Anna Dorn Thinks Patricia Highsmith Would Love Lana Del Rey

Anna Dorn is an author who I will automatically read anything she writes, no matter what it’s about. I love her sense of humor, and how her novels are always such delicious fun. If you find yourself in a reading slump (we all get them!) and need a book to remind you how entertaining reading can be, Anna Dorn’s got you covered. 

Her latest novel, Perfume & Pain, features Astrid Dahl, a lesbian novelist who has recently been canceled for a comment she made at a book event that was caught on video and went viral. She’s struggling to write—so much so she rejoins a Zoom group she co-founded, though it’s no longer called Lez Brat Pack, and is now led by a man. That’s where she meets Ivy, an attractive woman who piques her interest. Meanwhile, she can’t stand her new neighbor Penelope. And then there’s Kat Gold, a celebrity producer who wants to work with her. All this pressure has Astrid going back to a cocktail of substances she calls the Patricia Highsmith—something her agent has implored her to stop using because it’s been responsible for her most destructive behavior. 

Perfume & Pain is a smart, hilarious romp about a woman trying to break up with her bad coping mechanisms. It’s sexy and full of Anna Dorn’s trademark wit, dealing with cancel culture, industry pressures, and millennial lesbian dating. It’s such a pleasure to read, breezy without being brainless, that I tore through it quickly, dying to know what happened to Astrid and the mess she was making of her life. 

Anna and I spoke about her last novel, Exalted, so it was fun to connect again and discuss Perfume & Pain. 


Rachel León: Based on the premise I didn’t expect any mention of astrology in this novel, so I was delighted to get a few of the characters’ sun signs. But we never learn Penelope’s. I’m dying to know if you made an off-page decision about her sign. 

Anna Dorn: I wasn’t expecting astrology in the novel either! I vowed after I published Exalted that I’d never mention my characters’ astrological signs again. And I wrote an entire novel where I didn’t. But then I ended up shelving that novel. And then I wrote a new novel, in which I mentioned the main characters’ signs on like… the first page. I kept trying to change it, but it just worked with their toxic flirtation. I purposely did not include Penelope’s sign because Astrid is trying to stop making snap judgments based on mostly arbitrary criteria, just as I am! I did make an off-page decision about her sign but I’m not going to reveal it! Hopefully, this answer is elusive in an enticing way and not annoying. 

RL: I actually liked how it was never revealed because Astrid is trying to break up with astrology, so to speak, and so I love that she never asks. And also that the astro-talk dwindles. It’s almost like a marker of her evolution—how much or little she’s thinking about astrology. 

AD: Yes! Exalted was supposed to exorcise my interest in astrology. Astrid wrote her astrology novel for the same reason. Everything I write is an exorcism. Astrid is performing her own little exorcisms. 

RL: Astrid is such a fascinating character. Her voice is strong, she’s a force. Can you talk about how she developed? 

The spark for this novel was a woman turning 35 and realizing that that her bad behavior that was once cute—partying, provocation—was just kind of pathetic now.

AD: I started with Astrid’s voice, her neuroses mostly. The spark for this novel was a woman turning 35 and realizing that her previous coping mechanisms weren’t working anymore, that her bad behavior that was once cute—partying, provocation—was just kind of pathetic now. So that was the initial impetus. And everything else, the “plot” if you will, came after. 

RL: Perhaps the most destructive of that bad behavior is a cocktail of substances she calls “the Patricia Highsmith,” which is something else she’s trying to break up with. 

AD: This is true. I originally called it “The Magic Cocktail,” but an early reader suggested giving it a name like “The Judy Garland.” And I knew it had to be Patricia, who was on a similar cocktail herself. Minus the weed. 

RL: The cocktail sounds both magical and terrifying. How’d you come up with the combo and its effects? 

AD: “The Patricia Highsmith” is made up of alcohol, amphetamines, sativa, and nicotine. A classic speedball with a Californian twist. And who knows how I came up with it… 

RL: So back to that original spark, what was it about that premise about a woman turning 35 and realizing her old coping mechanisms weren’t working anymore that interested you?

AD: Well, it was happening to me LOL. I’m not that original. I’m trying to write less about myself. I’m going to stop after this book, I swear. 

RL: But why?? Your books are so much fun and art imitates life and all that! Don’t all writers draw from their life in some way? 

AD: Maybe they do! I don’t see myself as particularly interesting. I see writing as a performance and myself as a vessel. I have a lot of people and voices inside of me and I’m not sure which are authentic and which are plucked from things I’ve heard or read, but I’m drawing from all of them when I write. So I guess I don’t really see it as writing about myself. When I say I want to stop writing about myself, I suppose I mean I want to stop writing about people with similar biographical details who will inevitably be compared to me. But the process will remain the same. Does this make any sense? I guess what I’m saying is I’m writing in third person now. 

RL: It does. I’ve seen how quick readers can jump to assuming a protagonist is just like the writer. I’m assuming you’ve dealt with those incorrect assumptions in the past. Making Astrid a novelist seems like a way to lean in on that, maybe even push against it. 

AD: I can’t fault people for assuming I’m my characters because I do the exact same thing when I read. I’m like oh, [insert X writer] wrote about cheating on her husband with a cocktail waitress, I can’t believe [X writer] did that!!! It’s human nature and it’s fun. When I write fictional characters with nearly identical biographical details to me I assume the risk (to borrow legal speak) that people will think they’re me. Ultimately I just feel so incredibly lucky that people even want to publish and read my work—I’m in no position to complain about any aspect of it! I’m living the dream, baby!

RL: Astrid is living the dream too. She’s sold the rights to one of her novels and has a production meeting with a high profile celebrity producer. Kat Gold is such a great character. Did you have tons of fun writing Kat Gold?

Pretty much every artist I respect has been canceled. Anyone who takes risks will be canceled at some point.

AD: OMG I love Kat Gold. Thank you for asking about her. I have to give my agent Sarah Phair credit here. We were revising the manuscript and she had the idea of Astrid working with a celebrity’s production company. We talked about making the celebrity sort of like EmRata in the sense of being conventionally hot and fairly banal but fancying herself an intellectual. I had COVID at the time, and I do my best writing with a light fever. So I wrote all of the Kat Gold scenes while feverish slash on Dayquil slash Nyquil. I was cracking myself up. I think I wrote like 8,000 words in a day. I don’t typically keep track of these things but I just noticed because I wondered if I was having some kind of hypo-manic episode. 

RL: Since we’re talking about fun characters, what about Ivy? 

AD: The love interests in the book, Ivy and Penelope, came out of that spark I mentioned earlier. Astrid realizes just before the book starts that she needs to make a lifestyle change. Ivy represents staying on the destructive path. And Penelope represents growing toward something more mature and sustainable. So Astrid is sort of revolted by Penelope in the beginning because she doesn’t want to change. And Ivy is tantalizing due to the inertia of her bad habits. But as Astrid evolves, she…well, I don’t want to give too much away!

RL: Sorry to bring in astrology again, but we’re both mutable signs, which are supposed to be better at change. I think that’s true for me. Is it for you? 

AD: Okay, yes, I am a mutable sign but change is NOT easy for me. I guess changing my mind is easy especially if a hot woman is trying to convince me. Maybe that makes me mutable. I’m always down to be convinced by a well-reasoned or even poorly-reasoned but entertaining argument, especially by someone who is funny and attractive. I think Astrid is similar. Her opinions flip on a dime. Changing one’s habits is harder. I struggle with it, Astrid struggles with it, doesn’t everyone? 

RL: For sure. Changing habits really comes down to her own willpower. Which is tricky. Slippery. 

AD: I think Astrid changes in part due to her crush on Penelope. Libido is a great impetus for change. I guess that’s sort of a thesis of this book. Millennial culture is all: I’m going to date myself, I have to love myself before I love anyone else!! But I don’t subscribe to any of that and neither does this book. Lana Del Rey has this line: Fuck me to death, love me until I love myself. That’s the philosophy of this book, I think. Love can change the way you see yourself. You don’t have to do it alone and you shouldn’t. In fact, I don’t really think we’re capable of changing on our own. 

RL: I want to talk about Lana Del Rey now but probably can’t work it into the book…so instead: Speaking of saying something provocative—Astrid makes an offhand comment that leads to her getting canceled. Curious about your thoughts on cancel culture.

AD: Oh, God, how much time do you have? Well, we can circle back to Lana Del Rey, who’s been canceled many times only to be redeemed over and over. Pretty much every artist I respect has been canceled. Anyone who takes risks will be canceled at some point. In the future, everyone will be canceled for 15 minutes. Did I put that line in the book? I can’t remember. I should have if I didn’t. 

RL: Do you think Patricia Highsmith would be a Lana Del Rey fan if she was alive today? Or better yet, what do you think she’d be reading/ watching?

AD: I think Patricia Highsmith would love Born To Die, the cinematic glamor and macabre lyrics. I think she’d love Gillian Flynn, probably Sharp Objects more than Gone Girl. She’d LOVE Ottessa Moshfegh—especially Eileen, the book and the movie. I want to go out on a limb and say I think she’d like Sam Levinson’s The Idol. She’d love Todd Haynes’ adaptation of Carol, obvi. She’d love Sharon Horgan’s Bad Sisters. Emma Cline’s The Guest would be her shit. She’d fucking LOVE Tampa by Alissa Nutting. I like to think we have similar taste.

7 Novels Set on the Internet

I used to think there was nothing more embarrassing than to write about the internet. It wasn’t literary, I thought, and to give it a place in my fiction would be to admit not only how much time I spent online, but how much this time meant to me. Besides, who was I to write about the internet when I didn’t even have a Twitter following? The fact that I spent my last waking moments every night scrolling and needed the bright light of my screen to wake up every morning seemed irrelevant.

Throughout my twenties I struggled with a horrible novel set in the early 2000s. Though I’d been alive during this time, the era felt prehistoric. My prose was labored and all attempts at historical accuracy were lifted from web articles like “10 things that happened in 2003.” It was only when I moved the basic structure of the novel up twenty some years to a dystopian-ish near future that it came alive and began to take shape as Mood Swings, my debut out this spring. A key component of that modern world? A heavy dose of the internet. 

Set in a world where all animals have been eradicated by a tech billionaire, one of the central tensions in Mood Swings is between the corporeal and online worlds. I’ll be the first to admit that by 2024 this isn’t exactly a groundbreaking trope, so I was conscious that to explore these themes in my work would require a nuanced approach. From activist Twitter to cancel culture, conspiracy message boards, YouTube comments sections, and social media stalking weirdos from high school, the internet of Mood Swings is both dull and scandalizing, earnest and apathetic, frivolous and threatening. 

Here are some of my favorite books that model how dynamically the internet can be depicted on the page: 

So Sad Today by Melissa Broder

This collection of personal essays was born out of Broder’s once anonymous twitter feed. So Sad Today explores anxiety, sex, love, and medication with humor and vulnerability. The essay, “Love Like You Are Trying to Fill an Insatiable Spiritual Hole with Another Person Who Will Suffocate in There,” illustrates how online intimacy can mutate once our bodies get involved IRL. It features extended excerpts of Broder’s (very raunchy) text conversations with a young man she becomes involved with when she and her husband experiment with an open marriage. We might be tempted to read this kind of communication as inherently shallow, but the way Broder contextualizes this speech proves it is anything but. Plus, the essay’s conclusion is forever burned into my brain: 

“Dating is sad. Online dating is sad. Attending holidays and weddings alone is sad. Marriage, too, is sad. But love, lust, infatuation – for a few moments, I was not sad.”

Y/N by Esther Yi

A young woman sees K-pop superstar Moon in concert and falls under his spell. From livestreams to fan fiction sites, there is no better place for her obsession to breed than on the internet. Yi’s unnamed narrator quickly reorients her life in service of this contemporary worship and embarks on a bizarre journey from Berlin to Seoul. What makes this book really stand out is how Yi contrasts her outlandish subject matter with precise and cerebral prose, elevating what an “internet novel” can and should be. 

literally show me a healthy person by Darcie Wilder

Darcie Wilder’s bold and strange novel feels a little bit like reading a diary and doom scrolling at the same time. Told through fragments that range from a few words to a few pages, Wilder’s narrator is deceptively blasé and shockingly devastating as she recounts quotidian observations, embarrassing sexual exploits, and the death of her mother. 

Any Man by Amber Tamblyn

A truly bizarre specimen of a novel, this book feels like diving head first into the Jezebel comments section. Tamblyn’s blend of poetry, prose, tweets, and DMs follows a female serial rapist on the prowl for her next male victim. As police investigate and the media sensationalizes the crimes, the novel forges a nuanced and provocative exploration of rape culture. 

what purpose did i serve in your life by Marie Calloway

A collection of first person stories, nudes, Facebook chats, and hate mail, this book feels like holding the internet in your hands. What purpose did i serve in your life centers primarily on Calloway’s interactions with men in various cities across the US and UK. Some are friends she knows from the internet, some are sex work clients and one is a well known editor with a live-in girlfriend. She writes with a detached but unflinching realism that’s hard to look away from. The cover itself, an 8×10 portrait of the author, makes you feel like Calloway is staring you down. It’s the kind of book that’ll make you miss your stop on the subway – that is if you’re brave enough to read it in public. 

I Am Here by Ashley Opheim

The world of Opheim’s debut collection is populated with online quizzes, “pokes” on Facebook, Kombucha brand identities, Dijon mustard, and making out. “What if a group of experimental, full funded scientists took an immense interest in your aura and decided to try and understand it?” she writes in “Aura Pixels.” “What if they took some peyote to heighten their energetic experience and then published their findings on a website that is somehow everyone’s homepage?” A singular ode to the sheer miracle that is being alive, I Am Here is driven by the great invisible forces that shape our existence: love, peace, desire, and wifi.

#thestory by Aziah “Zola” King

May we all remember where we were when we first read the Zola Twitter story. Our narrator meets “this white bitch at hooters” who invites her on a trip to Florida where they can earn big money on the nightclub scene. What ensues is an impeccably paced madcap quest that was eventually made into a 2020 film written by Jeremy O. Harris. It’s truly incredible how much characterization and suspense Zola’s able to build through a series of tweets, which should serve as a lesson for us all to both embrace and transcend whatever form we’ve chosen to tell our stories.

Shze-Hui Tjoa Is a Detective Seeking Clues to Her Own Life

Shze-Hui Tjoa’s The Story Game is an unflinching investigation into herself—represented in the text as ‘Hui’—and her lost memories from a dark place called ‘Room’ during her years as a piano prodigy in Singapore. A script-like dialogue between Hui and her sister Nin in Room structures the book from the start: the reader is swiftly inducted into another, deeper space within the page as the game’s silent witness, surfacing periodically for Hui’s fractured stories of adulthood that function as a trail to the pain of her childhood. The stories narrate stilted nights in a kink club, a faith-breaking visit to a holy land, the complications of trying to love through self-loathing and more—all written with a formidable balance of candour and restraint that mimics, in prose, the effects of complex post-traumatic stress disorder (C-PTSD) on what she can remember.

This memoir challenges its own meta-narrative that a person knows, and can tell, their own story best with its breathlessly inventive form of prompted, iterative honesty. Eventually countered by her sister’s gentle yet firm refusal to play their game, Hui’s stories spiral upwards towards truth—towards an integration of the somatic and the cerebral; the factual and felt. At the point where the memoir’s edge touches Tjoa’s lived reality, the contained meditations on grief, mental health, identity and family fuse into bright, earned clarity.

I spoke with Shze-Hui over Zoom and email at the start of 2024. Our conversation spanned the way The Story Game has been influenced by Singaporean particularities, how a writing career has affirmed her capacity for extremes in control, and the aching—yet fortifying—process of growing beyond yourself. 


Claire Chee: Being ‘smart’ comes up throughout the book, especially in how you describe managing to hide your deep trauma behind cleverness and achievement for a shockingly long time. What role do you think your schooling had to play in this exaltation of academic intelligence? 

Shze-Hui Tjoa: A huge role. When I was growing up in Singapore, there was a standardized, nationwide exam that sorted all children into three education pathways at age nine: “gifted,” “express,” and “normal.” Imagine what this rigid pigeonholing did to everyone’s self-worth! Especially when the adults around us were constantly warning that the stream we ended up in would determine the rest of our lives.

I tested into the “gifted” stream—which, in hindsight, I think had more to do with my knack for intuiting others’ needs and desires, than with any sort of book-smarts. But for decades afterwards, I walked around with a kind of desperation to present myself as an “intellectual.” I only read books that were dense with theory; tried to use big words; went to academic lectures that I mostly ended up daydreaming through. In other words, this label of “smart” that had been imposed on me—it became a self-image that I clung to in the absence of a unique personality, or a sense of self. And for a long time, it prevented me from attempting any sort of real personal growth—because to improve at something, you have to first be willing to admit that you don’t know everything. You have to be able to honestly reckon with your own limitations, so as to transcend them. I couldn’t for a long time without experiencing significant self-hatred.

CC: A vestige of that can still be seen in the book’s first story, “The Island Paradise,” which your sister deems intellectual, but dishonest. Could you share more about how the content of this book’s stories evolved with your own growth? What did you have yet to learn about yourself when you began writing?

Detective novels have a promise of omniscient knowledge built into them—there’s always someone, somewhere who holds all the answers.

SHT: I agree—“The Island Paradise” is a record of who I was then, back when I relied on “smartness.” These days, I feel a lot of sorrow and compassion for that younger version of me. She was really suffering —yearning to evolve, to become something, anything other than what she was at the time. And yet she believed that she was fully-formed and right about everything.

The biggest thing that I learned from writing this book is to let go of the need to present as perfect all the time. Expecting constant perfection is the direct enemy of growth and change. Nowadays, I feel like I am much more comfortable embodying “The Fool”—you know, like the Tarot card? I know we don’t typically associate published authors with this archetype! But The Story Game represents my journey of growth towards the freedom to make mistakes, vacillate, and explore. The freedom to connect meaningfully with others, too—because by the end of The Story Game, my in-text avatar has realized that the only way to learn what she doesn’t know is to step outside of her own head to talk to other people. She realizes that embracing her weaknesses gives her a real reason to need others and let them in.

CC: The Story Game asked me, as a reader, to respect its parameters in giving an answer that was different to the one I sought. I’ll admit I was fairly preoccupied with knowing exactly what happened during your childhood years, only to realize by the end that I wasn’t entitled to it. Could you share a little bit about how you decided what to disclose and withhold about those events?

SHT: It’s funny you should say that because, actually, I don’t feel like I withheld anything at all. I told readers as much as I could about what had happened to me—which is to say, as much as I could truthfully remember at the time of writing.

With the dissociative version of complex-PTSD—which is what I developed as a child musician—trauma often manifests as avoidance, with the mind fleeing elsewhere while bad experiences happen, and refusing to store them as sensorially rich information. So although I had a kind of semantic memory of those childhood years “playing the piano,” I didn’t know what those words actually felt like, if that makes sense. I could not have concretely described what I had actually experienced each day as an embodied self, sitting on the piano stool.

Basically, a lot of The Story Game is about trying to deduce what might have happened to me, in the years when my mind was absent. Like a detective, I had to examine my adult body’s attitudes towards food, sex, illness, and pain as clues from the past. I shared those findings as fully as I could, in the book.

During the last stage of writing—when I was creating the dialogue between me and my sister—I relentlessly read Agatha Christie detective novels, and also watched the entire TV adaption of her Poirot books. I had entered the murky territory of “unknown unknowns” at this point: I had no idea if the dialogue would go anywhere at all, or manage to wrap up in a satisfying narrative. Detective novels have a promise of omniscient knowledge built into them—there’s always someone, somewhere who holds all the answers. I suspect I needed to replenish this feeling of security in my own psyche—to believe that someone, somewhere also knew where my own project was going.

CC: Your relationships with Nin (your sister) and Thomas (your husband) are both fractured by inverse needs for control. With Nin, you claw back agency by dominating every narrative you share. With Thomas, you want to relinquish control to the point of having him intuit a toothache you’re having—when he fails to do so, you draw a knife. Has writing about these ruptures recalibrated the concept of control for you? 

SHT: It hasn’t. I still have the same ability and desire to control the other—or otherwise be controlled by them. I actually think that’s part of what makes me suited to being an author, since writing engages in these two extremes: the pleasurable coercion of another person via text, while also letting them control the fate of your career as a reader who’s entitled to judge your work.

My in-text avatar realized that the only way to learn what she doesn’t know is to step outside of her own head to talk to other people.

The difference in having written this book is that nowadays, I’m able to name what I’m doing, whenever I’m engaging in complete domination or submission with other people. This self-awareness has given me much more agency over how and when I exercise the dynamic in my life. In the past, I didn’t know how to stop, which made it feel unbearable and inescapable. But now I understand that control is a game I can play, and also stop playing, at will. I can engage in it temporarily for strategic purposes: to influence others or myself to take brave risks, work together for a common good, or create beautiful things. 

You know that Mary Oliver poem? “Someone I loved once gave me a box full of darkness / It took me years to understand that this too, was a gift.” That’s how I feel about the concept of control in my life now.

CC: Singapore adopts a paternalistic approach to governance that, compounded with common Asian dynamics of filial piety, has produced a general cultural aversion to questioning one’s elders. In the book, you have to reckon with how your parents—who you assert are good people—could hurt you so terribly. What are your feelings today towards dynamics that foreground both fear and love?

SHT: Thank you for picking up on this! I would say that this duality sits at the heart of The Story Game: that love always means making yourself vulnerable to the possibility of hurting another person, and being hurt by them yourself. I think this applies across all forms of close relationships: between parents and children, siblings, romantic partners, even friends. That’s what makes emotional intimacy so rewarding in the first place, right? That we are willing to take this risk with another person, day after day, in order to experience a season of closeness with them?

It’s true—in the culture where you and I grew up, there is definitely a deep-rooted belief that being a “good child” means never confronting this duality. Many of us in Southeast Asia are taught that if we truly respect our elders, then we must deny the parts of ourselves that remember all the ways they made us feel small and angry and afraid as children. But what kind of love is this—that wilfully denies the fullness of what we can remember about another person? To me, a love that does not truthfully reckon with the ways in which our parents’ imperfections shaped us growing up is a love based on myth—without real people at its center.

In parts of The Story Game, I explicitly name the ways in which my parents hurt me as a child to achieve their own ambitions. One of the most difficult sentences to write in the whole book was the one you reference: “[my] parents are good, kind, and loving people.” It took me over four years of personal reflection to get to the point where I was able to put those words down on a page, and really stand by them. But I had to reach a place where I could both hate my parents’ actions towards me, and also love them as people—in order to eventually extend that same complicated grace towards myself, as someone who has also wounded others.

CC: One of The Story Game’s defining themes is an ouroboros of flawed authority and how it perpetuates hurt; your parents, the eco-hostel owners, and even yourself to your sister, Nin. How has your relationship with authority shifted or solidified since you wrote the book?

SHT: What I’ve learned as a memorist is: the more democratically my sense of self can exist out there in the world, among the general public, the less I have to worry that any one powerful entity can control it, minimize it, or otherwise eradicate my personhood. Nowadays, I see the “product” of this book as a form of immunity against the power of authority. In particular, I suspect that the Singapore government’s desire to gain international prestige through my writing career means that they’re willing to give me more freedom to speak out, compared to others back home. This has enabled me to talk back on some political issues that I care about—for instance, the ways that they’ve been punishing citizens’ self-expression about Palestine recently. The process of championing my book loudly, and being proud of its readership has made me feel less afraid in general. The collective keeps me safe. People are my protection.

CC: The Story Game spans Indonesia, Singapore, London, and the unspecified Baltic region of one of its essays, the ‘Good Green Place’ so I have to ask—where are you currently based? And are you working on anything new?

SHT: In Edinburgh! I relocated from London at the start of the year, to work on my second memoir. It’s very early days so I can’t be sure yet but I suspect that it revolves around the politics of empire and motherhood. Something about the physical configuration of this city is helping my body to find the specific voice that it needs; to channel its feelings.

Alive She Was Mythic, Dead She Is Larger Than Life

An excerpt from Bright and Tender Dark by Joanna Pearson

From LoveandLegacy.com:

Karlie Richards (July 13, 1980–January 8, 2000)

Margaret Karla “Karlie” Richards of Sycamore Grove, NC, darling daughter, sister, and friend, went to meet her Heavenly Father in the early hours of January 8, 2000, after a brief but extraordinary life during which she was most cherished and loved . . .


From Reddit.com/r/karlierichardshauntings:

[wandatwothree]: Karlie was mythic from the start; her death only secured that status. I was also a member of UNC’s class of 2002. I didn’t really know her, but we were in the same freshman art history class. Karlie was the sort of person you couldn’t help but notice: xylophone laughter, hair like spun gold, a way of gliding across the lecture hall. There was a seriousness to her whole demeanor that I’d never seen before—that I definitely didn’t see in any of the other students. She was regal. We were all kids compared to her. She sat close to the front, so the light from the back of the projector cast her in this orb of illuminated dust, and you could tell she was taking in every word the professor said. Her face was always very attentive when she wasn’t speaking. She was someone you wondered about, who inspired curiosity while she was alive. But after she died, she morphed into legend. People kept saying they were seeing her ghost everywhere, but that’s what happens when you can’t stop talking about someone, then drink too many two-for-one rail drinks and spook yourself . . . That’s a recipe for a ghost right there. But that’s not Karlie.

[prettyprettyliars]: I started my first year in Chapel Hill the fall after she was murdered, so the tragedy was fresh on everyone’s minds. There were these new security call button stations all over campus and self-defense classes at the gym, and they encouraged everybody, especially the girls, to sign up. The RAs were required to lead sessions on personal safety. Maybe they were actually trying to accomplish something, but we thought it was all a big show, a way for the members of the administration to make themselves feel better.

Everyone believed that the kid they’d charged with Karlie’s murder hadn’t done it. We knew the real killer was still on the loose. Three of my friends were assaulted at frat parties within the first two months of school, so, you know, some things never change. The bad guys were still out there, business as usual.

Anyway, that’s when we started seeing her. Karlie. It wasn’t long after the night my friend Sarah had come home crying from Sig Ep that we noticed this girl down at the basketball court at Hinton James. We spotted her from our dorm window, way below us. She’d show up at night. Never talked to anyone. We’d watch her, walking back and forth from basket to basket, her face too far away to make out clearly. We went down to try and catch her a few times, but she’d always vanish. Finally, we managed to get a good look, and I swear to God, it was Karlie. Exactly as she appeared in all the photos. Karlie herself. Just staring right back at us.

[devilmaycare432]: I arrived at UNC a couple years after Karlie was killed, and there was a rumor that if you went over to the apartment complex where she was murdered, you could summon her. The owner of the complex still had her unit blocked off. No one wanted to live there, but people did want to sneak down there late at night, with beer or a joint or whatever. People kept breaking in, and the owners kept boarding the place back up. I went with a bunch of people once during my junior year, even though it seemed like a big joke at the time. Like going to a haunted house. We were all drunk and acting stupid, and it was a while before we realized our friend Tara had wandered away. When she came back, something was off. You know when people say it looks like someone has seen a ghost? That was Tara. She wouldn’t speak for the rest of the evening. Everybody felt bad about it. She never did talk about whatever it was that happened to her that night. Then the worst part was about ten years after we all graduated, Tara was murdered by a jealous ex. All of us who’d been there, those of us who were still in touch—it freaked us out. I now believe she saw Karlie there that night, and that Karlie had been trying to warn her.

[vyper9]: Lots of people saw Karlie after she died. Lots—me included. She was really haunting the place. Haunting it vigorously, appearing for all sorts of people—or so they claimed. Mainly down at those crappy student apartments where she died, but other places, too. Davis Library. McCorkle Place. By the highrise South Campus dorms. Behind the Forest Theatre. People swore they saw her darting into a convenience store close to campus for a pack of gum, or sitting on the patio at Carrburritos, idling outside various Franklin Street bars—Linda’s, He’s Not Here, Top of the Hill . . . Classic spots, the Chapel Hill circuit. Karlie was everywhere, like any enthusiastic undergrad might be. Only she was dead.

Yet she lingered. Can’t say I blame her. I’d haunt the shit out of people, too, if I got murdered and the wrong person went to prison and my true killer went free, and everyone, everyone, everyone was talking about it but getting the story all wrong. I’d be pissed. I’d want to correct the record. Isn’t that how ghosts are made?


From The Daily Tar Heel:

January 9, 2000

Chapel Hill, NC—Chapel Hill police are seeking any information regarding a young woman found slain inside her off-campus apartment on January 8. The body of UNC undergraduate student nineteen-year-old Margaret Karla “Karlie” Richards was discovered in the early-morning hours by a friend after she failed to respond to phone calls the previous evening.

“Right now, we’re looking into all possibilities,” Police Chief Hank Askins said. “While we don’t have any reason to believe there’s an active threat to the community, we’re encouraging community members to be mindful of their surroundings and take reasonable precautions.”

The exact cause of Richards’s death has not been disclosed, but police are investigating the case as a homicide.

Greta Longley, a UNC senior who also lives in the off-campus Trailview Crest apartment complex at 253 Arendale Road, says this event has rattled the community.

“It’s horrible,” she said. “She was this vivacious, active presence on campus. Stu like this just doesn’t happen here.”

Another resident of the complex, who wished for anonymity, reported hearing people coming and going at Ms. Richards’s apartment late into the evening of January 7 and into the early-morning hours of January 8.

“I didn’t make too much of it at first,” he said. “I mean, college students keep late hours, you know? But at one point I got up to go to the bathroom and heard arguing. I saw a guy standing right outside Karlie’s apartment. Big glasses. A limp when he walked. Kind of—well, he looked confused and upset.”

Another nearby resident who expressed the desire for anonymity out of concern for safety also attested to the fact of at least one late-night visitor at Karlie’s apartment.

“I heard someone drive up,” the witness stated. “But I couldn’t make out the car. It definitely pulled in right by her place, though. And then there was a man shouting. It was too dark to see his face, but he was waiting there, right outside Karlie’s apartment. He gave me the creeps. Everything was quiet after that.”

This witness is also fully cooperating with police.

The UNC spring semester is set to start on Wednesday, January 12. According to acting Chancellor Bill Sterling, the semester will begin as scheduled, but with a “heavy pall cast over our community.”

“Karlie was a wonderful spirit and a dynamic intellect, according to all who knew her,” Chancellor Sterling said. “She was a beloved member of our university family who exemplified the Carolina way.”

Sterling also announced a campus-wide remembrance and candlelight vigil in the Pit at 5:00 P.M. on January 13. This tragedy will also accelerate plans for additional safety measures and trainings on campus, university officials said.

At this time, Chapel Hill police are looking for an individual of interest in connection with the Richards case, a male seen by witnesses near her apartment shortly before the estimated time of her death. No suspect has been named at this time. Chapel Hill Police have posted an anonymous tip line. Anyone with information related to the case may call 919-555-0198.


2019

Joy finds her professor at the bar. It is the one near campus that he frequented back in his teaching days. She had seen him there many times, flanked by eager graduate students and seniors from his honors seminar, hands awhirl as he spoke, basking in the glow of all that attention. She never went. She’d never been invited, but she walked past many times, crunching through the leaves and stealing jealous glances through the window.

She is no one, she reminds herself—even with those long, bourbon-soaked talks during his office hours, the way he’d touched the back of her neck just so, a feeling like the Paraclete summoned. Joy was no one to him. It was all subtext without text.

“Joy,” she supplies.

Now, her professor sits in a booth alone.

He sees her standing outside and waves. It feels like he’s been waiting for her to appear, like the whole thing had been prearranged, predetermined. Joy pushes open the door and walks up to him, watching his inscrutable smile. There is always part of him, she feels, that is gently amused and laughing at her. She finds she already wants to leave.

“I know you,” he says. “You’re . . .”

“Joy!” He repeats her name like he means it.

He looks so old, so changed from what she remembers that she almost can’t bear it. She still feels the same inside, like an earnest college girl, but she wonders if he thinks the same seeing her. She is middle-aged; he is an old man.

“What are the odds? Sit, Joy, sit!”

His smile hurts her. He seems to be recalling an oft-told joke, grateful, like she reminds him of a time he loved and has almost forgotten.

“It’s good to see you,” he says. He’s already beckoning to the waitress and ordering her a drink—bourbon, like old times. She doesn’t have the heart to tell him that it is something she only pretended to like, for his sake.

She sits down in the booth across from him and looks directly into his face. Words do not come to her. The unopened letter from her past, from Karlie, rests in her bag.

“You could say ‘It’s good to see you, too,’” her professor says, and his voice is jovial, but Joy can see the mildest irritation in his gestures, in the way he picks up his glass quickly and drinks.

“I read something and thought of you,” she says, telling him about the article she saw, about the I Kissed Dating Goodbye guy, the tawdry sadness of it, how it prompted her to think of Karlie and her Bible studies, of him and his academic work. She mentions her own divorce, making light of it, easy-breezy, like a fun-time girl. He laughs in his familiar way again, as if Joy is unbearably precocious, but then his laughter sputters to a cough.

She never quite liked his laughter, Joy realizes—the smugness of it. Her anger toward him is finally coalescing after all the years of uncertainty, and she can feel it burbling up now, like the need to retch.

It was all subtext without text.

“Karlie,” she says quietly. “Why? Why did it have to be her?”

A look passes over his face quickly, darkening it, but he remains impassive. Carefully, he folds up his napkin into triangles, then takes another sip of his drink. There is music playing, an old B-52’s song from another era that might as well have been an age of buggies and oil lamps—they are insulated by the music, the clatter of silverware, the voices of other customers. Joy feels alone with him, in a strange bubble of privacy. Roam if you want to . . . Finally, he speaks.

“People are complicated, Joy,” he says slowly. With one knobby finger, he traces the circumference of his glass, then holds it up to the dying light from the window, as if inspecting for impurities. “Karlie was very complicated. I think you may never have fully appreciated that.”

“She was my friend.”

“No doubt of that. I like to think she was mine as well.” He sighs very deeply. The B-52’s are playing and playing—without wings, without wheels— with a Möbius strip–like endlessness, and the dusky bar seems to be the maw of some sick carnival ride. “It was a tragedy,” her professor says softly, in the special, fatherly voice he used when she was riled. She’s always hated this voice, which indeed reminds her of her own father— sunken-eyed and silent, his uncut hair fanned out against his pillow pitifully, like the halo of a failed saint.

“You killed her,” Joy says quietly. “Karlie. My roommate. It was your fault. She was so good before she met you. You ruined her.”

At this, he laughs, but his eyes have turned hard, bleak.

“Joy,” her professor says slowly, dabbing at his lips with the folded napkin. His hands are liver-spotted now, with none of the power she recalls. “I know you’re under a great deal of stress. With your divorce. I’m going to ignore what you just said. You’re beside yourself.”

But she cannot stop herself. All those old days are rushing back to her.

After Joy had introduced them, toward the very end of their freshmen year, Karlie had agreed to participate in Professor Hendrix’s studies. They began to meet regularly.

He’s interviewing me for his research, Karlie had told Joy. We talk about the historicity of the Gospel, modern evangelical movements, that kind of thing, you know . . . He’s so smart, and her eyes shot heavenward, but Joy could see the way a blush rose up her neck, the extra care she put into her appearance before they met. And Joy saw the tiny bruise on Karlie’s neck, a devil’s kiss. She began dallying in the hallways outside Professor Hendrix’s office, trying to catch glimpses of them together, trying to comprehend exactly what was going on—but she knew. Of course Joy knew. She idled near the departmental building, waiting to see them exit together, watching as a casual familiarity grew ever so subtly over time between them, his arm on Karlie’s shoulder, Karlie wearing his sweater as it got colder.

When Joy stopped showing up to her professor’s office hours and he said nothing, that was the end of it for her. She continued to attend class the rest of the semester but turned taciturn, reluctant, careful to do only the bare minimum. Professor Hendrix never sought her out or asked why. It was like whatever they’d once shared was simply a figment of Joy’s imagination.

“It was your fault,” Joy repeats, although she’s hardly sure why she’s saying it. Karlie made her own choices. There is another man in jail, evidence tying him to the scene. Open and shut. This man across from her, her former professor, had an alibi. What’s more, he’s pitiable now, impotent, a king dethroned. Maybe there’s a way she still longs for him to see her, an approving gaze she still might earn. Maybe she is simply cruel.

Yet she places the letter from Karlie on the table for him to see, like it’s proof.

He shakes his head and puts his hands into the sparse hair at his temples, pressing as if to stop an ache in his head.

“You were jealous,” he whispers. “You wanted me to cross that line with you.”

“No.”

“You hated her.”

Joy thinks of all those days she waited outside his office, listening to voices inside—his, Karlie’s. She’d laugh softly, he’d murmur something, she’d laugh again, but soon there were other sounds. Joy stood by the door listening, a terrible heat spreading over her.

The truth is that Joy’s professor never so much as kissed her, although his every gesture seemed to promise it: fingers on her shoulders, her back, sending shivers down her neck. His breath behind her ears, at the nape of her neck. The barometric pressure between them thick, ominous. Promises, signals, implications, leaving her like an arrow pulled back on a bow but never released into flight.

“I never hated her,” Joy says, which is true. She’d loved her Karlie. But she’d also envied her, for the way she lived in the world with a sense of ownership, for the way she took things.

He shakes his head again, like it’s all very sad to him. He takes another drink. She sees he is still in possession of his most notable attributes, superciliousness and composure.

“Poor lost preacher’s kid with her poor sick-in-the-head daddy.”

She stands to leave, her bag knocking over her bourbon and spilling it onto Karlie’s letter. Giving a little gasp, she tries to rescue the letter, but it’s already wet. She plucks it from the puddle of liquor.

“I’m praying for you,” he says mockingly.

She scoffs. There’s bourbon dripping from Karlie’s letter onto the toes of her boots.

“God, I hate you.”

She means it in every possible way.

He doesn’t answer her. He says nothing when she leaves. 


Outside the bar, Joy stands on the corner, catching her breath. Her teeth chatter. It’s grown colder now, but not nearly as cold as she feels, and it is already dark although barely past five P.M. In late November, the weather in North Carolina is alternately balmy, then unexpectedly cool. Some students pass by still wearing shorts, whereas others have broken out their jackets. A little shudder passes through her that has nothing to do with the temperature. She presses a cocktail napkin she’s grabbed against the damp part of the letter.

She and Karlie were close only during that first semester of freshman year. By sophomore year, they lived apart, and Joy rarely saw her. She’d stopped speaking to Professor Hendrix entirely by then, although for reasons that were inexplicable to her, Joy took two more of his classes.

She’d stopped speaking to Professor Hendrix entirely by then, although for reasons that were inexplicable to her, Joy took two more of his classes.

With Karlie, she remained pleasantly aloof. They bumped into each other now and then before Karlie died, but they never again spoke of Professor Hendrix. He left for his new job the semester after Karlie’s death, and Joy moved to an off-campus apartment with Sari and some of the others she’d met in her women’s studies seminar. It was a relief not to be seeking some grander plane of being. She felt at ease with her new friends, slump-shouldered former high school nerds made good, vigorous people who invested themselves in things like the college radio station or environmental action campaigns or slam poetry. Once, not long after graduation, Joy had looked up Professor Hendrix at his new college and emailed him. He’d never responded.

Joy tries to shake off the thought of him—a mean old man. Pathetic. She walks away from the bar, ignoring the clusters of laughing students who block the sidewalk. Professor Hendrix does not rush out to try to stop her or apologize. Joy doesn’t turn around to look, but she knows he is seated peacefully in his booth, finishing his drink in neat sips, untroubled by their encounter.

Her husband’s lawyer has sent another threatening email to Joy, trying to get her to sign a bunch of papers, accede to his demands. She hasn’t yet. He’s riled the defiant part of her. She won’t go down without a fight.

Instead of walking back to where she parked, Joy heads in the opposite direction, entering a part of town close to campus where there are million-dollar houses and streets shaded by stately trees. Her hands are still shaking, so she stuffs them into her pockets. The boots she’s wearing are a half-size too small and pinch her toes. She walks anyway.

She is walking to her husband’s house—the new house he shares with the woman who will be his new wife, her replacement. When Joy gets there, she stands at the foot of the drive so she can see into the glowing windows of their kitchen.

There are silhouettes moving: her husband, her sons, the new woman with the baby inside her. Joy can see them as shapes, like figures in a shadow play. Maybe if she looks long enough, she will really see. She watches them readying dinner and wipes her cheek in the dark.

Karlie’s letter is in her pocket, half ruined. There’s not enough light to read, but Joy pulls the letter out anyway. She opens the envelope and turns on her phone’s flashlight:

December 1999

Dear Joy,

Thank you for introducing me to Prof. H., and I’m sorry—I know in becoming close to him I took something from you. But whatever it was you thought he offered—approval and safety, maybe, or wisdom—it’s a false promise. He’s nothing special—really, he’s worse than nothing special. He’s petty, flawed, vain. I’m not just saying that to make you feel better. It’s over between us, anyway, whatever was going on between us in the first place. I’m sorry.

I know you’ve been following me. I’ve seen you on campus. I saw you duck into the stairwell when we were leaving Howell Hall. And I saw you that day outside his office, pretending to look at the bulletin board. Another time at the coffee shop, I pretended not to notice you. I didn’t want to embarrass you. I don’t blame you. I know it hurt you, seeing us together. But a part of me likes to think I protected you from something. Maybe I’m justifying myself, but . . . you’re better off. Trust me. Now, someone’s started driving over to my apartment. At first, I thought it was Prof. H. But then I remembered you, following me on campus. And I finally saw the car. Is that you who keeps showing up at my apartment? Driving the “BMW”? I hear it pull up, watch its cyclops eye crawling slowly up my wall . . . I won’t hold it against you, but could you please stop? Maybe it’s not you in the BMW. But it’s someone.

I wish I could learn to pray again. There I was, lying on the living room floor of my apartment, thinking that, trying to find the words that used to come so easily to me, and I saw one of my signs! (You know! Remember when you said everything’s a Magic Eye image to me?) It’d been there all along, and I’d noticed it before, but I saw it differently this time. I’d been thinking of you, how even though we still talk on occasion, vent to one another, nothing’s ever been quite the same since back when we were roommates . . .

I love you, goose. Merry Christmas!

Karlie 

Joy blinks, and blinks again, then folds the letter back into its envelope. A precious, perishable thing, filled with Karlie’s characteristic arbitrary overuse of emphasis, all her exclamation marks and underlining. She’d understood how Joy had felt the whole time. And yet Karlie was wrong. Joy had never been following her, had never come to her apartment. She’d been following only him. Her professor, on campus. She hadn’t had a car during college, much less a BMW. A sick, strange sadness uncurls in Joy’s stomach.

A door of the house opens, and out comes someone into the dark. Joy hears the clunk of a trash can being pushed toward the curb. She clicks off the light on her phone quickly and holds her breath, motionless.

The wheels of the trash can rumble closer and closer, then stop. There, in the dimness, Joy sees her, swimming into focus, a shadowy woman-shape with the unmistakable swell of pregnancy. Her eyes seem feline, reflecting ambient light from the other houses.

“You,” the woman says, her voice like a knife. “You again. You’re trespassing. I could call the cops.”

She moves closer to Joy, her belly a taunt.

“You’ve got to stop doing this,” she says. “You’ve got to leave us alone.”

Joy hears the door of the house open again, and someone steps out.

“Maggie?”

That’s the woman’s name. It is her husband’s voice saying it. Joy can see his outline, backlit on the porch, peering into the darkness.

“You all right?”

Joy grips Karlie’s letter tight in her fist, but she lets the rest of herself slump to the cool cement. She lies on her back, looking up into the starless sky. Then she lets all that feeling course through her. Unlike Karlie, she knows how to do it right. She saw her father so many times. She watched it happen, an ungovernable force, a wordless thing, like being possessed by something—God, perhaps, or a lesser demon.

“Jesus, John. There’s something wrong with her. She’s . . . Are you okay?”

“Joy?”

She hears the stricken sound of her husband’s voice, his feet pounding down the path—her husband, running to her aid.

Her arms seize and jerk like she’s been shot through with electricity. She lets her head fall back, her mouth foam. Her arms stiffen and jerk from their sockets. Her tongue has gone rigid in her mouth. Joy lets them scream at it, at her display—this new woman and her husband, the two of them hovering over her like abiding angels—but this time, it truly feels real. Like getting struck by lightning. Or holiness. Submitting once and for all.

A Queer Libertine’s Heartbreak in Seoul

Ery Shin’s Spring on the Peninsula encompasses two winters of grieving: Kai, a white-collar worker in contemporary South Korea, struggles to process his breakup. We follow Kai’s inner musings, from his various sexual conquests to solo mountain pilgrimages. But alongside heartbreak, Shin’s debut novel explores the aesthetics of fatigue; the novel depicts generations of Koreans marked by burnout and political turmoil. As one character says, “Give me indefatigability or give me nothing.

Dipping in and out of different perspectives, Shin crafts a chorus of voices of what it is like to live in today’s South Korea: a nation that skyrocketed towards modernity, one based in deep historical trauma and extreme inequity. I was struck by how fluidly the novel covered a range of social issues—class, gender, queerness, expats, generational divide, forced military service, U.S. military aid, the education system, and more—while also being so playful and experimental in form. Shin’s prose feels timeless, evoking a certain type of nostalgia.

With its emphasis on the dream-like and the symbolic, Spring on the Peninsula intentionally leaves certain things a mystery; I came away with a new appreciation for the book—and a desire to reread—after I had the chance to chat with Shin. We talked over the phone about the repetitive nature of heartbreak, how she blended Korean idioms within English, and serendipity.


Jaeyeon Yoo: What is this novel about, for you?

Ery Shin: It started off as a breakup book, which I think everyone can relate to. It almost immediately started to transform into something more—as a metaphor for various generations, a metaphor for the nation itself: its political history, its turmoil and heartbreaks. So, it started working on several different levels, even though it started off with just the main character and his memories.

JY: I did sense the political as an omnipresent backdrop, lurking and seeping through everything with potential consequences. Could you expand on the role of the political in the novel?

ES: In terms of the political conditions, South Korea has been through so much. It’s a relatively new democracy; it only became a democracy in 1987. It’s not a long time; it’s not a short time either. But I think Koreans, and the rest of the world, forget that. [I wanted to] digest the legacy of that as we move forward, instead of just violently pretending everything before the 1980s never happened. It’s always lurking under there, the repressed unconscious. Of course, it’s not just South Korea. Even if you look at Germany and France, they didn’t become democracies until the last century or two. It’s not that they’ve been democracies for forever, since always. But especially in South Korea, I think there’s been this real push to gloss everything over and make the outer surface take over the whole package. There’s constant judgment to prove oneself again and again. But by whose standards and for whom? It’s OK to slow down. We don’t have to rush forward and put on such a show for everyone, including ourselves.

JY: Yes, there’s really a national culture based around efficiency and speed. How did you try to address what you just talked about in the novel?

ES: For starters, it’s not a lot of action. It’s not rushing; it takes its time to go through all of Kai’s moods and the moods of the people around him. The novel quite literally enacts the slowness that we’re talking about right now. A lot of it is introspection, pauses, silences, quiet time with yourself. And there’s no clear resolution or closure at the end. Simply on the level of plot and action, that slowness and sense of leisure is there.

JY: For me, the book captured the circuitous, never-ending and then re-surfacing, the incessant nature of heartbreak. I’m curious about the element of repetition in the novel; how did you want to explore heartbreak?

ES: First, there’s just the obsessive thought patterns when you’re missing or yearning for someone. Repeating has a lot of magical, incantation effects. It’s soothing to repeat, especially if you’re repeating mantras to not despair or to forget somebody. Conversely, it’s also a way to keep their memory alive, if you don’t want to lose someone’s memory. In the novel, it’s not just heartbreak over the ex—whoever this person may have been in Kai’s life—but all the other exes in his life. There’s mourning over his aging process, mourning over his aging parents. There’s a lot of grief and anxiety about several different things that he feels is slipping away from him. Repetition is also the way that we talk. We repeat ourselves constantly; conversations emerge elliptically, in spurts. They don’t run smoothly or linearly. So, I think writing repetitively is the most realistic way. Paradoxically enough, it feels less artificial than writing very smoothly.

JY: I can relate, when I think about my memories of heartbreak. I also appreciated how you framed the “ex” as a stand-in for the many other things to grieve in his life. The “ex” becomes more like the “X” factor in algebra, a shorthand that can stand for anything and everything. And speaking of shorthand, I noticed how most of the characters in the novel go by one syllable names, versus the more typical two syllable names in Korean.

ES: There’s a lot of symbolic potential I think that can be read there. I don’t want to give too much away here but suffice to say that there was definitely some thought put into it, so readers can have fun. I personally had a lot of fun thinking about all the different possible meanings of the names and playing with them. What could be their last names? Are we already going by their last names? If we’re just going by first names, what does that mean—especially with charged names like “Jung” [roughly translating to “bond, affection, and/or love” in Korean] or “Han”?

JY: I wanted to chat about your depiction of queer life in Seoul. I particularly appreciated how queerness wasn’t a target of family conflict in this novel, but an almost accepted given. What was behind the decision to make Kai into a queer libertine?

ES: I’ve been working with Marquis de Sade for a while, so there’s going to be some connections with that French tradition. But besides the French and Continental tradition, this is—paradoxically enough—kind of in the life of the “every man” figure in South Korea. An increasingly growing number of women and salaried men do go to hostess salons; they do play, they do have fun. Much of Kai’s behavior is actually not that remarkable, save for the gender of the people that he spends time with sometimes. In that sense, is he really a libertine—or is he just an average millennial, a millennial with a taste for nightlife? For me, it was important to just show queerness in this incredibly mundane, unremarkable way. I think that is as much of a political statement as other narratives that more explicitly and overtly address coming out stories.

JY: I agree. I remember interviewing translator Anton Hur, and he said something about how there have always been queer people in Korea; queerness is not a new invention, it has been a part of Korean everyday reality for a while. I want to go back to what you said about being a millennial, because I thought the book really captured the struggles of being a millennial in Seoul; could you talk more about your decision to focus on this generation?

Repeating has magical, incantation effects. It’s soothing, especially if you’re repeating mantras to not despair or to forget somebody.

ES: Absolutely the millennial generation, but the book also encompasses some of Generation X and also the Gen Z people who are just leaving college right now and going into the workforce in 2018. Around 30% quit their jobs after one year. Burnout is happening to almost everybody, coupled with all the stress about unemployment. And then, especially for women, they are just being paid less and treated poorly while at work, when they’re educated to expect more and to expect to be treated with full human rights. So there’s burnout going through all generations, younger generations and older generations, too. There’s a lot of tiredness and fatigue. South Korea didn’t get where it was in a day; it happened because people worked themselves to death. There’s definitely a reckoning that comes with that. At the cost of what, this bright, beautiful facade with all of these fixings and these trappings—at what expense, at what sacrifice, and was it worth it?

[Historically], there was the political turmoil of when the country transitioned to a full democracy, not just to name but also in function. Then, right after that when things seemed to be going along swell, in the late 1990s, the IMF crisis struck. There were so many suicides, so much stress. Money disappeared, mounds and mounds of money, entire fortunes, entire family savings just disappeared overnight. Can you imagine it? South Koreans aren’t getting a break at all. First the dictatorships, then trying to recover from the IMF. It really doesn’t seem like there has been a smooth period, until actually right now. But then, of course, beneath moments of “smoothness” and “tranquility” are always student protests, demonstrations, unease and employment stress, and the threat from the North. North Korea is always in our news, and we’re so used to it. It’s not really an immediate threat, but it’s always this burner in the background.

JY: Yes, and even within these supposedly peaceful times, there’s so much governmental neglect that goes on. Even last year, there was the Itaewon stampede, before that the Sewol ferry sinking, then before that the Samsung department store collapse—the list goes on. There are always these massive skeletons in the closet.

ES: And egregious acts of nepotism. In terms of political corruption and extreme class inequities, there’s a lot of work that needs to be done in South Korea. I only say this because South Korea claims to be an incredibly advanced nation. But if we’re going to put the mirror there, of what it markets itself as versus what it actually is, there are a lot of harsh realities that South Korea has to recognize, stomach, and try to deal with. I did also want to include commentary [in the novel] about the Korean military and what goes on there, such as sexual violence but also just violence and hazing. The military, like so many other places, is a place that needs to be more publicized, especially because same sex acts and couples and relationships are still not sanctioned within the military.

JY: I know you’ve published a scholarly monograph on Gertrude Stein’s work. I was struck by some resonances of Spring on the Peninsula with Stein’s writing qualities you highlighted there: cinematic repetition and brutal eroticism, for example. Was Stein an influence at all for this novel? I’d love to hear more about some of your creative influences.

Burnout is happening to almost everybody, coupled with all the stress about unemployment. And especially for women.

ES: Stein showed me that you really can stretch the rules or break them as far as you can. I think it was David Antin who said this, that modernism is simply just testing the formal parameters of any medium. Stein took that to the max for me. You don’t have to have any story, you don’t even have to have grammatical sentences. You can have basically gibberish, yet still keep people invested. That gave me huge freedom. It takes the pressure off; there’s really no template that you have to follow.

In terms of other influences, I do like Han Kang’s style, the way she talks about women’s inner lives, death, and human bodies as plants or other inanimate objects. Of course, Flaubert, Tolstoy, Saramago, Yi Sang. Yi Sang has a very particular bittersweet sadness that I find very interesting, very moving in his work. Then there is a lot of Korean literature they teach children in school. Everyday literature—I’m missing all the short stories, the 대중가요 [popular tunes]. There’s a lot of succinct elegance there. But these things aren’t really known. I’m just about to send my publisher a musical soundtrack to accompany the novel, which is going to come out in a blog post. It might be interesting for people who want to see what music the characters had in mind, as they’re partying and living their lives, or trying to go to sleep.

JY: I’m curious about the role of language and translation; there’s not much Korean, but we do get a mention that a text has been translated into English.

ES: I originally wrote it in English but, all throughout, I wasn’t trying to standardize the English. Because I’m fluent in Korean, I was bringing in Korean sayings, whatever that saying would be; I would put Korean idioms in naturally and nested them into my English. Some would say it sounds like slang or idiomatic. It’s a fusion or hybrid language that way. It’s deliberately meant to be strange and idiosyncratic because of this pastiche of influences. The way that people talk about “cat on a hot tin roof,” sayings that people say in English that only American people know. There’ll be little phrases or lines passed off nonchalantly here and there, where it’s really not an English saying or a saying in American culture—it’s Korean.

The only section that was originally written in Korean and then translated is a letter that [a character] sends. Funnily enough, even though that letter was translated into English from the Korean, I was very satisfied to see that the quality of the language sounded pretty similar to the rest of the book. So, then I succeeded: I made the language strange and exciting.

JY: I’ll have to reread the novel and keep an eye out! And perhaps it was because of this experiment with English that you just talked about, but Spring on the Peninsula did feel oddly very rooted in this present moment of burnout—“roughly now,” as the book’s blurb says—but also somehow timeless. How did you think of the novel’s timeline?

ES: I was thinking about movies where you don’t really seem like you’re in any particular time. It seems strangely vintage, but also very present. For instance, the horror movie, It Follows, is supposed to be “now” but there are also technologies and backgrounds and TV sets that seem like they’re from the ’70s or ’80s. I deliberately wanted the strange mixing and matching of times to be the historical backdrop of the novel. I wanted it to feel, like you said, very present and very current and very today, but also timeless—especially because we’re talking about Korean history and the Korean people as a whole. And because so much of the novel also seems dreamlike or exclusively takes plays in dream.

JY: What appeals to you about the daydream and the surreal?

ES: I think the old sayings are true: so many of our hearts’ desires, so much of what we really want are revealed in dreams. It’ll come to us night in and night out, week in and week out. You can know what your real self is through dreams and, at the same time, you can take that too seriously. This becomes a kind of puzzle, to figure out which dreams can help us find our inner pilgrimages. To find out more of who we are and where we really want to go with our lives, especially if you are one of the generations that are trying to find your future in an uncertain Seoul and uncertain South Korea. And then, on the flip side, there are dreams that are dangerous dreams and are best left not indulged. Doors not to open, to be led astray into this black hole.

JY: It’s tricky to tell the difference! Did this focus on dreams also lead to the future section, which felt like a reverie?

There are a lot of harsh realities that South Korea has to recognize, stomach, and try to deal with.

ES: I wanted the apocalyptic visions or that revelatory kind of energies to really culminate. If we’re talking about the past and the present, how can we not talk about the future? So, letting time run its natural course.

JY: That last future section was surprising for me, especially how we were introduced to a new character.

ES: There’s a serendipity. There are people that we don’t think we’re affecting, of just lightly rubbing elbows with their shoulders within life. But sadness and also joy can sift from one person to the next, spread across time and space.

JY: This reminds me of Past Lives, which I just watched on the airplane back from Seoul—especially its focus on “inyeon,” the way we touch and intersect with others’ lives.

ES: I think it’s also comforting in a way, especially in a book like mine that pushes deeper into the more anti-social aspects of our psyche and existence. This is a comforting counterbalance. We may think we don’t matter but, of course, every action has a consequence; every cause has an effect. So in a sense, we do always matter. Not necessarily for good, but it can be good, hopefully. And change will happen. I’m more patient about change. It doesn’t have to happen overnight, but it’s getting pushed forward.

JY: What are current developments that you’ve seen in South Korea that have given you hope? Or at least a small moment of change pushing forward?

ES: Actually, the declining birth rate gave me hope. What other drastic way, fastest way to protest? Women are simply saying that enough is enough: I’m not going to have kids without the support, the infrastructure, the equity at work that I need. People aren’t being passive and taking things lying down. There’s life.

8 Books Set on Fictional Islands

Islands live comfortably in the literary imagination. Cut off from the mainland and often small or negligible in population, they place characters in inescapable situations, amplify drama, and often suspend the normal rules of mainland society. And islands, as Rachel Carson points out in The Sea Around Us, are geologically transient, altering shapes and even disappearing completely; islands as symbols set the stage for other kinds of instability and ephemerality.

Being from the U.K., I’m also fascinated with the idea of islandness, and what it might mean to be an islander. When an island is not named in a novel, and therefore not tied to a specific geography, what does the notion of an island lend to the narrative, to the people that live there? What does the imagined island invoke? 

My novel, Whale Fall, is itself set on an unnamed and fictional island, based on an amalgamation of islands orbiting the British Isles such as Bardsey Island (Wales), St. Kilda (Scotland), and the Blasket islands (Ireland) which, like the island in the novel, were facing challenges around depopulation, increasingly hostile weather conditions, and modernisation on the mainland in the first half of the twentieth century. The novel’s protagonist Manod, an eighteen-year-old girl who grew up on the island, dreams of a different life on the mainland and struggles to connect with the people around her; her physical isolation on an island manifesting in her interior life. On a small island surrounded by shoreline, Manod lives in-between land and sea, but also in-between her past and her present, her present and her possible futures, and between her community, her family and her ambitions.

The eight novels on this list are set on unnamed or fictional islands; making them not grounded in a specific geography of place, but in the idea of an island. These unnamed islands have a global reach across Europe, Asia, East Africa, and North America, but the islands’ conditions—of isolation, of insularity, of instability—point to similar underlying ideas of disruption, allegory, colonial legacy and environmental care, forming an archipelago of novels mapping their connections to each other.

How I Won a Nobel Prize by Julius Taranto

Taranto’s fictional island off the coast of Connecticut hosts the Rubin Institute, a millionaire-funded university staffed by the “cancellees and deplorables” of traditional academia.

It’s one of a few books on this list that uses an island setting for a fabular, allegorical narrative, the island setting allowing for a contained mini-society that reads heavy with symbolism. The novel is sharp and funny, skewering the notion of modern cancel culture with exile to a phallic building. Its explorations of academic and free speech are suitably messy and ungratifying; as on the mutable ground of the shore, you never know quite where you stand.

The Water Cure by Sophie Mackintosh

On a small, unnamed island, a single house holds a strange and otherworldly family. The three sisters at the heart of The Water Cure have been deliberately isolated from the mainland; their parents, Mother and King, tell them that it holds a toxic male population, and build their own society with elaborate, often cruel, rituals, and intense bonds to one another. 

But when their perfect island seclusion is disrupted by three men washed up on a beach, the girls’ world begins to disintegrate. Mackintosh takes clear inspiration from other literary islands, The Tempest being an obvious homage, to set up this story of worlds colliding, and the island’s natural scenery provides a dramatic and ominous backdrop with gathering flocks of birds, grotesque washed-up carcasses of sea creatures, stormclouds moving in. I also love its island-y form: short, fragmentary pieces of story, narrated by different sisters, their interiorities constantly orbiting one another.

The Memory Police by Yoko Ogawa

The transience and instability of islands underpins Ogawa’s dystopian masterpiece, where objects and words disappear physically, and from memory, on an unnamed island off an unnamed coast. As the unnamed narrator finds ways to hide their editor, R, hunted by the authoritarian Memory Police, the island setting forms a topography of loss: animals migrate and never return, domestic and natural objects vanish, inhabitants reach for and fail to reach a forgotten language. It also stages the lives of displaced people – former hat-makers, ferrymen, boat mechanics, writers left adrift after the objects of their craft too disappear.

As a dystopia, the novel doesn’t lend itself to easy political analysis (and is all the better for it); Ogawa’s elusive, dream-like prose and meandering structure are punctuated solely and suddenly by ordinary people taking risks. The instability of the island, the sudden ease with which its shores can alter and dissolve, illuminates this allegory of loss and memory with fitting unease.

Tar Baby by Toni Morrison

Set on the Caribbean island estate of a millionaire white family, Tar Baby follows the romance of two Black Americans from very different worlds: Jadine, an art historian and fashion model who has been sponsored into wealth and privilege, and Son, an impoverished criminal-on-the-run. 

When Son is washed-up on the edge of the Streets’ estate, he ruptures the class, education and racial divides that keep him in place, entering a new world of wealth, privilege, and freedom. The island setting stands for an erosion of boundaries, both physically between land and water, and socially. Subversion and rupture is a major concern across Morrison’s work, and the island asks for and offers new ways of living on shifting, tidal ground.

The Summer Book by Tove Jansson

A young girl and her grandmother spend a summer playing, talking and arguing on a tiny, unnamed Finnish island in this novel by the creator of the Moomins. Jansson’s eye looks to the minutiae of the island’s landscape to illuminate the intergenerational lens of the novel, concerning her narrator with the care and preservation of island moss, flowers, rocks. As later on Moonmin island, everything is transient, the island landscape prone to fogs, rainstorms, and tides that sweep things away and disrupt the plans of the creatures inhabiting it. 

By the Sea by Abdulrazak Gurnah

By The Sea follows two narrators, both immigrating to the United Kingdom and both in flux; Saleh Omar, a political exile attempting to enter the United Kingdom from an unnamed East African island on a fake passport with the fake name Rajab Shaaban Mahmud, pretending not to speak English, and Latif Mahmud, arriving on a student visa and the son of the real Rajab Shaaban Mahmud, grappling with the recent revelation of their father’s secrets and second life. Gurnah examines the bureaucratic and emotional difficulties of movement and migration with an exacting and neutral eye. The novel’s movement between dichotomies, one named island and one unnamed, one ‘legal’ immigrant and one illegal, examines the inner landscape of alienation and exile, and the hollowness of national borders.

The Island of Doctor Moreau by H.G. Wells 

A shipwrecked man is rescued by a passing boat and deposited on the eponymous island of Wells’s Sci-Fi classic. As in Taranto’s novel, Moreau’s island is the home of an exiled scientist, beleaguered for his vivisectional experiments on humans and animals. And as in many novels on this list, an island’s boundary-blurring of water and land creates a space where other boundary-blurring can take place. Moreau’s island is inhabited by the results of his experiments, a series of animal-human hybrids including Hyena-Swine, Leopard-Man, Fox-Bear Woman, Sloth-Creature, and Half-finished Puma Woman, who live according to their own set of surreal laws. Wells’s book has clear interest in the separation, connection, and interference of humans and nature, exploring instinct, morality, and Darwinian evolution in the surreal allegory offered by an island’s secluded world.

The Colony by Audrey Magee

I found The Colony greatly inspiring while finishing the edits for Whale Fall. Magee’s unnamed island has some geographical models in the peninsulas around the coastline of West Ireland, such as the Aran islands and Blasket islands, and clear literary heritage in J.M. Synge, W.B. Yeats, and Colm Tóibín. Yet as its title suggests, Magee’s island is deliberately unnamed to place its themes ahead of geography; it is a novel about colonialism, culture, and language.

Its drama, as with other titles on this list, concerns the arrival of outsiders: Lloyd is a London artist looking to revitalise his flagging career, and Jean-Pierre, a French linguist, charting and recording the island’s native Irish language. They clash over their mythologising of the islanders, whose numbers dwindle in the double-figures, and overlook their impact on this struggling community. While the story roots itself in an Irish perspective, with radio bulletins about the Troubles in Northern Ireland interspersing the narrative, it dramatises the legacy between colonised and coloniser with a global outlook.

“Mother Doll” is a Russian Nesting Doll of the Weight of Generational Inheritance

Katya Apekina, author of critically acclaimed The Deeper the Water the Uglier the Fish, opens her newest novel, Mother Doll, with a nesting set of characters linked by familial ties and the weight of generational inheritance. Zhenia, a medical translator in Los Angeles, finds herself pregnant. Meanwhile, her beloved grandmother is dying. And, her deceased great-grandmother Irina, formerly a Russian revolutionary, approaches a psychic medium named Paul, begging him to connect her with Zhenia so that she can tell a story that has, for many years, remained a secret, obfuscated by time, geography, and trauma.

In purgatory, where Irina exists as her teenaged self, school uniform and all, a group of people coalesce in voice and in pain. When Paul first hears them, they announce: “We are all dead and none of us have been able to move on. We talk at once. We are aggrieved.” These early declarations reveal the heart of Mother Doll. Apekina, through the two intersecting narratives of Zhenia and Irina, a deep understanding of the Russian Revolution, and a clear-eyed portrayal of how complicated and necessarily fierce relationships can be between mothers and their daughters, asks, in her novel: Is it possible to move through or past trauma by speaking it aloud? If someone bears witness to the parts of ourselves we have tried to separate because of shame, fear, or the unspeakability of an experience, does it make it more bearable to live with or through? How are the excruciating, unspeakable parts of our lives passed down from one generation to another, both through biology and/or through the stories we tell about ourselves and our lives?  

I spoke with Katya Apekina over Zoom about the power of female rage, how shame can keep us stuck, and the limitations of language, particularly when describing trauma. 


Jacqueline Alnes: What drew you to write about the Russian Revolution, and what did you take from writing with such depth and care about the time period? 

Katya Apekina: I’m from Russia and it was this event that ended up impacting my family. No one in my family was directly involved in the Revolution, but they were politically active and it felt like this very complicated thing. On one hand, the fall of the monarchy seemed inevitable, and what happened after was very bad too, with Lenin and then Stalin. My family left in the ’80s, and this was before people were really allowed to leave, and really suffered under the totalitarian regime. Most families did. 

I started researching the book around 2016. I didn’t really start writing it until the pandemic and I was thinking about revolution a lot because of what was happening in the U.S. I also was thinking about this desire that I was feeling, and one that my character Irina as a teenager was feeling, of wanting to burn everything down without a clear idea of a next step after that. I don’t think that’s true for all revolutionaries but she was a teenager when she got involved. What motivated her was not a clear political ideology, necessarily, but a feeling of anger, female rage, being on the outside of society, feeling less-than all the time, and wanting to burn it down. And isn’t that relatable?

JA: Part of the book seemed to me to be about agency and guilt and grief, and the way that violence can warp who we are or who we want to be. I was thinking about how young Irina is in some of the scenes. There’s so much about her life at the time that feels schoolgirl-ish. On one hand she seems so young, and on the other hand she has these things where she is starting to witness people in love or wonder what life will look like after this. While writing Irina’s role in the revolution, what did you think about girlhood and identity and the way those things were shaped by these events?

KA: She was sort of guided in terms of her thinking by a very charismatic teacher. For the teacher, a lot of what she was teaching was very theoretical, but Irina was very literal. She wanted action. I can imagine how exciting it would be to be Irina in that situation and feel like you have agency and feel like the things you are doing set off a chain reaction in an enormous historical movement and event. It is very powerful and very exciting but I don’t think she fully understood what it would lead. I don’t think she understood what that kind of violence fully means or what being exposed to war and deprivation and a society that doesn’t function, even if it was functioning badly before. Her girlhood ends. 

The way the story is set up, the Irina we are hearing from is just one aspect of a woman who has lived a long life. If you were to talk to other aspects of that woman, she would have very different things to say. Her teenage self ceased to exist once she escaped from the Soviet Union. The person she becomes is very different than her teenage self. We are only hearing from one part of her. I was playing with this idea of parts, a common idea in therapy where you’re made up of many different parts, but the idea that we are a unified self is an illusion. There are often parts of us in conflict with each other. Maybe some people feel more whole than others, but when people go through the kind of intense trauma that she does, that part is separated out. There was blood on her hands, and she was feeling the larger energy of the revolution that was moving inside of her. She became a vessel for something bigger than herself.

JA: Even though she does have parts of herself that are separate, this book made me think about how those parts of us are never really separate; they haunt us and they haunt our offspring. It’s this weird tension between having this part of you who can speak from this place while knowing they can never truly go away even if you are not them anymore.

KA: Right. The pattern is when you reject that part of yourself and shame it, it stays around more. It digs in. It gets louder. 

JA: This novel made me think so much about what kinds of traumas are unspeakable and how, even when people do try to put difficult histories into words, parts might be lost in the articulation, in the translation between languages and time, and even in the listening. I took away from the novel that there is power in story, but also an impossibility in conveying a story in all of its wholeness. Did you feel like that while writing? 

KA: One thing that I often think about in my writing and in life, too, is not quite the inability for two people to communicate, but the gap that is never quite filled. You’re projecting so many assumptions onto another person, whether you’ve known them a long time or not. You think you and another person have a shared understanding and then it turns out they have an entirely different understanding. Language is so limited in what it can convey. 

Books function in a similar way, in the sense that they’re giving you stuff but you project into them your own stuff. The reason you’re affected by books is because you’re bringing so much of yourself and your past into a story that reflects that back to you. It’s almost like windows, right as the sun is starting to set, where you can sort of see into them but you’re also seeing your reflection. There is a desire people have to connect, but at the same time their inability to see past themselves. 

JA: Do you think knowing anyone else is ever truly a possibility? 

When I had a daughter, I became aware of myself in a chain of women, a part of a series of people, a piece rather than an individual.

KA: I don’t know. It’s funny because having a child, you might think, oh, that’s a person you can know fully because you’ve been there since the beginning. But for me, even when my daughter was a baby, I felt like I didn’t know her fully. She is such a separate person from me. I think I was picturing it would feel like an extension of yourself to have a child, but it never felt that way at all. She has always felt like her own person. This idea of fully knowing and fully possessing are linked for me, and I feel like you can’t fully know or fully possess anybody.

JA: Trauma also impacts that. Thinking about the normal, hard parts of being a human in combination with these familial secrets or obfuscation of pasts due to trauma, how does that play into silence and how much we can know about another person or even about ourselves?

KA: There’s a trauma on a large scale of living in the Soviet Union, which was its own sort of trauma for a lot of people. There’s the trauma of the revolution, the trauma of the great grandmother abandoning her child, which is Zhenia’s grandmother, and that abandonment creating this inability for her grandmother to be a present or “good” mother to Zhenia’s mother, which she then tried to make up for by being a very good grandmother to Zhenia, and having this very different relationship with Zhenia than her mom. You really see how there’s the initial trauma and there’s the ripples from it and the effects of it. 

I was talking to a friend, Ruth Madievsky, who wrote All-Night Pharmacy, and her character had not been an immigrant but had been carrying all of her family’s trauma without even understanding what it was. It’s an emotional weight. Zhenia feels it too. Her own life is perfectly fine and yet she’s feeling the weight of all this stuff that has happened to them. Why is she feeling so disconnected from her life when she’s not the one who lived through all these things? 

This idea of inherited trauma is really interesting because sometimes grandchildren carry it and they don’t even understand the origin points for the fears they have; they see the effects but not the source, because the source happened before they were even alive. Often it was something that wasn’t talked about, either, so everything is in the negative space of this event and you weren’t even there for the event. 

JA: Paul is an interesting character in that he tries to channel Irina’s narrative. The way he reacts to her story made me think about how we are changed by the telling of stories and also when we listen to stories. There are beautiful things that happen, like Paul understanding Russian. But he also turns to alcohol to cope. His body suffers as a result of being a conduit for this story. When we say these stories out loud and when we try to hold them, they impact us in ways that are important but also in ways that are harmful.

The reason you’re affected by books is because you’re bringing so much of yourself and your past into a story that reflects that back to you.

KA: Bearing witness is heavy. It takes a physical toll. This was something that was inspired by me spending a lot of time with my grandfather when he was dying. I was recording his memoirs for him. That feeling of an onslaught of someone pouring their story into you, and feeling like a receptacle for that story, was physically and emotionally taxing. I feel like there was some study where people who bear witness get worn out. Boundaries between people are kind of porous, and that’s what happens with Paul. The boundary between him and Irina becomes too porous, so he takes on parts of her. He can speak Russian and experience so close to himself what she experienced, and that definitely takes a toll. I feel like listening to people for extended periods of time, and interviewing people about things that aren’t necessarily heavy is tiring.

JA: It seems like listening is a form of care, but maybe it’s even more than that.

KA: It’s a form of witnessing. With Zhenia, it’s not her choice. She’s not consenting to some of it. It requires a giving something of yourself to give your full attention to another person and to empathize.

JA: Even while she might not want to listen, she can’t look away. It’s like a compulsion.

KA: She’s also curious. She wants to know, she wants to understand. She feels an obligation to her grandmother to understand. She also resents having to receive this story. It’s a big ask. There’s a point where she’s pregnant, very pregnant, and she’s just full. She’s carrying enough.

JA: So many of the prominent characters in this novel are women and mothers. They seem to carry so much: family secrets, children, their own ailing mothers, and the list goes on. What about motherhood or womanhood intrigues you? 

What motivated her was a feeling of anger, being on the outside of society, feeling less-than all the time, and wanting to burn it down.

KA: After becoming a mother, I became more interested in the lives of mothers and a lot less interested in the lives of men. I feel like growing up, I was oriented toward pleasing men in some way, being chosen by them or something like that. I feel like part of the growing up process for me has been not being super interested in that any more.

JA: When I read about Zhenia being pregnant, I imagined this passing down of an inheritance, both physically and also emotionally, of this is who you are. The women in this book are caregivers, and they seem so aware of the harshness of the world or of the things they are supposed to be worried about and those things come out in parenting. 

KA: When I was pregnant and when I had a daughter, I feel like I became really aware of myself in a chain of women. In a way, that was almost a zoom-out type of feeling because I was thinking so much about my own mother and my grandmother and I felt like I was a part of a series of people, like as a piece rather than as an individual. 

JA: Even thinking about the title, Mother Doll, prompts me into thinking about these dolls that nest within one another and belong together but they are also separate entities.

KA: When my grandmother was pregnant with my mother, my mother had in her already all of her eggs, one of which would become me. Literally a nesting doll. It feels like what was happening to my grandmother during her pregnancy would genetically impact who I would become as a person. 

In the Soviet Union, it was common for people to have children really young and for the children to be raised by the grandparents; that was almost the default. I don’t think there was birth control that was very accessible, so it was common for children to be close with their grandparents. The parents were very young and starting their lives, basically, and so I think that bond between grandparent and grandchild is also cultural. 

JA: For the people who make up the chorus of the afterlife in your novel, it seems like there are types of pain that will never leave you, that will stay with you into the beyond. I wondered, in thinking about inherited trauma and a desire for release, did you see ways where engaging in practices like storytelling or listening or diving deep into a history became a form of release?

KA: The ending of my book is about the transubstantiation of trauma into something else. The book is saying that if you deal with the stuff, you can then build a life that’s not encumbered by or defined by those things.

We Were Boys Being Boys

Palcoholics by Jake Maynard

My bro Brian used to tell me he loved me. Throughout our twenties he’d say it every year or two, unprovoked, unexpected, and always at night—just like a leopard attack. Brian still lives in our hometown, so for years when I’d visit my family, we’d get drunk together. We met at the only bar in town, The American Legion, or at his house, which had once been a funeral home and still looks like one. We’d drink and smoke and drive back roads to country bars or rendezvous with some friends at someone’s trailer. Brian backed his beer with Jameson or blackberry brandy, and everything got hazy, fast. 

Eventually, after all the stories were retold and the town gossip aired, we’d go outside for a smoke. He’d say, “I love you, brother” in a voice that sounded a little like Hulk Hogan. I never saw it coming. Most times I’d choke out the only correct response, but once in a while, my words failed me, and I’d find myself saying “thanks” or “same” or “and you too, good sir,” as if male insecurity had suddenly given me a top hat. 

The problem was twofold: I didn’t know what he meant, and I didn’t know what I felt. There was something inside, a nearly gene-deep loyalty—the sad community of practice that bros forge over slurred nights. But the feeling felt burdened with nostalgia, a Polaroid stained with spilled beer. Maybe that was it. Maybe it was the drinking. That’s what I’ve been trying to understand. 

We grew up together in the 90s in a tiny logging town of 700 people in the most rural part of Pennsylvania. Our elementary class had nine students. As my family lore goes, he followed me home from kindergarten (my first time, his second) and never left. His grandfather was a barfly who finally quit drinking and obsessively carved wooden birds in his basement, a tactic to help him stay sober. His dad was a hard-working, rakish alcoholic who looked like a redneck version of John Hamm. His dad’s brother had been killed twenty years earlier in an accident with a homemade hang-glider that Brian’s dad was pulling through the air with a pickup truck. The field where he died was left to grow wild. 

My dad was a drinker, too, a proud left-leaning factory worker who gave up partying when my sisters and I were small. He turned to sitting on the porch, listening to Led Zeppelin and nursing his arthritis with glasses of sour wine he made in the basement. There were gallons of the stuff, and it made me more popular than I had any right being among the redneck kids in my hometown. 

His dad was a hard-working, rakish alcoholic who looked like a redneck version of John Hamm.

In the year 2000, When I was twelve and Brian was thirteen, we rode our bikes to our first real party, in some woods behind a big red barn. I wore a Tommy Hilfiger t-shirt from the Goodwill and we sprayed ourselves with Christmas stocking cologne like it could keep away bugs. We drank Mickey’s Grenades with high school kids and creepy dudes in their twenties who hovered over the girls that were only a little older than us. We smashed bottles against trees and pocketed the caps as evidence. Biking home, we were stopped by our town cops who chastised us for missing baseball practice. They would go on to raid the party, kids scattering into the woods and bedding down in the ferns, like fawns, only to slink home in the morning.

The party had been Brian’s idea, like most things we did. Before he started dragging me around I’d been a bookish, anxious kid with a few buddies. I lived with the feeling that there were a second set of eyeballs perched behind my head that watched fidgeting hands. A second set of ears that heard my voice and made me queasy at the sound. But drunk, everything moved to the front. Drunk, I lived in the world that’s directly in front of my face. I just was, I just did. Words fell out of my mouth and if I regretted them later, what later? There was no later. There was no time. 

The word, I think, is id

The adults in town mostly shrugged about our parties. We were boys being boys. And boys we remained for the next six years, eventually throwing our own parties and running from cops. We spent weekends stumbling around bonfires or at our older friend Cody’s house, fighting over the stereo. Brian and Cody loved country and with enough effort I could drink myself into fandom too. Over the course of a night I’d go from nodding in a corner to screaming Garth Brooks with the bros: 

 I’ve got friends in low places, where the whisky drowns, and the beer chases my blues away. And I’ll be okay. I’m not big on social graces, so won’t you step on down to the Oasis because I got friends in low places.

I liked that song because I thought it was true. Nobody in my hometown went to college but I was planning to leave those boys. They treated me like Matt Damon in Good Will Hunting, even if their dreams had already been treaded upon. Cody had dropped out of college and settled at a factory job a few towns away. Brian was living alone, his dad having moved in with a woman in the next county. But he told me not to worry. We’d always have those slurred nights. He saw himself as Johnny Cash, me as Willie Nelson—blood brothers, real highwaymen, outlaws defined by their differences. But between our constant embarrassing fuckups and our diverging life paths, we were more like white trash iterations of Seth and Evan from Superbad

He told me not to worry. We’d always have those slurred nights.

The first time I saw Superbad—shortly after its release in 2007—I was off at college, having shed the senior sendoff angst at the heart of the movie. It’s a familiar trope: Evan and Seth are high-school seniors whose close, co-dependent friendship seems to be ending as graduation looms. Uncool and horny, and flanked with their spazzy friend Fogell, they try to find booze for a big party, break into the popular circle, and hopefully get laid. Taking place over the course of one night, the plot still somehow feels epic in the way that long drunken nights feel epic when you’re young and the world is endlessly large, but benign. 

Seth and Evan don’t get laid, but they do get shit faced and talk through the fact that they won’t be college roommates. Their high school dreams were just that—dreams. But it hardly matters. Lying in sleeping bags in Evan’s basement, they express their platonic love for each other. “I’m not embarrassed,” Seth says. “We should say it every day.” 

But bros learn young to speak through the bottle. The next day, their nighttime promises redacted, they partner off with their crushes instead, their friendship serving more like a practice run for romance. 

Superbad was directed by Greg Mottola, but carries the hallmarks of the producer, Judd Apatow, a teen take on the bromance genre he developed during the 2000s. The word was coined by journalist Dave Carnie in the mid-90s but wasn’t widely used until Apatow’s work became popular and culture writers began declaring every male friendship a bromance. By 2010, we’d witnessed a decade of Matt Damon and Ben Affleck, four years of Dwayne Wade and LeBron, three years of Obama and Biden. But unlike those relationships, centered on shared work and purpose, the friendships of the bromance are brought to us mostly by booze. Even in Apatow’s The 40 Year Old Virgin, where the male characters are all co-workers, it’s a few slurred nights that bring them together. Drinking your way to a friendship that relies on drinking to sustain itself—that’s the experience of most men I know. If the genre gets one thing right, it’s that booze is the tie that binds. 

In the summer of 2007, just after Superbad came out, Cody died when another friend of ours drove them into a ravine in the late model Ford Mustang he could hardly afford. The friend, let’s call him Justin, was playing a game of cat-n-mouse with a carful of young women on the way up the hill from a country bar called The Don’t Know Tavern. Cody was passed out with the passenger seat reclined at the time of the crash. He’d been passed out there since getting 86’ed from the bar for falling asleep on his stool. The coroner said he probably never woke up. 

There are usually three bros to a bromance and Cody had felt like our third. He was Fogel, an understated, lovable loser that could hold the protagonists together. A big sluggish guy with lazy eyelids, he was quiet, funny, and much smarter than he let on. He lived for those epic nights, though. The spare bedroom in his house was devoted to drinking games. He had a beer pong table signed by everyone who ever played a game on it. It was covered in terrible cliches. The only one I can remember quoted Hunter S Thompson—“too weird to live and too strange to die.” 

The last time I played a game on that table, I was on break from my first year of college and the casting, I realized, had flipped. I was the third bro—maybe the fourth or fifth—the token nonconformist, long-hair, stoned. But maybe it had always been that way. Alcohol often tangles more than it ties, and it’s hard now to trace the threads of friends who never knew each other sober. 

His house had been a total mess, bagged beer cans stacked to the ceiling of the porch. He’d just gotten a DUI and couldn’t take the cans to the recycling center. His drinking had gotten bad, but I don’t remember asking him about it. I don’t remember ever asking him about anything real, but this I know: after he’d passed out with the stereo blaring, Brian and I gathered the empties and built pyramids of cans around his house. One on the toilet seat, another in the shower. One outside of his bedroom door, rigged to collapse, and another on the hood of his car. The piece-de-resistance was one on his coffee table, head-high and gleaming like a shrine, which I suppose it was. Brian and I stood marveling at our work before we tiptoed away, giggling like imps. 

I don’t know if Cody thought it was funny. The next time I saw him was his funeral. 

The spare bedroom in his house was devoted to drinking games.

I got stoned beforehand. I don’t really know why. My dad was working, so he couldn’t come, and I sat with the bros in a pew at the old Lutheran church at the edge of our town. The church had been built as a hexagon so there were no corners for the devil to hide in. It didn’t feel coincidental that we were ushered as close to center as possible. We’d held a little wake the night before and the smell of it was leaching from our pores. 

The preacher was a local truck driver and amateur singer who spoke about God at the request of Cody’s mother and stepfather and read the lyrics to Lynyrd Skynard’s “Simple Man” at the request of Cody’s father. Had he been a simple man? Fuck if I knew. I knew he liked Jeff Foxworthy and Wu-Tang Clan. I knew he’d been in the gifted program at school. I knew he was great at math. I knew he drove a car previously owned by a disabled guy; he accelerated and braked with toggles on the steering wheel. Once, because he didn’t have a bottle opener, he opened six beers on the trunk latch of that car and drove home from work. When he’d told me that, I broke out laughing. 

The funeral was strange, like everyone there was mourning a different person. At the end, the preacher hit play on a boombox he had behind the pulpit. Some shimmery guitars started up, followed by cellos. None of us knew the song until the preacher started in with his raspy baritone: “I hope you never lose your sense of wonder.”

Brian turned toward me and his eyes held the horror of Lee Ann Womack. Next to him, our bro Matt was too distraught for embarrassment. He was the only one of us to cry, and he tried to hold it in as the song continued, each verse worse than the last. At the bridge, the preacher became dramatic, singing in whispers. He was literally pointing at individuals in the pews and making long, rock-and-roll eye contact as he prowled the pulpit. He was staring right at us at the crescendo, telling us we had a choice, telling us not to sit it out, telling us to dance, and when it ended, no one in the church knew what to do next. We were a communion of the stunned. It was the worst thing I’d ever heard. It felt like high parody. It felt like a scene in one of those movies we loved, which is maybe why Brian said what he said.

Matt was crying loudly and Brian turned him. He had one hand clasped on Matt’s knee and another on his shoulder. “Matt,” Brian whispered. 

Matt turned toward him.

“That was fucking horrible.” 

Matt burst a single note of laughter, a release of air that could be confused for a sob. I thought no one had noticed. I thought we were adults. But when all the mourners shuffled out, I heard a lady whisper, “I hope this is a goddamned lesson to the kids in this town.”

I still think a lot about that woman. Did she want me to hear her? Did she think it would matter? Death doesn’t happen for our betterment. But even if it did, there was no consensus on its lesson. Our dads said sad shit happens. Our moms said get designated drivers. The country songs said Cody would be throwing down in heaven, burning rubber on some golden highway. 

And film? Funerals were for sadboy shit like Garden State. In the bromance, it’s always graduations or weddings or pregnancies that signal when it’s time to grow up. The plots can be different, but closeness is what’s at stake. True emotional vulnerability is both the reward and the risk of drinking, but in the bromance, the consequences stop there.  Nowhere is this clearer than Todd Phillips’ The Hangover. Three friends wake up in that trashed Vegas suite to find a live tiger in the bathroom and a crying baby in the closet. The real problem is what’s not there. Their memories of the previous night and their buddy Doug. The set-up stumbles onto a darker truth: When you lose a drinking buddy, it’s often hard to really remember them.

He was the only one of us to cry, and he tried to hold it in as the song continued.

Recently, while re-watching The Hangover, I noticed a pyramid of beers in the opening scene and in a flash I remembered Cody’s contagious smile and the sour smell of those cans. Was this where we got the idea? I checked the release date—2009, two years after his death. I wondered if he would have liked it, if he would’ve appreciated the middle-class version of himself reflected back. Brian did, quoting the movie endlessly when he drank. 

I was drinking too much and alone when I started rewatching all these bromance films. At first it felt like nostalgia without the sharp pang. There’s a solace in the message: male friendship isn’t meant to last. It has to flame out, like young love, but can be rekindled for a weekend with the right conditions. The trio in The Hangover could just as easily be replaced with Seth, Evan, and Fogell, or with Brian, Cody, and me—men who will never again be as close as they were as kids. So maybe we drink to go back. We drink to go back to the feeling that closeness is possible, even if the same bravado that we try to rekindle is the thing that keeps us apart. 

Even though we were young when Cody died, that’s what the drinking fast became. It was an idiotic summer-long wake. The mood was ennui. Woozy-eyed, stilted, drunk. Every night at bonfires or trailers or dank apartments, where his name cooled and became like a blister on the tongue. Because we couldn’t talk about it, because we’d never seen men talk about it, we assumed drinking about it was the next best thing. As to what we did, besides drink and snort Vicodin, I don’t really remember. Once we tried to go fishing together but Pat jumped in the creek, spooking the fish. 

We acted like it was what Cody would have wanted. Sometimes Brian would say, “Let’s go see Cody,” and we’d drive my old Buick to his grave, where visitors left Coors Light and cigarettes and a small toy car, Dale Earnhardt’s #3. We’d pour out a beer on the ground for him, probably like we’d seen in some movie. But even then it felt a little like acting. I began to realize that I’d never really thought of him as a full person, as real and complex as me, until he was dead. He’d always just been a bro. What right did I have to mourn? Had I realized what he meant to me after he died, or did his place in my life grow and embellish like the stories we tell ourselves? All this time later, I still don’t know. 

A selfish guilt saddled me that summer. That woman at the funeral was right: the lesson eluded me. I dropped out of college. My dad wouldn’t speak to me. I felt if I just stuck around long enough life would begin to make a little sense. But if the bromance teaches us anything, it’s that an era is always closing. Our last hurrah would be a weekend in August, 2007, during the town festival we’d all loved so much as boys. 

 We drank to oblivion and took all the Vicodin we could find. The pills, an early first wave of the opioid epidemic, seemed to come from everywhere at once: an uncle, a brother, a doctor’s pen. I hardly even knew what they were. I hardly even cared. What even happened that weekend? Man, I guess you had to be there. Our bro Curly got attacked by an angry neighbor with a baseball bat, and Curly fled so fast that he ran straight out of his shoes. Then the neighbor stole his shoes. Cops came, the shoes were returned, all of us under twenty-one had to hide. Our friend Tuft—nicknamed for his very hairy ass—drank a lot of Absinthe and wallowed in a puddle in his underwear on Main Street. Brent hooked up with Brian’s date in the bathroom, where the keg was kept, leaving Brian crushed and the rest of us thirsty. 

The mood was ennui. Woozy-eyed, stilted, drunk.

I got so drunk and high that I lost my car, walked home, and lying skyfaced on my parents’ back porch, surrounded by the night hum of Pennsylvania summer, I cried like a kid. When my mother found me, I was maudlin, saying how sad I was, and how I didn’t want to leave my friends, and that they were good friends. Really, except for maybe Brian, they weren’t. But I’d been humbled by grief, disabused of my own invincibility, and I was confusing my private realizations for shared meaning. 

At the end of that summer I left town. Eventually I went back to college. Brian found out his twenty-seven-year-old ex-girlfriend was pregnant and moved in with her. (Unlike in Knocked Up, a few baby books and a new apartment didn’t fix their problems.) Tuft got his girlfriend pregnant, too, and by the time I came home to visit they were already joking about the trouble their boys would get into together. Justin was released from jail and bought another fast car. Some of the guys limped to adulthood, and a few others went further into pills and booze, never really landing from their fall from the pram. 

Brian separated from the older girlfriend after a couple of years, around the same time he started telling me he loved me. He met a nice woman and had a little girl. He goes to work early and stays away from bars. He tucks in his daughter each night and volunteers on the town council. He cuts firewood for the old people in town. He voted for Trump, twice, because boys will be boys will be boys. That’s part of the reason we don’t talk much anymore, but really, it’s because you can only retell the same story so many times before the humor’s all wrung out of it. You can only toast a dead friend’s life so many times before the life becomes a myth, and a myth makes a hero. How do you think I started writing in the first place? Here’s Seth in the basement, on a laptop, on a word doc, on a page. 

“I’m not embarrassed,” Seth says. “We should say it every day.” 

I was maudlin, saying how sad I was, and how I didn’t want to leave my friends.

So here it is: 

I loved the last time I partied with the boys. It was a cool night in July of 2018 and Brian and I were drinking at the American Legion when Tuft wandered in. A little while later Justin entered, sitting sheepishly at the end of the bar, where he sat for years after the accident, having his two drinks and getting a ride home. Eventually he joined us and before long it was decided that we should find something better to do. With a cooler of bad beer we drove a dirt logging road through the woods with the cruise control set to twelve miles an hour, for safety. We blared those same Johnny Cash songs. We threw beer bottles at trees and shot road signs with a BB gun. I felt a throwback feeling, nostalgia for the moment as I was inside of it, like we were making a low-budget sequel or a one-off reunion. We were. Even in the moment I knew I’d never really hang with those guys again. 

On the ride home we leaned out the open windows and screamed that we’d all fallen into a burning ring of fire. But the center of a ring is empty, hollow, and soon the night was over and I was standing in the quiet field behind my parents’ house. The lightning bugs were scrawling their names in the air. I must’ve sat down. I must’ve laid down because the dew had settled on me by the time I woke shivering. I jumped up into the night—alone, spinning, thirty-years-old— and I puked onto my own two feet. 

7 Poetry Collections by Chinese Indonesian Writers

Growing up as a Chinese Indonesian, I never thought a person who looked like me would have a place in literature. My dream of being a writer seemed impossible. To this day, a Google search for “Chinese Indonesian poets” yields no results. The lack of Chinese Indonesian voices, especially in poetry, mirrors a long history of violence, stemming from colonialism and occupation to cultural genocide and ethnic cleansing—resulting in the suppression of our cultural heritage.

During the New Order of Suharto’s reign, a series of anti-Chinese legislation effectively banned the use of Hanzi, erasing Chinese literature and culture. Chinese philosophies, folk religion, beliefs, and traditions were prohibited in Indonesia. Over time, many Chinese Indonesian families fled to other parts of the world. Those who stayed in Indonesia relinquished their Chinese-sounding names—pressured by the government—and instead integrated their surnames into their new Indonesian names, my family included.

The existence of these poetry collections from Chinese Indonesian heritage writers is a testimony to our existence and our resilience. These poems come from the impossible.

The Way Back by Edward Gunawan

In Edward Gunawan’s hybrid chapbook, the speaker navigates multiple marginalized identities: Chinese Indonesian, queer, and immigrant. In all of them, the personal meets the communal, where complex and painful histories fold. Gunawan’s words are courageous and hopeful; they point forward to the future, while also asking us to acknowledge the difficult past.

Rendang by Will Harris

Will Harris’ debut, which won the Forward Prize for Best First Collection 2020, adopts its title from a popular Indonesian slow-cooked beef dish, which takes hours to make. The book begins and ends with rendang. Food, stories, and imagination remain the few connections to heritage for the speaker of these poems. Because the barriers of memory and language hinder the speaker from tapping more into the collective identity, there’s a perpetual search for the remnants of history throughout these poems. When barriers clash, as they tend to do, the personal accommodates the shift that follows.

The City in Which I Love You by Li-Young Lee

In the titular poem of Li-Young Lee’s second collection, the city serves as a metaphor for the speaker’s emotional landscape and his connection to his cultural heritage. It’s a place where the past intersects with the present, where memories and boundaries intertwine, and where the speaker grapples with questions of belonging and longing. Although Lee wouldn’t consider himself a Chinese Indonesian, he and his family were Chinese in Indonesia during a time of political and racial turmoil. His father was held captive as a political prisoner in Indonesia before Lee’s family finally fled to the United States. His family’s experience in Jakarta remained one of the few Chinese testimonies that we have against the country’s painful history.

Obits. by T. Liem

In this collection, the Winner of the 2019 Gerald Lampert Memorial Award, grief flows through the personal body and collective bodies, knitting together pieces of history that distance has separated. Each poem is both tender and careful in the exploration of loss, language, and the loss of language, and all the remnants they leave behind. From “Inheritance”: “& if we never named / anything we ate / I wouldn’t have a language to look for.”

Slows: Twice by T. Liem

T. Liem’s second collection is an ingeniously structured book. The book’s structure serves as a mirror where the first half of the book gets rewritten in the second half, in reverse order (e.g., the last poem in the first section is revisited as the first poem in the second section). The speaker meditates on time, family, relationships, and all their repetitions and reiterations. Both the quietness of waiting and the activeness of listening roam these poems.

Salvage: Poems by Cynthia Dewi Oka

The threads of memory and longing in Cynthia Dewi Oka’s second collection interlace the layers of the speaker’s Indonesian heritage and immigrant experience. The speaker explores how individuals salvage fragments of their past to construct new narratives of selfhood and belonging. These poems traverse geographical and emotional landscapes to offer glimpses into the lives of those caught between borders and worlds.

A Tinderbox in Three Acts by Cynthia Dewi Oka

“There is a hole in my history,” begins Cynthia Dewi Oka’s latest collection. The book explores the 1965 anti-Communist genocide in Indonesia, a tragedy that altered the country’s people and trajectory. Assuming the role of a researcher and listener, Oka unravels decades of collective amnesia and propaganda, giving a voice that slices through the silence. Using imagined characters and dialogue, Oka remembers what the country has long tried to bury.

Exclusive Cover Reveal of “Find Me When You’re Ready” by Perry Janes

Electric Literature is pleased to reveal the cover for the poetry collection Find Me When You’re Ready by Perry Janes, which will be published by Northwestern University Press in Sept 15, 2024. Preorder the book here.


In Find Me When You’re Ready, Perry Janes traces a sweeping coming-of-age journey from Detroit to Los Angeles. As he leaves home and forges toward California, the speaker in these poems considers how we learn and mislearn ideas about manhood, confronts the aftershocks of childhood sexual abuse, and questions the human need for belonging. By embracing the touchstones of youth—movies, lore, graphic novels—these poems assert the speaker’s defiant right to childhood even amid damage.

As the collection arcs toward adulthood, the speaker embodies a vision of healing that refuses easy binaries and embraces the joys of intimacy. Across each of its five acts, Perry Janes’s debut collection is driven by an interest in troubling our creation myths, asking who built them, why we carry them, and how we might set them aside.


Here is the cover, designed by Morgan Krehbiel, artwork by James Jean.

Author Perry Janes: “When first asked to describe Find Me When You’re Ready, I found myself replying that it’s both “lonely and playful.” It was important to me to write a book that didn’t concede childhood’s vast swath of experience to a single instance of harm; to uphold the joyous, whimsical, tender, and imaginative; to reflect everything through that lens. I’ve been a fan of James Jean’s art for more than a decade, but when I first saw the illustration here, a piece called Bouquet II, I felt a surge of kinship.

Like Find Me When You’re Ready, the image is full of contrasts and layers. It manages to feel whimsical and violent, playful and menacing, all at once. At a glance, it may look as though the boy is falling backwards into the bouquet of flowers when, upon closer inspection, he is really being pulled by a pair of disembodied hands—but toward safety or danger? The entire composition is awash in deeper textures, as though stirring below the surface is a second image trying to get out. On an emotional level, the image moves me. On a practical level, I continue to marvel at the overlap between Jean’s illustration and the poems themselves: threaded through the book are several motifs, including the image of the maze (brilliantly drawn here in the soles of the boy’s sneakers) and the garden as a recurring site of contemplation. I am forever grateful to Jean for use of this work.

From here, designer Morgan Krehbiel smashed it out of the park. The negative space at the bottom of the frame strikes a contrast to the maximalism of the illustration and lends a further feeling of foreboding. Underneath/inside the text is a subtle swirl of shape and color, hidden but visible. When I look at this cover, the spirit of my debut collection looks back.”

Designer Morgan Krehbiel: “We weren’t sure if we’d be able to use this artwork when kicking off the design process, but it was in the back of my head throughout all the other ideas I explored—so when we got the happy word from the artist, the final cover came together quickly.

I wanted the design to highlight the lush dimensionality of the artwork, so I trimmed it around the organic edge along the bottom of the flowers and chose deceptively simple block letters for the title for contrast. My favorite detail is probably the stroke around the lettering; it’s such a small element but it is brings the text into the world of the image, and our eyes along with it.”