The (Mis)Translation of Filipino History

To say that Gina Apostol’s prose is pyrotechnical is to state the obvious: juggling an immense cast of characters, decades of political entanglements, and Apostol’s trademark brand of humor, La Tercera dazzles. I was floored by how the novel somersaulted between multiple languages, the personal and the national, overacted tragedy to heartbreaking history, the U.S. and the Philippines.

In Apostol’s latest book, a grieving diasporic daughter tries to make sense of her mother’s life, as well as a mysterious stack of papers that she has inherited—which seems to tell not just the story of her ancestors, but also a kaleidoscopic narrative of Filipino history. La Tercera nestles text within text, making the reader piece together the fragments of history alongside the narrator.

Alongside childhood anecdotes and laughter, Apostol spoke to me over Zoom about the playfulness of (mis)translation, her aversion to linear historical novels, and the question of complicity.


Jaeyeon Yoo: What was the origin point of La Tercera

Gina Apostol: There seem to be two books in La Tercera, at the very least. So there’s the story of the mother, then there’s the story of the text within the text (within the text!). I foregrounded the mother story, but I had long been writing the background historical story. I liked the historical story, but I needed it to be more charged with something for me. Then, I went home to the Philippines for a book festival. On the plane, I was thinking, “You know, I could really change my novel.” I was already in a type of weird mourning for my mother, because of a comment my sister had made. She said, “You didn’t come home when mommy died.” There was something about going home, and I knew that the story of my mother was somehow related to the work that I was doing. So, I added that pandemic world of grieving. La Tercera became a pandemic novel that became personal, in a way that I actually never do. I don’t consciously put my personal life in my stories. But this one is very conscious; if it was something I could remember, or someone had told me, that seemed to be true—I put it in. I create constraints for myself, in order to get me working; the constraint, in this case, was that it had to be somehow true in some way. I may have remembered wrong, but that’s still my memory. 

The novel ended up trying to think through the relationship between that earlier [Filipino] history and my mom’s ideology, her way of being. Almost all of the storytelling is about grief, but it’s also trying to respond to the question of why: Why do people believe these things—believe in the dictator, believe in state corruption? Why is she so attached to the dictator? Why are we so attached to certain kinds of figures and not others? La Tercera became a historical reckoning that was also a personal one. 

JY: Along those lines, what does meta-fiction and referentiality do for you, as a writer? 

The way we understand our parents is through gaps and holes.

GA: I keep wondering about it myself, to be honest, because it would be much easier to tell the story straight. There might be even more of an impact, if you had a singular dramatic story, like the basic realist storytelling, with limited third, et cetera et cetera. That might be nice. But my problem is, I don’t believe it. I don’t really believe it when I’m doing that story or reading those kinds of stories. So, I’m just going with what makes sense to me, which is that everything that we understand is actually filtered. For me, the referentiality is not about it’s not that kind of postmodern thing. It’s about telling the story in a way that responds to the truth: of how we experience the world, which is through reflexivity and mediation. We’re mediated by our teachers or parents. Obviously, history is hugely mediated, as is power and media—it’s kind of fucked over American history, for instance. And definitely fucked over Philippine history, where we end up honoring our colonizer and forgetting the actual rebel. At the same time, I do believe that, from reflexivity, we can get to a more just way of looking at this history and even a more compassionate way of viewing ourselves. 

JY: Given your aversion to “straight” history, I was fascinated by how you laid out this linear idea of “A, B, and C” throughout (the “tercera” form), yet you break it for yourself. Nothing is ever quite completed in this novel; there’s instead an emphasis on the incomplete—the bricolage, the collage, the archipelago. What does the fragment form mean to you?

GA: The fragment form is put together by what I think of as the issue of translation. The coherence of the fragment form is a theory of translation, nationhood, and identity. But on a very simple level, the fragment form is how I learned about this history: through fragments, through fractures, through a sense of “Why was that guy in Indiana in 1903? It doesn’t make any sense!” It’s also because the fragments of my mom’s story, how I heard her life, was very striking to me. The way we understand our parents is through gaps and holes. It’s very hard; we want them to be a fixed thing, but they’re not. Being a child is always like being in a mystery, if you’re thinking about your relationship to your parents! Especially if your worlds are fractured by different political beliefs. So, the fragments have to do with how I came to understand both the national and personal history. 

JY: I’d love for you to expand on your point about a theory of translation that glues fragmentation together.

GA: Just my own experience, being Filipino, [means] having multiple languages. I was very clear in the novel that a central language is Waray, the language of the mother. At the same time, you have all these other languages. So you’re constantly in the space of being able to switch from one tongue to the next. If I’m thinking about the fragments of the historical texts (within the novel), the only way you could understand why they’re together would be from the recognition that there are multiple languages within it. You’re just bearing the multiplicity. You’re always confronted with it, you’re always with it. Once you understand that this is a translation, that there is another way to read and there’s another language in there—and there are historical and geographical reasons for the multiple languages—the fragmentation and the sense of confusion actually makes sense. 

JY: Right, because confusion is kind of the basic level of being. Translation lets us live with this confusion, I think, without needing it to cohere.

Misreadings are really potent in a colonized history, because the heroes that you love, of course, are the ones actually created by your enemies.

GA: Yes. That ability to sit with it. In terms of colonization, that becomes an interesting thing to bear. Because there’s so much that we’ll be angry and frustrated with—the lack of knowledge and power plays with our sense of identity. But there’s a weird kind of stability once you recognize, “Oh, I don’t understand that. I don’t get it or I misread that.” Because of this condition of translation, you know.

That experience when the narrator can only speak English, not Waray, as a child—I remember being so angry when that happened to me. It was so stupid, I didn’t know my mother’s language. I was truly writing down a list of words, listening, listening, listening [like the narrator]. Then there was that moment: one of the maids and house boys were talking to one another. They were talking about me. They were saying I was a bitch. It was the best. I finally understood Waray. I didn’t put that in the novel, that experience of suddenly understanding, and the great position of being a listener (and they think you don’t understand them). 

JY: It’s an incredible feeling, I agree. Whereas the translator is typically regarded as an “invisible” figure, as Lawrence Venuti theorizes, she is made hyper-visible in your novels. What made you foreground the figure of the translator in this way?

GA: Even to understand the plot, you have to see that the translator is there. For me, the act of writing becomes more interesting when I can figure out there’s a manipulation I need to do for the plot. Discover-discover. [A childhood game that the narrator plays in La Tercera.] Everything is discover-discover in the text. The mother. Discover-discover. The papers. Discover-discover. The translator is the ultimate discover-discover, because they own the text. 

JY: I was struck by how La Tercera placed translation at forefront, yet, but mistranslation was at its core. Like the slip of the tongue between “rebel” and “rebeal” (reveal); there are misspellings, mishearings. 

GA: And there are also misreadings, like the readings that are kind of wrong. That’s not the hero, this is the hero! Misreadings are really potent in a colonized history, because the heroes that you love, of course, are the ones actually created by your enemies.

JY: Connected to mistranslation and “rebel/rebeal,” La Tercera did an incredible job of blurring the line between the rebel and the collaborator. Could you talk more about the relationship between these two, and how they are documented in history?

GA: I’m going to be honest: I am very judgmental. There’s something about me, that’s not even like that will just say, “No, that’s a collaborator. That’s not good.” When you think about history, the ways in which people have to live in that condition of indeterminacy, you don’t know actually what’s going to happen with the revolution that you started. You don’t know actually what it means to side. As a Filipino, I recognize that the history that we’ve been given makes our loyalties so multiple—even from the Marcos years to the revolutionary years. I find collaboration interesting as a writer and, at the same time, I have a sense of compassion for the colonized, which doesn’t happen a lot of times. We tend to judge ourselves for being colonized, but our choices were not necessarily made by us in many ways—it was made through violence, through the hegemonic power of the colonizer, [through] the language of the group that had the guns. I think we need to see that. And if I were going to go with the compassion for the collaborator, it’s good as long as you simultaneously have judgment. It’s hard, with Filipinos. Of course, our heroes are all of the collaborators. They have to be, in order to survive. 

JY: Yes, there’s a lot of internal self-tension built in for the colonized. And we don’t live in a world free of collaboration either. 

GA: Right, we’re complicit with our late capitalist world. How do you live with that, how do you live in it? At the very least, my novel is trying to open up to that very material condition of complicity. 

JY: The complicity question makes me think about your use of mirrors throughout the novel, like the Self-Other complex that you talked about with the mirror neuron syndrome. I’ve never heard of this condition before.

GA: I did that in Insurrecto too, but in a different way, with the double vision. Paul [Nadal] is going to tease me, because he has always said, “Do you know, Gina, there’s always some kind of psychological problem in your books.” This one has the mirror neuron syndrome. There’s something about the organic that I find interesting: the embodied aspect of history. The violence upon the body is being reiterated in whatever psychological condition. In this case, it’s the mirror touch synesthesia problem, when the boy is so engrossed with the other. He can’t separate himself from that other. It’s a problem, and also what happens under the violence of colonization; the violence of that history is that you’re not really clear about why your body responds to whiteness, to Americanness and the Western space. But it’s not actually your fault. The thing about the body is that there’s no blame to it. We tend to blame the victim, but it’s really the structure of imperialism and colonization that is the problem. 

JY: Right? We don’t choose what bodies or genetic conditions we’re born into. Genetic here as not just biological DNA, but also the historical genes—inheriting these histories of violence and imperialism. 

GA: That’s what I’m trying to say: the truth of violence becomes embodied in the psychological condition.

JY: Psychological conditions, and also hairstyles! At one point, you explicitly talk about how “[War] takes a role on your hair”. There are so many great descriptions of hair in La Tercera, especially as types of language and punctuation marks. 

We should remember the people who are fighting for the land, fighting to keep indigenous communities alive. They’re being killed right now.

GA: You know why? The Filipino postcards of women from the ’70s, they’re just amazing. The bouffants of the women are crazy; they’re like commas. I don’t know how they do it, but I really appreciate it. I mean, it’s the problem that the Filipinos have, they really love that era. They still do. They love the glamor—and can I blame them for it? No. I mean, I can. It’s a desire, but I can also reflect back how that desire has been harmful.

For a very long time, I was angry with my mother for loving [Fernando, the dictator], but, at the same time, it makes sense to them. This was a beautiful figure who was theirs, who gave them a sense of power and representation that was really, really damaging. [This type of] simultaneity is constant. I grew up with it. My experience of Filipino culture and history is that it is simultaneous. They’re both crying over something and then it becomes a parody of whatever it is that they’re doing. If you go to a funeral, it’s really tragic—and then they’re playing mahjong at the same time and overacting! OA! It’s everywhere!

JY: We keep coming back to this idea of holding “doubleness” (Self-Other) or simultaneity. Both things are true: you’re genuinely sad and performing the sadness at the same time. I think La Tercera is so good at questioning this binary we’ve set up between the “true” and “false,” “authentic” and “fake.” 

GA: Questioning it, yes, and always recognizing what you have to figure out: when you are being manipulated and being violated. You know, it could be both—you can be violated by the authentic. 

JY: Any last thoughts you’d like to share with your readers?

GA: One thing I was trying to work out [with La Tercera] was that it takes us Filipinos a very long time to figure out who to remember in history. I think that’s sad, especially with the violent history that is present in the Philippines now, there are all these people being killed. What we remember is the name of the Marcoses. We should remember the people who are fighting for the land, fighting to keep indigenous communities alive. They’re being killed right now. That concept of how we remember, and trying to remember better. I actually have cousins, and when I ask them, “Hey, your Lolo was a revolutionary, can you tell me any stories?” They have no stories. He is prominent in the histories I was reading about Leyte. I didn’t know about him and definitely wasn’t taught in school, but even his family didn’t know. That’s the power of genocide, that type of forgetting. It was so violent that you were not allowed to remember. Forgetting is an aspect of genocide. For an American audience, this novel is also their history. They are a part—if I’m going to talk about the complicity and collaboration of the Filipinos, what about the complicity of the Americans in this history they don’t even know?

9 Poetry Collections About Illnesses That We Don’t Talk About

When I was very sick, using the bathroom 17 times a day and buckled over with abdominal pain, I never would have imagined writing a poem about my illness—much less an entire book.

As a teenager I was so embarrassed and afraid of my body that I couldn’t even speak to my closest friends about my Crohn’s disease. I am reminded of this isolation nearly every day as a psychiatrist when I work with patients who struggle to share their experiences of psychosis, suicidality, or dementia with their loved ones. I see the same hushed phenomenon around patients who are approaching death; sometimes even when patients are ready to speak about their imminent passing, their family is unable to receive it. Our suffering is only doubled by this silence. 

In a world designed for healthy bodies and brains, writing my first book of poems felt like a subversive act. Radium Girl explores my experiences surviving both medical illness as a young patient with Crohn’s disease and medical training as a physician. This reading list features other poetry collections that confront difficult-to-discuss medical diagnoses: mental illness, blood-related diseases, and the end of life. I wish I could have shared all of these books with my teenage self.

Black Aperture by Matt Rasmussen 

The poems in Black Aperture are as precise and devastating as the bullets that careen through this book into trees, deer, and ultimately into the head of Rasmussen’s brother, who kills himself when the poet is a teenager. Often language is used to obscure suicide, as in a young person’s obituary who “died unexpectedly.” In this book the suicide of Rasmussen’s brother is a movie he cannot stop replaying, in slow motion and then in fast forward. In “Reverse Suicide” Rasmussen even imagines the event unfolding backwards: “each snowflake stirs before lifting into the sky as I/learn you won’t be dead.” Black Aperture is an accessible collection with short poems in plain language. But its simplicity is shot through with dark humor and surreal metaphors that feel emotionally accurate to the grief, shame, and anger of a loved one left behind. 

BigEyed Afraid by Erica Dawson 

Reading Erica Dawson’s first book of poems is like riding a roller coaster in the dark: we can enjoy the terrifying up-and-down journey knowing we are in good hands and in no real danger. In Big-Eyed Afraid Dawson’s identities as a black woman, daughter, and writer complicate her experiences of bipolar disorder and obsessive-compulsive disorder. Dawson’s mania is mirrored in her frenetic, sensual language; her OCD in the poems’ exacting, repetitive shapes; and her depression in her near-constant ruminations about her own death. “The voice inside my head is talking smack,” she writes in “Bees in the Attic,” before wandering her childhood home, considering the various places she could end her life, but doesn’t. 

Blue Sonoma by Jane Munro 

“He is not a person I knew in life,” writes Jane Munro, describing a man from a dream but also her husband, passing deeper and deeper into Alzheimer’s dementia. In this meditative collection Munro walks the difficult tightrope of honoring and mourning her husband, Robert, as his memory becomes “a sieve.” His illness washes away his understanding of time, his ability to use a phone, and his license to drive—a loss referenced in the book’s title and eponymous first poem, in which Robert crashes his blue Sonoma truck into a guard rail. For all this loss, Munro stuns us with moments of natural beauty and unsentimental intimacy, urging us to remember: “surely, surely, he wasn’t empty of himself. Not yet.” 

We Mad Climb Shaky Ladders by Pamela Spiro Wagner 

Psychosis remains a highly stigmatized illness in part because there are so few stories of people who have experienced it. Paranoia, hallucinations, and disorganized thoughts can destroy our ability to tell a coherent narrative; luckily Pamela Spiro Wagner has given us a window into schizophrenia in We Mad Climb Shaky Ladders. In startlingly honest and clear language Wagner describes paranoia overtaking her as she attempts to grocery shop or play croquet: “I knew then all the sharp vowels of fear.” Each of Wagner’s poems are placed in conversation with commentary by her longtime psychiatrist, with room for Wagner to respond with even further insight and humor (“this poem had nothing whatsoever to do with my own mother”). 

The Hemophiliac’s Motorcycle by Tom Andrews 

Tom Andrews’ life was cut short by complications related to the clotting disorder hemophilia, but not before he managed to publish this brilliant book of poems, race motorcross, and earn a place in the Guinness World Records for clapping for 14 hours and 31 minutes straight—an experience he details in his long poem “Codeine Diary.” Even when Andrews is not speaking directly to his hemophilia, his metaphors do: “The river twisted like a wrist in its socket” and “sparrows clot the fence posts.” The inevitability of another fall, another bleed, another long hospital visit casts a long shadow over Andrew’s collection. Still, he wonders about other possibilities for his life: “Surprise me, Lord,” he writes, “as a seed/surprises itself.” 

Deluge by Leila Chatti 

I bled,” Leila Chatti writes, and “God didn’t want to hear about it.” Neither apparently did Chatti’s doctors, who insist on clarifying her symptoms with her boyfriend before agreeing to admit her to the hospital for heavy uterine bleeding that has gone on for hours. As the book unfolds, Chatti chronologically details the drudgery of clinic waiting rooms, painful gynecological exams, and eventually the surgery that provides her a diagnosis. The individual poems in Deluge are beautiful and smart. But it is Chatti’s exploration of the expectations of women in both medical and religious settings (Chatti is Tunisian American, raised in a Muslim-Catholic household) that makes this book so dazzlingly defiant.

The Tradition by Jericho Brown 

It would be easy to skim the poems in Jericho Brown’s The Tradition and not identify the current of illness running underneath. Brown writes powerfully about the trauma of school shootings, police killings, sexual assault, and living in a Black body. But he waits to speak directly to the trauma of his HIV diagnosis until the latter third of the collection. When Brown embodies the voice of HIV in “The Virus,” he becomes not only the illness attempting to ravage his body but every entity trying to cancel his existence as gay black man. With vulnerability (“Now I worry/No one will ever love me”) and humor (“my man swears his HIV is better than mine”), Brown sets forth a new tradition of survival despite the ways in which our bodies attempt to harm us.

Impossible Bottle by Claudia Emerson 

Dedicated to her beloved husband and the doctors who cared for her, Claudia Emerson’s posthumous collection of poems feels like a gift from the beyond. Written as Emerson is dying of cancer, Impossible Bottle is grounded in the unbearable grief of the present. But Emerson also turns backwards toward her childhood and ahead toward her death, describing with great generosity and imagination a group of medical students dissecting her body in an anatomy lab. In the beautiful series “Infusion Suite,” Emerson faces an endless series of chemotherapy appointments; distracting herself with a round of Scrabble, she surveys the few options that remain both on the gameboard and in her life: “all my words small/but costly, and my accounting of them perfect.”  

Still Life by Jay Hopler 

The day Jay Hopler was diagnosed with metastatic prostate cancer he began writing the poems in Still Life; he died just one week after the book’s publication. In this darkly comic collection, Hopler rehearses his own death. He imagines his students write an obituary in which his name is increasingly misspelled. He bats around a series of titles for a possible memoir (“Nothing Rhymes with Dead: The Jay Hopler Story”). But moments of elegance and anguish break through his self-depreciation, as in the short poem “The Vacation Over”: “see from the train/who remains on the beach playing, bathing in the waves;/is this how it’s going to be/is this how it’s going to be/to leave this life?” 

Booktails from the Potions Library, with Mixologist Lindsay Merbaum

In Claire Vaye Watkins’ novel I Love You But I’ve Chosen Darkness, an author likewise named Claire Vaye Watkins has a new baby, a successful writing career, and a kind husband. She is also desperately and dangerously depressed. When Claire books a speaking engagement in Reno, the visit turns into a reckless, rollicking escape from her life in Michigan: “I am not choosing darkness,” she narrates, “but darkness is choosing me.” As Claire wanders a sometimes literal, sometimes metaphoric desert landscape populated with lovers and ghosts, drugs, living corpses, Bitcoin bros, animals, eccentric artists, and her own infamous father who was part of Manson’s Family, parallels between the dysfunction of the present and past appear. Ultimately, walking away might be Claire’s only path back to herself:  “[…] I like it in the mountains, I like it on the coast. I like it in the wild, and if not the wild then at least near water, at least under a tree, at least smelling of campfire, of whiskey, of weed.” 

A book cover with a cactus in a desert

Given the addictions many characters in this novel face, this booktail is a mocktail, made with tart pomegranate juice for “the pomegranates that remind me of home.” The juice’s color matches the menstrual blood Claire’s mother Martha feeds her garden in Tecopa, where they cultivate grapevines, dates, figs, palms, bamboo, and mint from cuttings. Later, they move in with Martha’s boyfriend in Trout Canyon where there are “wild juniper, cherry and apricot trees, blackberry brambles climbing the chain-link.” For this abundant desert wilderness that provides some of Claire’s earliest homes, the pomegranate juice is mixed with blackberry shrub. The shrub is made with blackberries, white vinegar, agave for the agave plants Martha steals, and lime for the Amy’s brand pad thai, which Claire microwaves in the faculty kitchen at work, while yearning desperately for a rush and reality escape with “her biologist.” The drink is served on the rocks and garnished with mint for the animals, cattails, mint, and aspirin bark living along the Amargosa River. 

This booktail is presented against a bright, cheerfully trippy backdrop that reflects shades of pink and blue. The book and booktail stand in peach and aquamarine sugar sand, amethyst and rose quartz framing the book’s left side for “desert basin splashed with turquoise, aquamarine, smears of amethyst, rose quartz, folds of charcoal and onyx sparkling above dry lake beds of bleached bones dust.” Beside the faceted glass filled with deep red-purple liquid lies a small tooth in honor of the ring of vagina teeth (yes this is a real thing, it’s called vaginal dermoid cysts) Claire cuts after giving birth. 

I LOVE YOU BUT I’VE CHOSEN DARKNESS

Ingredients

  • 3 oz pomegranate 
  • 1 oz blackberry shrub (see recipe)
  • Mint

Instructions

Prepare the shrub in advance. Once ready, fill a rocks glass with ice and add the shrub and juice. Gently stir as needed. Garnish with fresh mint.  

Blackberry Shrub

Ingredients

  • 6 oz ripe blackberries
  • ½ c agave 
  • ¼ c white vinegar
  • Zest and juice of 1 lime 

Instructions

Mash the berries (a fork will work) and stir in the zest, juice, agave, and vinegar. Seal in  a leak-tight container and shake. Let sit for 5 days in the fridge, agitating once per day. Then strain and discard solids. Keep refrigerated. 

I’m a Nonbinary Chinese American Who Co-Parents With My Trans Partner

It was a hot day on our first leg of the journey which would end in the kid switch-off ritual we participated in each summer and winter break. C and M were in the back seat, shoving the cooler back and forth, trying to bother the sibling in the other seat. When we finally pulled into Lake Catherine State Park Campground in Arkansas to end a full day of driving, we rushed to put our swimming gear on and get in the refreshing water. 

A white family was floating on tubes in the water already. I was apprehensive in the way that you are when you occupy a new place and scan the room, checking out the danger meter. I was nervous traveling through rural parts of the South as a queer- and trans mixed-race couple with two kids in tow. I always took note of our surroundings and whether or not we saw anyone else who looked like our kinds of people. 

I often avoided going swimming or to the beach unless I was going to a Trans and Nonbinary Beach Day where I felt safety in numbers. As a parent, though, this swimming hole had been a carrot we’d held out for the car ride. I didn’t want to keep the kids from a swim at the end of a long day of driving.

I made slow and steady moves to get us out of the water because I didn’t want to scare our kids.

I tried not to look at the white family staring at us, thinking that I would mind my own business and keep to our own section of the lake – and hoping they would do the same. But my partner whispered to me: “That man has a swastika tattoo over his heart on his chest,” and I felt my neck muscles, holding all my stress in my body, pulling for the exit. 

I didn’t want to stare, but tried to see out of the corner of my eyes. A large white man and, presumably, his wife stared at us as if we had intruded on their lake. Their kids, carefree, splashed around them. I made slow and steady moves to get us out of the water because I didn’t want to scare our kids. We started moving them towards the lake bank, despite their protests that they had just gotten into the water. I felt the man’s eyes on us as we rinsed off lake grit at the showering station, his gaze following us all the way out of the beach area. I wondered how many other people we would encounter who would wish harm on our family.


I am a nonbinary Chinese American in a relationship with a white trans woman and have been co-parenting my partner’s children since they were 3 and 6 years old. Both children, now 13 and 16 years old, have come out as nonbinary and trans in the last few years. As a new co-parent navigating raising children moving between two households with very different cultural understandings, I first searched for community and cultural resources for trans parents and found little which was helpful or applied to our experience.

I was never sure I wanted to create a child from my body, continue my bloodline, bear a child. I was raised to bear children, but only in proper ways. I have a clear memory of my mother calmly telling me that she would disown me if I ever came home pregnant. As a child, I remember the gossiping of my aunts when my cousin fell in love with a Vietnamese woman (face like a horse!) and my other cousin a model (loose woman!). I rejected the clear trajectory (virgin to wife to mother) when I brought home someone of the wrong race (white, black or Latinx), wrong educational background (community college) or wrong gender (trans). 

I’ve always thought that if I made the decision to parent that I would adopt or foster someone who needed me. In high school, I was horrified to read about Chinese girls abandoned at orphanages by parents who only wanted a son, exacerbated by China’s one-child law – and imagined that if I were to become a parent, I could support someone who had been thrown away by family or society, like an outlaw. 


I wasn’t quite prepared when C (3 years old) and M (6 years old) came into my life. I had never thought I’d be parenting into adulthood what I thought were two white boys, wanting them to be racially sensitive and queer and trans positive.

When I met Cassie, I didn’t expect much either.

In my early 20s, I had a white boyfriend who was obsessed with Japan. I wasn’t Japanese, but I was the closest thing he had in proximity. When we ate using chopsticks, he would tell me what he thought were proper ways to use chopsticks even though I had grown up using them. I never told him that I had grown up listening to the elders in my family express contempt and resentment for the Japanese because of Japan’s invasion of China during World War II. When we split, I vowed to never date a white person ever again and I didn’t for the next twenty years.


I first became aware of Cassie at a local meeting for a support group where we discussed relationships. The meeting took place in an overly crowded room – she heard my voice and my thoughts about gender and relationships and wanted to meet me. I heard others gossiping about her as a trans woman – and knew that I had yet to meet her because I had never before met a trans woman in that very white, heterosexual space.

You never knew who you were going to encounter in the tubs…

We met when I arrived at the tail end of the group’s four-year anniversary party at the local bowling alley/arcade bar. My friend wanted an invite to the underground local hot tub collective, a local word-of-mouth fixture in Milwaukee, where I survived the winter by going for soaks on cold nights. I asked who else wanted to come and Cassie came along. 

You never knew who you were going to encounter in the tubs, but I hadn’t seen anybody at the tubs who was out as trans. It was in the basement of a multi-use building which housed a local yoga studio and across the street from a bookstore. There was a key to open the outer door into a small yard area and a code to enter. There was a hot tub, cold tub, sauna and room off to the side where people stored their belongings. There was a slot in an inner wall for visitors to pay the $5 guest fee. 

Since I didn’t know Cassie well, I just watched and observed both how she was moving in the space and how others in the space reacted to her. She told me about leaving her marriage and I learned that she was newly coming out as trans. She kept her underwear on and kept following me in and out of the hot water. I wasn’t dating white people or interested in getting into serious relationships with them, but I became heated and brash.

‘You like me,” I said flatly. She was a bit flustered, but didn’t deny it. I was toying with the idea of being bossy and in control. It felt important to be the one to set parameters and tone for how we were going to interact.

We started cooking together and sampled grocery stores in lieu of dates as we got to know each other.

I told her to write me a letter that detailed out all her significant relationships with other people of color. I was surprised when a thoughtful and detailed personal letter arrived in my inbox. 

I asked her if she knew who Bayard Rustin was. She didn’t. I proposed seeing Brother Outsider: The Life of Bayard Rustin because I wanted to see how open she’d be at learning about something outside of what she knew. I also wanted to know how she would react to activities centering queer people of color as a white person. She agreed so I kept hanging out with her.


Much of our early relationship was built around first sharing food and then making food. A week after we met, I invited Cassie to an annual dumpling-making party I hosted for my birthday. She was one of the first to show up to help chop vegetables. In the middle of the party, we ran out of dumpling wrappers and she ran out to acquire them. At one moment in the midst of chaos, I looked over and saw Cassie happily chatting away with someone she had just met, engrossed in conversation like the rest of the room. She looked like she belonged in the stream of my multiple networks of acquaintances, friends and housemates.
When my housemate decided to celebrate her birthday (and entryway into cronehood) by shaving her head down to the nub, she threw a party where she asked a few of us to shave our heads in solidarity, including me. I didn’t invite Cassie to that gathering because it felt intimate and I wasn’t sure how she would react to such a ritual. In the middle of that party though, Cassie dropped by because she had brought me goat milk in courtship. I stored the goat milk in our fridge and took small sips throughout the week, savoring the fresh milk. 

When I was sick, as an act of care, she brought me three different kinds of cough drops because she didn’t know what I liked. We started cooking together and sampled grocery stores in lieu of dates as we got to know each other. Going to the grocery store became a ritual we shared together. 

Cassie and I slowly progressed to sharing more and more of our dinner table, which included C and M when they were in Cassie’s care. 

The first night I met Cassie’s two kids, C and M, she had them for the night so she invited me over to her place. I hadn’t had too many kids in my life except cousins and my little brother so I was nervous about what to expect. It was late and the kids were in bed. We had just gone back to Cassie’s place to make out on the couch and snuggle because it was convenient. We were still on the couch when M woke up upset about something. I wondered if I was supposed to be there. Cassie held M with her full body as M tantrumed, struggling to hit something. I wondered what I had gotten myself into.


One of the first things I noticed was the food. C and M both wanted Mac and Cheese, pizza, hot dogs or hamburgers and not much else. They were picky about food and I was too.

When Cassie and I introduced the kids to stirfry or other food that they were not used to, they often rejected what was on the menu. They would beg and moan for something else even after the thank you helping that was customary and inherited from Cassie’s ex’s family that became a practice adopted for the kids – to respect the person who made the meal.


I grew up in a Chinese American immigrant family where much of the care in our family was expressed with food. My favorite meals were dumplings and hotpot — meals that everyone made together. We ate family style – sharing several different kinds of dishes in the center of the table.

Growing up, my mother made the majority of our family meals. I was used to eating what was placed in front of us. Though I had preferences, I cannot imagine wholesale rejecting what was placed in front of me and demanding something else from her.

Cassie’s kids would scream ‘Daddy’ in crowded public spaces…

M had a distaste for family-style meals, always preferring individualized meals. In the early days of living together, we often accommodated C and M’s demands. It created a situation where two separate meals were prepared and eaten and highlighted the differences in the kinds of food that the kids were used to and the kinds of food that Cassie and I made together as part of our relationship. When we went out to eat as a family, Cassie and I often ordered family-style over M’s objections.

I viewed C and M’s reactions as a white, privileged way to approach food and meal-making, often making meal times feel like a tense showdown. I worried that I wouldn’t be on the same page as Cassie because I hadn’t been there in the very beginning years. I also didn’t want to complicate her relationship with the kids.

Cassie eventually agreed with me that she catered to the children out of a sense of guilt. She also told me that there might be other reasons for M’s orientation around food. I slowly learned that M’s autism made her extremely sensitive to textures in food and grass and that she would hyperfocus on that to the exclusion of everything else. 


We were navigating our relationship as a newly out trans woman and a nonbinary person. Cassie’s kids would scream “Daddy” in crowded public spaces and we would worry about what would happen if strangers objected to our presence in the space. We tried to warn them that there might be people who would judge and try to hurt us because they didn’t understand us (and Cassie being especially vulnerable as a trans woman).

Neither of us had any models of what a family like ours could look like and didn’t know of any other families, even in the queer and trans support groups we belonged to. Many of those who came didn’t have children and the ones who did had often come out much older. There didn’t seem to be any others who had young children shared across multiple households. 

I looked up kids’ books that included trans protagonists and/or families. There wasn’t a lot out there, but I tried to get my hold on everything published and we started reading together. We wanted to show them that there were other models out there other than families with a heteronormative father and mother. We didn’t find too much that we loved (some were okay representationally speaking but lacked in terms of storytelling, and others had the opposite problem), but at least there was a place we could start together. 

We chose to read as much as we could so that there could be a variety of representation – from books spotlighting gender creative kids to even rarer books which featured a trans parent. We also read books featuring kids of other kinds of queer families such as families with two moms or two dads or even queer penguins. I worried that the kids would rebel against what we were trying to teach them – to be gender-inclusive and to understand that there were many different ways of making and being family – and ours was just one of the variations.


When I got a new job in Texas, I asked Cassie to move with me – and she made the challenging decision to leave her kids behind. By that time, we had switched to seeing them every other weekend and sometimes longer on breaks. Once we moved to Texas, we saw them for part of their winter break and part of their summer break – with long stretches of time when we were not able to see them. We became the traveling, queer and trans, mixed-race family – often driving across the country to pick them up and drop them back – and their other family was the white and straight suburban family who had them during most of the school year. 

HERO’s defeat confirmed that there were many in the area who saw trans people as not deserving of protection…

We had to navigate transphobic and sexist expectations of Cassie as a “father” because Cassie was the one who had always worked outside the home to support her family. Even when her job proved to be too stressful, causing debilitating bouts of anxiety, and she chose to move with me to Texas, she was stuck in the childcare agreement that she had made based on the snapshot of her life from the time when she had separated from her ex. This arrangement was then reinforced by the state regarding when we were allowed to have time with the kids and the level of support that Cassie was expected to give to her ex.
We learned about the transition period between households and how that would impact the kids – when we were in the same city and switching five days on and five days off, it would get hard in transition days leading up to switching households with more tantrums and mood swings. The same happened on a different scale in the week which led to the switch.

It was also an intense transition for us – from no kids to full-on parenting with no ramp-up. Because months passed since the time we had seen them in person, it also felt like we were getting acquainted again.


Until recently, we were an always migrating household – moving for jobs and circumstance — and the children were constantly migrating back and forth between different households. This made it challenging for them to make friends with others their own age. We became our own little insular household when the kids were with us.

When we first moved to Houston, the Hero Equal Rights Ordinance (HERO) campaign to pass HERO, an ordnance which would ban discrimination on sexual orientation, gender identity, sex, race, color, ethnicity, national origin, age, religion, disability, pregnancy, genetic information, family, marital or military status, was underway. As has happened before, the anti-HERO campaign used trans women as the focal point around whom to organize, increasing fear. 

Traveling between Houston and Huntsville, where I worked and Cassie attended school, felt like shuttling between two different universes. Houston was a large city which felt very international, where we weren’t the only mixed-race couple and often weren’t the only queer and trans people around. In contrast, Huntsville was a small city which ran on the prison system which dominated the city. However, HERO’s defeat confirmed that there were many in the area who saw trans people as not deserving of protection – and it increased my sense of foreboding that harm was coming to us.  

I wondered how her larger extended family would receive the information…

When I agreed to teach a Honors-level Black Lives Matter class with two other queer colleagues, a false news article was published in the conservative news about how the Honors College was pressuring students to take a politicized class on the Black Lives Matter movement. I got a voicemail on my office phone offering de-transition support from my sinful lifestyle. We all got hostile emails telling us that the sender hoped we would lose all our funding, as we deserved. 

I was navigating being an out trans-identified faculty member on a campus where the LGBT group was semi-closeted and where I seemed to be the first trans/non-binary faculty member (and person) many of my students had ever met. I was often thankful that the kids were with us in summertime or winter break when we had more breathing room. Even though I loved the culture and big sun of Houston, I started making plans to escape to a place where I didn’t feel an impending sense of disaster and doom, which ultimately ended up with moving to the Pacific Northwest.


As we entered the tween years, our household was rocked by big emotional mood swings when the kids were with us. Each day, I would ask C and M to walk with me to get exercise and food in the neighborhood. Early in the summer, we caught C sneaking sugar in the form of a bag of Dum-Dums, which continued throughout the whole summer. Cassie had bought and put up a yoga body sling in the doorway and C started hiding out in it. We noticed that C often couldn’t answer our questions about what was going on and couldn’t tell us what they needed and often withdrew from family conversation or interaction. 

The next summer, Cassie got a new job and I became the one who spent time during the daytime with C and M at home. That summer, M spent much of the time in her room sleeping or with the door closed. When I asked M about how she was doing, she admitted to me that she was depressed. C spent much of the summer in their room and wouldn’t eat. I started asking C and M to help out with household chores – to get them circulating in the house and to encourage them to get vertical and off their screens. All they wanted to do was hide out in their rooms and play Minecraft.


At the end of the summer, right after she said goodbye to us, M released a video of her playing Minecraft, with the main character ripping up floorboards at the end of the quest to reveal a trans flag. I wondered how her larger extended family would receive the information since Cassie had not been supported in her gender transition. I was pleasantly surprised to hear that M received a lot of support and care. A few days later, we heard that M had chosen a new name for herself – Myra. 

Myra’s coming out as a trans girl (and later Clover coming out as nonbinary a year later) forced me to re-calibrate my sense of the family that I was in since all of us now identified as trans and non-binary.

I worry about how she will do on her own without knowing anybody first.

Looking back, we had often referred to both kids as a collective: “the boys.” We asked them to use the boys or men’s restroom and assumed that they were male. Even though we were both trans, we didn’t give space for them to choose how they wanted to identify and present to the world. I was so concerned to make sure they knew how to address Cassie properly as a trans woman and understand what it was like to be the kid of a trans woman – and secondarily, that they knew that I was genderqueer and nonbinary – that I didn’t consider the possibility that they were trans and nonbinary themselves.

The kids reminded me of how binary my worldview still was regarding gender. Myra, for instance, grumbled about how we would say “Good girl” to our dog Pepper and “Good boy” to our dog Benny. “Why can’t you just say Good dogs?,” she grumbled. And we had persistently gendered her as male without giving space for her to choose, until she told us otherwise, despite both of us identifying as trans.


Another hot summer day. We’re nearing the end of C and M’s time in the Pacific Northwest. I’m in the car on parent duty, Myra in the front seat and Clover in the back seat. It’s the first summer that Myra has lived with us since coming out and she’s beginning to shine. Cassie recently took her thrift shopping for her birthday. She modeled the clothes in the living room, twirling around and smiling. Now she’s wearing one of her thrifted skirts paired with black combat boots, ready for the LGBTQIA* youth social. 

I wonder what my life would have been like if I had attended an event like this as a young person. Cassie and I talk about what we want this next generation to experience that we didn’t.

In the parking lot of the zoo, we see a line of young people queued up to enter the zoo. Many of them look like they’re already friends or have come together and I worry about how she will do on her own without knowing anybody first. It hasn’t always been easy to make lasting connections with other kids their age because they move between two households and we are  often moving. 

“Make sure your phone is fully charged and call me if you need to be picked up,” I say. Or rescued, I think. “Actually, make sure that you write down our phone numbers somewhere in case you phone dies.” 

Myra rolls her eyes and grumbles – a hint of that old contrarian gritting her teeth at the dinner table – but does what I say and copies down my number.

It is hard not to worry about what impact it would have if Myra is denied access to trans-competent health care…

I ask Clover what they want for dinner and we decide on burgers. When we first drive off, I’m alert for any notification that Myra needs to be picked up and is not having a good time. I remember my own awkward pre-teen and teen years where I felt excluded and ostracized socially and hid in the band locker during lunch so I wouldn’t have to publicly eat my lunch alone. But she doesn’t call. Clover and I eat our burgers in the car while watching the locals order shakes, burgers and fries in summer heat at Dick’s Drive-In. We’re not staring at them the way we were stared at in Arkansas six years earlier and they don’t pay us any mind. Instead, we’re enjoying the summer air through the open windows and just spending time together.

We finally get a call that Myra is ready to be picked up.

“So, how was it? Did you have fun and meet anyone cool?” I prompt.

“Yes, I made a friend!,” Myra says. I see a hint of jealousy from Clover that they aren’t yet old enough to attend the social.

I feel relief and excitement for Myra about the possibility of growing a new friendship and Clover who can attend the social the following year. 


It is hard not to worry about how the kids will navigate this world which increasingly targets them. It is hard not to worry about what impact it would have if Myra is denied access to trans-competent health care or the ability to use the bathroom she chooses in school. It is hard not to worry about the high rate of teen trans suicides or the battle for trans youth and their families to be treated with dignity and respect. 

A few weeks ago, Clover decided to move across the country to live with us full-time. I felt proud of them for deciding that they wanted something different in their life, naming what they needed and working to make that vision materialize. I remember that this is how trans people have always survived. We take care of each other. We build our own networks of support. We choose our own family and kin.


Notes: C/Clover and M/Myra are pseudonyms. I first met C/Clover when they were 3 years old. They changed their name in the last year to reflect their gender identity. I refer to Clover as they/them to reflect their pronouns at the time of this publication.

I first met M/Myra when she was 6 years old. She changed her name in the last year to reflect her gender identity. I refer to Myra as she/her to reflect her pronouns at the time of this publication.

8 Books Set in Hawai’i by Local Authors

Hawai’i has served as a backdrop to many a romance, comedy, and even a few thrillers, but most of these stories depict Hawai’i as a brief pit stop: a beachy honeymoon for an adventurous couple, or an instagrammable hotspot for some soul-searching college grad to eat-pray-love. It’s harder to find the local voices of Hawai’i—authors who have lived on the islands for some time and know both the stunning and harsher faces of their home. The following are novels, short stories and poetry collections set in Hawai’i and written by local authors. 

Remembering Our Intimacies: Mo’olelo, Aloha ‘Aina Ea by Jamaica Heolimeleikalani Osorio

Jamaica Heolimeleikalani Osorio’s poetry collection takes commonly misinterpreted terms, such as aloha ‘aina, and strips them of their colonial shadows, recentering them in a personal, Native narrative. Colonialism is not forgotten, but neither are the traditions and history of the Hawaiian people. Poems recall Hawaiian wisdom, queer theory, and feminism which existed in the land long before colonial occupation. Remembering Our Intimacies is an act of recovery, recontextualizing, and, of course, remembering. 

Local by Jessica Machado

Lilo & Stitch has all but beaten “‘ohana means family” into the backs of our skulls, lending us a glorified, warm picture of Hawaiian families, but the reality is, sometimes family gets left behind. Jessica Machado’s Local contends with the author’s difficult relationships with her parents from her childhood in Honolulu to her adulthood in Los Angeles. Though she hoped to leave her family behind, Machado’s dying mother eventually follows her to LA, where Machado is involved with her mother’s healthcare until her mother’s death. In the face of her loneliness and trauma, Machado spirals. Both a personal, vulnerable narrative and a carefully researched exploration into Hawaiian history, Local is a stunning memoir on leaving home and re-finding it. 

Nuclear Family by Joseph Han

Set in Hawai’i, 2018 in the months leading up to the false nuclear missile alarm, “Nuclear Family” follows Mr. and Mrs. Cho, a Korean couple who run a successful plate-lunch restaurant. After a visit from Guy Fieri, the couple’s dream of franchising their restaurant seems more attainable than ever, until they receive news that their son Jacob, an English teacher in South Korea, has attempted to cross the demilitarized zone. What follows is a bizarre, ghostly tale of generational trauma, as Jacob’s grandfather possesses Jacob’s body to find his lost family back in North Korea. 

Hula by Jasmin Iolani Hakes

When Laka Naupaka, a former Miss Aloha Hula, returns to Hilo with her white-skinned, red haired daughter Hi’i, Laka’s mother Hulali disowns her. Caught in the rifts of her family, Hi’i begins to practice hula, with the hopes that if she dances until her bones ache, then she can mend the scars of her family. But the Naupaka family trauma goes back farther than Hi’i realizes, all the way to the 1880s, when Hawai’i was forcibly taken from King Kalākaua and given to the United States. Hi’i’s great grandmother Ulu watched as countless families were evicted, and her protective anger has since passed down to her children and grandchildren. Hula is a multigenerational story about hidden history and family trauma. 

Sharks in the Time of Saviors by Kawai Strong Washburn

Kawai Strong Washburn’s debut contemplates the consequences of miracles. The novel begins with Nainoa Flores falling off a cruise ship during a family vacation, only to be saved by a group of sharks. Since the incident, Nainoa has been gifted otherworldly powers, including the ability to heal with his touch. For the Flores family, Nainoa’s powers are both a source of wonder and income–and eventually, strife. Years later in Portland, Oregon, Nainoa struggles to understand the full extent of his powers; brother Dean who has always been overshadowed by Nainoa chases fame in athletics; sister Kaui burdens herself with insurmountable academic work in order to forge her own name independent from the family. Only when supernatural events strike again does the Flores family finally confront the burden of their miracle. 

Every Drop Is a Man’s Nightmare by Megan Kamalei Kakimoto

In Megan Kamalei Kakimoto’s debut short story collection, superstitions come alive and turn into truths. Night Marchers wander the lands. Pele’s wrath is not to be trifled with. Characters refuse to whistle at night and do not sleep with their toes pointed towards the door. Though the ghosts of colonialism haunt the land, the cast of women in Kakimoto’s stories survive and thrive on generations of shared wisdom.

This is Paradise by Kristiana Kahakauwila

Kristiana Kahakauwila’s short story collection This is Paradise has become something of a classic in Hawaiian literature. The stories trespass the lush, polite images of postcard photos and delve into the true beauty and brutality of modern Hawai’i. In “Wanle,” a young woman attempts to avenge her late father via cockfighting. “The Old Paniolo Way” follows a gay man who falls for his dying father’s hospice nurse. Of the six stories, only the titular story, “This is Paradise,” puts tourism front and center, but even then, the story is narrated by locals under the collective “we.” Kahakauwila’s This is Paradise confronts the relationship between tourist and local and recalls our common desire to call some place home. 

Shark Dialogues by Kiana Davenport

In 1834, a New York sailor falls in love with a runaway Tahitian princess, thus kickstarting a multi-generational narrative spanning more than a century. At the center of this story is Pono, a seer who wakes from a shark dream to see her future husband Duke riding the surf. Together, Pono and Duke have four daughters, who grow to have daughters of their own. Years later, the grand daughters meet in Pono’s home with the hopes of unraveling their complicated ancestries. Shark Dialogues offers deep, personal insight into Hawaiian history and stands as one of the first novels to do it so beautifully.

My Boredom Has a Fish Mouth

The Perimeter

My excitement hurts, my daughter sulks
at Columcille Megalith Park, where stones stack
on stones upon a great big stone circling
the sun. It’s mid-July, muggy, and my excitement
hurts too, though somewhere along the line
I lost the right to say so. Or the nerve. Or the family
we’ve traveled with are too damn nice and who are we
to knock anyone’s excitement with glazed over
eyeballs, our disinterest in rocks? Instead I tug
my kid to a nearby pond where sorbet-colored koi
curl the perimeter. I once heard koi can live
for two centuries, and so imagine their excitement
must be hurting about now. Then suddenly,
amid the heat and koi and our friends snapping selfies
between some basic-looking archways, my daughter
starts singing. I mean really singing, at the top
of her lungs. All the trees seem to steady
in Bangor, Pennsylvania, until I can feel the soft arc
of our planet in orbit, and dark space like muscle
behind the sky’s blue face. And it’s true, experience
can be so peculiar—the way it rises like a fish
in still waters, its alien lips agape, gasping
at the air. And here I am, beside myself, gasping.

All This Gold

Do not confuse what is valuable with what is sought after — a fortune cookie fortune

Do not confuse public with pubic
like my comp student did
in her otherwise strong essay
which argued for
“more security cameras
in pubic spaces.” And do not confuse
allergic with addicted, like I did
soon after my throat swelled shut.
ADDICTED TO PENICILLIN! I wrote
then displayed in the window
of my chain-wallet
till a baffled grocery clerk clued
me in. I am not above
confusing pity for affection,
affection for love. I’ve mixed impulse
and free will like gin and tonics—
mistaken my tolerance
for what others can’t bear. Oops,
I heard somewhere
should be the anthem
of our age. Oops, like a chorus
of misdirected rage over the pinging
bass line of an errant text.
Bless us. Or don’t. But rest assured
there is value in our hapless
seeking: in every trap door and aimless
detour and in the moment
before the moment
the solarium goes boom, a bridge
gives way, and the ground
far below looks like a painting
my son made and called—
“All this gold and then
a little bit of blue.”

If You Want to Change Your Life, Start by Changing Your Outfit

The pattern first appeared to me in the school uniforms of my cousins: crisp, clean lines of navy and evergreen intersecting at perfect right angles. These uniforms, like everything else about my cousins’ lives, I envied desperately. First and foremost, I envied the fact that there were three of them and only one of me, my parents’ boring prized jewel. Furthermore, the cousins had a rotating cast of nannies that their parents—busy with a secret-clearance government job, the Army Reserve, and law school—found by posting ads at the local laundromat. The nannies never lasted long, and my three cousins once outsmarted the worst one, an old German woman named Ana, with an elaborate ruse to lock her out of their house.

Onlookers might have found it sad, but I found it fascinating: how utterly Dickensian my cousins’ childhoods were. Their lives under the reign of these strange babysitters reminded me of my favorite child protagonists, like orphan Annie or Matilda. How magnificent to be united against a terrible adult! I spent as much time at their house as my parents would allow.

When they returned home from school at 3:30 PM, they ran upstairs to their rooms. Which room belonged to whom and which siblings had to share was constantly up for debate and it seemed to fluctuate monthly. They shed their uniforms for the T-shirts and jeans they’d been aching to wear all day—regular clothes, boring clothes, clothes I could wear whenever I wanted. Their shirts and pants and jumpers lay crumpled on the floor, the patterns no less stately, zigzags still elegant in their dormancy.

I wanted to be them. I wanted the uniform.

I wanted to be them. I wanted the uniform. But the closest I ever came was a hand-me-down from my oldest girl cousin. It was a white and light blue check button-down dress with a tie waist, a cast-off from her regular wardrobe. If anything, it looked more grunge-inspired than school uniform—after all, it was 1995. But still, it was the best I could do. With no authority figure forcing me to wear it every day, I still put it on as often as I could. At least once a week, I arrived at my public elementary school in clean, intersecting lines: my own personal uniform.


Most people can vaguely identify plaid as originating from Scottish tartans, but I was surprised to find out that the pattern is over three thousand years old. The earliest example was found with human remains in a desert in China, though DNA tests later confirmed the man’s Scottish heritage. Researchers have also discovered that tartans were historically used to identify one’s hometown. Similar to the way my cousins might spot their classmates out and about after school by their uniforms, Scots strategically wore plaid patterns to indicate their region. Weavers used the local vegetable dyes available to them, and in remote parts of Scotland, most residents went to the same weaver. Dark threads dyed with regional tree bark could intersect lighter threads tinged with regional berries, creating a truly unique and local fabric.

With modern synthetic dyes offering infinite color permutations, a plaid pattern can be designed with extreme specificity. To this day, Scottish tartans are recognized as family symbols, and, for a price, anyone can register their pattern with the Scottish Register of Tartans. Doing so confirms that a tartan meets the criteria outlined in the Scottish Register of Tartans Act of 2008, and it provides evidence of the creation and date of the design. It also prevents future applicants from registering the design as their own. Beyond that, it’s mostly a symbolic practice—it does not trigger copyright protection, and a person cannot sue a clothing company for using their registered plaid design. Even so, I deeply understand its appeal. It can feel amazing to belong to something. And if there isn’t already a space where you belong, £70 doesn’t seem that steep for a pattern you can call your own.


As I got older, I grew to respect plaid not just for its connection to my cousins, but for its timelessness and ubiquity. In a divided world, it seemed a uniting force. At my high school, the punk rockers often showed up in plaid skirts or pants with Converse All-Stars. They sported Easter-egg-colored hair, stuck rows of safety pins through the straps of their backpacks, and seemed to have an endless supply of red and black plaid. Vivienne Westwood, who died in December 2022 at eighty-one, is often credited with the association of plaid with punk rock. She and her husband Malcolm McLaren outfitted Johnny Rotten of the Sex Pistols, and their shop in London (at one point called SEX) was a known hangout for many of the British punk movement greats. Taking the revered tartan and shredding it, ripping it, doing something “punk rock” to it, was an obvious middle finger to the establishment. When the Sex Pistols’ “God Save the Queen” was banned from British radio, Westwood’s status as a punk icon only ascended further. I didn’t know any of this back in high school, and I don’t think the punk kids did either—but a lot of them nonetheless wore Sex Pistols T-shirts because whether you knew the history or not, sex was a fun thing to invoke at school. It implied you were having it. (I wasn’t.)

On the other hand, my preppy classmates were equally inspired by their own plaid-clad glamor icons. They wore it as long-sleeve button-downs from Abercrombie and American Eagle, no doubt finding confidence in the pattern after watching Clueless with their older sisters. Cher and Dionne look unstoppable in their matching plaid sets, even with mundane lockers and mundane people behind them. 

While I wasn’t friendless, I didn’t fit in—but plaid did. And with its help, I eventually figured out I didn’t need to.

As for me, I felt confused by the social hierarchy of my high school. I was too much of a try-hard to be punk and too eccentric to be popular. The preppy kids were nice to my face but laughed at me behind my back. The punk kids, who I earnestly admired, laughed at me (to my face) and called me a poser. While I wasn’t friendless, I didn’t fit in—but plaid did. And, with its help, I eventually figured out I didn’t need to. By living in neither world, I could live in both.

My sophomore year, I went to the thrift store and purchased three old-school wool skirts. They looked similar and they were all my size, so it’s likely that they all came from the same (possibly deceased) person. My favorite featured a turquoise, black, and navy plaid pattern. Though it was decades old, I felt timeless and powerful in it. I could be disliked, I could be taken unseriously, but I simply could not be fucked with when I was in plaid.

By my junior year, despite my parents’ wishes, I had declared myself a writer and signed up for all of the writing electives, including journalism. The week before school started, I found a black-and white-houndstooth blazer at the mall and thought: this is it. This is the blazer I would wear to smile at adults and get an A, but then turn my back and write a story that upended everything. Full now of blazered confidence, I set out to do just that.


There is, in fact, some science behind the way I felt in high school. In 2015, a research paper in Social Psychological and Personality Science revealed a real connection between “dressing for success” and performance on cognitive tests. In studies, participants who wore formal clothing exhibited advanced processing skills, which researchers attributed to “felt power”—i.e., the well-dressed superstars felt powerful in their outfits. More humorously, in an earlier study called “The Swimsuit Becomes Us All,” people performed worse, across the board, on math tests while wearing a swimsuit than while wearing a sweater. The alternative to my blazer certainly wasn’t anything like a swimsuit. But still, I saw plaid as an alternative to vulnerable objectification. I was covered up and protected in plaid armor. Instead of curves, I projected myself to the world in straight lines and right angles. 

Dressing the part, I actually began to feel smarter. In the spring of my junior year, I tagged along with friends on their college visits. One school—an enthusiastic favorite of my parents and school counselor for its attainability (given my modest test scores)—boasted about its cutting-edge technology as I sat in a computer chair in a decidedly twenty-first-century room. Out on the lawn, the unofficial uniform seemed to be black North Face jackets, jeans, and Ugg boots. Girls tucked their straightened hair behind their ears, and checked their reflections in brand-new buildings with floor-to-ceiling windows.

“Yeah, no,” I thought, praying my writing sample would somehow make up for what my SAT lacked. I wanted old. I wanted historic. I wanted my professor to be a guy on his deathbed with patches on his elbows, and I didn’t want him to know how to email. I wanted to read something and write all over the margins, clad in my studious plaid. I wanted to fall in love with someone’s brain. I didn’t care if my college lover was ugly. In fact, it would be better if they were.

What I wanted was to go to the most revered public school in my state, the one referred to as a “public Ivy,” the most college-y college my family could afford. And by some sort of divine intervention, I was accepted.

The school was founded by a Founding Father, and, at my orientation, students and faculty referred to him frequently in conversation with a cutesy nickname, like he was an old friend. I was full of outsized expectations. I made a playlist called “collegiate,” and it was as lush as a quad lawn (and as stuffy as a columned portico). Against a soundtrack of Ben Folds Five’s “Philosophy” and Death Cab for Cutie’s “Scientist Studies,” I packed my trio of plaid wool skirts and a black and turquoise herringbone coat. When I closed my eyes, I saw myself as stately, like a senator. Future me was thumbing through a centuries-old book for textual evidence and raising her hand at exactly the right time. 

Unsurprisingly, I was about to be knocked on my ass.


At Commencement, the Dean of Students proudly declared that our first-year class had a record number of perfect 1600s. I looked around and tried to find these perfect people, but all I saw were Rainbow flip flops. It didn’t matter, though. The perfect scorers presented themselves to me one by one over the next four years, pretending their 1600s were an embarrassing secret while casually working it into conversation.

Every single person I met seemed to not only be smarter than me, but also to take college more seriously than me. I started pulling all-nighters in the library just because it was what all my friends were doing. I spent all of my Flex Dollars on saccharine cans of Starbucks Doubleshots. My ugly lover was nowhere to be found. My dreams of chatting on the quad about philosophy disappeared in the smoke of references I didn’t get and vocabulary I didn’t know. But people did seem to appreciate one thing about me: I was always down for a party.

The college me wasn’t the plaid-infused sophisticate I had imagined, but she was my best option at the time, so I embraced her. “Who wants to go out?” I’d say, popping my head into my suitemate’s rooms on a Thursday. I was extremely persistent in my pursuit of partying. I’d troll random strangers’ Facebook events and wander around fratty neighborhoods until I heard music. If there was a place in town where people were sitting outside on a dirty couch drinking Natty Light, I was there.

In my new setting, my precious high-waisted plaid skirt just didn’t feel like my style anymore. I cut off the top and gave it a lower waist, folding it over and hemming it into a miniskirt. With a small strip of leftover fabric, I made an asymmetrical epaulet across the top, traversing my hip line, and fastened it with a big wooden button. It was my fantasy collegiate experience repurposed to fit reality. I wore it with a sheer black off-the-shoulder top, hot pink bra straps showing. Tall black boots with buckles and a side ponytail completed my look. When I walked into rooms, I heard The Strokes’ Julian Casablancas singing: “Tell us a story, I know you’re not boring.”

The pattern I had looked to for strength and confidence as a child had become something else entirely.

I had come a long way from where it all started. The pattern I had looked to for strength and confidence as a child had become something else entirely. But in its own way, plaid continued to instill confidence. On a loom of inferiority, I still found a way to weave an unapologetic version of myself. I’ll always picture college me with a hand on her plaid-covered hip, head cocked to the side as some supposed genius flirted with me and my group of friends.

But even with my newfound miniskirted bravado, imposter syndrome weighed heavily in the back of my mind. As I leaned cooly on the edge of beer pong tables, I still feared someone from my past would expose me at any minute as a fraudulent loser. Exactly eight other kids from my high school attended my college, and I avoided them all like an 8 AM class. At one point, against my will, an almost-valedictorian who proudly broke curves back in our AP days ended up at a house party I was hosting. He raided our top drawer for aluminum foil, which he fashioned around his front teeth in the style of Lil Wayne. In retrospect, he was probably worried about the same exact thing I was, and I granted him no mercy. As soon as he left, I delighted in telling my housemates that he was the biggest dork in my graduating class.

Over time, my nighttime persona began to inform my daytime one as well. None of it went the way I’d expected, but with each passing semester, I understood my worth a little better. A 1600 showed the potential of a sixteen-year-old, but then what? There were other things I had to offer this world. Better things. I could raise my hand without fear and articulate a point more clearly than anyone in the room. In group projects, I was always the one with a plan. More intelligent people could wax poetic about a topic, but they often never did anything beyond that. I could concede that I didn’t know everything—it was the ability to lead, follow through, and finish that helped my professors view me as a strong thread, a standout thread, someone preventing the class from unraveling.

By junior year, the stack of books on my desk grew taller, sticky notes protruding from the sides. My favorite thing about the English building became the circle of smokers gathered outside it, freezing in their flannels, desperately inhaling toxic fumes. Their self-seriousness was something I relished. These were my people. We read and wrote and revised until we tore our hair out. We did it in our signature plaid. Inside that building, we intersected for a moment in time, weaving an earnest new pattern before going our separate ways.


We intersected for a moment in time, weaving an earnest new pattern before going our separate ways.

My childhood dreams of private school never came to fruition, but when I was twenty-two, I finally did enter those halls I’d spent so long imagining—as a teacher. I was aware of how absurdly young I looked, and even though I was teaching English to small classes of supposedly well-mannered twelve-year-olds, I feared they’d chew me up and spit me out. Still, I arrived on the first day of my first-ever teaching gig armed with a new haircut and a buffalo check button-down dress. The moment was immortalized in the staff ID hanging around my neck, the plastic still fresh and shiny from the printer.

In four lines of four, the uniformed students sat up straight, not only wearing plaid but for the moment, being plaid. I looked out my new classroom window into a beautiful courtyard, at once catching my reflection and my breath.

The intersecting lines of my dress gave me an orderly sense of calm. It was strong enough that when I said “Hello students, I’m your new English teacher,” I believed it.

There’s More Than One Kind of Loneliness

A profound and deeply funny examination of loneliness in many of its forms—romantic, familial, artistic—Courtney Sender’s book, In Other Lifetimes All I’ve Lost Comes Back to Me, explores feminist millennial rage and the ways the trauma of the Holocaust has been passed-down through Jewish American families. Sender’s debut collection of linked short stories uses magic, myth, and divine intervention as well as a sophisticated three-part structure to create the sense of a narrative more unified than a classic short story collection often achieves. 

I spoke with Courtney Sender in person on an unseasonably warm spring day in a classroom at Connecticut College, where Sender is Visiting Assistant Professor of Fiction. We discussed the role of the spiritual in fiction, how story collections might do better justice to the knotted experience of being lonely in love than a novel, and how making a reader laugh creates an embodied response that’s essential to the impact of the sad things that come next.


Emma Copley Eisenberg: Tell me about longing and return in this book.

Courtney Sender: Most of the stories in the first half of the book have some kind of sequel or match in the second, I was in a place in my life where I had experienced some longed-for returns. The book’s title breaks into three parts, which are kind of the three parts of the book and the three themes of the books. So it’s the “in other lifetime,” the “all I’ve lost,” and the “comes back to me.” So the the first part is about longing and the last part is about return. If you live long enough, certain desires you put out into the world do come to you—and the ones that you deeply want don’t, of course. And for some of them it’s too late or you’ve changed too much. So I was really interested in what happens when the thing you long to come back does come back, but by the time it does there’s a question of whether it’s wanted anymore. Longing is in some ways very simple. Like you just want the thing. You can’t get it. Getting the thing you long for is much more complicated. In other words the getting can be more complex than the longing.

ECE: How is the book approaching loneliness? 

CE: The characters in this book are struggling with being alone and not having romantic love. In a novel that’s struggling with that problem, your character winds up either alone or with someone. 

I don’t subscribe to the idea that if you’re alone and you’re not happy about it, then you have some self work to do.

You can have a foil character or a second main character who winds up the other way, you can have the protagonist get love and then lose it, you can have them imagine what it would be like to go the other way, but ultimately the narrative of your main character is that they are alone or they are not alone. And that just did not feel good enough for what I was trying to do. I did not want to privilege any of the potential options because loneliness has been the great struggle of my own life and the resolution to it, the medicine for it, is sometimes someone else coming back and sometimes finding you don’t want anyone else at all. And both of those are really valid. 

I don’t subscribe to the idea that if you’re alone and you’re not happy about it, then you have some self work to do. I don’t think humans are meant to be alone, but I also think there’s something very beautiful about being truly comfortable and whole by yourself. So I just didn’t want to privilege either of these in a book, and that’s why I ultimately had to make it a collection.

ECE: What does the spiritual mean to you? 

CS: Openness to not knowing. I went to divinity school, and that’s what I took out of it the most. In my stories, the characters are feeling this unbearable accumulation of loss and that the things that they wanted don’t exist in this timeline, and that the desired outcome must, it must exist somewhere else. 

So they turn to something bigger than themselves, something that can see the longed-for other lives, and to me that’s kind of a God question. I’m Jewish, but I don’t mean any particular religion’s God. I mean: in the throes of a certain extreme longing for a life that you simply cannot have, because the path to it has already been foreclosed, you’re seeking anything for comfort and solace. But you’re also seeking anything to blame. And I think that God, the characters’ own personal conceptions of God, can be both of those things.

An example: my story “Epistles” has a tongue-in-cheek God giving the character a note that says basically, sorry, I forgot to make you a soul mate, my bad. And the character winds up rejecting the idea that he has no soul mate. So maybe that note was God in the first place, but maybe it was the character being like, why am I so alone? 

In other words, maybe God was created from the character as the epitome of a pure howl, a pure longing, a pure desire. Those emotions feel so much bigger than ourselves.. I think that’s when we go to a God, a thing that can contain the bigness of those feelings in ways that we cannot.

ECE: No particular religious point of view is assumed in the book. It’s just like another level of meaning that the characters can bring to their experience or not, depending on the story. But bringing in the Holocaust element, does that feel like the “all I’ve lost”? There’s a lot of intergenerational stuff that the characters can’t quite name, which from reading some of your essays and knowing a little bit about your family makes a lot of sense. How did you understand the role of that intergenerational stuff? 

CS: The Holocaust to me is very linked to the question of which lines get cut off and which remain. My grandparents on my father’s side were survivors. So like, I am a line that didn’t get cut off. That was my grandmother’s conception of it too—essentially the other lines got chopped and shouldn’t have. So maybe I’m giving voice to those other phantom lines. I see the Holocaust elements as the “in other lifetimes.” 

When you make someone laugh, their belly is exposed and then you can stab them with the harsh thing afterwards.

I think that some of my characters feel a very strong burden and responsibility from being in this line of the living. They feel the presence of the souls that were all set to come into the world, but the people who were meant to be their parents died in Auschwitz instead. The characters are picturing those ghosts in the world. The characters are haunted by the dead, so they recognize how lucky they are, that they get to be in the line of the living. And I think there’s a recognition of that. No matter how bad things get for my characters—and things get bad—they are glad to be alive. 

But it’s also a massive responsibility to be carrying the dead. I think the characters are often speaking with those other voices in their minds, that the conversation with those ghosts becomes part of their own consciousness.

ECE: I also found this book to be very funny. For a book that you’re describing as a lot about loneliness, I just want readers to know that it’s very funny. So, how do you approach humor?  

CS: It’s all sort of hilarious to me. Like when things get so dark, there’s a humor to it. And maybe that’s a defense mechanism, right? Because what is humor? It’s distance, basically. Up close, many things are pure trauma or tragedy but if you go distant enough, there’s humor. It’s funny to imagine my dad’s ancestors from the Holocaust being like, oh poor you, you’re lonely. We’re dead.

So the humor in the book is part psychology, a coping mechanism; and part recognition of the truth that everything is most palpable with its shadow-self around the corner. This idea is right there in the language of the belly laugh, right? When you make someone laugh, their belly is exposed and then you can stab them with the harsh thing afterwards. Laughter is vulnerable. You’re laughing together, and then you get in there with the knife that says, like, and here’s the serious side of it.

ECE: Did you think about emotional modulations as you move through the collection? Like, did you want readers to feel a certain way in each of the three sections? And this is also a selfish question because I’m going to be putting together a short story collection, how did you think about the order of the stories?

CS: A lot of this book comes from deep empathy for people who are lonely. I spent a lot of my life very lonely in ways that seemed like this unsolvable problem. These stories are a real expression of what people do in response to that sadness, so if I’m putting something like this out into the world, I think it’s my responsibility to offer some light out of that darkness, too. 

So I thought a lot about: where does hope come into it? And to me, like, there’s two big places where hope happens in the book. One is the story “An Angel on Stilts,” which ends with  aspirations to belief in goodness. It’s a hope ending. And then immediately afterward, the next story is in the concentration camps. 

That was a really intentional choice because it’s exactly like the laughter, the big openness of hope. Like your body is open to hope and then it’s the stab of the camp. 

And the stories after that are questioning what is the function of hope. One of the characters explicitly says, Nana said that hope is not what got her through the camps. And just morally, ethically, with various friends I’ve had who essentially lost hope that life can be different—I think it’s important to recognize that it’s not just hope that keeps us going. The book thinks it’s life. Just life alone is a blessing, even when it’s when it’s a curse. 

ECE: I love that. It kind of reminds me of Angels in America: “more life.”

CS: Yes, more life. More. Yes. That’s where hope is.

ECE: And where do you feel like that leaves the characters with their longing and their loneliness?

CS: The last line of the book is: believe, believe, believe. Like kadosh, kadosh, kadosh. It’s said three times, like magic. It’s an incantation. Maybe the narrator doesn’t fully believe it. If you truly believed it, you could just say it once. But they want to believe it. It’s a wanting for belief, a longing for belief.

ECE: All of us are millennial writers because we are millennial humans, but there’s certainly, I think, longing around permanence and stability and around a sense of home in here for me. Do you feel like the concerns of labor and millennials were important for you here?

CS: Oh, totally. I feel like I was promised a certain version of feminism, which had really noble aspirations but has proved disappointing. The idea that we can “have it all”—the domestic, the romantic, the reproductive, the creative, the professional, the financial—belies that each of these things is profoundly difficult labor and all of them at once is maybe impossible. I’ve become especially sensitive lately to the financial side, the fact that “spouse or parents” is basically the answer to the question of how a lot of artists and writers are affording good lives.

All this to me is very similar to the promise, spoken or unspoken, that you’ll find love, it’ll work out. We recognize that some people will not find love, some people will want it and not get it. But like, it’s not going to be you. Like you’ll be fine. And that’s what society has said to us writ large–capitalism, feminism, the ziggurat structure of a publishing career, all these things have difficulties, but we’ll just push them off and it’ll be fine and we won’t have to hear from those for whom it wasn’t fine. And I think a lot of people our age are feeling like the promises that we were fed are just not what’s coming to pass. And for my characters, this is all playing out on a very personal, interpersonal, small level, in their love lives.

ECE: For me, that’s another “all I’ve lost” in here. In addition to all those losses that you described, I did feel the sense in your book of just like, institutions are not to be trusted and institutions are crumbling. How should a person be now is another subtitle of this book.

CS: Yes. For many of the characters who have a Holocaust background, that’s an event that very strongly told the characters no, you can’t trust authority. Civility can crumble in a moment. I don’t think that’s the American ethos that I grew up with, though it did feel like the ethos I picked up from my grandmother’s experiences.

ECE: Is there anything that does feel solid for your characters? 

CS: Life is a blessing. That is solid for my characters. Not that life is easy or enjoyable, or happy or without suffering, but it’s a blessing regardless of how bad things get. I couldn’t really write this book until I was able to enter a headspace where I felt solid in that, too. 

The Webbed-Arm Man Never Wanted My Twin

“The Last Unmapped Places” by Rebecca Turkewitz

Imagine, please, a September storm hugging the coast as it sweeps northward. Dark, moody skies with clouds so thick they seem solid. The apple trees in our backyard thrashing. A heavy blue tarp, draped over whatever project my dad was working on at the time, loose and flapping in the wind. The ocean, only a few miles from our house, roiling along the jagged shoreline. The rain arriving all in one rush like an exhaled breath. My family inside, snug and languid and unaware of my absence. My mother stretched across the couch, reading; my father in the kitchen pickling vegetables; my twin sister drawing quietly at the coffee table. A crack of thunder so loud and so in sync with the lightning flash that my mother is about to say, That must have struck something nearby. She stops because my sister’s hair is standing on end, fanned out like a sea anemone. Then my mother smells singed wood, singed earth, singed hair. Hannah is crying and my mother grabs her, but Hannah appears to be uninjured. My father rushes into the living room, knife still in hand. “What happened? Why is she screaming?” My mother smooths down Hannah’s hair and asks her what hurts. Hannah continues to sob. “Oh my god,” my mother says when she realizes there’s nothing wrong with this twin, the one safe in the living room with her and my father. “Oh my god. Where’s Rachael?”

Hannah and I were eight at the time. I was outside by the backyard oak tree. The lightning cored the oak and then an errant arm of electricity reached for me. I was out cold for several minutes and when I opened my eyes the world swam in front of me like a television channel that wasn’t in focus. Thanks to the miracle of Hannah’s electrically charged hair, my parents were there when I woke and an ambulance was already wailing in the distance. My mother loves this story. As family lore it’s irresistible: the raging storm, the twin connection, my mother’s instincts, the proof of our uniqueness, and the razor’s edge of disaster that only nicked us.

I spent a week in the hospital. For several years I had joint pain and occasional seizures in which my face went slack and my head snapped up and down like a skipping CD. I started getting migraines accompanied by blurred vision and moving colors and a strange settled sense of dread. But I was lucky to survive. The doctors and nurses told me so again and again. Still, I didn’t feel lucky. I felt exposed. I felt like someone had broken into the house that was my body and moved all my things around. 

And the part of the story that my mother always left out of her frequent retellings: when my parents asked if I remembered anything leading up to the lightning strike, I told them that I had been beckoned outside by a man in a black rain cape. His voice was low and throaty. His breath smelled like damp soil. When he gestured for me to walk in front of him and his cape opened, I saw that his arm was webbed; a pink flap of flesh ran from his wrist to his waist. His shoulders were high and hunched. I wanted to resist, but was too scared of not obeying. Rainwater streamed over his face. He told me, “The smoke gets thicker the further you go.”


We lived in a small town on the Maine coast, where kids rode dirt bikes through the woods and walked without hesitation over barely frozen streams and had no fear of the dark, yawning nights that seemed to swallow everything during our long winters. Even before the lightning strike, I was the quieter, stranger twin. Afterwards, I grew jumpy and fearful, which were great sins in our town’s childhood kingdom. Hannah saved me from being an outcast. Whenever she sensed I was about to do or say something too weird she changed the subject or caught my eye and gave a quick shake of her head. When I told friends at a sleepover to keep the lamp on to ward off the Webbed-Arm Man, Hannah laughed loudly and said he was just a character from a bedtime story our mom had told us. When I hesitated to retrieve a Frisbee from a crawl space that pulsed with a sinister energy or a beach ball that floated too far from the shore, Hannah would rush past me with feigned excitement and recover the item before I could refuse.

In some fundamental way, I didn’t understand what people expected of me. Once, when I was ten, I proudly showed the supermarket cashier a dead mouse that our cat had killed. I’d been keeping it in a toy handbag. As the cashier shrieked and people in line turned away, my mother said only, “She’s a little scientist, this one!” while Hannah apologized and ushered me out the door. My mother, a librarian from New York with wild gray hair that she wore much longer than was fashionable, wasn’t perturbed by my behavior or the way the town regarded me. But my father was horrified when Mom recounted the story. He buried the mouse, still in the handbag, in the yard while I cried. Dad asked Hannah what I’d been thinking and Hannah said, “She wanted it for her bone collection,” reluctantly leading him to where I’d stored the sun-bleached skeleton of an opossum I’d found by our back fence.

Hannah was my opposite in every way. She resembled our dad: sandy-haired, athletic, and approachable. I’m more like our mother: dark-eyed with angular features and unruly curls. And Hannah always knew exactly what people expected of her, which was a different sort of burden than the one I carried. She was adored, confided in, and admired, but she had her own anxieties, which she hid from everyone but me. She worried about our father, who she claimed was stressed about money and the properties he managed. She worried that our mother found us boring. She worried about our parents’ frequent arguments, about a close friend whose brother was cruel, and I assume also about me—my fixations, my strangeness, my poor health.

I never figured out how Hannah intuited others’ secrets, but even when she told me about them, they didn’t trouble me much. My fears were visceral: that the undercurrent would drag me to sea if I went into the ocean past my knees; that our dad’s truck would fishtail in the snow on the drive to school; that there was someone crouching behind the rhododendron bush, ready to grab me every time I rushed onto the porch. I had seen the Webbed-Arm Man and I knew he was watching from whatever dusky corner of the universe he resided in. I knew that he was waiting.


Before we go any further: Hannah is dead. She drowned three years ago, when we were thirty-one. The knowledge of her death is like the fear I felt in childhood: a second shadow that’s always with me. And this shadow falls heavily over my recollections of our lives, so there’s no true way to tell this story if you don’t know that’s what I’m building towards. Besides, I’ve never liked surprises, even when they’re for other people.


Hannah and I never stopped being close, though eventually the world began to edge its way in. Amidst the many other mild mortifications of middle school, Hannah began to cultivate friendships that, for the first time, didn’t include me. In high school, she joined the volleyball team and jogged five miles every morning before breakfast. As I brushed my teeth, I would watch from the small bathroom window as she stretched in the driveway, lithe and flushed and pleased with how much she’d accomplished while the neighbors still slept. I had no talent for sports, but I developed an intense passion for geology and started a blog on the rock formations of the Maine coast. Hannah had her first boyfriend, a surprisingly tame relationship that nonetheless overwhelmed her and filled her with moony longing. But weekday evenings still found us in comfortable camaraderie in our room, debriefing the day and planning for the next one.

On our sixteenth birthday, Hannah secured her license and we discovered how much we loved to drive together. We’d meander through the woods, pointing out abandoned railroad crossings, fire towers, and leaning cabins. I felt more settled than I had in childhood, tethered more firmly to the world as others saw it, but I had few friends and I was achingly lonely when weekend evenings Hannah disappeared to parties or team sleepovers or her boyfriend’s basement.

When the time came to apply to college, our dad sat us down at the kitchen table and told us he wanted us to go to different schools. Hannah laughed and said we’d consider it. Later, I asked Hannah what the big fuss was and she told me, “He wants us to be normal,” which was how I learned he thought we weren’t. 


We disregarded Dad’s advice and went to a small college within an hour’s drive of our hometown. Everything about college was a surprise. I, who’d never felt comfortable anywhere, was suddenly full of purpose. I dove with pleasure into the study of maritime history, the geology of the ocean floor, cartography in the middle ages. It seemed there was a class for everything. I even braved late-night walks alone through the dark campus, grasses rustling and strangers’ footsteps echoing through the narrow corridors between buildings, if it meant I could stay at the college’s library until it closed. I started dating a girl who worked in the interlibrary loan office and was absorbed into her group of clove-smoking, intricately tattooed friends. I took six classes at a time. I helped my professors with their research. I never turned in a single assignment late, even when my migraines nestled in my head and pulsed their jagged spikes into the tender flesh behind my eyes.

Hannah, who’d always been competent and sure-footed, suddenly lost all momentum. She’d been recruited for volleyball, but played badly and was taken off the starting line-up. Eventually, she quit the team. She began drinking more and slept with her Spanish TA. When she confessed to her chaste high school sweetheart, he refused to forgive her. She missed classes because she’d been partying, then because she just didn’t want to go. She chose subjects seemingly at random. She began staging protests with my girlfriend’s friends, becoming passionate about specific causes—veganism, the cafeteria workers’ rights, banning plastic containers—only to abandon them weeks later. She started a frenzy of volunteering—teaching ELL courses to custodial staff at the school, serving at the town’s soup kitchen, working with kids at a youth shelter.

When we were juniors, our parents divorced. I knew I should have felt more strongly about it, but all I felt was a slight sadness at the thought of our dad all alone in our old house. Hannah, on the other hand, spent hours on the phone trying to reconcile them, reckoning with my mother’s anger and restlessness, my father’s loneliness and sense of failure. Against the advice of her advisor, she went abroad to Madrid. My migraines became unbearable while she was gone and I was so exhausted I starting falling asleep in class. I didn’t think I’d survive her absence, but after only a month, Hannah had an incident with some sleeping pills and red wine that alarmed her host family, and it was decided she’d come back early. When I picked her up at the airport, she was so thin I wanted to wrap my arms around her just to give her more heft. On the ride home she told me, “It’s like I’m watching myself. I don’t even know who’s running the show.” She moved in with me and for a time we were as close as we’d ever been. I walked her through her daily routines until she’d regained her bearings and come back into herself.

Our senior year, I got lost in my thesis, a sprawling history of humans’ attempt to map the seafloor, and my girlfriend felt neglected and left me for a freshman poet. Hannah’s charm and intelligence kept her held aloft while she continued to slip and slide, never quite gaining traction. She came home one night, unsteadily drunk, and darkened when she saw me with a draft of my thesis spread across the floor. “Look at you,” she said to me. “You’re so good. You’re so focused. Do you remember when I had to check the closet every night for the Webbed-Arm Man before you could sleep?”

“You saved me,” I told her.

“Rachael,” she said, dropping to her knees in front of me, grasping my wrists. “How does a person know what they’re worth?”

When she touched me, the boundary between us fell away, as it often had when we were children. I felt her shame and emptiness like a wave of nausea. I felt her furious love for the world and her belief that she was undeserving of it. I realized that her frenzy of volunteer work was her way of trying to earn her place—not just at the college, but on this earth. I rested my forehead against hers. She had saved me; she was still saving me. “There’s no one better than you,” I told her, because it was true.


Hannah’s mention of the Webbed-Arm Man that night surprised me. Over the years, we’d stopped discussing him, and I thought she’d mostly forgotten him. I had not. My fear of him had lost its sharp edge, but I never stopped believing. I’d seen or sensed him several other times. When I had my seizures, I used to wake to the harsh smell of wood smoke, which I took as a signal that the Webbed-Arm Man was close. When I was twelve, an October snowstorm knocked out the power and Mom sent me to retrieve a flashlight. The candle I was holding snuffed out just as I took my first step onto the basement staircase. I reached an exploratory hand into the sudden blackness and felt a wet flap of flesh; I scrambled back upstairs and locked the door behind me. I also occasionally caught glimpses of him under porches or in bushes or off the side of the road. And once, when I was brushing my teeth in high school, worrying over why Hannah hadn’t yet returned from her morning run, I saw him leaning against our neighbor’s fence, his eyes also trained down the road. By the time I’d gained enough courage to rush outside, he was gone and I could see Hannah turning onto our street. My dad dismissed my sightings as the product of an overactive imagination or a symptom of my epilepsy. My mother believed me, or claims she did.

My fear of him had lost its sharp edge, but I never stopped believing.

Even in college, when I’d become less skittish and more grounded, he was present in my life. Most notably, on a camping trip at Acadia National Park with my girlfriend, I’d made the Webbed-Arm Man into a campfire tale as we roasted marshmallows, embellishing the story with a series of elaborate recurring nightmares I’d never had. That night I couldn’t sleep, worrying about a group of men at the site next to ours, who’d kept trying to flirt with us and then grown surly and quiet when they realized we were a couple. It began to rain and the loamy smell of the wet soil brought the Webbed-Arm Man back to me in the form I always knew him to be: a memory and not an invention. I woke up Elise and forced her to sleep in the locked car with me. When we drove into Bar Harbor the next morning, I had a voicemail from Hannah.

“I know, I know, I know you’re fine,” the recording said. “But I just had a feeling I couldn’t shake, so please call me when you’re back in civilization, okay?” 


For me, the years after college passed like rolling down a hill: effortless and inevitable. I attended grad school, where a tendency towards fixation is the most promising trait, and my research burned so brightly everything else in my life seemed to dim. I won awards. I graduated with the highest honors and started my dream job as a map librarian at the Boston Public Library. A woman named Priya took an interest in me after touring an exhibit I’d curated on mapping the cosmos, and fought her way into my vision long enough to make herself part of my routine.

Hannah took back up with her high school boyfriend and they were married within a year. Part of the reason he’d been so chaste and unforgiving all those years ago was because he was a deeply, onerously religious man. Hannah became very involved in their church, which distressed Mom to no end. But the church stabilized Hannah’s life and gave her a community who valued her generosity, even if they couldn’t see that it wasn’t earnestly in service to the lord, but born from her intense need to correct the debt she thought she owed the world. Out of some punishing instinct, she got a job organizing study abroad programs at a company based in Portland, which she was very good at despite her failure in Madrid.

Although our lives had very different shapes, she remained one of the only people whose motivations and desires were not opaque to me. Every morning we woke an hour early so we could talk on the phone as we drank our coffee. I’d close my eyes and imagine her across from me, and it always seemed that if I just reached out my arm, she’d be there on the other side of the table, ready to take my hand. Once, when I opened my eyes after the call, I was looking at Hannah and Chris’s tidy kitchen counter and had to shake my head hard before my own small apartment came back into view.


I remember almost everything about the night that Hannah died. I’d brought Priya to Maine for Thanksgiving to meet my family. Priya is Indian-Canadian, so she had no other plans, and she wanted to see where I came from and get to know the golden sister I talked so much about. Hannah and Chris picked us up at the train station and whisked us to Mom’s apartment in Portland for our day-before-Thanksgiving meal, which Mom kept calling “the first Thanksgiving” to acknowledge that we were going to our father’s the next day.

By then, my mother had moved into an attic apartment at the edge of the city. The house was at the top of a steep hill and Mom’s bedroom window had an expansive view of the bay, so in the mornings she could watch the lobster boats slinking out to sea and the clouds of greedy seagulls trailing after them. Hannah was worried that Mom was becoming eccentric—she’d developed an obsession with the Canadian folk artist Maud Lewis and painted bright pastoral scenes on every free surface of her apartment—but Mom was much happier than she’d ever been living with Dad or raising us.

Priya complimented my mother’s artwork and seemed genuinely charmed that Mom had ordered a buffet of Thai take-out because she’d forgotten to defrost the turkey. Mom offered to show Priya more of her paintings after dinner. I watched Hannah’s expression carefully for a clue as to how the interaction was going. Hannah gave me a little nod of approval, but there was sadness underneath it.

After dinner, Mom disappeared into the kitchen and reappeared with a pot of mulled wine. When she theatrically took off the lid, the dining room filled with the scent of cloves and Priya clapped. Mom bowed and then poured each of us a steaming mugful. When she slid one over to Chris, he said stiffly, “You know I can’t have that.” He was five years sober.

“Just one can’t hurt!” My mother took a showy sip of hers. “It’s delicious.”

“She does this on purpose,” Chris said to Hannah. He hated when anyone drew attention to his sobriety, highlighting his one deviation from the righteous path.

Hannah took his mug and put it next to her own. She said something softly to him that I couldn’t quite make out.

“Suit yourself,” Mom said. “But it’s the one thing I cooked tonight.” She laughed. When no one laughed with her she shrugged. “I guess if you’re drinking, Hannah, that means no luck yet on the pregnancy front.”

Hannah blushed and shook her head. She and Chris had been trying for years. Chris insisted that God would bless them when it was time.

“My friend Patty was telling me all about IVF,” Mom said. “It’s normal now. So there’s no need to be so prudish about it.”      

“That’s enough!” Chris said, so loudly that Priya jumped.

“Don’t be startled, dear,” Mom said. “He’s always like this. You two have the right idea. If I’d been smarter, I’d have been a lesbian, too.”

“Mom,” Hannah said sharply. She turned to me, “How’s your new exhibit coming? Have you started installing it yet?”

“What new exhibit?” Mom asked, allowing herself to be led. “Why didn’t you tell me about it?”

“I did,” I said. “When we talked last month.” But Mom only vaguely remembered the conversation—she was often painting or out for a walk when we talked on the phone. But I was happy to explain the project again; my work is one of the few conversation topics that come easily to me.

This was the first major exhibit I was designing on my own. It focused on places that are still uncharted. I’d titled it The Last Unmapped Places, and was working sixty-hour weeks because I needed it to be perfect. Mom asked for examples, and I explained about the miles-deep cave system under farmland in Vietnam, an unclimbed mountain in Bhutan, the shifting outline of Greenland’s coast, and shantytowns in Pakistan with no reliable street maps.

Hannah had finished both her and Chris’s wine and was filling her mug again. Chris made a show of checking his watch. “You’re sure you want to have another?”

I kept talking as if he hadn’t interrupted, so Hannah wouldn’t have to respond. “The challenge is figuring out what to display, since the focus is the unmapped. But really, it’s about mystery and its tug on the imagination. Our last exhibit was on trains, and now we get to feature remote sections of the Amazon jungle seen by no one still alive on this earth.” 

“How ambitious,” Chris said, draping his arm over the back of Hannah’s chair in the proprietary posture that men like him are made for. “But you should be careful. If you spend too much time scratching away at the mystery, you’ll eliminate the very thing you think you love. As soon as you find the unknown, it becomes the known.”

“Is this about God?” I said. “Again?”

“Rachael,” Hannah said. “He’s not trying to convert you. He’s just making conversation.”

“He wants to make good believers out of all of us, like he did with you.”

Priya put a cautionary hand on my knee.

“I don’t have to tolerate this,” Chris said.

“She’s just feeling defensive,” Hannah murmured.

“Don’t do this again,” Chris said. “Pick a side.” 

“How can I?”

Chris stood, nearly upturning Mom’s wobbly table when he braced himself against it. “I’m going home. If you want to stay, you can call me when you need a ride.”

“Don’t be so dramatic,” I said, but I was pleased that the night would carry on without him.

“So you’re really not coming?” he asked. Hannah didn’t look at him when she shook her head.

We continued drinking, and I began to feel really good, surrounded by the women who made up the whole of my social world. At some point, Mom announced that she was going to bed, but encouraged us to stay up talking. 

After she left, Hannah became confessional with Priya. She explained that we hadn’t been raised with God. She was drunk—really drunk, like I hadn’t seen since college. “I do feel awe in church,” she said. “But the God I feel, it’s as if He’s channeled through Chris, like I’m believing through him.”

“There’s nothing wrong with that,” Priya said. I could tell she liked Hannah, which was not a surprise. Everyone liked Hannah.

“Do you think it’s really okay? Sometimes I don’t know.” Hannah started to cry. Priya and I got out of our seats and crouched next to her. We each took one of her hands.

When Hannah’s crying had slowed she said, “I’m not always like this.” Then, she turned to me and said, “I don’t know what’s happening to me. I feel like I don’t have any edges anymore. The way I used to feel only with you, I feel that way with everyone.”

I squeezed her hand.  

I don’t remember what we talked about after that strange interlude, but we forged on and the mood lightened. Eventually Priya said that she’d like to see Maine’s famous coastline before she left, and Hannah said, “What better time than now?”

Outside, the night was clear and fresh and ripe, and it calmed me to take the sharp air into my lungs. Hannah led us to a park with a small gazebo and a wrought-iron fence. It was an almost-full moon; a funnel of light sliced across the river. We climbed down a steep stone staircase partially hidden by trees, which spilled out onto a paved path that wrapped around the cliff. I recovered my bearings; if we’d gone right we would have come across the ferry terminal and then the seafood restaurants and ice cream shops and fish markets. Instead, we turned left, towards the open ocean. We could hear waves slapping against the sea wall.

Priya took in a big breath. “I smell salt!” she said, delighted.

“The water’s so choppy.” I was surprised. “It’s not that windy.”

“Are you already forgetting the ways of the ocean?” Hannah teased. “It stormed yesterday. The sea remembers.” 

When we came to an old jetty, Priya hopped out onto the rocks. She took in the gyrating peaks and valleys of the water. “It’s so beautiful,” she said. “On a night like this, it’s obvious there’s no risk of losing mystery, no matter how much you study it.”

On a night like this, it’s obvious there’s no risk of losing mystery, no matter how much you study it.

Hannah followed Priya onto the rocks. “How lovely,” she said. “What a lovely sentiment.” Then she said, so low that I could barely hear her over the tut-tut of the waves, “You will be so good for Rachael.”

And then something went wrong. A twisted ankle, the sole of a shoe too smooth to grip the rock face, or a step made unstable with alcohol. Or maybe something darker. I know. I know there’s the possibility that Hannah intended, or half-intended, to go in. The only certainty is that one moment Hannah was a striking silhouette against the blue-black sky, and the next she was in the water.

I heard the splash and the sickening intake of breath as the cold hit her. I screamed. I ran to the sea wall and dropped to my knees. I searched and found Hannah surfacing, pulled in toward the piers faster than I would have expected. She tore at the water.

I must have encouraged Hannah to swim. I must have shouted for help. Hannah, when she said something finally, was impossible to understand.

I stood up. I took off my shoes and my coat. From the jetty, Priya saw my intent and hissed with as much intensity as a slap, “Don’t you dare.”

Still, I took a step back, poised to jump. I felt how cold the ground was beneath my socked feet, which made me pause for only a moment, but it was enough time for Hannah to go under again. I lost her. I scanned the water, then caught sight of a dark figure. I wasn’t sure if I was seeing a shadow or an underwater rock or her body. “Do you see her?” I demanded. Priya was useless, sobbing and shaking.

Then, around the edges of the Hannah-shaped blot, I saw a black, shifting form that slithered through the water like heavy fog. The shadow slunk forward, somewhere between a liquid and a solid, before coming together and opening its great webbed arms behind her. The air grew thick and murky and there was a sudden dank-earth smell. There is no way for me to describe it now—it’s like describing the particular smell of a house you no longer live in—as clear and distinct as a fingerprint but you only know it when it’s around you. I’d smelled it before, all those years ago. The fear I felt was beyond fear. It was fear that the bottom fell off of.

Later, after Priya’s desperate call to the police, and the officers’ embarrassed questions, and the rescue boat and the divers and the condescending explanations about currents and riverbeds and tides, I asked Priya if she saw the thing in the water, the thing that wrapped its arms around Hannah. And Priya admitted that she may have seen something, but she was sure it was only a reflection or maybe a refraction of light. I asked her if she smelled him, and she looked at me with such deep concern that I dropped that line of inquiry.

Four days later, a water taxi driver leaned over the side of his boat during low tide and saw my sister’s body below him. In the great sorrow of that day, I lost my sense of caution and I pressed the matter again with Priya, asking what exactly she thought she’d seen that night. She snapped, “This is crazy. You think it was your childhood monster? It was nothing.”

But I’d recognized the long arms and the wing-like flaps and the sidling, confident movement. I know that I’d caught, once more, a glimpse of what it is that comes to take us away.


For years, the cloak of grief held me under its damp, pressing weight, and the only time I ever felt alert was in the archives at the library or deep in the world of a book. Talking to Priya or my parents or the throngs of school children I was expected to usher through the library collection was like interacting through muslin. I studied every detail of Hannah’s drowning, turning my memory of it inside out. Not only the what-ifs of what might have happened if I’d jumped in or the unanswerable questions around what caused the fall, but also how high the moon was, how fraught the sea. How the leafless bushes had held onto their winterberries. How the staccato thump of the waves against the seawall resembled the trapdoors in our arteries opening and closing. I tried to recall precisely that peculiar dusky smell and the way the air thickened and cracked open and the feeling that bloomed in my chest the moment I knew Hannah had passed through. This is all I can tell you. Like all stories about death, you’re left with the survivor’s incomplete tale.

Only recently have I been able to lend my attention more fully to the details of the present world. And I notice, sometimes, just before I fall asleep or when the motion-activated lights in the library archive go out, a certain flicker of movement and then a feeling of airlessness. And it’s like, if I didn’t want to, I wouldn’t have to breathe. And I wonder why the connection that passed between Hannah and me all our lives, which was the pride of our bohemian mother and the unease of our cautious father and as normal to us as eating or drinking, would be severed by death. In the darkness, I open myself up. I become what I am meant to be: her mooring on the other side of all that smoke.

7 Books That Bring the City of Mumbai to Life

Bombay, Mumbai—whatever you want to call it—is a kaleidoscope layered with complex charisma and frenetic energy. With its chaos and music, its sounds and smells, the city has been immortalized in many literary works, fiction and non-fiction alike. 

My debut novel, Such Big Dreams, took me a good ten years to write. In that time, I managed to travel back to Bombay twice, seizing opportunities to visit some of the locales featured in the story: Juhu Beach, where the scent of fried snacks wafts down the sand. The local trains, packed tight with commuters, where a seat with good breeze is almost worth swinging a punch over. What better way to write about a place than to physically immerse yourself in it, meditate on its contours, and then furiously scribble it all down minutes later? 

Back home in Toronto, though, those memories faded with the months and years that passed since my last visit. As I wrote and edited on dark, wintery mornings, I found myself turning to contemporary literature about Bombay, longing to reconnect with the city’s heartbeat.

Maximum City: Bombay Lost and Found by Suketu Mehta

In this work of nonfiction, Mehta takes his readers on a whirlwind ride through the sprawling city of Bombay that symbolizes the Indian dream for many migrants. The book chronicles the lives of bar dancers, film-makers, migrant workers, rival gang members, politicians, offering social commentary on the interplay between power, pleasure, corruption and labour.   

“A city like Bombay,” Mehta writes, “like New York, that is a recent creation on the planet and does not have a substantial indigenous population, is full of restless people. Those who have come here have not been at ease somewhere else.”

Narcopolis by Jeet Thayil

Beginning in the 1970s and carrying us to the recent past, Narcopolis is a haunting, hallucinatory novel about Bombay’s opium culture. A sprawling series of vignettes on characters like an opium addict, a eunuch named Dimple and a poet-slash-artist, the book takes the reader through the seedy underbelly of the city, asking at one point, “How the fuck are you supposed to live here without drugs?”

Last Man in Tower by Aravind Adiga

In this novel, a ruthless developer offers the occupants of a crumbling old apartment building a buyout so he can build a luxury high rise tower. As the clock counts down to the developer’s deadline, forgotten dreams bubble to the surface as neighbors are pitted against each other and families are torn apart

In Bombay, virtually everything is for sale: “In the continuous market that runs right through southern Mumbai, under banyan trees, on pavements, beneath the arcades of the Gothic buildings, in which food, pirated books, perfumes, wristwatches, meditation beads, and software are sold, one question is repeated, to tourists and locals, in Hindi or in English: What do you want?”

Milk Teeth by Amrita Mahale

Set in the 1990s, Milk Teeth charts the relationship between two childhood friends as their neighborhood teeters on the brink of change. Digging into nostalgia, urbanization, and the notion that a city is an amalgamation of communities, Mahale highlights the absolute freedom that Bombay life can offer as well as the claustrophobic societal conditions from which unmarried women, queer men, and minorities search for reprieve. 

Beautiful Thing: Inside the Secret World of Bombay’s Dance Bars by Sonia Faleiro 

Beautiful Thing is a non-fiction account of the life of Leela, an ambitious young bar dancer. The book follows Leela into dance bars, brothels and tiny flats as she tries to carve out a better life for herself. Faleiro pinpoints paradoxes that make up Leela’s unforgiving world—glamor and squalor, pleasure and pain—as she fights to survive. 

“When you look at my life, don’t look at it beside yours,” Leela says to Faleiro. “Look at it beside the life of my mother and her mother and my sisters-in-law who have to take permission to walk down the road.”

Behind the Beautiful Forevers by Katherine Boo 

This book of non-fiction is about the residents of Annawadi, a sprawling slum flanked by the international airport and a handful of gleaming luxury hotels. Never patronizing, never romanticizing, Boo carefully digs into the abject conditions of her subjects and the complications of crushing poverty.  

“In Annawadi,” she writes, “fortunes derived not just from what people did, or how well they did it, but from the accidents and catastrophes they avoided. A decent life was the train that hadn’t hit you, the slumlord you hadn’t offended, the malaria you hadn’t caught.”

Sacred Games by Vikram Chandra

Sacred Games is a 900-page saga that charts the story of a police officer and a larger-than-life gangster in a game of cat and mouse. The book takes the reader through the gritty underworld, to the corruption of the film industry. Full of filthy Bambaiya slang, and featuring a cast of colorful characters, the novel is a lesson on Indian post-colonial history and a love story to the city, summed up by the line: ‘When you’re away from it, you can miss it, physically you can ache for it—even for the stink of it.’