Kate Zambreno in Conversation with Jamie Hood and Larissa Pham at The New School

Monday, Apr 13, 2026

Performance Studies PhD candidate Kate Zambreno will be in conversation with Jamie Hood and Larissa Pham at The New School on Tuesday, April 14, 2026 from 6:00-7:00pm. The event is free and open to the public. 

About Trauma Plot: A Life:
In Trauma Plot, Hood draws on disparate literary forms to tell the story that lurked in good girl’s margins—of three decades marred by sexual violence and the wreckage left behind. With her trademark critical remove, Hood interrogates the archetype of the rape survivor, who must perform penitence long after living through the unthinkable, invoking some of art’s most infamous women to have played the role.

About How to Be a Good Girl:
Jamie Hood’s How to Be a Good Girl is an inventive and hybrid work of self-making, mingling diary entries, poetry, literary criticism, and love letters to interrogate the archetype of the “good girl,” and the ideas of femininity, passivity, desire, and trauma that come with it. Journeying from the ice age to our modern-day climate crisis, it devoured texts as expansive as Levinas and Plath to the Ronettes and after-school specials, all the while asking: what pound of flesh must a woman pay to be seen as “good.

About Animal Stories:
From a writer who has “invented a new form” (Annie Ernaux), an exploration of mortality, alienation, boredom, surveillance, and how we regard ourselves among the animals. Animal Stories begins with Kate Zambreno’s visit to the monkey house at the Jardin des Plantes in Paris, where one stark tree “seems to be the stage design for a simian production of Waiting for Godot.” But who are the players and who is the audience, and can they recognize each other?

About To Write As If Already Dead:
To Write As If Already Dead circles around Kate Zambreno’s failed attempts to write a study of Hervé Guibert’s To the Friend Who Did Not Save My Life. In this diaristic, transgressive work, the first in a cycle written in the years preceding his death, Guibert documents with speed and intensity his diagnosis and disintegration from AIDS and elegizes a character based on Michel Foucault.