My Body Carries The Story of My Desire

Labyrinth by Jan Edwards Hemming

When I think of Girl #3, I think of the tiny scars I carry: the word whore; my disdain for pugs; accusations of poisoning oatmeal. I don’t do shots anymore. When people ask why, I usually say I’m too old for that, but what I mean is Because the last time I did shots, cops came. If someone rolled a montage of photos of us, I’d have stills of my head slammed into granite, the skin behind her ear broken with the butt end of an iPhone, keys screaming across a room—and, after all that, the two of us fucking for hours. There’s something romantic about the admiration of tragedy. 

But I’m getting ahead of myself. 

This story begins a long time ago. 

Let me try again. 


As a child I watched Labyrinth over and over. I, like a coming-out character trope, worshiped Jennifer Connelly. Of course I stared open-mouthed; of course I wanted to run my hands through her hair. But there was something more to the crush. When she spoke to Jareth, her green eyes steeled, I mouthed along with her the words that left her perfect lips: For my will is as strong as yours, my kingdom as great… You have no power over me. I wondered what it felt like to be that sure. Perhaps somewhere, as far away and secret as the goblin king’s castle, there was a version of me like that.


When I was nine, we moved houses. In our new neighborhood lived two ladies in a house around the corner. One day my mom was parking her minivan when they strolled by, waved as they trotted past with the dogs, shaggy Shih Tzus on matching leashes. My mother turned the wheel, smiled at them, and sang, Disgusting, through her teeth. 

I didn’t understand, but I did.


When I was sixteen, I kissed Girl #1 in her driveway after returning from the movies. The month before we had been at the same condo complex at the beach with our families. One day we’d been in her kitchen eating peaches. They were the best peaches I’d ever tasted: inexplicably sweet, the juice dripping down our chins when we bit into them. She laughed. I wanted to lick it up and lay her back on the cold white granite counter and watch her nipples harden when I didn’t stop at her mouth. 

That night in the car, when our lips parted, she put her hand on my face and stared without speaking. 

The next day we had lunch with her boyfriend, who often took us for drives in his Land Rover. Sometimes we went to the park and got high in the backseat. Sometimes we all kissed, even though I also had a boyfriend. Sometimes I wanted her boyfriend and my boyfriend to cease to exist. I wanted to straddle her lap in the back of that Discovery and explore her every inch. I didn’t want the feeling of the pills we stole from our parents. I wanted to be stoned by her

Sometimes, when we were alone in her room, she’d draw on me in highlighter and lie next to me in bed, neon glowing along my veins. I’d face her and stare into her eyes like in a movie. She’d stare back into mine in the black light, her fingers a feather on my lips. 

They were the best peaches I’d ever tasted: inexplicably sweet, the juice dripping down our chins when we bit into them.

I can still smell her hands: the teenage summer telltale of astringent and sunscreen. We never

talked about what it meant. 

When she switched schools, I took three baths each day so I could masturbate unbothered

while I thought of her mouth, which had only ever been on my mouth, but I pictured it on all the parts of me that were softest and wettest. My want was a literal pulse between my legs as I lay in the water, the downward flick of my middle finger splashing persistently and quietly, until I imagined her tongue circling where my hand was. I bit my lip to keep quiet. 

I carried this story on my body, the crease between my legs so swollen and tender it hurt to wear jeans. 

I found a boyfriend; after him, I found another. 

I walked with Girl #1 on my mind and kept her a secret in my gut.


In college there was a girl down the hall in my dorm. (She doesn’t get a number; this is just a moment.) She was the first out lesbian I ever knew, with short-cropped hair and chipped black nail polish and a tongue ring. She worked with me in the library. When I came to relieve her Sunday afternoon shift, I wanted her to take my hand and lead me back into the stacks. 

I wanted her to want me. I went to Wal-Mart and bought a five-pack of Hanes “wife beater” tank tops. I wore my boyfriend’s khaki cargos and basketball shorts. I hoped the girl would see the changes. I didn’t know how else to behave. 

One evening she stopped by my room to ask if I wanted to go to the dining hall with her for dinner. In the narrow doorway, she stood a foot from me, and two futures hung in the air between us. I had a strong urge to feel her tongue in my mouth. I wondered how to have sex with a girl.

On Valentine’s Day she covered my library shift so I could go to dinner with my boyfriend. I wore a pink lace thong and thought of her while I fucked him. I wondered if I could will her to think of me, too. 


Fast forward to twenty-four: I packed up, went north for grad school. 

In New York, I met Girl #2, who shared my Southern roots and depression. She lived in the tiniest apartment that smelled both sweet and solvent. I’d know that scent anywhere: it is the redolence of a ghost. 

One September night we sat on the hardwood floor and drank two bottles of cheap wine. We read every poem we’d ever written aloud to each other, my head in her lap on the futon, her hand on my hair. I had never felt so full. 

One night while we cooked, she asked, Is it warm in here? and cracked a window. I pretended I hadn’t heard, hadn’t been hoping she’d take off her sweater. 

I wrote poems that were like prayers, each word a code for something more: kitchen for Let

her love me; gold for Let me kneel between her legs

At a party we shared a joint on a windowsill. We kissed on the train. Back in her room, we removed each other’s clothes without our lips ever coming apart. We slept entwined like the limbs of ancient oaks. It was the end of what I thought love was. 

She picked another girl, said I wouldn’t come out. I cried, naked in her bed, said, I will, I will, I swear I’ll call my mom right now. But she chose and wrote a poem about the moment; she called my body a question mark on her bed. I was: so crooked and curved with grief. 

I couldn’t stop making lists. Every step I took I cataloged: thoughts, events, dreams, movies, the things I had imagined. My college roommate, the girl who’d lived down the hall, my

best friend. I walked the streets and pictured Girl #2’s blue coat and the way her hand had felt in mine when I held it under the workshop table, and it was everything; but she was right: I didn’t know how I’d ever tell my mother. 

Back in her room, we removed each other’s clothes without our lips ever coming apart.

I tried to imagine myself with a man, in the forever or short-term sense. I fucked a few more and tried to love them, but once one was above me, my eyes closed, I found my hand cupping a phantom, my tongue out, dying to taste the soft skin of an imagined breast. 

I tried, I really did, but when it rained I could only think of Girl #2’s red hair and love like a thunderstorm. I kept her letters in a box collecting dust. How long would that love last? How long would it take to mend the holes? 


Then: I cut my hair and donned a black lace tank and lipstick, took a cab to my gay friends’ apartment, said, I want to meet a girl tonight. I was still so sad, but I had something to prove. They took me to Stonewall to dance. 

In the dark a woman put her hand on my shoulder, said, I saw you and I followed you. Isn’t that romantic? Her green eyes held mine like magnets. I thought I saw a wedding ring. I was worried but enticed. I gave her my number. 


Girl #3—the green-eyed girl—and I couldn’t stop. Kissing. Fucking. Lying. Hurting. But I loved her hands. I had never come harder. I worshiped her body and craved her taste: pennies and oyster salt. I loved dancing with her in an empty room. She bought me dinner and left me notes on my bed. She said she loved me. I believe she loved me. 

After a year, I moved with Girl #3 to Los Angeles, despite all of what happened.

My mother texted on Easter: I’m getting rid of the baby clothes, the Noah’s Ark things, since you won’t have any use for them. I held my phone, stood among boxes, and packed for California. 

I liked the name Noah for a boy. 


In California things were worse. I thought if I kept trying, it might work. I could love Girl #3 into love, into believing I wasn’t what she thought I was—and she could hurt me into being who she wanted me to be, and I could hurt her into realizing she was wrong, and we could stay in that fucked up place we called symbiosis, and then I would be gay enough. I could finally prove it to both her and to my mother.

But our love was combustible, and I shook and heaved in bedrooms and wallowed in the ashen blooms of what was left of me. 


Let me try it this way:

You are sixteen and it’s late summer and you’re with Girl #1, who is your friend but maybe more. Her mother hasn’t died yet and so she’s still happy, still yours for a little while. Your mom still lets you have sleepovers and go to the movies without suspecting anything is wrong. You, however, secretly know something is wrong because people in your town use words like “bull dyke” and “fucking faggot” to describe people who do the kinds of things you do with her: touch each other’s faces in the dark, trace lips and brows with fingers, sneak sniffs of perfume from her soft neck, feel the uncontrollable urge to lay your cheek against her smooth brown shoulder, or slip her bikini bottom below her tan line and touch your tongue to where the skin is white. 

You are with her in Gadzooks (remember that store?) and you have purchased a t-shirt from a band with a dead singer and are considering holding her hand because there is explicit merchandise in this store and it makes you feel brave. As you walk out of the store and look over your shoulder at her, she’s smiling and the thin skin at the corners of her eyes crinkles and your stomach flips and somewhere, in another world, you stop and kiss her. But in this one, you turn back around, hands to yourself, and then he is there, across the maroon tiling, near the fountain. The Boy. Your boyfriend. No, your ex. Recent. You see his close-cut hair and full lips. His long fingers slip into his pockets; there is his hemp necklace; there are his white teeth. Your ears buzz and your face gets hot. You need to move worse than you’ve ever needed to move, but your limbs have suddenly grown rooted to the floor. 

Now you do grab her hand, but not because you are brave. Your mouth hinges open, just slightly. Words form but are stuck inside your brain; they are pulled back like ankles sucked into wet sand. You are both moored and dizzy. You mouth his name and point with your eyes and turn back into the store, folding yourself on the gray carpet beneath the crowded clothing racks and dim fluorescent lights, trying hard to breathe past the lump that seems to be filling your throat. Your heart pounds. It laps and breaks and you stay where you are, legs sinking deeper into the surf. But you are also elsewhere: in the cause of the feeling, in the moment where something went to shit. (You don’t know it yet but you are having a panic attack. You won’t have a word for this until you are much older and in therapy and finally prescribed medication for this thing that happens to you.) 

The Boy has a pretty face but you’re scared of it, not in the way you’re scared to hold the girl’s hand but in a way that fills your whole chest with hysterical dread. Because you are no longer on the floor of this kitschy store but at a party in the corner of a classmate’s bedroom, your shoulder knocking against an open armoire. You are backing up from the bed and you are

I shook and heaved in bedrooms and wallowed in the ashen blooms of what was left of me. 

naked and saying, Please no. His right hand pulls back in a fist. He’s never hit you but he really looks like he will. He is speaking in a low voice, softly but with venom. He is calling you a fucking cock tease. He is calling you a slut. He is smiling a little and that might be the scariest thing. He is telling you that you owe him this because he just made you cum with his mouth. But you had your wisdom teeth out two days ago and he knows that you can hardly fit a fork in your mouth. Yesterday the mashed potatoes you were trying to eat smeared on your lips and he wiped them gently away with a finger. You’re wondering now if he was thinking then about shoving himself into you, hinging you open. You tongue the holes behind your back teeth and you feel dirty and exposed. You wish you were at least wearing your bathing suit and move your arms to cover your chest. You say, Please, once more, just in case. 

You watch his hand fall as if in slow motion. You flinch but he’s only reaching down to untie his swim trunks. With the other hand he pulls you forward and pushes your head down. You are crying. You are nodding. You are on your knees. He is in your mouth and your jaw screams. 

On either floor, you are trying to tell yourself it wasn’t all bad. You wanted to kiss him. You had been swimming and in the house the air conditioner was cold on your wet skin and your nipples were hard and you will never forget the first time you felt a tongue between your legs. You were on painkillers and felt like you were floating. 

You wonder how long he has wanted to hurt you. 

Before that moment anything having to do with sex felt fun. You read the Kama Sutra with your friends in Books-A-Million. You took Cosmo quizzes and dreamed of desire. You have even given a blowjob before and felt courageous and adult. You liked the control you had, the way you could wield your mouth as a kind of power totem. From this point on, though, something will be different. 

Girl #1 asks if you are okay. Is he gone? you ask. She nods and squeezes your hand, pulling you to your feet. 


Your parents would call your reaction in the mall dramatic, but deep down, you know you are right to be afraid. Since you broke up with him, The Boy has been stalking you. He and his friends send you horrible messages on AIM. You stare at the computer (there’s the feeling again) and your hands shake while you type stop it and fuck you and leave me alone. He does not stop; of course he does not stop. Behind the screen you imagine him laughing, a low, frightening chuckle in his black eyes. 

You are afraid enough to print the pages and take them to your father, a lawyer. You say you think maybe you need a restraining order against The Boy. You hang your head and your father reads them. He says, In a court of law, they’ll say you provoked him. He hands the papers back to you. Later, a friend will see the boy drive past your house, up and down your street, in the night. Much later, he will leave a note, written on the back of a gas station receipt from the town where he lives, on your car, which you don’t drive anymore. It says simply, I’m watching you. Your mother sends a photo of the note to you at college and you would know his writing anywhere. Now, your younger sister sleeps in your old room. Now, she drives this car. This time, your father can do something. He buys blackout shades for the windows. 


You find the printed pages when your mom mails a box of your high school things. It’s been almost twenty years but the feeling still comes. Your mouth waters and there’s the sound of waves pounding in your ears. You know that, physically, you are on the floor of your apartment in L.A., but in your head you hear “Anna Begins” and you see his red Taurus and also it’s suddenly summer and your wet swimsuit is on the floor and you can taste the tang of margaritas. Your breath is stuck in your throat. You realize that until this moment when you read back the words—you are a cum-guzzling whore; you are worthless; he will burn down your house with you inside it—you thought you maybe made it up. But here is this paper: this dated evidence. You are frozen to the floor, sobbing. 

Before that moment anything having to do with sex felt fun.

You look for them again as you write this essay. You want to prove that you aren’t crazy. But you can’t find them and there it is again: the room is too warm and your chest is tight. Remember how much he loved your mouth. 

You have a vague memory of throwing them away, trying to rid yourself of things that do not serve you. 

Remember, you provoked him. 

You rifle through every box. They are not there. 

Remember, you swallowed. 

You are frantic. Why would you throw them away? 

Remember, you are a whore. 


Every year The Boy sends you Facebook friend requests and tries to follow your Instagram account. Each time you are sixteen again. Each time you are painfully aware of your mouth. 

Girl #1 lives in Texas and you have not really kept in touch. She wore Abercrombie 8 perfume. It smelled soft like the beach and you wanted to drown in her. Sometimes you consider that had it been her mouth between your legs, you never would have  been in this situation at all.

The smells you remember from him are shitty weed and sour cum. You picked a fleck of pot from your tongue. You wiped your cheek. 


This is how it works: eight months in, Girl #3 sits on your chest screaming, You’re fucking him, aren’t you? in reference to one of your best friends. She tells you that if you want to act like a whore, she’ll treat you like one. When she grabs you and pushes you onto the bed and rams her fingers between your flailing legs and spits, Is that how you like it? Is that how you let him fuck you? Are you thinking of him right now? through gritted teeth, you are just sixteen again: Back in the living room of your childhood home, handing your dad a stack of printed papers. Back in the corner of your best friend’s bedroom. Back in the restaurant where your mother took you to confront you about what she read in your diary—you stupidly wrote about the assault but you made it sound sexy because you couldn’t write the truth; back in the booth where the spinach and artichoke dip turned to chalk in your mouth as your mother told you, Good girls don’t give blow jobs, said, If you’re going to act like a little slut, people are going to call you one.

She wore Abercrombie 8 perfume. It smelled soft like the beach and you wanted to drown in her.

In some alternate universe, in each of those moments, you find a way to speak the words you’ve harbored since childhood, since Labyrinth: You have no power over me. You shout it to The Boy and your parents and Girl #3—or perhaps you never date Girl #3 at all, because you long ago found your voice. 

But in real life, you cannot speak because Girl #3 has one hand wrapped around your throat, and the chorus of you fucking whore you fucking whore you fucking whore and the chaos of kicking limbs is so, so loud that you cannot even remember the line. You only buck and bite and leave a perfect crown of teeth marks on her upper thigh. 

Finally, it is over, and while you lie panting and crying in the dark, you hear the echo of the only thing you know and have always known:

The you is me, and this—all of it—is my fault.


Let me try again.

8 Novels About Returning to the Places We Leave Behind

I had a plan for the year I turned 30: I was going to leave behind the life I’d spent a decade building in New York City and trade it in for a warmer, flashier iteration in Los Angeles. That’s a well-tread trope, isn’t it? The old “NYC to LA to NYC to LA ad infinitum” was immortalized in The New Yorker circa 2016 when I was 27—around the time I’d dreamed this whole “turning 30” plan up. I told anyone who would listen that my Saturn Return was coming up and—if astrology was to be believed—that meant the alignment of the planets allegedly had a big change coming for me. I decided this big change looked like canceling my New Yorker subscription, renting an apartment with arched doorways, and becoming the poet laureate of the smoking tent at the Chateau Marmont. 

I signed a lease on my new apartment the day before I turned 30. But it wasn’t in West Hollywood, or Santa Monica, or Silver Lake. It was in Asbury Park: the Springsteen-esque little city by the beach in Monmouth County, New Jersey—a mere 20 minutes from the house I grew up in. It turns out you can’t actually plan for your Saturn Return, it just sort of happens to you. (The age old, “people make plans, Saturn laughs.”) Between the time I’d decided to reshape my life in the childhood Hollywood image I’d dreamt for myself and the time I actually turned 30, I fell in love with my best friend from college. He had recently returned from the west coast after spending most of his 20s in Portland, Oregon and started working for his family’s business on the Jersey Shore. We discussed different routes of cohabitation (would he move to Brooklyn and complete an inverse commute every day? Would we move somewhere totally new and change our names and start over?) before settling on the sanest-seeming option: I would return to Monmouth County, where I’d grown up, and we would live in Asbury Park. 

I have a hard time remembering the first homecoming story I fell in love with. I think—like all of Springsteen’s discography—I avoided them until I was in a position to seek them out. Moving to Asbury Park felt, mostly, like a big victory. I was starting a life with someone I’d known and loved since we were teenagers living in dorm rooms next door to one other. But there was a nagging part of me that felt ashamed at the prospect of “moving back home”—renouncing my metropolitan lifestyle and returning from whence I came. I’d tethered so much of my identity to living in New York City (and, yes, to my plans for a Didion-esque foray to California) that I was worried about unraveling in my new/old zip code. I agonized over the move in therapy for months before packing up my Brooklyn apartment. I cried on the long subway rides to work that I’d always hated, fearing I’d miss them once I was finally rid of them. I sought out stories that mirrored my complicated feelings about coming home. I set out to write a homecoming novel myself. In the process of plotting my own story on the New Jersey Transit commute every morning, I grew to love the small-town details I was writing down. I hunted them down in other people’s stories and savored what I found. I kept collecting homecoming novels I loved until I felt like a connoisseur. 

My homecoming novel, Welcome Home, Caroline Kline, features a 29-year-old protagonist (hello, Saturn Return!) who returns home to Monmouth County amidst a chaotic spell and learns to let go of what she thought her life would look like in order to embrace the beauty of what it has the potential to become. When I think of Caroline, I think about how she is in excellent company with the other homeward bound heroes who preceded her and will sit on my shelf beside her. 

Goodbye, Vitamin by Rachel Khong

30 years old and hot off a broken engagement, Ruth returns home to care for her father—a respected professor who is losing his memory—and documents both of their daily progress in short epistolary entries. Taut at 200 pages and razor sharp, I fell in love with Khong’s unrivaled knack for melding grief with humor.

Black Sheep by Rachel Harrison

Vesper Wright is the hottest, meanest server that the suburban chain restaurant Shortee’s has ever seen. When she gets an invitation to the wedding of her best friend and her ex-boyfriend, she reluctantly trudges home to the tight knit religious family that she’d once escaped. Upon arrival she has to contend with the community she left behind, her (even hotter and meaner) scream queen actress mother, and her cult-leader-esque father. I don’t know that there’s ever been a homecoming story more hilarious or horrifying.

Homebodies by Tembe Denton-Hurst

After Mickey discovers she’s being pushed out of her coveted media job, she pens a scathing manifesto about her experience working as a Black woman in the industry. When the open letter is met with crickets, she retreats to her hometown where the familiar environment, change in pace, and reappearance of a former flame force her to take inventory of the life she’s been building. Denton-Hurst’s own professional background lends authenticity to the story and the details are catnip for anyone who ever worked in—or aspired to—the New York City media landscape.

Maame by Jessica George

Maddie is a quintessential twenty-something protagonist juggling all the trappings of big city living in London that a) remind me so acutely of certain memories as a twenty-something in New York City and b) comprise a perfect coming of age novel. She navigates work strife, roommate tension, internet dating, potent grief, and complicated family dynamics with grit and grace. George has made a stunning debut with Maame and I cannot wait to see what she does next. 

Holding Pattern by Jenny Xie

After blowing up her life and returning to the home she grew up in, Kathleen is in pursuit of a different path. She takes a job as a professional cuddler and navigates intimacy in a new way, forcing her to reassess her closest relationships—including and especially the one she has with her mother.

Central Places by Delia Cai

We meet Audrey en route from NYC to her midwest hometown over holiday break, where she’s bracing to introduce her white fiancé to her Chinese immigrant parents. Faced with fraught family dynamics and old crushes, introspection and messiness ensues. Cai’s debut is perfect if you love simmering familial tensions, complicated old friendships, and the tough task of trying to reconcile who you used to be with who you are now. 

Hurricane Girl by Marcy Dermansky

Allison is restarting her life on the coast of North Carolina after fleeing a bad boyfriend in Hollywood, but right after she relocates, she is forced to move back to her New Jersey hometown once a hurricane rips through and sets off a surreal whirlwind of cataclysmic events for her. I was gripped by Dermansky’s signature stark, hilarious prose and how deftly she brought both violent and tender moments to life in these pages. 

Rock the Boat by Beck Dorey-Stein

A Jersey Shore story after my own heart! I love when stories start off with a Legally Blonde-esque dust-up (as in: “we’re not getting engaged, actually, we’re breaking up”) and I love it even more when said dust-up sends our heroine packing for her seaside hometown to get her life back on track. Bolstered by a cast of characters that feel like decades-old friends, Dorey-Stein’s summer-y triumph is a masterful blend of humor and heart. 

A Secret Letter to the KGB Turned A Lost Family History Into a Novel

Journalist Sasha Vasilyuk’s debut novel Your Presence Is Mandatory is a poignant look at the reverberating effects of war through the story of a Ukrainian World War II veteran’s struggle to hide a damaging secret for the sake of his family. 

Vasilyuk’s book begins with death—the first chapter featuring a family at the grave in Donetsk, Ukraine of main character Yefim Shulman, paying their last respects. Shortly afterwards, his wife finds a letter in his belongings addressed to the KGB, a confession that launches the family to reconsider the man they thought they knew. The novel then takes the reader back to Yefim as a young soldier in Stalin’s army stationed in Lithuania in 1941, shortly before Germany launched its invasion of the Soviet Union. Yefim’s experience as a soldier left him with a secret he was so afraid to reveal, even to his own family, that he took it to his grave. 

The book skips between Yefim’s experiences serving in Stalin’s army and the remainder of his post-war life in Ukraine, even extending 7 years after his death to the beginning of Russia’s occupation of Crimea and the start of war in Donetsk. Your Presence Is Mandatory is a timely look at survival that will make you question how wars, both past and present, shape future generations.

I interviewed author Sasha Vasilyuk over the phone about the discovery of her grandfather’s letter to the KGB that change her family narrative about who he was.


Katya Suvorova: Sasha, you’ve talked about how, after your grandfather’s passing, your grandmother and aunt found a real-life secret letter that your grandfather wrote to the KGB that totally upended your family narrative about who he was. How did this letter inspire Your Presence is Mandatory?

Sasha Vasilyuk: My grandfather was a Jewish Ukrainian World War II vet, but he didn’t ever talk about the war. From the few things that I and the rest of my family knew, we thought of him as a war hero, because he survived from the first day of the war until the last day four years later. Given that WWII killed 27 million Soviet people, this made him seem like a brave and lucky soldier. But his letter, which was addressed to the KGB and written back in the 1980s, revealed a very different story. Imagine thinking of your grandpa as a star of Inglorious Bastards where Jewish soldiers take revenge on the Nazis and finding out he was more like The Pianist. The letter was a shock to my family, but I immediately thought: this is a novel. I wasn’t just interested in how he survived WWII, but also in why he’d kept it a secret his whole life. Interestingly, it took my grandma several months to tell me about the letter because she too wanted to keep his secret a secret.

KS: Why do you think your grandmother hid the letter from you? 

SV: So the Soviet government punished and shamed those who survived the war in non-heroic ways. That shaming culture was so strong that even after the USSR fell apart, people who’d internalized that shame continued to feel it. I think my grandpa, who inspired the main character Yefim, didn’t tell us what really happened to him during the war first to protect us from the government and later because he was ashamed. When my grandmother and my aunt discovered his letter, they also felt ashamed. At least at first. 

KS: So do you think they finally accepted that he was a victim and that’s what brought them to tell you?

SV: I think they realized their shame stemmed from decades of propaganda and of living under a regime of fear. And maybe they saw that hiding one’s past makes it easy for future generations—like me—to not know your family history, or even your national history.

KS: I was reminded frequently while reading your novel of the parallels between passages describing the destruction and occupation of Ukraine by Nazi Germany in World War II and contemporary news reports of the Russia invasion of Ukraine. With your family being from the Donbas, how did your personal experience with Russian occupation affect your characters?

SV: After my grandmother found the letter, I didn’t sit down to write this novel for the next 10 years, primarily because I couldn’t imagine writing about World War II. It felt entirely too daunting. I felt like I couldn’t imagine what it was like to survive a war, even if I’ve seen the movies, like we all have, and read other books. As somebody who was trained as a journalist, I couldn’t write about war until war broke out in my family’s town in the Donbas. This was in 2014 and I visited in 2016 when it was supposed to be safer. 

There, I heard shelling. I saw bullet holes on every surface. I saw the way people scurried about and I experienced the fear of war. And only then did I feel like I could portray those feelings in my characters with any, you know, realism.

As far as how it affected my characters, what I was surprised by was how the war changed how my family identified themselves. They shifted from this sort of a general Soviet identity, where we’re all brothers, toward a more nationalistic identity that very clearly distinguished Ukrainians from Russians. Now that we have a full-scale invasion this shift in identity really took over the entire Ukraine. There have been so many essays on this subject and so many people in Ukraine talk about how they’ve been perceiving themselves very differently because of the war. So when writing my characters, I thought about how war changes our identity and our relationship to home, to the state, to the enemy. Those things were all interesting to me.

KS: On the subject of parallels across the 20th and 21st centuries– I was impressed by how clearly well-researched each scene is regardless of time or place. A story across 70 years and numerous locations can be daunting as a writer, but you made the changing of the times feel seamless and grounded, while highlighting the cyclical nature of history. How did you approach the research necessary for this book?

When writing my characters, I thought about how war changes our identity and our relationship to home, to the state, to the enemy.

SV: So because the book has two timelines, one during World War II and one from World War II until the Russian-Ukrainian conflict, there are basically two parts to the research. And interestingly, the World War II part was much harder to research because I needed to find firsthand accounts of survivors. But because I was dealing with a part of history that was associated with shame, very few people ever talked about it publicly. I couldn’t ask my grandparents because they were both dead by then. So it took a long time to figure out how a Jewish person—a Jewish Soviet soldier—could have survived in Germany for four years. It was a question I asked of a famous historian, and he said he had no idea. Eventually, I found a book on this exact very narrow subject done by these two Soviet Jewish historians who had interviewed a bunch of soldiers.

KS: What was the book called? 

SV: The title translates to “Doomed to Perish.”

If I didn’t find that book, I don’t know how I would have written this. For the decades taking place in the USSR, there was a lot of information. I relied on a mix of books, Soviet films, which I watched while nursing my newborn, Russian internet forums, and then interviews with my living relatives, and to some degree, my own memories. I lived there until I was 13. 

KS: History repeats itself not only in war but also in regards to restrictions on freedom of speech. While we would like to believe survival is no longer dependent on keeping secrets such as Yefim’s, many across the world are unable to speak openly about their experiences without risking the safety of themselves and their families. What insights have you gained regarding censorship, both governmental and self-imposed, through the research and writing of this novel?

SV: I think that censorship and propaganda go hand in hand. Censorship creates a vacuum through misinformation and it’s typically propaganda and myth that fill that vacuum. So, for example, in Russia, World War II was always portrayed as this huge national trauma which USSR triumphed over. Basically, that’s the narrative. And while that narrative is true, what it skips is all the trauma that was inflicted by the USSR itself on many survivors of the war. And without that information, the following generations perceive the war very differently than it was in reality. Today, Putin’s regime uses this gilded myth of World War II to justify the war in Ukraine.

And then I’d say like on a personal level, self-imposed propaganda creates a vacuum within the family, where the information that would have been key to understanding your past as a family is missing. Like my grandfather not telling me what happened meant that all I knew about World War II was from the way it was taught to me by Russian textbooks, right? Had I known what he survived, my understanding of my country would have been entirely different. It is important to know that your people have done bad things to others or to themselves. That’s true of Russia. And that’s true of America. If you don’t know that, your understanding of yourself can be quite different. I feel like almost every Soviet family contains a secret that didn’t get passed down to today’s generation and it’s causing a very misguided understanding of ourselves and our history.

KS: I was really moved by how Yefim’s family handled his secret once they found out. I wish he had gotten to see their reaction while he was alive. How do you think he would have felt? Do you feel his family was able to find the closure that eluded Yefim? 

I feel like almost every Soviet family contains a secret and it’s causing a misguided understanding of ourselves and our history.

SV: So, in my family, I think because there was no conversation that happened between my grandpa and us, it has been hard for us to get closure, even after finding this letter. We’re in a position where we know the truth, but what we don’t know is how it must have felt for him to live with the secret for so long. So, ironically, finding this letter has caused an enormous feeling of regret and even guilt on our part because we as a family have been left to wonder what we could have done differently to help him open up. Like was it our fault that we didn’t ask enough? Why didn’t we make him feel like he could trust us with his secret and his shame? And rationally, we understand it’s not our fault, but you still feel this regret and guilt.

KS: Yefim is not the only family member keeping secrets, as we find out in Nina’s story. Why did you choose to have multiple family members with secrets?

SV:  So I think every family everywhere has secrets from each other, right? That’s a given. But I feel like in a totalitarian society, the price of keeping secrets in a family is amplified to the nth degree, because these secrets are typically heavier. There are five points of view in the story, and they all carry secrets. Some of them are much smaller than Yefim’s. But I wanted to explore that dynamic of keeping secrets while not perceiving that the other person has one as well. 

KS: I love books with secrets. 

SV: I am generally fascinated by secrets we keep ostensibly to protect those we love, but really to protect ourselves. And I feel like we all do this. We sidestep the truth because we don’t want to offend, or we don’t want ourselves to be perceived in certain ways by our mother or father or kid or whatever, so we omit things or straight up lie.

KS: While most of the book is from Yefim’s point of view, we also get glimpses into Nina’s thoughts as well as their children’s. How did telling this story from multiple points of view help shape what Yefim was hiding from his family?

SV: For me, it was very important to show not only what happens to the secret keeper, but how it was possible for people so close to the secret keeper to not see the secret. Not feel it. Like how do we keep ourselves blind, often on purpose, to what we don’t want to see? That is something that interests me a lot. The only way to explore that idea was to have multiple points of view, so we see him keeping secrets but we see everyone else missing it. 

KS: This book was especially meaningful to me as someone with family in both Russia and Ukraine. I always knew my grandparents grew up with their own secrets, but your novel led me to reflect on the psychological implications of those secrets. What do you think has changed in 70 years and what do you think has stayed the same?

SV: I think the Russia Ukraine war has been a huge wake up call for Ukrainians because they’ve been forced to reexamine and understand their own identity. While for Russians, this war has had a dual effect. One part of Russian society has revolved back to what is very reminiscent of Soviet times in terms of giving up all self-determination to the state. While the other part of Russians, some who have left, are dealing with a new and very incredibly heavy sense of national shame and regret for letting their country get to where it is today. And similarly to Ukrainians, they must rethink what they thought they knew about their country.

KS: What is it like for you to write, edit, and release this novel during Russia’s war with Ukraine? 

I’m interested in how we keep ourselves blind, often on purpose, to what we don’t want to see.

SV: I was editing the last chapter of my novel when Putin attacked Ukraine. And while I wrote the novel before the full-scale invasion, the war brought a lot more focus on Ukraine and Russia and their history, thereby making the release of my novel feel more important. It no longer feels like a book I wrote inspired by my family. It feels much more like a contribution to history in the making. I saw this as an important story before there was a full-scale war, but now it feels even more validating to bring this work forward because there are real life human costs.  

KS: What has the reaction to your book been like from both your Russian and Ukrainian peers? 

SV: So far, my early readers who are from the region have been really touched by the story. I feel like I wrote this book both to shine the light for the Western reader on this part of the 20th-century history, but I also wrote it for the people there. And it has been really gratifying to see how closely they are taking it to heart.

KS: Are you like nervous at all? Because you identify as both Russian and Ukrainian?

SV: Yes, I have been very nervous about how people from there will react given how sensitive everyone is and how much misinformation there is. So far, it’s been nothing but positive and people who have read it are very eager to share the book with their relatives from there. Another thing I’m nervous about is how will Germans take this book. So far, I have one German friend who has just finished reading it and she said she can’t wait to give it to all of her relatives in Germany because, and I quote, “so much has been forgotten and it’s a very important book for them to read”. And that feels incredible to hear.

KS: If you could talk to your grandfather today, what would you ask him? 

SV: Why couldn’t you forgive yourself for what wasn’t your fault?

And You Thought the SAT Was Bad

Oceania

“I know what you must be thinking,” the mother says. “A 3400 to 5800? Impossible. But oh no, we know about you. Ariel wants the perfect score. His brother got the perfect score.”

She pulls her chair off the back wall of my office to the middle of the room, close enough to watch our hands at the desk. 

“You are a very expensive tutor,” she says. “We only hire the best.”

She says it as if I’m hoarding a secret.

“You’re right,” I say. “I am the best. I make guarantees—if Ariel learns The Whole World Book, he will achieve the perfect score.” 

Her head quivers.

“Yes, yes, we know,” she says. “We are very excited. Your billboards say it.”

I hoist up, from the pile beneath my desk, the fourteen-thousand-page Whole World Book and slide it in front of Ariel, seated next to me, whose head arrives only to my shoulder. He gazes out the window at a great blue heron stabbing for fish in the cattails. My office overlooks hundreds of square ponds, stretching for miles, divided from each other by monstrous levees, as if the Earth has been pressed by a great meat tenderizer. 

“Will Ariel be participating in the full program then?” I say. 

“Oh the full,” the mother says.

“We better start right now. Otherwise we’ll run out of time for the perfect score.” 

I tell him to throw everything he’s brought with him in the garbage. I do this for effect. He can retrieve his things from the trash when we’re finished. His green Trapper Keeper and pencil case clatter in the steel bin. The heron flies away. 

We begin in the deep blue ocean. 

“The bluefin tuna’s circulatory system allows warm blood from its core and cold blood from the skin’s surface to interact, allowing the tuna to dive to great depths,” I say.

Ariel writes explosively in the blank lines of The Whole World Book, words running horizontally, loopingly.

“Interacting with different temperature gradations allows the bluefin a greater hunting range than, say, the swordfish,” I say.

He writes and writes.

“The swordfish heats only its brain and ocular retina, allowing for more high-resolution vision and hunting prowess.”   

Ariel pauses, looks at me.

“Remind me of the difference between a participle and a gerund?” he says. 

The pathologies of the old test still haunt the minds of young people, even though he is too young to remember the old test.

“We will get there,” I say. “You can’t think about grammar until you learn the content of the world’s oceans.”

He doesn’t object. 

“Chasing its preferred prey down hundreds of feet,” I say, “mackerel are often no match for the bluefin.”

“That’s a dangling modifier,” he says.

“You have a mind for this,” I say.

He beams. Very feminine lips. Buds of the adolescent beard. Minimal acne. A hint of unibrow. Red glasses. He reminds me of a ferret. 

His mother interrupts my thought chain: 

“I don’t mean to get in the way,” she says. “I’m just here to make sure he stays on top of all his work. You are so very expensive.” 

She speaks in semi-colons. Semi-colons are the chauffeurs of punctuation, chariots of meaning. Ben-Hur. Phoebus. She wears her doctor’s coat; on the coat it says, Fuck Cancer. I’m caught off guard by her allusion to my price. Most parents don’t discuss my price. They simply pay. My methods work. The Whole World Test is the first test to accurately judge intelligence. Every intelligence. There is no longer the excuse of multiple intelligences. You cross the bar or you don’t. 

Four hours pass. We turn to whales.

“The sperm whale gets its name from a mechanism in its head that functions as a giant telegraph machine: the spermaceti,” I say.

“The spermaceti,” Ariel says.

“Yes,” I say.

“One of the sperm whale’s nasal passages spirals like a French horn,” I say. “When air passes through, it twists and turns and flattens and sharpens and meets a pair of clappers near the front of the head called ‘monkey lips,’ which produce sound.”

“Monkey lips,” Ariel says.

“Yes,” I say. 

“Sound generation is a complex process,” I say. “Have you heard of infrasound?”

“No,” he says. 

“Infrasound constitutes soundwaves vibrating below 20 hertz, outside of the range of the human ear.”

We continue on like this, Ariel writing, me speaking, me speaking about hertz and infrasound.

“This new Whole World Test feels a little like a traction-bed don’t you think?” the mother interjects, after another hour. “It’s so demanding and yet so limiting. Is it just about Earth? Do they even test astronomy?”

“Just this world,” I say.

“Well how are they supposed to understand Earth if they don’t know about Kepler 452b?” she says. 

“It’s just a question of scope,” I say. 

Ariel pulls out a Costco-sized blueberry muffin from his pocket; the crumbs scatter all over the table and the floor. He tears off chunks and stuffs them in his mouth. I transition out of oceanography. We move to the botany section.  

“In Montana, where I’m from. . .” I say.

“Excuse me,” the mother says, leaning forward with her brow scrunched. “I hope you don’t mind. He came from basketball practice. He’s so hungry. It’s just such an expensive session. We wouldn’t want to waste any time.”

I continue: “They trained Labradors how to sniff out the root systems of dyer’s woad, an invasive species originally from the Caucuses. It was used hundreds of years ago as a blue dye for paintings and textiles before. . .”

Ariel asks me if he can go to the bathroom.

“Of course you can go to the bathroom,” I say.

Since the development of The Whole World Test nearly ten years ago, the pedagogical pivot from oceanography to botany has roiled the tutoring industry. Why, critics of the test argue, must sperm whales be taught before dyer’s woad? The test’s creators, two Bolivian psychologists at Stanford, Doctors Marco Julio Gongora and Esteban Moreno Jimenez, defended their choices vigorously in papers and equations and many, many footnotes. They were so convinced of the accuracy of their college entrance exam that, when they emerged from their Quonset hut in the Atacama desert with the complete test, having subsisted solely on saltines and Velveeta cheese for 42 days, they almost shot each other with their service pistols, having seen, as they described later, how accurately their test could predict what a sixteen-year-old could and couldn’t learn throughout her life. 

Ariel returns from the bathroom. He tucks his grotesque, bare knees under his desk. 

“Excuse me,” the mother says. “I’m starving. Would you care for some Wendy’s? I’ll go get us all some Wendy’s.” 

She stuffs her notebook in her purse and rises from her chair. I can hear the bang of the front glass door of the office complex. She’s cutting it close, as the tides often flood the roads at this time of day. 

Ariel takes two practice tests about Oceania. He fails both. He has no chance for a perfect score. We move on to the human settlement of the Polynesian triangle. He seems to hit a giant dark wall in his mind. It happens to every student. I’m glad his mother isn’t here to see it. 

“Infrasound is key to understanding the navigational systems of early Polynesian settlers,” I say. “Imagine traveling a thousand miles in hand-carved canoes, with no instruments or shelter, only the eyes and ears of your fellow paddlers. Somehow, through the wave and star patterns and—this is crucial—low frequency infrasounds, these early explorers were able to navigate and settle the remotest islands in the world. They could hear and read the waves hitting distant land formations, Ariel. You must remember that.” 

He nods and writes furiously “distant land formations.”

“Take the famous Polynesian explorer ‘Wo,” I say. “He canoed with only five other men from the Solomon Islands to Maui. He was called a ri-meto. A master. And he trained his entire life for this journey. They canoed for many days, and then one of the men, who harbored a grudge against ‘Wo for eating two more bites of fish than was his share—‘Wo claimed his mind worked harder than the others’—decided to push their leader overboard. ‘Wo was their only great navigator.” 

Ariel stops writing and looks up at me. His nails are dirty, and his fingers hold his pencil tightly at the tip. His mother still hasn’t returned. 

“I don’t understand,” he says. 

“You don’t have to understand,” I say. “You will never have the ear of a way-finder. But you do not need the ear of a way-finder. You just need to know that, at one point, people could navigate in open ocean.”

“How did they make it to Maui after ‘Wo died?” Ariel says. 

“They ate each other,” I say.

“They ate each other,” he says.

“Yes,” I say.

8 Books that Explore Generational Conflict Through Genre

For as long as we can remember (and excuse this lofty introduction), genre has served the dual purpose of business and pleasure. When you hear sci-fi, you often think of laser guns, riotous botanical monsters, or even the slowly scrolling words that begin “A long time ago in a galaxy far far away.” But consider too the specific ways genre addresses larger questions at hand, like how The Left Hand of Darkness, The Yellow Wallpaper, or the Tensorate series tackle sex and gender. We read horror, fantasy, and more to make sense of things, to recontextualize current issues in different settings, or to dive into the nitty gritty of what makes us really human. But I especially love when genre is used to expose the intimate matters carved into our hearts.

Ocean’s Godori, my debut novel, is a space opera with hoverbike chases, high stakes space races, and a found family of misfits thrust into interplanetary conflict. But at its core, it’s really about a group of people navigating their messy 20s. In particular, the three main characters–Ocean, Teo, and Haven–wrestle with what it means to forge a future while still honoring where and who they come from. Ocean has been rejected from her mother’s group of haenyeo, Jeju Island’s beloved female divers, and has long struggled with feeling Korean. Teo’s always been the black sheep as the second son of the extremely polished Anand Tech empire. And then we have Haven, whose work is in preserving the death cultures and rituals of the past, while he navigates a complex present relationship with his parents.

The following eight titles also feature characters in contention with generations before or after, in stories that somehow use genre to explore those conflicts. There are girls with tiger tails, spaceships, and diaspora blues. But even as our heroes or anti-heroes face fantastical monsters and far-off places, they often find that the knottiest problems arise from their own families. And as we read, perhaps we’ll discover that these deep-space experiences aren’t so foreign after all, and that maybe we can get a better understanding of those questions we’ve kept close to ourselves.

How to Live Safely in a Science Fictional Universe by Charles Yu

Charles Yu brings us into what at first appears to be a sci-fi jaunt full of hijinks. The protagonist, Charles Yu (yes, same as the author) is a time machine mechanic and you think you’re having a jolly time with a down-on-his-luck worker who has a depressed computer sidekick and whose job is preventing grandfather paradoxes. And then Yu (the author, not the character) punches you in the gut with the realization that you’re reading a treatise on his search through time for a (physically and emotionally) lost father, and the absolute heartbreak of watching his mother stuck in her own nostalgic time loop. It’s hilarious and witty, it’s clever and smart, and it’s completely heart-wrenching.

Throwback by Maurene Goo

Here’s another time travel book about generational conflict, but how about if we bring a first-generation Asian American immigrant and her daughter to a level playing field? After a blowout fight with her mom, high schooler Sam downloads a mysterious rideshare app that ends up… taking her to another decade?? Now Sam’s trying to survive in the 90s and she has to deal with the retro culture, the regressive racism, and maybe worst of all… her teenage mom who’s fighting to win the prom queen crown. Goo hits that sweet spot of those fun Back to the Future vibes combined with Sam’s tender coming-of-age. She adroitly uses the time travel mechanism in this generous and nuanced intergenerational portrayal.

The Only Good Indians by Stephen Graham Jones

Stephen Graham Jones brilliantly delves into and excavates themes of generational trauma and cultural identity in his writing, and many of his books would fit the list, but I simply cannot ever pass up an opportunity to recommend The Only Good Indians. Four friends, American Indian men, find their past deeds returning to haunt them one by one in visceral, vengeful ways. How does one escape the past? Is it possible to forge your own identity while acknowledging the culture that has shaped you? And are our future generations forced to bear the burdens of our failures? Jones answers these questions with blood, horror, and, yes, even basketball.

The Magical Language of Others by E.J. Koh

Yes, this is Koh’s memoir and you might say But Elaine, how is it genre, and I’ll tell you: It’s an epistolary memoir, but truth be told I really just need everyone to read E.J. Koh. The Magical Language of Others is the coming-of-age memoir of poet and translator Koh, but her gorgeous writing is structured by her translation of letters that her mother wrote to her in Korean. These letters intersperse the intergenerational story of Koh, her mother, and her grandmothers. Her mother writes simplistic letters because they were meant for a young Koh, but Koh also bridges the gap in her translation by striving to understand her mother’s true intent (as all the best translators do). The letters come without commentary, and there’s a compassion and generosity to this presentation, as it allows us to read and come to understand them in our own way as well as through the lens of Koh’s life. Even more than Koh’s lovely words, the letters illustrate the multitude of ways she and her mother reach out to each other.

Bestiary by K-Ming Chang

Another book where translated letters play a crucial element, Bestiary is a novel about three generations of Taiwanese American women: Grandmother, Mother, Daughter. Naming them so emphasizes the fable-like quality of Bestiary but also, of course, the thematic focus on generations. Bestiary is an apt description of Chang’s prose, which bursts to life with vibrant, variegated, and fierce language. Daughter digs out Grandmother’s letters from holes in her family’s yard, and painstakingly translates them. She wrestles with the ghosts of grief and trauma, with the beasts mythical and very real of her family’s past. And while her body grows in yearning and undergoes its own fantastical changes, it carries forth the myths and traumas of Mother and Grandmother before her.

The Deep Sky by Yume Kitasei

Eighty elite graduates of a competitive Earth program have been selected as humanity’s last hope to travel to a far-off, habitable planet. But while on board the spaceship, a bomb explodes, jeopardizing the mission, and throwing the remaining crew members into suspicion. The sci-fi genre sets the stage for a space thriller whodunnit, but through it, Kitasei also probes our deepest desires to belong even when we’ve convinced ourselves we don’t deserve to. The Deep Sky flashes back and forth in time, between the mystery unfolding on the ship and half-Japanese Asuka’s time back on Earth as she struggles with her mother, her self-worth, and her role as the Japanese representative of humanity’s future. As it does so, it weaves a similar narrative in how entangled our pasts and futures are.

Our Share of Night by Mariana Enriquez, translated by Megan McDowell

Our Share of Night starts as a strange road trip between father and son, but are they running away from something or to it? You could probably chalk a lot of the off-kilter eeriness to the father and son’s shared grief at recently losing wife and mother, Rosario. That is, until the young son, Gaspar, asks about the strange woman standing in their hotel room. Enriquez uses the horror genre to explore the very real brutality of the military dictatorship and its aftermath in 1960s Argentina, but also the intense relationship of Gaspar and his father, Juan, who has been trying to break free of a demonic cult. Juan desperately wants to protect his son from its clutches even as he realizes that it’s his blood that endangers the child. Gaspar and Juan fight each other, sometimes physically, and sometimes inflicting trauma through supernatural means, but it’s a tumultuous relationship that’s also undeniably bound in their tenderness for each other. The cult wants to kill Gasper to force Juan to achieve immortality by living through his son’s body, but what is that but an analogy for the ways families fight to live on through their progeny?

Same Bed Different Dreams by Ed Park

Sometimes it seems difficult to talk about Same Bed Different Dreams because it’s so many things, but then again it allows me to sneak it into every single conversation, recommendation, and list. Ed Park’s Same Bed Different Dreams is a tripartite story, a blend of non-fiction and fiction, a heady entwining of Korean history both real and imagined. It’s appropriate then, that it opens with the question “What is history?” While initially presented as a sort of kicker to a think tank, Park uses his words to directly ask that of us the readers. And as Same Bed traverses its puzzle box of a story, it jumps genres and moves forward, backward, and sideways between fathers and daughters to reveal how our histories and stories are sought out, challenged, and carried forward by the generations that follow. What is our part in creating those stories and preserving those histories? It’s perhaps the best answer to Min Jin Lee’s own famous opener: “History has failed us, but no matter.”

Can Mitski and Her Stans Save American Theater?

It was a clear, cold night in February when my wife and I took our seats in the sold-out Beacon Theatre to await what would be the most creative one woman show we had seen since Edinburgh Fringe last summer. 

Earsplitting screams peeled out into the air as the performer coolly took the stage, meeting the crowd’s crazed energy with a deliberate, powerful calm. This act of tempering was a prologue; the artist then disappeared behind a draped curtain that glowed bright white, casting her in a silhouette. She lifted her arms to create the shape of long horns, evoking antiquity, and marched slowly toward us, her shadow growing until it stretched from floor to ceiling. Dionysus, the body said, We invite you, god of theater, to this space. 

A young attendee, iPhone in hand, exclaimed, “She’s wilin’!” 

When Mitski reemerged from behind the curtain, she had slipped into the mask of Performer. 

Mitski’s This Land is Inhospitable and So Are We show is an orange dreamscape filled with Americana syrup, punctuated by past hits like soliloquies of remembered yearning. Her movement through each number is a curation inspired by Butoh, Grotowski, Bob Fosse, and likely a whole host of other artists I don’t know about. 

It’s not a concert, nor is it theater; it’s something in between, and her audience reflects that. I could divide the vibe like a pie: one third sitting in silent awe, one third sitting in concentration, and one third screeching. There was a dash of attention seeking as well; one person yelled “Hydrate!” every time Mitski took a sip of water. 

It’s not a concert, nor is it theater; it’s something in between, and her audience reflects that.

This is not the first time Mitski has incorporated choreographed dance inspired by various theatrical forms; in 2018, to get out from behind her pink guitar in a way that felt natural, she began a collaboration with multimedia performance artist and choreographer Monica Mirabile. Six years later, the duo launched the This Land Is Inhospitable and So Are We tour into new theatrical heights, not only in production caliber but in the venues themselves, half of which are seated spaces. This new arrangement seems to say, “Now sit down and shut the fuck up respectfully enjoy the show.”

The set is a circular, elevated platform, complete with two simple chairs. Working in tandem with this simplicity is the complex and wildly imaginative lighting design that creates everything from a hot pink rain shower to a cage to a single spotlight engaged in a cat-and-mouse chase with Mitski, evoking her need of, and aversion to, performance. The band sprawls around the upstage wing, similar to the staging of the bands in Hadestown and Waitress, which are both fully visible and part of the act, but deliberately off-center. 

Fancy tech is not a uniquely Mitski thing. Flashy projections and synchronized lighting is commonplace at concerts these days, but Mitski’s production designs function more as a narrative vehicle than an agent for holding attention. This is a fitting choice; Mitski is currently working on the music for the upcoming Queen’s Gambit musical, and I can’t help but to think that the connections made there may be influencing her, even boosting her tech team with Broadway’s finest backstage minds. 


Despite the hecklers, and the signs on the walls that stated this was a device-free show, no eagle-eyed Broadway usher reprimanded the disruptors or the recorders. At no point did Mitski acknowledge her 2022 request that fans not record whole sets, nor did she ask the crowd to put their phones down. And she could have – on the boygenius tour, Phoebe Bridgers asked fans to not record her performance of “Letter to an Old Poet,” and I am a two-time eyewitness that they obeyed. Mitski’s strategy was a bit more abstract. “We are all going to die,” she reminded us, “So knowing that, what are you going to do with the time that you have?” The question was rhetorical, but I’ll take a stab at an answer: be in the moment

Theater exists to remind us of the human condition; that life is imperfect and fleeting. Playwrights love to remind people that they’re going to die, to inspire a new way of moving through life. Mitski is doing just that, for a demographic of young fans who are statistically not attending live theater. 

Four rambunctious youths sat a few rows in front of us. They were mostly self-contained, until Mitski did “I Bet on Losing Dogs,” wherein they lost their shit, their voices tearing through the ballad like a pack of baby dinosaurs. Their phones were on the whole time, but I don’t know why; from my vantage point, it looked like half of their footage was of the Beacon’s ceiling.

By the end of the show, they’d calmed. The benefit to a seated space is that disruptive fans can’t hide. There is no crowd to slink away in or tall body to crouch behind. By the time Mitski got to “Bug Like an Angel,” the loudest of the group muffled her squawk, earning a wave of sympathetic laughter. 

Mitski’s nontraditional approach to musical performance is teaching a generation of non-theater-goers the experience of attending live theater. She prolongs gestures, dances with chairs, holds silence long enough for the audience to taste suspense. 

The American Theatre is on life support. This could be a radical treatment.

The current Mitski tour, extended through June 6th and picking back up on August 27th, is not a concert, but an extravagant one-woman show. This is great for theater, but perhaps not for the reasons Mitski might hope. Seeing young people consume her performance and share it widely begged the question: What if instead of complaining about ‘bad audience behavior,’ we encouraged stan culture in the theater space? 

When millennials were young, and social media was not a scourge on society but a chance for innovation, one regional theater tried to harness its potential. At the start of 2012, D.C.’s Woolly Mammoth Theatre Company tried a “tweet seats” event, encouraging a select few audience members to live tweet during their performance of Civilization (all you can eat). This experiment ruffled the feathers of director Jason Grote, who had not been informed of these plans, sparking a conversation about theater etiquette. 

 “[‘Civilization’] is written in a style [that] requires a certain degree of listening and concentration,” Grote said, stating that he wouldn’t stop the marketing team, but he wouldn’t be silent about it either (he took his complaints to Twitter). “The whole strength of something like Twitter is that it can’t be controlled. You get quick, shallow impressions from a large sample of people. In the context of a new play, that can be a bit delicate…”

What if we were to restart this experiment, intentionally chasing the chaos of shallow impressions and uncontrollable virality – the same beast that launched Mitski’s song ‘Nobody’ into millions of listens on TikTok and Spotify? I might be as deranged as the young women who like to meow at Mitski performances, but I think an argument could be made for not policing phones during performances. The American Theatre is on life support. This could be a radical treatment.


Six months ago, my wife and I were at the Edinburgh Fringe Festival with our one woman show Modern Witches. Lassoing audiences to attend our show – one of 3,535 – was a rollercoaster of blind hope and ego death. Modern Witches was, by all accounts, a success: we never had to cancel for lack of audience. Yet every post-show high was followed by the same morning-after anxiety, which came in the form of a question: Do we have an audience tonight? 

The Fringe is supposed to be the place where clowns, solo shows, and other experimental artists can find audiences, yet this hope is a dimming light, lost to unaffordable short-term housing and the big venues’ trend of promoting their high-budget, flashy acts and celebrities that are guaranteed to sell tickets. 

To heal from the daily pain of imploring strangers to pay attention to us, we would relax at the Blundagardens, a small venue off the beaten path known for its unique, micro venues that feature some of the Fringe’s most off-beat comedians and clown artists. The standup stage is the upper level of a double decker bus, the cabaret space a yurt. It is a haven for experimental theater. 

I dragged my wife into the ‘Spiegeltent’ on a few occasions, including our last night of the Fringe, when Blundagardens co-producer and clown wizard Lucy Hopkins was slated to perform their Closing Ceremony. 

Tightly packed like plums in a basket, it was easy to see that the majority of the audience were other Fringe artists like me: exhausted, and giddy with the prospect of retiring from the mental gymnastics required to perform for empty seats. First, we held a moment of silence for all our fellow artists who could not perform at Fringe because they could not afford to. Then, Lucy directed us to lob our grievances and insecurities into the soupy, sweaty air. Artists yelled, “Does anyone care?”, “Is it worth it?”, “Tired!” 

Us fringe theater people know we’ve chosen a hard-to-sell profession. Young people have not considered experimental theater a hip thing since the 1960s, but if a show is interesting enough to get people talking, it will be a hit. Word of mouth is king, and it’s free. In our first week, my wife and I were implored by a friend to see a clown at 1:30 in the morning. He claimed that Ha Ha Ha Ha Ha Ha Ha, Julia Masli’s groundbreaking show, was the best theater he had ever seen, period. This discourse snowballed throughout the festival, earning her the title of Edinburgh’s “Breakout Clown,” according to the New York Times. What did she break out from? A crumbling festival system? The stench of her peers’ jealousy? A world that does not care about performance art? 


Unlike broke ass Fringe performers, regional theaters have endowments. Yet even with these millions, they’re still struggling to convince audiences to buy tickets. 

Even though there were phones, heckling, and screeches, our hearts still beat as one.

The few youths that are out there attending live, not-Broadway shows, practice word of mouth online. This generation has the power to reach more of itself – the very thing that dying regional theaters agonize over reaching. If theaters were to invite recording into the space, would it be as bad as we think? On one hand, it might be. Audiences and actors alike might hate it. Like Mitski said, we’re there to share in the magic of the live moment. Theater exists to create this; it is one of the last artistic spaces to do so. 

But on the other hand, none of that will matter if there’s no theater left to watch, save for exorbitantly-priced Broadway shows. 

The idea that allowing phones in the theater will save it might sound like fantasy, but it’s already been attempted, and it worked. In the Interrobang Productions’ recent performance of Katie Hileman’s I Will Eat You Alive in Baltimore, which was staged as an immersive dinner party, the house speech confirmed that recording was okay, as long as flash was turned off. When asked why, producer Kiirstn Pagan said, “It just worked. We didn’t feel necessary to be precious about it. We want people to know about the show.” They sold out their final weekend of performances.


Dusty regional theaters could become launchpads for a new revolution of theater-goers. They just need to accept the way young people experience the world. The trend of complaining about bad behavior is as much a strategy to farm engagement as the kids remixing concert moments for virality – and that isn’t saving theater either.

As a theater artist at the Mitski show, six months out from the gauntlet of angst that was the Edinburgh Fringe, I found myself grinning at the young crowd and their volcanic excitement. They thought they were seeing wacky Mitski do her thing, but I knew the truth: we were tuned in to the primal rhythm of shared experience, celebrating clown work and chair choreography. Even though there were phones, heckling, and screeches, our hearts still beat as one. Maybe the youths – god help me – are not the problem. 

7 Books About Fictional Technologies with World-Altering Consequences 

I left New York in 2009 for grad school, and by the time I returned—just a few years later—the city had been transformed. Walking to the subway, on the sidewalks and escalators, almost everyone carried a pet screen. Sometimes people banged into things or ran into each other, too absorbed in the digital world to navigate the real one. Commuters swooned over their devices on the train, heads drooping and backs bent, like so many nodding-off drunks. It happened to me too. My phone started to exert a strange power over me—the nagging urge to check and check again. In every awkward or in-between moment, I wanted to look at the dazzling light. 

The change felt rapid, jarring, otherworldly, like something in a movie. And yet I couldn’t shake the feeling that it was even bigger than we knew. In our rush to embrace the smartphone we were making a profound, maybe irreversible choice based on limited information, with implications we could only dimly glimpse. Was that a good idea? This wasn’t a question that anyone—individually, collectively—seemed to give much thought. It had already been decided, somehow. The assumption was always that we’d all consent. 

By then, I was working in earnest on my novel, The Sky Was Ours, which is about a very different technology: a huge pair of wings, made from simple materials and designed to fit the human body. If a few engineering problems can only be worked out, my characters believe, people will finally fly like birds, traveling freely across the climate-ravaged earth. I wanted to feature a manmade innovation almost like a central character, the way the iPhone has become a character in all our stories. And I wanted to examine the psychological appeal of disruptive tech—our deep-down desire to see everything change, even if that means unleashing forces beyond our control. 

As I wrote, I started to seek out other novels and stories that open up what Stephen King once called “Pandora’s technobox”—that explore the unintended consequences of the radically new. In these books, all set in warped versions of today’s reality, fictional contrivances play a key role in the drama. Each one, in its way, is alive to a central paradox of our moment. Yes, powerful technologies can expand the scope of what’s possible, but they also invent new forms of loss. 


Galatea 2.2 by Richard Powers

This novel, by far the oldest book on this list, came out in 1995. But its plot could have been ripped from this week’s headlines. The narrator, a mid-career novelist also named Richard Powers, is up late in his campus office when he hears strains of Mozart echoing down the hall, the same passage played again and again. He investigates, and discovers a colleague looping the sonata for his computer system—an early attempt to train a neural net. Powers steps into the teacher role, and over time a new character emerges: Helen, an artificially intelligent machine consciousness, at once eerily human and profoundly not. Their story pulls at knotty questions about machine authorship, human-AI relationships, and the origins of consciousness itself.  An astonishing, prescient tale that reads with fresh urgency today. 

Something New Under the Sun by Alexandra Kleeman

Kleeman’s immersive novel conjures an unsettling, near-future vision of Los Angeles. Smoke chokes the air, forest fires rage up in the hills, traffic clogs the 405, and yet the Hollywood hype machine churns on. The main characters just want make a movie, but our beleaguered planet has other plans: all across the southwest, after years of squandered resources and persistent drought, the water’s gone. Gone gone. For their very survival, Angelenos have started depending on a mysterious company called WAT-R Corp, which has learned to make synthetic H20 in a proprietary process. The new, cleaner, and tastier option supposedly beats the original across every metric. And though it’s also much more expensive — and may have other, well, unexpected issues — any drawbacks are kind of beside the point, since millions of thirst-crazed customers have no choice except to buy. This bracing book walks a knife’s edge between eco-horror and wildly funny satire, underscoring how desperately we need what nature offers freely. A blazing call to reclaim and save from ruin all we take for granted.  

The Candy House by Jennifer Egan

In some ways, the invention at the heart of Egan’s novel isn’t so different from today’s internet: it’s a portal that lets billions of strangers connect. But our texts and posts and reels seem pretty crude compared to what’s possible with the Mandala Consciousness Cube, which lets you crawl fully inside another person’s skull. With the help of a few electrodes, people can upload their memories into a vast repository, where they can be viscerally experienced by anyone with a cube. (The device, as it works, becomes “warm as a freshly laid egg.”) It’s an unnerving portrait of the way technology hacks individual agency, coercing us into adoption no matter how much we might want to resist. And as the cube collapses distance between people, resulting in new connections that can be redemptive or uncomfortably close, Egan seems to wonder: Do we really need Silicon Valley to understand each other better? Don’t we already have fiction? 

The Immortal King Rao by Vauhini Vara

On a near-future earth threatened by cataclysmic warming, a super-intelligent algorithm is tasked with handling every aspect of governance, settling political, legal, and individual questions with the final authority of a monarch-oracle. But King Rao, the Algo’s ruthlessly ambitious tech-billionaire creator, isn’t content to stop there. When his experiments with a Neuralink-like networked brain implant end in scandal, he retreats into exile with his child daughter, Athena—whose brain he’s modified with the device. This cognitive enhancement makes the book’s glorious narration possible; Athena tells the story in the heightened, virtuosic register of a fully networked mind. And yet her godlike father’s legacy, inescapable and burrowed physically into her very body, is its own kind of torment. A brilliant and subversive smash-up of established forms — the immigrant family saga, the Bildungsroman, the dystopian epic — King Rao takes aim at the techno-cultural guardrails that constrain human experience, and uplifts our desire to find new possibilities beyond them.

After World by Debbie Urbanski

After World is a kaleidoscopic book written from the perspective of an AI, a machine consciousness tasked with studying the last human being alive on earth. That human character, Sen, is the lone survivor of The Transition — a well-meaning apocalypse brought about by, well, AI — who is forced to record her feelings in a sequence of written reflections. Slowly, we start to understand what’s happened: tasked with saving the earth, the novel’s robot overlords concluded (not unreasonably) that human beings were the problem. So they annihilated humanity and prepared to rewild the planet. But as the natural world begins to heal from civilization’s ravages, we can’t help mourning what’s been lost in the process: us. (“Even if we ruined everything, I think we still deserve to live,” Sen writes in her journal. “Don’t we? Didn’t we?”) The result is a riveting portrayal of a post-human landscape, a moving elegy for our beautiful, flawed species. 

Green Frog by Gina Chung

Green Frog’s electrifying, unnerving narratives mix the mundane with more fantastical forms, often in the confessional first-person. One story anthropomorphizes a female praying mantis, recasting its murderous mating ritual as a romantic evening gone awry. There’s a recipe for cooking and eating one’s own heart. A centerpiece is “Presence,” a long story that features a memory-externalization device that takes the world by storm. Unlike Egan’s Mandala Cube, the Neolaia app allows users to disburden themselves, purging any “Adverse Life Experiences” forever. Take too many memories away, though, and you risk some serious side effects — as the narrator, a key scientist on the project, slowly begins to learn. A masterful portrayal of startup ethics run amok, “Presence” reckons with what’s lost when we can choose how much to feel.  

Exhalation by Ted Chiang

Some of Chiang’s best stories chart the ways imagined scientific breakthroughs recast experience, for better and for worse. In this collection, a device predicts how you’ll behave before you do, raising terrifying questions about the nature of free will. A “lifelogging” device allows the wearer to recall every moment of one’s life (It also results in surprising forms of amnesia.) But “The Great Silence,” my favorite story in Exhalation, is about a real-life piece of technology: the Arecibo radio telescope. Before its unexpected collapse in 2020, the Arecibo had been used to beam messages into outer space, and listen for them, too — part of our ongoing search for extraterrestrial life. This obsession affronts the story’s narrator, a talking parrot. If humans want to commune with intelligent life so badly, he suggests, they might look a little closer to home. What invention would give us ears to hear the planet’s living creatures as they rapidly fall silent, as species after species succumbs to extinction? What would it take for us to tune into a different voice: the cry of the animal world, begging our kind for mercy?

A Madman on the Ground, A Visionary in Flight

An excerpt from The Sky Was Ours by Joe Fassler

A man stepped into the barn.

It wasn’t the boy I’d seen at the tower. This person was older, though it was hard to say how old—in his fifties, at the very least. His beard was gray and full, but his unruly mess of windswept hair had stayed stubbornly reddish gold. Thick glass disks hid his eyes.

He saw me and went stiff.

“Oh,” he said.

He looked at me strangely for a second. Then he walked into the middle of the room to lay some sheets of paper on his worktable, totally unfazed, as if he’d expected to find me there all along.

I couldn’t run without passing him, I saw that. I stood by the far wall, helplessly caught. The air seemed to cool twenty degrees, my hands shivering like the knobs of some machine.

“I’m sorry—” I started to say.

The man held up his hand.

“Shh,” he said.

He stood there and peered at me through the glasses, cocking his head as if to listen for something far away.

“I’m sorry,” I said, again, my pulse flogging my ears. “I shouldn’t be here. I’ll go—”

“Don’t be sorry,” he said. “Just feel what you’re feeling.”

It was an odd remark, so unexpected that for a second I forgot to be afraid.

“It’s all right,” he insisted. “It takes time, I know.”

He was wearing an ancient flannel shirt—the cloth gone all frizzy, the colors running together. It was eerie, the way he spoke, like he was referencing some earlier conversation he remembered and I didn’t. For a second it was so quiet I could hear every little thing: the way his breath wheezed in his nostrils, bugs whirring in the grass outside. The cry of some distant bird.

Then he started to limp toward me—he had a bad ankle that gave with every step, reducing his gait to a frightening lurch. The fear flooded back, a hand at my throat. He wasn’t much taller than I was, but he was muscular, the thickened look of a person who did hard work with his body. I felt a scream coming on, this pressure building in my chest like a cough.

“What do you feel when you see them?” he said.

“See them?” I hated how I sounded, the words high and pleading.

“The wings!” he roared.

I backed away as he came closer, feeling behind myself for the wall. His nose had healed funny after a break, and the way the bridge curved made his face look like an ill-fitting mask. He was close enough to grab me.

“Please,” I said. It came out as a whisper.

“You’ve felt it all your life, haven’t you?” he said. “All your life. Me, too. What’s your name, my sister?”

I stared at him, terrified and uncomprehending.

“Your name,” he said again.

“Jane,” I said, before I had the sense to lie.

“Jane!” he said brightly, like it was a wonderful bit of news. “Look up, Jane.”

A sweet, fetid smell rolled off him, like a gone-off cantaloupe. The last thing I wanted to do was turn my gaze away from him, make myself vulnerable like that.

“Look up, my sister,” he said, and there was a new note in his voice—something gentle, even affectionate, an old friend surprising me with a gift. Something in his tone convinced me, just a little. It seemed to matter less that I was so afraid.

His eyebrows lifted expectantly. He would wait until I did it.

I looked up. The wings hung over us in the rafters, posed mid-flight in a dozen frozen postures.

“We’re going to fly, Jane,” he said.

The words hit like icy water.

“You. Me. All of us. We’re finally going to leave the ground on our own power, and everything will be as it should be. But you’ve always known this. Flight has always waited for us. It’s what we’re here to do.”

His voice purred low in his throat, almost like he was talking to himself, and I suddenly found I wanted to lean in closer to hear him. Flight, finally, always—these were words I’d known forever. But I felt like I was hearing them for the first time, parts of a language I didn’t yet understand, expressing things I never knew could be said.

“We’re really going to do it, this time,” the old man said. “We’re going to correct the human body. Here, come with me.”

I felt the universe shift just slightly. It was the strangest thing: like the earth had tilted on its axis toward the sun. The laws of physics began to subtly bend. Something was happening to me. His words rushed through my skull in a tide, crashing onto the bright shore of my mind.

To correct the human body.

As if lightning were about to strike us both, all the small hairs rose on my arms. 


I followed him over to the naked wood frame that lay across his worktable. Huge and skeletal, the bones curved with the taut power of a pulled-back bow.

“This,” he said, “is everything I know. The work of my life. The answer. My god, we only need to fix the fabric to the wood—a day’s work, less—and we’ll be finished. Tomorrow, in the morning . . .”

His sentences picked up speed and intensity as he spoke. What he was implying seemed obvious, and impossible: That he was building a pair of wings to fly in. That the skeleton on the table would have the power to lift him, rising bird-like into the air. I peered over at him, trying to see past the thick, mirroring panes of his eyes.

“When you’re finished,” I repeated, gesturing down at the table, “you mean—you’ll be able to . . .”

My mouth faltered at the word. Fly. It seemed too childlike to say, and somehow too profane.

The old man nodded.

“Yes,” he said. “Yes—that’s exactly what I’m telling you.”

My brain churned with effort. What he was saying made no sense. Not that the idea was purely science-fictional, like time travel or werewolves. Birds, bugs, and planes flew every day. I’d just always assumed that people couldn’t do it. Everyone did. But suddenly I wasn’t sure why.

The man watched me, smiling, as if he’d already sequenced the exact progression of my thoughts, and was delighted to watch the emotions play as expected across my face. He shook his fists in a warm, celebratory gesture, his whole being bristling with energy.

“Oh, it’s a sign you’ve come to us now,” he said. “In the last hours—and not a minute sooner. My sister, you’re right on time.”

I wondered who he meant by us—if that meant there were others, or if it was simply the pronoun that best expressed the expansive cast of his thought. There was something almost embarrassing about how eager he was, the ardency in his voice.

“What about those?” I asked, deflecting him. I pointed to the ceiling, where the other winged shapes hung, looming over us in the darkness.

He nodded.

“Those,” he said, “are different. They’re my models, my studies, my works-in-progress. My failures. Incomplete solutions to the question. What I’m saying is—they don’t fly. Not like this one will, once we’re finished.”

He gestured to the table. Then he seemed to think of something.

“Here,” he said. “You should see this.”

He limped over to the far wall. I kept my distance and started to relax a little, the jitters slowing in my knees. I could outrun him if I had to. He could barely walk.

He started to unlash a rope from a mounted iron tie, like freeing a boat from a dock. Overhead, a giant bat-like glider started to lower, the ropes whispering as they slid. I had to move out of the way to make room.

“This,” he said, “is an exact replica of Otto Lilienthal’s 1894 glider. You’ve never heard of Lilienthal, have you?”

I hadn’t. The glider settled on the floor with a gentle creaking of wood.

“No one knows him, not anymore,” he said. “But he was once the most famous man on earth. A great, strapping genius of a German. This was years before the Wright Brothers. You’ve heard of them.”

“Of course,” I said.

“They don’t deserve the credit they get,” he said. “Not a fraction. They stole wholesale from Lilienthal. Everything they knew about air pressure, wing design, the lifting properties of curved surfaces—it all came directly from him. But the Wrights, they corrupted Lilienthal’s vision. It was never about planes. What he wanted—what we want—was to fly, in the true sense, to use our arms like wings. To soar freely, powered only by our bodies. That was the dream. It was much too quickly forgotten.”

What he wanted—what we want—was to fly, in the true sense, to use our arms like wings.

He spoke so intensely, in such an outpouring of admiration and anger and longing, that I couldn’t think of anything to say. The idea of this winged German seemed outrageous, and I sensed he was exaggerating.

“You see it, don’t you?” he went on. “How, for a brief moment, we were focused on the right thing. The only thing. True flight. Lilienthal inspired the world to think of the sky as ours, to dream that we could correct our bodies and take it. People forgot about him. They moved on with their war planes, with their TWA. But it could have been different. When he died in 1896, millions mourned in the streets.”

He’d nearly talked himself out of breath, and fell silent for a second to recover, the air wheezing heavily in and out through his nose.

“How did he die?” I asked, trying to be polite.

“Lilienthal? He was killed in a glider wreck,” he said.

“Ah,” I said.

“He died at his peak,” the man said. “At his absolute peak. In a machine he’d made, with movable wings. He’d captured the world’s imagination with gliders like this one, fixed structures that could carry him hundreds of feet in good wind. But he died trying to fly. He might have gone on to do it, too, if he’d survived—he was that far along. But now that’s over. What we’ve built in the last months”—he gestured over to the worktable—“builds definitively on Lilienthal’s advancements. On the whole forgotten history of flight.” 

His glasses flashed, two signaling mirrors.

“Gliding isn’t enough,” he said. “Planes are not enough. You see that, don’t you? How free, unfettered flight would be everything? How it would liberate the human spirit? And we’ll do it! Starting tomorrow. Our wings will break open the world as we know it and allow something new to be born—”

I heard something behind me and turned around. A thin form paused in the doorway, someone with long dark hair. It was the boy I’d seen at the tower, I realized. He lingered in the opening.

“Oh,” the man said, breaking out of his monologue. “It’s Ike. My boy! Come here, Ike.”


The boy stepped into the barn, giving me a wide berth as he walked across the floor. His hair hung like a veil over his face, a sullen method of concealment. He didn’t look at me or speak.

“This is my son, Ike,” the man said. “This is Jane, Ike. She’s here to help us. I’m Barry, by the way,” he told me.

The boy said nothing—he just stood there, way too thin. His ragged clothes, I realized, shared a look with the gliders overhead. They were cut from the same cloth.

“It occurs to me we should show her, Ike,” the old man— Barry—said, speaking to the boy, but smiling at me. “Shouldn’t we? So she can see it for herself!”

He’d reached a state of high animation, delighted with how the population of his barn had grown.

“Come on,” he said. He grabbed one of the glider’s wings and lifted it half off the floor. But the boy stayed still.

“Dad,” he said.

“Come on!” Barry roared.

“Dad,” the boy said again, softly. “Stop.”

“What are you just standing there for?”

“Just don’t,” the boy said. “Please.” He kept himself angled away from me, standing still with the quiet intensity of a person keeping vigil.

“Ohh,” Barry groaned dismissively, waving him away. He turned to me. “He gets like this. Help me, won’t you?”

For a second they were both looking at me, the glider between them.

“Help you how?” I said, trying to stall.

“Help me carry this outside!” he roared, shaking the glider with his hand. “I’m going to jump off the roof.”

It was a startling declaration, despite everything he’d said. I could feel the high darkness of the barn, the roof sloping upward like the ceiling of a church.

“Jump . . . ?”

“Oh, forget it,” he said. He lifted the glider himself and began to limp across the floor with it, the wings bucking in the rhythm of his lurch. The contraption was large and unwieldy, but I could tell how light it was by the nimble way he guided it through the barn’s double doors. I couldn’t see him anymore, then. There was a loud thump, and he shouted something back at us, yelling unintelligibly.

The boy, Ike, and I looked at each other. He seemed to be a few years younger than me, with the half-formed look of someone in their very early twenties, and his eyes were pretty—a sea-glass brown. But his face seemed stuck in a permanent wince, as if the whole situation were a source of chronic pain. It seemed wrong to be that young and look so sad already.

Then it dawned on me: the old man, Barry, was insane.

Of course he was gloriously strange, that was obvious. But he’d spoken with such torrential authority, and the gliders themselves were so compelling, that I hadn’t thought to write him off completely as a kook. Yet Ike had tried to stop him. I could still hear his soft, exasperated voice: Dad, stop, please.

Maybe Barry was merely in the grips of some mania, compelled by the logic of madness. Maybe I’d provoked someone who needed no provoking, and now he was all stirred up and ready to jump from his roof.

“I—”

I stammered out some faltering thing.

But Ike just shook his head, a pained expression on his face, as if he couldn’t believe what I’d done. Then he was moving. He backed out the double doors and was gone.

I followed, but by then he seemed to have vanished into the meadow. I rushed around the side of the barn, only to find Barry climbing a silver ladder that was bolted to the wall, the glider laid beneath him in the grass. He couldn’t really bear weight on his left foot, so he made his way up with his arms more than his legs, grabbing the crossbars with both hands and pulling himself higher and higher in a series of quick one-legged hops. Then he pulled himself over the lip of the roof, his boots scraping on the shingles.

Before I could say something to stop him, the glider started rising, a hallucinatory upward slide into the air. I looked up, startled. Barry was standing on a cantilevered wooden platform that jutted from the roof, and was turning a crank that squealed as it wheeled around. He’d fixed the glider to some kind of rigged-up rope-and-pulley system—I could see the metal hook he’d fitted into one of the wooden ribs. The wind pulsed in the cloth as the winged shape lifted, causing the frame to twitch and shiver like a living thing.

The barn had to be more than two stories tall—it was hard to say how tall exactly, but it was clearly a dangerous height. Maybe he was crazy. Maybe his broken body was not a sign of some interior wildness—of course it wasn’t—but the legacy of his falls. A slow, eerie sensation filled me. The feeling you get when you discover mold on a piece of bread you’ve already half eaten.

“Remember, this will be gliding, not flying,” he called down to me. “Just a prelude—a promise!—of what’s to come.”

I felt sick.

“You’re sure you want to do this?”

He laughed.

“My sister,” he bellowed. “Of course I’m sure!”

Behind him, the sun had already started to set, the clouds purpling with the vivid colors of a bruise. He stooped and lifted the glider.

There was still no sign of Ike. I can’t stop him, I remember realizing. Whatever was going to happen was going to happen.

I watched Barry guide the glider over his shoulders. Suddenly he was transformed. The man was gone, replaced by something winged and huge. Sunlight hit the fabric, turning the stretched cloth into two lit panes. His arms vanished in twin baths of light. He hobbled to the edge of the plank.

My knees tensed. I wanted to appeal to some higher authority, some minister of safety and sense, but of course no one was there.

The tips of Barry’s boots stuck out over the ledge. He swayed gently, swooning to some slow, private music. The wings tilted subtly this way and that, as if tasting the direction of the wind. Then a breeze gusted, so strong it bent the grass. Before I could do anything, Barry took a step forward and jumped.

A rush of wind bucked in the glider’s fan, and his body lurched upward. His shape started to float through the air, as smoothly as if he’d been mounted to a track. As the wings soared over me high above, I heard more than saw them pass— the wind made a tiny thunder in the grass, his body briefly blotting out the sun. It was spectacular. A human form parting the sky, suspended in midair. My pupils opened, and my brain felt every neuron fire—the world spreading out around me, everything so much bigger than I knew.


I turned in time to see Barry rushing toward the ground, far into the meadow, completing a right triangle’s longest line. The glider lifted a few feet again at the end, so that, for a moment, I thought he might rise again toward the sky.

Instead, he dropped gently, staggering a few paces before falling to all fours in the grass.

The whole thing took five seconds, maybe less.

I ran toward where he knelt in the grass, gasping. The glider shielded his body like a strange white shell, moving subtly as he breathed. His head stuck out through a hole in the fabric, but the rest of him stayed hidden. He was all right.

“See?” he shouted. “You feel it, don’t you?”

That was when I saw his eyes for the first time: two bolts of mad, dancing blue, like flames in a gas range. A sob built in my throat, taking me by surprise. I stammered something, who knows what.

“What you just saw,” Barry said, his voice shaking, “a German did more than a century ago. He was on the brink of it, even then. But we’ve nearly finished what he started. Tomorrow, Jane, it’s time!”

Across the meadow, Ike stalked toward us. Something flashed in the grass—Barry’s glasses, thrown from his head, rested half folded in a mess of stalks. I snatched them up.

“Your glasses,” I said.

“Go ahead,” Barry said. “Put them on me. I can’t see a thing.”

It seemed so strange, considering his fierce blue gaze, that I was just a blur to him.

I put the glasses on for him again, guiding the wiry arms into the red-and-gray hair above his ears, and as I did it struck me how much had changed since that morning. I could never have imagined, as I woke up into the stale smell of my car, the way the meadow would look with Barry’s glider fanning out over the grass, the old man peering up at me from the middle of his contraption. If a single day could shift like that, anything was possible—anything could happen under the neon clouds, the endless Day-Glo chamber of the sky.

“Help me, Ike,” Barry said, and suddenly the boy was there, standing mutely just three feet from us.

As Ike lifted, I saw the undercarriage of the glider—Barry’s arms were not outstretched, like I’d thought, but folded across his chest, embracing a wooden axis that held the machine together.

“Let’s eat,” Barry said. “A feast—we’re going to need it. Because tomorrow, the real work starts. We’ll want full bellies.”

He looked at me.

“But first,” he said, “there’s something you should do.”

“Me?” I said.


Whatever it was, I’ll bet you bought it from the store. Didn’t you?

We brought the glider back into the barn, and then Barry led me over to the edge of the woods, past a fenced-off chicken coop I hadn’t noticed, where hens waddled and scratched about in the dirt. A small wooden crate sat in the shadows. Something moved behind the slats: a nervous brown lump of fur, with eyes like black jewels. A pink nose twitched at the air.

“Goody,” Barry said. “We’re in luck.”

“A rabbit,” I said.

“The whole place is thick with them,” Barry said. “As the land will be, once it’s allowed to heal.”

Something about the way he said the land made me think of the wheat fields on a cereal box, airbrushed and overwrought.

Ike bent down and opened the trap, pulling the creature out. He held it against his chest, and its dark eyes bulged with terror.

“When we finish the wings,” Barry said, “everything’s going to change. I mean everything—you need to hear this, Jane. What did you eat for dinner last night?”

I wasn’t sure I’d had dinner last night—maybe a plastic tube of trail mix from the gas station.

“Whatever it was, I’ll bet you bought it from the store. Didn’t you?”

I nodded, even if the truth probably wasn’t what Barry had in mind. The rabbit’s black eyes glared back at me.

“Listen very carefully to me, now,” Barry said. “When we finish the wings, the deliveries are going to stop coming. The stores are going to close. Maybe not tomorrow. Maybe not next month. But they will. People aren’t going to waste their lives toiling anymore, not when they can fly. The whole extractive system will start to fail. And when it does, you need to be ready. The way me and Ike are ready.”

We walked around the side of a junk-crammed shack, where a four-legged structure stood—tall and thin, like a lifeguard’s chair. A traffic cone hung upside down on ropes from the center of it, the last six inches of the orange tip raggedly sawn off. The grass below was blackened with stains.

It was blood, I realized. Then I understood.

“Ike and I, we live off this land completely,” Barry said. “We use no electricity. No fuel but good old wood. We pay no taxes, have no bills. And everything we eat, we grow and catch.”

The rabbit’s bulk struggled against Ike’s embrace, its hide swelling and shrinking with panicked breath. Ike seemed to whisper something into the shallow dish of its ear, and then he stuffed it headfirst into the cone. The creature hung there, upside down, hissing silently at us. We heard its body struggling inside, a weak scraping of claws.

Barry picked something off a wooden stool and handed it to me. A hunting knife, the blade crested with teeth. 

“Cut its throat,” Barry said, “and we’ll eat well tonight.”

In the fading light, his glasses shone, twin moons.

I’d never killed anything before. I looked over at the boy, who turned away, as if the whole thing pained him—though I couldn’t tell if he was shamed by his father, by the slaughter, or by me.

“This is the transaction,” Barry said. “There is no life without death. It’s always been that way. They just hide it from you.”

The blade shook in my hand.

I could tell he was testing me. He wanted to see what I would do.

I looked into the rabbit’s face, the gleaming pebbles of its eyes. I recognized its fear. There had always been a frightened rabbit inside me, too, huddled in a slaughter cone. I had just never known I could kill that part of myself.

Their eyes were on me, watching.

I cupped the small skull in my palm and drew the blade across its throat. Blood fell from the open neck in a long string of red drool.

“Moment of silence,” Barry said, and while the animal drained we hung our heads.

“Thank you, rabbit,” Barry finally said, after a while.

“Thank you, rabbit,” the boy whispered. So I said it, too.

Eventually Ike pulled the body out, carrying the slain thing by its ankles as we walked toward the house.


By then the afternoon was coming to an end—the sun would be down soon. The three of us stepped up onto the warped back porch, which groaned as if it might collapse under our weight, and I followed them inside.

Ike produced a weathered tin can, its mouth sawed open and the lid still attached, with some holes punched in it. He dumped a twiggy bundle from the can, messy as a bird’s nest, and unwrapped it to reveal a dully glowing ember. He stuck a twist of cloth against the coal, and when he pulled it away again it was on fire. I looked on, surprised, as he used the flaming wick to light a candle, then blew it out. Then he wrapped up the ember again. It all happened quickly as a magic trick, some pyrotechnic sleight-of-hand I couldn’t fathom.

We were in the kitchen. I recognized the sink and counter, the round table flanked by chairs, the cast-iron stove. Barry carried the candle through a side door—its light bounced and fluttered as he limped down a set of stairs, before fading from view. While I stood there in stunned silence, Ike spread the rabbit out on the counter and started to saw vigorously at its neck, drawing the blade with a gruesome grinding sound across the spine.

My cheeks burned and my ears rang like I’d been slapped, but there was nothing to do except watch.

Barry emerged holding a heavy sack, and tumbled a few sprouted potatoes across the table. “Can you cook?” he said.

I shook my head.

“Well, that’s another thing,” Barry said. “There won’t be any Howard Johnson’s where we’re going. Watch Ike.”

I peered over Ike’s shoulder while he attacked the corpse, until the head finally lolled free. Then he skinned the poor thing, a process like pulling a too-tight glove away from an alien hand. The wetness underneath sparkled in the candlelight and smelled like blood. Then he cut the rabbit open and reached into its belly. He pulled out handfuls of organs and bowels, which he flung into the sink in a glistening heap.

While he worked, something caught my eye. It was a mouse, nosing its way along the counter. I dug my nails into my arm. Did I say something? Before I could decide, Ike raised his arm, and with a casual backhanded thwack sent the mouse flying. I heard it splat against the floor and scurry off.

A sound built in my throat—a scream or laugh, I couldn’t tell—and I had to suck my tongue to the roof of my mouth to choke it down.

Later, we walked out into the yard again, all laden with supplies. Ike carried the rabbit on a kind of pointed spit, the tin can dangling from a rope around his neck. Barry hauled a cast-iron pot of sliced potatoes, the eyes cut away. They’d handed me a gallon jug of fuzzy brown liquid. We laid our things down by a rock-ringed ash pit in the yard, stacked high with firewood, which lay between two tall, slingshot-shaped wooded stakes. Ike laid the spit across them, and the rabbit hung there, pink and headless on its skewer.

I truly didn’t know if I’d be able to eat it. I’d gone hours without a cigarette, and by then I’d passed into a state beyond wanting, beyond disgust—I only knew that my stomach ached in my guts, a tired fist that couldn’t come unclenched.

The firewood had already been prepared, a crisscross of logs that graduated into smaller branches, kindling twigs, and bark shavings. Ike shook out the contents of his can and unwrapped the coal again, blowing on it until it was orange and molten. Before long, he had flames leaping in the pit.

They pulled a few log stumps out of the shadows, and we sat to watch the fire lick the bottom of the hanging pot. When the carcass dripped hissing grease into the flames, Ike got up to turn the spit.

“Cider?” Barry asked, though he was already pouring me a mugful. I lifted the porcelain to my mouth and tasted, a prickle of cinnamon and sweet apples. I started to feel drunk on the first sip, my cheeks numb even before the juice had made its way down my throat.

The meal took a while to cook. As we waited, I watched cinders chase each other toward the sky. A bat twittered overhead, beaming silent radar out into the trees. I tried to remember how I’d ended up there, in the middle of a wild meadow with two homesteaders as the sun set, the sky a rumpled length of purple-orange silk.

When the food was ready, Ike tore the rabbit into three pieces, and we ate. The skin crackled on the tongue, the meat so sweet and tender I could almost feel each taste bud stand erect as I chewed and tore.

Then Barry began to speak.

When the wings were finished, he said, it would be different. We’d rove out down the country lanes, and visit all the run-down houses where people suffered through meager lives, and show them what we’d done. They’d see the wings, and their eyes would widen, and they’d know that things could never be the same.

I closed my eyes and listened, heat in my cheeks from the fire and their homemade booze. It was nice to let Barry’s words flow in and out of my ears, until his voice just seemed like part of the landscape, cousin to the fire and the crickets and the wind. I reminded myself that what he said was crazy, of course. He was crazy. Anyone could see that.

But in some private, rubbed-raw corner of my heart, I was desperate to believe it.

15 New and Forthcoming Poetry Collections You Should Be Reading

It has been almost thirty years since the Academy of American Poets launched National Poetry Month, and the vitality of American poetry has only grown since then. These new and forthcoming 2024 poetry collections showcase the diversity and talent of the poets writing today. Their words inspire a new way of thinking and being, encouraging us to empathize with one another and appreciate the world around us.

Good Monster by Diannely Antigua

Antigua’s sophomore collection is a raw, innovative exploration of the body after trauma. Through lyrical free verse, “Sad Girl Sonnets,” and her invented collage form of the “Diary Entry Poem,” Antigua investigates religious trauma, chronic pain, and mental illness. The result is a poetry collection of considerable courage and vulnerability.

Grief Slut by Evelyn Berry

In her debut, Evelyn Berry captures the experiences of growing up queer in the South, of transgender self-creation, and of losing a friend to suicide. She embraces queer sexual pleasure, the paired joy and fear of trans identity, and the terroir of the Southern United States. Her daring, tone-driven voice establishes her as a poet to watch.

Momently by Zach Savich

Bees. Blossoms. Sheet metal. Ladders. These breathless, surrealist prose poems are preoccupied with mortality, the creative life, ephemerality, and nature. Savich’s history as a cancer survivor is translated through the intimacy with death that he takes on the page. His sense of prosody and imagery will make the sounds and images of his poems stay with the reader.

Being Reflected Upon by Alice Notley

Notley’s highly anticipated memoir-in-verse reflects upon a seventeen-year period of her life as a poet. She mourns the death of her second husband, undergoes radiation treatment for cancer, and contemplates the role of poetry in a dying world. Throughout the expansive scope of her subjects, she maintains her singular, restless, and fresh poetic voice.

Girl Work by Zefyr Lisowski

Girl Work is a book-length meditation on the inscrutability of memory, on sexual violence, and on the role of beauty and labor. Lisowski writes candidly about sex work and trans identity in the current political climate. Her visual poetics are highly effective: overlapping prose blocks or spiraling verse represent how traumatized existence complicates memory and recall. The collection is at once impressively cohesive yet formally diverse.

Interrogation Records by Jeddie Sophronius

Literature is a crucial tool for resisting censorship and oppression. This documentary poetry collection is a vital exploration of a little-known historical event: the Indonesian killings of 1965-1966. Jeddie Sophronius refuses the instinct, both in Indonesia and abroad, to neglect learning about the massacre. His approach is both painstakingly archival and highly personal, and he approaches the atrocity with nuance, courage, and urgency. He displays his proficiency at many poetic forms, including repetitive forms like the pantoum, visual poetics, and collaged work. Interrogation Records is not only an important piece of historical research but also a display of significant poetic talent.

Instructions for Traveling West by Joy Sullivan

Joy Sullivan’s debut collection is an autobiographical account of uprooting her life mid-pandemic: breaking up with her longtime partner, quitting her job, selling her house, and moving west. Throughout her journey, she composed these poems, which demonstrate the bravery, agency, and fire it takes to embrace uncertainty. Her writing is infused with delight, Western scenery, and ocean salt. Sullivan has a tender and unique new poetic voice.

Woke Up No Light by Leila Mottley

Leila Mottley’s first book of poetry is bold and no-holds-barred. She writes fiercely and tenderly about the challenges of Black existence in America. With lyrical free verse and impressionistic imagery, Mottley explores family lineage, sexuality, fear, joy, and desire. She has a poetic voice all her own, further cementing her as a writer to watch after the success of her daring first novel Nightcrawling.

The Palace of Forty Pillars by Armen Davoudian

This debut poetry collection is an intimate, trailblazing exploration of Armen Davoudian’s identity as a gay man, as an Armenian, and as an immigrant. The poems follow Davoudian’s own journey from Ishafan, Iran to the United States. He innovates form with invented rhyme schemes and repetitive forms. The poems are tender and filled with the sights, scents, and sounds of his homeland. 

Rangikura by Tayi Tibble

Tayi Tibble’s sophomore collection of poetry is relentlessly modern in its voice and diction, and yet carefully crafted with attention to image, form, and sound. She writes audaciously about her girlhood as a Māori in New Zealand, with an unflinching eye to all-night clubs, unsatisfying affairs, and the violence enacted against indigenous women. Through it all, her writing is refreshingly contemporary and fresh, and this collection cements her as a poet to watch.

Hereafter by Alan Felsenthal

Alan Felsenthal’s highly anticipated second collection is a quietly meditative work of nature poetry. Blending the pastoral and the elegiac, Felsenthal interrogates the impact of humanity on nature. His poems are infused with diverse sceneries: the ocean, the moon, and the desert. His voice is tender and hopeful for a better future.

Inconsolable Objects by Nancy Miller Gomez

Nancy Miller Gomez’s debut is a powerhouse of a poetry collection. Her diction is assertive and urgent as she offers love to all the broken things in the universe. She interrogates the often unseen role of the mother, the mark that humanity leaves on the world, and the dangers inherent to intimate relationships. Throughout the poems, she is unrestrained and unsentimental, yet filled with tenderness for all things that strive.

36 Ways of Writing a Vietnamese Poem by Nam Le

Nam Le’s first book of poems is formally wide-ranging, incorporating erasure, ekphrasis, and offertory. He writes boldly about the Vietnamese diaspora, about the “violence of translation,” and about the generational impacts of oppression and historical trauma. His poetic voice is fierce and varied, from the measured, calculated “arithmetical” to the bold “slam declension.” With this book, Le cements his legacy as a daring and innovative writer.

Colorfast by Rose McLarney

Rose McLarney’s writing is vibrant and magical as she considers the terrain of her Appalachian upbringing. McLarney interrogates the omission of women’s voices from history, the natural environment of the South, and the stories of her girlhood. Her diction is precise and patient as she applies a unique vision to the often-overlooked parts of the world.

Bluff by Danez Smith

The long-anticipated new poetry collection from Danez Smith reckons with protest and silence in a divided country. In their trademark powerful voice, Smith confronts police violence against Black people in America, the Covid-19 pandemic, and the role of poetry throughout it all. They play audaciously with form and diction that resists the institutions of white America.