Amy Griffin, the author of the bestselling memoir *The Tell*, is currently embroiled in a legal dispute following accusations made by a former classmate. Joleene Altum filed a lawsuit on March 9, 2026, alleging that Griffin’s account of sexual abuse at the hands of a teacher was based on her own experiences. The case has garnered significant attention, particularly after a New York Times investigation raised questions regarding the accuracy and originality of Griffin’s narrative.
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Altum claims that two incidents detailed in *The Tell*, which recounts incidents of sexual assault, actually happened to her. She asserts that Griffin unlawfully used her identity, likeness, and private information in the memoir, and she names instances from her own life in which she was allegedly assaulted. The situations she describes include being sexually assaulted in a closet and in a school bathroom—both of which she contends were not Griffin’s experiences.
In response to the allegations, Griffin’s legal team filed two crucial documents in June 15, 2026. In their defence, the motion includes an anti-SLAPP component, a legal action designed to dismiss lawsuits that lack merit. It argues that Altum’s claims are unfounded and built primarily on speculation, with no substantial evidence to support her accusations. Moreover, the complaint indicates that Altum’s assertions about a supposed meeting between the two in Palm Springs in 2019 are unfounded, asserting she has provided no documentation to substantiate her claims.
Griffin’s court filings state that Altum has failed to produce any evidence—such as documents, communications, or receipts—that would confirm her account of a meeting with Griffin. The legal documents further clarify that Dominique Price, who Griffin allegedly hired as a talent agent to facilitate communication with Altum, has also denied meeting her. Instead, Griffin claims that she met with someone else using the pseudonym “Claudia” on April 21, 2023, in a location far removed from Palm Springs and Las Vegas, where Altum is based.
Additionally, Griffin argues that her recollections of abuse were recovered during MDMA-assisted therapy that commenced on July 19, 2020. The memoir, she contends, began taking shape soon after, with draft passages completed in 2021, and a recorded interview with the Amarillo Police Department taking place that same year. Documents filed in court assert that the timeline proposed by Altum contradicts Griffin’s own account, particularly regarding the creation of *The Tell* and the timing of any alleged meetings with Altum.
The controversy surrounding *The Tell* intensified significantly in the spring of 2025 when it was selected as an Oprah’s Book Club title, propelling its sales and attention. It was shortly after this success that the New York Times published its inquiry, prompting Altum to come forward with her allegations. Griffin’s legal strategy appears to be aimed at swiftly resolving what she describes as an invasion of privacy and the infliction of emotional distress caused by Altum’s “self-serving statements.”
Griffin has been vocal about her experiences and motivations for writing the memoir. In a previous interview, she shared the emotional weight of her abuse and the cathartic process of finally vocalising her experience. “What happened to me was so horrific that I put it in the back of my brain and was never going to tell myself,” Griffin stated in March 2025. She expressed that her decision to share her story publicly was a powerful step toward healing.
The ongoing litigation remains a sensitive issue, particularly as it intersects with the broader discourse on trauma, memory, and the ethics of storytelling in memoirs. Griffin’s legal team is determined to pursue a resolution that they believe will vindicate her narrative and restore her reputation. They assert that the lawsuit against her seeks to cloud the truth of what she lived through and share in her own journey of survival.
As the legal process unfolds, the implications of this case extend beyond the courtroom, touching on significant themes of ownership of personal narratives and the complexities of shared trauma. Both sides are prepared for a protracted fight, as each seeks to affirm their version of events while navigating the tumultuous landscape of public perception and legal consequences.