In a media landscape that often muffles diversity, Michelle Tea breaks from the norm by illuminating stories that have long been kept in the shadows. “Dopamine,” is more than just ink on paper—it’s a lifeline for the hushed corners where queer narratives often linger, unnoticed and uncelebrated. With a tenacious spirit, Tea is flipping the script and carving out a space where authentic representation isn’t a fleeting token—it’s a passionate pledge.
Tea’s journey to “Dopamine” reads like a captivating novel—brimming with ups, downs, and an unwavering love for stories. Her mission? To give voice to the unheard, to shine a spotlight on the rising queer writers whose tales have often been brushed aside. In a world where genuine representation can be an afterthought, Tea’s determination speaks volumes about the transformative power of storytelling.
“Dopamine’s” debut couldn’t be more tantalizing: a captivating anthology titled “Sluts,” slated for May 2024. Hold on to your literary seats, because three more titles are primed for the following year. There’s another anthology, “Witch,” and not one, but two debut novels—all dancing on the horizon, ready to burst forth.
And here’s the twist: “Sluts” and “Witch” are just the opening acts in what Tea affectionately refers to as a “continuous collection of anthologies.” It’s a rhythm of creativity that keeps on giving. The anticipation builds as the third and fourth installments— titled “Clowns” and “Criminal”—take center stage, promising to keep the magic alive. This is Tea’s masterstroke—a way to weave beloved writers into the family of “Dopamine,” all while waiting for the perfect moment to bid on their full-fledged books.
Amid a media world where genuine representation often glimmers like a mirage, “Dopamine” emerges as an oasis. Society’s grappling with questions of identity and belonging finds its solace in this new literary organization—an embodiment of the power stories hold to weave connections.
Yet, beyond the pages, beyond the books, Tea’s aspiration speaks even louder. “Dopamine” will blaze its own trail—boasting editorial and artistic independence while nestled within Semiotext(e)’s catalog and its expansive distribution channels via the MIT Press. As Tea puts it, “My greatest hope for the press is that it becomes a haven for emerging writers who are a bit intimidated by or disconnected from publishing. It’s a way for them to dive into print and kick-start remarkable literary careers.” But it’s not just about the emerging. Tea’s vision extends to being a viable option for established writers who can choose from countless independent presses.
Michelle Tea’s imprint isn’t just about books—it’s a clarion call that queer stories will no longer be muted, sidelined, or consigned to oblivion. We look forward to what more “Dopamine” has to offer!
