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Lucia Brown Berlin (November 12, 1936 – November 12, 2004) was an American short story writer. She had a small, devoted following, but did not reach a mass audience during her lifetime. She rose to sudden literary fame in 2015, eleven years after her death, with the publication of a volume of her selected stories, A Manual for Cleaning Women.

Key Information

Early life

[edit]

Berlin was born in Juneau, Alaska, and spent her childhood on the move, following her father's career as a mining engineer[1]. The family lived in mining camps in Idaho, Montana, Arizona, El Paso, Texas and Chile, where Lucia spent most of her youth. As an adult, she lived in New Mexico, Mexico, New York City, Northern and Southern California, and Colorado.[2]

Career

[edit]

Berlin began publishing relatively late in life, under the encouragement and sometimes tutelage of poet Ed Dorn. Her first small collection, Angels Laundromat, was published in 1981, but her published stories were written as early as 1960. She published seventy-six stories in her lifetime.[3] Several of her stories appeared in magazines such as The Atlantic and Saul Bellow's The Noble Savage. Berlin published six collections of short stories, but most of her work can be found in three later volumes from Black Sparrow Books: Homesick: New and Selected Stories (1990), So Long: Stories 1987-92 (1993) and Where I Live Now: Stories 1993-98 (1999).

Berlin was never a bestseller during her lifetime, but was widely influential within the literary community.[citation needed] She has been compared to Raymond Carver[4] and Richard Yates.[citation needed] Her one-page story "My Jockey," consisting of five paragraphs, won the Jack London Short Prize for 1985. Berlin also won an American Book Award in 1991 for Homesick, and was awarded a fellowship from the National Endowment for the Arts.[5]

In 2015, a compendium of her short story work was released under the title, A Manual for Cleaning Women: Short Stories.[6][7] It debuted at #18 on the New York Times bestseller list its first week,[8] and rose to #15 on the regular list the following week.[9] The collection was ineligible for most of the year-end awards (either because she was deceased, or it was recollected material), but was named to a large number of year-end lists, including the New York Times Book Reviews "10 Best Books of 2015."[10] It debuted at #14 on the ABA's Indie bestseller list[11] and #5 on the LA Times' list.[12] It was also a finalist for the Kirkus Prize.[13] In 2024, it was ranked #79 of the 100 Best Books of the 21st century by the New York Times.[14] Within a few weeks it had outsold all of Berlin's previous books combined.[15]

Influences and teaching

[edit]

Throughout her life, Berlin earned a living doing working class jobs, among them a position as a cleaning woman and one as a telephone receptionist.[16]

Up through the early 1990s, Berlin taught creative writing in a number of venues, including the San Francisco County Jail and the Jack Kerouac School of Disembodied Poetics at Naropa University. She also took oral histories from elderly patients at Mt. Zion Hospital.[17]

She was interested in artist's books and the publishing process. Working with Poltroon Press, she designed some of her own books and typset them. She would revise them as she set the print.[18] She also produced chapbooks.[19]

In the fall of 1994, Berlin began a two-year teaching position as Visiting Writer at University of Colorado, Boulder. Near the end of her term, she was one of four campus faculty awarded the Student Organization for Alumni Relations Award for Teaching Excellence.[20] "To win a teaching award after two years is unheard of," the English Chair Katherine Eggert said later in an obituary.[5] She was named associate professor, and continued teaching there until 2000.[21]

She has entered the canon of the most important North American authors who published after 1950.[22]

Style

[edit]

She is compared to Lydia Davis, Tom Wolfe, Raymond Carver, and Saul Bellow.[22] Tom Wilhelmus explained that "Lucia Berlin's stories are "raw" in the sense that they appear to spring directly from life and contain almost no literary pretensions." He described her style as "declarative and unadorned, casual, sometimes with a bit of self-mocking humor."[23] Lydia Davis, herself often cited as a similar writer, placed Berlin "somewhere in the same arena as Alice Munro, Grace Paley, maybe Tillie Olsen."[24] August Kleinzahler, with whom she exchanged personal letters, noted that Berlin's writing was at times musical, with elements "including the extended jazz solo, with its surges, convolutions, and asides. This is writing of a very high order."[24]

The topic of motherhood appears repeatedly in Berlin's work, for example in the story "Tiger Bites" (1989), where the protagonist travels to Mexico in order to have an abortion and then decides against it. Her husband leaves her as a result. The story "Carmen" (1996) tells of a Mexican girl giving birth in the USA, but she understands nothing going on around her because she lacks English skills. "Uncontrollable" (1992) portrays a pregnant woman forced by her addict husband to go out into the streets to buy heroin for him.[22]

Personal life

[edit]

Berlin was married three times and had four sons.

Berlin was plagued by health problems, including double scoliosis. Her crooked spine punctured one of her lungs, and she was never seen without an oxygen tank beside her from 1994 until her death.[5] She retired when her condition grew too severe to work. She was an alcoholic, as were many of her relatives.[23] She later developed lung cancer. She struggled with radiation therapy, which she said felt like having one's bones ground to dust.[15] As her health and finances deteriorated, Berlin moved into a trailer park on the edge of Boulder. Later, she lived in a converted garage behind her son's house outside Los Angeles.[15] The move allowed her to be closer to her sons, and made breathing easier because of Boulder's elevation. Lucia died in her home in Marina del Rey, on her 68th birthday.[5]

Works and publications

[edit]

Bibliography

[edit]
  • A Manual for Cleaning Ladies. Illustrations by Michael Myers. Washington, D.C. [i.e. Healdsburg, California]: Zephyrus Image, 1977. OCLC 6148887
  • Angels Laundromat: Short Stories. Cover art and illustrations by Michael Shannon Moore. Berkeley, CA: Turtle Island for the Netzahaulcoyotl Historical Society, 1981. ISBN 978-0-913-66639-5 OCLC 7532068
  • Legacy. Berkeley, CA: Poltroon Press, 1983. Illustrated by Michael Bradley. OCLC 10869572
  • Phantom Pain: Sixteen Stories. Bolinas, CA: Tombouctou Books, 1984. ISBN 978-0-939-18028-8 OCLC 633368020
  • Safe & Sound. Berkeley, CA: Poltroon Press, 1988. Illustrated by Frances Butler. ISBN 978-0-918-39505-4 OCLC 123106761
  • Homesick: New & Selected Stories. Santa Rosa CA: Black Sparrow Press, 1990. ISBN 978-0-876-85816-5 OCLC 22597395
  • So Long: Stories, 1987-1992. Santa Rosa, CA: Black Sparrow Press, 1993. ISBN 978-0-876-85894-3 OCLC 27381091
  • Where I Live Now: Stories, 1993-1998. Santa Rosa, CA: Black Sparrow Press, 1999. ISBN 978-1-574-23091-8 OCLC 475160702
  • A Manual for Cleaning Women: Selected Stories. Edited by Stephen Emerson. Foreword by Lydia Davis. New York, NY: Farrar, Straus and Giroux, 2015. ISBN 978-0-374-20239-2 OCLC 898433447
  • Evening in Paradise: More Stories. Farrar, Straus and Giroux, 2018. ISBN 978-0374279486
  • Welcome Home: A Memoir with Selected Photographs and Letters. Farrar, Straus and Giroux, 2018. ISBN 9780374287597

In periodicals (posthumous)

[edit]

Multimedia

[edit]
  • Berlin, Lucia, Yasunari Kawabata, and Amy Hempel. Lucia Berlin: Summer 1991. Naropa Institute, 1991. 3 audio cassettes. Audio of two classes held at Naropa Institute in Boulder, Colorado during Summer 1991. Naropa Audio Archive: 20051107, 20051111. OCLC 63682481
  • Berlin, Lucia. Lucia Berlin Reading 12 Nov 93 at Lincoln Lecture Hall, Naropa. Naropa Institute, 1993. 1 audio cassette. Lucia Berlin reading at Naropa Institute November 12, 1993. Naropa Audio Archive: 20051208. OCLC 62873090
  • Berlin, Lucia, Bobbie Louise Hawkins, Molly Giles, and Lorna Dee Cervantes. W&P Reading Cervantes; Hawkins; Giles, Berlin. Naropa Institute, 1997. 2 audio cassettes. Writing and poetics reading featuring Lorna Dee Cervantes, Bobbie Louise Hawkins, Molly Giles, and Lucia Berlin. Naropa Audio Archive: 20060118, 20060119. OCLC 70077867

Other

[edit]
  • Berlin, Lucia. Rigorous. Oakland, CA: Mark Berlin, 1992. OCLC 651063912
  • Berlin, Lucia. From Luna Nueva. Boulder, CO: Kavyayantra Press at Jack Kerouac School of Disembodied Poetics, November 1993. OCLC 441842670
  • Berlin, Lucia. The Moon: There's No Moon Like on a Clear New Mexico Night. Boulder, CO: Kavyayantra Press at Jack Kerouac School of Disembodied Poetics, 1997. OCLC 794174724

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Lucia Berlin

View on Grokipedia
from Grokipedia
Lucia Berlin (November 12, 1936 – November 12, 2004) was an American writer whose semi-autobiographical fiction drew from her nomadic childhood in camps, multiple marriages, single motherhood of four sons, and array of low-wage jobs including , , and emergency room clerk. Born Lucia in , to a father and a mother who later died by probable , Berlin's early years involved frequent relocations across , , , and New York due to her father's career, shaping her vivid depictions of transient, working-class existence. Berlin attended the University of New Mexico, earning a bachelor's degree and later a master's, before pursuing writing amid personal challenges such as scoliosis diagnosed in childhood, alcoholism (from which she achieved sobriety), and raising her children alone after three marriages—to sculptor Paul Suttman, pianist Race Newton, and jazz musician Buddy Berlin. Her stories, often blending humor, hardship, and stark realism, appeared in literary magazines from the 1960s onward, with early publications under the name Lucia Newton; she released six modest collections during her lifetime, including Angels Laundromat (1981), Phantom Pain (1984), and Where I Live Now (1999), praised by contemporaries like Raymond Carver and Saul Bellow for their terse, minimalist style but reaching only a small audience. In her later years, Berlin taught as an associate professor at the from 1994 to 2000, earning a teaching excellence award, before retiring to , where she died of on her 68th birthday. Posthumous editing by her friend and editor Stephen Emerson led to the 2015 publication of A Manual for Cleaning Women: Selected Stories, a compilation of 43 pieces that became a , topped the New York Times list, and was translated into over 20 languages, cementing her reputation as a visionary chronicler of overlooked lives. Subsequent releases, such as Evening in Paradise: More Stories (2018) and the memoir Welcome Home (2018) with selected letters and photographs, further amplified her influence, highlighting themes of resilience, fragmentation, and the ordinary's quiet shocks.

Life and Background

Early Life

Lucia Berlin was born Lucia Brown on November 12, 1936, in , to a father who worked as a mining engineer and his wife. Her father's profession dictated the family's frequent relocations during her childhood, as they followed mining opportunities across remote camps in the American West, including sites in , , and . These moves exposed young Berlin to rugged, isolated environments, where living conditions could be harsh, such as temporary setups in mountainous areas. The family's nomadic lifestyle continued internationally, with much of Berlin's childhood spent in after , where her father pursued engineering projects in more affluent settings like Santiago. There, she attended school amid political instability. These experiences introduced her to stark contrasts between privilege—such as social circles—and in slums, fostering an early awareness of diverse cultures and social disparities. Family dynamics added further challenges; her mother struggled with and emotional detachment, and later died by probable in the mid-1980s, while her father's work and wartime service often kept him absent, leaving Berlin to navigate instability and occasional abuse within the household. At age ten, Berlin contracted an illness that led to a diagnosis of , necessitating a that affected her physically during adolescence. As a teenager, the family returned to the U.S. Southwest, settling in , where she found some respite with extended family, including a semi-adoptive household that provided stability amid ongoing familial tensions. This period in the Southwest marked a transition to more settled American life, though the cumulative hardships of her peripatetic youth—marked by expulsions from schools and a sense of constant upheaval—shaped her resilient worldview and laid the groundwork for her later creative pursuits. By early adulthood, while attending the , Berlin began exploring writing seriously, encouraged by poet Edward Dorn, signaling the emergence of her literary interests.

Personal Life

Berlin married three times, each relationship shaping her frequent relocations and emotional landscape. Her first marriage was to sculptor Paul Suttman in 1956, while she was a student at the ; the union produced two sons, Mark and Jeff, but ended in divorce around 1960, leaving her to navigate early motherhood amid financial instability. She then married jazz pianist Race Newton, a brief partnership with no children that dissolved soon after, reflecting the turbulent romantic entanglements of her early twenties in Albuquerque. In 1961, she wed jazz saxophonist Buddy Berlin, eloping to , , where the initial years brought a sense of adventure and idyllic family life, including the births of their sons in 1963 and Dan in 1965; however, Buddy's heroin addiction strained the marriage, leading to their divorce in 1968 and a return to the . As a single mother, Berlin raised her four sons—Mark, Jeff, David, and Dan—across multiple states, often juggling low-paying jobs while confronting the demands of parenthood without consistent support from their fathers. The challenges of single motherhood were compounded by frequent moves, from back to and later to , where she settled more permanently in the 1970s to provide stability for her growing family. These years were marked by emotional resilience amid hardship, as she prioritized her children's well-being despite periods of separation and the logistical strains of raising them alone. Berlin battled throughout much of her adult life, a struggle that began in her youth and permeated her family dynamics, exacerbating tensions during her marriages and motherhood. Her drinking intensified in the 1960s and 1970s, contributing to relational breakdowns and personal isolation, yet she achieved periods of , particularly in the 1990s, which allowed her to focus on teaching and writing. The addiction's impact on her household was profound, often leaving her sons to fend for themselves during her relapses, though she later reflected on these experiences with raw honesty in her correspondence. Her health deteriorated progressively due to lifelong double , which worsened in adulthood and punctured one of her lungs, compounded by from heavy . By 1994, following a hospitalization, she became dependent on an oxygen tank, which she carried constantly until her death. In her final years, a diagnosis of further weakened her, causing severe pain from treatments like . Berlin died on November 12, 2004—her 68th birthday—in , from lung cancer, surrounded by the effects of her chronic respiratory conditions.

Writing Career

Professional Development

After graduating from high school in the early , Berlin supported herself and her growing family through a series of working-class jobs, including at a , cleaning woman, and various odd jobs such as ward clerk during the and . She later worked as an emergency room nurse and physician's assistant to make ends meet, experiences that informed the gritty realism of her writing but also contributed to her financial instability and limited time for consistent literary output. These roles, often low-paying and demanding, alongside raising four sons as a single mother, posed significant obstacles to sustained recognition as a during her lifetime. Berlin's writing career began with sporadic publications in prominent literary magazines. Her first story appeared in 1960 at age 24 in The Atlantic Monthly, followed by contributions to outlets like and Keith Botsford's The Noble Savage. Over the next three decades, she produced 76 short stories, published intermittently through the 1960s, 1970s, and 1980s, often in small literary journals amid her demanding work life. This fragmented output reflected broader challenges, including a lack of interest from major publishers and the need to balance writing with survival jobs like those of an technician and nurse, which delayed her path to wider visibility. Her debut collection, Angel's Laundromat, was released in 1981 by the Turtle Island Foundation, marking an initial step toward book publication but with limited distribution. In the 1990s, she shifted to Black Sparrow Books, which issued Homesick: New and Selected Stories (1990), So Long: Stories 1987-1992 (1993), and Where I Live Now: Stories 1993-1998 (1999), providing a more stable platform for her work though still outside mainstream commercial channels. During this period, Berlin received key honors, including the Short Prize in 1985 for her story "My Jockey," the American Book Award in 1991 for Homesick, and a fellowship in 1987. Despite these accolades, persistent financial pressures and the demands of her peripatetic life hindered broader acclaim.

Teaching and Mentorship

In the 1970s, Lucia Berlin taught at the County Jail, where she focused on helping inmates craft personal narratives drawn from their own lives, emphasizing storytelling as a means of self-expression rather than polished technique. Her classes often centered on the raw, authentic voices of her students, many of whom were young men facing incarceration for drug-related offenses, allowing them to explore themes of hardship and resilience through their individual experiences. Berlin later held teaching positions at , associated with the of Disembodied Poetics, and at the from 1994 to 2000, starting as writer-in-residence and advancing to associate professor. At both institutions, she prioritized developing students' genuine voices over formal structures, encouraging them to write from lived realities rather than abstract or conventional plots. Her integrated her own working-class background—shaped by jobs as a , nurse, and worker—into lessons that urged students to mine everyday struggles for material, fostering a that resonated with themes of , , and survival. This approach particularly supported diverse learners, including those from marginalized communities, by creating a nonjudgmental space where personal stories could emerge without fear of criticism, as colleagues noted her habit of listening empathetically to avoid stifling creativity. For instance, she often ended sessions by affirming students' ongoing potential to write, inspiring loyalty and persistence among undergraduates navigating varied socioeconomic challenges. Having earned a in English and Spanish and a from the , beginning her studies in the mid-1950s and completing them later amid personal challenges, Berlin's practical, experience-based methods earned widespread respect. At the , she received the Student Organization for Alumni Relations Award for Teaching Excellence in 1996, just two years into her tenure, recognizing her profound impact on student growth.

Literary Style and Reception

Influences and Themes

Lucia Berlin's literary influences drew heavily from minimalist realists and masters of subtle emotional nuance, shaping her preference for accessible prose over experimental forms. She admired for his compassionate portrayal of ordinary lives and emotional undercurrents, an influence evident in her epigraphs from his works and her focus on quiet revelations in everyday struggles. Similarly, Raymond Carver's informed Berlin's stark depictions of working-class existence, though she infused her narratives with greater lyricism and personal confession. Comparisons to highlight Berlin's emphasis on female-centered stories exploring resilience and relational complexities, prioritizing emotional authenticity in relatable settings. Berlin's personal experiences profoundly shaped her themes, particularly those of , recovery, and human endurance, drawn directly from her own battles with alcohol dependency and multiple rehabilitations. Her working-class occupations, including cleaning houses and in emergency rooms, inspired titles like A Manual for Cleaning Women and infused her work with authentic portrayals of labor's indignities and dignities. These jobs, often undertaken as a single mother to four sons, underscored motifs of motherhood's relentless burdens and the quiet heroism in survival. Recurring motifs in Berlin's stories include a nomadic existence across and beyond, reflecting her peripatetic childhood in mining towns and later travels. The Mexican-American border features prominently, as in tales set in El Paso and , capturing the fluidity of cultural identities and cross-border lives. Her use of blends real events with minor fictional alterations, allowing flawed first-person protagonists to navigate hardship with wry humor. Berlin's prose style is lyrical yet concise, favoring first-person voices from imperfect characters who confront adversity with ironic levity. This approach avoids ornate experimentation, grounding her narratives in raw, experiential truth. As a teacher at institutions like the , she reinforced these themes by encouraging students to draw from personal candor and unfiltered observation, viewing early drafts as vessels of authentic potential.

Critical Praise and Legacy

During her lifetime, Lucia Berlin enjoyed modest praise from a small, devoted following in literary circles, though her work received limited mainstream attention and critical recognition. Contemporaries often compared her unflinching compassion for ordinary lives to that of , whose influence she frequently cited in her letters and writings. Berlin's posthumous breakthrough came with the 2015 publication of A Manual for Cleaning Women, a collection of selected stories that became a New York Times bestseller. The book drew widespread acclaim for its vivid, compassionate depictions of working-class struggles and human resilience, with The New Yorker praising Berlin's "unflinching" prose that tempers life's brutality with wit and empathy. Similarly, Vanity Fair hailed it as the rediscovery of a "lost" literary genius, emphasizing the stories' raw emotional power. In recent years, Berlin's reputation has continued to grow, with A Manual for Cleaning Women ranked #79 on ' 2024 list of the 100 Best Books of the 21st Century. A 10th anniversary edition was released in September 2025. This recognition reflects increasing academic interest in her contributions to the form, including analyses of her role in amplifying marginalized voices. Berlin's legacy lies in her influence on contemporary writers, particularly those engaging with and working-class perspectives, as seen in comparisons to modern authors like and . Often discussed as an underrecognized female author whose hardscrabble narratives challenge literary norms, her work is celebrated for its authenticity.

Works and Publications

Short Story Collections

Lucia Berlin published six short story collections during her lifetime, spanning from 1981 to 1999, with the latter three issued by . These volumes collectively feature dozens of stories, many of which draw on interconnected narratives from her personal experiences. Her debut collection, Angels Laundromat (1981), published by the Turtle Island Foundation, includes 10 stories centered on the everyday struggles of working-class life and personal relationships. Phantom Pain (1984), published by Tombouctou Books, comprises 16 stories exploring themes of loss, pain, and resilience drawn from her life experiences. Safe & Sound (1988), issued by Poltroon Press, contains 12 stories depicting intimate portraits of family, relationships, and . In 1990, Black Sparrow Press released Homesick: New and Selected Stories, a semi-autobiographical compilation of tales exploring family dynamics and themes of displacement, which earned Berlin the American Book Award in 1991. So Long: Stories 1987-1992 followed in 1993, also from , offering reflections on later-life experiences and interpersonal connections through a series of intimate vignettes. Berlin's final lifetime collection, Where I Live Now: Stories 1993-1998 (1999, ), delves into aging, health challenges, and introspective moments, marking a contemplative close to her published work. Many of these stories were later included in posthumous compilations that brought wider recognition to her oeuvre.

Posthumous and Other Works

Following Lucia Berlin's death in 2004, her work experienced a significant revival through posthumous publications that drew from her extensive archive of stories, essays, and correspondence. The landmark collection A Manual for Cleaning Women: Selected Stories, edited by Stephen Emerson, was published in 2015 by and compiled 43 stories spanning her career from the 1960s to the 1990s. This volume, which highlighted her raw, autobiographical style, became a New York Times bestseller and one of the paper's 100 Best Books of the . Subsequent collections further expanded access to her oeuvre. Evening in Paradise: More Stories, released in 2018 by Farrar, Straus and Giroux, gathered 22 previously published stories from 1981 to 1999, many drawn from earlier small-press volumes, offering additional glimpses into Berlin's semi-autobiographical explorations of family, addiction, and displacement. That same year, Welcome Home: A Memoir with Selected Photographs and Letters, also from Farrar, Straus and Giroux, presented an unfinished autobiographical sketch interspersed with family photographs and personal correspondence, primarily from her early life in the American West and Mexico. Berlin's writing continued to appear in literary periodicals after her death, often as reprints or newly discovered pieces that underscored her enduring appeal. For instance, a previously unpublished memoir excerpt titled "Memories of Mexico" was featured in The New Yorker in 2016, recounting her childhood experiences in mining towns and high society. Similarly, the essay "Lucia Berlin Writes Home," drawn from her letters, appeared in Granta in 2018, capturing her homesickness and relational dynamics in the 1950s. Archival materials have also seen publication, broadening the scope of her legacy. In 2022, the Lost & Found series from the Center for the Humanities at the issued a volume of previously unpublished letters between Berlin and poet Edward Dorn, edited by Claudia Moreno Parsons and Megan Paslawski, revealing her creative exchanges and personal vulnerabilities. This was followed in 2024 by another Lost & Found installment featuring additional correspondences involving Berlin, Dorn, and Jennifer Dunbar Dorn, further illuminating her literary networks. Unpublished manuscripts and letters remain in her archive, held by family and institutions, with ongoing scholarly interest in their potential for future releases. Multimedia adaptations have introduced Berlin's work to new audiences. Audiobook editions of A Manual for Cleaning Women and Evening in Paradise, narrated by actors such as Judith Ivey, have been produced by Macmillan Audio, making her stories accessible in audio format. Archival recordings of Berlin reading her own stories, such as "Mama" from 2002, have been digitized and shared online by organizations like Citizen Film. Podcasts, including episodes on The New Yorker's "New Books in Nonfiction" and Slate's "Culture Gabfest," have featured discussions and readings of her stories, amplifying her voice in contemporary media. In 2020, Spanish director Pedro Almodóvar announced plans to adapt A Manual for Cleaning Women into a feature film, signaling potential cinematic expansion of her narratives. As of 2025, a 10th anniversary edition of A Manual for Cleaning Women was released by on September 30, 2025, reaffirming the collection's lasting impact.

References

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  3. https://www.bookforum.com/print/2504/the-life-and-work-of-lucia-berlin-20414
  4. https://www.vanityfair.com/culture/2015/09/lucia-berlin-is-finally-a-bestselling-author
  5. https://lithub.com/emily-bell-on-what-it-was-like-to-edit-lucia-berlin/
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  7. https://www.newyorker.com/books/page-turner/the-story-is-the-thing-on-lucia-berlin
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  14. https://fsgworkinprogress.com/2018/11/09/welcome-home/
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  27. https://archives.naropa.edu/digital/collection/p16621coll1/id/722/
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  33. https://www.npr.org/2015/08/24/432748481/a-manual-for-cleaning-women-showcases-a-gritty-one-of-a-kind-voice
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  51. https://www.amazon.com/Welcome-Home-Selected-Photographs-Letters/dp/0374287597
  52. https://granta.com/lucia-berlin-writes-home/
  53. https://cuny.manifoldapp.org/read/lost-found-light-relief-series-iii/section/eda68b22-a467-4616-a552-80638c623da7
  54. https://www.gc.cuny.edu/events/lost-found-series-ix-launch
  55. https://www.theparisreview.org/blog/letters/page/3/
  56. https://www.audible.com/author/Lucia-Berlin/B014NW7PBW
  57. https://soundcloud.com/readlucia/lucia-berlin-mama
  58. https://www.listennotes.com/top-podcasts/lucia-berlin/
  59. https://lithub.com/pedro-almodovar-is-adapting-lucia-berlins-a-manual-for-cleaning-women-and-i-am-nervous/
  60. https://booksmith.com/book/9781250406057
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