Too Much and Not the Mood is Durga Chew-Bose’s first essay collection, though Chew-Bose’s writing has been getting published for many years now. Known for her BuzzFeed Reader essay “How I Learned to Stop Erasing Myself,” Chew-Bose’s name has appeared in the same circles as other feminist hipster writers based in New York like Lena Dunham, Tavi Gevinson, and Jazmine Hughes. She is also one of the founders of Writers of Color, a collective of feel-good-yet-aestheticized-sadness progressive writers out on the East Coast.
Melancholy, nostalgia, wistfulness, wishful thinking, or the lethargy of a warm summer afternoon are constants in Too Much and Not the Mood, although essays in the latter half of the book explore boredom, self-possession, embarrassment, and other emotions that characterize adolescence. Indisputably, the collection’s biggest strength is the richness of its prose. Chew-Bose’s is especially talented in preserving moments of beauty. She’s incredibly attuned to detail, and catches a person’s verbal or physical tics in such a way that they seem authentic. Take, for example, these scenes from the 93-page-long “Heart Museum,” a sprawling, meandering kaleidoscope of an essay that opens the collection:
“Because writing is a grunt, and when it’s good, writing is body language. It’s a woman narrowing her eyes to express incredulity. It’s an elbow propped on the edge of a table when you’re wrapping up an argument, or to signify you’re just getting started. An elbow propped on the edge of a table is an adverb.”
“Writing will never be as satisfying as observing someone whom I knew was terrible get caught in a lie; as satisfying as the pop! I anticipate when twisting open a Martinelli’s apple juice or when I pour hot coffee over ice come summer or lace up skates in the winter—the firm tug of hooking the top part of the boot. Writing is a closed pistachio shell.”