Nora, the comics musical that we’re not talking about, but I feel like that’s on the backburner right now.

Nora: It is on the backburner.

Thea: We have to edit My American Musical. Some things feel like work, and I think that’s good, that we do work together.

Nora: It doesn’t feel like work to me. I love it.

Thea: It feels like work to me.

Nora: It’s good to do work.

Thea: It’s your turn to talk about what you’re most excited about.

Nora: Honestly, that question just makes me feel fear and dread.

Thea: Good question, then.

Nora: What do you think I’m excited about right now? That shouldn’t scare me but it really does.

Thea: Like, I’m surprised you’re not someone who’s excited about possibility—but you aren’t. You want to know what you’re doing next, so—

Nora: That’s not true at all. We’ve talked literally about that exact thing so many times this summer.

Thea: But then why aren’t you excited about that?

Nora: For a long time, there were possibilities because I was just like, I’m not gonna get a job, because I’m traveling for the summer. And now I have to get a job. And I’m aging. And all possibilities are slipping away from me.

Thea: There was a summer where Nora kept asking me for like, grown-up advice, because they were growing up. Not like, puberty questions, but more like life advice. It was all about intentionality. I think you’re excited about—

Nora: I’m scared of going back to the real world after Young Writers.

I just love being here. I love hearing the kids’ work, and about what everyone else is doing, and just being in this community.


And also like, having fun and chilling.

Thea: The community is so focused on narratives, fun, and making art, and it’s so cool.

Nora: And I have a lot of fun in my normal life, and I chill a lot, but other stuff is harder to do. I’m really good at doing nothing. I don’t know. I feel like there must be something small I’m excited about.

Thea: Well, you do things where you like, sign up for choir, and you sign up to do like, this show on a stage, and you sign up—you just get involved with things.

Nora: What are you talking about?! I signed up for a show on a stage?

Thea: What did you do where you like… had a beard?

Nora: Oh, I did do drag.

Thea: Ok, so that’s something. And then you did—you’ve done other things on stages, too. Like, didn’t you do something at one of the shows, one of the comedy shows? Oh, you and Kev were in a band! On stage! A bunch of times. So I think you just need—you get excited about projects.

Ava: Are you excited about drama, experimentation, and/or trying to be nice?

Nora: Yes, I am!

Thea: I’m excited about them trying to be nice.

Nora: Actually, I guess I am really excited about trying to be nice.

Ava: Is it hard to be nice?

Nora: I think it’s more about prioritizing kindness within myself as something that I really care about. I think for so long it was like, you know, being nice is so boring or whatever, and I’d rather be anything else. But now if someone called me nice, I would love that more than almost anything. Maybe because I don’t get it as much. But… I am nice! It’s just that no one understands me. Drama—I’m always excited about drama.

Thea: I think you’re very nice. I think you say blunt things to me that could come across as mean, but you do it in a way that’s very loving. I think that’s nice. I’m sorry I don’t tell you it enough.

Nora: I’m excited to have fun, actually. My roommates and I do this thing where every month has a different theme, so January was Fun, February was Spirituality, March—I almost said Wednesday—

Thea: March was Wednesdays? Live every day like it’s Wednesday. I feel like that’d be good.

Nora: That’s a good one. I don’t know what else. We also had like, Health. Appearance. Community. June was Pride. Anyway, January had so much fun. So I would love to just like, go back and try to have fun everyday. I had so much fun. I think July’s theme was Work.

Thea: We’ve gotten a lot done. And Nora’s very good at spreadsheets. Can I tell them that I’ve cried because of them?

Nora: Sure.

Thea: I have literally cried multiple times because Nora’s just destroyed things, like, in a good way—like, obliterated them. One time I came back to the office and I was like, oh my god, I have to do this spreadsheet… and Nora had done it better than I would’ve, and I started bawling.

Nora: Because I was supposed to do it!

Thea: It doesn’t matter! It still affected me.

Nora: Whatever. That’s nice. I’m glad.

Thea: Have you two ever had a fight as creative partners?

Ava: We’ve had conversations. Or, we’ve had some disagreements, or like… I don’t know. Having to talk about things. No. I mean, I don’t ever fight with anyone.

Adele: I rarely fight with people.



Thea: I think Nora’s one of the few people I would actually fight with.

Nora: I fight a lot.

Thea: I feel like we could fight, and anyone on the outside would be like, oh, that’s going to end the friendship, but because Nora and I are like—

Nora: I believe we had a fight this summer, but you didn’t notice.

Thea: What was it?

Nora: When you were trying to make me write something down on a sign. Like, “break,” and I wanted to write “five minute intermission.”

Thea: Oh no, I knew that was a fight.

Nora: I felt good about it. Because you were being way too controlling.

Thea: No, that’s what the whole thing was.

Nora: And you can’t like, cry because of a spreadsheet, and not let me write what I want down on a piece of paper.

Thea: You’re right.