11 Transportive Novellas You Can Read in One Sitting

For writers and readers, time is an essential commodity. As our world shifts ever further toward optimization and productivity, taking that time back can be vital work in maintaining a creative practice. When there’s no time to spare, where can we look to find fulfillment in the world of writing around us? For writers of novellas, concision is essential and exacting. For readers, novellas present an opportunity for transportation within the time constraints of our contemporary world. 

An oft-neglected format in commercial publishing, the novella offers the interior world of a novel with the added advantage of brevity. The form also presents a unique challenge to writers: How can one create a work that is both expansive and succinct? These authors bring the turbulence and uncertainty of the past decade into brilliant relief in under 200 pages. Whether you’re looking to transport yourself during a train commute, or while waiting in a doctor’s office, or on an hour layover, these eleven books, recommended by the staff of Electric Literature, can be devoured in a single sitting. 

Editor’s note: The literary guide below was recommended by Electric Literature staff and interns and written collaboratively by Grace Gaynor, Evander Reyes, and Lennie Roeber-Tsiongas.

It Lasts Forever and Then It’s Over by Anne de Marcken

The narrator of It Lasts Forever and Then It’s Over is both untethered and paradoxically conscious as she drifts through the afterlife. She holds onto sparse remnants of memories—her previous life and the longing that characterized it—while heading West, accompanied by a sentient, loquacious crow that may or may not be a figment of her decaying imagination. As humorous and absurd as it is devastating, It Lasts Forever and Then It’s Over offers a poignant meditation on memory, mortality, and the persistent force of love.

Ghost Wall by Sarah Moss 

Silvie, a repressed teenager, experiences the grind of the Iron Age while living alongside her brutal father, subdued mother, and a group of curious archaeology students. As Ghost Wall touches on age-old issues of gender, tradition, class, and family, the narrative becomes a thrumming rumination on history, culture, and ancestry. The book asks and attempts to answer the question: What separates us from our “primitive” past?

The Employees by Olga Ravn, translated by Martin Aitken

Corporate lingo intertwines with dream-like lyricism to underscore this haunting depiction of humanity ruled by pseudo-productivity. A narrative held together by questions of life, labor, and technology, The Employees is a sharp, satirical 22nd-century tale that manages to ground readers in the dark expanse of outer space.

The Premonition by Banana Yoshimoto, translated by Asa Yoneda

Translated into English for the first time in 2023, The Premonition offers an idiosyncratic portrait of memory and familial connection. The titular “premonition” follows the narrator, Yayoi, as she grapples with the absence of her childhood memories. In response, she moves in with her aunt, whose peculiar lifestyle seems to spurn the domestic idealism that has characterized Yayoi’s life thus far. Between sleeping on the floor and eating flan for dinner, Yayoi follows both her aunt and her intuitions towards an unpredictable chasm of truth.

Open Throat by Henry Hoke 

Open Throat is a modern folktale about a mountain lion navigating a life marred by territorial disputes, environmental degradation, and human carelessness. The lion, whose name is “not made of noises a person can make,” is undeniably feral and equally lovable–characteristics admired by the young girl who takes them in. Henry Hoke’s unique narrative transcends the goals of traditional storytelling while blurring the lines between human and animal worlds.

Boulder by Eva Baltasar, translated by Julia Sanches

Boulder follows an unnamed Catalan woman who flees her monotonous life in Barcelona for South America, drifting from job to job as a cook in summer camps and on ships along the Chilean coast. She finds freedom in the simplicity and solitude of her work, yet gradually feels the absence of companionship. When she meets Samsa, a woman who brings both passion and disruption, her nomadic independence collides with the expectations of partnership, home, and motherhood. Eva Baltasar, a celebrated poet before turning to fiction, infuses the novel with a visceral lyricism that captures the tension between desire and confinement, the raw immediacy of the body, and the quiet unease that can underlie intimacy and routine.

Binti by Nnedi Okorafor 

Winner of both the Nebula and Hugo Awards, Binti follows a young woman who must bridge the divide between her familial and acquired knowledge . . . the fate of the universe depends on it. Binti is the first of her people to attend Oomza University, a prestigious intergalactic school that has made a powerful enemy. In order to reach the university, Binti must travel into danger, armed only with her ancestral knowledge, inherent wisdom, and the courage to embark on a remarkable interstellar journey.  

“Such Common Life” from Wednesday’s Child by Yiyun Li 

“Such Common Life,” a novella within Yiyun Li’s collection Wednesday’s Child, traces the delicate relationship between Dr. Edwina Ditmus, an 88-year-old retired scientist, and Ida, her younger Chinese caregiver. Set mostly within the confines of Dr. Ditmus’s home, the story unfolds through their quiet conversations and introspections, revealing two lives shaped by solitude, aging, migration, and memory. Their “common life” exists both in what they choose to share—memories and reflections—and in the quotidian rhythms of caretaking and daily routines. With Li’s characteristically spare, luminous prose, the novella transforms ordinary moments into a meditation on what endures—and what quietly fades—over a lifetime.

The Strangers by Jon Bilbao, translated by Katie Whittemore

The Strangers is a tense, unsettling novel about Jon and Katharina, a couple whose quiet, routine-bound life in a coastal house in northern Spain is disrupted in disturbing ways. One rainy evening, strange lights appear in the sky above their town in Cantabria. The next morning, two enigmatic visitors, Markel and Virginia, arrive. As Jon and Katharina probe the truth behind their guests’ motives, unexpected developments and hidden motives turn every interaction fraught and uncertain. Bilbao masterfully blends the ordinary with the uncanny, crafting a slow-burning psychological drama in which the couple’s melancholic domestic life is transformed into something paranoid and unsettling—an experience that forces them towards each other. 

Riots I Have Known by Ryan Chapman

While barricaded inside the Westbrook Correctional Facility’s computer lab, an unnamed narrator—also the editor-in-chief of the prison’s literary journal—liveblogs a confessional and memoiristic final Editor’s Letter. The narrator discusses his varied past and considers his impending death; he acknowledges that his fate will most likely be inflicted by his fellow prisoners. Tense, surprising, and riotously funny, Riots I Have Known is a boundless, satirical novel about an incarcerated literary citizen.

Information Age by Cora Lewis

Equal parts intimate revelation and journalistic study, Information Age holds a mirror (or maybe a magnifying glass) to our modern world. The book follows a young journalist as she contends with asymmetrical relationships, job losses, and the quiet disorder of life in your twenties. With sharp wit, snippets of delightfully weird observation, and a last sentence that lingers, Lewis portrays something true about life in just under 200 pages.

My Nervous Breakdown Will Absolutely Be Televised

“Monsters” by Sydney Rende

A few weeks before we were set to film season eight, I made an account on a dating app. I had been dumped on national television at the beginning of the summer (they put the dumping in the season finale), and I thought it’d be a good idea to start off the new season with an exceptionally attractive and mature rebound.

Our show was called Hotel California. They called it that because for the first handful of seasons we all worked at the Hotel Bel-­Air. I was in reception. Derek ran the bar. Riley and Maya were hostesses—­although they both left the show after season three. (Maya met some billionaire who started a “voluntourism” business. He took her to Costa Rica to save the turtles, or whatever, and ended up buying the whole beach town and naming it after her. Riley went to Vegas. Last I heard she was waiting tables at the Ramsay’s Kitchen in Harrah’s.) There were eight of us in total. Around season five, we grew a little too recognizable, in certain circles, to continue working at the hotel. People—­fans, crazy ones—started booking rooms just to be near us, and management wasn’t psyched about that. Plus, we didn’t need the minimum wage anymore. So production filtered a handful of new cast members in and out over the next few seasons, waiting to see who stuck.

By season six, Derek and I were the only original cast members left on the show. This gave us a lot of clout. We got paid more than everyone else. This was also because we had real chemistry—­people liked to watch us. We’d met while working at the hotel, before the show started, and became instant friends. I’d pop into the bar when my shift was over at reception, and Derek would make me vodka sodas on the house while I gave him all the dirt on the guests. Once, when a certain newly single and extremely famous actress was staying at the hotel, I’d put in a good word for Derek at check-­in. She came to the bar that night, got completely wasted on champagne and showed us her facelift scars and gave us each two hundred dollars and called us cute. Then she took Derek back to her room. They texted for a little while after that, but the fling fizzled when she went on location in London. I think she married some guy over there and then divorced him a few months later. Anyway, Derek and I always knew how to turn a normal, dumb day into a time.

I didn’t meet Gemma until season six. We’d been filming at a bar on Sunset late into the night (Derek’s birthday), and she came out of nowhere.

“I think I’m in love with you,” she said. She was at least a full head taller than me, and she was kind of hovering over me in a way that would have looked desperate had she not been beautiful. Her face was perfectly angular, her skin smooth and lightly freckled. She looked glass blown. But she smelled like cigarettes. “We should make out.”

The kiss made it into the episode. I never watched it, but I remember her running her hands through my hair. I remember she tasted like lime. And I remember my whole body going a little numb afterward. In the moment, I hadn’t been thinking about the cameras, but Gemma had noticed them. She’d pop up occasionally wherever we were filming, usually at a bar or a restaurant in West Hollywood, and find her way to me. She didn’t try to be coy about it. She said things like “I was hoping I’d find you here” and “I’ve been thinking about you,” which would have sounded psychotic coming from anyone else, but she was so good at flirting, so comfortable in her clean, glossy skin, that it actually turned me on. I mean, it was like being hit on by a celebrity. Derek thought she was sketchy.

“I don’t even think she’s a real lesbian,” he said one morning at my apartment. We were drinking mimosas and eating animal-­style burgers to cure our hangovers. We did that a lot back then.

“So? I’m basically not a real lesbian.”

“If you weren’t completely gay, we would have fucked by now.”

“Ew. Can you not?”

“I’m pretty sure I saw her making out with that asshole bouncer.”

“When? Who?”

“Like, a few months ago, I don’t know. The guy who kicked you out of the bar for stealing french fries.”

Derek snorted, and I laughed. “I hid in the bathroom for like two hours.”

“He literally held your hands behind your back like a criminal.”

“You’re just jealous she likes me instead of you.”

“That’s probably true.” Derek’s mouth was full of burger. “Even more reason not to trust her.”

I knew Gemma wanted to get on TV, but that didn’t bother me. Everyone in L.A. wants to get on TV. I was drawn to her. She had an aura that couldn’t be ignored.

“That’s the cigs,” Derek said.

The first time Gemma and I got together alone, I invited her to go with me to the five-­dollar psychic on La Cienega. It wasn’t my idea—­production wanted me to do it. The psychic read our palms and told us we were soulmates and said something about eating cantaloupe to strengthen our bond. She made us hold hands and gaze into each other’s eyes. I remember feeling afraid to blink, like if I closed my eyes for even a split second, Gemma might disappear. I actually started crying, which made Gemma cry, and she somehow looked even more beautiful with tears streaming down her face. After that we were a couple, and she officially joined the cast a few weeks later.

That season, I became desperately obsessed with her. Everyone would mock me in their confessionals. Gemma and I aren’t eating sugar right now. Gemma says yellow makes my eyes pop. Gemma says if I spin in a circle three times while moaning her name, bubble gum will shoot out my ass. Nobody could stomach me—­not even Derek, who once referred to me, on-­screen, as a “sickening, wide-­eyed little Furby.”

It went on like that for two seasons. Gemma moved into my apartment. We bought an expensive couch. We talked about eloping in Cabo. Sometimes, we shared a toothbrush. Until one random night after filming wrapped for season seven, I was home alone, and I got a call from Jimmy, our producer.

“We’re going to film at your place tonight,” he said. “Be there in thirty.”

“What happened?” I assumed someone had been arrested. I was so stupid with love I couldn’t see what was about to happen to me.

“Just buzz us in. I’ll explain when we get there.”

Moments after the cameras were up, Gemma and Derek walked through the door together, looking all solemn and pitiful. They sat down on the couch, legs flush against each other, hands intertwined, and told me that I was moving out.


So I spent the summer reinventing myself. I hired a personal trainer and started working out in an EMS suit. I stopped drinking on weeknights and tried to wean myself off Adderall. When that didn’t work, I upped my dose and lost fifteen pounds. I got Botox in my neck, which made me look like a fairy princess. I hadn’t heard from Gemma or Derek all summer. The last time I spoke to them was at the reunion. I was proud of the way I’d handled it.

“You two have a reckoning coming your way,” I said. “The worst of your lives is yet to come.”

Chilling, I know. Everyone loved it. They wanted more of me. They invited me onto their podcasts. They wrote articles about me, about the justice I deserved. They sent me messages begging for me-­themed merch, so I put my face on sweatshirts and coffee mugs and sold it to them. A few months later, I had enough money for a down payment, and I bought a house in Beachwood Canyon. A new relationship would round me out nicely before we picked up cameras.

I didn’t want someone to go out with me because they had seen me on TV. I wanted someone to go out with me because I was an extremely chill person, and if they had seen me on TV, they might have suspected the opposite. So I set my preferences to “men” in the hopes that most of them had never watched reality TV. Then I filled out my profile as plainly as I could.

Age: 28

Height: 5’6”

Location: Los Angeles

Occupation: Entertainment

Looking for:

I had no idea what I was looking for. Someone to die with, maybe, or at least someone who could fall in love with me immediately.

Looking for: Love, or equivalent

I started matching with people, but a lot of them knew me already. They sent me messages:

Are you as nuts as you seem on TV?

I bet you’re hotter on TV than you are in person.

You seem like a fake bitch. I’ll pass.

It’s crazy, the things people will say to you. I ignored all of them, except for one: Cleo. I thought his name was sexy, and I liked his thick black hair, which he wore shaggy and tousled in a way that didn’t seem strategic at all. I thought he was probably Italian or Spanish, and I’d always wanted to have a fling with a European.

Hey Mel, I’d love to take you to dinner sometime.

Adorable. I responded right away.

I’d like that.

We agreed to meet at a little martini bar that also served lamb souvlaki and shrimp scampi in Los Feliz. Derek and I had been there a few times together off-­season when we wanted to get wasted extravagantly. It was a small, amber-­lit space, its ceiling decorated with crystal chandeliers. Tiny candles lined the bar, and you had to hold them to the drink menu to read the cocktails. It was the perfect place to go if you didn’t want to be noticed. I got there exactly seventeen minutes late, which was perfect timing. I saw Cleo sitting at the bar beyond the host stand. He hadn’t noticed me walking in, so I pretended to fiddle with something in my bag for a few moments before looking up at him again. When I did, he was smiling at me. I smiled back. He waved me over.

“I almost thought you were going to make me drink alone.” He stood up from the barstool and wrapped his arms around me. He was a lot taller than me, and his embrace was firm but not aggressive. His shirt smelled like laundry detergent. I made sure to pull away first.

“Who, me?” Gemma had turned me into a fantastic flirt. I knew when to talk, when to laugh, when to pause for effect. This also made for great TV. “What are you drinking?”

He sat back down, and I took the seat next to him.

“Bulleit on the rocks.”

“Oh, not for me. Brown drinks make me crazy.”

“Crazy how?”

“Hopefully you’ll never know.” I looked at the bartender, who was standing on the other side of the bar, watching us. “I’ll have a vodka martini.”

She nodded, and her eyes lingered on mine a little too long.

Cleo and I spent the next twenty minutes totally engrossed in each other. He was asking me questions I would never have answered had they come from some other, less magnetic person. Who’s your favorite family member? What’s the weirdest thing you’ve ever done? Do you remember the best day of your life? I mean really psychotic questions. I kept searching for clues that he knew who I was, but his eyes were too curious, too lasered in on mine, not bouncing around my face like he was distracted by some preconceived notion he’d had of me.

The bartender poured us our second round of drinks. She kept letting her eyes drift toward me, then snapping them away when I made eye contact with her. Cleo sipped his drink, then paused, the rim of the glass still in his mouth. He put the drink down.

“I have to ask—­why are you single?”

I felt like I’d been caught. How had I not prepared an answer to this question?

“Honestly?”

“Yes, of course.” He had this bashful smile that made me want to tell him everything.

“I haven’t quite figured out what I want.”

Cleo’s gaze darted off to the side. I was worried that I was losing him.

“I mean, I know what I want now. I just didn’t know until now.”

He looked back at me, half distracted. “What’s that?”

“Normalcy, I guess.”

“Sorry,” he said, his eyes trailing away again. “It’s just . . .” He nodded toward the bartender. I turned to look at her. She was staring at me so awkwardly. She looked like she might cry.

“Is everything okay?” Cleo asked her. He cocked his head and furrowed his brow like a confused dog, which was a cute look for him.

She nodded, then scurried to the back of the house somewhere, embarrassed. I felt relieved to not feel her breathing so close to us.

“What was that?” Cleo said.

If he was going to be my season eight boyfriend, I’d have to tell him eventually.

If he was going to be my season eight boyfriend, I’d have to tell him eventually.

“It’s me. I swear this never happens. Barely anyone watches my show anymore.” A lie, obviously, but I didn’t want to scare him off.

“Your show?”

“It’s not my show. I’m on a show.”

“You’re an actress?” He looked betrayed.

“Not exactly.” I fiddled with the stem of my martini glass. “It’s a reality show about me and my friends.”

“Like one of those dating shows?”

I was almost impressed by how little he knew about reality TV.

“Sort of. But it’s not a competition. The cameras just follow us around and document our lives.”

Cleo looked around the room as if he were seeing it with new eyes. “Are there cameras here right now?”

“God, no.” I didn’t want to talk too much about the show. I wanted to talk about future vacations we’d take together to Nantucket, Amalfi, Marrakech—­romantic places. I reached out and touched the top of his hand and felt comforted by its warmth. “We don’t start filming again until next month. Look, you don’t have anything to worry about. I don’t let the show affect my real life.”

“You said the show is about your life.”

“It’s about one part of my life. I’m actually looking to get out soon.” It was a thought I’d never had before, and I was surprised by how easily the words escaped.

“Why?”

“The whole group is pretty toxic. We used to be close, but now everyone’s turned into monsters. We fight a lot.”

“Oh, man.” He stared at my hand on his. “People watch you fight?”

After two drinks and a handful of olives, I was drunker than I wanted to be on a first date. I realized that I barely knew him, and I’d done a weird thing there with my hand. I removed it.

“Not me, specifically. But sure, I guess so. People love to watch you make a mess out of yourself. It makes them feel better about their own messes. It’s all very scientific, very anthropological.”

He thought about this. “You make it sound like a battleground.”

“That’s what it feels like, sometimes.”

“Then why do it in the first place?”

Money. Fame. The high you get when a group of strangers screams your name with tears in their eyes. The ability to strut around L.A. like you really belong there (most people don’t), like you landed in the exact right spot. That rush of adrenaline—­a floating sensation, actually—­that comes when the cameras start rolling. The bowling-­ball-­size sense of relief you feel when you slap your ex across the face, and the vindication that comes with all the comments after the betrayal was broadcast nationwide. Gemma and Derek are snakes. Mel should get her own show. Justice for Mel. The tingling sense of accomplishment when you negotiate your contract up 200 percent. I mean, it’s really something.

“It seemed like a good idea at the time.”

The bartender reemerged from the back of the house and shuffled toward us with the expression of someone who’d just been scolded. She leaned over the bar so her face was in between ours.

“I’m so sorry,” she whispered, looking at me. “My manager says you have to leave.”

“What?”

She gave me a pleading look. “I tried to explain, you know, you’re not the one to blame. It’s the other guy who caused a scene, but he didn’t care. He’s a dick, my manager. He wanted to come out here and do it himself, but I told him I’d handle it. I don’t want to embarrass you.”

Suddenly I couldn’t breathe. I was too afraid to make eye contact with Cleo, so I just stared down at my drink.

“I have no idea what you’re talking about.”

“Last time you guys were here . . .” She glanced at Cleo. “Not you two, sorry, you and the other guy. And, uh, remember, my manager asked you not to come back?”

“No, I don’t remember that.” I couldn’t decide whether to be apologetic or defensive. “Do you know who I am?”

I meant it genuinely, but it came out like a threat. I felt Cleo’s eyes on me.

“Oh, um. Yes? I know you’ve been here before. It’s just that last time, the guy you were with, he stole a bottle of Casamigos. Or, I mean, he tried to. You were both pretty wasted.”

“I don’t think that was me.”

“Well, it’s just, I was here that night. Your hair was longer. You were ordering vodka martinis, remember?” She leaned in closer and whispered, “You had, like, six of them.”

I held my hand up to stop her from further incriminating me in front of Cleo, who by now certainly never wanted to see me again. “Okay, thanks. I remember.”

I still didn’t remember, but I had ended so many of my nights out with Derek in the bathroom with my shirt off, wrapped around the toilet while he held back my hair. I would have lost more of those nights had it not been for the cameras, one cameraman in the bathroom with us, Jimmy on the other side of the door. Watching those episodes made me want to take a potato peeler to my skin. That’s the thing about reality TV—­most of the time you can’t stand to look at yourself.

“I’m so sorry,” she said.

“No, don’t worry about it. It’s fine. I’ll go.”

“Wait.” She backstepped away from us toward her POS system. “One second.”

She came back and handed me the bill. “Sorry.”

I dug through my bag for my wallet. Cleo sat still beside me.

“Thanks,” she said, after she ran my card. Then she looked at Cleo. “It really wasn’t her fault.”

“Just stop,” I said. “I’m pretty sure he’s already come to his own conclusion about that.”

She stood there like a dumb little rodent, waiting. I tipped her one hundred dollars, then put the receipt down on the bar in front of Cleo. When I tried to make eye contact with him, he was staring blankly at the bill.

“I had a great time,” I said.

“Oh, yeah. Me, too.”

I felt him growing afraid of me.

“It’d be really great if you could not tell anybody about this.”

Cleo exchanged glances with the bartender, the two of them sharing the same panicky thought. As I watched their eyes meet, I felt like I might throw up. I wondered how long he’d stay at the bar, if they’d share notes once I was gone, if they’d get drunk and go home together. I took out my phone to call myself a car. There were three texts and a missed call, all from Derek.

Can we meet before filming?

It’s about Gemma.

Don’t ignore me.

There had been one night, just before we filmed season seven, that Derek, Gemma, and I decided to go to the movies. We had wanted to do something wholesome before descending into the chaos of a new season. I don’t remember what we saw, but I remember Gemma sat in the middle. We snuck in a bottle of wine to share and passed it back and forth during the previews. An older couple was sitting behind us, and the woman kept whispering loudly to her husband about the whole place reeking of alcohol, or something. Gemma turned around and got into it with her. The woman got so worked up she went and got the theater attendant, who asked us to leave and said he’d refund our tickets. I remember Gemma grabbing my hand, lacing her fingers into mine, and, cool as ever, telling the attendant that we weren’t going anywhere. The older woman hadn’t known that she was fighting a losing battle from the beginning. Gemma always got her way.

She held my hand throughout the movie, and I remember thinking I had everything I’d ever wanted. It was during those moments of affection when the cameras were down that I knew Gemma loved me. I hadn’t been thinking about Derek on her left. I hadn’t looked at her other hand.

Fuck off, I wrote.


My eyes were heavy on the drive home from the bar, which took all of five minutes. I fell asleep anyway and woke to the driver tapping me on the foot.

“This is the address, miss.”

It was dark, and I was drunk, but when I opened my eyes, I could see my adorable Spanish-­style home, tucked into the hill behind a pair of peppermint trees. It was so big. It was mine.

“I win,” I said.

When I reached my front door, I realized my keys were gone. Maybe they had fallen out of my bag in the car, but the driver had sped away, so I walked around the side of my house and checked for open windows like an intruder. The guest bathroom window was unlocked. The soaking tub sat on the other side of it, and I climbed through the window and stepped into the tub. I thought briefly about sitting down and falling asleep there, curled up in the tub. There was a fresh towel hanging that I could use as a blanket. Instead, I got out of the tub and drank from the sink. I opened the medicine cabinet. There was a bottle of Adderall, some makeup wipes, and lip gloss. I dabbed some of the gloss onto my lips and stared at myself in the mirror. My face had responded well to the breakup. I was way more beautiful now than I was when I was dating Gemma. Mainly, all the weight I’d lost had hollowed out my cheeks in a very on-­trend way. Plus, the Botox I’d been getting in my neck was slimming it down nicely. I looked like a ballerina.

“Drinks,” I said. “We need drinks!”

I gave myself a little kiss on the mirror. Then I headed toward the kitchen for the half-­empty bottle of wine that was in my refrigerator. But on my way there, I heard a knock on the front door—­it spooked me, and I jumped. It was almost eleven at night, a totally unreasonable hour to be showing up at someone’s door unannounced. It was probably the driver returning my keys. I pivoted toward the front door and made my way down the hall. He knocked again, and this time the knock sounded more desperate, more like a pound. It occurred to me, suddenly, that the person knocking might not be the driver. It was possible, after all the media attention I’d gotten lately, that the desperately knocking person was maybe, potentially, my first stalker. I felt both afraid of and excited by this alternative. I was the most famous I’d ever been and probably would ever be—­it was important to take a moment to acknowledge and appreciate that. A stalker was a new milestone for me, and that was something to be proud of. But I also needed a weapon of self-­defense. I ran to the kitchen and grabbed a knife from the knife block. Then I opened the refrigerator door and took a congratulatory swig from the bottle of wine. It tasted sour and stale. There was another pound on the door. I held the knife behind my back and tiptoed back toward the front door. The adrenaline made my legs and arms tremble.

A stalker was a new milestone for me, and that was something to be proud of.

“I am not afraid,” I whispered. Then, louder, I said, “Who is it?”

Nobody answered. There was another pound on the door.

“I have a gun,” I lied. I’d heard women say this in movies when they were about to be attacked. Usually in the movies the women still got attacked, or some hot actor came to save them in the nick of time. Nobody was coming to save me.

“Where the fuck did you get a gun?”

I recognized Derek’s voice immediately. I let my hand with the knife fall to my side.

“I’m not opening the door for you.”

“Mel, please. It’s an emergency. I wouldn’t be here if it wasn’t.”

“How did you get my address?”

“From Jimmy. Open the door. I have to piss.”

“Definitely not.”

“If you don’t open the door, I’m going to piss on it.”

He had a lisp that got worse when he was drunk, and I could hear it now. I knew he really would piss on my door if he’d been drinking, and that was not something I wanted to deal with in the morning. I opened the door.

“Jesus, thank you.” Derek looked me up and down. His eyes landed on the knife. “That’s not a gun.”

“I thought you were a stalker.”

“What was your plan? Saw me in half with a bread knife?”

I glanced down at my hand. It turned out I had, in fact, chosen the bread knife.

“What do you want?”

Derek shoved past me into the house. “First I need your bathroom.”

I went back to the kitchen and let him wander around my house in search of the bathroom. I wanted him to take in all the rooms, all the furniture and art and taste I’d acquired since he blew up our friendship. There was a promotional photo of me, wearing a long black dress with cutouts on the sides and a high thigh slit, hanging above the mantel in the living room, and I wanted him to see it. A few minutes later he came sauntering into the kitchen.

“Thanks.” He sat down on a stool at the kitchen island.

“So?”

“Can you put that down?” He pointed to the knife, still in my hand.

“No.”

He rubbed his cheek with his hand, a move he used to do when he was trying to find someone to sleep with. Girls love a jawline, he once said.

“I haven’t heard from Gemma in a week. Nobody has.”

I got the wine from the fridge and took another swig. “I don’t see what this has to do with me. She’s your girlfriend.”

“She’s not my girlfriend.”

“Oh, just your lover.”

“Don’t say lover.”

I gave him a good stare. I had expected him to look awful, but he didn’t. He looked like he’d been starting his mornings with mushroom-­infused teas. I realized he wasn’t drunk after all, but his eyes were swollen and red as if he’d been crying. Or maybe he was ridiculously stoned. Above him hung a ceiling rack adorned with a bunch of pots and pans I’d never used, and I hoped one of them would fall on his head.

“Maybe she left you.”

He was quiet for a moment in an introspective way that I’d come to understand as acting. He did this thing where he focused hard on one particular spot and tried to make himself cry. More often it would make one of the blood vessels under his left eye explode.

“It’s been bad, Mel. She’s still getting death threats. And now nobody has heard from her.”

“She probably went to one of those wellness retreats. She was always talking about them. Or else she’s in Cabo popping enough Klonopin to remain comatose until her call time next week.”

“This is serious.”

“I don’t need you to tell me what is serious.”

“Forget about me. I’m telling you Gemma is missing. She could have been kidnapped or killed.”

“Or abducted by aliens.”

I took a swig from the bottle and instinctively offered it to Derek. He shook his head.

“Oh, don’t tell me you’ve gone sober?”

He giggled kind of sadly. “I’ve had paparazzi all over me for the last three months. The last thing I need is a bunch of photos of me drunk off my ass circulating. Do you have any idea how bad it’s been for us?”

I drank the wine. “Frankly, I don’t give a shit.”

“I never wanted to hurt you,” he said with the same solemn look he’d had in my apartment the night Gemma dumped me. “I miss you a lot.”

I still hated him, I could feel it, but enough time had passed to dull the rage, and I had to imagine Derek’s and Gemma’s hands intertwined as they sat on my couch together to stand my ground.

“You ruined everything.”

“I know.”

With each swig of wine, I felt my shoulders relaxing. “I went on a date tonight.”

His face perked up. “With who?”

“His name was Cleo.”

“A dude?”

“Yeah, I don’t know. I think I was looking for a friend.”

I decided not to tell him how the date had ended, how humiliated I’d been. After all, I still wanted him to envy me. I wanted him to know I’d come out on top.

“I’m still your friend,” he said.

I glared at him. “Did you see my living room?”

“Yeah.” He shrugged. “Your house is cool.”

His tone made it difficult to decipher if he was being genuine or just trying to placate me. But it felt good to hear the words. I reminded myself, again, not to trust him.

“I’m sure Gemma is okay,” I said, in the same tone.

“Would you consider”—­he took a dramatic breath in, then let it out slowly with his lips pursed, a move I was sure he learned in some discount acting class—­“sending her a message? You might be the only person she’ll respond to.”

“You have to be joking.”

“Mel, this is real. I need your help.”

“I have no reason on earth to help you.”

His eyes shrank into two tiny slits, a look he made whenever he was plotting something. Derek was always scheming. It was so obvious to me now. Everything he did was for the sake of entertainment, his own or everyone else’s, and I felt stupid for never having seen it before.

“You aren’t completely innocent, you know.”

“I know one point seven million people who’d disagree with you.”

“They don’t know the whole story.”

“Oh, and you do?”

We were trapped in some kind of sinister staring contest that I couldn’t help but feel deserved to be on TV.

“I know more than you think.”

“Yeah, right.” I could feel the rage building in my chest. I was used to this feeling in the weeks before filming picked up. “Have you two been bonding over how crazy I am? How clingy and manipulative and poor, poor you?”

Derek broke eye contact with me and stared down at his feet. “I know you threatened her.”

A dull numbness crept up my limbs toward my head, and I started to feel a floating sensation that I hadn’t felt since the day Gemma dumped me.

“I didn’t threaten her.” My voice quivered with rage, and I tried to steady it. “Although I’m sure you two have spent the last few months perfecting that narrative for season eight.”

“Mel, you totally lost yourself. You were possessed. You told her you’d kill her if she ever tried to leave you.”

My legs went numb. I leaned back against the refrigerator to keep from falling over.

“I never said that.”

“Yeah, you did. She recorded you. And the only reason she hasn’t released it is because I told her not to, because I knew you didn’t mean it, because despite your insane behavior, I know you’re not insane, so you’re welcome.”

I wanted to speak but I couldn’t feel my face. I looked at my hands. I was still holding the wine in one hand and the knife in the other.

I raised the knife in front of my face. “You need to leave.”

Derek scoffed, “Oh, so you are going to stab me? Look at yourself.”

“I mean it.” My eyes were blurry with tears. I pointed the knife at him.

Derek sighed, then stood up and began backing away. “Just text her, will you? I’m doing a wellness check at her apartment tomorrow morning with her landlord. I’ll be there at eight, if you care at all.”

“Get fucked” was the only ridiculous thing I could think to say.

He turned and walked down the hallway and out of sight. I heard the front door close behind him. The knife fell from my hand and clanged against the tile floor. Tears slid down my cheeks and neck and soaked the neckline of my shirt. I was shaking.

Even in her absence, Gemma was still pulling all the strings. Wherever she was, she’d stay there long enough to build up public sympathy, and then, once everyone was good and worried, boom—­she’d reappear in front of the camera, all thin and victim-­y. I mean, she was remarkable. After seven seasons, I couldn’t believe how naive I’d been. Had I really thought I could go out on top and not come crashing down? Had I really thought Gemma would let me win? When I closed my eyes, Cleo’s face, his eyes glazed with fear, flashed across my mind.

I took out my phone and typed out a message:

Gemma missing. Doing a wellness check tomorrow morning at my old place.

I got a response moments later.

Jimmy: Time?

8am

Jimmy: Thx. We’ll be there.


I didn’t sleep, my insides vibrating at a low enough frequency to keep me dizzily awake all night. I kept thinking about Cleo and the bartender—­the look they exchanged, like they were two hostages plotting their escape, had felt so familiar.

In the morning, I drove to my old apartment from memory, changing lanes and making turns absentmindedly. I felt like I was driving back in time, like once I arrived, I’d see a former version of myself through the window, curled on the couch next to Gemma, our legs tangled like vines. Or maybe I’d see Derek, opening and closing all of our kitchen drawers as he searched for a bottle opener, eyeing the nape of Gemma’s neck as she pulled her hair into a bun.

I parked the car in the lot and looked at myself in the rearview mirror. I felt around for the mascara in my center console and flicked some onto my eyelashes. I blinked a few times and forced a smile. Beyond the mirror, Jimmy and a few cameramen were walking toward my car. Behind them, Derek sat on the ledge outside the building’s front door, smoking a cigarette. We looked at each other briefly. He broke his gaze and spit onto the sidewalk. I steadied my breath.

Jimmy motioned for me to roll my window down. It was a beautiful day. “Let’s get you mic’d up,” he said. “We’re rolling.”

I Rewatch “Gilmore Girls” to Remember my Stepfather

I first heard of Gilmore Girls from the promos airing during the commercial breaks when I watched Buffy the Vampire Slayer. Even at twelve, I was not impressed. I was already tired of the formula followed by popular family dramas like 7thHeaven in the 90s and 2000s, blending themed episodes on hot parenting topics, like peer pressure or teenagers having sex, with didactic, conservative messaging and saccharine moments. The WB’s Gilmore Girls promos made the show seem like it followed the same, worn-out model.

One shows Rory dancing with her boyfriend, Dean, at a school dance while a deep-voiced narrator teases, “Rory Gilmore may repeat her mother’s past.” The screen flashes to Rory asleep on Dean’s chest. Then Emily and Lorelai fight about whether Rory will get herself in trouble like Lorelai did. Rory runs shoeless through the snowy streets in a fancy dress. A Gilmore Girls Christmas, appears on the screen in sparkly text.

The next promo starts with clips from the fight in the previous episode. The narrator says, “A family argument is overshadowed by crisis.” Then Lorelai follows her father, Richard, as he’s wheeled down a hallway in a hospital bed. Emily says she didn’t sign on to watch Richard die while she fights back tears. Lorelai says, “I wonder if he knows I’m here. I wonder if he cares.” Then Lorelai cries. And the drama continues until the same sparkly text appears.

So, when my stepfather, Russ, stood up from the dinner table one night before Mom, my sister, Jamie, and I finished eating and said he had to go because Gilmore Girls was on, I didn’t understand.

“You watch Gilmore Girls?” I asked. How could a man whose main interests were collecting baseball cards and watching sports and war documentaries care enough about the show from those melodramatic promos to not only watch it—which would be understandable if nothing else was on—but to leave dinner early to catch the latest episode.

 “It’s a good show,” he answered.

“Even I don’t watch Gilmore Girls,” I mocked. Mom and Jamie laugh. But Russ was used to being teased by us and only shrugged. He grabbed the insulated mug he drank Diet Pepsi from day and night and retreated to his bedroom.

Three years later, Jamie bought the Gilmore Girls DVD box sets, and I needed to watch for myself to see what had my stepfather and sister so transfixed. It only took two episodes before I realized the show was nothing like the promos. The WB’s marketing department clearly didn’t know how to handle a family drama that deviated from the formula and had tried to entice the regular viewers of those types of shows. But Gilmore Girls was like nothing else on TV at the time. The characters were wacky. The dialogue was quick and clever. Heartfelt moments weren’t overly sentimental.

I was hooked and started binge watching the DVDs before bed each night. I don’t remember watching the show as a family, but I often heard the theme song playing behind the closed doors of Russ’s and my sister’s bedrooms and knew, even if we didn’t watch it together, it was a show we’d all come to love. And we weren’t alone. My friends and their families watched it, too. By the time I started college a few months after the original series finale, students joked someone was always watching Gilmore Girls in the dorms, day or night. It had become a cultural phenomenon. 

I needed to watch for myself to see what had my stepfather and sister so transfixed.

But with each rewatch, my love for the show transformed into kinship with its characters. When a fellow student took offense at a feature I wrote as a staff writer for my college’s paper, I was consoled by Rory’s cafeteria faceoff with the ballerina in the ballet she reviewed for The Yale Daily News and felt grateful I had only been lambasted by email. When I interned at the local newspaper, I tried to learn from Rory’s mistakes so I wouldn’t be humiliated by a Mitchum Huntzberger. When I became editor of my college’s newspaper, I delusionally dreamed of turning our office—which was empty when our editors weren’t laying out one of our biweekly issues—into a busy hub like The Yale Daily News. When I graduated and became a manager at Target, I identified with Lorelai, balancing a challenging job in customer service with the demands of her friends and family. 

The show’s meaning morphed, offering me something new at each stage of my life. But when my stepfather died and I rewatched the show for comfort, I realized my love for Gilmore Girls had never been just about the quirky citizens of Stars Hollow, the fall vibes, the show’s strong women, or its enviable mother-daughter relationship; my love had also grown because I saw my stepfather in the men who filled the role of Rory’s father in Christopher’s absence.


Although Rory and I both grew up without our biological fathers, the reasons differ. My father wasn’t a scared trust-fund teenager like Christopher when his girlfriend became pregnant. No, my father was a member of a notorious outlaw biker gang who had just moved back to his family’s ancestral holler in Kentucky from Detroit to care for his ailing parents. I don’t know what happened between his return and when he met my mother, but I do know he struggled with addiction. 

Mom said they met at an Anonymous meeting—she was there for alcohol, and he was there for heroin and other drugs. I was conceived soon after they met. My parents, who barely knew each other, married, and Mom moved to the holler. Once there, my father’s violent, controlling nature emerged. He sold her car for drug money and trapped her in the holler where they lived in a trailer in his parents’ backyard surrounded by neighbors who were all his relatives. There was no escape.

It took five years, at least three attempts to leave, and extended stays in two women’s domestic violence shelters before Mom was able to divorce my father. The nuns and volunteers who ran the second shelter set us up in a government-subsidized apartment in a small town half an hour from the holler. Like Lorelai, Mom used her newfound freedom to create as normal a life as she could in between our visitation weekends with our father. Charities and her friends helped us buy used furniture and clothes and donated food and school supplies. She volunteered in the library at a private school run by the nuns from the shelter so Jamie and I would have a better education. And on her weekends with us, she often drove us to Tennessee to stay in the basement of an elderly couple she knew in order to put as much distance as possible between us and my abusive father.

Mom also took us to church, and before long, our pastor, Russ—who was divorcing his wife—fell in love with Mom. Like Lorelai and Jason, they began a secret relationship, but theirs was hidden from my father because he had threatened to drown Jamie and me if another man raised us. But in the spring of 1995, my father moved back to Detroit, and Mom and Russ, relieved with the distance, married in our living room one night while Jamie and I slept. The next day, Mom explained Russ was joining our family, and we were moving to Tennessee.


Though Christopher is absent, Rory is never without father figures in Gilmore Girls. Through their shared interest in literature, Rory and her grandfather, Richard, form a closer bond than most grandparent-grandchild relationships. He tries to protect her from boys he thinks are bad influences, even at the risk of a fight. And he is one of her biggest supporters, avidly reading every article she writes for her school papers and attending all her major school events. 

Mom used her newfound freedom to create as normal a life as she could in between our visitation weekends with our father.

When Lorelai dates Rory’s English teacher, Max Medina, he and Rory form their own relationship. Max asks Lorelai how he should parent Rory and takes offense when Lorelai says he shouldn’t, highlighting how little thought Lorelai puts into Max joining their family and how seriously Max takes his role in Rory’s life. After Paris assigns Rory a feature on Max for The Franklin, viewers see how much they mean to each other when Rory stops recording and tells Max, “I just want you to know, I really wanted you to be my stepfather.” 

And Max responds, “I just want you to know, I really wanted to be your stepfather.”

But most of all, Luke Danes supports Rory even before he’s in a relationship with Lorelai. When Rory dates his nephew, Jess, Luke gives Jess rules for dating Rory despite him being Jess’s guardian and not Rory’s. During Rory’s high school graduation, Sookie, Jackson, and Lorelai try not to cry and fail, but Luke cries hardest and says, “I’m blubbering. You’re freaks!” Luke helps move Rory into her dorm at Yale, and when she drops out, he plans to force her to return not just because that’s what Lorelai wants, but because he feels a parental obligation to do what’s best for Rory. 

And the relationship is reciprocal. Rory still visits Luke at his diner when she and her mom are fighting. When Luke attends Rory’s twenty-first birthday party, he gives Rory a necklace that belonged to his deceased mother, and when one of the women at the party asks to see it, Rory smiles and introduces Luke not as her mother’s fiancé, but as her “soon-to-be stepfather.” 

Luke’s love for Rory is so central to the plot of Gilmore Girls Lorelai tells Sookie she proposed to Luke because of how much he loves Rory. And when Luke needs a character witness for his custody battle, Lorelai writes in a statement so powerful it ends her marriage to Christopher, “He’s always been there for [Rory] no matter what… Luke has been a sort of father figure in my daughter’s life.”

There are many more examples throughout the show and A Year in the Life, but through it all, Luke is always there to support Rory. 


Growing up, none of the depictions of stepparents I saw matched my experience with my stepfather. Most shows and movies with stepparents portrayed them as villains, like Cinderella or The Parent Trap. A few movies showed a loving stepparent, such as The Santa Clause, but the stepparent is treated as competition for the absent biological parent. My biological father wasn’t a hero, and my stepfather wasn’t replacing him; Russ was my father. And though there were a couple movies with stepfathers and stepsons who came together, like Man of the House, or stepmothers and stepdaughters, like Stepmom, I never saw any media with positive stepfather-stepdaughter relationships. 

Even in the real world, friends whose parents divorced when they were older (and for less violent reasons than my parents) complained about their stepparents and schemed to annoy them, just like in the movies. When my elementary school guidance counselor created a group called “Banana Splits” for children of divorced parents to talk over ice cream, I signed up so I could skip class for an ice cream party. But in the first meeting, our counselor only talked about how it was normal to feel sad when your parents were divorced and asked us to repeat the group’s slogan, “It’s not my fault.” 

I never attended again. I knew my parents’ divorce wasn’t my fault. I wasn’t sad because I only saw my biological father a handful of times after the divorce. I didn’t mind when he often forgot to send birthday cards or gifts, nor did I mind that he always mixed my birthday up with my older half-sister’s. I didn’t care because from the time mom and Russ married when I was six, Russ became a constant presence in my life. 

Russ was my Richard, a stoic intellectual with whom I bonded over literature, science, and history. He read to me before bed when I was little and saved to buy presents for my birthdays. He questioned my choice of friends and boyfriends and encouraged me to do well in school. When it was my turn to read a story I’d written in my first-grade class’s “Author’s Tea” event, I was nervous looking out at the crowded classroom until my eyes found Russ and he winked at me. After I finished, he hugged me and told me how proud he was. And when I told him I wanted to be a writer when I was in college, he didn’t try to talk me out of it. He asked for copies of every article I wrote.

Luke’s love for Rory is so central to the plot of Gilmore Girls Lorelai tells Sookie she proposed to Luke because of how much he loves Rory.

Russ was my Max, a man who stepped into a family without fear, ready to parent even though he knew nothing about raising girls. He fearlessly tried to style my hair before school when Mom worked the early shift at McDonald’s—an effort I appreciated, even when he used so much hairspray my hair felt like a crunchy helmet. Though he joined our family because he loved my mother, I know he loved being my father, too, because he often told me, “I couldn’t love you any more if you had been my biological daughter.”

But most of all, Russ was my Luke. He was there for me no matter what happened in his relationship with my mother. When Mom and Russ separated for a year, I still visited Russ’s apartment to build a model of the lunar lander. And when my tonsils were removed, he brought me a stuffed black cat with an orange ribbon around its neck, which was so precious to me I slept with it every night for nine years.

Shortly after Mom and Russ reunited, Mom’s mental illness worsened, leading to hospitalization. Russ took care of Jamie and me while she was away, and over the years, as Mom’s mental instability and alcohol and pill addictions grew, Russ became our main parent. We were homeless when I was fifteen because Mom didn’t pay the mortgage and hid the foreclosure notices until a sheriff changed the locks, and we moved into a run-down motel with only the few possessions we could carry in our car until we could find a place to live. Although I was sad to lose our home, I was never afraid because I knew Russ would figure out our situation.

When we learned my fiancé’s mother wouldn’t survive long enough to see our wedding due to cancer, Russ married us in the back yard. Just before the ceremony, he pulled me aside to tell me he was going to use vows that didn’t require me to promise to obey my husband, because he never wanted me to feel like I had to obey a man. And when we held the church wedding we’d planned three weeks later for friends and family, Russ walked me down the aisle. I didn’t bother inviting my biological father.

Gilmore Girls was the first show or movie I’d ever seen with a relationship like the one I had with Russ. Seeing what it looked like onscreen gave me perspective to understand what a great parent my stepfather was. And this depiction came to mean even more to me as Russ’s health failed. 

During those binge-watching sessions, I realized how much each of Rory’s surrogate fathers reminded me of Russ.

Like Richard, Russ battled heart disease for years. In 2013, he suffered a massive stroke and transformed into a six-year-old in a sixty-one-year-old man’s body overnight. He no longer read or watched documentaries. He couldn’t discuss science or history. He thought Mom was his mother, asked to be excused from the dinner table, and talked about Frosty the Snowman like he was a real person. He even forgot the names of everyone in our family—everyone except me.

I was so heartbroken when he died a year later, I had no room left to feel anything else. Even when one of my half-sisters from my biological father’s first marriage messaged me five weeks later to tell me our father had choked on a quarter and was braindead, I felt nothing. I didn’t travel to the hospital where my older sisters, who were closer to our father, sat with him as his life support was removed and he died, and neither did Jamie. We’d just lost the stepfather who raised us, and I couldn’t spare any grief for the violent man who was never there.

When both of my fathers died, I was a full-time freelance writer struggling to make a living. Grief turned into insomnia, and instead of sleeping, I spent those long, awful nights watching Gilmore Girls for comfort. During those binge-watching sessions, I realized how much each of Rory’s surrogate fathers reminded me of Russ. And seeing all the ways they had supported Rory inspired me to process my grief by writing about how much my stepfather had meant to me.

When Netflix released A Year in the Life two years later, I watched and was sad Russ would never see it. But I noticed uncanny parallels between my life and Rory’s. In the revival, she is also a struggling freelance writer whose grief keeps her awake at night. And just as I did, she gets her life back on track when she writes the story of her life with her mother and the people who supported. 


Now, nine years later, I’m still writing about what Russ meant to me, and I still rewatch Gilmore Girls every fall like millions of other viewers. But I also start the show again every March near the date of Russ’s death, and I never tire of it. Watching Gilmore Girls helps me remember what it felt like to have a man love me like I was his own daughter, even when he had no biological imperative to do so. And each time I watch the show, I wish I could ask Russ if he loved Gilmore Girls because he saw his relationship with his daughter in it, too.

Our Favorite Short Stories and Poems to Read This Holiday Season

In the final weeks of the year, there’s no better feeling than getting cozy and delving into your winter reading. It’s the perfect time to revisit old favorites and discover new ones along the way!  Fortunately, Electric Literature has a wealth of festive work—our archive includes holiday-themed reading lists, reviews, and even a handy chart that you can use to craft your own merry adventure. 

Amidst so much wintry spirit, the holiday story holds a special place. It’s a time honored tradition, delivering family drama, unexpected generosity, and tinsel-laden tension, all set against a snowy backdrop. 

This year, we’re collecting our favorite holiday stories from Recommended Reading and The Commuter to bring you a cozy, winter-themed lineup of short fiction for the last days of December. These pieces resonate for their alternating specificity and familiarity, for their ability to interweave the warmth and wrath, contention and communal celebrations, gratitude and familial dissolution that characterize this time of year. These stories manage to capture the holidays without falling into Hallmark cliches (not that there’s anything wrong with indulging in a Hallmark movie every now and then). 

“Another Christmas” by William Trevor

“Another Christmas” places us in the warm, rustic home of older Irish Catholic couple Norah and Dermot, and then shows us the hidden tension—strung up like so many ornaments—within their home. The couple discusses their friend and landlord Mr. Joyce, disagreeing about whether or not he’ll come for Christmas after an argument the year before. As the conversation escalates, the story presents Christmas as a stage upon which to examine our values and allegiances, political inclinations and resentments, and the role of empathy—or its absence—in affecting our long term relationships. By the end of the story, the inviting setting remains the same, but Norah’s feelings for her husband have shifted irrevocably. 

“Charades” by Lorrie Moore

“Charades” carries all the hallmarks (pun intended) of a Lorrie Moore classic: dynamic characters, relational acuity, and, of course, the humorous absurdity of daily life. The story zooms in on a family gathered together for the holidays; the titular “charades” is a reference both the game itself (which takes center stage) and the antics that develop around Moore’s idiosyncratic cast of characters. As recommender Susan Minot puts, “The large and profound is forever appearing alongside the trivial and the small, i.e., as it does in life.” 

“Iceland” by Drew Nelles

Drew Nelles’s “Iceland” takes place during the “perineum of the year”: that stretch of listless, empty days after Christmas and before New Years, which, depending on one’s outlook, can be either stifling or reassuring. The narrator of “Iceland” is spending those days in New Jersey with his father, contemplating the collapse of a friendship and the absence of his mother and sister. Although he’s initially discomfited by all the unburdened time, the story chronicles a shift in his perspective. “Iceland” captures not only the restlessness of this particular stretch of the year, but the excitement it inspires; the hope for change that lies just around the corner.  

“Charity” by Cara Blue Adams

“Charity” follows Kate, a college freshman who is home with her mother and sister for the holidays. This is the kind of holiday story that revels in familial dysfunction: as they get deeper into the festive season, Kate must act as the mediator between her mother and her other relatives, all while sustaining her nine-year-old sister’s innocent excitement. As recommender Kirstin Valdez Quade observes, “Adams captures the precarity of this family gathering: the determined festivity, the barbed ritual of gift-giving, the way tiny hurts swell and even kindness can sting. And running beneath every prickly interaction is the love these difficult people feel for one another.”

“The Little Restaurant Near Place Des Ternes” by Georges Simenon

In her introduction to “The Little Restaurant Near Place des Ternes,” recommender Jessica Harrison draws a distinction between two kinds of Christmas stories: the “glorious narrative of redemption” à la Dickens and Truman Capote, and the more stark, unforgiving portrayal of the holiday season. Harrison places Simenon’s tale in the latter category, the kind of tale “in which want, greed and loneliness are the dark twins of the season’s comfort and joy.” On a dreary, snowless day, an inspector shows up to investigate a death at the restaurant, and must piece together what happened through a cast of unreliable witnesses. With characters that defy their festive archetypes, Simenon’s story begins to resemble a murder mystery. And yet, the familiar themes of redemption and generosity are still at work in this sparse, brutal piece, surfacing unexpectedly in the story’s resolution. 

“A Bone for Christmas” by Genevieve Plunkett

Genevieve Plunkett’s “A Bone for Christmas” is haunted by the specter of winter. The story follows Petra, who arrives to conduct a wellness check on an elderly woman and ponders the instabilities in her own life–particularly her tortured husband and sensitive, curious son. For Petra’s son, Christmas is a force of anticipation. He’s fixated on the next and the next, unable to consider or appreciate the present. With tonal unease and a stark, wintry setting that harkens to Shirley Jackson, the story contends with the intimacy of the home, the expectations that arise through place, and the patterns of thought we develop to cope with life’s unsettling moments.

“We Live In a Tree for One Month Every Year” by Reina Hardy

“We Live in a Tree for One Month Every Year” is a graphic narrative from the POV of a boxful of Christmas tree decorations. Accompanied by whimsical illustrations from Sara Lautman, Hardy’s language rings with excitement, rendering the delightful, purposeful logic of the ornaments and their “feeling of being all lit up and beribboned and becoming a world ruled by an angel!” The resolution here is bittersweet; a reminder—like every holiday season—that we’re in store for another ending.

“Please Bless Us, Colonel Sanders” by Stine An

The first poem in this set from TC contributor Stine An doesn’t mention the holidays directly. Instead, it renders frenetic warmth, the revitalization that can arise while sharing a meal with family. An’s family isn’t sitting around a hearth feasting on roast turkey, they’re crowded into a green four door pontiac eating fried chicken. Somehow, this claustrophobic little world captures the holiday spirit best; the peculiar traditions and rituals we develop alongside the people we love.

Her Husband’s Principles Are Ruining Christmas

“Another Christmas” by William Trevor

You always looked back, she thought. You looked back at other years, other Christmas cards arriving, the children younger. There was the year Patrick had cried, disliking the holly she was decorating the living room with. There was the year Bridget had got a speck of coke in her eye on Christmas Eve and had to be taken to the hospital at Hammersmith in the middle of the night. There was the first year of their marriage, when she and Dermot were still in Waterford. And ever since they’d come to London there was the presence on Christmas Day of their landlord, Mr. Joyce, a man whom they had watched becoming elderly.

She was middle-aged now, with touches of grey in her curly dark hair, a woman known for her cheerfulness, running a bit to fat. Her husband was the opposite: thin and seeming ascetic, with more than a hint of the priest in him, a good man. “Will we get married, Norah?” he’d said one night in the Tara Ballroom in Waterford, 6 November 1953. The proposal had astonished her: it was his brother Ned, heavy and fresh-faced, a different kettle of fish altogether, whom she’d been expecting to make it.

Patiently he held a chair for her while she strung paper-chains across the room, from one picture-rail to another. He warned her to be careful about attaching anything to the electric light. He still held the chair while she put sprigs of holly behind the pictures. He was cautious by nature and alarmed by little things, particularly anxious in case she fell off chairs. He’d never mount a chair himself, to put up decorations or anything else: he’d be useless at it in his opinion and it was his opinion that mattered. He’d never been able to do a thing about the house, but it didn’t matter because since the boys had grown up they’d attended to whatever she couldn’t manage herself. You wouldn’t dream of remarking on it: he was the way he was, considerate and thoughtful in what he did do, teetotal, clever, full of fondness for herself and for the family they’d reared, full of respect for her also.

“Isn’t it remarkable how quick it comes round, Norah?” he said while he held the chair. “Isn’t it no time since last year?”

“No time at all.”

“Though a lot happened in the year, Norah.”

“An awful lot happened.”

Two of the pictures she decorated were scenes of Waterford: the quays and a man driving sheep past the Bank of Ireland. Her mother had given them to her, taking them down from the hall of the farmhouse.

There was a picture of the Virgin and Child, and other, smaller pictures. She placed her last sprig of holly, a piece with berries on it, above the Virgin’s halo.

“I’ll make a cup of tea,” she said, descending from the chair and smiling at him.

“A cup of tea’d be great, Norah.”

The living room, containing three brown armchairs and a table with upright chairs around it, and a sideboard with a television set on it, was crowded by this furniture and seemed even smaller than it was because of the decorations that had been added. On the mantelpiece, above a built-in gas-fire, Christmas cards were arrayed on either side of an ornate green clock.

The house was in a terrace in Fulham. It had always been too small for the family, but now that Patrick and Brendan no longer lived there things were easier. Patrick had married a girl called Pearl six months ago, almost as soon as his period of training with the Midland Bank had ended. Brendan was training in Liverpool, with a firm of computer manufacturers. The three remaining children were still at school, Bridget at the nearby convent, Cathal and Tom at the Sacred Heart Primary. When Patrick and Brendan had moved out the room they’d always shared had become Bridget’s. Until then Bridget had slept in her parents’ room and she’d have to return there this Christmas because Brendan would be back for three nights. Patrick and Pearl would just come for Christmas Day. They’d be going to Pearl’s people, in Croydon, on Boxing Day—St. Stephen’s Day, as Norah and Dermot always called it, in the Irish manner.

“It’ll be great, having them all,” he said. “A family again, Norah.”

“And Pearl.”

“She’s part of us now, Norah.”

“Will you have biscuits with your tea? I have a packet of Nice.”

He said he would, thanking her. He was a meter-reader with North Thames Gas, a position he had held for twenty-one years, ever since he’d emigrated. In Waterford he’d worked as a clerk in the Customs, not earning very much and not much caring for the stuffy, smoke-laden office he shared with half a dozen other clerks. He had come to England because Norah had thought it was a good idea, because she’d always wanted to work in a London shop. She’d been given a job in Dickins & Jones, in the household linens department, and he’d been taken on as a meter-reader, cycling from door-to-door, remembering the different houses and where the meters were situated in each, being agreeable to householders: all of it suited him from the start. He devoted time to thought while he rode about, and in particular to religious matters.

In her small kitchen she made the tea and carried it on a tray into the living room. She’d been late this year with the decorations. She always liked to get them up a week in advance because they set the mood, making everyone feel right for Christmas. She’d been busy with stuff for a stall Father Malley had asked her to run for his Christmas Sale. A fashion stall he’d called it, but not quite knowing what he meant she’d just asked people for any old clothes they had, jumble really. Because of the time it had taken she hadn’t had a minute to see to the decorations until this afternoon, two days before Christmas Eve. But that, as it turned out, had been all for the best. Bridget and Cathal and Tom had gone up to Putney to the pictures, Dermot didn’t work on a Monday afternoon: it was convenient that they’d have an hour or two alone together because there was the matter of Mr. Joyce to bring up. Not that she wanted to bring it up, but it couldn’t be just left there.

“The cup that cheers,” he said, breaking a biscuit in half. Deliberately she put off raising the subject she had in mind. She watched him nibbling the biscuit and then dropping three heaped spoons of sugar into his tea and stirring it. He loved tea. The first time he’d taken her out, to the Savoy cinema in Waterford, they’d had tea afterwards in the cinema café and they’d talked about the film and about people they knew. He’d come to live in Waterford from the country, from the farm his brother had inherited, quite close to her father’s farm. He reckoned he’d settled, he told her that night: Waterford wasn’t sensational, but it suited him in a lot of ways. If he hadn’t married her he’d still be there, working eight hours a day in the Customs and not caring for it, yet managing to get by because he had his religion to assist him.

“Did we get a card from Father Jack yet?” he inquired, referring to a distant cousin, a priest in Chicago.

“Not yet. But it’s always on the late side, Father Jack’s. It was February last year.”

She sipped her tea, sitting in one of the other brown armchairs, on the other side of the gas-fire. It was pleasant being there alone with him in the decorated room, the green clock ticking on the mantelpiece, the Christmas cards, dusk gathering outside. She smiled and laughed, taking another biscuit while he lit a cigarette. “Isn’t this great?” she said. “A bit of peace for ourselves?”

Solemnly he nodded.

He arrived at a conclusion, having thought long and carefully; he balanced everything in his mind.

“Peace comes dropping slow,” he said, and she knew he was quoting from some book or other. Quite often he said things she didn’t understand. “Peace and goodwill,” he added, and she understood that all right.

He tapped the ash from his cigarette into an ashtray which was kept for his use, beside the gas-fire. All his movements were slow. He was a slow thinker, even though he was clever. He arrived at a conclusion, having thought long and carefully; he balanced everything in his mind. “We must think about that, Norah,” he said that day, twenty-two years ago, when she’d suggested that they should move to England. A week later he’d said that if she really wanted to he’d agree.

They talked about Bridget and Cathal and Tom. When they came in from the cinema they’d only just have time to change their clothes before setting out again for the Christmas party at Bridget’s convent.

“It’s a big day for them. Let them lie in in the morning, Norah.”

“They could lie in for ever,” she said, laughing in case there might seem to be harshness in this recommendation. With Christmas excitement running high, the less she heard from them the better.

“Did you get Cathal the gadgets he wanted?”

“Chemistry stuff. A set in a box.”

“You’re great the way you manage, Norah.”

She denied that. She poured more tea for both of them. She said, as casually as she could:

“Mr. Joyce won’t come. I’m not counting him in for Christmas Day.”

“He hasn’t failed us yet, Norah.”

“He won’t come this year.” She smiled through the gloom at him. “I think we’d best warn the children about it.”

“Where would he go if he didn’t come here? Where’d he get his dinner?”

“Lyons used to be open in the old days.”

“He’d never do that.”

“The Bulrush Café has a turkey dinner advertised. There’s a lot of people go in for that now. If you have a mother doing a job she maybe hasn’t the time for the cooking. They go out to a hotel or a café, three or four pounds a head—”

“Mr. Joyce wouldn’t go to a café. No one could go into a café on their own on Christmas Day.”

“He won’t come here, dear.”

It had to be said: it was no good just pretending, laying a place for the old man on an assumption that had no basis to it. Mr. Joyce would not come because Mr. Joyce, last August, had ceased to visit them. Every Friday night he used to come, for a cup of tea and a chat, to watch the nine o’clock news with them. Every Christmas Day he’d brought carefully chosen presents for the children, and chocolates and nuts and cigarettes. He’d given Patrick and Pearl a radio as a wedding present.

“I think he’ll come all right. I think maybe he hasn’t been too well. God help him, it’s a great age, Norah.”

“He hasn’t been ill, Dermot.”

Every Friday Mr. Joyce had sat there in the third of the brown armchairs, watching the television, his bald head inclined so that his good ear was closer to the screen. He was tallish, rather bent now, frail and bony, with a modest white moustache. In his time he’d been a builder; which was how he had come to own property in Fulham, a self-made man who’d never married. That evening in August he had been quite as usual. Bridget had kissed him good night because for as long as she could remember she’d always done that when he came on Friday evenings. He’d asked Cathal how he was getting on with his afternoon paper round.

There had never been any difficulties over the house. They considered that he was fair in his dealings with them; they were his tenants and his friends. When it seemed that the Irish had bombed English people to death in Birmingham and Guildford he did not cease to arrive every Friday evening and on Christmas Day. The bombings were discussed after the news, the Tower of London bomb, the bomb in the bus, and all the others. “Maniacs,” Mr. Joyce said and nobody contradicted him.

“He would never forget the children, Norah. Not at Christmastime.”

His voice addressed her from the shadows. She felt the warmth of the gas-fire reflected in her face and knew if she looked in a mirror she’d see that she was quite flushed. Dermot’s face never reddened. Even though he was nervy, he never displayed emotion. On all occasions his face retained its paleness, his eyes acquired no glimmer of passion. No wife could have a better husband, yet in the matter of Mr. Joyce he was so wrong it almost frightened her.

“Is it tomorrow I call in for the turkey?” he said.

She nodded, hoping he’d ask her if anything was the matter because as a rule she never just nodded in reply to a question. But he didn’t say anything. He stubbed his cigarette out. He asked if there was another cup of tea in the pot.

“Dermot, would you take something round to Mr. Joyce?”

“A message, is it?”

“I have a tartan tie for him.”

“Wouldn’t you give it to him on the day, Norah? Like you always do.” He spoke softly, still insisting. She shook her head.

It was all her fault. If she hadn’t said they should go to England, if she hadn’t wanted to work in a London shop, they wouldn’t be caught in the trap they’d made for themselves. Their children spoke with London accents. Patrick and Brendan worked for English firms and would make their homes in England. Patrick had married an English girl. They were Catholics and they had Irish names, yet home for them was not Waterford.

“Could you make it up with Mr. Joyce, Dermot? Could you go round with the tie and say you were sorry?”

“Sorry?”

“You know what I mean.” In spite of herself her voice had acquired a trace of impatience, an edginess that was unusual in it. She did not ever speak to him like that. It was the way she occasionally spoke to the children.

“What would I say I was sorry for, Norah?”

“For what you said that night.” She smiled, calming her agitation. He lit another cigarette, the flame of the match briefly illuminating his face. Nothing had changed in his face. He said:

“I don’t think Mr. Joyce and I had any disagreement, Norah.”

“I know, Dermot. You didn’t mean anything—”

“There was no disagreement, girl.”

There had been no disagreement, but on that evening in August something else had happened. On the nine o’clock news there had been a report of another outrage and afterwards, when Dermot had turned the television off, there’d been the familiar comment on it. He couldn’t understand the mentality of people like that, Mr. Joyce said yet again, killing just anyone, destroying life for no reason. Dermot had shaken his head over it, she herself had said it was uncivilized. Then Dermot had added that they mustn’t of course forget what the Catholics in the North had suffered. The bombs were a crime but it didn’t do to forget that the crime would not be there if generations of Catholics in the North had not been treated as animals. There’d been a silence then, a difficult kind of silence which she’d broken herself. All that was in the past, she’d said hastily, in a rush, nothing in the past or the present or anywhere else could justify the killing of innocent people. Even so, Dermot had added, it didn’t do to avoid the truth. Mr. Joyce had not said anything.

The crime would not be there if generations of Catholics in the North had not been treated as animals.

“I’d say there was no need to go round with the tie, Norah. I’d say he’d make the effort on Christmas Day.”

“Of course he won’t.” Her voice was raised, with more than impatience in it now. But her anger was controlled. “Of course he won’t come.”

“It’s a time for goodwill, Norah. Another Christmas: to remind us.”

He spoke slowly, the words prompted by some interpretation of God’s voice in answer to a prayer. She recognized that in his deliberate tone.

“It isn’t just another Christmas. It’s an awful kind of Christmas. It’s a Christmas to be ashamed, and you’re making it worse, Dermot.” Her lips were trembling in a way that was uncomfortable. If she tried to calm herself she’d become jittery instead, she might even begin to cry. Mr. Joyce had been generous and tactful, she said loudly. It made no difference to Mr. Joyce that they were Irish people, that their children went to school with the children of I.R.A. men. Yet his generosity and his tact had been thrown back in his face. Everyone knew that the Catholics in the North had suffered, that generations of injustice had been twisted into the shape of a cause. But you couldn’t say it to an old man who had hardly been outside Fulham in his life. You couldn’t say it because when you did it sounded like an excuse for murder.

“You have to state the truth, Norah. It’s there to be told.”

“I never yet cared for a North of Ireland person, Catholic or Protestant. Let them fight it out and not bother us.”

“You shouldn’t say that, Norah.”

“It’s more of your truth for you.”

He didn’t reply. There was the gleam of his face for a moment as he drew on his cigarette. In all their married life they had never had a quarrel that was in any way serious, yet she felt herself now in the presence of a seriousness that was too much for her. She had told him that whenever a new bombing took place she prayed it might be the work of the Angry Brigade, or any group that wasn’t Irish. She’d told him that in shops she’d begun to feel embarrassed because of her Waterford accent. He’d said she must have courage, and she realized now that he had drawn on courage himself when he’d made the remark to Mr. Joyce. He would have prayed and considered before making it. He would have seen it in the end as his Catholic duty.

“He thinks you don’t condemn people being killed.” She spoke quietly even though she felt a wildness inside her. She felt she should be out on the streets, shouting in her Waterford accent, violently stating that the bombers were more despicable with every breath they drew, that hatred and death were all they deserved. She saw herself on Fulham Broadway, haranguing the passersby, her greying hair blown in the wind, her voice more passionate than it had ever been before. But none of it was the kind of thing she could do because she was not that kind of woman. She hadn’t the courage, any more than she had the courage to urge her anger to explode in their living room. For all the years of her marriage there had never been the need of such courage before: she was aware of that, but found no consolation in it.

“I think he’s maybe seen it by now,” he said. “How one thing leads to another.”

She felt insulted by the words. She willed herself the strength to shout, to pour out a torrent of fury at him, but the strength did not come. Standing up, she stumbled in the gloom and felt a piece of holly under the sole of her shoe. She turned the light on.

“I’ll pray that Mr. Joyce will come,” he said.

She looked at him, pale and thin, with his priestly face. For the first time since he had asked her to marry him in the Tara Ballroom she did not love him. He was cleverer than she was, yet he seemed half blind. He was good, yet he seemed hard in his goodness, as though he’d be better without it. Up to the very last moment on Christmas Day there would be the pretence that their landlord might arrive, that God would answer a prayer because His truth had been honoured. She considered it hypocrisy, unable to help herself in that opinion.

He talked but she did not listen. He spoke of keeping faith with their own, of being a Catholic. Crime begot crime, he said, God wanted it to be known that one evil led to another. She continued to look at him while he spoke, pretending to listen but wondering instead if in twelve months’ time, when another Christmas came, he would still be cycling from house to house to read gas meters. Or would people have objected, requesting a meter-reader who was not Irish? An objection to a man with an Irish accent was down-to-earth and ordinary. It didn’t belong in the same grand category as crime begetting crime or God wanting something to be known, or in the category of truth and conscience. In the present circumstances the objection would be understandable and fair. It seemed even right that it should be made, for it was a man with an Irish accent in whom the worst had been brought out by the troubles that had come, who was guilty of a cruelty no one would have believed him capable of. Their harmless, elderly landlord might die in the course of that same year, a friendship he had valued lost, his last Christmas lonely. Grand though it might seem in one way, all of it was petty.

Once, as a girl, she might have cried, but her contented marriage had caused her to lose that habit. She cleared up the tea things, reflecting that the bombers would be pleased if they could note the victory they’d scored in a living room in Fulham. And on Christmas Day, when a family sat down to a conventional meal, the victory would be greater. There would be crackers and chatter and excitement, the Queen and the Pope would deliver speeches. Dermot would discuss these Christmas messages with Patrick and Brendan, as he’d discussed them in the past with Mr. Joyce. He would be as kind as ever. He would console Bridget and Cathal and Tom by saying that Mr. Joyce hadn’t been up to the journey. And whenever she looked at him she would remember the Christmases of the past. She would feel ashamed of him, and of herself.

Finding Love in a Poetic Hellscape

On a Thursday morning in August I’m at the gym, listening to the audiobook of Shane McCrae’s Pulling the Chariot of the Sun: A Memoir of a Kidnapping. The audiobook is narrated by the author himself, so when I check my email between sets and see the email from Shane, his voice fills my head in a kind of cross-modal stereo: Can I call you Sebastian? I hope so. Thank you for reaching out—I would be honored and happy to participate in this interview . . . The remainder of the email is what I now recognize as pure Shane: cordial, friendly, warm, expansive, and—from the first breath—revisionary in spirit. Tinkering. Perfecting. He informs me of the changes he has already made to the hardcover edition of the book in question—New and Collected Hell: A Poem—specifically in the section titled “I squeezed through,” in the 12th and 13th stanzas. He sends the new wording.

I love this impulse in Shane—the impulse not to let his verse rest. New and Collected Hell weaves a narrative by collecting and revising “hell poems” that appeared in previous collections—The Gilded Auction Block, The World Is Wild and Sad, and Cain Named the Animalalongside entirely new material. We see glimpses of hell, purgatory, and heaven throughout Shane’s collections, but this is the first of his books to feature, exclusively, a narrative journey through the afterlife. The result is rich and strange. An unnamed narrator dies and descends to hell, guided by a saucy, robotic bird named Law. It is hard to get a handhold in this hell. But the poem rewards work. Which is to say, it rewards the reader’s own boomerang impulse, the spirit of circling back and reading again. Each time you return to Shane’s poem, it reads anew. It transforms like Law—now a bird, now a gleaming molten-metal Terminator. The tortures are real. The violence visceral. And yet for the reader willing to undergo the full journey, the redemption is real. The love. The ascent.

Here we are discussing hell, Shane’s new book, his approach to writing, and the Love that moves the sun and other stars.


Sebastian J. Langdell: New and Collected Hell: A Poem is partly composed of shorter “hell works” from your previous collections. Did you always have a sense that you’d spend more time with these texts, bring them together, expand upon them?

Shane McCrae: Not at all. I wish I had been a bit more intentional when I started what would eventually become New and Collected Hell, but instead I wrote the first poem (at the time I thought of it as an independent poem, but now I think of it as a section of the epic), “Intake Interview,” without any notion that I might write further poems featuring the same characters. But I did notice, as I was writing it, that “Intake Interview” was more narrative than most of the poems I had written before. In retrospect, I can recognize the ways in which it was suggesting the epic before I was aware of the epic.

SJL: You have “purgatory” and “heaven” pieces in previous collections, too. Are there plans for a potential trilogy—New and Collected Purgatory and New and Collected Heaven?

SM: The purgatory and heaven pieces are actually components of an early attempt to make a trilogy, but now I think New and Collected Hell ought to be considered a standalone poem. I am, however, trying to write a new purgatory poem. The poem feels stalled at the moment, and I find myself considerably more interested in lyric poems—I want to explore the possibilities of a more severe strictness with regard to meter and rhyme than I have heretofore practiced.

SJL: We get a Virgilian guide in your robot bird, Law, who functions as something of an embittered and explosive employee of hell. How did Law enter the pages for you? Where did it come from and why did it feel right for this version of hell?

The present feels like a moment in which a reconsideration of the afterlife, hell in particular, might be called for.

SM: Law appeared just as it does in “intake interview.” I ought to have known then it was a Virgil-ish (much diminished, of course) guide, but the thought didn’t cross my mind. One must, I think, maintain a high degree of unknowing—not a problem for me—if one wants to be a poet, even as one attempts to be as perceptive as one can be. And, to be perfectly honest, I’ve never even thought about whether Law felt right for the hell I wrote—Law just kept talking, so I kept writing.

SJL: I’d like to talk about the process of reinventing the afterlife—especially hell—for our present day, and specifically in America. What, for you, is the urgency, the import, the necessity here?

SM: Certainly, the present moment feels like a moment in which a reconsideration of the afterlife, hell in particular, might be called for, though not necessarily a reconsideration done by me. I would like to say the poem rose out of a sensitivity to the needs of the particular moment—after all, Trump is in the poem, and is the only recognizable contemporary figure in the poem—but, as with most poems, New and Collected Hell arose out of my inchoate desire to write it, and its desire to be. Indeed, I started writing it a few years before Trump started running (and Trump is, to a large extent, the present American moment, at least, he is why one can’t breathe in America). All that said, one does sense a cultural collapse. But because I’m old, I find it difficult to determine how much of that sensation is colored by my own, personal feeling that the world I knew is vanishing, a feeling one often has as one’s generation is displaced from the center of things.

SJL: You mentioned that Law kept talking, so you kept writing; and you mentioned the poem’s own “desire to be.” To what degree does writing feel like receiving to you?

I suppose I like to write God—or God’s actions—so that God’s personal concern for individuals is apparent.

SM: Writing feels more like negotiating than receiving to me—though, of course, one could negotiate as one receives. Because I write in traditional forms, when I establish the formal parameters of a poem I’m writing, I give the poem the tools to resist both my whims and my thoughtful intentions with regard to its composition. The poem becomes a being with a will, and the writing of the poem becomes an effort to balance, even as I discover them, my desires for the poem with its desires for itself—a strictly iambic pentameter sonnet will refuse the dactylic heptameter line I wish to add to it. The negotiation tends to be foremost in my mind while I’m writing; whatever receiving I might perceive under different circumstances, I don’t perceive.

SJL: How important is Dante as a literary interlocutor, for you? The publisher site for New and Collected Hell says this book “takes up and turns on its head the mantle of Dante in this contemporary vision of Hell.” Can you discuss what you see yourself inheriting, grappling with, and/or positioning yourself against, when it comes to Dante?

SM: Dante is difficult for me to think about—at least partly because I find his persona in the Commedia a bit unpleasant. But he has been central to my poetry almost since I started writing it. I couldn’t say why—I’m not even sure I like the Commedia, though I’ve read it any number of times. Does one like air? One likes breathing it (when one bothers to think about breathing it). Dante’s attempt to make sense of the world via making sense of God’s action in the world seems to me the right effort. And I suppose he is so often on my mind because I would like him to be an exemplar for me, though I don’t have a fraction of his skill and vision.

SJL: God often feels far away in Dante, like a high stained-glass window. But somehow he’s present here, in New and Collected Hell. I’m thinking of the way he (not Beatrice) is the inciting/inviting force behind the narrator’s tour. I think of the “love / I couldn’t see” that reconstitutes him after he’s torn apart, too. The idea of the blessed dead being joined to “a great hunger in the sky.” How did that sense of the divine as a solicitous, curious, and healing force come into play?

SM: I’ve been thinking hard—as hard as I could sustain—about God for decades, and I’ve not yet developed much of a notion of what God might be like, except that I think God is like, and is, Jesus. So, as with pretty much everything else in New and Collected Hell, when I wrote the parts having to do with God, I felt I was inventing, and I felt my inventions probably didn’t correspond to reality. I do not hope for God to be any ways other than the ways God is, but I suppose I like to write God—or God’s actions—so that God’s personal concern for individuals is apparent. I do think God loves each of us, but also that God loves the universe through each of us, and God loves me through you, and you through me, just as God loves me on my own terms, and you on your own terms. All of us human beings encounter God’s love for us in each other, and even in the landscapes we inhabit. When the protagonist perceives love, though that love is disembodied, that is the love he’s perceiving.

Let’s Talk About What It Means to Rest for the Sake of Rest

In May of 2020, two months into the COVID-19 shutdown in the United States, I woke up one morning and realized I was completely, utterly, undeniably exhausted. It was a level of fatigue I had not yet encountered at that point in my life, and it surprised me. Unlike most people I knew, the COVID shutdown had not required a significant reorganization of my life. I was extremely lucky in that way. The year prior, I had left my full-time job as a mindfulness teacher after having received a substantial grant from a literary arts organization to support the completion of a novel. I was in my third year of working on that novel, and I had managed to stretch the grant money much further than should have been possible by augmenting my income with a handful of freelance editorial gigs, group workshops, and coaching clients. I had also defrayed the costs of permanent residence for nearly two years via fellowships to writing residency programs, short-term rentals, and crashing at the homes of friends and family while they were away—a house in the foothills of Tucson, Arizona; a lake house in Danbury, Connecticut; a condo on the beach in Siesta Key.

At the time of the shutdown, I was housesitting for my parents in my hometown in upstate New York while they were marooned in Florida, unable to travel home safely, so my housing situation, like my financial situation, was comparatively secure by the time the pandemic was in full swing. Even the stay-at-home order had left me relatively unaffected. I am by nature predisposed to a solitary life, and my life very much reflected that predisposition in those years. I had no partner, no children. I was, for all intents and purposes, unencumbered. Responsible only for myself and my tiny dog.

The biggest disruption to my daily routine was that I could no longer attend twelve-step recovery meetings in person. Thankfully, the recovery community rallied in the immediate wake of the shutdown. Within days, twelve-step meetings across the country, all over the world, had moved online with impressive speed. Suddenly, I could attend meetings any time of day, any day of the week. I often say that recovery never felt as democratic as it did in those early pandemic days.

This is all to say that my life during the COVID shutdown looked remarkably similar to the life I had grown accustomed to before it.

So why was I so exhausted? I wondered.

The answer came to me one afternoon during my daily walk, a habit I had established in January of that year to help mitigate the sedentary posture of writing at the computer all day, and one I had carried over into the pandemic. It was so helpful just to get out of the house, to move my body, to be out in the world and among nature. Later, my friend JoAnn would tell me that due to the near-complete cessation of road and air traffic during the shutdown, birds no longer had to pitch their songs in a higher and more rigorous register as they strained to be heard by their mates. I don’t know if that’s true, but I believe it. During my walks, the birdsong sounded lower and fuller. More relaxed, more melodious. I stopped to observe the Northern flickers that had returned with the spring weather. I watched the cowbirds roost in other birds’ nests. And during the rich slowness of one of those afternoon walks, the cause of my exhaustion became apparent. Unlike the birds, I had not relaxed. Even in the quiet solitude of the shutdown, I had continued to overfunction.

And, I realized, I had been overfunctioning for years.


I was first introduced to the concepts of overfunctioning and underfunctioning through the work of clinical psychologist Harriet Lerner and her book The Dance of Anger: A Woman’s Guide to Changing the Patterns of Intimate Relationships. Like family systems therapist Murray Bowen, from whom Lerner adopted the terms, Lerner uses overfunctioning and underfunctioning to describe the division of emotional labor and relationship responsibilities within families of origin and intimate partnerships. That said, it’s been helpful for me to remember that overfunctioning and underfunctioning are at their core stress responses. That is, they are attempts to regulate the uncomfortable physiological reaction that arises in the body during anxiety-producing situations.

Even in the quiet solitude of the shutdown, I had continued to overfunction.

Simply put, in moments of high stress, overfunctioners compensate: They do more, work harder, and take on additional responsibilities. Underfunctioners decompensate: They do less, disengage, and yield responsibilities to others. Socially, both overfunctioning and underfunctioning have their advantages and disadvantages. Overfunctioners receive a good deal of praise for being ambitious, hardworking, and born leaders, while at the same time they are criticized as controlling, domineering, and micromanaging. Underfunctioners are praised as flexible, easygoing, and laid-back, while they are simultaneously criticized for being lazy, procrastinating, indecisive, and avoidant.

Hello. My name is Benjamin, and I am an overfunctioner.

And, if I’m being completely honest, there is a part of me—the egoic part—that has enjoyed the benefits of overfunctioning. I am a fairly achievement-oriented person, and in that regard overfunctioning has served me well, socially and professionally. But regardless of their respective advantages and disadvantages, the important thing to remember is that both of these stress responses are maladaptive. They are maladaptive because they are unsustainable. Both overfunctioning and underfunctioning keep us stuck in a state of perpetual nervous-system arousal, which leads us to the precipice of exhaustion and eventually to complete nervous-system collapse. Overfunctioners burn out from taking on more responsibilities than they can reasonably handle themselves, while underfunctioners experience a kind of emotional and behavioral paralysis as they continue to fail to attend to responsibilities successfully, which in turn only increases their anxiety.

The unexpected byproduct of the COVID shutdown was that, at least within my own sphere of influence and personal experience, the world had slowed down. The world had slowed down, but I had not. The contrast between the two had thrown the latter into stark relief. Once I saw what I was doing, I could not unsee it, and I knew that if I did not address the root cause of my exhaustion, the root cause of my exhaustion was going to address me.

I was going to have to stop overfunctioning.

I was going to have to practice intentional rest.


When I work with students, coaching clients, and sponsees around their tendencies to overfunction or underfunction, I ask them to write down a list of everything they think they can reasonably accomplish in one day. (I emphasize the word reasonably.) Then I tell them, “If you identify as an overfunctioner, take the number of items on your list and cut it in half. And if you identify as an underfunctioner, take the number of items on your list and cut it in half.” I deliver these instructions as if they were a joke: the punchline is that the instructions are exactly the same. I do this to demonstrate specifically to underfunctioners how thoroughly they have been conditioned to believe they should be able to do more than they actually can as the result of a lot of cultural expectations. When underfunctioners realize I’m not going to suggest they increase the number of items on their list, they typically respond with visible relief.

With these instructions in mind, I decided to follow my own advice. 

I returned home from my afternoon walk that day, opened my computer, and pulled up the daily to-do list I write every Sunday for the upcoming week. I started using this to-do list twelve years ago when I was applying to graduate school because it helped me stay organized throughout the process, and it has helped me stay organized ever since. But in all likelihood, it has also contributed to my inclination to overfunction. There is never a shortage of things to do, and I can accomplish a lot in a day. But when I looked at my to-do list in May of 2020, I was horrified by what I saw. Even during the shutdown, when I was barely leaving the house, I had still written down eight to ten things to do each day—and I was actually doing them. This is what overfunctioning looks like.

No wonder I was exhausted.

So I moved the cursor over my list and began cutting that list in half.


I am sure it will surprise no one when I say I am not a person for whom rest comes naturally. As an overfunctioner, rest has never been high on my list of priorities, which is why I qualify my pursuit of rest as both intentional and a practice. For me, developing an intentional resting practice began with implementing the tool I called “The Four Things.” The premise was simple: For the next thirty days, I would limit myself to four daily tasks and once I had met my quota of four things that day, the remainder of the day I would commit to rest. Why four things? Because that is the number I arrived at when I cut my to-do list in half. For an underfunctioner, this number may be lower. For another overfunctioner, it may be higher. But if someone’s number is higher than five things, I usually recommend they reevaluate their understanding of the word reasonably.

When I made my list of “Four Things,” I did not include in that number my morning practice, the hour I devote every morning to passive and active reflection: fifteen minutes of seated meditation and forty-five minutes of journaling. Morning practice is foundational to my spiritual health and therefore is a nonnegotiable. I will prioritize it over everything else. If I have a 6:30 AM flight, I will wake up at 4:00 AM just to do it. On the rare occasion that I am unable to attend to morning practice, I feel it. I am a less patient and compassionate person out in the world. I become that asshole in the grocery aisle.

Even during the shutdown, when I was barely leaving the house, I had still written down eight to ten things to do each day.

So my “Four Things” did not include morning practice—but it included everything else. It included writing; it included attending a twelve-step meeting; it included any labor-for-money; and it included exercise (my daily walk or yoga or a workout). On any given day, I did three of these four things, which meant I could really only do one additional thing each day. One thing. Not the five or six additional things I had grown accustomed to doing. This felt extreme, but so did my exhaustion. It became clear that if I was going to make space in my life to rest by limiting myself to “The Four Things,” I was going to need to become unsparing in my commitment to my values.


I have come to believe that value-aligned living is at the heart of all recovery work. This process has required me to identify the values that are most important to me and to learn to live my life in agreement with them. This is how I define integrity. And the great thing about value-aligned living is that my values cannot be determined by anyone or anything outside of myself. My values are specific to me, and only I can define them. And while I did the majority of my own values work in the early years of my sobriety through the twelve steps and a modality of secular mindfulness practice known as acceptance and commitment therapy (ACT), the values exercise I most frequently recommend to others comes from qualitative researcher Brené Brown’s book Dare to Lead: Brave Work. Tough Conversation. Whole Hearts.

In Dare to Lead, Brown provides a list of a hundred or so values and asks readers to narrow the list down to the two values that are most important to them. Brown suggests this approach for two reasons: “First, I see it the same way that I see Jim Collins’s mandate ‘If you have more than three priorities, you have no priorities.’ At some point, if everything on the list is important, then nothing is truly a driver for you. It’s just a gauzy list of feel-good words. Second, I’ve taken more than ten thousand people through this work, and when people are willing to stay with the process long enough to whittle their big list down to two, they always come to the same conclusion that I did with my values process: My two core values are where all of the ‘second tiered’ circled values are tested.”

Identifying our values is a key part of value-aligned living because, as Brown points out, “We can’t live into values that we can’t name.” But if narrowing down the list to two core values proves too difficult or overwhelming for people, the other values exercise I regularly suggest is a weekly inventory. Every day for one week, I ask people to write a bullet-point list of everything they’ve done each day, from the time they wake up until they go to bed. Then, at the end of the week, I ask them to review the inventory and ask themselves what their daily activities have in common.

Like Brown’s approach, the benefits of a weekly inventory are twofold. First, a weekly inventory reveals where we are currently allotting what I have referred to as our two most valuable resources: our time and attention. In other words, a weekly inventory demonstrates the values we are already (and often unconsciously) prioritizing. Second, at the very least, a weekly inventory has the potential to expose what I call “integrity breaches”—places in our lives where our actions, behaviors, and priorities are not in alignment with our values—especially if we discover that the things we devote the majority of our time and attention to are, in fact, not the things that are most important to us. Upon reviewing the inventory, we might say to ourselves, “I still don’t know what my core values are, but whatever they are, they are not this.” In my experience, identifying our values is as much a process of elimination as anything else

When I look at my life, I can see that the majority of my time and attention goes to my spiritual development and my creative work.

My own core values are spirituality and creativity. When I look at my life, I can see that the majority of my time and attention goes to my spiritual development and my creative work. Prioritizing these values is how I have cultivated a sense of purpose and meaning, and because I make a habit of prioritizing them, I am able to show up fully and presently in every other area of my life, including my relationships with other people. So as I pared my to-do list down to “The Four Things,” I prioritized the items that were in service of those values, and wherever possible, I deprioritized everything else.


Every time I describe “The Four Things,” people invariably ask me the same two questions. Most recently, it was my friend, the writer Cat Powell, who asked me: “How do you know if something counts as a thing?” I wish I had a better answer to this question, some universal standard, but the truth is I don’t. Instead, I offer people the criteria I use, which is the criteria I’ve found most helpful: “If it goes on my to-do list, it counts as a thing.”

Which is to say: If it’s scheduled.

For example, if I decide to swing by the bank to deposit money at the ATM on my way to do something else, that doesn’t count as a thing because it’s something I could do anytime that is convenient. But if I have to go into the bank—or worse, call customer service—to speak with someone about my account, that counts as a thing. Similarly, habitual daily tasks like brushing my teeth, showering, and eating meals don’t count, but if I’ve scheduled time to meal prep for the week, that does. Cleaning the house counts as a thing. Laundry counts as a thing. Going out to dinner or a movie with friends, as pleasurable as it may be, counts as a thing. So does a scheduled phone date. Doctor and therapy appointments count. So does an appointment to get a haircut or a massage. The task itself is not what matters. Nor does it matter how much time and attention the task will require. If I write something down on my to-do list, I have committed to completing that task on that day, and it counts as one of my four things.

The other question I’m most frequently asked, usually by parents and primary caregivers and people with high-demanding careers, is whether their familial and work responsibilities count toward “The Four Things.” As someone without children or a traditional work situation, I always want to honor this question with the respect and consideration it deserves—and yet my answer remains firm: Yes. For many people, their commitments to their families and their careers will be in service to their core values, but regardless of whether or not that is the case, these commitments will most certainly limit the amount of time and attention they have available to allocate elsewhere. 

For this reason, it is imperative to keep in mind that “The Four Things” is not a tool to help us attend to everything we deem worthy of our time and attention. And it certainly isn’t a tool to help us attend to everything we want or think we need to get done, or what other people want or think we need to get done, or what society tells us we should want or need to get done. “The Four Things” is a tool to help us make space in our lives to rest. If we are going to do this, we will have to get honest about the limitations of our capacity. Pretending those limitations do not exist is how many of us exhausted ourselves in the first place. Following through on this admission—which requires us to acknowledge and honor our limitations—is what makes intentional rest such a difficult and, I would argue, countercultural practice.


When I first embarked on this intentional resting practice, I thought (perhaps foolishly) that after a week or two, I would emerge from my exhaustion feeling, if not fully rested, at least significantly more so. And certainly after thirty days of resting, I expected my exhaustion would be cured. Spoiler alert: This was not my experience at all. In fact, shortly after I commenced resting in earnest, I found I felt more exhausted than I previously had. What I know now is that this phenomenon was not specific to me and was actually a fairly predictable physiological response as my parasympathetic nervous system began to regulate my biochemistry.

In Burnout: The Secret to Unlocking the Stress Cycle, Amelia and Emily Nagoski explain the effects of exhaustion on the body and the biochemical changes that occur when we first begin to experience adequate rest. They write, “When we’re sleep deprived, our bodies try to compensate by activating the stress response—doses of adrenaline and cortisol to help us survive the temporary stressor of too little sleep—which masks the fatigue and impairment . . . The counterintuitive result is that when we eventually sleep, the stress response reduces, so when we’re actually better rested, we may feel less rested. Adrenaline is no longer masking our fatigue.”

I engaged in this intentional resting practice for a total of nine months, and it took about three months just for me to begin to feel well-rested.

Though the research the Nagoski sisters cite specifically addresses sleep deprivation and the importance of adequate sleep, the same physiological changes occur when we practice active rest, and it didn’t take long for me to determine that my plan to rest for thirty days would not be enough. Ultimately, I engaged in this intentional resting practice for a total of nine months, and it took about three months just for me to begin to feel well-rested, and another six months for my nervous system to fully regulate. During that time I could almost feel my nervous system slowly unwinding incrementally each day. I liken the experience to trying to open a fist you’ve been clenching for too long. The muscles in the hand don’t immediately relax. Instead, they loosen by a measure of degrees until at last the hand opens freely.


Once I had recovered from the initial wave of intensified exhaustion, I was surprised to discover exactly how resistant I was to rest. Because, as it turns out, resting is uncomfortable. By 2020, I had done enough embodiment work that I had learned how to sit with the uncomfortable physiological experience that accompanies difficult emotions, but as an overfunctioner and someone with a history of trauma, my nervous system had grown accustomed to operating at a certain level of hypervigilance. This meant that, neurobiologically, resting felt almost unsafe. Most days, I met my quota of four things sometime in the late afternoon, and I began preparing dinner around 4:30 PM simply because I didn’t know what else to do. Then, having eaten by five, I regarded the evening hours with something like terror. Suddenly I had all this time, and I didn’t know how to fill it without doing more. In fact, my nervous system was practically shouting: You must do more. Surely, I could draft a response to that email I hadn’t gotten to earlier in the day. Surely, I could submit a short story to that literary journal or update my resume for that teaching application. But no, I had committed to “The Four Things.” I had committed to intentional rest. It was at this juncture that I had to admit to myself I really didn’t know how to rest at all. What I knew was distraction. What I knew was “shadow rest.”


I define shadow rest as any form of “rest” that is not actually restful. In my experience, the most common forms of shadow rest are media, social media, and online devices. Sitting down at the end of the day to watch an episode of television, or better yet, a movie—something with a clearly defined beginning and end—may function as a form of rest as long as I am present and engaged with whatever I’m watching. But staying up until 2:00 AM binging an entire Netflix series is not rest. Neither is losing three hours passively scrolling on my phone.

My thinking about smartphones and social media as forms of shadow rest has largely been informed by Catherine Price’s book How to Break Up with Your Phone: The 30-Day Plan to Take Back Your Life, specifically Price’s research demonstrating the similarities between the algorithms that run social media and smartphones and those that are used for slot machines. Like slot machines, social media and smartphones have been designed to trigger the release of dopamine in the brain through the use of intermittent reinforcements in the form of notifications, likes, and comments. But in addition to dopamine, social media and smartphones also trigger the release of the stress hormones cortisol and adrenaline, which encourages a state of nervous-system agitation and hypervigilance in human beings. These neurobiological responses are what have changed our relationship with these platforms and devices from a form of social interaction to one of compulsive engagement.

I had mostly cleaned up my social-media and phone hygiene by the end of 2018, two years into the first Trump presidency, after having read Price’s book. By then I had learned enough about the human nervous system to know that our brains were not designed to accommodate the near-constant exposure to a twenty-four-hour news cycle and the endless scroll of social media where daily we were bombarded with some new political scandal, ethics violation, or humanitarian crisis—which is to say nothing of the stress that comes from living under an administration perpetrating these things. But during the shutdown, when my face-to-face human interactions had been greatly curtailed, I found myself slipping into my old habits of shadow rest. I told myself I just needed to check out for an hour. I told myself I just needed to connect. Then two or four or six hours later, I’d find myself more amped up than when I had logged on.

So as part of my commitment to intentional rest, I began reimplementing Catherine Price’s suggestions. I turned off pop-up notifications and removed all social media apps from my phone, including email and dating apps. If I wanted to log on to Twitter or check my email, I could access them through my phone’s web browser or my computer, but when I finished, I made myself log out of my accounts. I also turned off my phone when I wasn’t actively using it, and at night I charged it in my office. My phone was not allowed near my bedroom any time after 11:00 PM.

I turned off pop-up notifications and removed all social media apps from my phone, including email and dating apps.

These measures did not prevent me from engaging with social media and my phone altogether, but they did present obstacles to accessing them easily and provided a momentary pause in which I had to consciously choose to use them, rather than engage with them compulsively. I would be lying on the sofa, reading a novel, and three pages in, I would watch as my hand reached for my phone, seemingly without my permission. Then, when I picked up my phone, I was met with a dark screen because I had turned my phone off. Thanks to that interruption in what had become a compulsive habit, I could ask myself, “Do I really need to look up which Fleetwood Mac album Stevie Nicks’s song ‘Gypsy’ appeared on or how many people died from COVID today right this minute?”

The answer was always, No, I did not.

My brain had simply been rewired for distraction.

And distraction is not rest.


If limiting my daily activities to “The Four Things” and disengaging with my favored forms of shadow rest helped me define what didn’t constitute as rest, I still had not defined what did. Ironically, the definition I found most useful in determining the parameters of rest was actually not a definition of rest at all. Instead, it came from Stuart Brown, the founder of the National Institute for Play, and his definition of play. Brown defines play as “time spent without purpose,” and the benefit of repurposing Brown’s definition of play for rest was the implication that rest was both active (time spent) and a means to its own end (without purpose). For an overfunctioner, this concept was something of a paradox. What was the purpose of doing anything if not to accomplish something else? The purpose was rest. That said, learning what Brown’s definition looked like in practice required some experimentation.

Reading, I discovered, could be restful, but only if I was reading for pleasure. If I was reading for novel research, that wasn’t rest. That was work. And if I was persisting through a book I didn’t care for but felt compelled to finish simply because I had started it, that wasn’t rest either. Reading for rest had to be enjoyable and a means to its own end. Likewise, a second, long, leisurely walk in the evening could count as rest, but only if I had included an earlier walk or another form of exercise in my four things for the day, because though rest is absolutely an act of self-care, not all acts of self-care are restful.

And so I began painting. I had not painted since the early years of my sobriety, and I was pleasantly surprised by how restful it felt. I am by no means a visual artist, and because I know this about myself, I had no expectations of producing anything of value. I simply delighted in the process, which made painting a restful experience. I also listened to music. I recovered my record player from the basement and began listening to albums on vinyl, which prevented me from repeating a song or skipping ahead. Many evenings during the pandemic, I sat on my sofa and looked out the window as I listened to Mother Earth’s album Bring Me Home all the way through: first one side, then the other. And finally, I danced. After dinner, I would put in my AirPods and dance around my kitchen to the Wild Strawberries or Sarah McLachlan. You might think a person cannot dance to Sarah McLachlan, but as a gay man who grew up in the nineties, let me tell you: A person absolutely can.

Painting, music, and dance. These became my rituals of rest.


Three months into my commitment to rest, I finally felt like I was getting the hang of it. My exhaustion was still present, but it had improved. This improvement, however, coincided with the loosening of COVID restrictions in my home state, and with the looser restrictions came renewed pressures to reengage socially that summer. Committing to rest in isolation was one thing, but now I had to carry this practice into my relationships, which required me to address my tendency to overcommit myself to others, as well as my tendency to people-please, both of which are common pitfalls for overfunctioners and underfunctioners alike.

I’ve learned that saying yes and secretly hating people for it is not generosity.

I sometimes joke that as a society we would be much less eager to cop to the behaviors we call “people-pleasing” if we called “people-pleasing” what it actually is: manipulation. The truth is, my inclination to people-please has very little to do with my desire to please other people and much more to do with my desire to control their perception of me. This is one of the tradeoffs of value-aligned living. Getting clear on my values and maintaining firm but healthy boundaries around them is not always comfortable or easy. It means telling the truth when a lie would be more convenient. It means saying no and allowing other people to experience their disappointment, because I’ve learned that saying yes and secretly hating people for it is not generosity. The tradeoff is that I can sleep at night, both figuratively and literally. So as my family members and friends and colleagues began to reengage that summer, I said no, and I said it frequently.

I said no to invitations to socially-distanced barbecues and bonfires and coffee dates at outdoor cafes. I said no to more lucrative work opportunities. I said no when someone called to ask for a favor, or advice, or just to chat. I changed the outgoing voicemail message on my phone to inform people that I would be resting for the remainder of August and would be slow to respond, but if they left me a message, I would get back to them after the first of September. If it was an emergency, or something that required my immediate attention, I told people they could text or email me and I would do my best to get back to them within twenty-four hours. For the next six months, I re-recorded this message on the first of every month and changed the dates for another month out. It amazed me how few people left me voicemails when they knew I would not be immediately available to them, and how few situations (and by few, I mean none) people considered urgent.

I was grateful to the people in my life who respected my decision to prioritize rest, who trusted that my no was not personal to them. And I understood when some people expressed frustration with my decision, but I did not feel compelled to explain or justify my boundaries to them. I simply knew I wouldn’t be of use to anyone—to other people or myself—if I tried to power through my exhaustion in order to satisfy them or control their perception of me. What’s more, I discovered that as I said no to other people, not once did I have to say no to my values, and I was able to live with that because my values were enough.


By the end of my nine-month commitment to intentional rest, what I learned about rest could probably be boiled down to one thing: Rest is really fucking hard. But for me, the hardest part of this practice was that it forced me to confront my motivations for resting in the first place. This confrontation is something Tricia Hersey, a rest activist whose work centers on Black liberation, womanism, and anticapitalism, discusses at length in Rest Is Resistance: A Manifesto. Throughout Rest Is Resistance, Hersey frequently reminds her readers, “Our drive and obsession to always be in a state of ‘productivity’ leads us to the path of exhaustion, guilt, and shame. We falsely believe we are not doing enough and that we must always be guiding our lives toward more labor. The distinction that must be repeated as many times as necessary is this: We are not resting to be productive. We are resting simply because it is our divine right to do so.”

We are not resting to be productive.

But the truth is, I was.

Looking back, I could see that my primary motivation for resting was the exact reason Hersey warns against: I was resting now so that I could be more productive later. Which is to say, I was resting because I thought rest would help me resume overfunctioning. And the reason I was overfunctioning to begin with was simple: I was overfunctioning out of fear. I was afraid if I stopped overfunctioning, I would fail to achieve the success I hoped to achieve as a writer. I was afraid I wouldn’t get what I wanted, or that I would lose what I had. I was afraid if I didn’t do it all, no one else would do it, and it wouldn’t get done. And I was afraid of disappointing other people because I was afraid of what other people thought about me.

I was resting because I thought rest would help me resume overfunctioning.

This was an unpalatable truth, and one that was particularly difficult for me to swallow because at that point in my recovery I had learned that fear is the number one motivator of integrity breaches. Fear is the number one motivator of integrity breaches because my fear and my values are nearly always at cross-purposes.


While I was writing this essay, I stumbled across a photograph from my time at an artist residency in Amherst, Virginia, in the spring of 2018. The photograph depicted my writing desk below a sun-filled window. Attached to the window ledge above my computer I had posted a series of pink sticky notes on which I’d written a number of mantras I’ve found useful to keep in mind while writing: mostly reminders to stay in the process and out of the result. But the last sticky note I read brought me up short. On it, I had written: Be afraid of NOT getting your writing done.

Seven years later, five years after I had learned to practice intentional rest, I experienced a kind of cognitive vertigo from encountering this younger version of myself—this younger writer—who would have written such a thing. I wanted to tell him, “Oh, sweetheart, you do not need your fear to write.” But at that juncture of my life I had already adopted the false belief that I needed my fear to guide my life toward more labor. What I didn’t realize at the time was that doing so would eventually require me to trade off on my values.

This is the part of the story I glossed over. When I said I woke up one morning in May of 2020 and realized I was completely, utterly, undeniably exhausted, my exhaustion was undeniable because it had begun to impede my ability to show up for my values. I was so tired I couldn’t listen during meetings. I was so tired I slept through phone calls with sponsees. And when I opened the Word doc to work on my novel, I was so tired I couldn’t concentrate on the words on the screen. My exhaustion, fueled by my fear, had become a barrier to the things that were most important to me, regardless of how much exhausting myself had helped me achieve. Had that not been the case, I don’t know that I would have ever addressed my exhaustion or my proclivity for overfunctioning.

The appeals of fear are seductive. This is true for most people, I think, but certainly for creatives operating in a world in which our personal, social, artistic, and professional lives increasingly overlap. Steeped in a culture of industry devoted to the hustle and the grind, a culture that would prefer that people function more like machines than human beings, it is easy to mistake our self-worth for our level of productivity. We begin to think we are only as good as what (and how much) we do, as what (and how much) we manufacture for ourselves, as what (and how much) recognition we receive. Within that paradigm it is natural to deem our fear “useful”: the powerful and profound engine that keeps the machine running.

But there is a cost to that kind of living.

It is a cost I am no longer willing to expend.

In the end, I had to learn to practice intentional rest because rest is necessary to my physical, emotional, and psychological well-being, and because, as Hersey suggests, I am worthy of rest because I am a human being. But I also had to learn to practice intentional rest because rest supports my ability to invest in the life I want to live: a life that is aligned with my values.

What I might call a life of integrity.

Electric Literature’s Most Popular Articles of 2025

There’s a specific vertigo to reflecting on the past year at the tail end of December. It’s an annual feeling, but 2025 is the first year that brings the phrase “free fall” to mind. I won’t count all the large upheavals everyone knows about nor enumerate the small private ones that each of us has. Instead, I want to reflect on our bounty, on the cornucopia of thoughtful, provocative, funny, morose, angry, dark, erudite, and compassionate articles that have populated EL’s digital pages. In a year of chaos, we’ve had a bumper crop of powerful writing that runs the gamut from Peter Orner’s diving into the craft of writing his marvelous, latest novel (with yours truly) to our most popular essay of the year, Susannah Nevison’s incisive dissection of Baywatch and the ableist tropes that continue to haunt our culture. Perhaps I’m not the only one haunted by thoughts of “free fall”—our most popular reading list is of pre-apocalypse novels.

I also find myself taking a moment, and ask that everyone take a moment with me, to reflect on the tragic passing of EL’s deputy editor Jo Lou. For over eight years, she cultivated a style of book coverage that built bonds of mutual love and respect for the craft of writing and publishing, bonds that continue to run through our community today. Jo was a bright spot in the publishing world, a person who made time to support writers on and off the page, who mentored countless interns, talked to students, and embodied what it means to be a literary citizen. She is greatly missed. It’s fitting that Jo’s Literary Crossword for Book People, her playful ode to all the people who build their lives around their love of books, is one of EL’s most popular articles this year. Take a moment to play it and remember Jo with us. 

For all its hardship, 2025 is a year that’s shown me the value of coming together. In these late December days, I’m thinking of family, of friends, of the stories that we’ve told each other this year, and the ones we will tell each other next year. Judging by the outpouring of support EL has received this year, you all feel it too. We need community, we need to applaud ourselves for what we’ve accomplished, and we need to gather energy for what’s to come. There’s no better way to take stock and celebrate the life that we’ve lived these 365 days than to sink into EL’s best articles of the year. I mean it. Enjoy. I look forward to all the stories we’ll be telling together in the new year.

– Willem Marx
Assistant Editor

Interviews

Vampires Wreaking Havoc on a Queer Cruise by Chelsea G. Summers

In this pithy interview, Lindsay Merbaum goes deep into the lore of Vampires at Sea, described by Chelsea G. Summers as a “smutty, funny, quirky” novella. Merbaum and Summers discuss the terrifying nature of cruise ships and the process of developing a fresh take on the queer vampire. Read this piece to prepare for the impending vampire renaissance.

A Poetry Collection That Imagines a World Beyond Empire by A.D. Lauren-Abunassar

According to A.D. Lauren-Abunassar, Marissa Davis’ End of Empire serves as a guidebook across physical and metaphorical spaces. Davis utilizes her poetry to take readers “between the spiritual and the domestic, the doomed and the daring, the earth and the ether.” Lauren-Abunassar and Davis discuss the possibility of new beginnings in this interview that will inspire poets to write toward change.

Writing the Story You’ve Sat on for Fifteen Years by Willem Marx

Willem Marx sits down with Peter Orner in this in-depth interview to discuss The Gossip Columnist’s Daughter, Orner’s newest novel. Orner reflects on his sprawling career while offering valuable perspectives and advice on writing. Find Orner’s 2013 story, “At the Fairmont” in Recommended Reading.

It’s the Writer’s Job To Say Something True by Emma Copley Eisenberg

Laura van den Berg, Katya Apekina, Gabriella Burnham, Emma Copley Eisenberg, Julia Phillips, and Priyanka Mattoo talk about their lives as writers in this jam-packed roundtable discussion. Reflecting on the experiences of publishing their most recent books, the authors touch on money, writing during quarantine, and the mechanisms of storytelling. 

Why Vauhini Vara Used ChatGPT to Write a Book About Big Tech and Herself by Anu Khosla

In this terrifyingly relevant interview, Vauhini Vara discusses the Internet, tensions surrounding Artificial Intelligence, and questions regarding authorship. Vara delves into the process of writing Searches, her “book-length work of inventive nonfiction” that leads readers into and through the depths of technology. This interview is a must-read for those with questions about the ethics of ChatGPT and writing in today’s world.

Reading Lists

8 Pre-Apocalypse Novels by Alex Foster

While there’s a bounty of post-apocalyptic fiction, fewer books contend with worlds on the eve of collapse. As Circular Motion author Alex Foster writes, “What do we make of the dread, doom, and occasional excitement of living in anticipation of catastrophe?” These eight novels get to the root of that question.

8 Folklore-Inspired Horror Novels That Will Make Your Skin Crawl by Daphne Fama

It’s easy to forget that many horror tropes are rooted in a history of misogyny and colonial violence. House of Monstrous Women author Daphne Fama doesn’t shy away from this truth; instead, she points us in the direction of folklore-inspired books that unsettle without obscuring, that chill us by revealing the reality that resides behind mythology. 

7 Books That Break the Confines of Plot by Issa Quincy

“This book has no plot” is a well-worn critique of experimental literature, and Absence author Issa Quincy has had enough of it. Quincy aptly assesses that this critique disregards the potential of unconventional storytelling, and points us to 7 innovative books that illustrate its merit.

8 Novels Set in Strange Unsettling Towns That Will Haunt You by Jon Bassoff

For many readers, nothing is more immediate than setting. It pulls you in, reflects character, and often poses the very problem a novel sets out to resolve. These 8 books–recommended by The Memory Ward author Jon Bassoff–use the small town as their stage, wandering through abandoned buildings and down streets marked “do not enter.” 

10 Wintery Horror Novels That Will Chill You to the Bone by Claudia Guthrie

There’s something fundamentally unsettling about winter…and it’s not just that the sun sets at 4 PM. These 10 novels–set in the dead of winter–expose the true horrors lurking on dark and snowy January nights.

Essays

My Favorite Trash TV Is Ruined by Its Ableism by Susannah Nevison

In this essay, Susannah Nevison revisits a difficult day during her pregnancy—when she was “pregnant, swollen, and tired”—and turns to an episode of Baywatch as a distraction. The episode features Pamela Anderson and a fellow lifeguard sensually welding a beach-ready wheelchair. For Nevison, who is disabled, the scene prompts a meditation on mobility, visibility, and desire, interwoven with her own experiences navigating beaches and other public spaces. The essay critiques feel-good gestures that stand in for structural change, contrasting lived realities of access with the show’s glossy, often misguided vision of accessibility. As Nevison observes, “access to the beach doesn’t fix ableism.”

AI Can’t Gaslight Me if I Write by Hand by Deb Werrlein

Deb Werrlein experiments with writing an essay entirely by hand for the first time in decades, prompted by a growing unease about how technology and AI writing tools are reshaping not only how we write, but how we think. Tracing the evolution of her writing life from pencils and typewriters to word processing and large language models, Werrlein questions what may be lost as speed and convenience accelerate the writing process. Writing, she suggests, is inseparable from discovery, asking, “If writing is a process of discovery and learning, then what discoveries did I lose by speeding up the process?” Werrlein makes a case for slowness as a means of preserving depth, creativity, and human agency in an increasingly automated world.

Readings Might Be Turning Into America’s New Favorite Pastime by Mia Risher

Mia Risher examines the rapid rise of independent reading series as a response to widespread social disconnection among twenty- and thirty-somethings in a post-pandemic world. She argues that social anxiety has made it harder to form and sustain friendships, and that literary readings have emerged as structured, low-stakes spaces for in-person connection. At their core, Risher notes, these gatherings may offer what many people are missing: “Everyone needs an excuse to gather, a structured place to connect to both new and familiar faces offline.”

Eurovision Reminds Me of a Country That No Longer Exists by Vesna Jaksic Lowe

The essay opens with Vesna Jaksic Lowe staying up past her bedtime to watch the Eurovision Song Contest in 1989 Yugoslavia. She remembers the elation of watching the Yugoslav band, Riva, claim first place, unaware that Yugoslavia itself would soon vanish, and that her family would be forced to leave amid political violence. In the essay, Eurovision becomes a lens through which Lowe examines identity, borders, and belonging, revealing how cultural moments can endure even as countries disappear. “Eurovision is a snapshot of my childhood before my life became diasporic,” Lowe writes.

All of My Accepted Stories Started with Rejections by Benjamin Schaefer

Benjamin Schaefer traces his early years as an emerging writer through MFA rejections, agent near-misses, and the uneasy realization that he was no longer writing as much as he was managing the business of writing. What begins as a confession—“I’m worried that I’m not worried”—unfolds into a reflection on rejection, ambition, and the quiet danger of treating external validation as a creative necessity. Drawing on advice from mentors and lessons from recovery, the essay reframes rejection as an industry condition rather than a measure of artistic worth. As the Schaefer succinctly writes, “rejection had nothing to do with writing and everything to do with the business of writing.”

Guides

The Most Anticipated Literary Adaptations Coming to TV and Film in 2025 by Jalen Giovanni Jones

Once again, adaptations were prevalent in Hollywood during 2025. Frankenstein, starring Jacob Elordi, Mia Goth, and Oscar Isaac came out just in time for Halloween–resulting in substantial social media buzz. Films like The Amateur boasted subtle, compelling performances from Rami Malek, Rachel Brosnahan, and Caitríona Balfe. Readers can look forward to the release of Klara and the Sun–which has been postponed until 2026.

48 Books By Women of Color to Read in 2025 by R.O. Kwon

As predicted by R.O. Kwon, 2025 was a wonderful year for gorgeous books written by women of color. Readers who missed this list when it was first published should glance through it now to find their next read. This is a valuable resource for readers who seek out the literary perspectives of women of color.

15 Novels in Translation You Should be Reading This Summer and Fall by Linnea Gradin

Spanning the globe, this list of novels in translation consists of riveting narratives that touch on themes of love, brutality, loneliness, connection, and fear. Each of these books are wholly unique and inventive; they depict personal and community upheaval, tell stories through supernatural entities, and meditate on self-discovery and reinvention. Brought to you by Linnea Gradin, English-speaking readers will fall in love with these much-loved titles.

Most Anticipated Queer Books by Michelle Hart

At the beginning of this year, Electric Literature published a booklist of anticipated queer books by Michelle Hart. The article was written in the immediate aftermath of the 2024 presidential election and the list centered queer stories meant to point readers toward stories of agency, care, and survival. Over the past year, these books have done exactly that, offering ways to think, feel, and imagine forward in times of uncertainty.

10 Novels in Translation You Should be Reading This Winter and Spring by Linnea Gradin

The world is vast, and it is a gift to be able to read novels translated from languages we do not understand. This list, written by Linnea Gradin, anticipated many of the most exciting translated books of the year and remains an essential guide to the breadth of international writing in 2025.

The Misfits

(Articles That Didn’t Fit Into Any Other Categories)

10 Novels Agents Have Seen a Billion Times, and How to Make Yours Stand Out by Kate McKean

In this essay, literary agent Kate McKean draws on nearly two decades in publishing to explain why getting a novel published is so difficult—and why so many manuscripts fail to stand out. Surveying the tropes that flood agents’ inboxes, she urges writers to think less about trends or self-expression and more about what genuinely engages a reader. As she puts it plainly, “At the end of the day, the reader is always going to ask, what’s in it for me?”

Predicting the 2025 Pulitzer Prize for Fiction (and How to Watch It Live!) by Bradley Sides

Making predictions is one of the most exciting parts of awards season, and it’s all the more satisfying when those predictions come true. For Bradley Sides, relying on “previous awards, critics’ thoughts, buzz, and good old Bradley Sides intuition” paid off in 2025…and this list exists to commemorate his prescience.

A Literary Crossword for Book People by Jo Lou

It’s true that books and reading are serious things, but at Electric Literature we love a game, and a good time! This crossword, conceived of, and written by EL’s former deputy editor Jo Lou, is perhaps among the best crossword puzzles ever because it’s entirely devoted to books and authors. You’ll find some cheeky literary references and if you can get all the answers, you’ll have some major bragging rights—at least within bookish circles. 

Is the Book You’re Reading Literary or Genre Fiction? A 100% Definitive Guide by Sarah Garfinkel and Katie Burgess

Have you ever picked up a book, gotten about 20 pages in and wondered…what kind of book is this really? Earlier this year, Electric Lit published the ultimate guide to determining the vibe of your book…and the results are in. Through painstaking analysis of cover art, font, symbolism, and by answering the age old question: are the monsters figurative or sporting a 6-pack? this handy guide is sure to put your uncertainty to rest. 

Rejection Letters from an Editor Who Is Going Through Some Stuff by Katie Burgess

Rejection is a hallmark of any writer’s life. But did you ever stop to think about the person on the other end of that rejection? As these letters show, too many people are asking their editors why did you reject this? Instead of how are you doing. This EL humor piece is your sign to check in on that editor who rejected your manuscript…they might need reassurance even more than you do.

Behind-the-Scenes on How “Hamnet” Was Adapted from the Page to the Screen

About two-thirds into Hamnet, the film adaptation of Maggie O’Farrell’s novel of the same name, there is a scene in which Agnes (William Shakespeare’s wife, and mother to the titular character) is witnessed expressing an unimaginable amount of pain. All fidgeting and commotion on both sides of the screen halts. We watch the veins on Agnes’s throat constrict, see her face contort in utter devastation, and witness her wailing die into a sound that tells us: This is the moment that truly breaks her. From that moment on, sniffles from harried hearts punctuate the rest of the film, even into the credits. Speaking personally, my tears willed themselves free with ease—I was useless to try and stop them. Such is the experience of encountering Maggie O’Farrell’s Hamnet. Both the novel and its recent film adaptation follow the story of William Shakespeare’s son, who—as O’Farrell fabulates in her fictional telling of his life and death—inspired the writing of one of Shakespeare’s most famous plays. 

The trickiness of adapting such an emotionally complex novel comes in knowing how, exactly, to communicate the internalities of its characters. The family members in Hamnet move through unutterable bouts of heartache, grief, frustration, and even hope—the cross-sections of which are difficult to capture in the written word, let alone in visual language. But as the many tissues used at my local AMC theater would suggest, O’Farrell and her co-writer, the Academy Award-winning director Chloé Zhao, tactfully rose to the occasion. 

I had the chance to speak with O’Farrell over Zoom about the experience of translating her heartbreaking narrative from the page to the screen. We discussed speculative storytelling, the novelist’s unique relationship with the truth, a writer’s role on a film set, and how fictional narratives will always help us through our lives.


Jalen Giovanni Jones: What always interested me about Hamnet was that it used a great deal of speculative storytelling to narrate the gaps between the real life Hamnet and Shakespeare’s famous play Hamlet. I was wondering what first sparked your interest in taking a speculative route to tell this story.

Maggie O’Farrell: It really goes back to the play. I loved the play when I first read it when I was 16. It really got under my skin in a way that his previous plays hadn’t done. I just loved Hamlet. He felt like a kind of relative. He appeals to a certain type of teenager—ones who maybe just wear too much black and too much eyeliner. That was definitely me. 

My teacher mentioned in passing one day that Shakespeare had a son who’d been called Hamnet, and he died at age 11, and then Shakespeare had gone on four years or so later to write the play Hamlet. The links between these two names and the obvious, very, very, very close similarity really fascinated me, and I couldn’t stop wondering why. Why would it be that he had given the name of his dead son to a play, and a prince, and a ghost? What did he mean in doing that? That can’t have been a coincidence. It can’t have been a casual act of just reusing the name. It must have meant something. I went on to university and studied literature, and I was amazed that it was never part of the conversation about Shakespeare, that actually nobody knew or really cared what his children had been called, or the effect that his domestic life in Stratford had on him. Obviously I know the main story happened in London—that’s where he put on his plays, and probably wrote most of them—but it always seemed to me that there was an interesting story to be told in this gap. All works of scholarship and biography focused on his career, which I can understand, but they really glide over his children and his wife, which I think has been a mistake.

We’re always going to need stories to help us through our lives, and to explain us to ourselves. 

JGJ: I too was that teenager—secretly, I quoted Hamlet in my high school yearbook. How did you go about researching this story that pulls a lot from real life people, but also fictionalizes a great deal as well?

MO: I found as much as I possibly could about the real people, because I think you have to do that. If you choose to write a novel about people who were real, even if they’ve been dead for 400, 500 years, you have to really respect that and do all you can to find out whatever you can about them. I had a rule for myself, that even if I found out something that didn’t really fit with the story I wanted to tell, I still couldn’t ignore it. I couldn’t pretend I hadn’t read that book. I went to the houses, and that was really important to me. It seems so extraordinary that with Shakespeare, there’s quite a lot we still don’t know. Even despite the works of these brilliant scholars and literary detectives dedicated to studying him, there’s still quite a lot of gaps in his story. But at the same time, you can buy a ticket and walk into the house where he was born, and you can stand in the room where he ate all his dinners, and you can go upstairs and find the bedroom he shared with his brothers. It’s so extraordinary that they still exist. 

JGJ: Hamnet was originally published in 2020—a much different context than the one that we’re in today. What place do you think speculative storytelling has in today’s world, where the narrative of Hamnet lives in such a different context?

MO: The world and writing, and the way we think about them both is changing all the time. But I don’t think human brains change that much. We’re always going to need stories to help us through our lives, and to explain us to ourselves. 

JGJ: I’d love to know about that process from getting Hamnet from the page to the screen. I know you worked a great deal with Chloé Zhao, co-writing the screenplay adaptation together. Can you tell me a bit about how that writing process went, and how it looked different from your usual process when writing for a novel? I imagine the latter is much more solitary compared to writing a screenplay, as filmmaking is an inherently collaborative artform.

MO: Absolutely. That collaboration was something about the process that really appealed to me. The life of a novelist is very solitary, and I like that. But it does mean that you spend two or three years talking to basically two imaginary friends in your studio. I really enjoy that, but the idea of collaborating on a project was really appealing. Chloé obviously brought a huge amount of cinematic experience to the collaboration, and Chloé and I have very different but very compatible skills when it comes to screenwriting. She had a very clear idea, right from the start, of the structure of the film that she wanted to make out of the novel. She knew which threads of the novel she wanted to take, and which we should discard. The first challenge for us was cutting down—the novel is quite long; it’s 360 pages, and we had to bring that down to a 90-page screenplay. An awful lot had to go. Chloé had a very clear idea about which beats of the novel would work for a film. I was able to come in and say, “If we remove this thread, then several scenes later we don’t understand the motivations of this character.” In that way, we worked quite well together. 

You take the novel, and you reduce it down to a 90-page screenplay. And then you have to trust the director, and the cinematographer, and the actors, to build it up again

Chloé’s also quite a verbal person. The collaboration happened a lot over voice notes. Chloé leaves amazing voice notes. Sometimes I would wake up in Scotland and my phone would give out 12, 13 notification noises from Chloé. Some of them were 20 seconds, and the longest ever was 58 minutes! She’s someone who verbalizes to work out how she feels about something, sort of extemporizing, whereas I’m the opposite. I have to have a pen and paper in order to work out how I feel about something. We have quite compatible skills in that way.

JGJ: How was your experience writing for this inherently visual medium? Did you find yourself writing the story of Hamnet differently in order to accommodate for that?

MO: Yes, writing for a screenplay versus writing for fiction uses very different muscles and also different parts of your head. One of the things I learned very early on is that I would write a scene, and I would realize that for my scene setting I would have this long description about the details, like what the lighting should be. And then I’d realize I have to forget my novel skills. I’d look at Chloé’s writing, and it would just say INT. STREET, and BAM go right into the dialog. I needed to hone some new skills here. 

I think of the process in the shape of an hourglass. You take this large structure, the novel, and you reduce it right down to the bare bones of a 90-page screenplay. And then you have to trust the director, and the cinematographer, and the actors, to build it up again into this other new entity—to put all the detail and nuance and emotion back into it that you had to necessarily take out to write the screenplay.

JGJ: You really have to trust the people you’re working with. Did you ever picture this story turning into a visual medium before Chloé brought it to you? 

MO: You don’t really think about it when you’re writing a novel, you’re just concentrating on the novel. The film rights sold quite early on, but what usually happens in that scenario is that somebody buys a film, writes it, and then sometimes it goes through to a script, and you never really hear much again about it. But I was really happy when I heard that Chloé was interested in making Hamnet into a film, because I knew that she was not the kind of director to package the story down into a kind of conventional costume drama, which I never wanted it to be.

JGJ: How did you go about deciding what to include or exclude from this adaptation? Specifically, what influenced your decision to make the film more linear, as opposed to including more flashbacks, which were pretty prominent in the novel version? 

MO: The first half of the novel does jump about in time quite a bit, and I think that’s fine. On the page, you can ask your reader to follow you, if you give them enough footholds. But on screen that can be very jarring. And the idea that you have to age your actors, and then un-age them, and you’ve got to give your audience a signifier that shows that a character is the same person over time. It’s not that kind of film, and it shouldn’t be—I think that’s just too confusing. We had to unravel the chronology. 

Chloé had a very clear idea about where she wanted to start the film. The book starts with Hamnet the day that Hamlet and Judith get ill, and in the film, it would be too jarring to move back and forth. So we needed to start with William and Agnes meeting. Another one of the challenges of adaptation was capturing the novel’s interiority. In order to make that into a screenplay, you have to make what’s interior, exterior. You’ve got to help your audience understand what’s happening, and who these people are, and what they’re going through internally. In the last scene, the novel just goes to the globe, and Agnes is watching the play and recognizing her son. She’s going through all these emotions, but they’re all inside her, and the reader is privy to what’s going on inside her head. For the screenplay adaptation we simply brought in her brother, so they could have conversation between them. That was a very easy way to solve that dilemma. 

You never quite know how life has changed you until you can look back and realize it.

I always knew that Chloé is very talented—in her previous films, particularly The Rider and Nomadland, she’s brilliant at helping the viewer understand what this person is feeling by externalizing their thoughts and feelings into the landscape or their environment. In The Rider, you get Brady standing in the prairie. In Nomadland you get Francis McDormand staring at these incredible landscapes that she’s driving through. You know what they’re feeling, because of a kind of “objective correlative.” Chloé is brilliant at doing that, and I knew that she’d be able to do that beautifully with Hamnet. So you get Agnes standing in the forest, this wild place with the wind rushing through it. 

JGJ: What role did you play once the writing process was done? Did you go on set or act as a consultant, or anything of that sort?

MO: Yes, I was on set in different locations, as much as I could be. A lot of Chloé’s films have been improvised. In this film too, there was a lot that she was changing as she went along, as she felt her instincts driving her. Sometimes she would suddenly say to me, “I think we need to say this. We need to say that. Can you write it so that it sounds like it’s from the 16th century?” I remember waking up very early one morning in Wales, we were filming, and she’d left a message saying, “If he was going to give his father a present, what would it be?” 

Chloé likes to work quite instinctively in some ways. Sometimes the script might say one thing, and she might decide a couple of days before that actually, it needs to be something else. She likes to respond to her own instincts, but also the instincts of her actors. I think she gives them the space and respect to see where the story is pulling them.

JGJ:  I’m curious to know what insights you gained from this more collaborative working and writing process. How might that influence your writing and projects moving forward?

MO: Sometimes you don’t really know how it’s influenced you until you start doing something else. It’s hard to make a list of it somehow, but I think all experiences change you. It’s a kind of a cumulative effect, like a glacier coming through a landscape and gathering up all these stones. You never quite know how life has changed you until you can look back and realize it. So we’ll find out, I guess.

Exclusive Cover Reveal of “A Holy Dread” by R. A. Villanueva

Electric Literature is pleased to reveal the cover of A Holy Dread by R. A. Villanueva, which will be published on February 17th, 2026 by Alice James Books. You can pre-order your copy here.

Inspired by the poet’s identities as an educator, a son, and a Filipino American, A Holy Dread emerges out of questions, hopes, and unshakeable fears about the world we have created and the world our children will inherit.

Villanueva’s sophomore collection grapples with mortality, fatherhood, grief, and every-day life in the Anthropocene with formal balance and restraint. Intense, tight lyrics mirror the speaker’s reality: equal wonderment and worry, tenderness and calamity, beauty and sorrow.

These unrelenting poems—part prayer, part pleading—traverse the complexities of peril, faith, and fear with precision and bravery. The poems in A Holy Dread search for joy and hold it dear, even as things fall apart around us.


Here is the cover, designed by Tiani Kennedy with cover art by Carzen Arpa Esprela:


R. A. Villanueva: There’s about a decade between my first book, Reliquaria, and A Holy Dread. In that time, I’ve continued a creative practice that’s sustained me through the attendant bewilderments and blessings of keeping alive: year after year, I carry a small, lined journal of notes and ephemera, quotes and sketches with me everywhere; in myriad ways, those commonplace books couple with the digital bookmarks I keep, and an ever-mutating folder synced to my devices named “Catalysts, &c.” where I drop paintings, PDFs, screenshots of group chats, scans of photographs, and more. The combination of those materials is charged with meaning, strangeness, brilliance, surprise.

The consistency and devotion to this wildly personal curatorial work has been a comfort for me—a way to remix the beautiful volatility of the world’s texts with my own fixations, my anxieties, and my ongoing desire to gather close and see anew.

So when the moment came to pair words with visuals, to turn toward cover designs, I found myself digging through drawers and shelves, searching for those books and their rhymes with with A Holy Dread. I eventually stacked them on the couch next to me, flipping through my doodles and lists, memories of gallery visits, lesson plans and lecture notes, diagrams and drafts.

I knew that I wanted the artwork to feature a Filipino painter. I wanted, too, for the image itself to call back to what I’ve been reckoning with across the body of my writing: the sacred and the mortal, the elegy and the praise song, the pressures of language and tradition, grief and gratitude.

With neon pink-fearlessness and heart, Carzen Arpa Esprela’s Full House (Ikot-ikot Po) brings dimension to all those hopes and hauntings. I was immediately drawn to the ghostly figures, their radiance and transcendence, their physicality and intimacy. They’re gathered on the front lawn, a family floating together and framed by luminous, all-caps, sans-serif type. I’m so thankful for the interplay of the title with the art—and how everything pulses with this affirmation from Sandra Cisneros: “We do this because the world we live in is a house on fire and the people we love are burning.”

Tiani Kennedy: Designing the cover for A Holy Dread was an iterative and collaborative process. The artwork selected for the collection is visually rich; it’s full of movement, color, and layered symbolism. As a result, its complexity made it both inspiring and challenging to integrate clear, impactful typography. I explored several directions to understand how the image interacted with type and to align with the poet’s specific vision. As we refined concepts, we returned to an early idea with a clearer sense of what resonated. The final cover features bold, white typography that frames the haunting central imagery, ensuring legibility without sacrificing the artwork’s intensity. The result is a design that feels intentional and attuned to the emotional world of the poems.