Freedom Is a Complicated Dream for a Queer Black Woman, Even After Incarceration

In the first few pages of Helen Elaine Lee’s Pomegranate, protagonist Ranita recalls a moment when her father gives her the titular fruit. She breaks the pomegranate open, “awed by the wild design of it…a whole world, strange and crazy-beautiful, underneath the skin.” In many ways, this scene serves as a metaphor for the novel itself; it is, on the surface, about Ranita being released from prison, working to reunite with her children, trying to understand her queerness, and maintaining her sobriety, but the story is ripe with so much more. 

Through alternating past tense sections written in third person and present day moments written from Ranita’s first person point of view, Lee peels back layers to reveal the intentional cruelty embedded in the carceral system and the way trauma can echo through not just one person’s life, but generations. As Ranita slowly opens up in meetings, therapy, and even in the stories she tells herself, Lee also explores the power of narrative itself: What happens when we tell our stories and they are held with care by someone else? What happens when we make a choice to revise, to write a different story as we move forward?

Lee, a professor of Comparative Media Studies and Writing at MIT and a former board member of PEN New England, where she helped to start a Prison Creative Writing Program, brings a wealth of research and experience to these pages. It was a delight to speak with Lee via phone about embodied and inter-generational trauma, what her students in the Bay State Correctional Institution taught her, how stories can be a form of hope, and the different forces that complicate—or encourage—healing. 


Jacqueline Alnes: In a 2013 New York Times essay, you write about your time volunteering in a writing class in a prison. You write, “Their possessions and freedoms are few, but their memories are abundant. For three charged hours, through their writing, they become visible. They become more than their worst things.” What did you learn from your students that you might have brought to the writing of this novel? 

Helen Elaine Lee: I wanted to write about the experience of incarceration, partially because my dad was a criminal defense lawyer for his whole working life. He embedded in me a couple fundamental beliefs. He taught me that justice is a fiction for many of us. Lots of people grow up without resources or advantages and everybody has a story that is important and deserves to be heard and seen. The people he represented were not invisible to me; they were a part of our community and family life. I had some shapeless desire to write about it but I didn’t know in what way. Since I had never been locked up, I knew I needed to earn that story. 

For 15 years, I volunteered at a couple different institutions in the Boston area. First I went in with Growing Together, that’s an emotional literacy program in prisons around the country, and then, through PEN New England, I helped to establish a more formal creative writing workshop. The one I write about in that essay is the Bay State Correctional Institution, which actually is closed now; the men got dispersed to other places. I helped to start a creative writing workshop there. It ran for 8 years. It was important to me not to appropriate and violate people who had already been so deeply violated in another way, so I just listened for a couple of years. More than anything, I am indebted to them for the kind of access that they gave about the kind of emotional and psychological realities of being incarcerated. 

I was expanded in so many ways. The generosity I witnessed, it made me realize how deep my ties to them, as Black people very differently situated from me, with all of my privilege and the sense of brotherhood, the sense of respect they gave to me, and how meaningful it was for them to be in community with people on the outside. In terms of outlook that I gained. One time I remember we did an exercise checking in and I was complaining about something trivial. We got to one man serving a life sentence and I asked how he was doing and he said “Great. Every day above ground is a good day.” That sort of perspective made me realize how fortunate I am, all the gifts I’ve been given, all that’s been done for me. I was expanded in that way as well, in terms of seeing the world and seeing my life, and seeing other people’s life and the disparate resources. 

Some of the things I’m trying to capture in Pomegranate are the devastating and psychological toll of incarceration, the trauma of retributive captivity and deprivation, feeling invisible, the lack of privacy and respect and choice, and the destruction of families. I could read about those things—and I did do a lot of research—but it was being with that group of men, over time, where I really came to feel like I could maybe understand it enough to write about it. 

JA: In the book I was thinking about prisons intentionally making spaces not beautiful. Beautiful things must be kept private, or exist mostly in the mind—in daydreams or memories or conversations happening secretly between two people. These private missives seem like a source of hope. There is power there, even in a place that has tried so hard to strip them of humanity. What do you believe the power of story to be? 

HL: My mom was a literature professor; books and stories were the religion in the house I grew up in. Stories are everything—the written down stories that make up books, but also part of my heritage is the oral tradition. For Ranita, too, what her Blackness means to her is the part of the story that has been made and re-made: the oral story of our people and where we’ve been and how we made it through, the codes that have emerged through that history about choosing who to be. Story is everything. It’s healing. 

I’m always interested, in everything I’ve ever written, in people who pull light from darkness and the role of narrative in people’s lives. It’s fundamental. We are always making stories about who we are and what we’ve done and who we want to be and will be. Especially for people who are incarcerated, when you live in this present tense, which is an experience of deprivation, as you were saying, of beauty, of human regard, of privacy, and even of the basic food that’s nourishing, and the past is partly about regret, partly what happened in those workshop sessions was the excavation of that healing thing or the good thing or the thing that made you laugh. You hope there’s some sense of the future. The story about who you are and who you might be is a big lifeline. 

Writing in that context is really powerful because it represents the opportunity to revise. You perhaps have done some things—I mean there are a lot of wrongfully convicted people locked up—but perhaps you are wishing there are things you could redo in the past and not be there. But there’s a chance, through imagination and narrative, to revise who you are and to recover those parts of yourself that are powerful and generative. Reading stories, writing stories, it’s more fundamental than I could say.

JA: When Ranita tells the therapist her story after she’s released, it feels at first like another form of taking; she’s worried about what will happen to her story when it’s controlled by someone who’s not her or not told in its entirety. And just thinking about the number of narratives imposed on Ranita—her parents’ narratives for her, the world’s narratives, and men’s narratives for what they want her to be. I love that she’s finally telling her story in first person, present tense. It made me think so much about agency and how, when we are able to tell our stories in their wholeness, how much it changes what we are able to say.

HL: Yeah, and it’s a struggle to get there. She’s afraid to tell some things she’s ashamed about, but to bring those into the light and feel love and acceptance and affirmation of her.

Plot-wise, this book is about a woman getting out of prison, trying to stay clean, trying to repair relationships with her kids, and her love for this woman, but to grapple with and accept her story I see as a journey toward healing, self-acceptance, and autonomy. Being able to speak the things that have been pushed into the past is profound. 

I could see that in the workshops, with the men and women inside, you could watch, sometimes through a prompt, something emerge that had been forgotten. It was powerful. Off the top of my head, there was one exercise to write about a food that was made for you with love. Or write about a time you learned how to do something, like frame a house or cook something from start to finish, and you would see this different, larger sense of self emerge. That thing had been forgotten along with all the trauma and pain.

JA: Ranita plants black-eyed Susan seeds and says, “I gave them what they needed and they grew.” While the idea that we need nourishment, on the surface, seems simple, it’s more complicated in the real world. We need food, but that costs money—and stigmas around bodies and weight passed down generationally can inhibit our ability to grow, as we see in the novel. We need space—spaces that feel safe, where we can be ourselves—but gentrification is a force that harms many in their efforts to find affordable homes in the novel. We need nurturing from other people. This book seems to ask: What happens when our access to these necessary tools of growth are limited? How do we learn to grow even when we’re planted in the same place twice?

HL: That’s nicely put. I can’t help think of Toni Morrison’s The Bluest Eye, because I’ve taught that book a bunch of times. That opening metaphor of marigolds didn’t grow that year. She circles back to that and says it’s the soil that was inhospitable to the marigolds. There, she’s talking about American society and its racism and misogyny and the trauma that it enacts on people. So again, I am trying to ask: What wounds and what heals? 

How are we, Black women, shamed and silenced? Or being looked at but not seen?

Loss is a fact of life. If you’re paying attention, if you’re awake, things are painful. But we can also claim the gifts we’ve been given and the beauty that’s around us, natural and creative, and find our hands filled. Sometimes that’s through memory and imagination. Sometimes it’s small or ordinary on the outside, but wondrous within. I’m trying to ask that: What does it take to grow? How are we hampered and wounded and disabled and what can be done about it? What is there to draw on and resist? 

JA: Agency is such an important thread in this book. I’m thinking of Ranita and her changing body, when suddenly, as a teen, she realizes “there always seemed to be someone watching, judging, lying in the cut. Was she her own or wasn’t she?” And later, as she “surrender[s]” her pee for testing, she wonders, “when this body might feel like it’s mine again.” Her body is at risk when she moves through spaces as a Black woman, she is a mother, her parents will her body to get smaller, her body is objectified by others, her body is imprisoned, she loves with her body, her body is deserving of tenderness. What was it like writing into all these notions of a body, especially through Ranita’s intersecting identities?

HL: I’ve lived a lot of it and think about it a lot. I wanted to explore how Black women’s bodies are contended territory, through which control, personal and societal, is exercised, and how the struggle between freedom and domination continue to play out through our bodies. How social and cultural conceptions of our bodies shape our experiences, how our bodies can’t be denied and keep a record of our lives. The strip search was probably the hardest thing to write—that was devastating—but I wanted to tell the truth. I think that moment is where, hopefully, it comes through most clearly the devastation and trauma of captivity and dehumanization and objectification. 

The record that that the body keeps—that’s where the generational trauma is. The echoes of Middle Passage and enslavement are felt and resonate down through the generations. From enslavement to incarceration, we’ve had to manage being reduced, being denied the basic things that bodies need, and yet, remaining embodied somehow and insisting on pleasure and joy, and sometimes leaving the body behind. In that strip search scene, that is echoed later in the book when Ranita has to leave her body when experiencing sexual trauma. It figures in all those ways. Ranita’s body hasn’t felt like it belonged to her anyway, in some of the ways you named, so she’s asking: Am I my own? 

We are always making stories about who we are and what we’ve done and who we want to be and will be.

You’re told that your body is a sacred temple and that it’s also something that you’re to be ashamed of. It has this power to reproduce which is why, societally, it has to be controlled. It’s really confusing to sort out, as you come of age, and then the sexual pressure that you feel. Ranita has no one to go to with any of that. I feel this is true for Black women uniquely: How are we shamed and silenced or being looked at but not seen? Scrutinized, desired, measured, eroticized, mythologized, reduced in complexity? All of those things take a constant toll. I want the book to name those things, to tell the truth, but also for this to be embodied in the elements of the story: How can we reclaim our bodies and our vision and our voices? There is this abundance within and around us. There are some things that heal. I don’t want to just say it’s a terrible world, which it is in a lot of ways. 

That’s Black people’s story. It’s a devastating story of being in this society, brought by the slave trade and everything that’s happened since, not even just in this country. I was just in Brazil for a month and I keep thinking, what a devastating history for Black and Indigenous people. In Brazil, slavery lasted until 1888. I was down there co-teaching a class on those histories and it was a devastating story. It seems more above ground than it is here. Always, there is the other part of it, which is resistance. Survival. Celebration. What we are somehow able to bring out of these experiences. In Brazil, it’s music and insisting on remembering. I treasure that art of the Black story. There is a story of enslavement, exploitation, disenfranchisement, racial terrorism, state-sanctioned violence, all of this, sometimes it feels like it doesn’t ever change, but there is also this resistance. You can’t take people’s dignity from them, actually. There are powers of fellowship, community, memory and imagination, activism, naming the free things. And love, that’s how we’ve always made a way. I hope the book says that, both in a personal sense for Ranita, and in a larger way. And for queer people too. She’s trying to come to terms with that part of her story.

JA: What do you hope people might take from this book? 

HL: Each reader is going to have their own experience with a book. Healing and self-acceptance and autonomy are possible. The freedom of spirit is possible. Wholeness, although it’s a lifelong journey, the journey toward wellness, toward telling your story, toward self-acceptance, autonomy, is possible. 

It costs something to be awake and pay attention and the forces that make that statement possible are love—the practice of love, with accountability and family and community. Beauty in the world, natural and created, belongs to you; it’s yours. It can be claimed and recovered. 

Black Women Are Being Erased in Book Publishing

Obsessively scratching her scalp, while simultaneously chiding herself not to, Kendra Rae Phillips sits on a MetroNorth train anxious and jittery. She’s worried about being found, after being found out. Every lingering eye incites more sweat, and more scratching. Relief only comes when her train departs Grand Central Station. This is how Zakiya Dalila-Harris’ debut novel The Other Black Girl begins: in 1983 with a Black woman on the run. 

It may be a coincidence that 1983 was also when Toni Morrison, the first Black woman editor at Random House, resigned after 16 years to focus on writing and teaching full-time. But unlike Morrison, Kendra Rae’s departure from her role as the Black woman editor at the fictional Wagner Books was not of her own volition. 

Kendra Rae’s flight from New York City is a harried moment, symbolic of an ongoing pattern in book publishing, then and now. The numbers are scarce when it comes to Black people, and Black women, in publishing, and the systems in place have yet to change significantly enough for Kendra Rae, and the other Black women, in The Other Black Girl to feel safe in the professional space they occupy. The novel’s main storyline takes place in 2018 and follows two Black editorial assistants at Wagner Books: Nella who attempts to rise through the ranks as one of the only Black employees, and the newly arrived Hazel. Nella and Hazel’s conflict unravels the sinister motives behind the infiltration of OBGs (Other Black Girls) in the workplace, but Kendra Rae’s story serves as the catalyst for what unfolds. 

For much of The Other Black Girl, the narrative surrounding Kendra’s swift retreat is that she chose to leave. The headline summarizing her feelings on the “frigid racial climate” at her workplace, “If You White, You Ain’t Right with Me,” is polarizing, inaccurate, and ultimately positions Kendra as “problematic” for her unwavering desire to work exclusively with Black authors. Kendra Rae’s intention to do her job, and do it well, makes her a threat the moment she vocalizes the issues she faces in the workplace. Even after being assigned a book that becomes a breakout hit by her best friend Diana Gordon, Kendra Rae is expected to retract her statements as if her experience isn’t important or necessary compared to Wagner Books’ image. 

As a former acquisitions editor, I found Kendra Rae’s plotline relatable. Sadly, so was her departure. 

Kendra Rae’s intention to do her job, and do it well, makes her a threat the moment she vocalizes the issues she faces in the workplace.

Last year, PEN America published a lengthy report on Race, Equity, and Book Publishing. Earlier in 2022, publishing veteran and VP/executive editor at Little, Brown, Tracy Sherrod wrote “Black Publishing in High Cotton” about the history of Black editors in book publishing for Publishers Weekly. Sherrod’s piece noted numbers as slim as seven total for Black editors in trade publishing. (Today, several dozen Black editors [including editorial assistants] exist at Big 5, mid-sized, and small publishers in the United States, totaling about 60 or so.) Prior to Covid, I reported on the inherent biases in book publishing, interviewing several Black women professionals. Almost 30 years ago, in 1995, The Village Voice reported on the “Unbearable Whiteness of Publishing” in two parts. And in 2021, Shelly Romero and Adriana M. Martinez revisited The Voice’s premise for Publishers Weekly. These reports, among others, reflect the same issue again and again and again: BIPOC writers and publishing professionals continue to face exclusion in the publishing industry. 

Exclusion begins with erasure. Because if you don’t exist, how can you even attempt to tell your own story? 

The year a pandemic and quarantine kept many of us indoors, and a supposed “racial reckoning” had occurred in America, suddenly—suddenly!—the offers came rolling in. The mandate was to quickly diversify publishing teams that didn’t have any, or many, Black team members. Sherrod’s piece mentioned that over the years, layoffs in publishing tended to come in waves, as did the industry’s interest and investment in Black content. So, the question remains: What support systems are in place, not simply for the employees, but for the authors’ whose books these editors will, and have, acquired? 

In 2020, I was approached by the heads of five different imprints about editorial positions before I accepted one at Amistad Books, an imprint of HarperCollins. My reasons for joining Amistad were simple: its almost 40-year history and its focus on the African Diaspora. I also admired the leadership and vision of Tracy Sherrod, who, at that time, was Amistad’s editorial director. Like Kendra Rae, I wanted the opportunity to focus on my community’s stories. 

Being the only, or one of the few, is an unenviable position no matter the situation or occupation.

Soon after my arrival, it seemed the tide was changing, again. After 10 years at the helm of Amistad, Sherrod left to work at Little, Brown & Company in April 2022. Within a year of being announced publisher of Coffee House Press, and being the first person of color in this role, Anitra Budd announced her resignation in August 2022. A month before Budd, Dana Canedy had left her position as the only Black SVP/publisher of Simon & Schuster after about two years in the role, and ultimately left the industry. Earlier this year, one of Canedy’s team members, VP/executive editor LaSharah Bunting, departed S&S under a similar two-year timeline after joining the company in 2021. People depart jobs for various reasons and under different circumstances. Yet, the shift from positions of power in publishing to sudden departures was, and continues to be, noticeable. 

On August 29th, 2022, after 19 months and 18 book acquisitions, I was informed that my position as senior editor at Amistad “was no longer necessary.” (Imagine being told your role was unnecessary less than two years after being assured of the necessity to nurture more Black editors.) One of the first things I thought upon hearing those words was erasure. Erasure as colleagues reached out congratulating me on a new job. (They’d been told I was “leaving” and not that my company account had been disabled five minutes after logging off the virtual meeting in which I was let go). Erasure came to mind when my authors, and their agents, told me they hadn’t heard a word from anyone at the company until I publicly announced my departure two weeks later. And it felt like erasure in the extreme when I saw how quickly I was removed as “editor” and others were given credit for the labor I’d put into editing, and advocating for, the books I had acquired. I was effectively erased because, like Kendra Rae, the narrative about my sudden departure from Amistad had been woven by others, and not by me. 

This aligns with the erasure Sherrod writes about in “High Cotton.” Too few of us are aware of the history of the publishing industry’s many ebbs and flows in terms of providing the necessary resources for Black artists and Black workers. Too few of us understand why people and imprints no longer remain. (Consider One World in its initial iteration, Plume, or Harlem Moon, for example.) 

As PEN reported, one of the biggest responses to this “racial reckoning” has been the hiring of DEI-designated personnel at every Big 5 publisher in the U.S. Additionally, many publishers established diversity committees, or ERGs (employee resource groups) advocating for inclusion, reading groups, and continued general education around social justice, specifically racial issues. 

Along with hiring, these are attempts in the right direction. However, none of this guarantees that micro- or macroaggressions won’t happen in the workplace. They did not detail a plan for when aggressions or bias or racially motivated incidents occur, nor do they allow for people to continually build on what they learn. They rarely include concrete plans that will hold perpetrators, or anyone who causes harm, accountable. And these efforts do not include plans for training or mentorship or support long-term career trajectory for up-and-coming BIPOC who may be thrown in the deep-end on the job, and be expected from the start to do it well. 

This also comes into play when considering how to market books by authors of color, and how the performance of those books is evaluated. DEI initiatives don’t automatically equate to better business practices. A diverse reads book club doesn’t translate to increased publicity or marketing budgets or detailed promotional plans. And diversity committees often result in additional unpaid labor. Being the only, or one of the few, is an unenviable position no matter the situation or occupation. Once you have your marching orders to “bring in books” or more specifically “bring in more books by Black authors,” there’s an ellipsis after the mandate, and it may translate into a lack of strategic support for those authors and their books. 

I can speak from experience about the great divide between the excitement of acquisition to the travails of a book’s arrival in the warehouse. I can attest to being privy to, or being the one to speak up in, meetings on the need for sensitivity around the material being discussed. I’ve seen the names of Black people killed by police—names that were and remain hashtags alongside #BlackLivesMatter and #SayHerName—spelled wrong in books while the names of the white “founding fathers” were immediately fact checked. I heard from teams repping Black authors’ books, books granted scarce marketing budgets because the assumption is that these books will either “find their audience or they won’t.” It is both heartbreaking and infuriating to deal with, as a creator or as the editor who believes wholeheartedly in the work and the author entrusting you with their vision. It is deflating to have the same conversations over and over and then not see the impact of the emotional labor; the carefully crafted emails; the endless talks and promises that still broach more questions about how staff and authors are supported, the transparency of the business at large, and how work by BIPOC authors is ultimately received.

We do this work because we believe in the power of books as well as their importance in our lives.

Since 1983, when Morrison and Kendra Rae were editors, imprints—let alone publishing houses—have been consolidated. This has led to fewer publishers and more product. What it hasn’t led to is more staff supporting said product, nor greater diversity among the staff. Add to this the lack of cost of living raises, a perpetual hindrance for many to enter and remain in the industry, and book publishing continues to self-select. Overworked staff doesn’t result in time or space for contemplation, nor does it allow for innovation when the assembly line shifts into high gear.

Like Kendra Rae, I love what I do. I love books. I love words. I’ve found more connections and friendships in the writing & book community than I can count. And I am continually thankful for this because it allows me to consistently remember that I am not solely what I do. We do this work because we believe in the power of books as well as their importance in our lives. For Kendra Rae, books were her life—until they weren’t. Ultimately, she absolved herself from the narrative that followed her. She opted for honesty about being “the only one” at her job and was hesitant, or flat out unwilling, to “play the game” and say otherwise. Over 40 years there has been change with more implementation of “diversity” initiatives. And, yes, there have been more hires and promotions of Black and IPOC industry professionals. (Though the 2022 PW Salary Survey reflected the number of Black staff at 3%, which is not an improvement from the last survey in 2019 or even a year prior to that.) In 2020, several imprints dedicated to BIPOC voices, some celebrity-helmed, were announced. Since 2020, the base salary for entry-level positions at U.S. Big 5 publishers rose from $42,000 to $45,000, and most recently, to $47,500 (and $50,000 in the case of Simon & Schuster). We’ve seen an increase in acquisitions of books by authors of color along with more transparent discussions around the disparity in advances thanks to #PublishingPaidMe. And as much as people online, in offices, and in petitions have called for the industry at large to make substantial and long-standing changes towards a more inclusive environment, the events of 2022 to now, from resignations (and layoffs) to the 3-month long strike by HarperCollins employees for a higher starting wage and more concrete DEI initiatives, shows that when change does happen it is hard-won and the fight never stops. Whether by design or decree, erasure exists because something, or someone, is lacking. Without the freedom for BIPOC employees to live in our truth, and tell our stories, things will remain tenuous in publishing. When that happens, what’s left for the next generation, and what will the narrative be? 

A Fresh Start in a City Ruled by History

Excerpt from The Holy Days of Gregorio Pasos by Rodrigo Restrepo Montoya

I stayed in a hostel for a week, in Adams Morgan, by all the bars and clubs and hookah lounges. The hostel was quite nice. The desk people were kind enough to let me pay night by night while I looked for a more permanent living situation. I received a keycard, a sleep mask, shampoo, a toothbrush, toothpaste, a towel, and a lock and key for my valuables. I was assigned a bottom bunk on the second floor, across the hall from the men’s bathroom. The quarters were tight, but clean. The room was empty when I arrived. Some bunks were a mess, littered with clothes, chargers, maps, and pamphlets. Others were a bit tidier. I took my spot in the back corner, by the window, slid my luggage under my bunk, and slept through the evening, through the night, and into the weekday morning. I woke up as the more serious types buttoned up for work. I watched them fasten their belts, tie the laces of their leather shoes, and march into the swamp that was DC in September. I followed them downstairs into the communal kitchen and a complimentary continental breakfast. I reminded myself that I was lucky and returned to my bed for more sleep.

In the afternoon I walked, but not far. I walked through Columbia Heights, Shaw, and Dupont. This was especially true in the evenings, when people were winding down from their busy days: There were essentially two groups, tourists and work people. The tourists wore backpacks and the workers wore name tags. They were easy to tell apart on weekdays. On the weekends, they blurred together. They drank. They talked. They laughed. They fought. And so on.

Every day, and most nights, I ate at a small empanada restaurant in Adams Morgan, about a block away from my lodging. The empanadas weren’t the best I’d ever had. They weren’t the worst, either. The woman at the counter was very nice. One night, I asked her if she was the one who made all the empanadas. She laughed and pointed to the name on the door. “Julia makes them.” I took my time eating. Every now and then the woman at the counter would run back into the kitchen or out for a quick errand. She would ask me if I would look after the counter while she was gone, which I did. It felt good to be trusted. I sat at the table by the window while I waited for her to return. And I basked in the feeling, however slight, of being welcome.

One night, a Saturday, I was having a hard time sleeping. I was in and out of dreams for hours. Despite my earplugs, I could hear some guests singing downstairs. Later on in the night, I woke to a couple having sex on the other side of the dark room. I remember wishing I were both of them. It must’ve been three or four in the morning when I was woken up for the last time. The woman on the bunk above me was praying.

The morning after, I waited around for someone in the lobby to leave their Sunday paper behind, then brought the news back to bed with me. Trump. The wall, et cetera.

I came across an article about an unlikely, yet practical, living arrangement that was becoming more and more common. Many older folks needed younger people to help them with the tasks of daily living, and many young people needed affordable rent.

I was almost finished with the article when two workers walked into my room. One mopped the floors while the other replaced the sheets in each empty bed, mine being the only one still occupied. I pretended to read while I listened to them speak in Spanish. They both agreed that their children were growing up too fast, especially their daughters. The women worked quickly. They were breathing heavily.

“I’m thirsty,” said the woman mopping.

The woman responsible for bedding was on the top bunk, above me. She spoke as if she were speaking to no one, or God.

“What year is it?” she joked.

Using a computer at the hostel, I found a listing for a basement apartment in Georgetown. It’d been posted two days prior by a recently widowed Spanish woman who needed help keeping up with her house. The listing called for a young male Spanish speaker with a clean background and, preferably, experience with home maintenance and yardwork. I didn’t exactly qualify but called the listed number anyway. The woman’s name was Magdalena.

“What’s your name?” she asked.

“Gregorio,” I said.

Magdalena spoke in perfect English and perfect Spanish, though she never mixed the two. Her Spanish was a harsh Spanish, from Spain, and therefore foreign to me. Her English was much milder. I couldn’t detect any accent at all. Magdalena sounded like any American mother in the town where I’d been raised. She spoke, it seemed, with the voices of two people.

Over the phone, Magdalena gave me a very brief history of her life. She’d been born in a small city in the north of Spain. She’d recently lost her husband to, as she put it, old age. She needed some help around the house. She didn’t like to be alone.

“Don’t you have family?” I asked.

“No,” she said.

“What exactly is the job?”

“Your job would be to make my life a little easier,” Magdalena said. “That’s all.”

“What does it pay?”

“A room of your own.”

“I can help,” I said. Magdalena asked me to tell her a little bit more about myself over the phone before we met for a formal interview. I told her the truth. I told her that I was new in town and that I was far from home.

I told her the truth. I told her that I was new in town and that I was far from home.

I was early for my interview. Magdalena was late. I sat waiting at a small table on the shaded patio of the specialty market in Georgetown. I was surrounded by expensive dogs and their owners. When asked what I would like, I ordered two cups of coffee and a small loaf of bread.

Magdalena arrived wearing a gray cashmere sweater to match her silver hair. She was contained, yet warm. She said hello as if we’d already met and shook my hand with both of hers. She was as attractive as anyone I’d ever talked to. Magdalena took one sip of her coffee, put the mug down, and asked the waiter for two glasses with ice.

She removed a notebook and pen from her tote bag. “Where is home?” she asked.

“Danbury,” I said.

“Danbury?” she asked, unsatisfied.

“Danbury, Connecticut,” I repeated.

“And your parents?”

“Colombia.”

“Ah,” Magdalena said, nodding. She set her notebook down and poured the lukewarm coffee into the cup with ice. I did the same. I noticed that there was no writing in her notebook, only scribbles of cubes across the page.

“I’ve never been to Colombia,” Magdalena said.

“There’s a river there with your name,” I said.

“I didn’t know,” she said, smiling. “Have you been?”

“To Colombia? Yes. To the river? No.”

Magdalena asked about my family’s history. I told Magdalena about my recent trip and Nico’s death. She nodded as I spoke. My family’s reasons for leaving Colombia were not simple, but they were obvious. Their story was a common story.

Magdalena’s story was not as common. She managed, though, to tell it simply and calmly. She was from Guernica, born without grandparents or aunts or uncles or cousins. They had all been lost in the famous bombing of the town in 1937, at the beginning of the Civil War, when Franco let Hitler test his warplanes on their Basque rivals. Both Magdalena’s mother and father were orphaned following the bombing. Both were teenagers. They were taken in and cared for by the same woman, Magdalena, who had tragically lost her own husband and children in the same bombing. Eventually, Magdalena passed. The two orphans kept her house. Years later, they had a daughter of their own. They named her Magdalena.

“How did you end up here?” I asked.

“I went to university in Madrid. I met an American studying abroad there. We ended up together. Then we moved here and married. Thirty-five or so years ago, now.”

“The husband who died?”

“That one.”

“I’m sorry,” I said.

She laughed politely. “For what? You’ve done nothing wrong.”

The interview lasted about two hours. Because of my age, nineteen, Magdalena was under the impression I was a university student. I explained that I wasn’t and didn’t exactly plan on becoming one. She suggested I sit in on some classes anyway.

“Take your backpack with you and find a seat,” she said.

“You’ll fit right in.”

The only direct question Magdalena asked me was whether I had any experience with maintenance. I lied and said that I did, that I’d helped my uncle out with landscaping and some other work around the house.

She shrugged. “There isn’t really much to do. The yard is small and the house is in good shape.”

“Perfect,” I said.

Before showing me the house, Magdalena needed to do a background check. Once that was clear, I could move in. I handed her my license. While Magdalena photographed it, I wrote my Social Security number in her notebook. I drew a few cubes of my own next to hers. Magdalena shook my hand once more. “See you soon,” she said.

A basset hound tied with its leash to a patio table stared up at me as I stood to leave. The dog was unattended. It cried a little. I gave it half of my loaf of bread. It swallowed the loaf in seconds, then continued crying. I gave the dog the other half and left.

I spent more time at the tourist spots than I should’ve. I like to think it was a necessary, or at least inevitable, mistake. It made me sad, or mad, or both, when I saw tourists taking pictures of themselves smiling beside war memorials, or in front of giant marble statues of slave-owning presidents. The Washington Monument was, as my father had joked many times, an erection. I realized that most monuments were erections, one way or another. And it became clear to me, after the sun had gone down and the tourists had dispersed, that someday the monuments would be ruins.

I sat at the World War II memorial and smoked. I sat with my back against a marble pillar and listened to the water from the fountain. I grew tired and began to dread my walk back to the hostel. A man walked up to the fountain. He looked around, looked at me, and decided I wasn’t a threat to whatever he was about to do. He began to undress. He stood in the fountain and bathed.

And it became clear to me, after the sun had gone down and the tourists had dispersed, that someday the monuments would be ruins.

My background check was completed within a couple of days. Magdalena sent me an email confirming our arrangement. I was there the next morning. When I arrived, she was on the front steps of her red brick townhouse. She stood to greet me. “Welcome home,” she said, and gave me a customary kiss on both cheeks.

Magdalena quickly showed me the small shed where she kept the standing mower, the bush clippers, and the trash bins, then took me into the house. The front door opened into a long, dark hallway. There was a tearoom that seemed to have been untouched for years. There were no photos either, only paintings of open fields and empty oceans. The chairs looked uncomfortable and weak. When I dusted the house a few days later, I could see that the seats were made of leather, each depicting an engraved image of a bullfight.

The dining room was not much different, though a bit brighter. At the head of the long wooden table, where Magdalena’s husband once sat, was an empty linen placemat. Magdalena’s placemat lay next to it. On it was a silver tray, a silver plate, and silver utensils. On the mantel by the window there was a miniature house statuette. The house looked familiar. I bent down to look closely. I realized it was the very house I was standing in. I liked it. I asked Magdalena who’d made it.

“I did,” she said.

The living room consisted of a set of matching leather sofas, a rocking chair, and a huge television. “Do you enjoy watching television?” I asked.

“Who doesn’t?”

There were several paintings, drawings, and sketches hanging from the living room walls, all without color, each one seemingly incomplete and cut off from some larger whole. There was a horse’s head screaming and crying, its eyes looking up at the sky. Another drawing presented a clenched fist around a broken sword. There was a lost bull, a crying man with outstretched arms, a light bulb, a ghost coming in through an open window, and a wailing mother holding a dead child. I must’ve been staring, because Magdalena spoke as if to answer a question she could read on my face.

“Guernica,” she said.

Magdalena didn’t show me to her bedroom, but she did walk me through the rest of the upstairs. Her office was small and littered with jewelry. I saw silver. I saw gold. Emeralds, too. There was a desk at the window facing the quiet Georgetown street. Velvet displays of her most important pieces were hung up on the walls. Magdalena had more gold than the Vatican. I asked her if she was related to the queen.

“This is where I work,” she said.

Magdalena’s late husband’s office displayed various degrees. There was a brick of gold on the corner of his black wooden desk.

“He was a gold analyst,” she said.

The basement apartment had everything I needed except its own entrance. There was a small kitchen with a refrigerator, a small table for two people, a full bathroom, a desk, and a pullout couch. Magdalena was sorry that it didn’t have any windows. I told her it was a good thing, that I would sleep well no matter what the weather was like.

“Get settled,” Magdalena said. “If you need anything, let me know.”

“Likewise,” I said.

I tacked old pictures of my family on the bathroom mirror. I placed Nico’s letter, my mother’s purple stone, and my father’s money in the nightstand drawer. I got in bed, tried to sleep, and couldn’t. I went for groceries. I bought bananas, cereal, eggs, pasta, rice, and beans. My cooking was limited. I would only make food when I was especially hungry. But I was rarely hungry.

That night I drank too much rum and vomited in the toilet. The next morning, Magdalena invited me up for breakfast. Eggs and bacon. She told me she’d heard me getting sick and asked if I was okay. I apologized.

“For what?” she asked.

She told me to eat slowly. The food helped, but it was the broth she’d boiled that really saved me. Magdalena reminded me to go to class. It was the beginning of September and the universities were starting up that week. I told her I’d go. I had nothing better to do. I did the dishes. I took out the trash.


The first class I attended was an economics class at Georgetown University. There must’ve been at least two hundred people in the lecture hall. The professor read the syllabus aloud. “The course,” he said, “will introduce you all to the principles and policies affecting the economy, as well as to economic ethics.” The professor emphasized that his goal was to teach us the language of economics so that we could speak it for the rest of our lives, and eventually, become more fluent than he.

The next class I attended was Biology 101. The professor was more relaxed and more interesting. She had bright red hair and wore blue jeans and an oversized button-down shirt. The first thing she said about biology changed my life. She said that all species were destined to become extinct. With that, I’d learned everything I ever needed to know about biology. I also learned what to expect.

The last class I ever attended was an introductory chemistry class, taught by a tall Argentinian guy with a thick accent. I understood him perfectly. The class, he explained, was for non-majors, and therefore would not focus on the intricacies of chemistry but instead on the realities of the global climate disaster. “Many of you will go on to have big careers in business and politics. Most of you will have children. The future is coming, quickly, and it is crucial that you understand the circumstances that will dictate everything. In short, the objective of this course is for you to understand that the world is ending. Climate change is real and irreversible. It is already too late.” The lecture hall was quiet. The professor proceeded to pull up the syllabus on the projector. He said that the class would be easy so long as students attended regularly. He assigned one textbook. He’d written it himself.

Outside the lecture hall, by the bathroom, there was a bulletin board with fliers advertising different opportunities to make money. I took a couple of them with me. The first was for smokers between the ages of eighteen and twenty-four. The second was a family dynamics survey. The third was a sleep surveillance study.

First, I showed up to the smoking study. They assumed I was a student and asked what class I wanted credit toward. I told them that I wasn’t a student. When they asked me why I was interested in participating, I told them I wanted to make myself useful, and that I wanted to make money. There was more paperwork than I expected. The woman in charge of carrying out the study asked me a series of questions. She asked me how often I smoked, why I smoked, and whether I was trying to quit or not. I told her I smoked half a pack a day, that I smoked because I enjoyed smoking, and that I did not plan to quit. She explained that the study was designed to measure the extent to which cigarette packaging affected young smokers. She asked to see my pack, which had one warning: Smokers Die Younger. My job was to transfer my cigarettes into the packs the study provided and keep a tally of how many cigarettes I smoked each day. The pack she gave me was plain cardboard with warnings on both sides. One side had a picture of an aging smoker hooked up to an oxygen tank, surrounded by what appeared to be his devastated family. The other side had a picture of a stillborn baby. I was required to report back once a month over the course of the study, where I would be asked a series of questions about my experience. I would get paid each time I reported back.

The Family Dynamics Survey people weren’t interested in my participation. They asked me if I had a child with a partner I was living with. I said I didn’t, but that I was willing to contribute to the study anyway. They said that I was useless to them. When I asked why and told them I had a lot to say about family dynamics, they told me that the study was designed to see if there was a correlation between the amount of sleep a child gets and the parents’ satisfaction with their relationship. I asked them how they planned to measure satisfaction.

The sleep surveillance people were very excited to see me. They weren’t as excited when I told them I wasn’t a student. I’m not sure why. I assume it’s because they’d have to pay me, or because they thought I wouldn’t be as reliable. Probably both. Still, they had me fill out all their paperwork. They were concerned that I hadn’t been to a doctor in years.

I was required to wear a home sleep tester every night for two weeks. The device was impressive. There was a nose tube to measure my breathing, a belt that I had to wrap around my chest to measure more breathing, a finger clip to measure the oxygen in my blood, and a position sensor to record when I was asleep on my back, side, or stomach. I didn’t ask too many questions, only why they were studying people’s sleep. They said that sleep problems helped cause heart disease, depression, and poor work performance. I wondered if heart disease, depression, and poor work performance caused sleep problems, but I didn’t say anything. I was to be paid at the end of the study, after I’d reported back with the sleep machine and completed an exit interview with the staff.

When Magdalena asked me how class had gone, I told her I’d gotten three jobs instead. I showed her the pack from the smoke study and the sleep machine. When I told her how much I was getting paid, she said she was going to sign up, too.

“I should start smoking again,” Magdalena said.

“It’s never too late,” I said.

That night I made pasta for the two of us. It wasn’t good, but Magdalena said it was. The best part of the dinner was the wine. The conversation was nice, too. Magdalena asked what I was planning on doing for work, if anything. I told her I’d been thinking about working at one of the museums, as a janitor maybe. I explained that my uncle Nico had done the same when he was my age at a Botero museum in Medellín.

“Which museum do you want to work at?” she asked.

“I don’t know,” I said. “Which one do you recommend?”

“None of them,” Magdalena said. “What you should do is go to school.”

“I should,” I said. “You’re right.” “I am right,” she said.

“Will you pay?” I asked. Magdalena laughed. We opened a second bottle of wine. Magdalena stole a cigarette from my pack.

“What would you study?” she asked.

I made a point to look around at the house. “Gold,” I said, laughing. I asked Magdalena what she studied at university. She grew a little sad. “General courses. I never finished. I only studied a year.”

“If you go to school, I’ll go to school,” I said.

“Deal,” she said.

That night we watched a television documentary about prohibition. Magdalena and I fell asleep next to one another on the couch. I woke up, turned everything off, and went downstairs to my apartment. I wrote down that I’d smoked fifteen cigarettes, then hooked myself up to the sleep tester and went to bed. That night I dreamed that Nico and Magdalena were young. They sat across from one another in a small room without windows. They talked for hours. When I woke up, I couldn’t remember what they’d said.

7 Books About Black Women in Complicated Relationships

I’ve always thought that “complicated relationship” is a bit redundant. Aren’t all relationships, in some sense, complicated? What’s more complicated than weaving two (or more) hearts and minds into a tapestry of shared experience? What’s more complicated than engaging in the delicate dance of give and take, the intricate interplay of emotions and experiences? That said, it’s certainly true that some relationships are more complicated than others. Messier than others. More volatile than others. Sometimes the strange, alchemical reaction between people leads to something brilliant… sometimes it starts a fire. I’ve always been interested in stories that tend toward the latter. Stories about people who ignite a spark in one another. About people who light each other up. People who—for better or worse—transform each other.

My novel Everything’s Fine is about one such relationship. It follows two very different young people as they fall reluctantly, deeply, complicatedly in love. At the center of this entanglement is a liberal Black woman named Jess who falls for a conservative white man named Josh. And as much as the book is about that relationship, it’s also about what it means to be a Black woman navigating predominantly white spaces. It’s about how the experience of being Black, of being a woman, of being a Black woman—“policed by your skin, by your gender, by your existence,” as the writer Jeneé Osterheldt put it—can, depending on the relationship, be at turns nourishing, illuminating, complicating, or even implicating.

This reading list explores books that center Black women in such complicated relationships. While many of these books focus on romantic relationships, others explore a wide range of connections, from mothers and daughters to coworkers and compatriots. What ties these works together is a shared interest in delving into the complex realities of Black women’s lives through the lens of their complicated relationships with others.

New People by Danzy Senna

Newly engaged, Maria and Khalil are a golden couple, literally and figuratively. A pair of Stanford educated bobos living in Brooklyn in the 1990s, their Martha’s Vineyard wedding will be one for the New York Times Style section. They are also each the children of one white and one black parent, golden skinned, the “King and Queen of the Racially Nebulous Prom.” The twist here is that the complicated relationship that powers the novel is not the one between Maria and her fiance, but rather the parasocial relationship between Maria and a poet with whom she develops a troubling infatuation. The poet is Black and dark-skinned where Maria is light-skinned and white passing even though, raised by a single Black mother, she identifies more strongly as Black. It is this disconnect that largely seems to fuel her obsession. But Maria’s journey of racial self discovery quickly becomes a spiral as she begins to stalk the poet, her behavior escalating wildly until it reaches an unsettling climax. A subplot on the Jonestown massacre throws all of the novel’s themes of race, identity and agency in sharp relief. New People is a smart and scathing social satire about how the skin you’re in defines—and confines you.

The Three of Us by Ore Agbaje-Williams

The premise of this one is deceptively simple: what if your husband and your best friend absolutely hated each other? While the premise is simple the story is anything but. Layered and brimming with subtext and sharp observations about money, gender, patriarchy and complicity, this story subverts the love triangle trope by introducing something more akin to a hate triangle. Told in three distinct first person narrations, the novel follows the aforementioned points of the triangle—the unnamed wife, the unnamed husband and the wife’s best friend, named Temi. Over the course of one alcohol fueled afternoon, as years of resentments and recriminations come to a head, allegiances shift, and information is parceled out in neat little poison filled bonbons. By the end, and by design, as the wife is forced to make an impossible choice, you won’t know who’s right, who’s wrong, who’s reliable and who’s not to be trusted, but you will have taken a wicked ride.

American Spy by Lauren Wilkinson

In this Cold War spy thriller, intelligence agent Marie Mitchell is deployed on a covert operation to topple a Marxist regime in Burkina Faso. A Black woman, overlooked and underestimated among her FBI peers, Marie is an unlikely choice to spearhead the mission, although without giving too much away, readers eventually learn that Marie is, in fact, recruited for unlikely reasons. In Burkina Faso, Marie finds her mark—a fictionalized Thomas Sankara—both politically and personally charismatic. As Marie begins to question her relationship with her homeland’s intelligence apparatus—which, by the way, may know more about her sister’s disappearance than it’s letting on—she also begins to fall into a relationship with Sankara that’s dangerous, thrilling, and, yes, complicated.

The Confessions of Frannie Langton by Sara Collins

Gothic murder mystery? Historical fiction about the horrors of slavery? Illicit affair between a former slave and her employer’s wife? Check, check and check. Sara Collins’ strikingly original debut novel tells the story of the eponymous Frannie Langton, a servant and former slave, who is on trial for the murder of her employer and her employer’s wife. Though normally sharp and inquisitive, Frannie can’t remember anything that happened on the night of the murder, and so she tells her lawyer what she does remember: her life story. The novel is told in the form of Frannie’s confession in which she recounts everything from her violent and torturous experiences as a slave on a Jamaica plantation to the love affair at the center of the murder allegations. The word “complicated,” while directionally accurate, doesn’t quite capture all that’s at stake here. Life and death, yes, but also sex and adultery, grief and guilt, injustice and brutality, lies and desire.

Big Friendship: How We Keep Each Other Close by Aminatou Sow and Ann Friedman

Not all love stories are romances. And as the title suggests, Big Friendship, co-authored by best friends and co-hosts of the popular podcast Call Your Girlfriend (2014-2022), is at once an ode to friendship and a travel guide for to traversing the often uncharted territory of, what the authors call a “big friendship.” The book explores their own “big friendship,” which is a close friendship that Sow and Friedman argue is the most influential and important in a person’s life, even though society is reluctant to recognize it as such. The book gives the reader an intimate peek at the machinations of their relationship, its ups and its downs and everything in between. Sow is Black and Friedman is white, and so a lot of the tricky work of sustaining the friendship comes down to navigating their racial differences. Their commitment to one another, and to their friendship, is the beating heart of the book and a powerful reminder that not all complicated relationships are damaging or destructive. Big Friendship is a big hearted celebration of complicated relationships.

Assembly by Natasha Brown

Granta recently named Natasha Brown one of Britain’s best young novelists and the accolade is well deserved. Assembly, her debut novel, about a young Black British woman on the brink, was hailed as equal parts brilliant and biting. And indeed, Brown’s prose is exquisite, eviscerating and economical. In a little more than 100 pages, as the unnamed narrator faces a series of difficult and escalating choices, Brown holds a scalpel to race, class, gender, family, identity, politics, capitalism and colonialism. Although the novel captures the complexity of several different relationships—friends, family, lovers—it is the relationship between the narrator and her colleagues that proves most incendiary. Brown’s examination of those workplace relationships, and the toxic brew of abuse, resentment and dependency that defines them, ultimately gives birth to one of the best lines in contemporary fiction. Regarding a lackluster colleague, the narrator says: “As if each morning, fresh mediocrity slides out of the ocean, slimes its way over mossy rocks and sand, then sprouts skittering appendages that stretch and morph and twist into limbs as it forges on inland until finally, fully formed, Lou! Strolls into the lobby on two flat feet in shined shoes.”

Transcendent Kingdom by Yaa Gyasi

Gyasi may be more well known for her mega hit Homegoing, but Transcendent Kingdom, her sophomore novel, is an absolute achievement as well. A quietly devastating, but ultimately hopeful, meditation on loss, love, and loneliness, Transcendent Kingdom is clearly the work of a writer at the top of her game. The novel follows Gifty, the child of Ghanaian immigrants, now a neuroscience PhD at Stanford. Her brother has died of a heroin overdose and her mother is all but a ghost. Gifty spends her days in the laboratory, experimenting with mice, trying to understand the addiction and depression that have stolen her family. When the novel opens, Gifty’s mother, in the throes of a deep and intractable depression, has moved into Gifty’s apartment, where they both struggle, separately and together, to make sense of their shared tragedy. This delicate relationship is rendered beautifully and, over the course of the novel, as mother and daughter try and fail and try again to map the contours of their fraught relationship, Gyasi raises profound questions around faith, grief, family and belonging.

The Value in Talking About Nothing

Sports, sci fi shows, and Stephen King were the most consistent topics of conversation for my father and I. Of the many hours I spent alone with him as a teenager, I don’t remember talking about much else. Perhaps this reveals us as one-dimensional and simple, or maybe even a little stereotypical (rough-around-the-edges Dad, lesbian daughter), but I think it saved my life. 

My dad is a paradox. Growing up, he blubbered at videos of soldiers reuniting with their children enough times for me to know he had feelings. But to ask him what exactly those feelings were was useless— it would have been like asking a magician to reveal the secrets to his tricks. In the most difficult years of my life, his reluctance to unpack emotion became essential. I craved privacy throughout high school, but found total solitude daunting. My brain barked too loudly. I needed a companion. Someone willing to talk, but never insistent upon it. 

I needed my dad.

Many of my friends had a different breed of dad, more similar to Danny Tanner from Full House or Phil Dunphy from Modern Family. These fathers were chock full of timely anecdotes and leading questions for their troubled teenage offspring. 

Phil and Danny would have annoyed the shit out of me. 

I struggled my way through high school, and my personality soured. Up until then, I had been described as happy-go-lucky. Spunky. Somewhere around age fourteen, I discovered my attraction to women. I became furious at the world, my friends, my family, but mostly I became furious at myself. The more my mom and close friends begged to understand me, the more incapable of explanation I grew. I shoved myself deep into the closet and boarded up the door. I mourned the dream of a normal life. The last thing I wanted was a sweater-vest-wearing Danny Tanner poking his head in to wonder if I wanted some cocoa and a chat. 

I needed a dad like Joel Miller. 

Miller is the protagonist of the action-horror video game (and recent HBO television adaptation) The Last of Us. The game begins 20 years after a zombifying disease called Cordyceps has virtually eradicated humans from the Earth. Players move through the game as Joel smuggles fifteen-year-old Ellie across the country to a doctor attempting a vaccine. Ellie is the key: she is immune to Cordyceps. Joel and Ellie’s relationship develops through long walks and car rides across a desolate and dangerous zombie-populated United States. The silence between them is interrupted only by Joel’s gruff teasing or Ellie’s terrible puns. There are no confessions of the heart or therapeutic dumps regarding the trauma they’ve experienced. Neither of them wants that. Their circumstances are too urgent.

I became furious at the world, my friends, my family, but mostly I became furious at myself.

Midway through their trek, Joel falls five floors down an elevator shaft. For a few beats, it’s unclear to Ellie whether or not he is alive. When he comes to and is able to ask if she’s okay, she screams down the shaft with a simple, “No! You scared the shit out of me.” Elaboration is unnecessary. 

When I was seven, I was hospitalized for appendicitis on Father’s Day. My family had been celebrating with mine and my dad’s favorite: sticky blueberry pancakes drenched in maple syrup. My mom noticed I hadn’t taken a bite. As my stomach pain grew progressively worse throughout the day— so agonizing I was unable to stand without help—she rushed me to the hospital. She tends towards the dramatic, and my memories from the hospital are tinted in blue. I remember her gripping my hand hard enough to break it in half, her voice pealing with panic in every interaction with the doctors. I thought I was going to die.

My dad showed up a few hours later after my grandparents got to the house to watch my sisters and brother. He grabbed one of the braids in my hair and shook it before sitting beside my mom next to my bed. My mom relaxed, as did I.

“You know, if you wanted special attention this bad, you could have just asked,” he said, still sitting bedside when I woke from surgery. His hair flattened on his skull from a baseball cap he’d laid on the side table. “This is so like you, trying to steal my shine on Father’s Day.” 

I giggled, shrieking that I would never do such a thing. The searing incision on my hip became an afterthought. He carried me to and from my bed every day for two weeks. 

With every year of high school that passed, I became more and more certain I would never come out of the closet. I didn’t know any queer adults, and feared a life of loneliness. There was the social aspect, too. 

I remember her gripping my hand hard enough to break it in half…

The word “lesbian” circled my sports team locker rooms; it was the ultimate insult. It degraded one as equal parts masculine, predatory, and disgusting. Sometimes, girls would shorten it to just “L.” The most troubling aspect of this was its double meaning: she’s such an L was used both as an insult to assumedly heterosexual girls, and as an actual descriptor for the few girls at our school who were publicly queer. In neither circumstance was the connotation positive.

Two girls in my grade began dating, one of them a lacrosse teammate of mine. She was outcast immediately. Girls in the locker room changed in bathroom stalls or with their chests facing the walls when she entered the room. I kept my head down and silently thanked my own brilliant foresight to remain closeted. It was keeping me safe. I dated boys, wore thick layers of makeup, and lied about what kind of TV shows, music, and books I was interested in. I worried constantly that any tipping of my hand, any confession as to my true interests and passions, would clue them in to what I really was.

The paranoia grew exhausting. Eventually, I withdrew. I stopped going to parties, seeing friends, and even listening to music (I once listened to a Tegan and Sara song and was horrified to realize that people could see what I listened to on Spotify). It was just easier that way. At least I wouldn’t have to wonder whether or not anything I said could have been interpreted as gay.

As I slowly dropped off the social scene, I began to spend a bizarre amount of time with my dad. Most days during my junior and senior year of high school, I drove home for lunch so I could eat Greek salads coated in hot sauce dressing with my dad on side-by-side TV trays while watching the nuclear apocalypse drama The 100.

While my mom and friends wanted to know what was wrong with me—why I’d changed and when I’d be better—all he wanted to know was what I thought of Stranger Things’s second season. And somehow, even through our complete lack of nuanced conversation, he knew me better than anyone in the world. I didn’t have to crack the door open for him to see through. It was relieving. We were like those nature photographs of unlikely animal friendships. Crocodiles granting free rides to baby birds on their backs across the swamps. The mentally unwell teenage lesbian watching March Madness with her bearded grumpy father. 

At least I wouldn’t have to wonder whether or not anything I said could have been interpreted as gay.

Towards the end of their journey, Joel and Ellie’s surrogate father-daughter relationship deepens. Their bond of reluctant necessity thickens into something more substantial.  For the first time we see that Joel views Ellie as more than a cure or a traveling companion: he loves her. On Ellie’s sixteenth birthday, Joel takes her to an abandoned science museum. Once, in passing, Ellie has mentioned her love of outer space, and an impossible desire to become an astronaut. 

Joel works magic. He leads her to an upper level of the museum and into an old space shuttle replica in the astronomy exhibit. Joel hands Ellie a cassette tape he has scoured the Earth for, a dusty, oversized astronaut helmet knocking around loosely on her head. 

“Happy birthday, kiddo,” he says. It’s an audio recording of a shuttle lift off. The two close their eyes with the tape playing between them, and they are transported miles away from the problems their world has to offer. It’s the best present Ellie could have been gifted: an escape hatch. Best of all, she never had to ask for it. 

Beyond just his ability to distract me from my fears, my dad shares this uncanny ability with Joel. He knew how to find me without ever needing a map, and it is a joy to be found. 

Christmas used to be one of my least favorite times of the year. It was a giant spotlight on all of the gaps between who I knew myself to be, and who those I held close knew me to be. To be fair, it was the only version I’d ever presented to them. Dresses, crop tops, eyeliner pens, and lacy pink underwear sat unused in my closet year after year just to be donated months later. It was a waste of money and heartache. 

My senior year of high school, my dad handed me his Christmas gift. It was a thin envelope with my childhood nickname Mooglie scribbled on the back in pencil. Inside were two tickets to see the adaptation of Stephen King’s Misery on Broadway. He had printed them out on two grubby sheets of copy paper and shoved them inside the envelope. I teared up. He shrugged.

“Thought it could be cool. Seats aren’t great, but looked decent,” he said. 

One week later, we got dressed up (him in dark jeans and a button up, me in a black dress and ballet flats), and drove into Manhattan just the two of us. We ate at Carmine’s before the show. He let me steal sips from his wine, and we split chicken parm and a plate of spaghetti. I am positive we talked of nothing but football—the NFL playoffs were in full swing. I can barely remember if the play was good or not. It is still the best Christmas present I’ve ever received. 

There is no good explanation for the dynamic between my dad and I or Ellie and Joel. Why is it that this man who at times felt void of interiority was able to understand me so well? I don’t know. Why do Joel and Ellie seem to just click? They don’t even have the benefit of a biological connection. 

Why is it that this man who at times felt void of interiority was able to understand me so well?

One could argue that it’s a trauma bond that ties Ellie and Joel together so closely. They need each other. Or, more realistically, Ellie needs Joel. She voices this multiple times throughout the game, begging him not to die because his death will spell uncertainty for her own life. I said in the beginning of this essay that I think my dad saved my life, and I meant it. During the years I had myself convinced there was no choice but to be closeted, I often considered an alternative. I wondered if maybe the torture of feeling so awful about myself just wasn’t worth it. My mind whispered that I could make it all go away, that it would be easier than falling asleep. The volume on these voices hushed when I was with my dad, and I wonder if like Ellie, I was so drawn to him because my survival depended on it. 

But I’m in favor of a different theory. Perhaps for some people, a version of a soul mate comes in the form of a parent. My dad loves to brag that I was the only one of his four children who, as a toddler,  ran to him when I was hurt or too tired or just needed a hug. The rest of them preferred my mom. He says this with so much pride, and I hold this small and insignificant fact of my past very close to my chest.

Joel and Ellie eventually reach a small settlement that provides refuge for a while. Their lives normalize ever so slightly. They get jobs. Ellie comes to terms with her queerness, and through snippets of her diary, players of the game understand she is struggling to tell Joel. He discovers it himself upon seeing Ellie kiss her love interest, Dina,  at a town hall dance. 

“I don’t know what that girl’s intentions are,” Joel says of Dina during a scene interspersed between gameplay. He and Ellie are leaning on the porch banister of the house he’s co-opted, not facing one another but rather staring out in the same direction. 

“But I know she’d be lucky to have you.” 

All Ellie can do is nod. 

During my freshman year of college, I began secretly dating a friend of mine, a woman named Ali. It was exciting; I’d never been in love before. I talked to my dad constantly about Ali. I told him about the types of things she was up to in the geo-chem department, or how we were planning to go rock climbing that upcoming weekend, never disclosing the true nature of our relationship. He met Ali once after one of my lacrosse games, and asked her lots of questions about geodes and earthquakes and what she thought of the opposing team’s offense.

A month before the end of the school year, he sent me an email. The subject line was “Couple Things.” It sounded like a grocery list (he is one hundred percent the type of man to email a grocery list). 

The body of the email was very short. It was a list of reasons explaining his suspicions that I was in fact more than just friends with Ali.

He ended the email with a paragraph. 

“I truly hope my suspicions are correct (I am pretty sure they are) and wanted to send you this email so you didn’t need to keep things from me,” he wrote. 

“I also don’t need to have some big awkward talk with you and very much respect your privacy. That said, I do very much love talking to you about anything and everything in your life. If I’m correct, which I really think I am, Ali is a lucky girl.”

Ali is a lucky girl. It wouldn’t have meant as much coming from anyone else. No one besides him knew me well enough for it to count.

It was exciting; I’d never been in love before.

Men like Joel and my dad are far from perfect. Their lack of willingness to engage in direct conversation isn’t always the best course of action. Joel makes some key mistakes in the game, mistakes with dire consequences that could’ve been avoided had he been willing to speak openly with Ellie. To say Joel is flawed would be a massive understatement; he commits mass murder on an incomprehensible scale against both zombies and uninfected humans alike. While he’s never killed anyone, my dad’s tendency to avoid asking hard questions often left my mom to carry the emotional burdens of our family. Like Joel, he has a my-way-or-the-highway attitude, and interrupts almost every conversation he is a part of (the latter being one of the more unfortunate traits I’ve picked up from him).  People are multidimensional and we all suck at least a little.

I never seem to notice, though. It irritates my mom, the pedestal I’ve placed my dad on. Dina grows frustrated at times with the passionate way in which Ellie adores Joel, but I know Ellie can’t help it. It isn’t just gratitude for her life or a trauma bond from all she’s been through with Joel by her side. He’s fluent in her language, and he never had to be taught how to speak it.

The Triumphs and Sorrows of Filipina Women Across Generations

M. Evelina Galang explores the many manifestations of what it means to be Filipina and Filipina American across decades, countries, and moments of political poignance in her new short story collection When the Hibiscus Falls

Returning to the short story form for the first time since her 1996 debut Her Wild American Self, Galang dreams up seventeen dynamic tales that center women who are trying to claim their lives as their own—a feat made more daunting in the face of parental pressures, systemic erasure, and intergenerational grief. In one story, a young girl documents how sorrow ravages through her family after her older sister—the person she looked up to the most—dies in a suspected suicide pact drowning. In another, two sisters navigate the aftermath of a public kiss—a violation of a new code of ethics after their country’s Story Revolution. In yet another, a grandmother and her granddaughter struggle to see eye to eye about their duty to protect one another in the face of heightened xenophobia and racial violence. The wide array of existences—young and old, some of them stubborn, all of them flawed—that dominate the pages of Hibiscus reveal the intricacies and depth we can allow women, if only we let them bloom to their full potential.

Galang gives the Filipina/Filipina American reader the greatest gift of all: the chance to see oneself in a text not because her likeness has been stripped of all complexity, but because her complexity has been revered—held up to the light and turned slowly, with each shifting hue captured with delicate, lucid prose.

I spoke with Evelina over Zoom about writing through and beyond silences, juggling the pressures of Filipino and Filipino American culture, and what she hopes her legacy will be. 


Rodlyn-mae Banting: This book feels very much like a cohesive project and your protagonists feel in conversation with one another. Could you talk a little bit about the process of bringing this collection together?

M. Evelina Galang: It’s really interesting because I was writing many of these stories at the same time that I was working on Lola’s House, my comfort women book, which is creative nonfiction, and worked with the women’s testimonies. I just needed moments of pure creativity and so I started to write these stories. Not with anything in mind, right? Just stories. The writing took place over the span of maybe ten years or so. And then it was what I think are obsessions of mine that surfaced—they felt disparate at first, and then I read them together as a body and I was like, oh. I started to see these obsessions come up, with one being that of ancestors, of community, and the way kapwa works for us here in the United States, but also the idea of kapwa back in the day. Ultimately, it’s about this legacy, that we are all part of this continuum. 

RB: You engage heavily with different facets of Filipino and Filipino American culture. Something that your stories do so well is portray the culture of silence that permeates through a lot of Filipino society, especially around topics that are particularly taboo like sexuality, trauma, and grief. I was curious if it was difficult for you to engage with those topics and break through that silence on the page.

EG: I spent 20 years doing the research with the lolas, and going back and forth and spending time with the comfort women. They were such warriors and their lives really inspired me in so many ways about what it means to be a strong Pinay. They were asked not to talk about it. They were silent for 50 years. And then when they started to come forward, they did little by little, and different women had different responses. Some families supported them, some families were super ashamed. But there was something about my being with them, and witnessing all of that, and then also the joy that comes with who they are. For me, that’s the ultimate breaking of silence. Their stories were the ultimate act of defiance, of speaking one’s truth. So I think writing the stories pales next to their experiences, and writing the stories is the least I can do to support my community and my nephews and nieces who are also growing up in this very complicated community where you’re not all one thing, and not all another thing. And then you have to deal with the past—deal with it and try to reconcile with it. 

RB: I was really drawn to “Foodie in the Philippines” and how it counters traditional or cliché homecoming narratives of feeling immediately at home or loving everything about the motherland. When Clarissa gets [to the Philippines], she’s revolted by almost everything.

EG: She’s a true American. 

RB: Right! And her husband approaches the trip more anthropologically. What were you trying to get at with her character?

EG: So I was really interested in exploring that way of claiming Filipino culture with a protagonist who’s not necessarily a likable person, and who was so Westernized that she doesn’t recognize the parts of her that are Filipina. She doesn’t recognize that this food industry that she’s entering—what she’s seeing as a commercial venture—is really a way of bringing her back home. She doesn’t recognize that she has a special gift that she’s inherited from her, the legacy of her family. And I don’t even know at the end of the story if she is completely aware of that. But she comes in and there are things happening that she cannot explain.

RB: In a lot of the stories, including “Loud Girl,” there’s that refrain of a young woman having walang hiya. Of having “no shame.” Do you see these stories as a refutation to that accusation?

EG: I don’t think that those who use that line know that it’s a tool for controlling a person and also doing their best to suppress whatever is inside of them, whatever is becoming. So much of what you have to do is educate your parents as to whatever it is you want to do or be, because they just love you. Even when they’re saying walang hiya, they don’t understand whatever it is that they’re trying to suppress. If they gave space for that, the confidence that would come from that person would allow them to have the life that they really want to have. So I love to play with that because so much of it is about communicating. And if we’re not able to communicate, we give up. There’s no point. “They’re just gonna shut me down anyway” or whatever. Or maybe the point is that you have to do what Mayari did and just leave. Go do what you’ve got to do. It’s such an important thing to be able to be yourself.

RB: You mentioned the fact that walang hiya is a tool of control. I was especially struck by “Deflowering the Sampaguita” and how it explores that idea of control as a way of leaving someone in the dark and keeping them from knowing themselves most deeply. You write, “So what’s a girl to do? What’s she to think, how’s she to find a life partner without guidance?” I’m curious as to what you think the role of agency is in this collection.

I was really interested in exploring that way of claiming Filipino culture with a protagonist who’s not necessarily a likable person.

EG: It’s all about agency. It’s all about how we’ve been raised, how to respond, to be the good daughter, to be obedient. But at the same time, so many of our households have strong women and they’re the ones that hold the purse strings, they’re the ones that have the job. They run the household. And so it’s all about choices. It’s all about what can you do? The stories are imagining that sometimes it’s really hard to make the choice. Sometimes we can’t make the choice. It’s too much.

RB: You write about women in all stages of their lives but you keep returning to this figure of the female teenager, or the dalaga, in this project. I was thinking about this poem by Olivia Gatewood called “When I Say That We Are All Teen Girls” where she makes an argument for exactly that—that we’re all teen girls in some way. Does that resonate with you personally? Does that resonate throughout the collection and the women that you’re writing about?

EG: I think in some ways, yes. There’s that aspect of youth that’s all about hope. It’s about exploration. It’s about unknowing. It’s about defying for the sake of defying, but not always thinking it through, which I think is really exciting. On the other end of that is like, as I get older, I don’t care what anyone thinks. I don’t care what I’m supposed to do as a woman of my stature or my age. At some point I figured out that it doesn’t matter what anybody else thinks. What matters is what you think. The teenager is also the most complicated to me. 

RB: A lot of these women have overcome insurmountable trauma. Malaya in particular was forced to be a comfort woman as a child. Some of these characters choose to forget the past and others are really staunch in their political activism. Could you talk a little bit about the importance of collective memory—particularly around political injustices—such as the comfort women?

EG: For me, it’s been so important to document in all the different ways that we can, the stories of Filipina comfort women because we create the collective memory. It has been a blessing to spend time with the women who actually went through that, because they were an inspiration. So that their legacy lives on and that this collective memory lives on—that this documentation of what happened to them lives on. Every single time they tell that story of their lives they relive it. Many of them have now passed away, but there’s a way that they relive that trauma. And they do that so it doesn’t happen to the next generation—that they have said time and time again. So for me, I take that very seriously. And I take it very seriously that there’s somebody trying to erase our collective memory.

RB: So much of this collection is about legacy, right? The anxieties around what our legacies will be and what will happen if they’re lost. That idea again of collective memory and building that. What do you hope your legacy will be?

As I get older, I don’t care what anyone thinks. I don’t care what I’m supposed to do as a woman of my stature or my age.

EG: I haven’t ever really thought about that in any real way. I would love for the stories that I write, and the students that I work with… I hope that my stories open people up to write their own stories, to document their lives, to find the freedom in storytelling that I have found, whether it be freedom for imagination, or for play of language, or freedom of knowing oneself and being able to live one’s truth. Part of the holding of waling hiya is that we’re supposed to be a certain way and there’s no room to be anything else. But really, we’re so much more than that. I would love for the work that I do to allow people to find their thing and to live it, and to be comfortable with that because that’s a gift that’s been given to me in reading literature and writing literature. I’ve seen the power that a good story can bring to an individual.

RB: To close things out, I wanted to return to the very first story and the very first line of “Strength is a Woman” where you write, “No one ever gets the story right.” I wanted to know the thing that you were trying to get right in writing this collection, the thing that you think you got right in writing it and putting all of these stories together.

EG: Wow. I mean, in the most obvious way, so many of our stories have been written by people who are not us. They’ve either been written by men who, in this particular story “Strength is a Woman,” he really doesn’t get it. It’s just more of a pain. They’ve either historically been written by men or they’ve been written by people who are not of Filipino descent. Or they’ve been written by anthropologists or  politicians. They are stories being written by everyone but ourselves, by the woman, the woman who lives these stories. I think that’s what I meant when I said nobody ever gets the story right. Because even when women are talking, sometimes, oftentimes, no one’s listening. And for someone who has come from a really big, noisy family, writing is the best way for my voice to be heard.

7 Scandalous Betrayals in Literature

There’s a reason that we as a culture have spent the last 20 years debating whether there was enough room on the door for both Jack and Rose in Titanic. Watching Rose let Jack freeze to death in the water instead of just shifting a little bit to the left and letting him on the wardrobe door with her instilled in millions of watchers a profound sense of betrayal for the man she—and we—had grown to love. The way she moved his hand and let him float away when she realized he was dead? Unforgivable. Then again, we do live in a survival-of-the-fittest world, so it makes sense that people will do what they need to get by, including betraying friends, family, or even themselves. And sometimes, we are willing to betray those closest to us for their own good… kind of. 

In my debut novel The Three of Us, a wife grapples with the deep-seated animosity between her husband and her best friend. Depending on how you read it, there are betrayals committed by and against all parties, from wife to husband, friend to friend, and maybe even the wife to herself. So in typical Carrie Bradshaw fashion, I couldn’t help but wonder: Which other betrayals in literature have etched themselves into my memory? 

Things Fall Apart by Chinua Achebe

If you haven’t read this, one of the most critically acclaimed books of all time, then you absolutely should. Things Fall Apart tells the story of a man loyal to his people and traditions and loyal to a specific idea of himself. Ultimately though, things… fall apart, but the question is whether Okonkwo—the titular character, is betrayed by his people and their unwillingness to fight alongside him, or whether he betrays himself. Personally, I’m still undecided, but read it and see what you think. 

You Made a Fool of Death with Your Beauty by Akwaeke Emezi

Akwaeke Emezi’s first romance novel remains one of the wildest books I have ever read. Beyond that, it asks the reader to consider what living for yourself, and not everyone else, could be like and whether it’s worth the risk. In it, betrayals—of others and of your old self—may come, but Emezi urges their readers to consider that life is lived with fewer regrets that way. Without spoiling the book for you, I’ll describe the most explosive betrayal this way: it’s all in the family. 

Atonement by Ian McEwan

Two words: Briony Tallis. That’s it. 

Honestly, if you know anything about the story—by way of either the film with Keira Knightley and James McAvoy or the book it’s based on by Ian McEwan—you don’t really need much of a play by play of how brutal the betrayal in this book is and what happens when jealousy and—quite literally—a lack of communication take hold of a young and impressionable mind. 

Gone Girl by Gillian Flynn

If you’ve read the book or seen the film then you already know: Hell hath no fury like a woman scorned who also has a diary, a terrifying imagination, and the ability to make herself disappear and make it look like you’re the one who did it because she found out you were cheating on her… [*Takes a deep breath.*] The husband and wife at the center of this blockbuster book betray each other in countless ways throughout the narrative. Moral of the story is, if you don’t like each other, just get a divorce. Way easier. 

Game of Thrones Series by George R. R. Martin

Ned Stark. Viserys Targaryen. The Red Wedding. Ramsay Bolton. If Harold Pinter hadn’t already taken the title for his great play (which you should also read), this series should also have been called Betrayal, because there were numerous betrayals that literally no one saw coming. If George R. R. Martin has taught us anything—except for how to cultivate extreme levels of patience—it’s that loyalty does not exist in the seven kingdoms. Ever. 

The Story of a New Name by Elena Ferrante

Die-hard fans of Lila from Elena Ferrante’s internationally acclaimed Neapolitan Novels will claim that Lila didn’t know that Elena loved Nina Sarratore. If, however, we’re being honest with ourselves, we know that Lila knew, which made her affair with him so much worse. Credit to Ferrante for not making them fight over him though. This was one of those quiet betrayals, and because it’s never really spoken of, it hurts even more. 

What Was She Thinking?: Notes on a Scandal by Zoë Heller

Again, the list of betrayals is endless, but it’s worth noting that the first betrayal is of a young pupil Steven, by his teacher Sheba, who engages him in a wholly inappropriate ‘affair’. What comes next is numerous betrayals of trust between friends (Sheba and another teacher Barbara) and results in a deeply twisted friendship. I would point out the moral of the story here, but honestly, there are no morals, which makes it such a brilliant page turner.

I Can See My Future Through the Haze of My Grief

Kiah Holliman’s car accident happened on the last icy day of February 2022. The following morning, clear blue sky lit my journey from Detroit to Grand Rapids, melting any remaining ice from the night before. The earth seemed to smile, soaking in the long-missed sunshine. As the world inhaled the first hint of spring, my lungs collapsed inside of themselves, refusing to let the sunlight touch the freshly wounded parts of me. The natural movement of the world felt absurd. How could the sun rise, the land smile, the breeze move, as if this was any other day? The sun shone yellow, almost joyful overtones. My dreamlike denial came easy. The closing distance between myself and my mother’s house in Grand Rapids cemented a newly gleaned truth: hell was recognizable; hell still had sunshine. 

A week later the February sky returns to its characteristic gray,  dressing the world in the somber mood most appropriate for a funeral. The condolences I receive come with a mix of recognition and confusion. From the mourners who know me, I am offered firm hugs, and declarations of love and sadness. To everyone else, the question of who I am to Kiah is written on their faces.  Their eyes look for a similarly feminine version of the woman lying in the casket: a short, light skinned afro-latine woman in her mid-twenties, with dark eyes and long hair. 

I am not a full year into my medical transition. The changes in my body are subtle, even to me. Standing by my sister’s casket, I  face the stark reality of how different we had become. Kiah and I had been a complimentary set throughout our lives. She was delicate, feminine, and graceful; I, a culmination of all the  uncouth, rough edges of our dna. Our similarities were our laugh, our yell, our mannerisms, all hand me downs from our mother and grandmother. Our modes of self-expression, and the maladaptive coping mechanisms we both inherited, were our visible signs of kinship. Now, to the room overflowing with mourners, and to myself, I no longer feel recognizable as Kiah’s little sister. I do not recognize myself as who I am now—someone who has outlived their sister. 

I do not recognize myself as who I am now—someone who has outlived their sister. 

My funeral outfit, much like the funeral itself, is a haphazard collection held together with love by family. I wear a small men’s black dress shirt that was hastily bought the night before at a grocery store, with assistance from mí tío. We had tried to find a full men’s look but there was not much befitting my diminutive frame.  The black dress pants I wear have been uncovered from my mothers closet, as graciously offered hand-me downs from my step father would not fit around my hips. The surgical mask I wear covers any semblance of the budding mustache on my upper lip. My blue durag covers my overgrown hair, and atop that sits a black and pink harley hat recovered from Kiah’s car after the accident. It feels like a memory, and I haven’t removed it from my head since it was found. 

No one expects you to look well dressed at a sudden funeral. I don’t expect to be seen—I am not the guest of honor after all—yet I feel more exposed and fragile than ever.  My grief is obvious in my chaotic dress, the shards of my life that have randomly imploded, collected together in one dysphoric, unflattering outfit. 

The visual juxtaposition of our genders is not new. In high school, Kiah and I looked like a young stud/femme couple to those unaware that we were siblings. For me, wearing feminine clothes ended when my mother stopped putting us in matching outfits in elementary school.  In our adolescence, we grew into our own individual selves and further from one another. This is natural and would have been fine, had it not been for the rift that widened in our misguided attempts to understand each other. 

In my exploration of transness and queerness, there are points in history where I’ve looked weird, quirky, downright ugly in some aspects. I rejected the traditional norms of femininity that I knew I couldn’t stuff myself into. I stopped shaving my body hair freshman year, while simultaneously shaving different parts of my head  whenever I could. I never wore a skirt, and I was unattractive, often downright volatile to the male gaze.  Kiah’s gender expression was hardfought as well. Our practical capricorn mother was not one to place emphasis on fashion trends, so all of Kiah’s beauty skills were self-taught. After a brief emo phase and some youthful blunders, she found her stride, spending hours on her makeup and hair, curating her clothes to emphasize the changes in her petite frame. Her efforts, however, did not bring up concerns of mental illness or questions of her emotional well being. At times I wanted to learn from her, asking how to apply eye liner or put extensions in, things I saw her doing. These misguided attempts had me looking ghoulish, and I can imagine her reluctance to waste  her coveted makeup collection on a clown’s appearance, as she often refused. 

But in her kinder moments, she never had me leaving the house looking like a fool. Although she couldn’t style me in the way that she utilized femininity for herself, she dressed me in outfits that accentuated my natural personality and features. She was the first in the family to buy me mens shoes, shirts, and pants, before the words nonbinary or transgender had been spoken between any of us. Through many Christmases and birthdays receiving clothing that was obviously intended for the person my family wanted me to be, Kiah gave me gifts reflecting who she saw that I was, who she wanted to help me become.   

Kiah gave me gifts reflecting who she saw that I was, who she wanted to help me become.

I cannot recall the first time I came out to Kiah, but I remember one of the rifts that had occurred after being out to her and only her for a year. We were in our late teens, and had gone down to Texas to vacation with our tío and tía’s family. Mi tio and tía had been very close with my mother growing up, but the physical distance  limited the time for the extended family to know our personalities from more than the pictures my mother had been sending them. It was night one of the vacation, and we were arguing in hushed tones. “Can’t you just keep your hairy armpits hidden?” Kiah questioned. “Do you have to be so vocal about feminism?” “Can you please, just while we are here, tone it down?” 

I pushed back. “Why is it okay for me to behave like myself when we don’t put a name to it? Why is it not okay for them to see me as I am too?  It’s hard enough having to be misgendered while we are here, in all the spaces that I’m in, can’t you at least respect me when we are alone?”

“I just don’t get you,” Kiah responded in frustration, “I don’t understand what happened to my sister.”

We ended the conversation both in tears, both trying to see each other, both trying to express our frustrations without waking up the whole house. I don’t understand what happened to her sister either, for all I knew her sister was still there, still in this body, still trying to be a good sidekick, while also trying to survive.


Three weeks after the funeral, I go into Kiah’s bedroom and gather what will be my last hand-me-downs. I am surprised when a pair of green sweatpants fits me. She had always been flaca afterall. Among the items I collect are some pairs of shoes that I manage to squeeze my feet into, an overshirt with the tags still attached to it, a small plastic bejeweled ring that was recovered from the accident, a hello kitty baseball cap and a large stuffed snorlax that took the most space among her growing plush collection. I feel a semblance of familiar joy as I think of all the times we went through the other’s room borrowing items, and  never asking. As I feel her clothes on my body, I think, What will happen when my body changes in a year from now? Or Two years from now? Should I stop taking testosterone so that I can still hear her voice in my own? 

Even throughout the emotional distance of our adulthood, I always held a sliver of hope that the closeness of our childhood would return. We had been working to mend that bridge with a sibling weekend that would now never come. I had planned to bring her to Detroit in March, to show her the places where I went dancing, or enjoyed art and music. I wanted to introduce her to my new friends and show her the wonderful life I had created. Through my transition, I was growing into someone that I wanted Kiah to meet. Instead of all that hope, I begin to fear losing the person that she helped to raise. On my way out of Grand Rapids, I am head-to-toe in Kiah-regalia. 

Through my transition, I was growing into someone that I wanted Kiah to meet.

In my opinion, Kiah doesn’t look her best at the funeral. In life, Kiah ranged from soft  to dramatic, with baby pinks or dark purples and blacks, spending hours on her makeup at times. This time, she lacks her lifely glimmer and shine. Her arms rest over the bottom half of her torso, and her palms are held together in a little heart, loosely collecting the letters people had written to her throughout the funeral. Her nails are bare, and nude. When my grandmother Lila walks into the room during family visitation hours, the first thing she cries out is, “Where are her nails??” Kiah’s coffin shaped nails were her signature look, rotating colors to match with the season, or the outfit. Kiah and I were different versions of ourselves, existing there together in our not-our-best-but-the-best-that-we-could-do looks. 

There are family members in attendance who I’ve not seen since I was a toddler. I assume the same was true for Kiah. Our reconnection with our estranged father’s family had caused tension between Kiah and I in recent years. January 2022, on a rare FaceTime between us, I finally heard her why. “I just want to know where we come from,” she said. She was straightening her hair, and wouldn’t look directly into the camera. “I found out about our great grandmother passing before we got a chance to meet her, and I just want to learn about them before time runs out”.  Now these family members—strangers—and I gaze at each other across years of disconnect, very likely asking the same question. “Who am I meeting because I’m grieving Kiah Holliman?”


What to say about someone who was just starting to live? 

I was tasked with writing the obituary. 25 years surmised into 161 words. Debating how to honor her just when we were reconnecting as adults, was difficult. I pause at the point in the obituary where I am to write the names of who survives her. I had just legally changed my name the summer before. Kiah and I were the only Hollimans in our household growing up because we were raised by our mother, Karina Alvarez, and had no relationship with our father—or his side of the family, the Hollimans. In choosing my own last name, I wanted to start my own lineage, claim myself as founder and creation. I wanted to honor the ever-lasting transition that I would always find myself in. I chose Jueves to honor my mother, and her mother’s native tongue (Spanish), and to honor myself, having been born on a Thursday. 

Pausing at how to address myself in her obituary, I longed to be a Holliman again. If there was only one other Holliman I would deeply know and love, it was my sister. At that moment I regretted the decision I’d made. I would go back to my maiden name in a heartbeat to be a Holliman again with her, to have that automatic sign of kinship. This was an unexpected consequence of this severance from who I once was, a “Holliman Sister.” I type my chosen name, Alizae Jueves into the obituary. I feel a chasm of separation and loss where months ago, I’d felt the bounty of euphoria. 

My paternal grandmother, Cynthia Patterson, walks in with my father’s family at the start of the funeral. They bring their own funeral programs, and a beautiful portrait of Kiah painted by my uncle Coy. Cynthia approaches me with kind, concerned eyes.

“Do you know who I am?” she asks.  

“No.” Normally I would feel shame or embarrassment. I know to assume that we are family, and obviously she knows who I am. But the grief interwoven with the shrooms I had consumed before the funeral numbs my social graces. 

“I’m your grandmother, Cynthia,” she says, matter of factly. “I’m so sorry for your loss. I know about you and your transition from Kiah’s Facebook. I know I can’t understand your grief, but know that I love you fiercely, I have always loved you, and I want to get to know you. It will take a while to build our relationship, and I am willing to wait as long as it takes for you to come to me.” She looks me in the eye with an intensity. I let my body be hugged, imagining what Kiah would feel if she had been able to receive this. I am blessed beyond measure, receiving affirmations of my transness, and love, from family I am meeting for the first time. I feel damned beyond measure not being able to experience this with her. 

I am, however, blessed on both sides. Not many people can say that both grandmothers receive their transness with grace. In December of 2021 I came out to my maternal grandmother, Lila, while walking her home. The short two and a half block walk contained a transgender lowdown, explaining to my 60 something year old Salvadoran grandmother what nonbinary meant, a brief overview of pronouns, how my gender is in constant flux, and why my little sisters call me by my buddhist name “brother Mushim” rather than my given birth name. We ended the night with a hug on her doorstep, and the affirmations, “I will always love you.”

This was a blessing that I was not able to relay to Kiah, the first person in my family to whom I had come out, years prior. Kiah and I last saw each other in January of 2022. I was in town for the last weekend of the month, visiting friends and family, handing out delayed Christmas presents. Kiah was my final visit before making my way back to Detroit. I had brought over iced coffee and baked goods for her and my grandmother. They were dubbed “the roommates” by my mother since Kiah had moved back into our childhood home. We walked around the block with my dog Ruby. We had tense, reactive conversations, both leaning on each other for support but not knowing how to express it explicitly. I remember telling her about the joys that I had in my life, and navigating exciting crushes that I had on other Black Trans folk. Detroit had been a refreshing bounty of Black Trans community with a thriving arts and creative scene that I wanted to share with her. She was telling me about the moves that she was making in her life, leaving her on again, off again relationship and wanting more for herself. I scoffed, giving a terse “I told you so.” I had been wanting more for her for years. I apologized and reframed, but the damage had been done. “I’m happy for you that you are seeing your worth,” I said. We were turning back around now, and the rest of the way we made lighthearted jokes, laughing, trying to connect through goofy banter. 

I said goodbye to Kiah for the last time at my grandmother’s back doorstep. I gave both my grandmother and my sister a hug. My grandmother boasted about how responsible Kiah had become, and Kiah gave a self-satisfied nod. “Be like your sister,” my grandmother said to me. I looked up the back steps at these women I’d spent my life with. 

I speak about how I loved growing up with her, how grateful I am that I spent so much time with her.

“She’ll be good,” Kiah said. She grinned smugly at me. She was protecting me, not wanting to out me to our grandmother. In that moment I realized it had slipped my mind to tell her about the magic of having been received by our grandmother, and how much it meant to me to be out to all of the family now. All of this good news I planned  to tell her at another time. I gave Kiah a loving eyeroll and a smile, told them both I loved them, and that I would see them again soon. 

I only remember one line of my speech from Kiah’s funeral. “Kiah lived her life off the cuff, and that’s why I chose not to write anything.” 

Everything that comes after is a blur of memories, merely a semblance of how much she meant to me, and our family. I speak about how I loved growing up with her, how grateful I am that I spent so much time with her, more time than anyone else who got the chance to know her. The grief, shrooms, and overstimulation might be a barrier to these memories, or perhaps the virgo in me does not want to recall the unscripted. But I speak from the heart, and lead for my mother, friends and family so they can speak freely and share their love for Kiah.

I am never more than a few feet from the casket. My body remembers proximity to Kiah as a place of rest. I recall our childhood bedroom, our safe haven, a home within a home, where our twin mattresses lay no more than a yard apart from each other, and how in that space we discovered how to move through the world together. I left the funeral home that day knowing that I was to move and grow into the world on my own now.

Drawing had been one of the things that anchored Kiah and I in our childhood. Hours were spent in our grandmother’s living room, sitting cross legged on the couch sketching, drawing, and trading comics with each other. I had been avoiding drawing because I did not want to put the hard truth of Kiah’s death onto paper. Sitting at my mother’s dining room table, drawing with my little sisters in the hours after the funeral, a whimsical amalgamation breaks my hiatus. With a mix of crayon, pen, loose lines and scribbles, I depict the childhood table where we had tea. Different iterations of our faces cross the page. I write the first poem I’ve written in a while. 

No One Told me Hell had sunshine 

Warm Weather

And Deep,

Long 

Belly Laughs

If Hell is a place without my sister, it’s also a place where I hear my mother laugh louder than I’ve ever heard before. On a family hike a couple days after Kiah’s death, mí tío falls down a snowy path. My mother has no choice but to double over in laughter. Hell is a place where I meet love in different forms, find myself in different ways, discover how to move in the world carrying my old self and healing into someone new. Hell is a place where my sister’s travel sized urn is well worn from the adventures I take her on, adventures she would have adamantly said no to if she were still alive. Together, earthside and spiritside, we spend the summer of 2022 exploring the midwest; kayaking, hiking, biking, and laughing in places that would have felt out of reach for us only a handful of years ago. 

 Hell is a place where a year to the day of my sister’s passing, I wear the funeral dress shirt to go out dancing with friends. I walk into the club with braids done, tattoos out; alize consumed, good friends by my side. An homage to my sister, redeeming our not-our-best-but-the-best-that-we-could-do funeral looks with a sexy-while-healing look. The funeral shirt is unbuttoned, chest tattoos on display, binder safely tucked underneath to keep dysphoria at bay and be the firm container from which the plant of my spirit blooms. Found family, friends old, new and newer move throughout the club. Black trans performers take center stage, dazzling the crowd with a live band performance. I dance and experience a joy that I would have wanted to experience with Kiah earthside, but I know that her spirit accompanies me everywhere I go. Before my eyes I am confronted with the consequences of living a life of tenderness, vulnerability, authentic crumbling and regrowth. My voice is hoarse from laughing and shouting in joy. At the end of the night the shirt is sweaty and lightly stained. A promising redemption, in my opinion, to an outfit that was so dysphoric only a year before. A year to the day of transmuting grief and despair into joy and exuberance. If Hell is a place without my sister physically existing, this reality is a place where my sister’s joy is conjured and sustained through dancing, exploration, and deep, long belly laughs. 

7 Short Story Collections That Draw From Setting to Build Characters 

One of my favorite short story writers, Eudora Welty, once said: “Whatever our theme in writing, it is old and tired. Whatever our place, it has been visited by the stranger, it will never be new again. It is only the vision that can be new; but that is enough.”

Place, or setting, is something I thought a lot about while writing my first book, The Sorrows of Others, and something I started to notice more keenly in other short story collections while I was writing. Setting seems to recede to the background of most of our craft conversations, and yet stories are rarely placeless.

In each of these short story collections, special attention is paid to setting, resulting not only in satisfying descriptions of the physical world but in unforgettable characters who define themselves within the constraints of where they are. Settings range from New York to Nigeria, from Jamaica to China to the England coast—places that come alive thanks to the author’s vision, a particular way of seeing, revealed through the characters in each story. 

An achievement of these collections is that over time, they’ve become their own destinations in my mind, places I can return to and that occupy emotional territory in my heart. I recall them the same way I recall the real places I have lived: with feeling. 

Stories from the Tenants Downstairs by Sidik Fofana 

The linked stories in Fofana’s debut are set in and around Banneker Terrace, a building in Harlem that comes under the crossfires of gentrification. When new ownership takes over, the threat of eviction looms, and the lives of long-term residents are thrown into question. 

We meet an aspiring gymnast in 21J; a hairdresser with a penchant for luxury in 14D; in 24M, a boy who dances on trains. Fofana creates a mosaic out of these apartments, an image of Harlem that is beautiful despite its cracks, sacred for no other reason besides that it is home to this unlikely community. Fofana’s characters must pay the rent to survive, but that doesn’t keep them from seeking their own pleasures; it doesn’t stop them from wanting to live. 

Other People’s Love Affairs by D. Wystan Owen

Set in a village on the coast of England, Owen’s collection unfolds patiently, like a dress out of a box, each story a crease in the larger story of Glass itself.

A close reading reveals motifs that recur across stories, markers of setting that string the book, and these lives, together. An old ribbon shop. A movie theater called The Gem. Shops and cafes. The promenade and the sea. One gets the sense that time might sweep this small village away completely one day, and it’s this urgency, the way time marches forward, that contrasts with the slowness of life in Glass and with the quiet intensity with which these characters pursue or refuse to pursue their longings. 

How to Love a Jamaican by Alexia Arthurs 

Arthurs approaches setting from different points of view in this heartbreaking, heartwarming, and often hilarious collection of stories exploring the lives of Jamaican people, both stateside and in their native country. The various configurations include leaving Jamaica, returning to Jamaica (for a grandmother’s death in “Mermaid River”), visiting (with friends who are not Jamaican in “Island”), and never leaving but hearing stories of those who did and vice versa for immigrants in the US. The dotted line between Jamaica and America can be felt in all the stories, family members and friends who must speak across that distance if they’re to speak at all, home for the diaspora being both here and far away. 

Arthurs shows how our feelings toward a place can change as we change, and the opposite: how where we have been can change who we are. 

A House is a Body by Shruti Swamy 

What is so interesting about this book is its spareness when it comes to physical description. And yet, or perhaps because they are rare, the details of setting that we do get flood the stories with feeling. I’m not sure how Swamy pulls this off, but I suspect it has to do with her sentences, which are as hardworking as they are mesmerizing, revealing the interior lives of wives, husbands, mothers, artists—people from our world and worlds that are like ours but different.  

No matter where these twelve stories are set—India, San Francisco, a place out of ancient myth—they all share an ethereal quality, and it’s this, to me, that makes this collection unlike any other. A book that dwells in liminal spaces, posing the question of what’s real and not real and whether it matters. 

God’s Children Are Little Broken Things by Arinze Ifeakandu 

Contemporary Nigeria comes to life in this stunning and brave debut about queer love. Set in rural and urban environments, Ifeakandu’s characters meet in hotel rooms and dorm rooms and other illicit places, carving out private worlds to escape the harsh and frequently violent gaze of their larger society, in which being queer is a punishable crime. Those forced to exist in the margins have a unique way of seeing, and I was shocked in this book by how beauty and ugliness live side by side, and by how much love these characters have for a place that fails to protect them. 

A book that asks: Is love worth its pain? These ten stories answer in chorus: Yes

In Other Rooms, Other Wonders by Daniyal Mueenuddin 

This astonishing linked collection proves what Eudora Welty says about place and vision. The stories all center around a farm on the outskirts of Lahore, Pakistan, but in each story the farm appears new, depending on who is telling the story. Some stories are from the point of view of servants and managers, people who depend on the once formidable K.K. Harouni for their livelihoods. Other stories are from the point of view of Harouni’s political ties and family members who operate from seats of privilege and power. The landowner’s old age is a subtle throughline in the collection, creating tension as everyone from above and below in the feudal order wonders what will happen to them when the farm turns over.

Mueenuddin demonstrates an essential truth about storytelling: that what we say can never be conclusive. We have only our vision, but that can enough to create something new if we’re willing to look closely. 

Gold Boy, Emerald Girl by Yiyun Li

It would be easy to label Li’s second collection as being about contemporary China, but what’s truly remarkable about Li’s work is how she balances the precariousness of an emerging country with the even more precarious matter of human life. These are strange, unexpected stories about people who resist change, who are all in some way clinging to something, whether it’s an old soviet apartment building in “Number Three, Garden Road” or solitude in “Kindness,” the opening novella. 

Place is subject only to time, and in that way our settings can move only in one direction, toward the future, whereas our memories, which can grow more potent over time, grant us passage to the past. What does the world look like, filtered through memory? And can the future ever really feel new after something privately extraordinary has been lived through?

The Toughest Fish in the Barrel

The Old World

Sunrise Foods, just a few blocks from my house, is marked by a glossy freestanding sign, a cheery egg-yolk yellow against an often gray, wintering Toronto sky. Back in December, just before I turned 14, Tracey “with an e” recruited a bunch of us from the school lunch table to work here in her uncle’s new bagel and smoked fish store. Now, six months on, all my peers are gone. But I have learned to tell whitefish chubs with their oily, golden hue from goldeye that wrinkles away from the skin. I’ve learned how to sheath my arm in a plastic bag and plunge it into a barrel of gutted herring, floating in their vegetable oil pond. How to act like I wasn’t afraid to touch the fish until I wasn’t afraid to touch the fish.

At the barrel I re-tie my white apron over the green Roots Athletics T-shirt I bought with my first paycheck, protecting it from oil splashes that never wash out. My dirty-blonde waves are pinned on top of my head with a clip of faux pearls. A berry-scented hair spray from a purple bottle helps disguise the fish smell.

I’d had an argument with my mother just before I was hired at Sunrise. She was annoyed that the sleeves of my winter coat no longer reached my wrists, that I was yanking my shirt sleeves down to my mittens to cover the gap. My growing body and its expense had slipped her mind. I had to agree to chip in my birthday money, but I got to choose the store and the new coat. Then it hit me: birthday cards only come once a year. I really needed a job.

The customer’s eyes follow my arm as it disappears into the dark oil. I reach around blindly. Even in a barrel, the fish resist being caught.

I’ve seen my mother eat herring from a little glass jar, lifting scraps of the silvery sliced fish onto a Triscuit with her fork or sometimes her fingers, and sliding the cracker onto her tongue like it’s a delicacy. Her family served it at all kinds of holidays when she was growing up.

At the Sunrise counter, though, you can buy herring sliced in oil, in cream sauce, or in wine vinegar with red onion and black peppercorns. But barrel herring is high-drama herring. “Time for herring theater,” I whisper to Hymie, who speaks Yiddish with the uniformly geriatric customers, and makes our best-selling tuna salad with a secret ingredient (chicken bouillon powder).

The old folks are picky about the exact herring they want—or pretend to be, so they can watch me do it again. This gives them something to get excited about in their day. “Once I’ve put it back, I can’t get it again,” I say to a little old lady, plastic shopping bags dangling from her wrists.

Held dripping over the barrel, the herring looks back at me with its black eyes, immobile tail, and a seam on its belly where the insides were cleaned out. “This is a really healthy one,” I say to the little old lady. I’ve learned this is what every customer wants to hear.

When she leans in to approve her herring, I instruct myself not to stare at her thin forearms peeking out from her sleeves. The chain of blurred numbers inked into them. The miracle of survival. Of anyone’s, of mine. Then, like a magician, I briskly turn the bag inside out over my hand and let the fish flop into the bottom of the clear bag. The little old lady looks up at me from behind enormous macular-degeneration sunglasses and gasps, then claps.