My Worst Experiences Haunt Me From the Memory Cloud

“Presence” by Gina Chung

After Leo left, I had trouble keeping track of myself.

I had just moved into a new apartment, and I felt like I was existing in an endless twilight. I would drift off for a nap in the living room, only to find myself standing in the kitchen, washing a dish I didn’t remember using. Or I would leave a cut of meat to defrost in my shining, empty refrigerator and forget it was there for days, until the sour smell of old blood dripping into the crisper reached my nose. I lay on my couch and watched car headlights and long shadows chase one another across my ceiling as the hours went by, listening to Billie Holiday and sipping whiskey. Leo had loved Billie Holiday, owned every album she’d ever made on vinyl. I wondered where all those records were now, if they were collecting dust in storage somewhere, or if they were still nestled in the built-in bookshelves in our old apartment.

The money from my divorce settlement would last me for a while, but not forever, and although I knew this, had tallied up the remaining numbers in my accounts to determine how long I’d be able to go without seeking new employment, I couldn’t bring myself to begin the process of starting afresh. Despite the genericness of my name, Amy Hwang, even the most negligent recruiter or hiring manager could find out everything they needed to know about my connections to Gnoss and its founder with even a cursory Google search.

I stared into the abyss of my past accomplishments, listed row by row on a CV that I had once been so pleased about, so proud of compiling, like a house I had laid brick by brick. Now I felt as though I was staring out through the bars of a locked window in that same house, imprisoned by the vestiges of a life that would never be mine again.

I ignored all incoming calls, except for Lila’s. Lila and I were roommates throughout most of college, and though we were never very close, we had remained in each other’s lives long after our relationships with our other friends had faded. We were different enough that we never felt threatened by each other’s news or achievements. We were barely a year out of college when she showed up to one of our infrequent drink dates with a diamond on her finger and photos on her phone of a clean-cut, handsome man with family money and a history of successful investments. Her husband bought her a boutique, where she sold designer clothing for children in soft colors like oatmeal, blush, and buttercup. In other words, Lila had a lot of time on her hands, and she prided herself on knowing just how to use that time. She knew the perfect place for everything, from sunrise yoga to natural wines, and she often posted about all her experiences on the internet. She was a member of Yelp Elite, a superuser whose enthusiastic or negative review of a restaurant, riddled with exclamation points and emojis and cross-posted to her Instagram, could be significant for a new business.

So when Lila told me about a spa she knew of and offered me her upcoming reservation there, I thought, Why not? Leo used to say that I never knew when to take a break, that this was one of the things we had in common, and it’s true—I always felt guilty whenever we took vacations away from the company, and I have never been a person who enjoys relaxation rituals. But I had also thought I was not the kind of woman who would find herself newly divorced at the age of thirty-six, blocking all unknown numbers and deleting all of her social-media profiles to avoid reporters’ insistent and aggressive messages, and ordering everything online so she wouldn’t run into anyone she knew on the street. So many unprecedented things had already happened to me; I figured, what was one more?

“The location alone is so worth it,” Lila said. “It’s far away from everything, and there’s hardly even phone service out there. It’s the perfect place to rest and recharge.”

Lila was the first person I called when the news about Gnoss came out—the accusations of falsified lab results, the lawsuits. She flew out to New York City from LA and rubbed my back while I sat numbly in our living room, the room I had so proudly and lovingly decorated. “It’s not your fault, Amy,” she kept repeating soothingly. “You didn’t know.”

The drive to the spa would take me about four hours, so I left the city hours before sunrise, when the traffic was sparse and the sky was still dark. I stopped for coffee and gas at a station along the thruway. I considered keeping my sunglasses on when I entered the convenience store, but decided that I would probably not be recognized up here. The clerk barely looked up from her phone to give me my change, and I relaxed, the coins warm in the palm of my hand. Leo never carried cash, so I was always the one who had to bring it in case we went to a place that didn’t take cards. He hated bothering with currency, but I liked having money in my hands, the rustle of green bills and the weight of metal coins in my wallet. We used to joke that it was the immigrant in me, even though I was technically the child of immigrants.

When I got back into the car, the presence was there, in the passenger seat. It must have crept in sometime during the drive up, or while I was in the gas station. I could practically taste it behind my teeth. It watched me as I took the first few scalding sips of gas-station coffee, made no better by the addition of slightly sour milk. My head began to ache, the way it usually did around the presence.

There was no use in trying to avoid it. “Hello, old friend,” I said. It did not respond. It never did, no matter how many times I addressed it or implored.

I tried to settle my nerves by fiddling with the radio and landed on a country station. I turned it up, a familiar electricity rushing through me when I realized it was a song I had loved once, long before I’d ever met Leo. I sang along to the radio, and we continued up the thruway without stopping along the way. The radio continued playing ancient hit after ancient hit as I rolled the windows down, letting the wind whip my hair into a greasy frenzy. I caught my reflection in the rearview mirror and noted idly to myself that I was starting to go gray, lines of iron interrupting the long coils of black.

The sun rose yellow outside. I wondered what kinds of treatments the spa would offer. Despite the events of the last few months, I finally began to look forward to my stay. I managed to mostly forget that the presence was there, though I continued to feel its magnetic pull.

The air grew sharper and the trees grew taller and darker as we wended our way farther north, especially once I’d turned off the main thruway. We passed through small, sleepy towns with names like Cheshire and Hancock, towns that seemed like they hadn’t changed at all in the last few decades. American flags and festive scarecrows beckoned from every porch. Soon it would be autumn, time for leaf-peeping and apple-picking. Leo and I had gone apple-picking once, not long after we’d gotten married, on a rare weekend when neither of us had to work. I was twenty-eight then, determined to live up to the role of younger, vivacious wife that I was aware had been assigned to me. We wore coordinating plaid flannel shirts and posed dutifully for photos next to the trees we picked our apples from, though more often than not we decided to go for the fruit that was already on the ground. When we got home, we found that almost all of the apples were filled with worms.

The houses grew taller and narrower when we entered Vermont. Picturesque views of peaked roofs, church steeples, and treetops began to appear outside the car. The sound of the radio grew fuzzy, and the voices faded in and out behind waves of static. I turned it off and listened to the quiet and the hiss of my tires on the tarmac as I navigated the sloped roads. I could feel the presence pulling at the edges of my consciousness again. My headache sharpened.


Leo had been my lab supervisor at Columbia when I was a PhD student. At first, I didn’t notice him much beyond the functional role he played in the lab, fixated as I was then on getting ahead, ignoring the statistics about how hard it was for women to succeed in the sciences. I am going to be the exception to every rule, I told myself. I would graduate well within the expected time frame of seven years. I would author several papers, all of which would be published in reputable journals. I would find a tenured teaching job at a prestigious university.

Leo was much taller than he seemed when he was sitting down, with narrow shoulders and a shock of thick graying hair. He had a loud, braying laugh that was both disconcerting and disarming, the kind of laugh that turned heads and flattered its recipient into thinking they’d said something notably witty. He gave everyone nicknames, including me, calling me “Aimless,” which was his way of making a joke, because I was anything but that. Though I have never been a naturally gifted or brilliant student, I have always prided myself on my diligence and my ability to focus for long periods of time.

I was not popular in our lab, given that I seldom joined the team for after-work drinks or weekend Frisbee games. But the work (we were studying immune-system responses in mice experiencing environmental stressors) was enthralling. Once, on a slower day when I had gotten particularly in the zone, Leo had to shake me to alert me that the fire alarm was going off. We were the only ones in the lab that day. I was preparing to give one of the mice an injection of the serum we were testing them with, when I was startled by the weight of a hand on my shoulder.

“Amy! Didn’t you hear the alarm?” Leo loomed above me, looking concerned and, for some reason, a little angry. I stammered out an apology, put the syringe and the quivering mouse away, and shuffled outside with him. It was just a routine fire inspection, and afterward Leo found me in the lab and apologized for startling me. “I’ve never seen someone with the ability to focus the way you can. It’s a little scary,” he said.

“Thank you?” I said.

“I mean that in a good way, mostly,” he said. It wasn’t until he’d walked back to his station that I realized he’d called me Amy, instead of Aimless.

A few years later, when Leo left the university to start Gnoss and asked me to join him, telling me he’d make me the head of one of its most important projects, Lila urged me to go for it. “But my degree,” I said weakly. She pointed out how miserable academia made me, all my years of toiling away in the lab, applying for grants I didn’t get and struggling to get my name on papers that I had coauthored with the (mostly) white men I worked with. And it was true that my heart was no longer in my work, my project having stalled for years while I remained unable to obtain the results I needed to finish. The confidence and certainty that had once fueled me, given me the kind of laser focus other people had to take drugs to obtain, was in tatters, a ragged white flag where there had once been a victory banner.

She counseled me through signing the onboarding papers and the NDA, and, once I was hired, instructed me on how to respond in a flirtatious but still-professional way to Leo’s increasingly frequent and informal emails asking for status updates about my project. When he finally asked me out, she told me what to wear, how to wear it, and why I should wait to have sex with him until our third date.


It was 11:30 a.m. by the time I reached the hidden lane that supposedly led to the spa. I almost missed the gate and had to reverse the car back to it. Welcome to Dripping Pines Spa and Sanatorium, read a small hand-painted sign. Sanatorium? I blinked, and then the letters rearranged themselves to form Sanctuary. I was tired from the drive, wired from the coffee, I thought. I prepared myself to step outside of the car, to punch in the code that Lila had given me, but the gate slid open without any prompting. I guided the car in through the narrow opening and down the well-paved driveway, which was bordered by trees and white stones. It led to a small lot, where I parked. Mine was the only car there, besides a blue Honda Civic that I assumed must belong to the proprietor. “You’ll love Ruth,” Lila had said of her. “Make sure you request the hot-stone massage. It did wonders for my lower back.”

I walked inside, where a fountain burbled in an atrium. The presence followed me, as unnervingly patient as always. An unseen diffuser emitted puffs of orange fragrance into the air. “Hello?” I called. Low tones and chants played softly in the background.

“You’re early,” said the woman behind the desk. I had expected a willowy white blonde wearing prayer beads and a caftan, but this woman wore a blazer over a turtleneck, and she was tan, with silvery hair cut into a neat bob, and she was Asian. I had not expected to see another Asian person this far up north. She stared at me over her rimless glasses for a beat too long, and I was wondering if she was thinking the same thing. “I can’t let you in with that,” she said, finally.

I felt chills rush up to the surface of my skin. No one else I’d ever met before could see the presence. I felt it pulse silently beside me.

No one else I’d ever met before could see the presence.

“Please,” I said. To my surprise, my eyes filled with tears. I must have been very tired from the drive. “I came all this way. I’ll pay extra.”

The woman studied me. “Sit down,” she said, gesturing toward a rattan stool. I sat and wiped my eyes. She disappeared down a hallway and reemerged with a cup of hot tea. I let it steam my face.

“It’s been with you for quite some time,” she said. “I can’t remove it for you, but it can be contained.”

I nodded, momentarily blind from the steam. My entire body felt sore. All I wanted was to rest, to lie down, to let the fatigue of the last few months overtake me. I took a sip of the tea. It tasted like ginger and tree bark.

“You’ll have to keep this on during your time here,” she said. She slipped a wooden cuff around my right wrist. It was made of a plain, polished dark wood. “That should help somewhat,” she said. “Rowan is good for protection. I’ll show you to your room now.”

“Thank you,” I said to her back as I followed her down the halls. She did not reply or turn around. Behind me, I felt the presence trailing me, a discreet distance away.


Leo had started Gnoss to address the problem of memories that no longer needed to be retained.“The brain is simply a hard drive,” he was always saying. “We do periodic data dumps on our personal devices to keep them running smoothly, so why not our minds? Why can’t we simply upload the memories we no longer need?” His model was simple—monthly memory data-collection scans, which could be performed at any Gnoss facility. After anywhere from five to ten scan sessions (depending on the number of memories a client had developed over the course of their lifetime), Gnoss would build the client a mind map, called a Chartis, of their own memories that they could then manipulate, categorize, and organize, choosing which memories to retain and which to upload to their own personal, private memory clouds. According to Leo, uploading traumatic, difficult, or simply unnecessary memories would alleviate day-to-day stress levels, improve relationships with others, and combat trauma-induced insomnia and other psychosomatic disorders, thereby allowing clients to take back control of their lives. And though reversing the process was more difficult than undergoing it, it was doable, in case the user wanted to recover any of the memories that they had previously uploaded.

I became part of a new initiative that was testing Gnoss’ latest innovation, Neolaia. Unlike the original Chartis process, which could take up to eight months depending on the number of scans that were deemed necessary, Neolaia was a shortcut—a flat metal disk the size of a dime that, when adhered to the skin, could absorb enough data overnight to create a simple mind map that the user could access via the Gnoss app. With Neolaia, Chartis creation now took only a matter of hours, and even though the resulting mind map wasn’t as complex or sophisticated as the map developed by the usual Gnoss scans, now almost anyone with a Wi-Fi connection could take advantage of the technology to organize and optimize their memories, up to a point. It also meant, thanks to the lower production costs of the device, that we could now offer Gnoss’ services at a significantly lower price point, and eventually phase out the original Chartis process.

Leo’s hope was that Gnoss’ treatments would also, over time, lead to decreases in more inscrutable psychiatric disorders, such as Alzheimer’s and dementia. He had lost his father to Alzheimer’s when the man was only fifty-five, a fact that I knew haunted him, especially as his own age crept upward. My mother had also had the disease, which was part of the reason we had connected in the first place, and why he had hired me. “You have a personal connection to this,” he told me over our first lunch meeting. “I need top-notch people, but also people who get it. People whose actual lives have been destroyed by this.” He spoke of Alzheimer’s sometimes as though it were a human foe, an archenemy in need of vanquishing.

When I was in high school, my mother began roaming around the neighborhood on her own, sometimes without shoes, and often without a clear explanation for what she had been doing or looking for. She was fine in the mornings—calm, sweet-tempered even—but as night fell she would become angry with me, sometimes accusing me of lying to her over trivial things, like where I’d put the salt. Her condition rapidly worsened when I was in college. With my father at work, she was left largely alone during the day. I didn’t tell any of my friends, even Lila, about it, about how my father had to lock my mother in their bedroom at night, or how she would forget his face and scream when he approached her. It was easier to bear that way. I continued to go to class and excel in my studies, but between the hours of midnight and 7:00 a.m., I was completely unable to sleep. If I did fall asleep, which I seldom did, I usually woke up an hour or so later and lay awake, paralyzed by anxiety, until the morning light streamed through my curtains.

My mother finally died when I was in my twenties, and afterward, my father and I, who had never been very close, drifted further apart. He moved back to Korea, and our messages to each other grew increasingly infrequent, until they took on the tone of communications between polite, apologetic acquaintances. He remarried when I was twenty-five. “I’m sorry not to have told you sooner. I know you were probably busy with work,” he said when he wrote with the news. He sent me photos of my half-sisters sometimes, two little girls who looked nothing like me.

Not long after I joined Gnoss, I began the Chartis process myself. I decided to upload those core memories of my mother and her decline to my cloud, so that, while I could remember the basic facts and chronology of what had happened to her, I was no longer troubled by the sense memories that had plagued me before, like the stale smell of her nursing facility; the way her terrified and rageful eyes followed me around the room whenever I came to visit; or the exact tone and timbre of her voice when she confused me with someone else and accused me of stealing from her. I filed each of the memories away, labeled them, and then thought no more of them.

Afterward, I slept soundly for the first time in years. My skin cleared and my digestion improved, as did my overall sense of well-being. I took deeper breaths, became more generous with myself and my colleagues and friends. I no longer felt racked by guilt and grief. Gone were my sleepless nights, the nightmares, the grinding of teeth that made my dentist warn me that I’d be left with nothing but a mouthful of dust by the age of fifty if I didn’t change my lifestyle.

It was then that the presence first arrived. I woke one night to find it sitting on my bed, regarding me quietly. I’ve been working too hard, I told myself, I’m seeing things. But the next morning it was still there. And though it sometimes went away for a while, it always came back, no matter where I went or what was going on in my life. Leo never saw it, and I never pointed it out to him, afraid of what might happen, of whether he would look at me as if I were crazy. Besides, I told myself, if I don’t pay attention to it, it might just leave on its own.

But as time went on, the presence grew stronger and more insistent, especially whenever I asked it to leave. I wondered if it felt it was owed something for its years of loyalty. Sometimes, it tugged at my attention like a recalcitrant dog at its leash, distracted me, made my head throb.

I tried to find out if it was an as yet unknown side effect of the Chartis process. But Gnoss had reached unicorn status three months before I joined, and demand was high across all market sectors, including among seemingly “normal” individuals, many of them high-functioning and quite successful. According to their introductory questionnaires, the typical Gnoss client hadn’t experienced more than the average number of Adverse Life Experiences (or ALEs), but simply wanted to “optimize” their cognitive and memory skills by data dumping the memories they no longer needed.

Our testimonials were overwhelmingly positive. Even users with the most challenging types of ALEs—abuse and assault victims; addicts; war veterans; the recently bereaved—all of them found reprieve from the memories of their traumatic experiences via the Chartis process, and not one of them, even those who had experienced the few negative side effects like occasional nausea or sleepiness, ever reported being followed around by a shadowy presence that no one else could see.


My room at Dripping Pines was small and plainly furnished, with one bed and a desk and chair, but it was well kept and tidy. I hung the few clothes I had brought with me in the closet and sat down on the narrow bed to stare out the window, at the murmuration of green and sunlight outside. It was warm outside, but early September in the mountains of New England meant that the temperature would dip below fifty degrees in the evening. I studied the informational brochure that the woman had left behind. “Spa hours are ten a.m. to five p.m. every day,” she had said. “Lunch and dinner are served at twelve p.m. and six p.m. No bathing after hours, no exceptions.”

The spa setup was simple. There was a sauna, made of teak, into which steam was piped, and two pools in a large, tiled room. The first pool was heated and smelled of eucalyptus and rosemary. The second was kept cold and filled with salt water. Additional services, like massages or private soaking baths, were also available upon request. My room was stocked with fluffy white towels, a plush bathrobe, a pair of slippers, and a pair of rubber flip-flops. I was surprised by the simplicity of it all, as it did not seem like the kind of place Lila would rave about—her tastes were generally more refined—but I could tell that everything, including the bed linens, was of the highest quality.

I kept the bracelet on at all times, even bringing it into the shower with me, and I felt the presence at a remove, as though it were not allowed to come within a certain distance of me when I was wearing it.

Over the next few days, I rarely saw the woman at the front desk, and it wasn’t until my third day there that I realized I didn’t even know her name, if she was the Ruth that Lila had told me about. Nor had she asked for mine, not even to check what name the reservation was under.

The waters softened my skin and hair. I felt relaxed and clearheaded in a way I had not been in quite some time. At lunch, I took my simple meal of porridge, vegetables, and a boiled egg, which was always prepared in advance and left for me on a tray in the large dining area, outside. The spa was indeed a sanctuary, and some areas of the grounds were marked as being off-limits to guests because certain migratory birds liked to nest there. I knew nothing about birds, but I felt my heart lift when I began to recognize their bands and markings, and the sounds they made when they called to one another.

Lila had been right about the lack of phone service. I had just enough in the parking lot to send a text, but not enough to call anyone. At first, I considered asking the woman at the front desk if there was at least a Wi-Fi network I could connect to, but as the days went by, I found the absence of the internet from my life a welcome change. It was a relief not to feel the need to check in with the world, not to tense up every time a name or a call flashed across my screen that could be someone asking me how I was doing, or a reporter seeking a quote.

At night, I slept soundly, so soundly that I was even starting to remember my dreams. I used to have the most vivid dreams when I was younger, so vivid that I would sometimes wake up laughing or crying, or to the sound of my own voice carrying on a conversation or arguing with a dream person. After the Chartis process, my dreams had become harder and harder to remember. I had started trying to track them in a journal, after a brief fit of attempting to learn about dream analysis and interpretation, though I rarely remembered anything significant enough to write down.

But at the spa, I found myself falling asleep earlier and earlier each night, satisfied by the simple but hearty food and worn out from another day of bathing and sweating and walking up and down the gently sloping hills of the spa’s grounds. And I dreamt about fantastical situations, in colors so bright that when I woke up, I found myself wondering if I was still sleeping and had passed into another dream, because the real world seemed almost unrecognizable for the first few seconds.

On my third night at the spa, I dreamt that I lived in a house that stood on two scaly legs, like a dinosaur. Inside, my bed was lofted, an airy nest under which I cooked and washed and ate. There, I found a cat, curled up in a corner. She was a beauty, with dark-gray fur and bright-blue eyes. She purred at me and swished her long tail. When I returned from fetching her a bowl of milk, she was gone. In her place was a small orange kitten, with tiny, tufted ears like a bobcat’s. He let me trail my fingers over his fur and pet him, rubbing him under the chin and behind his ears. He curled himself around my ankles like a sentient ribbon and followed me as I tidied up, underneath the great lofted bed. When I turned around, he had vanished, and there was instead a large white cat with a round, squashed face, whose flat yellow eyes regarded me with dull disdain. Hello there, I said, and I offered him my hand to sniff. Instead, he unhinged his jaw and encaged my hand in his cavernous mouth. I could feel his small but pointed teeth digging into my flesh. I wondered if I would lose a finger. I had to pry his jaws off my wrist, as though he were an alligator and not a cat.

In the morning, my whole body was tense and sore, as though I really had been wrestling with a cat. I decided to book a massage. I needed to feel human fingers prodding and digging into my flesh, to rearrange and pummel my body.

I showed up at the front desk at the appointed time, to find the woman who had greeted me on the first day there. “Our usual masseuse is out of town,” she said. “I’ll be taking care of you.” She began walking down a corridor to the left of the entrance that I hadn’t noticed before. She inquired after my health, asking me how I had been sleeping lately.

“Very well, though I keep having the strangest dreams. And today I woke up feeling as though I’d been walking for miles.”

“Many of our clients report the same thing during their first few nights here. Our spa is quite haunted, you know.” She said this very casually, as though she were telling me about some inclement weather we were due to experience later that week. “You didn’t happen to dream about cats, did you?”

I almost stopped in my tracks. “I did, as a matter of fact.”

“They belonged to the previous owner,” she said. “They show up in my dreams, too. They died in the fire.”

“There was a fire?” I asked. Lila had said nothing about this in her descriptions of the spa. I stared at the woman’s taut back as she continued walking down the hallway. She didn’t respond.

The massage room was dimly lit; the shades were drawn. A diffuser in the corner piped out lavender-scented clouds, which made me feel drowsy. She handed me a plush white towel and a yellow robe. “You’ll need to take off the bracelet, too,” she said.

“I’ll give you a few minutes to get settled.”

The door closed, and I undressed, slipping out of my clothes, and settled myself on the massage table. I hesitated before removing the bracelet, and when I did, I could feel, with a disorienting whoosh, the presence slide into the room with me, its familiar heaviness making it a bit harder than usual to breathe.

“So it’s still with you,” she said when she returned.

I felt cold pinpricks run up and down my exposed spine. “How is it that you can see it?” I asked. “No one else has ever been able to.”

The lights dimmed further, and the scents of ginger and jasmine filled the air. She was dripping oil onto her palms. “Perhaps they weren’t looking closely enough,” she said.

Her hands were strong, her fingers supple. She began with my head, massaging my scalp, before moving down my neck to rub the tendons and cords there. As her hands traveled across my shoulder blades and down my back, a deep well of feeling began to open up inside me. The heat emanating from her hands felt almost unbearable. I felt as though I would start to shake or cry. I took a deep breath and waited for the well to close back up.


Gnoss went public the same year that Neolaia became available in the North American, European, and Asian markets. Leo was ecstatic. For once, he seemed happy with what he had accomplished, instead of brooding on what could have gone better or what was next. And although it wasn’t like I hadn’t been expecting our lives to change, it still took me by surprise, the influx of wealth and exposure Gnoss’ success brought us. We moved into a new apartment, bought vacation homes, pieds-à-terre. Leo, never one for flash, or so I’d thought, got a few luxury cars. We went for joyrides together in them, the wind streaming in through the open roof as we held hands and blasted his favorites—the Talking Heads, the Pixies, the Doors. By then, I knew all the words to the songs he’d grown up listening to and I hadn’t.

He appeared regularly on the covers of magazines and the front pages of national newspapers, and I was interviewed for women’s glossies and talk shows. I was given a stylist, for public appearances. I found the attention uncomfortable at first, but I grew used to it, and to all the attendant perks and benefits.

Privately, I tried not to think about what the larger implications of Gnoss’ developments might be, what could happen to a society in which memories were no longer something you inevitably had to live with until they faded away or were replaced by others. I ignored the usual doomsayers, the op-eds and forecasters who warned of dire times, of loosening moral standards and the potential for dictators, predators, and abusers to take advantage of the tech to further subjugate their victims or inoculate them from the consequences of what had been done to them. We’re helping people, I thought. I told myself that Leo was a visionary, that Gnoss was, in fact, changing the world in a way that so many tech and biotech companies promised to but never could.

‘Extraordinary people aren’t bound by ordinary rules,’ Leo liked to say.

“Extraordinary people aren’t bound by ordinary rules,” Leo liked to say. I never asked if he thought I was extraordinary, because I didn’t think I had to. After all, he had asked me, of all of us at Columbia, to go with him. With Leo, I never had to worry that he would think less of me for putting my work and ambitions ahead of other matters. Unlike other men I’d dated in the past, he didn’t balk at my insistence that I didn’t want children and never would, as he felt similarly. Gnoss, what he was building there—that was our baby, our shared vision.

When the news about the Chartis process and its drawbacks started breaking, I tuned out, refusing to look at the reports and even ignoring company emails, worded in polite, smooth tones, about what was going on, and reminding employees that they were bound by company policy to avoid speaking to the media. But it was hard to avoid the stories, the footage, the countless interviews. One woman, a childhood cult victim who had used Neolaia to dispense with her most difficult memories of the abuse she had suffered during her family’s time in the sect, was interviewed in a nightly news segment. She could barely string together her sentences, and had to be reminded several times of who she was. Her face was blurred out, for privacy, and the network referred to her as Cynthia.

“What would you say,” the host said, leaning forward sympathetically in his chair and narrowing his eyes, “is the most debilitating side effect?”

Cynthia began to cry. “I can’t remember anything. Anything at all.” The camera panned away from the blur of her face over to the host, who pursed his lips and reached across the space between them to hold her hand.


“You’re somewhere far away,” the woman said.

“I’m sorry,” I said.

“I’m going to ask you to turn over now,” she said. I obeyed. I closed my eyes as her hands traveled down my legs, handling my calf muscles with strength and tenderness. I realized, with a small shudder of sadness, that I couldn’t remember the last time I’d been touched.

“So how long has it been with you?” she asked. It took me a moment to understand what she meant by “it.” I tried to tamp down my awareness of the presence. I could feel it—not in the room with us, but on the outer margins of my consciousness—watching and waiting.

“About five years,” I said.

“And have you ever seen anyone about it?” she asked.

“To be honest, it’s not something I felt I could ever explain to anyone,” I said.

“Maybe you should have tried,” she said. I felt annoyed at the cool remove in her tone, the impression she gave that it was somehow my fault that I had been dogged by the presence for so long.

We didn’t speak for the rest of the session. My breath slowed again as I relaxed back into the massage. I felt like I was floating above my own body, watching it be handled and squeezed and kneaded like dough. The rope of tension that banded my muscles loosened, as though she were undoing its knots.

As a child, I was plagued by indigestion, and my mother would often massage my hands, pinching what she told me were pressure points that would help with the sharp, stabbing pains in my stomach. When I complained that it hurt, she would shush me. “Pain isn’t always bad,” she said. “It’s there because it wants to tell us something.”


What we didn’t think to take into account: Neolaia was perhaps making the Chartis process too easy.

It wasn’t immediately apparent that something was wrong, in our initial trials. Some of our subjects did experience side effects like mild disorientation and vertigo—nothing to be alarmed about. I took notes, ran trial after trial, wrote up reports.

“We have full confidence in Neolaia’s potential to further the overall goals of Gnoss’ mission,” I wrote in my final report. “Chartis production time has been significantly decreased throughout our trials, and while data integrity is always a concern when it comes to scalable tech, our main objectives, to increase accessibility and intelligibility, have been achieved. We have no reason to believe that further beta tests are needed at this time, and are excited to recommend Neolaia production be ramped up to full capacity.”

What I didn’t tell Leo was that the first time I’d received access to my own Chartis, I was immediately hooked by the simplicity and beauty of it. I tried, somewhat successfully, to ignore the urge to continue purging my memories, to discard everything I no longer needed. I also ignored reports from my own team about how some of our subjects experienced a significant downturn in their mental and emotional well-being in the months after undergoing the Chartis process via Neolaia. I told them that their data were insubstantial and that they had better run the numbers again to come up with better ones.

“Are you sure?” Leo asked me later at home.

“Are you doubting my results?” I said. He’d assured me early on in our relationship that I’d have complete freedom in my lab and my clinical trials, that he’d never take advantage of our personal connection to weigh in on my professional findings.

“Never,” he said, leaning in to kiss me. We were grilling vegetables and plant-based burgers. It was late summer. I was slicing lemons and making salad dressing. “I just want to make sure we’re ready. This is a turning point for Gnoss. For us.”

“I know that,” I said. “And I’m telling you that Neolaia is good to go. The sooner we can roll it out the better, right?”

“Look at you,” he said, amused. “Usually, you’re the one telling me to slow things down, to check all the data twice.”

“Maybe you’re rubbing off on me,” I said. I had been heading up our efforts around Neolaia for nearly three years at that point, and I was eager for it to debut on the markets, to make my mark as more than just the wife of Gnoss’ founder. I knew what my peers thought of me, that I had only gotten to my position—my own credentials and years of experience had no bearing, of course—because I had been sleeping with the boss. And there it was again, that surging sense of certainty and drive, as slippery and silver as a fresh fish, almost as though it had never left me. I felt the urge to make something of myself, to prove people wrong, to achieve something again.

They say you’ll never go broke underestimating people’s intelligence. The same goes for their willingness to avoid feeling discomfort. When memories are the medium through which we experience most of our emotions and relive our highest and lowest moments, it makes sense that, after a while, it would become addictive to edit, delete, and manipulate them over and over again, in search of a clean slate. A place beyond pain.

Early user complaints about Neolaia were smoothed over easily enough. Minor kinks, I told myself and my team. But when a news story broke about how a prominent senator in Illinois who had lost her teenage son in a drunk-driving incident years earlier was found wandering the cornfields of her hometown, weeping and clutching his school uniform—that was the beginning of the end. The senator had been a Neolaia user, and had, in her determination to keep her grief from derailing her career, uploaded too many memories in one go. An emergency redownload of her memories was planned, but it was too late—so many of her memories had been threaded through with thoughts of her son that it became impossible to detangle them from the ones she needed in order to function normally. She ended up in a nursing home, unable to articulate her sorrow or remember her own name.

After the hearings and the consumer lawsuits, it was ruled that some users’ adverse reactions to Neolaia were not due to faults with the technology, which worked as promised. Leo was allowed to stay on as CEO. The company pivoted. In the end, it was me and the rest of the high-level Neolaia team leads who took the fall. And, still, I knew I was lucky that the only fallout I really experienced, at the end of it all, was in legal fees and the dissolution of my marriage and my career.


After the massage, I felt wrung out, loose, like a newly washed garment. I thanked the woman and wobbled to my feet, wrapped myself in the complimentary robe. I imagined I would go back to my room, pass out for another night of sleep. Instead, she offered me a joint.

“Smoking after a massage is the best,” she said. “It goes through the body as clean as a knife.”

It turned out she was right. We sat outside, watching the last of the sunlight fade from the purple-edged mountains, and passed the joint between us. The air was thick with the smell of chamomile and weed. My limbs felt pleasantly heavy.

“It’s good to remember how big the world is,” the woman said. She seemed younger like this, with her glasses pushed up onto her hair and her eyes half closed in relaxation.

“How long have you been doing this?” I said.

“This?”

“Massage therapy. Running this place.”

She smiled. “Too long to remember,” she said. “I used to be like you. I had big plans, once. Now my days have a slower rhythm.”

“But you don’t know anything about me,” I said, bristling slightly.

“Don’t have to,” she said. “Everyone who comes here is running away from something. The body reveals everything, if you know how to listen to it.”

Birds called to one another as twilight fell. I wondered what story my body told. What secrets and hidden sorrows it still contained, despite my best attempts to erase them from my mind. How arrogant and foolish I had been, to think that I could outrun myself. As if on cue, my head twanged again as the presence hovered nearby.

“You’ve forgotten who you are,” the woman said. I felt my breath catch. “That’s what it wants. It’s just trying to remind you. That’s all.”

“What about you?” I asked.

“What about me?”

“You said everyone who comes here is running away from something.”

She took one last drag of the joint. The sweet-acrid smell of weed hung in the air. The setting sun illuminated her face, turning her golden.

“It’s better to hold on to some things,” she said enigmatically. “Besides, I’m not running anymore.”

That night, the cats appeared to me again in my dreams. They wound themselves all around me, nuzzling my chest and face. The dark-gray cat sat on my chest, while the orange cat, which was now an adult, butted his head against mine. The white cat watched us impassively, switching his tail from side to side. Tongues of red flame licked the walls, but there was no heat. I passed one hand through the fire and watched as it came out unscathed. “Do you see this?” I asked the cats, marveling. They yawned, bored.

When I woke, the presence was sitting at the foot of my bed, just like it used to. I had forgotten to put the wooden bracelet on after my massage. “I’m sorry,” I said. “I’m sorry I left you behind.” It watched me, silently insistent. It seemed to need me to bear witness to it, acknowledge its shape and heft. I reached for it, and my hands passed through its dark, transparent membrane. I knew then what I had to do.


“Leaving already?” the woman said when I emerged from my room with my bags the next morning. “Most people tend to want to extend their reservations here.”

“I should be getting back,” I said. “I’ve been away for long enough.”

“I hope you find what you’re looking for,” she said. She touched my arm, lightly. “There’s space for you here, whenever you want to come back.”

“Thank you,” I said. I handed her the wooden bracelet, which she accepted with a slight nod.

She came outside to watch me leave. I waved before I pulled out of the parking lot, and she raised one hand in reply. When she turned to go back inside, I thought I could see three tails—orange, white, and gray—floating behind her in the doorway.

The ride back seemed to pass much faster than the way up had. I didn’t play the radio, just rolled the windows down and let the wind sing in my ears. The narrow, winding roads soon widened into highways, and my car was joined by others, all heading south. Beside me, the presence waited, as silent and faithful as an old dog. Whenever I began to feel afraid of what lay ahead, I allowed its weight on my mind to soothe me, to bring me back to the road and the feeling of my hands around the steering wheel, guiding us home.


After Leo left me, I deleted the bulk of our later memories together. I didn’t want to be reminded of what exactly we’d said to each other, how much we’d hurt each other. I didn’t want to remember the look of anger and recrimination on his face as he accused me of sabotaging his work, of hurting the company. I didn’t want to think about how he’d instructed his lawyers and Gnoss’ PR team to craft a carefully worded statement implying that the user issues lay with Neolaia and, more specifically, with me and my failures, my negligence. I held on to just enough about those days to stay abreast of the details, to protect myself. But his facial expressions, the last things he ever said to me—the shards of memory that had caused me the most pain—I removed those exact particulars from my mind, so that when I considered those last few weeks and months, it felt like I was wandering around a half-built, abandoned house, with gaping holes where there should be scaffolding, or reading a letter sent during wartime, with several words and passages redacted by a censor’s heavy black lines.

I didn’t know if I was ready to bring it all back, to inhabit once more the dark rooms and passageways of my memories and all they held. But it was time to stop stepping around them.


When I arrived at my building, it felt as though I’d been away for months, rather than just under a week. I hesitated before fitting my key into the lock, certain that I had the wrong unit, that I had confused the one above or below mine with my own. I was still unused to this apartment, and had almost, on the way back, turned my car toward the home that Leo and I once shared, out of pure instinct.

But upon entering the apartment, I felt at ease. There were my books, my things, the few items of furniture I’d managed to purchase in recent months, including the bed where I slept alone each night. The presence followed me as I shut the door and locked it. It settled throughout my apartment like a fine layer of dust, and I realized that I hadn’t had a headache at all on the ride down.

My phone buzzed with a message from Lila. “So how was the trip? How are you feeling?” I ignored it.

I sat down at my scarred wooden desk and opened the right drawer, the one that always got stuck. The presence watched me as I felt around inside until I found what I was looking for—a dime-sized metal disk. It warmed at my touch. I placed it on my left wrist, waiting for the familiar pressure on my skin, the low hum that meant it was booting up.

I opened my computer to the Neolaia app and found the folder containing all of my data files. There it all was, in color-coded and alphabetized order—every memory I’d ever flinched away from, that I’d deemed too heavy to carry with me. I highlighted all of them and found the menu options I needed.

ARE YOU SURE YOU WANT TO REDOWNLOAD? A message asked me in flashing red letters.

I clicked YES and closed my eyes. The disk grew warmer and began whirring softly.

I sat back and waited to feel everything.

7 Books About Characters With Psychic Abilities

The process of writing, when it’s going well, feels like psychic channeling. You start typing and who knows what’s going to pour out or where it’s coming from? I’ve always felt a little psychic, a little witch— writing things that end up coming true, sensing the truth of a situation before I consciously understand it. I remember talking to a friend who also considered herself psychic and also came from an immigrant family with a lot of trauma and she was telling me how she thought being psychic was a survival strategy —you learned to be hyper-attuned to the shifts in the people around you and predict the future, usually so you could get out of its way. 

In my new novel, Mother Doll, a medium channels the ghost of a Russian revolutionary to her great-granddaughter. As research, I took psychic meditation and mediumship classes. I was in Boston at the time, helping take care of my grandfather, visiting him in the hospital and bringing my tape recorder, because he wanted to dictate his memoirs to me from his death bed. I’d sit there for hours while he talked and his eyes flitted around the room, seeing things already that I couldn’t see. I’d come home and take the class as an escape. The teacher billowed around on screen, playing the harmonium, guiding the group in breathing and meditation exercises where I’d wander around in the shapeless spaces of my mind.

But then, after my grandfather died, this abstract desire to connect to the other side became too concrete. The evening after he died, I sat in my grandfather’s office and zoomed into the class, and when the teacher said she’d made contact with an older man who was saying “something about his socks,” I felt desperate to believe that this message was meant for me. I had just fixed his hospital socks! And, simultaneously, I did not think it was him at all. Everyone in the zoom room was raising their hand, sure the message was from their own sock wearing grandpa and I felt disgusted with my own desire and gullibility. Maybe because my feelings around psychics and connecting with “the other side” are so ambivalent, that’s why I love reading books about it, and here are eight great ones.

The Master and Margarita by Mikhail Bulgakov, translated by Larissa Volokhonsky

This book is in my canon, the reason I became a writer. It wasn’t published until after Bulgakov’s death, because its biting social satire couldn’t get past the Soviet censors. The writer in the book is channeling the story of Pontius Pilate, which is confirmed by Satan and his entourage when they descend on Moscow and wreak havoc, trolling the literary elite. Satan, In the opening scene, psychically predicts the death of the man in charge of Massolit, saying mysteriously that “Annushka has already spilled the sunflower oil.”

All-Night Pharmacy by Ruth Madievsky

The narrator in this novel is… figuring it out. She’d spent her whole life as her sister’s other half, being dragged along on wild, drug-fueled nights, some of which turned scary. After her sister disappears, she tries to get her life together and gets a job working as a secretary at an ER. One day she’s visited by Sasha, a Jewish psychic from Moldova, and a whole world opens up to her. For Sasha, becoming a psychic was a form of resilience and “an extension of her queerness,” and she uses her psychic abilities to help the narrator connect with her inherited trauma—“My suffering was historic… my sister’s disappearance was the latest iteration of a trauma imprinted in my bones… when we gave parts of ourselves to men who saw us as disposable, when we stuck things in our noses and throats and beneath our tongues, it was because, in 1950s Leningrad, our great-grandfather was shot in the street.” And then they have hot sex in a bathtub in an empty Moldovan apartment.

Mr. Splitfoot by Samantha Hunt

An orphan named Ruth is raised in a group home with Nat by a religious fanatic wannabe cult leader. The two orphans are inseparable and join up with a grifter when he sees their act channeling the dead to get out of their group home. It seems ambiguous, at first this speaking to the dead—is it real or is it just a show, giving desperate people what they want to hear. No spoilers, but the way this book connects motherhood with channeling the dead is brilliant.

Exhibit by R. O. Kwon

Two women meet at a party and connect intensely, talking into the night. Jin Han, a photographer in a stalled-out marriage, tells Lidija Jung, an injured ballerina, a secret she hasn’t shared with anyone else: a family curse, like ancestral trauma, has been passed down to her. The book is narrated in chapters that alternate from the point of view of a generations-old kisaeng (a Korean courtesan) channeled from the other side through a shaman. 

The Man Who Could Move Clouds by Ingrid Rojas Contreras

In this beautiful memoir, Contreras writes about her family’s psychic gift. Her grandfather was a healer with an ability to talk with the dead, and so was her mother. After Contreras suffers a head injury and then amnesia, and this triggers her access to “the secrets” as well. These abilities are considered by some in the family a gift, by others a curse. Contreras connects her family story to the larger historical forces of violence and colonialism.

Lost in Summerland by Barrett Swanson

In the title essay from this collection, Swanson writes about going to Lily Dale, New York, a town of spiritualists, with his brother who developed a psychic ability following a traumatic head injury. Their skeptical Midwestern family began to see the strange phenomenon that at first they worried were a sign of psychosis from his brother’s brain bleed, but which could not be explained away — flickering lights, green orbs of light. His brother had a gift connecting him to the dead which was in equal parts terrifying and healing.

The Vanishers by Heidi Julavits

At an elite school for psychics, a student and her teacher begin a psychic battle. This novel focuses on toxic friendships, psychic attacks, the complicated relationships between mothers and daughters and the ambiguous spaces in between sanity and delusion. 

Beyond Black by Hilary Mantel

Alison, a psychic, and Colette, her personal assistant, travel around the suburbs of London doing readings and channeling the dead. When they settle down in the suburbs, things gets dark. Alison’s contact with the dead has been scarier than she has let on.

Leslie Jamison Writes A Different Kind of Love Story In “Splinters”

Leslie Jamison’s new memoir Splinters follows the aftermath of divorce and the awakening of motherhood, but it explores desire more than it does any kind of death. Jamison wants to make meaning, to connect, to love, to feel, to mother, to write, and to revise her life endlessly. There are losses and grief along the way, and the entanglements of marriage and motherhood are certainly recurring ghosts that haunt the narrator’s selfhood, as it spreads and ruptures.

The crystalline prose, absurdist humor, and everyday imagism that populate Splinters, however, continually draw us back to the memories and choices that make up a life, in all its messy, irresolvable variation and uncertainty. It’s not a book “about” divorce or motherhood, in other words, but about how we love and want, harm and repair, become and come undone, know and never can, endlessly.

Jamison is, of course, well-established as a master of nonfiction. The Recovering is an epic treatment of addiction and healing; The Empathy Exams and Make it Scream, Make it Burn are each instant-classic essay collections. In Splinters, Jamison turns her equally practiced narrative eye on herself in her first memoir. 

We corresponded about avoiding the binaries of motherhood, writing into shame, and how writing Splinters transformed her.


Amanda Montei: We seem to be having a moment with respect to literary and cultural representations of marriage and divorce, two subjects haunted by moralism. Men, monogamy, romance—all of these spin on an axis in the book, but ultimately, you write about resisting “the delusion of a pure feeling, or a love unpolluted by damage.” Is there something unique about nonfiction, or memoir specifically, that offers the opportunity to write away from such delusions? Your previous nonfiction draws heavily on personal experience, but this book is your first memoir. Did you always know this was the right approach to these subjects, or did you ever consider weaving research and criticism into this book?

Leslie Jamison: I’m grateful to you for this phrasing, haunted by moralism, because it gives me a new way to think about the role of ghosts in the book. From early on, I understood Splinters to be a book about haunting: being haunted by memories of my own marriage when it was full of love and promise, being haunted by the specter of another life in which my daughter was growing up in an unbroken family. (I often think that repeated words function as a psychic X-ray of a book, and in early drafts of Splinters I found the words “ghost” and “haunt” kept showing up over and over again.) But I think there’s a sense in which Splinters is also haunted by certain strains of moralism, too—certainly the notion of moral failure that can attach to divorce, but also the ways that parents, mothers especially, are expected to express their love by their children through various kinds of sacrifice. The book is reckoning with these ethical inheritances, and though there is certainly a vast and fascinating trove of cultural artifacts and histories I could have invoked in this reckoning—the unruly canon of divorce literature, the endlessly interesting (and moralized) history of divorce in America—I can say that this book announced its form and its scope to me quite early.

Splinters is so fully and deeply a book about wanting things, even as it also very much a book about caregiving and gratitude.

From the very beginning, I knew its form—these splinters of prose—and I knew its range: it wanted to stay close to my life, and my body; it wanted to get as deep into consciousness as it could. I wanted it to feel intensely distilled, intensely pressurized, utterly undiluted. When I turned toward cultural history—for example, writing a bit more about the women staying in Reno divorce hotels in the 1920s—the text felt allergic to these inquiries; they felt like grafts that didn’t quite take, like I was turning away from the heat and the pulse.

AM: I found your descriptions of the tedium and rapture of motherhood incredibly delightful—you’re able to capture the absurdity of motherhood and the strain, the many ways in which a mother’s identity is cleaved and confounded, without simply representing the relationship with the baby as a drag. Were there any specific maternal tropes you wanted to avoid while writing this book, or did you enter the process of writing about motherhood in some other way?

LJ: I truly loved your writing about motherhood in Touched Out as well, especially in this particular way: thinking rigorously about the ways many things can be true at once about intimacy and bodily closeness. More than anything, I wanted to avoid the binary I felt looming in so many representations of motherhood: either glorifying it at the expense of representing its hardship, or else somehow articulating this hardship in a way that seemed to efface or exclude its delight, profundity, and wonder. 

With parenting, perhaps because it feels so intense, it can sometimes feel like you are compromising the force of a feeling by letting in another feeling as well, especially one that feels perpendicular. I wanted to let all the feelings in, which felt simply like paying attention to the ways they were already there. 

There’s a moment in the book where I’m trying to tell my ex-husband about a day spent with my infant daughter at the Botanic Gardens, and realizing that the sense of wonder I’m trying to articulate somehow means that the exhaustion of the day is getting lost—but also really wanting to resist the idea that in order to make the labor visible, I have to narrate the whole thing as an impossible hassle. Why can’t it be wondrous and labor at once? That’s one of the milk-drenched battle cries of the book. 

AM: Yes, I loved that moment in the book so much, and I felt that milk-drenched battle cry! Speaking of, desire is central to this book as well—the desire to be an attentive and present mother, but also the hunger for a sexual life, a creative life, a pleasurable life, and for a lover who will care for the mother. A mother who desires anything beyond motherhood is still, I think, quite radical (even though, of course mothers want!). I wonder if you felt the danger and subversiveness of such honesty as you wrote—or perhaps the necessity of it?

LJ: A lover who will care for the mother! Yes, please. Splinters is so fully and deeply a book about wanting things, even as it also very much a book about caregiving (offering others the things they need and want) and a book about gratitude (feeling grateful for many things I hadn’t even known I wanted.) Even as we live in the shadow of a certain hollow Reagan-era 80s feminism of women “wanting it all” and even “having it all,” I think there is still—as you say—all kinds of shame attached to maternal desire. Shouldn’t the mother be more worried about what other people want? She certainly shouldn’t want things that get in the way of satisfying the wants and needs of others. 

The act of mothering my daughter has given me this incredible proximity to consciousness in formation.

Writing into that shame—or the cultural script that makes us feel susceptible to that shame—was absolutely one of the projects of Splinters, especially as I feel acutely aware that my ability to follow multiple veins of desire—wanting to be a mother, and an artist, and a teacher—is absolutely predicated on kinds of material stability not available to so many other mothers. To put it crudely: financial stability makes it possible not only to act on wanting many things but perhaps, even deeper down, to explicitly admit these desires, to grant them room in the psyche. 

While there is difficulty in reconciling these identities— mother, lover, thinker, writer—the book also explores the creative transformation provided by motherhood. Can you share a bit about how mothering has altered your creative and intellectual practice, your perception of the world, your writing, or your sense of attention?

I think this is absolutely another trope of motherhood that I was interested in writing against: the narrative of motherhood and art as necessarily or unequivocally competing gods, always undermining each other in the finite economies of time and attention. There’s a way in which the mother-artist is always pitted against herself, insofar as the two identities on either side of that hyphen are often understood as locked in competition. Feed one wolf and the other starves. And I think it’s important to acknowledge the ways this is true: time and attention are finite economies. No one can clone herself (not yet at least) in order to simultaneously embark on an intricate crafts project with the kid and finish her novel at once. The ability to even try to do both things is often mostly dependent on being able to pay for childcare. All those constraints are real and shouldn’t be sugar-coated away.

But at the same time, there are ways in which motherhood has been transformative and deeply generative for my life as an artist, too—not just because I write about being a mother, but because being a mother has sharpened my curiosity, expanded the range of my investments, and pressurized my relationship to time. The last of these is the most pragmatic. Now that I have a daughter, and her wellbeing is the core of my days, the logistical non-negotiable, there’s a sense of stolen urgency that feels like a heat source underneath the hours of my days—time always feels like I’m moving toward the edge of a cliff, the cliff of running out of time, and that makes me work differently, more feral and focused and ferocious about the time I have. 

As for investment and curiosity, here we go: the act of mothering my daughter has given me this incredible proximity to consciousness in formation. I mean, I truly believe that consciousness is always in formation—we are always changing, we are always dying and becoming—but a kid is learning what clouds are. She is learning that the heart of a whale is as big as a van. She is learning her own capacities for cruelty and compassion. She is learning what it means to have a second gummy bear and give it up. There’s so much to observe, so much to notice, so much to learn from what my daughter is thinking and imagining. (She is six now, and just recently made up an imaginary game she calls, “I think I’m right but I’m not actually right.” The very existence of this game seems like something I could think about for the rest of my life.) So there’s a way that she is teaching me, and asking me to pay attention, in ways that feel new and always renewing. 

AM: I want to ask a question that is the inverse of the what do the men in your life think about this book, what will the baby think question. Here’s what I have: What did writing this book offer you? You write in one section about the importance of understanding what painful or complicated experiences do for us. Has writing this book opened up any other new perspectives for you on craft, creativity, work, identity, caregiving, or love, perspectives that perhaps you didn’t have access to when you began writing this book?

LJ: Writing Splinters has transformed me in so many powerful ways. Here are a few: It’s changed the way I think about memory—sharpened my sense of a certain give and take, where we go back into memory asking it to illuminate certain ideas we have about ourselves and our lives, and maybe it does that work, but it also ambushes us with bits of awareness or challenge we weren’t expecting. It’s given me a clearer sense of friendship and teaching as places where I wanted to direct my care and my love after my marriage unraveled. It’s given me a way to articulate and keep safe the love that existed in my marriage, by writing it down, and a way to hold the care I still feel for my ex-husband, by writing into the arc of witnessing him more fully as a loving and devoted father. More than anything, it’s given me a powerful framework and conviction for this gut-level knowledge I’ve always had, but didn’t always have language for—that I’m truly a student of my daughter; not in a saccharine or easy sense but in a profound and ongoing sense. I learn so much from her ways of being in the world, and from the work and joy of being her mother. 

AM: This book is composed in fragments, but there’s a steady thrum of plot throughout the book as well. One discussion I often have with writing students who want to work in fragments is the necessity of creating some sort of backbone, or establishing some architecture, to sustain the work and pull the reader through the text. Can you share a bit about your process putting the three acts of this book together? What do you tell your students who work in this style about the possibilities or risks of creating a fragmented narrative?

LJ: I couldn’t agree more about the necessary thrum, and the crucial role of architecture in a fragmented work—not necessarily “holding together” the fragments, and certainly not arranging them into something linear, but giving a reader a sense of momentum and purpose. In Splinters, whose title refers to the form of the book (these narrative shards) as well as its content (memories lodged beneath the skin), I wanted to offer the reader two different kinds of momentum to move them through these whittled, glinting daggers of prose: There’s the narrative plotline of what happens—I have a baby, I leave my marriage, I build another kind of life in the aftermath—and then the emotional plotline of reckoning with central core questions: How do I hold joy and grief at once? How do I let my love for my daughter course through my days without feeling that the pain of my marriage ending should somehow negate it? How do I move between various roles (mother, lover teacher, ex-wife, daughter) without feeling split apart, or contradictory? I wanted these questions to feel like intellectual and emotional engines inviting or propelling a reader forward through the prose. 

If plot is a way to ask a reader to come with you on a journey, then I think questions can also function as a different flavor of invitation: Come with me, as I try to reckon with this question, or learn how to live inside of it. Questions can also be a way to help readers find a place for themselves and their own lives in the text, even if they don’t share the particular experiences that it narrates. Even if someone has never had a kid, been married, been divorced, they have probably struggled—in some era of their living—with the question of living through pain and happiness at once, figuring out how to hold both. Asking that question in the text is a way of saying: If you’ve ever wrestled with this question, this book is for you.

9 Subversive Books that are Rewriting Bipolar Disorder

If you search the internet for “books about bipolar disorder,” the overwhelming majority of titles that appear are guaranteed to be self-help books to guide you (or your loved ones) through what is seen as a scary, unpredictable illness. It’s no wonder that manic-depressive symptoms have long been used as a dramatic plot device, or that most literature around bipolar disorder is dedicated to “fixing” or overcoming it. But what if there were more creative and engaging ways to capture the beautiful electricity of our brains? 

When I introduce my debut novel Never Been Better as a bipolar comedy, I’m often met with a healthy dose of skepticism. But hear me out—a year after their discharge from a psych ward, two former floormates embark on a whirlwind destination wedding (with their rapidly unravelling third wheel determined to ruin it). It’s about how we are so accustomed to a certain type of happy ending when it comes to love and recovery that sometimes we can sabotage our growth in the process—and give wedding speeches that absolutely no one asked for. Being able to laugh at the mistakes I’ve made when screaming manic or puddle-state depressed has been key to my own recovery, and I think that writing a book that chaotically hovers in the grey area between sick and well is actually more representative of how living with chronic illness feels. 

Even though I do own a shelf of bipolar workbooks (mostly instructive gifts from family members), I’ve put together a list of reads that write bipolar differently—whether they’re genre-bending, subverting narrative expectations, or just hilariously relatable for anyone living with mental illness. It’s hard to capture the landscape of a disorder that touches the depths of human emotion in both directions, but these books do it in a way that pushes the artistic boundaries of recovery stories as we know them. 

An Unquiet Mind by Kay Redfield Jamison

When I was diagnosed with bipolar disorder at 17, my psychiatrist recommended that I read An Unquiet Mind, an unusual, landmark memoir that documents manic-depression from Jamison’s dual perspective as a leading medical authority on the illness and someone living firsthand with its volatile symptoms. While the story of her immense success in the field offered early hope that my diagnosis could be more than just a limitation, what stuck with me the most was how lack of insight—a hallmark of mania—could impact even the most educated and experienced of patients. It helped me trust my loved ones a little more and forgive myself for missing early signs of illness. 

Touched with Fire by Kay Redfield Jamison

It was years later when I discovered her memoir’s predecessor, Touched With Fire, which explores the relationship between art and madness by tracking the creative work, diaries and family trees of artists such as Woolf, Hemmingway, Shelley and Van Gogh. She argues that artists in particular have been associated with madness, and the tension between their changing moods offered creative significance to their work. One of the questions I get asked most often as an openly mad writer is whether my medication and strict wellness routines limit my creativity—and that’s when I tend to think about the detailed charts Jamison includes, marked by depressions, dangerous impulsivity, and suicides. No matter how alluring my manic creativity may feel, I always write by the rule that it’s nearly impossible to finish anything—brilliant or not—if you can’t take care of yourself while doing it.

The Silver Linings Playbook by Matthew Quick 

As the only book about bipolar disorder that my doctors deemed “light enough” to read in the psych ward, Matthew Quick’s breakthrough mental health dramedy will always hold a special place in my heart. The Silver Linings Playbook is driven by the endearing (if slightly unreliable) narration of Pat Peoples, a former teacher recently discharged from a Baltimore psychiatric hospital who is attempting to get his life back together and end “apart time” from his estranged wife. His rather zealous self-improvement routine lands him in close proximity with Tiffany Webster, a recent widow who follows Pat on his runs and offers to deliver contraband letters to his wife in exchange for his partnership in a dance competition. The zany humor of this novel – which includes riotous Eagles tailgate parties and numerous outbursts triggered by the smooth jazz of Kenny G. – offers a compelling balance to the seriousness of Pat’s plight. It’s a book that doesn’t pull any punches when exploring the impacts of mental illness, but delivers a feel-good ending that offers hope for readers who may be stumbling through their own recoveries. 

Heart Berries by Terese Marie Mailhot

I have read the opening chapter of Heart Berries more times than I can count. An experimental memoir that tracks Mailhot’s movement from the Seabird Island Indian Reservation in British Columbia to the pressure of creative writing school to a hospitalization for bipolar II disorder and PTSD that pushed her to become a “woman wielding narrative,” her prose grips you from the very start. The New York Times called this book a sledgehammer, but it’s much more precise than that. The skillful and introspective fragmentation of a difficult narrative captures what is so hard to explain coming out of the psych ward – that memory and imagination can play tricks on us, and often what we need to survive our pasts is to find new ways to narrate our futures. 

Marbles: Mania, Depression, Michelangelo & Me by Ellen Forney

By pairing bold illustrations of a mind on edge with comedic and clear-eyed commentary (plus a philosophical crisis over the nature of creativity), Ellen Forney’s Marbles is the perfect graphic memoir for mad artists. Driven by the fear of losing her creative spark while on medication for bipolar I, Forney trashes her treatment routine before finding herself losing her grip on life instead. She turns to the histories of temperamental artists—and the work of scholars like Jamison—to figure out if taking care of herself means choosing to be less creative. While illustrating her highs and lows, Forney pushes back against the romanticization of artistic madness with wit and wisdom while acknowledging the many roads we can take to creative fulfillment. 

I’m Telling The Truth But I’m Lying by Bassey Ikpi

This New York Times bestselling memoir-in-essays follows Bassey Ikpi, a Nigerian American slam poet, as she digs through the roots of her eventual hospitalization for bipolar disorder II. What I love about this collection is that it refuses a singular understanding of her story—Ikpi brings together the influences of culture, family, failed relationships and artistic ambition to highlight the many ways she has lived through her illness. One standout chapter titled “What If Feels Like” is some of the most vivid and accurate writing around mania that I have ever seen—I remember reading sections to my partner out loud in the dead of the night and feeling so much resonance in her avalanche words. It is a vulnerable, brave and kaleidoscopic collection that is such a creative departure from the scaffolding of most recovery narratives—it’s a true testament to Ikpi’s power as both a writer and an advocate. 

Juliet the Maniac by Juliet Escoria

Juliet the Maniac is an ambitious, piercing and often darkly funny book that leans heavily into autofiction and offers unflinching intertextual glimpses into a manic-depressive life. At fourteen, Juliet is a successful honors student gunning for an Ivy League acceptance, trying to swallow the feeling that something is mutating inside of her. After spiraling into self-harm, drug use and attempted suicide, Juliet is sent to a controversial therapeutic boarding school called Redwood Trails to recover from what is diagnosed as rapid cycling bipolar disorder. The relationships that Juliet develops at Redwood are alternately affirming and self-destructive, but what seems constant is a system that repeatedly fails the young people it is entrusted with. This would have been a difficult book to read as a teen just entering mental health care, but years later, I can’t help but appreciate its candor. The scattering of mementos from the author’s life throughout the narrative—such as Escoria’s hospital bracelet, a get-well card, newspaper clippings on Redwood and letters to a future Juliet—help frame a frightening story within the gentle wisdom of her later self, one that has seen the other side and decided to stay. 

The Collected Schizophrenias by Esmé Weijun Wang

This breakout collection of essays begins with Wang discovering she has been misdiagnosed with bipolar disorder, and has actually been experiencing schizoaffective disorder, bipolar type—placing her inside “the wilds of schizophrenias,” which comes with increased stigma and surveillance. While schizoaffective disorder and bipolar disorder are different illnesses, I’ve included Wang’s work on this list due to her insightful descriptions of what she calls sensory distortions (also known as hallucinations), which occur for some bipolar people experiencing mood episodes. Many of my favorite essays within The Collected Schizophrenias pull apart the idea of credibility—in particular, “High-Functioning” and “Yale Will Not Save You” explore Wang’s strategic habit of offering “signifiers of worth,” such as her education, wedding ring, and strict treatment plan, while feeling doubly aware of her vulnerability. People living with hallucinations are often hyper-visible in public spaces, and Wang’s candid reflections on using her glamorous appearance and credentials as armor offer a complex interrogation of the invisible hierarchies of mental illness that society is organized around.  

Rx by Rachel Lindsay

Rx opens with the classic conundrum of a mad artist taking a stable corporate advertising job just to obtain health benefits (haven’t we all been there?). But when Rachel Lindsay is offered a high-profile account that requires her to sell the psychiatric medications she’s secretly been taking for years, she swerves into mania and finds herself hospitalized against her will. Lindsay’s graphic memoir—started during the very hospitalization she recounts—is hands-down the funniest and most relatable depiction of bipolar disorder I have come across, including a hysterical full page depiction of the psych ward entitled “Club Meds.” But as she tries to put her life back together, Lindsay writes, “If only I had known, during my darkest days in the ward, that the hospitalization would lead me to exactly the life I felt so viciously denied.” Bipolar folks have a long history of trying to fit themselves into unforgiving boxes for other people’s comfort. Lindsay’s story is a moving and much-needed reminder that sometimes we need to carve our own paths outside the ordinary to be able to survive. 

I’m Afraid I’m Going To Lose My Boys To This Country

The News This Week by Julia McKenzie Munemo

“Did you hear about Ralph Yarl?” I ask George, my 17-year-old Black son on Tuesday night, five days after a white man in Missouri shot the 16-year-old Black child in the head and chest for knocking on his door; three days after a man in another state shot at a car that’d pulled into his driveway to turn around—20 year olds lost on their way to a party, and no cell service in those woods—killing the woman in the passenger seat; two days after a white student on my husband’s campus called in a shooter threat and my son and I had spent some of Sunday and Monday worrying—not for the life of his dad, whom we knew was unharmed, but for what it might be like to feel safe in this world again; the same day two cheerleaders in Texas were shot for mistakenly opening a car door in the dark, thinking it was their car. What has happened in this country that shooting at strangers has become our answer? What triggers our fears so deeply? Or is it that we’ve always been this scared and now just everyone has a gun?

George nods, keeps his eyes on Football Manager, sighs softly like his father might, sounding older than he is, and at a distance. I think he wishes he believed that if he knocked on the wrong door, sent to collect his younger siblings, this couldn’t happen to him. I think he wishes it were as simple as this world being so sad. He makes that sound, like he’s sighing from far away, and is it my job to bring him closer to this fear, or to let him stay distant?


“I tried to start watching a new show with George tonight, but he just played Football Manager on the couch next to me,” I’d texted my husband Ngoni an hour earlier. My second son and I, living alone most of the time these days, have been bonding over TV shows and Martin Scorsese films. 

I’m taking this too far, his eyes tell me.

“Sometimes just being in the same room is enough for George,” Ngoni reminded me. Sometimes George and I consume content together so it can be discussed and dissected and understood. Sometimes we just sit on the couch together—parallel play, they called it when we were talking about two year olds. I can still do that. I can always do that. 

“Do you remember the night I told you about the shooting at the Sandy Hook school?” I ask next. He’d been just one year older than those children, too. 

“Nope,” he says, looking up from Football Manager with annoyance. I’m taking this too far, his eyes tell me. I stop talking and scroll through my phone and realize my second son doesn’t remember an America where the school children weren’t being killed by guns. I stop talking and scroll through my phone and wonder what Ralph Yarl’s brothers thought about when he never arrived to collect them. 


“I’m kind of heavy from the news this week,” I text Julius, my first son, in New York on Wednesday after we’ve had an exchange about his day at school and he’s asked how I am. 

“Can I call?” he texts. Would the answer ever—ever—be no? 

“I can’t imagine an America without racism,” I tell him when I pick up, “but I can imagine one without guns.” I don’t add that my imagination paints a giant magnet in the sky sucking up all our weapons, finite metal objects to be collected and destroyed. “And even still with racism, that would be better.”

“That would be better,” Julius agrees. “But every time something like this happens, I think we’re stretching and stretching and it just means the breaking point is coming sooner.” He’s talking about his favorite topic: when the nation states fail and news media is revealed to be the façade he’s long known it to be, and we rebuild society from the bottom. He really believes this day is coming. It’s his only hope in this world and who am I to say he’s wrong? Do I want him to be wrong?


“It’s not only race,” I tell George on the couch. “A young white woman was killed when the car she was riding in drove into the wrong driveway and the owner of the house came out shooting.” Why do I feel compelled to tell him this? Do I tell him this so he doesn’t feel like he’s the only target?  

A detail I keep back: as the bird flies, this one happened around the corner. I want these things to only happen far from us. I want to pretend the Trump signs we drive by on our way to my mother’s house, the mall, the train station aren’t indications that this could happen to us. White mama, Black boy, side by side in a little orange car. If it breaks down? If we get lost and turn around in the wrong driveway? If I have an aneurysm and George runs for help? Knocks on the wrong door? 


“I think this is all about covid,” Ngoni will say over FaceTime on Wednesday night. “Two years of lockdown made everyone so much more paranoid.”

As a child I worried my mother had been in a car accident
each time she was late to pick me up.

“I think this is all about guns,” I will say. My phone will be propped on my bedside table while I fold laundry. He will be ironing his shirt for the next day. In this new life of jobs at different colleges, we talk every night on FaceTime, but we sometimes don’t look at each other’s faces. “Fine to be paranoid, but if everyone didn’t have a gun, would Ralph Yarl just have been threatened with a baseball bat, plenty of time to outrun the old man? Would that girl Julius’s age still be alive?”

As a child I worried my mother had been in a car accident each time she was late to pick me up, that she’d drop a cigarette on the floor in her sleep and the house would burn down, that the airplane she was traveling in would fall out of the sky. The children today, their fears. I can’t begin to catalog them, or how much more likely they are to happen. 


“Sometimes I think I just want to write my book, that that’s the contribution I should make,” Julius tells me through my AirPods. I want him to think exactly that thing and not any other thing. “But other times I think I have different skills. Maybe I could make a difference, ignite the next phase. But do you know three of the original BLM leaders died under mysterious circumstances?” He talks for a time, sources confusing and maybe exclusive to TikTok—which he would shame me for not trusting—asking: what if he became a leader of the movement and was killed by the CIA? 

“It won’t be the CIA,” Ngoni will tell me over FaceTime in a few hours. I won’t ask who it will be. “But I’m glad he’s asking these questions. It means he’s not among the apathetic of his generation.” I can’t hear you I can’t hear you I can’t hear you. Just let my sons live their lives in peace, let them find joy and meaning, and later, so so much later, let them die of old age. This is my only wish. 


I won’t move for fear of breaking the connection.

“Do you ever feel scared driving around in this town?” I ask George just one more question on the couch. I know he’s tiring of this, of me. But then I feel something else beyond his silent shaking head. A sweaty foot still in its sock pressing against the crook of my elbow. Casually. Like maybe my elbow is in the way but he’s not worried, we can share this space. Sometimes it’s enough to just be in the same room. Now I won’t move for fear of breaking the connection. I sit slightly sideways also, so casual and maybe not on purpose, but my body maintains the pressure against his body, so his body knows that his mother is here on the couch next to him, always. I scroll through my phone like I care what it says. 

Would he tell me if he were afraid?


I am so scared I will lose my sons to this world. 


“Before Sertraline, I used to think about all this stuff so much more,” Julius tells me through AirPods, “and I feel guilty about that. Like the medicine is just the same propaganda as everything else, a happy pill we take to keep us quiet.” 

Ngoni will tell me over FaceTime in a few hours that propaganda isn’t the word he means and I’ll mutter something about our son being 20 and thinking it is the word he means and that isn’t the point, really. The point is that Julius might be considering going off his antidepressants because he thinks that might help him save the world, and these concentric circles frighten me on different levels I don’t have the words to express. They have something to do with me never wanting my sons to carry a gun and how the revolution he’s discussing won’t be peaceful; they have something to do with me worrying that grandiose thinking is a thing my first son has in common with my father, and does that mean it’s a sign of schizophrenia?


“I need to do the dishes,” I say after George’s sweaty foot slides away and he readjusts himself to sit with the laptop on his lap and Football Manager (his team is winning!) running his emotions. But I come right back into the living room because I suddenly very badly need to apologize for scaring him so late at night (it’s 8:20) and bringing him into this broken land in the first place and asking him to try to survive here when the world he experiences is a world I will never experience or understand and who was I to think our children would inherit a better one? But he’s not in the living room anymore, he’s downstairs now, standing outside the basement door, thinking—maybe—that I don’t know what he does out there. Or thinking—more likely—that I do. That I get it. Smoke wafts up my windows. 


I spend so much time fighting the anxiety,
sometimes I forget that its job is to cover the fear.

“Let’s look at this structurally,” my therapist will say over Zoom on Friday morning, and I’ll wonder what she could mean. “All three of your men are in danger in this country, and your sons are both exhibiting signs of fear. Julius, for lack of a better word, through paranoia—” and I’ll wince. I will know she does not mean paranoia and I will know that she does. And I know that just because you’re paranoid doesn’t mean they’re not after you, and I know that paranoia is the first word in one of my father’s diagnoses and I know that in addition to being afraid, so very afraid, that I will lose my children to this country, I am also afraid I will lose them to my father’s disease. But I breathe and I listen. “And George by numbing out.” And this I can hear. 


I spend so much time fighting the anxiety, sometimes I forget that its job is to cover the fear. I forget how to tease it apart from the fear and sit with these things separately. “Anxiety is a constant, obnoxious force,” my therapist will say, and I’ll think about a child from grammar school, always buzzing in my ear when I was trying to learn science. “But fear, like grief, will come and go, and the trick is to learn to sit with it, and to breathe.” 

I’ll recognize that it does come and go, the fear, and I’ll think about how I learned to put my fears in a box as a child. (Brick houses don’t burn down, stop worrying. But then the brick house across the street burned down.) And that fear closed away opens the door to anxiety. 


“I am feeling some of the awfulness of the world after this week in the news,” I text my mother when she asks me how I am on Thursday morning. 

“The news this week is awful,” she responds. “I am only happy the stupid old man didn’t manage to kill Ralph Yarl.”

“Me too, that kid is a wonder,” I type across state lines to my mother, not asking if she knows he ran away after being shot twice, that he knocked on three doors before someone helped him. Not asking if she knows what his brothers were thinking when he never came to collect them. “The girl in Hebron, NY, tho. The cheerleaders in TX. When did we become such paranoid people? Ngoni says covid. I say: when they gave every American a gun.”

“Or when we decided it was okay to own other people,” my mom types back faster than is typical for her poor eyesight and arthritic thumbs. “Always knowing deep down it was wrong and indefensible.”

And then she adds in a text bubble all its own: “Hence guns.”

My mother. How many 83-year-old white women in this country would throw down slavery as the cause of it all in one simple text, making her daughter feel so much less alone?


I asked if he’s scared to live in that world.
I am so scared to live in that world. 

“Up to pee and this thought occurs to me,” I will type to Julius—who I know leaves his phone on silent—at 3:23 am on Thursday, on what will become my first sleepless night in a long time. “You might have thought about all this stuff more pre Sertraline, but you weren’t able to do anything about it bc of being too depressed to act/move/do. What if Sertraline allows you just enough freedom from that to be the very thing that gives you the ability to do something about it all?”

At 9:04, before he’ll even have seen the first text, I’ll be just out of the shower and will text him a Spotify link to Mos Def’s “UMI Says,” and hope he gets the message. It’s a song I sent George some months ago, too, after a similar conversation justifying antidepressants. Who can shine their light on this world without them?


One fall night last year, George and I drove through the backwoods of Massachusetts on our way home from a soccer game, and he spoke about beauty in nature and the end of the world. 

“I know I’ll live to see a world without trees,” he said, looking at the trees all around. I strained not to see them, to imagine not being able to see them. “I need to paint all this before it’s too late, so we can remember.” 

I’d recently hung one of his paintings on the wall, a landscape based on the view of trees and grass and sky from our back stoop, but all purples and reds and dark blues. That it is recognizable as our backyard speaks to his talent. That it represents how he sees this world speaks to his mind. 

“I’ve been thinking about life after society has crumbled,” he said, and I asked if he’s scared to live in that world. I am so scared to live in that world. 

“No,” he said quietly. Confidently. 

“Because you feel equipped for it?” 

“Humans adapt,” he said. “We always have.”

We were quiet for a moment, though I was certain it was my job to say something next. Instead, he continued: “I’ve been thinking about what it’s my responsibility to fix, since I was born into this moment.” 

Overwhelmed with all there is to fix, I sighed and put my hand on the back of his neck, thankful he was born into this moment. That he’ll find what to fix in it.  


Tonight George will have his friends over for homemade pizza—he and Ngoni built a wood-burning oven during the first covid summer, and he dried it out for the season last night; inaugural pizzas for him and his girl. He’ll blend his homemade tomato sauce, mix the dough in my KitchenAid, shred the cheese all over the counter. His friends in this small New England town are all white and they won’t talk much about Ralph Yarl. They’ll giggle and share stories about college visits they made during April break and smoke some weed and eat some pizza. And Ngoni will come home while they’re out there, pulling into the driveway like he does every second Friday night, like it’s home. I’ll pull the casserole out of the oven and wipe my hands on my apron and put on lipstick when I hear his car (just kidding; I’ll be wearing sweatpants and flip flops and dinner will be takeout; he’ll be tired and grouchy from a long day and a long drive and barely kiss me hello) and I’ll watch him walk up the stairs with his suitcase, like he’s checking into a hotel. Tomorrow, George will go to work at the restaurant where he’ll impress the rest of the staff with his maturity and cooking skills as he does every Saturday, and Ngoni and I will take down the corn house he built a few years ago to keep the squirrels out, which collapsed under two feet of March snow. The sun will shine, or it’ll be cloudy. The dog will chase the ball I throw for him. Or he’ll lie in the grass and watch for deer. George will come home from work smelling like bacon. Or—. 

We’ll breathe.

8 Novels from Across the World About Isolation

The condition of being cut off—geographically, emotionally, or both—provides fertile ground for fiction. Isolation can be a pressure cooker for conflict and mystery. It can occasion reminiscence and reflection. It can lead to unlikely intimacy. And it can furnish the ideal lab conditions for thought experiments.

My debut novel, The Other Valley, takes place in a small town in the wilderness. It’s so isolated, in fact, that it’s the only town in the world. But that doesn’t mean it doesn’t have neighbors. The exact same town repeats itself in a chain of adjacent valleys—valleys that are staggered in time. To the east, the town is twenty years ahead in the future; to the west, it’s twenty years in the past. Secretive visits to neighboring valleys are permitted only in rare circumstances. If, for example, you can prove that your grief is unusually severe, you can petition to hike over the mountains and furtively view your lost loved ones in a town where they’re still alive.

The book’s heroine, Odile, starts out lonely and deathly shy. When we meet her as a teenager, she’s so solitary she hardly speaks. Then she accidentally recognizes two grieving visitors to her valley and realizes what it means: one of her classmates is about to die, and she knows who. Sworn to keep her foreknowledge a secret, Odile befriends the boy and begins falling in love, drawing her into a dilemma that could alter the arc of her life.

The eight novels on this list all hinge on types of solitude: spatial dislocation, confinement, aching loneliness, even a few speculative snow-globe worlds. Each book, too, makes a point of showing the haunting beauty that can accompany isolation. Sometimes the meaning of things reverberates most loudly when the walls have closed in.

Disappearing Earth by Julia Phillips

The kidnapping of two sisters sets off this locked-room mystery. The room in question: the vast Kamchatka peninsula in Russia, a former Soviet military zone that is still unreachable by road. The girls’ disappearance haunts the novel like a subharmonic frequency, rumbling in the background of various women’s lives as they grapple with the threat of sexual violence and the racist double standards that treat some victims as mattering more than others. Phillips is attracted to Pacific Rim locales—her upcoming Bear takes place in Washington’s San Juan Islands—and Disappearing Earth is an unforgettable evocation of a world on the edge of the world.   

Moon of the Crusted Snow by Waubgeshig Rice

On a remote northern reserve, an Anishinaabe community is preparing for winter when the power goes out. All communication ceases from the south; supply trucks don’t come. What follows is a portrait of the apocalypse as a small town, and a quietly moving tale of resilience and self-sufficiency. Alongside the anxiety of dwindling resources and the inherent tensions of collective action, the pace of life grows pleasantly slow, and conversation replaces entertainment. But when white survivalists arrive demanding access to the reserve, the novel shifts into two simultaneous gears: a realistic thriller, and an icy parable of colonial insatiability. 

Paradise Rot by Jenny Hval, translated by Marjam Idriss

In Paradise Rot, the writer and musician Jenny Hval gives a hallucinatory reinterpretation of Eden as a site of erotic symbiosis. Jo, a Norwegian exchange student, can’t find a room to rent in her new English university town—except in a derelict brewery occupied by a mysterious woman named Carall. Once they begin an affair, the world outside the brewery seems to disappear: “No town, no view, no lights and no islands.” In their isolation Jo and Carrall merge together, and the romantic dissolution of selfhood is depicted as rot. Memories ooze between minds; veins sprout like stems from one and grow into the other. Desire is realized as mutual decomposition in a gross, gorgeous return to the garden.

Never Let Me Go by Kazuo Ishiguro

Never Let Me Go is about memory, lies, and hope. Another theme, emblazoned in its title, is loneliness. Kathy is an itinerant “carer” whose adult life is a slow blur of passing fields, motorway pit stops, and hospital visits. As her own ominous transition into a hospital grows near, she reflects on her childhood at a secluded school called Hailsham, before her friends were distributed around England for a purpose long kept secret from them. Ishiguro’s novel is a tender look at the transience of human connection. It’s also a masterpiece of worldbuilding-by-elision that blends golden nostalgia with growing horror.

Shot-Blue by Jesse Ruddock

A boy named Tristan and his mother Rachel live alone and impoverished in an island cabin in northern Canada. Rachel says the cabin is theirs; neighbors on the mainland consider them squatters. When the cabin is destroyed to make way for a resort development, a delirious Rachel wanders into the cold and dies of exposure: “All was white around her, no matter what colour it was. Coated with snow wind-burnt to ice, the black trees reflected the sun so intensely they shone like mirrors.” An orphaned Tristan fends for himself in the one place he can get room and board—the new resort that has replaced his home. Ruddock’s poetic coming-of-age tale achieves an uncommon balance: gem-sharp prose in an enigmatic atmosphere.

Morvern Callar by Alan Warner

In an afterword to the 20-year edition of his debut, Warner recalls the first time he admitted to someone that he was trying to write a novel: “It’s about,” he said, “the loneliest girl in the world.” In its opening scene, 21-year-old Morvern Callar discovers that her eccentric boyfriend has “cut His throat with the knife”—and instead of reporting his death, Morvern stays silent. With outward composure and a curt inner monologue, she carries (and then exploits) her secret wherever she goes, from her claustrophobic port town in the Scottish Highlands to the glittering Spanish coast. A macabre marvel that is equally harrowing and droll.

Grove: A Field Novel by Esther Kinsky, translated by Caroline Schmidt

Grove’s narrator intended to share an extended stay in Italy with her husband. When he passes away, she travels to the tiny village alone. The result is a natural almanac of grief, remembrance, and renewal. Kinsky has translated Thoreau, and her subtitle “a field novel” is fitting: the book traces a seasonal trajectory and dwells on elemental sensations like the shifting colors of cloud-light, the noises of the marketplace, and the scent of burning olive branches. Despite ready comparisons to Sebald due to its elegiac tone and peripatetic narrator, Grove is warmer and more lyrical, less impersonal and digressive, more fiercely in love with the living.

The Memory Police by Yōko Ogawa, translated by Stephen Snyder

On the unnamed island where this novel takes place, things are draining from the world. One day ribbons are disappeared; another day, perfume. With the definitions of the words already growing hazy in people’s minds, the forbidden items are destroyed in bonfires, and the Memory Police scour the island for any remnants that might serve as reminders. Ogawa’s spare surrealism creates a fable-like environment in which everyday artifacts become beautiful, baffling talismans of an inaccessible history. The vanishings vibrate like one half of a metaphor (for totalitarianism, or species loss, or dementia, or simply time), but the ominous narrative is too elusive and free of explanation to be heavy-handed: it’s an equation that refuses to resolve. 

Darling, Please Flatten Me With the Volvo

A Contagious Age

DEAR ________ : I WANT TO BE A BETTER FRIEND, I’M SORRY

You put your hand on my neck and
whisper that if you were here you would

sew me a telephone. But you
are here, I say, and then you walk

to the door. I follow your shadow past
my mother’s gun-filled aquarium and

meet you on the porch where we watch a
slow wreck occur on the highway. The colliding

metal makes a severity of noises and we stand
admitting our own heroic transgressions

without ever discussing who let the neighbor’s
kid unbury the body. When it’s finally

dark enough to move in poor focus, you
saddle my shoulders with soldered toy

soldiers and ride me to the crash site so one of us
can flirt with the medical examiner about unsanitary

stock market projections. Nobody has enough
loose rope or batteries but the signs we’ve

made hold firm under the weight of your aging
chest. Lost in the panic we are ravenous

trumpets, mouths swelling like boxcars
to blow hard scissors and oil.


I Loved “Barbie” and “Poor Things” but Neither Film Is a Feminist Masterpiece

I’ll give you a plot and you tell me which 2023 film I’m referring to: A wide-eyed waif who lives in a technicolor world gains sentience and leaves on an existential odyssey that exposes her to the inequalities of a modern society.

If you answered Poor Things, you’re right. If you answered Barbie, you’re also right.

Both films have been applauded as expert examples of empowering parables about the adversities of being a woman. However, their critiques of capitalism and patriarchy —packaged in delicious pastels and tightly wrapped with a coquettish bow, and delivered with a cutesy wink—are ultimately shallow. Hailing either film as a feminist triumph would be like saying “WAP” solved misogyny in hip-hop or that Lean In eliminated systemic sexism. 

I couldn’t help but lament the misguided nature of calling either film a ‘feminist masterpiece.’

Don’t get me wrong, I loved both movies. Mark Ruffalo gave one of his best performances as the delightfully louthe Duncan Wedderburn in Poor Things, while Barbie perfected the cotton candy landscape of my dreams. But despite the enchantment of watching them on the big screen, I couldn’t help but lament the misguided nature of calling either film a “feminist masterpiece.”

In Poor Things, a sexy and pregnant Bella Baxter (Emma Stone) is revived from a suicide attempt by a maimed surgeon (Willem Dafoe), who transplants her baby’s brain into her skull to revive her, essentially rendering her both mother and child. 

Let’s dissect that: A man neglects an unconscious woman’s bodily autonomy by cutting her open and further violates her by sticking her unborn child’s brain in her head. And he’s supposed to be one of the sympathetic ones! There’s also the fact that for most of the film, she calls him God. 

The film starts in black and white and transforms into opulent vibrancy with Bella’s first orgasm. There are interesting threads to pull on: How would a woman without shame, a hedonist who follows pleasure and indulgence—eating pasteis de nata until she pukes orange sludge, rubbing her clitoris at the breakfast table—perform in polite society? How does shame get instilled throughout our upbringings and reinforced via social disdain? In what I consider one of the film’s biggest missed opportunities, Poor Things avoids delving into these provocations, instead focusing on the transformation of her obsession with sex from pure pleasure to labor.

Barbie exults: The world would be a utopia if women were in charge!

During one extended vignette, Bella works at a brothel in what is supposed to be a celebration of her cavalier attitude toward sex and a symbol of her increasing agency. It’s the oldest profession, why shouldn’t she engage in the simple demand/supply of it all? “We are our own means of production!” Bella shouts at Duncan, in what is supposed to be an empowered cry of agency. However, the film shies away from actually analyzing the circumstances that often force women into sex work, as well as the dangers that often befall women in the industry; her foray at the brothel is depicted as without consequence, frivolous, played for shock value alongside the repeated gag of Bella’s bored face during a male client’s furious humping. 

Barbie is the sanitized sibling of the often-crude Poor Things, and suffers from a similar depthlessness. While behind-the-scenes female involvement incorporated more interiority (Poor Things was written and directed by men, based on a book by a man), Barbie is at its core a feature-length commercial proselytizing Barbie’s official slogan: You can be anything! But what this hackneyed message airbrushes is the lack of agency millions of women face due to inequitable social systems. The women who don’t have the privilege of choice.

Instead, Barbie exults: The world would be a utopia if women were in charge! Yes, capitalism is bad, but not if we had more female millionaires! The system isn’t broken but only cracked around the edges; gender equality is the caulk to seal the world back together. 

Of Sheryl Sandberg’s Lean In, the prolific cultural critic bell hooks wrote: “It is as though Sandberg believes a subculture of powerful elite women will emerge in the workplace, powerful enough to silence male dominators. Her optimism is so affably intense, it encourages readers to bypass the difficulties involved in challenging and changing patriarchy so that a just moral and ethical foundation for gender equality would become the norm.” hooks may as well have been talking about Barbie

I want films that paint the whole messy mural of feminine spectra.

Much like Barbie, Bella is treated as a doll—an object to be played with and rendered silent. When the impolitely candid Bella makes a scene at dinner with her displeasure for the food and her desire to sock a crying baby at a neighboring table (honestly, relatable!), Duncan pushes her against a wall: “You will rejoin the table and will confine yourself to the following three phrases: ‘how marvelous,’ ‘delighted,’ and ‘how do they get the pastry so crisp?’” Once Barbie’s Ken learns of patriarchy in the Real World, he returns to Barbieland, evicts Barbie, and transforms her Dreamhouse to a preposterously hyperbolic bachelor pad known as the “Mojo Dojo Casa House.” Men in these films are so cartoonishly villainous that the best ones are seen in a compassionate light simply because they are not as bad as the others. Ramy Yousseff’s character—God’s protege and Bella’s betrothed—is a “good guy” simply because he does not condemn Bella’s sex work. The standards we have for men are so low!

Both films portray patriarchy as simple, straightforward—all wolf whistles and ass groping—as if the daily fear of men that women live with in the real world is not insidious, textured, and often times subtle. Although not without its flaws, the 2020 film Promising Young Woman deftly shows how sometimes the most dangerous men are the self-proclaimed “nice guys” who own koozies embroidered with feminist slogans. Or “Cat Person,” the viral New Yorker short story turned film, which catalogs the dark psyche of a man who does not get what he feels entitled to. 

Poor Things is supercilious yet silly, cramming in a bunch of sociopolitical topics without dedicated dissection. The frivolity makes the 2.5 hour run-time feel like a slap in the face. As Bella becomes progressively progressive, she donates to the poor, attends socialist meetings, and blithely comments on the fragility of hysterical men. All this evolution gets undermined when the film ends with her sipping a cocktail with her queer lover while commanding a zombie Bella 2.0 to fetch more drinks in her cloistered, opulent mansion. 

Similarly, Barbie ends with the titular character’s voluntary transformation into a real girl. The evil Mattel executives agree to produce a “regular Barbie,” a doll that eschews beauty standards because the concept will make the company boatloads of money. Barbie apologizes to Ken, men are included in Barbieland, and everyone kumbayas that cooperation is the antidote to an unjust society. 

That both films end with the enlightened dolls recreating and upholding the same systems that they spend the entire plots undermining is a convenient absolution. Are Mattel executives forgiven for the damage they’ve caused through endless endorsements of unrealistic beauty standards because it cheekily pokes fun at itself through the film’s depiction and recognition of their boardroom sausage fest? Does the male gaze in Poor Things get a pass because the woman in question is a libertine exhibitionist, unashamed and unabashed? These happy, Hollywood endings promote the feeling of victory without asking who the true winners are. 

While I thoroughly enjoyed both movies and would happily consume their cotton candy fluff again, upholding either as the zenith of feminist commentary disallows a future where truly nuanced films don’t get their due credit. For all of its preoccupation on Bella’s vagina, not once do we hear of her ability for menstruation or motherhood; there’s a singular shot where she lingers on the cesarean scar that birthed her but that introspection is not deepened beyond the discovery of her origin. And despite Barbieland’s representation of plus-sized, Black, Brown, Asian and disabled women, it is important to remember that diversity (especially when most of them are silent and perfunctory) does not equal inclusion. I want a Poor Things where Bella discovers the horrors and joys of menstruation for the first time! I want a Barbie where two Barbies kiss! Namely, I want films that paint the whole messy mural of feminine spectra. To settle for anything less would be a disservice to whichever plastic dream—or real—world we exist in.

“Prodigals” is a Uniquely Appalachian Story of Mental Illness, Loss, and Grief

In the Biblical parable of the prodigal son, a son asks his father for an early inheritance, leaves home, and quickly spends it all on “riotous living.” Destitute, the son resolves to return home, where he figures he might beg his father for a job. Instead, much to his surprise, the prodigal son is met with joy and abundance. “Let us celebrate with a feast,” the son’s father says, “because this son of mine was dead and has come to life again.” 

For Sarah Beth Childers, author of memoir-in-essays, Prodigals: A Sister’s Memoir of Appalachia and Loss, this parable wasn’t as much a lesson as it was a reflection of her reality; her brother, Joshua, who died by suicide at the age of twenty-two, was, in life, the embodiment of a prodigal son. The symptoms of Joshua’s severe mental illness meant that he often left home, leaving his family to wonder when—or if—he would return, and what state of mind he might be in when he did. 

In Prodigals, Childers captures an angle of the prodigal son story that is undertold: what it is like to be the one waiting for a return. As Joshua grows older and begins to make decisions for himself about his well being, Childers raises important points about agency when seeking or refusing medical intervention and about the ways that historic beliefs about mental illness have seeped shame into the present. She writes movingly about the difficulties of obtaining meaningful and compassionate care for mental health in the U.S., a thread complicated by her family’s generations-long tenure in Appalachia, a place where distrust in modern medicine runs deep. 

Childers and I talked by Zoom about writing out of stereotypes, intersections between faith and healing, and what it looks like to seek closure for an impossible grief. 


Jacqueline Alnes: You write about how you don’t want to feed harmful stereotypes about Appalachia but that you also felt pulled to tell your story of your upbringing there, which, in some ways, does intersect with those stereotypes. What was navigating that tension like? 

Sarah Beth Childers: That tension was everywhere. I had to have the freedom to tell my story, so I had to just say out loud that I have a fear it reinforces stereotypes but also know that there are ways it doesn’t fit. I talked a few days ago to a writer named Kami Ahrens who edited The Foxfire Book of Appalachian Women. She wrote about trying to move past the stereotype of “poor, white, and stubborn,” and I was like, well, that’s me and my family. I had to think about what is Appalachian that you would think of my family, like that desire to leave twinned with the desire to stay. And then I had to think about things that are inevitably Appalachian in a sad way, like not having access to medical care because we were in the middle of nowhere, a resistance to medical care because of historical trauma around medicine and also not having access to it, and intense religious faith. 

Human beings themselves, though, defy stereotypes. My mom was a fundamentalist but also a feminist —she’s absolutely for women’s rights and for women’s role in the church and marriages. If you were just to think of a stereotype of a fundamentalist, intense, Christian mother, that would not be what you think. There are some little things that were me pushing back against stereotypes. Both of my parents had college degrees, we were lower-middle class but we were hyper-aware of class stratification. 

JA: Appalachia feels like a difficult place to write about because there is such a charged expectation around it, it seems.

Every day was a prodigal son day; it was like he left us and would come back and we never knew how fully he would come back.

SBC: It is. I have a student, who’s a really great student, who’s now in a PhD program, and she’s an Appalachian writer who grew up queer, and upper-middle class with professor parents and someone on her thesis committee was like “add more broken down cars and dirt and bring in the stereotypes” and she just had this look on her face, like that would be fake. It would be like someone from Michigan trying to write about it. There is this expectation, and this Appalachian aesthetic, which I remember learning about through photography. It’s the landscape in the background and a zoomed in emphasis on dirt, which I realize I totally do. It’s an Appalachian way of looking, which is interesting. 

JA: You were raised attending a fundamentalist Christian school. In ways, this upbringing seems like it meant you felt isolated at times, but in that isolation you drew near to your siblings. And clearly, from the beautiful way you interpret the story of the prodigal son—as a metaphor for your own relationship with your brother, in the riotous joy that you think the son must have felt at timesreligion might have also offered a way for you to narrativize really complex relationships.  How did the story of the prodigal son help you to reckon with loss? 

SBC: I went to church with my mother-in-law and the pastor was preaching about the prodigal son and I took it personally, as if he was talking about my brother. It felt too close to home. My mom had always talked about Joshua as the prodigal son and that’s literally the way my family coped. It seems like it’s a metaphor, but it really isn’t. “My brother has gone to the feet of the Father” was said in a literal way. The metaphor was thinking about the prodigal son at home and thinking about riotous living in different ways, both with “riotous” as in terrible and as in happy. That definitely helped me cope and helped me process.

The elder son in the parable ends in this very grumpy, unsettled way, I adore that. There are so many Bible stories or parables that end this way, like Jonah, sitting on a hill, raging at God and being grumpy about this dead plant. I love how angry people often are. It’s not this joy feeling at the end of stories. You don’t know, for example, if the prodigal son’s older brother is ever going to talk to his father again or his brother; it seems like he might just leave. It helped capture the grumpiness I felt in my grief and the very collective grieving I felt with my family, but also this isolation in that I was grieving in a slightly different way. 

A thing that was also helpful was looking at mental illness portrayed in the Bible, like the demon possession. Of course, it is literal demon possession in the Bible, but the way they describe the people sounds so much like severe mental health disorders. It was interesting to read medieval accounts of mental illness and how they were treated as demon possessions, probably because of how it was portrayed in the Bible, and then thinking about these stereotypes around invisible disabilities. Every day was a prodigal son day when my brother was having trouble; it was like he left us and would come back, leave us and come back, and we never knew how fully he would come back. Having that cultural language to map that onto was really helpful. 

JA: When I think about the story of the prodigal son, I so often only really consider the titular character. But, in your essays, you ask us to think more closely about who is left behind waiting for the son to return, and what it looks like to be among those hoping for the son’s safe return. When your brother was young, you wanted to be there to fill his every need, but as you got older you realized you had to separate yourself in some ways, while still wanting to care for him.

To me, there are things that feel like higher forms of grief.

SBC: That was really painful. I would have moments where I would try to step in and fix things for him before realizing it wasn’t possible. When Joshua was in college, he had this roommate who stole from him, so Joshua called me and told me how awful it was. I told him I’d call the RA, because changing rooms is something that happens all the time. We can fix this. But he was like, Sarah Beth, I think he’s starting to like me. I realized that sometimes there’s nothing you can do, especially when people are growing up and getting their own agency. There were cultural forces that he couldn’t do anything about but there were things he did choose. Like he was living in Huntington and decided to smoke weed instead of talking to people about his mental health. I mean, he was a kid; you can’t blame him for it—I don’t blame him for it. There’s a grief of people growing up, like your little sibling who you’ve infantilized becoming a complex human being, and realizing there are problems you can’t fix.

JA: Mental health and the stigma around receiving help can be fraught in any situation, in any place, and in any family, but you write so movingly about how your home in Appalachia, in particular, meant that options felt limited. Would you mind sharing a little bit of your perception of how place—and the history of place—intersects with beliefs about healing?

SBC: In a shorter term way, I was thinking about how, like probably every family, the generations of mine tend to repeat what happened. My great grandmother was given up for adoption at three years old and taken as a farmhand. She had to make biscuits for farmers at three years old. It’s difficult for me to think about that life for her. My Granny, even though they had left that situation, felt from a very young age that she had to take care of herself, so she got married at thirteen to get out of the house. My Granny had paranoid schizophrenia. The way that ended up being best to cope with her was to give her space. She didn’t want to take medicine and the only option was to institutionalize her, which was not going to be a good situation. My mom fought to keep her out of there and take care of her at home. My mom had to be a committee for her so she could get signed up for disability and get to take her ex-husband’s retirement money so she could live comfortably in this little house. What was most comfortable for everyone was for her to live alone in a little house; she would have been miserable around other people. She needed her routine—waking up at 4am, reading romance novels, making clothes for us, and smoking her cigarettes. She just needed groceries brought to her and her bills paid. There was that. We grew up with this grandmother who might, when we showed up, literally push us out the door or scream at us, or greet us really warmly. She was so funny—funny in a way that nobody else was funny. She would talk about anything and she had whiskey and a gun. She would have us watch a dirty movie to learn about life. If she was happy, every line was a joke. We had seen how mental illness could be coped with: hide it, give the person space, and hope it will get better.

With Joshua, especially because of the stigma, for my mom, it was a lot of these things: hoping if he got closer to God it would go away, and thinking, what if he outgrows this and gets better? Obviously it did not get better. We had so many fears: What if he goes to prison? What if he kills someone? Him going to the Father was better than that, in some ways. No one was happy he died by suicide, but it was such a hard situation that there were worse alternatives, almost.

JA: It’s a story that highlights the impossibility of being mentally ill in this country. It’s so difficult to find a space where someone would want to go live and be and be treated. The lack of care in Appalachia and the way you highlight the heightened rates of suicide in Appalachia in your book, mental illness or not, was really sobering to read. 

SBC: Something that was healing to realize is how pervasive it is in the culture and almost how inevitable almost that he would die that way, especially with the particular illness he had, where the suicide rate is so high. And then, being in Appalachia where the suicide rate is even higher, it just felt like, what else could have occurred? Is there a point in feeling guilt or figuring this out? I feel like part of my book was figuring out that there is truly no one to blame—certainly not him, certainly not my family. It’s just so hard. It feels like it’s so much bigger than us. Hundreds of years of culture contributed. 

JA: With grief, so often you want this idea of ending or closure that never comes. In the Prodigal Son parable, there is this sense of jubilance when he returns and everyone is whole, for at least a little while. Reading your story, it seems like you’ve arrived in a different place than you were years ago, but there’s not a real sense of closure, which makes sense. What advice would you offer to people searching for that closure or seeking to understand who they are now?

SBC: In terms of suicide, specifically, it is definitely about letting go of the guilt, which is a hard part of the process. There are these immediate things, right after you lose the person unexpectedly, especially someone who chose to leave you, that happen, like a movie would come out or a song would come out and I would be like, if only he had known about this coming, would he have stayed for a week? Fortunately, your brain quits doing that, because it’s so exhausting. 

Talking to other people and seeing that you can make it past it is meaningful. There was this kid who only knew Joshua a little bit, but his brother had died in a horrible car wreck five years before that and he came to the funeral just basically to say, look at me, I am alive. It was such a gift, and I remember thinking that. My sister had seen him years later, randomly, through a window while walking to school, and he was dancing while cooking. She realized: he’s okay. 

To me, there are things that feel like higher forms of grief: you can lose much more of your family, there are wars, and there are worse things that can happen to you. For my parents, losing a child is worse. I hate to rank grief. I think about in War and Peace when Pierre thinks about having painful shoes when he was rich was almost as bad as the real things happening to him now, just because of how much he changed as a person. You can never judge people on what they’re going through and how bad it is for him.

JA: The grief you were in prompted you to seek care for yourself, where you accepted medication while still holding onto your faith. 

We had seen how mental illness could be coped with: hide it, give it space, and hope it will get better.

SBC: I had this very specific kind of depression when my brother died. It was severe. It wasn’t the first time I experienced it. I talked about, in my first book, being in love with this man on the internet, which happens to a humiliating number of people. It was such a source of shame. I had written him these long emails and broken myself over him, but had never met him. He only lived fifteen minutes away and I remember reading Sense and Sensibility and reading about how Willoughby is always hiding in shop windows, trying to get away from Marianne. I thought he must have been doing that to me. I had a severe bout of mental health issues at that time, and had I taken Prozac or something I probably would have bounced back from it faster. Like I did when my brother died, I got super thin, lashed out at people, and hurt my relationships with people. I had this particular trauma-induced depression, where it’s not something I cope with on a daily basis, but a bout of it was induced. When my brother died, it triggered it. The shock of it drains all of your serotonin, and learning about the science behind grief helped me. I really had to build my stores back up with the medication. I did think at the time, maybe if my brother had tried medication, maybe it would have helped something. And I thought: I have to try. I want to live. I couldn’t live and I want to live. I developed the tools to deal with my own grief-induced depression and now I know there are things I have to do personally to survive, and I know that I will. 

JA: What did you take from writing this book or what do you hope others take from reading it? 

SBC: In books about suicide, I find that there’s often a little blame-iness, which I think comes from a similar feeling to what I had at first, which was that I had to figure this out. There is no one factor. It’s so much bigger than that. You have to go back to history, to place. Was healthcare available? Would they have been stigmatized if they said they needed care? You have to go back to deep that blaming yourself and other people is not useful. Experiencing the freedom of that is something I hope people can take away.

7 Books Written as Letters to Family Members

When I began writing my unborn son a letter in 2018, a book was the furthest thing from my mind. I wasn’t trying to unpack the countless ways in which the words “all men are created equal” have failed us in this country. Instead, I was thinking that I would write a letter, something that I had not done in some years. Not an email or a collection of social media posts, but an honest to goodness old-fashioned letter, the kind I used to enjoy writing and dreamed of receiving, but never did, when I was a kid. 

I had planned to tell him that I was re-reading Dostoevsky’s Notes from Underground and savoring Ellison’s Invisible Man for the first time. I had planned to tell him about my students, and New Jersey, and most of all, how much I missed his sister, his mama, and him, even though he wasn’t born yet. But then I began to worry the racism and hate I was encountering daily would consume me, figuratively and literally, and the writing took on a life of its own, fueled by the worry and fear of a forty-something Mexican American becoming a father for the first time. 

Suddenly, I was calculating time differently. How old would I be when he could speak? When he began to shave? When he graduated high school? College? When he became a parent himself? Where Are You From became my attempt to give my child all the guidance I could on how to use his imagination to survive all the wretched ways that America has devised to deprive him of life, liberty, and the pursuit of happiness. 

Letters to a Young Muslim by Omar Saif Ghobash

The titles of some of the probing letters Ghobash writes to his two sons speak to the courage of this book: “What is True Islam?,” “The Gray Area,” “The Challenge of Freedom,” “The Muslim Individual.” The wisdom of this book is matched only by its tenderness. Ghobash puts on full display his skills as a diplomat to show that celebrating our shared humanity begins with the individual who centers not fear but love, not anger but kindness. 

I’ve Been Meaning to Tell You by David Chariandy

Chariandy’s letter to his daughter opens by recounting a moment of bigotry he experienced in his native Canada when she was three years old. A decade later, he examines that moment in light of the wave of bigotry and hate stoked by newly elected U.S. president Donald Trump. This book is a powerful meditation on the ways in which the effects of slavery and immigration ripple forward through history when they go unexamined. 

Breathe by Imani Perry

In this letter to her sons, Imani Perry assembles a team of luminaries (Morrison, Emerson, DuBois, et al.) to support her thoughts on the power of resilience and how to cultivate it in our children. Rather than allow our youth to become victims of generational trauma, Perry’s letter encourages them to tap into the generational endurance found in their traditions. 

Between the World and Me by Ta-Nehisi Coates

The engine that drives Coates’s letter to his teenage son is interrogation, in particular how does one live with, and within, a black body that has been treated as disposable since the founding of America. Coates offers no answers to the questions he poses; rather, he places his bets on the value of knowing what is at stake when we lull ourselves into believing the American Dream was ever meant for us. 

Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions by Chimamanda Adichie

When a friend asked Adichie for advice on how to raise her new daughter as a feminist, the book Dear Ijeawele was born. Gender equality is the bedrock of this book that sees the moment of birth as the crucial point of intervention when the shackles that have kept girls and women from realizing their full potential can begin to be undone. This is a wise and fierce book that urges us to celebrate difference and independence. 

Heavy by Kiese Laymon

This is the sole letter on the list written to a parent by their child and not the other way around. And what a letter it is. Heavy is an urgent and powerful meditation on love, and the ways in which American racism works to convince us that we are not worthy of loving ourselves or of being loved by others. It is a testament to the healing power of love and forgiveness. 

The Fire Next Time by James Baldwin

This book is the primogenitor, the forebear, the OG, the Elder in the room with a capital E. Had writers penned letters to their family members before The Fire Next Time tore through the bestseller lists in 1963? Of course, but I couldn’t name any off the top of my head. In these two letters, Baldwin took a scalpel to American racism and laid its insides bare for all to see. The edge of his scalpel was not honed on the sharpening stone of hate, but rather love. The decades have not diminished the courage and power of this book.