Passing Judgment on the God-Fearing Family Next Door

“The Catholics” by Chaitali Sen

Sharmila and Laurie spent the Obama years renovating a blue two-story on Chestnut Street, a tall, narrow house with a covered front porch flanked by two giant pines. It was built in 1910 and had only one bathroom when they bought it. A steep slope down to the street made the path treacherous and presented a landscaping challenge. They weren’t able to solve the problem of the slope but now their house had two bathrooms and an extension off the back where they built their master bedroom.

They debated over moving so far from Cornell, which meant they would have to drive to work in their one car, but they couldn’t find anything affordable closer to campus. This was a mixed-income neighborhood with a small complex of rough-looking apartments further down the street. Next door to them was a charming red colonial which they’d thought to be as old as their own house, but according to the records it wasn’t built until 1989. When it went on the market in 2016, they had tried to get Pete and Mario, their close friends from New York City, to buy it as a second home in the country. They weren’t interested, and the people who ended up moving in were Catholic hipsters with seven children, going on eight. The father, Dave, was some kind of freelance computer guy and a drummer in a band. The mother, Kiki, was a long-limbed waif with a belly so swollen it was nauseating. They had their own live chickens and traveled in a school bus, painted sky blue.

Sharmila and Laurie had watched from an upstairs window as the blue bus rolled into the driveway and the brood of children burst out of it.

A few days later, they went over to introduce themselves to Kiki and Dave and their small army ranging in age from fourteen to two, not including the one in utero. Kiki gave them a tour of the property. The kids were polite, not in a creepy way, and their little four-year-old girl was particularly cute, but the many eclectic and colorful crucifixes going up on their living room wall raised some alarm bells. If it were not the twenty-first century, Laurie and Sharmila would have assumed that they were liberation theologists or something like that. But to be so stubbornly averse to birth control these days was suspiciously right-wing.

When they got home, Sharmila said Dave and Kiki were probably Trump supporters.

“Really? They just don’t seem like the type,” Laurie said.

“They’re totally the type,” Sharmila said.

Growing up in Brooklyn, and then spending her adult life among artists and academics, Laurie would not have had as much opportunity to encounter conservative hippies, but Sharmila grew up in Waco—a hellmouth of megachurches that vomited up Chip and Joanna Gaines (exhibit 1), Christian fundamentalists who dressed just like Dave and Kiki. Ostensibly they remodeled derelict houses on HGTV, harmless enough, but in reality they propagated a patriarchal domestication cult that Sharmila was convinced would bring on the apocalypse.

They started referring to the family next door as the Catholics. The kids, loud and raucous and doing fun things in the backyard, were homeschooled by Kiki. From the upstairs windows, Laurie and Sharmila could observe their progress on a large airy chicken coop, an elaborate multistory playscape, and a lush vegetable garden. Sometime in mid-September Kiki had the baby, which she kept strapped to her body as the rest of the kids swirled around her. Sometimes they caught her looking up, maybe at Laurie and Sharmila in the window or just at the sky. They hardly ever saw Dave, who went more often out into the world, even after the baby was born. Once Laurie and Sharmila spotted him on the Commons loading his drums into a bar for a gig. They looked at each other with matching grimaces of disgust. Whose life came to a halt to raise eight kids? Not his.

Nothing seemed to change for them after Election Day. Kiki and the kids were in the backyard continuing their work, building a veritable fortress of innocence and ignorance. On Inauguration Day, Laurie and Sharmila didn’t watch the news. Instead they drove to the city to pick up Pete and Mario and continued on to DC for the Women’s March, a communal event unlike anything they’d ever experienced before. That night, Laurie raised a glass at dinner and said, “This won’t take four years!”

Back in Ithaca, Sharmila remembered Laurie’s prediction as they watched the Muslim ban protests. With renewed hope, they watched the people defying the post-9/11 sanctity of airports, the lawyers hunkering down with their laptops, all the signs and footage circulating over Twitter and Facebook saying immigrants and refugees were welcome, and so soon after the inauguration! If there was a silver lining to Trump’s election, it was that the people were awakened. It was the people who would stop Trump, very soon, before he could even get started.

Their optimism was tempered by a simultaneous and unnerving sense of doom. Sharmila worried about her students at the LGBT Center. It weighed heavily on her that this could be the only safe space these students would have for the next four years. And Laurie coped with her grief by sitting in her office and trying to meet the deadline on her biography of Jacob Lawrence; her progress was slow, as she felt utterly useless and self-indulgent making a career out of art history. In contrast, the Catholics were always outside, claiming the open air with their hammering and laughing and running around.

The only thing Laurie and Sharmila looked forward to was a visit from Pete and Mario, who usually came up to Ithaca once a season and had long planned a trip for the end of February. To get ready for the visit, Laurie cleaned the house and got a fire going while Sharmila made osso buco and apple tart. Pete and Mario would sleep upstairs in the guest room next to Laurie’s office. Sharmila never claimed a room upstairs, since she already had a perfectly good office at the LGBT Center, but if Laurie’s office door was open, it meant that Sharmila could sit in there while Laurie worked on her book. There was an armchair set up just for Sharmila, where sometimes all she would do was drink her tea and stare out the window at the view. She was in love with the geometry of this region, the line graph profile of the horizon, the sharp points of the trees, the dips and waves of the hills and valleys. Right from their house they could see the great unfurling of the Allegheny Plateau. She got the same euphoric feeling here that she got in New York City, rooted in her relief and gratitude that this was not Waco.


Pete and Mario got a late start leaving Manhattan and reached Ithaca around nine o’clock, bringing a case of wine in along with their suitcase. They quickly settled in to their old ways, as if they’d gone back to a year before all this, when they all felt as if they’d chosen to live their lives in accordance with their epoch, a time of progress to which each of them were making a small contribution—Laurie with her scholarly work, Sharmila with the LGBT Center, Pete with his curatorial vision, Mario . . . Mario was a corporate lawyer working on acquisitions and mergers, but as the son of a postal worker and a bus driver, his success provided tangible benefits for his family. They talked about art, about work, about the weather and every few minutes there was something that threw them into fits of laughter. After dinner, they cozied up in front of the fireplace with their glasses of wine and slices of apple tart. They tried to watch Mad Max: Fury Road, which they thought would keep them awake but didn’t.

The next morning, everyone was in a good mood. As she made a pot of coffee, Laurie remarked that she’d had so much fun last night, she’d almost forgotten who was president.

As she made a pot of coffee, Laurie remarked that she’d had so much fun last night, she’d almost forgotten who was president.

“Me too,” said Mario. “I don’t think his name came up once. It’s like we called a moratorium.”

Pete said, “Man, fuck that guy.”

But this broke the moratorium. Once they mentioned the unmentionable, they couldn’t let it go.

“Trump’s too stupid to be that much of a threat,” Mario offered.

“It doesn’t take a genius to burn down a house,” Pete said.

“But it’s the whole regime!” Laurie exclaimed, “It’s a vicious cabal!”

The boys cracked up. “Who talks like that? ‘Vicious cabal’?”

Laurie laughed with them. “It’s true though!”

After breakfast, Laurie and Sharmila took Pete and Mario to Cornell for a look around. They stopped at the art museum, a modern building next to the architecture school that always reminded Sharmila of a Polaroid camera. Laurie wanted to show Pete a participatory installation called Empathy Academy: Social Practice and the Problem of Objects. Students in the art department would be adding their own contributions to the exhibition later in the semester. Laurie loved the idea of a living exhibit and she wanted to curate a show like that with Pete one day, but Pete couldn’t conceive of when or where that would be possible. At the moment, he was a curatorial project assistant for the Whitney Biennial, a freelance position that Laurie had helped him get. She had connections because right out of undergrad she had worked for a brief time at the Whitney, back in 2001 during the last big national disaster.

They had lunch at a new farm-to-table restaurant downtown, then went home for some quiet time. Pete was disappointed that it wasn’t snowing. They always hoped for snow on their winter visits, but snow was not as reliable as it once was in Ithaca. Some years it was still abundant, but this winter was a disappointment. Old-timers could remember when it snowed from the end of October to the beginning of April. Then, suddenly the trees would blossom and a short spring would zip straight into a long, hot, humid summer. A fresh snowfall sculpted Ithaca into something magical, but there would be no chance of that this weekend.

While Mario worked on a brief and Pete went into Laurie’s office so they could talk about her book, Sharmila combed through recipes on Sam Sifton’s blog, What to Cook This Week. She hoped Pete would give Laurie the motivation she needed to finish that damn book. Laurie had a virtual vault full of research, interviews, and digital photographs, and had developed a close relationship with several members of Jacob and Gwendolyn Lawrence’s extended family. Laurie owed it to them to get this story out into the world, but Sharmila gave up trying to speed things along. Every time she nudged, however gently, Laurie would have a panic attack and stop writing for days.

Early in the evening, Sharmila was in the kitchen pulling out ingredients to make a roast chicken with wild mushrooms. If this house were nothing but the kitchen, Sharmila would not mind. It was huge, even larger than what she was used to in Texas, fitting a long solid wood farmhouse table that the rest of the house, with its tight corners, could not have accommodated. The kitchen was chic and rustic, modern and vintage, masculine and feminine. It was the last room they did after months of deliberating, finally settling on white quartz countertops with black custom cabinets, dark oak flooring, red brocade chairs, and one magnificent crystal chandelier over the table.

Mario came in, opened a bottle of wine, and watched Sharmila arrange a tray of soft cheese, sliced baguette, and olives. This was the first Pete and Mario visit in years that Laurie and Sharmila didn’t have people over for Saturday dinner. All of their friends in Ithaca loved Pete and Mario. Some of the wealthier liberal types went on too much about how genuine and fun and uncomplicated and “authentic” they were. Laurie and Sharmila did not feel up for all that this time, and even Pete and Mario had said they just wanted to watch movies and relax.

All of their friends in Ithaca loved Pete and Mario. Some of the wealthier liberal types went on too much about how genuine and fun and uncomplicated and ‘authentic’ they were.

Yet this cheese tray cried out for a more festive atmosphere. The house felt too quiet, too dark. True to form, Mario figured out how to lift the mood. He paired his phone with Laurie’s surprisingly robust little speaker and blasted their dance song “Single Ladies (Put a Ring on It)” by Beyoncé. Sharmila and Mario had been practicing the moves to this song for years now. The music shook Pete out of his slumber and Laurie out of her office. Now it felt like a party, and everyone remembered that this was a weekend for fun and happiness. Sharmila could remember them all dancing like this in their tiny apartment in Washington Heights. She couldn’t believe how young they were then, and how lucky she was to have found love so easily.

During dinner, they were mellowed by the wine and Sharmila’s succulent chicken and Ella Fitzgerald playing on the speaker. It had been such a perfect day. Then they cleaned up and sat on the couch to binge-watch the Aziz Ansari show Master of None. They were each annoyed by something different yet no one was in favor of stopping it.

“He is so not sexy,” Laurie said.

“His pining after white women is so boring,” Sharmila said.

In the middle of the fifth episode, someone rang their doorbell. It was past nine, later than they’d ever had unannounced visitors. Laurie and Sharmila went together to the door and saw Kiki standing there, jumping up and down in a parka, perhaps in some kind of trouble. Immediately, Laurie swung the door open.

Kiki smiled and said “Sorry to bother you” with utmost cheer. For once there was no baby hammocked to her chest. The temperature outside had dropped and a blast of cold air flew into the house. “Come in, come in,” Laurie said.

“Is everything okay?” Sharmila asked. Kiki looked so young without her kids, like a college student.

Kiki noticed Pete and Mario in the living room and waved at them. The boys waved back, looking intensely curious and somewhat amused, as if they’d been waiting for something unexpected to happen.

“Do you need something?” Sharmila asked. She was not raised to be rude to visitors but she tried to put a little clip in her voice. They’d successfully avoided the Catholics for months now. She could not believe their streak was coming to an end on their one weekend with Pete and Mario.

“Umm, what am I doing here? Argh, mommy brain. Oh, I was wondering if you have anything for a headache? I’d drive into town, but it’s so late and Dave’s not here.”

“Sure,” Laurie said. “What are you allowed to take?”

“Just over-the-counter stuff. The usual.”

Laurie vanished down the hallway to go look in the master bathroom. Pete and Mario emerged from the living room, like animal cubs coming out of their dens. Mario was empathetic and hospitable. “Are you not feeling well? Do you want a drink? A glass of wine?”

“She probably can’t have a drink if she’s nursing,” Sharmila said.

Kiki rushed to say, “I can have a little.”

“It’ll help you with your headache,” Mario said. With that absurd statement, Mario and Pete were co-conspirators. Kiki was marched to the kitchen, seated at the head of the table, and given not only a glass of wine but some French bread and Brie cheese and grapes. She took off her parka, which Pete whisked away to hang on the coat rack.

“Wow, I haven’t been this spoiled in forever. Are you some kind of angels?”

“So where’s Dave?” Sharmila asked.

Kiki washed her bite down with a glug of wine and explained that Dave was in Europe on tour with his band.

“Is he famous?” Pete asked.

Kiki laughed. “I love the way you’ve done this kitchen.”

Just then Laurie appeared, unfazed by the domestic scene at the dinner table. She set down Tylenol, Advil, Aleve, and Motrin. Kiki took two Motrins and smiled at everyone, incredibly alert and lively. She kept fixing her eyes on different parts of the kitchen, the backsplash, the range, the cabinets, the chandelier.

“Dave’s in Europe,” Sharmila announced for Laurie’s benefit.

With more prompting from the boys, Kiki began to talk about Dave’s tour, what kind of music he played and where he was at the moment—Amsterdam.

Pete interrupted. “I have to ask you, your man is in Amsterdam and you are in Ithaca New York, with . . . you have kids, right?”

Kiki blushed. “Yeah, I have eight.”

“No!” Mario exclaimed as if he were hearing this for the first time. “You don’t look like you could have eight kids.”

“Thank you,” she said, “But I do. Ocho.”

Ocho niños, dios mío,” said Mario.

“That’s actually what Dave calls our baby. Ocho.”

“Doesn’t it bother you that he gets to be in Europe while you’re stuck here with all your kids?” Pete asked.

“I could have gone if I wanted to. I could have left my kids with my parents and just taken the baby. But why would I want to leave my kids? They’re cool people. I like hanging out with them.”

You’re not hanging out with them now, Sharmila thought. Kiki went on to say that her oldest was fourteen and helped a lot, that the baby was sleeping but could sleep until three or four in the morning now. She also said the wine and food and Motrin were really helping her with her headache. By then, they all had glasses of wine. Mario took out his phone and asked if Dave’s band was on Facebook.

“They’re more on Instagram,” Kiki said, sharing their handle, which Mario was able to pull up easily. There was a band picture that he passed around, Dave and three other hipsters in wool hats sitting by a canal in Amsterdam. Pete asked her details about the kids. Names, ages, did they go to school? Kiki explained that she was homeschooling them. When Pete asked her why, she said she thought school was too confining, too institutional. She wanted her kids to be free to explore things at their own pace. If she had any objection to a public, secular education, she didn’t express it here.

“Can I ask if you did this kitchen yourselves? It’s amazing.”

“We did most of it ourselves,” Laurie answered. “We hired people to pull up the linoleum and install hardwood.”

“God, I hate the linoleum. I started pulling it up myself but now there’s just a big sticky mess in the corner of the kitchen.”

“I can give you the name of our guy.”

“I’d love to get a tour of the house one day. We’re planning to renovate next summer.”

“Why don’t you show her the house now?” Pete asked. “You don’t have to rush back, right?”

Kiki clapped with delight. “I would love that.”

Laurie and Sharmila were both raised to keep their house ready for company. They both knew it would have been rude to say no.

Laurie led the way, with Pete, Mario, and Sharmila trailing behind. Kiki relished the tour, taking her time in each room, asking about fixtures and colors and where they got their ideas from. When they got upstairs to Laurie’s office, the least orderly room in the house because the walls were covered with photographs and prints and notes, Laurie explained that she was working on a book about Jacob Lawrence. Kiki’s enthusiasm seemed genuine, though she admitted to not knowing who Jacob Lawrence was. “Who writes an actual book, that’s fucking awesome!”

She went to a different set of pictures on the opposite wall, a triptych that Laurie was writing a paper on for the Arts in Society Conference in Paris. The first picture was a close-up of a group of white people turning their gaze to their right toward the camera, sometime in the 1920s. A different version of that picture could be found on the internet, revealing in the background the charred body of a Black boy hanging from a tree. The next picture was from Nazi Germany, a crowd of thousands on what seemed to be a sunny day, tens of thousands, facing a stage punctuated with towering outsized swastikas. The final photograph was from a Trump rally, resplendent with reds and whites and blues and the rapturous florid faces of his supporters looking at their savior.

Kiki looked closely at the pictures, peering into each one for a long time.

“What do you think of those?” Sharmila asked.

Kiki exhaled. “I mean, yeah, I guess, God, this is so intense.”

For a minute no one said anything. The question of Kiki’s politics went conspicuously unanswered.

“Well,” Laurie said, “that’s the house.”

“It’s awesome. Your house is beautiful.”

They all went back down the stairs. At the bottom, Sharmila planted her feet by the front door. Kiki got the hint. She said she’d better get home before one of her kids woke up and called the cops to file a missing person’s report. She grabbed her parka off the coat rack. But just as Sharmila opened the front door and Kiki stepped toward it, she stopped and faced everyone.

“I don’t know who needs to hear this,” she began. “This may be way out of line. But my heart is telling me just to come out and say it.” She put both her hands over her heart for a brief pause, making eye contact with Laurie and Sharmila. “I just see that you two are so stressed out all the time and I hate that you feel like you have to worry so much. You’re so lucky, you know, and your lives are so great—I mean you made this life that’s so great. No one can take what you have away from you. No one!”

Sharmila smiled and opened the door wider, but Laurie stopped Kiki from leaving. “I’m not sure I know what you’re talking about.”

Kiki looked at Pete and Mario for backup. “Just say what you mean,” Mario said.

“I mean, I know, or I can imagine, I’m reading the signs that you feel vulnerable right now, like the world is out to get you.”

“Not the world,” Laurie said. “Just America.”

“But that’s what I’m saying. I wouldn’t let anything bad happen to you. Neither would Dave. Neither would my kids, for that matter. But I don’t think you’ll need us. I promise you in four or eight years or whatever this will all be over and you’ll be fine. You’ll be better than fine.”

“And you’ll have four more kids,” Sharmila said. She thought it would sound more jocular than it did. A smile froze on Kiki’s face, and everyone else looked at Sharmila like she’d gone too far, like she’d made motherhood the enemy.

“Okay, I hope I haven’t made a total fool of myself,” Kiki said, and Sharmila, to make up for her flippant comment, told her to be careful on the walkway, realizing too late that anything she said now, even out of genuine concern for Kiki’s safety, would sound sarcastic.

As soon as Kiki stepped outside, Laurie grabbed Sharmila’s hand and squeezed. They’d put off working on the front path because it was not an exciting renovation, but one day someone was going to fall and sue their asses. Thankfully, Kiki made it to the sidewalk and ran the rest of the way home.

After Laurie closed the door, Pete said, “That got weird.”

“What do you think she was trying to say?” Sharmila asked. “That she voted for Trump?”

“I didn’t get that,” Mario said. “That’s not what I got.”

“She never said they didn’t vote for Trump,” Sharmila said. “Instead she lectured us on how lucky we are.”

“That was some bullshit,” Pete said.

Laurie was quiet for a few minutes. When she spoke again, it was an impersonation of Kiki saying four or eight years or whatever, and it was so uncanny they couldn’t stop laughing. They didn’t turn the TV back on, but stayed up late talking about Kiki’s visit. They started going around in circles. Was disengaging a way of fighting, or was it just capitulation? Could they not feel the little gears clicking inside their consciences, making frequent, tiny adjustments until nothing was shocking or outrageous anymore? Were they right to be so afraid, or would they, in fact, be fine?

The next day felt especially melancholy. Pete and Mario were going back to the city where there were at least many diversions and the appearance of a robust world more immune to the vicissitudes of the rest of the country. Sharmila and Laurie did not feel so comfortable up in Ithaca, and three days later, when an Indian immigrant was shot dead in a Kansas bar, they wondered what to do, how much meaning they should cull from it. Then there were stabbings in May—a Black college student in Maryland and three white men defending Muslim girls in Portland.

Wanting to escape, Laurie and Sharmila left the country for the summer. They watched the riot in Charlottesville on French TV just days before their flight back to the US and they didn’t want to come home, even to their friends or to the house they’d spent so much time fixing up.

But soon enough, the semester began and they were busy again. On a Saturday in September when the whole neighborhood seemed to be outside, Laurie and Sharmila went out to the porch with their cups of coffee. A landscaper was coming to show them some designs for their front lawn and walkway. From across their yards, the Catholics looked up from their chores and waved, and Laurie and Sharmila, feeling fine, waved back.

8 Memoirs by Women About Multicultural Identity and Belonging

I was in my twenties the first time I read a memoir set in Lahore, my father’s city, where I’d spent time during my childhood. I was living in Syracuse, New York, then, and I read Meatless Days hungrily, soaking in familiar places and people, and when I finished it, I read it again. I hadn’t yet dared think of myself as a novelist, but encountering someone else’s Lahore made me think my story of belonging might be worthy of the page. My mother was Dutch, my father was Pakistani, I was born in Austria, and I now live in the U.S. The many places I come from comprise a mouthful, and until I read Sara Suleri’s memoir, I couldn’t imagine them side by side in a book that explores identity. In the coming years, I set aside a special bookshelf for memoirs that wove together different parts of the world, as if Cairo or Tehran were a talisman for the books I would one day write.

When I began We Take Our Cities with Us: A Memoir, I dusted off my shelf and devoured the collection from start to finish. I traveled to the now familiar locations of Port au Prince and Gaza while adding new destinations like Jaffna and Nsukka. For a writer, memoirs set around the world can be examples of place that is as alive as character and confirmation that place, wherever it may be, is story. As a reader, I saw authors weave their cities into stories and themselves. And as someone whose sense of belonging crosses borders, the memoirs gave me hope that I might yet find (and write) the threads that bind Maastricht, Islamabad, and Syracuse to each other and me.

Brother, I’m Dying by Edwidge Danticat

In telling a story of two brothers who are layered by history at birth and in death, Edwidge Danticat details the struggles of belonging to more than one nation—Haiti and the U.S.—at the same time. But Brother, I’m Dying is also a love story, told by a daughter who chronicles the tale of her two fathers, their distinct lives, and her journey between them. In Danticat’s hands, history is not a time or place; it is lodged in love and grief and identity, and crosses borders. Her memoir is powerful and beautiful in its ability to resurrect two men who are dead, but alive in her love.

Dark Tourist by Hasanthika Sirisena

In Dark Tourist, a collection of essays, Hasanthika Sirisena takes us on a journey of self discovery in which identity, history, and places as divergent as North Carolina and Jaffna meet. We accompany her as she revisits her relationship with her mother, who died too soon, and her father, who remarried in secret. We travel with her to Sri Lanka as she visits sites of Sri Lanka’s civil war and grapples with the haunting category of “dark tourism.” All the while, she asks us to consider the beauty of art and the possibility that it might save us.

Looking for Palestine by Najla Said

The subtitle to Najla Said’s memoir, Growing Up Confused in an Arab-American Family, captures only one side of this engaging and sometimes laugh-out-loud funny book. In the midst of a famous father and a complicated mix of backgrounds, Said’s crystal clear voice tells a wrenching story of trying to make sense of her identities (of which Palestinian is but one) while growing up in New York in private schools where kids rarely look like her. This memoir is fundamentally a story of the in-between place and for those of us who live there, it is a serious breath of fresh air.  

Persepolis 2 by Marjane Satrapi

Marjane Satrapi’s graphic memoir Persepolis 2 recounts a young woman’s struggle with belonging. Satrape is an outsider at home in Iran and, she soon discovers, in Austria where she arrives to study art. The backdrop of Iranian and global politics compounds the personal stakes in this coming-of-age story of a young woman trying to make sense of herself and the world. The voice and illustrations work hand in hand, propping up each other in a spare and sometimes funny, but ultimately devastating narrative.

Belonging by Nora Krug

Belonging, Nora Krug’s graphic memoir, uncovers the mystery of her German family’s history in World War II. The author’s vantage point as a granddaughter and New Yorker effortlessly pulls the reader into her personal journey, a painstaking investigation of the past. Although Krug’s subject is in Germany, she asks larger questions about what it means to belong to history and country. In the process, the reader is given a valuable gift; Krug unveils the mystery of research by showing us what it looks like—photographs, letters, objects, documents, interviews, handwriting, archives. 

A Border Passage by Leila Ahmed

In Border Passage, Leila Ahmed stitches together many worlds, including Cairo, her first home, and the U.S., her eventual one. Her story reminds us that immigrants have homelands that follow them wherever they go. Like all memoirs, it captures a time in the author’s life that has come and gone, but it also captures the nation, Egypt, at the end of colonialism (long before the Arab Spring) when Ahmed was a child. She writes movingly about the multiple worlds of Islam, including the one of women who raised her, and suggests we are shaped by history, as much as by people. 

Olive Witch by Abeer Y. Hoque

Coming-of-age is challenging, but rarely more than in Abeer Y. Hoque’s self-described cross-cultural memoir. Olive Witch travels three continents, moving from Nigeria to America to Bangladesh, as well as across the difficult terrain of mental illness. Hoque’s prose is luminous, interspersed with poetry and weather conditions, as if to help ground us in this struggle to belong.

Meatless Days by Sara Suleri

Sara Suleri, who settled in the U.S., had a Pakistani father and a Welsh mother, but she writes about her family and Lahore as if Lahore is the magnet that holds her world together. Her connected essays are a lesson in language and craft, while reading like stories in this elegiac book. Written in the shadow of death, it is as much about how memory works as the lives it tries to capture. Memory is story, Suleri seems to say, as she pieces things together later when mothers and sisters are dead.

62 Books By Women of Color to Read in 2023

In 2016, I compiled a list of books I’m anticipating by women writers of color because, as a reader, writer, and occasional critic, I couldn’t find many such titles. If I was having trouble, I thought, then others surely were, too. Perhaps they’d also find the list useful. The first list was one of Electric Literature’s most-shared pieces of 2016. To my joy and surprise, I heard the piece was helping inform other publications’ books coverage, educators’ syllabi, and book-prize considerations. 

Finding these books has become, in the last seven years, less difficult, and I continue to hope that American letters will become so inclusive this effort will become obsolete. But we’re still far from that point. I’ll keep hoping.

In the meantime, these are some of the 2023 books that I, personally, am anticipating. It’s one list, inevitably incomplete; I know I’m missing wonderful titles. If you see a book missing and want to support it, please consider preordering it from your local independent bookstore, requesting it from the library, talking about it to others, or all of the above. This piece is also front-loaded toward the earlier part of the year, as there isn’t as much information yet about titles publishing in the fall and afterward. And though I love and need poetry, as a novelist and essayist I’m less aware of what’s forthcoming in poetry, so here I address only books of prose. 

Notes on methodology: the term “of color” is a flawed label with ever-shifting nuances, valences, and interpretations. In the past, I’d expanded this list to nonbinary writers; Electric Literature and I then heard from some nonbinary writers that it can be preferable to avoid grouping nonbinary people with women. Accordingly, in recent years, I’ve limited this list to books by women: cis women and trans women, as well as nonbinary women who assented to having their work included in this space. An overwhelming majority of the nonbinary writers and readers we’ve heard from have continued to find this preferable. That said, when it comes to communities that are not mine, I’m strongly on the side of following the lead of people in those communities. If you feel differently, let us know. In the meantime, Electric Literature has also published a piece about anticipated books by LGBTQ+ writers

Included below are several books from HarperCollins, one of the big five publishers that collectively issue most of the books sold in America. The HarperCollins Union has been on strike since November 10, 2022 to get a fair contract for their workers. You can learn more here about how to support their fight for a fair contract.

Please join me in rejoicing over these upcoming books.


January

Black Women Writers at Work edited by Claudia Tate

Three cheers for this new edition of an out-of-print collection of Tate interviewing Gwendolyn Brooks, Nikki Giovanni, Gayl Jones, Audre Lorde, Toni Morrison and other foundational Black women writers about their work and lives. I have a deteriorating, used copy that has stayed on my bedside table for years, and am thrilled about this reissue. Angela Y. Davis says that “Black Women Writers at Work serves as a much-needed reminder that the imagination always blazes trails that lead us toward more habitable futures.”

Shubeik Lubeik by Deena Mohamed

A debut graphic novel about a fantastical alternate Cairo where wishes are sold. Involving angels, monsters, and decades of history, Shubeik Lubeik has received the Best Graphic Novel and the Grand Prize at the Cairo Comix Festival. Mattie Lubchansky says “Mohamed builds a rich and harrowing worldand finds every place a fascinating story might be hiding.”

The Faraway World by Patricia Engel

From the New York Times-bestselling Engel, here comes a collection of short stories that include characters such as a woman in Cuba who’s discovered that her brother’s bones are stolen, a couple hustling in Miami, and Colombian strangers meeting in New York. I’ve long maintained that I want to read anything Engel writes; I’m sure The Faraway World collection will further confirm this desire.

Night Wherever We Go by Tracey Rose Peyton

Peyton’s debut novel is about six enslaved women in Texas who stage a rebellion against their owners. Kiese Laymon says that “Night Wherever We Go has the potential to change how Blacknesses, Texas and the nation are written about forever.”

The Survivalists by Kashana Cauley

In this doomsday novel, a driven lawyer falls for a coffee entrepreneur who lives with a group of doomsday preppers. Deesha Philyaw says it’s “delicious, deeply satisfying,” and Jade Chang calls it “funny and deliciously unexpected—the perfect companion for our chaotic times.”

Loot by Tania James

I’ve eagerly followed James’s writing for years, and this new novel brings to life an eighteenth-century wood-carver recruited to build a gigantic tiger automaton for the ruler of Mysore. Megha Majumdar calls it “a feast—a hugely fun novel with a delicious plot that offers delights and profundities in equal measure,” offering “stunning truths about circumstance and ambition, love and sacrifice, and the fickleness of victory.”

Moonrise Over New Jessup by Jamila Minnicks

Minnicks’ first novel, winner of the PEN/Bellwether Prize for Socially Engaged Fiction, is about a woman named Alice Young who moves to the all-Black town of New Jessup, Alabama. She falls in love with an organizer engaged in work that could risk their ability to stay in New Jessup. “An immersive and timely recasting of history by a gloriously talented writer to watch,” says Margaret Wilkerson Sexton. 

Brotherless Night by V.V. Ganeshananthan

I’ve been haunted by Ganeshananthan’s fiction since I first encountered it in an issue of Ploughshares a decade ago, and can’t wait to read this novel about a woman who is a field-hospital medic for the militant Tamil Tigers. She’s eventually recruited to join a project documenting human-rights violations. “A beautiful, brilliant book—it gives an accounting of the unimaginable losses suffered by a family and by a country, but it is as tender and fierce as it is mournful,” says Danielle Evans.

Maame by Jessica George

Spending her time in London as a primary caretaker for her father and as the only Black person in every meeting at her job, Maddie Wright wishes to lead a less constricted life. Celeste Ng calls this debut novel “an utterly charming and deeply moving portrait of the joys––and the guilt––of trying to find your own way in life.” 

Central Places by Delia Cai

Cai is a senior correspondent at Vanity Fair and the creator of a beloved media newsletter, Deez Nuts. In her first novel, a Chinese American woman from Illinois brings her white fiancé home to meet her parents. I read an advance copy of Central Places months ago, and have not begun to forget its luminous depiction of the complications of relationships with friends, old and new romantic loves, and immigrant parents.

Bad Cree by Jessica Johns

A horror-inflected debut about a woman named Mackenzie who wakes up one day with a severed crow’s head in her hands. A murder of crows is stalking Mackenzie, who is grieving her sister’s death. A novel spun from alarming crows, complicated grief, and eerie dreams: yes, yes, and yes. According to Kristen Arnett, Johns “writes the world in all its messiness and terror, while simultaneously remembering to center its tender beating heart.”

Black and Female by Tsitsi Dangarembga

Dangarembga is a writer, filmmaker, and playwright whose novels have received the Commonwealth Writers Prize and been shortlisted for the Booker Prize. Black and Female, an essay collection, “blazes with her characteristic intellectual prowess, unstinting honesty, and commitment to personal and political acts of resistance and reclamation,” says Nadia Owusu.

February 

Dyscalculia by Camonghne Felix

Felix, a splendid poet and essayist whose debut poetry collection was longlisted for the National Book Award, is now publishing a first book of prose reflecting on mental health, trauma, hospitalization, and her relationship to mathematics. Raven Leilani calls it “a frank exploration of pleasure, heartbreak, and reclamation” that “rejects containment and asks instead for care.” 

Hijab Butch Blues by Lamya H

In a memoir-in-essays from a former Lambda Literary Fellow, a queer, devout Muslim immigrant juxtaposes their coming-of-age and young adulthood with stories from the Quran. I’ve greatly admired her short-form writing, and Kai Cheng Thom says the book is “sure to become a queer classic.”

A Spell of Good Things by Ayọ̀bámi Adébáyọ̀

Adébáyọ̀’s debut book. Stay With Me, was shortlisted for the Baileys Prize for Women’s Fiction, and her follow-up intertwines the stories of two Nigerian families described as being “caught in the riptides of wealth, power, romantic obsession, and political corruption.”

When Trying to Return Home by Jennifer Maritza McCauley

This collection of short stories covers a century of the lives of fictional Black Americans and Afro-Puerto Ricans, ranging from a woman trying to rescue her brother to a college student facing off with a nun. De’Shawn Charles Winslow says the book features a “cast of some of the most memorable characters and predicaments” he’s encountered in fiction.

My Nemesis by Charmaine Craig

Craig’s previous novel, Miss Burma, was longlisted for the National Book Award and the Women’s Prize for Fiction. In her new novel, a writer named Tessa clashes with Wah, the wife of a philosopher-scholar friend, going so far as to call the latter “an insult to womankind.” According to Sarah Shun-lien Bynum, “My Nemesis is an exhilarating act of defiance, a novel that lights a match and sends the whole question of female characters’ likability up in flames.” As someone who very badly wants the notion of women characters’ likability to go up in flames, I say hallelujah.

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

“Reader, beware! Our Share of Night is a novel so disquieting, so unsettling that I could neither put it down nor read it late at night,” says Kelly Link. This new book from the International Booker Prize-shortlisted Enriquez is about a grieving father and son who get involved with a terrifying cult in search of immortality.

An Autobiography of Skin by Lakiesha Carr

Carr’s debut novel, which incorporates back-room parlor slots, postpartum depression, and spiritual combat, follows generations of women in the South. “Meditative and powerful in its love for the generations of Black women at its heart, An Autobiography of Skin dives body-and-soul into its characters’ experiences to explore questions about faith, forgiveness, and the fortitude that just living day to day can sometimes require,” says Dawnie Walton.

March

Ada’s Room by Sharon Dodua Otoo, translated by Jon Cho-Polizzi

Reading an advance copy of this highly inventive, unpredictable first novel from the Ingeborg Bachmann Prize-winning writer and activist Otoo, I was astonished by a narrative that jumps back and forth across 400 years and the experiences of four women named Ada trying to survive in West Africa, Victorian England, and Germany. I haven’t quite come across anything like this before. 

Saving Time by Jenny Odell

It can seem that almost everyone I know is emotionally and physically exhausted, barely getting through the ever-alarming days. (I, too, am an everyone.) In this new book from the rigorously original Odell, she explores how we experience time, reimagining the clock-based, profit-driven world in which most of us live and continue to burn out. Ed Yong calls it one of the most important books he’s read in his life.

What Happened to Ruthy Ramirez by Claire Jiménez

A Puerto Rican family on Staten Island learns that a lost sister might have been cast on a reality TV show, and they set off to bring her home. According to Jaquira Díaz, Jimenze’s first novel is “hilarious and heartbreaking,” and Jiménez “is both storyteller and cultural critic, giving us an unflinching rejection of respectability politics.”

Sea Change by Gina Chung

A relatively specific but ferocious opinion of mine is that there simply isn’t enough fiction starring jellyfish, octopodes, giant squid, and their flexible ilk. In Sea Change, which Mira Jacob calls “a wild blessing of a debut,” the narrator Ro, who works at a mall aquarium, befriends a giant Pacific octopus named Dolores. When Ro’s life as she knows it is tossed overboard, she has to find her way back to familiar shores with the octopus’s help.

The Human Origins of Beatrice Porter and Other Essential Ghosts by Soraya Palmer

Zora and Sasha Porter, sisters living in Brooklyn, are confronted with a buried family secret. Angela Mi Young Hur says the novel is peopled by “Anansi and other folkloric figures and deities of their Jamaican Trinidadian heritage” that transform “from teller to teller, from one generation to the next—at times haunting or healing, seductive or terrifying.”

Who Gets Believed? by Dina Nayeri

In what Robert Macfarlane calls “an interrogation of ‘disbelief culture’ and the injustice that both fuels it and is fueled by it, a form-shifting memoir of an already-remarkable life, and a moving, harrowing investigation of love, loss and care,” Nayeri reflects on who gets believed and who doesn’t, in contexts from asylum interviews to emergency rooms to corporate offices.

The Great Reclamation by Rachel Heng

Ah Boon, a child in a fishing village in twentieth-century Singapore, discovers a magical ability to find movable islands. The Japanese army invades, and the future of his village is in jeopardy. Heng’s debut novel was fascinating, and according to Julie Otsuka, “The Great Reclamation is both an intimate love story and an epic historical tale that is sure to be read for years to come.”

April

Ordinary Notes by Christina Sharpe

Ordinary Notes is a book comprised of 248 notes about language, the past, art, photography, beauty, and Sharpe’s mother, Ida Wright Sharpe. Alexander Chee says that “Ordinary Notes is like an intellectual ice climb―you move along a careful series of handholds to cross a terrain that might otherwise seem impassable, and afterward, you are amazed at the passage. At once an act of careful attention and a juxtaposition of observations and questions, the result is a powerful vision of American life, drawn from the Black intellectual history and aesthetics that Sharpe has cultivated as the means to her own liberation, so that she might offer it to others.”

A Living Remedy by Nicole Chung

I wept while reading this devastating, radiant memoir, which Bryan Washington calls a “bouquet of feeling” and “a groundbreaking narrative steeped in love, humor, the infinitude of memory, and the essentiality of community.” A Living Remedy is about illness, family, and the terrible losses brought on and exacerbated by financial precarity, this country’s malfunctioning healthcare system, and the ravages of the pandemic.

The Haunting of Alejandra by V. Castro

A woman named Alejandra is haunted by ghostly visions of a crying woman in a white gown, the Mexican folk demon La Llorona. As Alejandra visits a therapist, she starts learning that La Llorona connects her to her mother, grandmother, and other women ancestors, and that she’ll need her foremothers’ help to banish the ghost. According to Lupita Aquino, this novel is provocative, haunting, and packed with secrets. 

Blue Hour by Tiffany Clarke Harrison

Blue Hour is a fragmentary debut novel about a biracial photographer grieving a miscarriage whose student, a boy named Noah, is victimized by police brutality. As she visits Noah in the hospital, she learns she’s pregnant again. “A short, beautiful, intensely present work of art,” says Lydia Kiesling. 

The Skin and Its Girl by Sarah Cypher

In a hospital in the Pacific Northwest, a baby’s skin turns cobalt blue, which the family matriarch believes to be the embodiment of her family’s sacred history as prominent soap-makers. According to Laura van den Berg, Betty Rummani, “born with cobalt-blue skin, into a family rich with ingenuity and secrets,” is “one of the most memorable and original protagonists” she’s come across in a long time.

May

Quietly Hostile by Samantha Irby

The wildly hilarious Irby has written a new collection of essays about Hollywood, QVC, bathroom etiquette, and Carrie Bradshaw. Jia Tolentino calls Irby’s writing “stay-up-all-night, miss-your-subway-stop, spit-out-your-beverage funny, as irresistible as a snack tray, as intimately pleasurable as an Irish goodbye.” 

Let This Radicalize You by Kelly Hayes and Mariame Kaba

Organizers and movement educators Hayes and Kaba continue their influential, revolutionary work with this new co-authored book, intended to be a “a practical and imaginative resource for activists and organizers building power in an era of destabilization and catastrophe.” The book examines questions of mass protest, mutual aid, care, and defense, and includes insights from other experienced organizers. 

In Vitro by Isabel Zapata, translated by Robin Myers

Drawing from diary and essay forms, In Vitro is a meditation on pregnancy, motherhood, in vitro fertilization, and pregnancy. Zapata “writes with a fluidity that can only come from wisdom,” according to Alejandro Zambra. “Sometimes it feels like we’re listening to her speak more than reading her on the page; it even feels like we can speak back.”

Yellowface by R.F. Kuang

A writer passes off a dead writer friend’s manuscript as her own, a theft made all the more diabolical by the fact that the thieving writer is white, the dead friend is Asian, and the white writer takes on a new name, Juniper Song. My blood is rising already. This novel from the New York Times-bestselling writer of the Poppy War trilogy, nominated for the Hugo and Nebula Awards, promises to be a wild ride of a book.

Soil by Camille T. Dungy

In this new book from the remarkable poet and scholar Dungy, she describes a seven-year endeavor to diversify her garden in a predominantly white Colorado community that restricted what residents could and couldn’t plant in their gardens. “I felt transformed by this graceful and generous book,” says Jami Attenberg. 

Horse Barbie by Geena Rocero

Rocero, a former pageant queen from the Philippines, hid her trans identity after moving to the US, and, within a few years, became an in-demand model. In time, she was increasingly pulled toward openly being her authentic self. Rocero’s memoir is described as “a radiant testimony from an icon who sits at the center of transgender history and activism,” and a story “of survival, love, and pure joy.”

Notes on Her Color by Jennifer Neal

In this debut novel, a young Black and Indigenous woman named Gabrielle learns to change the color of her skin. Her mother, who also has this ability, tells her to present as white to avoid upsetting her father, and their whole house, including the food and spices, has been bleached white. Gene Kwak says, “Read this book. Come find me and we can bond over our shared joy. Weep over what we thought we feared.”

Human Sacrifices by María Fernanda Ampuero, translated by Frances Riddle

An undocumented woman answering a job posting that leads to danger, boys drowned while surfing, and a couple trapped in a terrifying maze: this gothic story collection has been praised by Mónica Ojeda as a magnificent book, writing that is “pure horror and aesthetic joy.”

An Autobiography by Angela Y. Davis

First published by Toni Morrison in 1974, this new edition of An Autobiography covers the legendary Davis’s journey from childhood to her work with the U.S. Communist Party, the Black Panther Party, and the Soledad Brothers, to teaching at UCLA, to the FBI’s list of the Ten Most Wanted Fugitives. “Still a key work in the areas of prison abolition and feminism, this reissue of a classic autobiography deserves a place of honor in any collection,” says Library Journal.

June

Holding Pattern by Jenny Xie

I’ve followed Xie’s captivating writing for a while, and, this summer, she’ll published a novel about a graduate-school dropout who moves back to her childhood house in Oakland. Her mother, it turns out, is in love with and getting married to a tech entrepreneur, and the daughter helps plan the wedding while finding a new job at a mysterious start-up. 

Birdgirl by Mya-Rose Craig

Birder, environmentalist, and diversity and climate activist Craig has written a book that is partly a memoir, partly a bird-watching guide, and partly an account of how birding brought her family solace during her mother’s mental-health crisis. David Barrett says Birdgirl is “an essential read for a new generation of birders and environmentalists.”

Deep as the Sky, Red as the Sea by Rita Chang-Eppig

A suspenseful historical novel about a cutthroat pirate queen who, when her husband was killed by a Portuguese sailor, seized power to survive. Kirstin Chen calls Deep as the Sky, Red as the Sea “a riveting, heart-pounding exploration of ambition.” Y’all had me at the words “pirate queen.” 

Rivermouth by Alejandra Oliva

Oliva is a translator and immigrant justice activist, and Rivermouth chronicles her experiences of interpreting at the U.S.-Mexico border and working on asylum cases. The book has been awarded the Whiting Creative Nonfiction Grant, which describes Rivermouth as being “subtle, personal, and deeply informative” from a writer whose “candid, intimate voice is irresistible.”

July

Owner of a Lonely Heart by Beth Nguyen

I rush to read Beth Nguyen’s writing. At the end of the Vietnam War, when eight-month-old Nguyen and her family fled Saigon, they were separated from her mother, whom Nguyen didn’t meet again until she was nineteen. “Nguyen’s triumph of a book is forged and fed by her searing curiosity about her refugee family’s past and her jeweler’s eye for precise detail—all while navigating the geography of her Midwest roots with a big, beautiful heart. A must-read for all who struggle with or celebrate complicated family,” says Aimee Nezhukumatathil.

8 Lives of a Century-Old Trickster by Mirinae Lee

This genre-bending novel, set in the demilitarized zone dividing North and South Korea, is about a shapeshifting trickster who is a spy, lover, mother, terrorist, murderer, and escape artist. 8 Lives of a Century-Old Trickster is recommended to admirers of Min Jin Lee’s Pachinko.

August

Family Lore by Elizabeth Acevedo

Family Lore is National Book Award–winning Acevedo’s first novel for adults, about a woman who can predict, to the day, when people will die. She gathers and family together for a living wake for herself. “Make room on your shelves, readers, for this strong new voice with an old soul and a deep well of understanding of who we wonderfully are for the brief time we are beings,” says Julia Alvarez.

Forgive Me Not by Jennifer Baker

Baker, the formidable Publishers Weekly Star Watch “Superstar” and host of the Minorities in Publishing podcast, has written a book about an incarcerated teenager whose drunk-driving accident caused the death of her sibling. In this alternate world, the fate of juvenile offenders is decided by their victims and survivors, and Forgive Me Not is centered on the teenager’s quest for forgiveness from her family, as well as the costs of that quest. (Jennifer Baker is a former contributing editor to Electric Literature.)

Falling Back in Love With Being Human by Kai Cheng Thom

I first came to Thom’s work through her excellent advice column, Ask Kai: Advice for the Apocalypse. In Falling Back in Love With Being Human, this writer, performance artist, and community healer writes through a crisis of faith. The book is described both as a collection of love letters and as a blueprint for falling back in love with being human.  

Daughters of Latin America by edited Sandra Guzman

Daughters of Latin America is a collection of writing from 140 Latine writers, scholars, and activists including Elizabeth Acevedo, Julia Alvarez, Carmen Bouollosa, Berta Caceres, Naima Coster, Angie Cruz, Reyna Grande, Ada Limón, Achy Obejas, Ingrid Rojas Contreras, Cecilia Vicuña, and more. The book includes winners of the Grammy, National Book Award, Cervantes, and Pulitzer Prizes, a Nobel Laureate, and several writers being translated into English for the first time.

Every Drop Is a Man’s Nightmare by Megan Kakimoto

This debut story collection follows a cast of mixed native Hawaiian and Japanese women. Kakimoto, says Elizabeth McCracken, “gives us her Hawai’i, as bright as blood, as dark as blood: full of muscle and bone, sex, the body, corpse flowers, Night Marchers, the occasional Elvis impersonator,” in a book that “does not pull its punches; it’s altogether a knockout.”

Lush Lives by J. Vanessa Lyon

Lush Lives is one of the first books from Roxane Gay’s new imprint at Grove Atlantic, and it’s a love story about Glory Hopkins, an artist struggling to find gallery representation. Glory, after inheriting a house that contains a rare manuscript, works with an auction house appraiser to learn more about the mysterious manuscript. Lush Lives is described as “an unforgettable novel of queer love, ambition, and the forgotten histories that define us.”

The End of August by Yu Miri, translated by Morgan Giles

Yu is a Zainichi Korean playwright, novelist, and essayist who received the National Book Award for her unforgettable, eerie novel Tokyo Ueno Station. In this multigenerational epic, a marathon runner summons shamans to connect with the ghost of an ancestor who was a contender for the Olympics in occupied Korea. 

September & later

I Believe in Our Power by Raquel Willis

Willis is an activist, writer, and media strategist who has worked as a national organizer for the Transgender Law Center and the executive editor of Out magazine. I’ve followed her exceptional work for a while, and her debut memoir is about her coming of identity and activism.

This is Salvaged by Vauhini Vara

Vara’s The Immortal King Rao, a show-stopping novel about a Dalit immigrant who becomes extremely powerful, and about his child, was one of my favorite books that published in 2022, and this story collection promises to be at least as good. I first read a story from this collection, “I, Buffalo,” a decade ago in Tin House. It’s a heartbreaking, somehow very funny story about alcoholism, buffalos, and metamorphosis, one I must have reread a dozen times.

And Then She Fell by Alicia Elliott

Elliott’s bestselling debut book, A Mind Spread Out on the Ground, hasn’t left me since I read it in 2020, and her second book is about a new mother struggling to write a modern retelling of the Haudenosaunee creation story. A fictional portrayal of motherhood, mental health, threatening neighbors, surface charm, and denial, And Then She Fell is described as being poignant, raw, funny, and urgent.

The Liberators by E.J. Koh

Poet, translator, and writer Koh’s incandescent memoir, The Magical Language of Others, had me crying and crying, and her debut novel, The Liberators, spans four generations of a family haunted by decisions made in times of war, migration, and dictatorship. 

You Get What You Pay For by Morgan Parker

The dazzling poet Parker is publishing a collection of essays connected by Parker’s years-long attempt at “trying to square the resonance of her writing with the alienation that accompanies being forever single,” a question that takes Parker through American cultural history as she combines criticism with personal anecdotes. 

Evil Eye by Etaf Rum

After having been raised by a conservative Palestinian family in Brooklyn, Yara thinks she’ll free herself by marrying an entrepreneur and moving. But dissatisfaction follows, then trouble, and a curse from the past might be to blame. From the New York Times-bestselling writer of A Woman is No Man.

Magical / Realism by Vanessa Angélica Villarreal

I’m a longtime fan of Villarreal’s superb writing, and her next book is a collection of essays about grief tangled with pop culture, as well as the complicated girlhoods of being a working-class daughter of a cumbia musician. Here’s betting the collection will be outstanding. 

Land of Milk and Honey by C Pam Zhang

Land of Milk and Honey, a new novel from the Booker Prize-nominated Zhang, is about a chef who ends up in a decadent colony of the extremely rich, taking place in an all too plausible future in which food is vanishing. I had the luck of reading a draft of this novel, and can tell you it is marvelous and terrifying and will make you very, very hungry.  

What if We Get it Right by Ayana Johnson

Johnson, a marine biologist, policy expert, and writer, has written a book proposing that we ask, “What would it look like if we actually solved climate change?” Such is my emotional landscape these days that even reading that question makes me tear up. I know I’m far from alone, and What if We Get it Right is a call to action and a “vision of the new climate future we can create through community and creative problem-solving.”

Modern Afghan Lives, Across Generations and Countries

A finalist for the National Book Awards 2022, The Haunting of Hajji Hotak and Other Stories by Jamil Jan Kochai interrogates war and carnage in Afghanistan in the name of counterterrorism, and the ensuing trauma and grief that has reverberated through Afghan generations, across the homeland and the diaspora. 

The collection, a blend of surreal, absurd and photorealist narratives, opens with “Playing Metal Gear Solid V: The Phantom Pain”, a second-person narration that follows a young man who scrimps and saves for the latest video game, set during the 1980s Soviet occupation of Afghanistan, only to have his joy be short lived as his virtual avatar encounters his father and his martyred uncle, compelling him to contend with familial trauma. In “Return to Sender”, grief takes a new meaning as a young Afghan American couple, recently moved to Kabul, receive pieces of their missing son that they start stitching together. “The Tale of Dully’s Reversion” brings war and carnage into the forefront as Dully, a Ph.D. student transforms into a monkey and finds himself in Kabul leading a revolution while his mother fervently pursues the imam she traveled for, in the hopes he could spur Dully’s physical and spiritual reformation. Other narratives such as “Bakhtawara and Miriam” and “Saba’s Story” examine love and friendship in more direct light, juxtaposed against the warfare and its ghastly aftermath that thrums in the background. And yet others like “Hungry Ricky Daddy” and “Enough!” make overt statements, condemning the state of our humanity. Urgent and necessary, Kochai’s work offers a culturally rich lens of Afghans and their diaspora, deftly striving against stereotypes and monoliths borne out of the War on Terror narratives.

Jamil Jan Kochai is from Logar, Afghanistan—the place featured both in his current collection and debut novel, 99 Nights in Logar. His writing has appeared in The New Yorker, Ploughshares, The New York Times, The Best American Short Stories and other places. Currently, he is a Hodder Fellow at Princeton University. Kochai and I spoke over Zoom about Muslim representation in writing, intergenerational trauma, privilege, power and more.  


Bareerah Ghani: In Bakhtawara and Miriam, we watch Bakhtwara sacrifice herself thinking it’s her duty to save her family’s honor and reputation. Other narratives also depict this dynamic within the Afghan family where there’s an unspoken demand and expectation from children, especially sons who we see take on the role of providers. To what extent do you think this is a product of the history of war and conflict that has sapped the older generation’s capacity to return to normal life as they know it?

Jamil Jan Kochai: I think that’s exactly what it is. What I see often in a lot of families is this sort of dynamic and this is both in Afghanistan and abroad, in immigrant families, that children are tasked with becoming adults much more quickly and I think that does have exactly to do with that context of years of ongoing war, and oftentimes, intense poverty as well. So you have this situation, where from a very young age, children are attempting to negotiate their parents’ war trauma. It’s one of the things I referenced in “Playing Metal Gear Solid” as well, this feeling that the main character often feels like he’s more of a therapist than he is a son, and I think that’s a circumstance that can occur in many immigrant families, especially families where the parents or the grandparents have suffered war trauma. Your question is getting at a very important point that this isn’t necessarily something that’s sort of intrinsic to the fabric of Afghan culture, but that it does, in fact, have a lot to do with war trauma being passed down generations and with children then not being allowed to develop as children but instead, being tasked to take on these roles as providers, or even in some regards, especially if they have younger siblings, sort of being asked to become parents at a very young age. I really appreciate this question because one of the things I try to be pretty conscious about in my work is emphasizing that context of warfare. Any time I’m writing about an Afghan family, it’s important that I’m being very honest about a lot of the beautiful qualities of an Afghan family, like the love and the care but also sort of the negative aspects of that, whether that’s domestic abuse, child abuse, or whatever else, and that I’m contextualizing all that within this long history of warfare, imperialism and poverty.

BG: I think that’s one of the reasons why the collection spoke to me; at the center of every character, there’s a realness. I’m also enamored because before this, I’ve not interacted with a book or a Muslim writer who’s writing about Muslim characters in the way I perceive and experience Islam. I’d love for you to tell me any authors that have inspired you to write in this manner.

JJK: You know I had the exact same experience. I love the recent development of Pakistani literature. But a lot of it, for me, is intensely secular. Just as you mentioned, even when reading “writers from the Muslim world”, I very rarely see the grasping with the concerns of Islam in the way I view it. So often when I’m reading Muslim characters, they’re drinking beers, or are atheist and all these different things, which is totally fine. I’m not opposed to that. But it’s just different from my own experience.

So for me, in terms of thinking through how to write about Islam, or God, or theology in general, I found a lot of Christian writers helpful. Dostoyevsky, for example, some of his writings and his grappling with faith, in The Brothers Karamazov in particular, really spoke to me. Some of Graham Greene’s writing, both The Heart of the Matter, and The Power and the Glory, to different degrees are dealing with Catholic theology but again, it’s this idea of, how does one grapple with faith, suffering and with God, and religious institutions that can be exploitative, all of that really spoke to me. The book that handled this incredibly, beautifully, in regard to Islam in particular, is This Blinding Absence of Light by Tahar Ben Jelloun. It’s about these political prisoners that attempt the assassination of a king and they’re held for twenty years in this underground prison that’s four feet high, so they can’t stand up for twenty years. It’s factually based. These men are routinely tortured, they’re constantly suffering immense pain and to grapple with that, they begin to pray, one individual does the azaan, they pray in unison, and it’s this method, and they meditate into this method to try to escape their bodies, and it leads to some of the most beautiful passages I’ve ever read about Islam, spirituality, and this idea of transcendence. This was immensely helpful to me in terms of figuring out how one writes in a complicated and beautiful way not just about Islam, but everything that Islam encapsulates, you know, existence, suffering and love. 

BG: One of the strengths of your work is how it examines white privilege and association with it, especially in “Return To Sender” which highlights the social currency that comes with holding the American passport and by extension, being granted the privilege of having your life be more important than someone else’s. As a person of color with another nationality outside of being American, how do you navigate this dichotomy in privilege and access to safety based on citizenship and the feelings it engenders for those of us with loved ones living in places that don’t grant them the same privilege? 

JJK: I do feel fortunate because I’m able to put a lot of those feelings, doubts, and guilt on the page. And that’s really the main way I grapple with it; I project it onto my characters a lot of the time. It’s very important to me that when I’m writing about Afghanistan, when I’m thinking through issues of privilege, power and positionality, it goes right on the page, that I don’t try to avoid it, that I struggle with it through my characters and through the stories themselves. And that’s what I tell my students as well, because I think it’s fairly common, this feeling of guilt and this understanding that growing up in this country, and holding that all-powerful American passport comes with an immense amount of power and privilege. There are all these ways that can become very problematic when you think about a writer’s position to their subject. And so one of the things I’m doing now is that I’m traveling back and forth between the US and Afghanistan, specifically for the purposes of my writing, specifically to interview family members, relatives and people from my home village, just to sort of understand what they’re going through, their own experiences, and then using that as material for my own writings. I try to be very frank about the fact that it can be a very troubling dynamic, and for me it’s a matter of trying to be very honest with yourself about where those issues can occur, and then working through that on the page.

BG: This makes me think of your story “Hungry Ricky Daddy” which directly talks about the war in Palestine, something people are not willing to talk about. How do you contend with the frustration, heartbreak and helplessness that comes with witnessing the war crimes in Palestine and the erasure Muslims are facing around the world in Kashmir, France, and China? What role does writing or fiction in general play, if any, in all this for you?

What I see often in a lot of immigrant families is this dynamic that children are tasked with becoming adults much more quickly.

JJK: I’ve always felt like I’ve had a responsibility as a writer to make sure, as much as possible, if the circumstances allow, to shine a light upon these different war crimes, atrocities, the different erasures occurring throughout the world. It’s something I feel uneasy about sometimes like with Hungry Ricky Daddy, I’ve immense feelings of doubt and guilt. With Afghanistan, I’ve family members there, my parents grew up there, so I have more of an ability or a claim to be able to write about Afghanistan. But with Palestine that was much trickier because there aren’t those same associations. But at the same time, that was the story where I knew early on that there was going to be this Palestinian character and by having that, I knew I couldn’t then shy away from the Israeli occupation of Palestine, and the war crimes and oppression going on there. I try to be as careful and honest as I can be about making sure that I’m shining a light on those issues, and that I’m doing it in a responsible, thoroughly researched way. So, one of the things I did with that story is that I made sure I sent it to some Palestinian friends, writers, and artists, and made sure that there wasn’t anything I was getting immensely wrong there.

If there’s a political objective to my writing, it’d be rooted in an anti-occupation, anti-war position. When I’m writing about Afghanistan, I try not to shy away from the fact that I was immensely anti-US occupation, anti-Soviet occupation when that was occurring, that I’m anti-Israeli occupation. I think fiction writing has to allow for a great deal of gray area and moral complexity. But for me that ends at occupation. For me, there’s no moral complexity about an invasion, about the Israeli occupation of Palestine. To me, that’s pure, unadulterated oppression. And when you do the research, look into what’s actually going on there, that seems immensely clear to me. I remember growing up, you’d read about atrocities being committed in Afghanistan, soldiers killing civilians, and similar things occurring in Palestine and different places, I’d feel so immensely helpless. It was rage inducing. Being able to now write about those things, it’s one of my ways to work through those feelings and sort of filter it onto the page.

BG: How do you write Muslim characters who are complex individuals without worrying about them being reduced to their faith, or without worrying about portraying an untrue image of Islam in how your characters struggle with their faith?

JJK: My strategy is that I start with trying to figure out the character, their main struggles, their background. So it begins on this very personal level, and for me that makes all those other heavier, conceptual, political questions much easier to grapple with. So I’m just thinking about what this particular individual’s relationship is to Islam and I find that for most people, that question can get very complicated once you start to peel back the layers of their character. Once I sort of get the story going, that’s when I’m beginning to think about Islam on a larger level, a global level, on a more political level. And then that’s when I think it’s really important that Muslim writers, or whoever’s writing Muslim characters is very careful about the ways that varying forms of media, varying narratives have been used to demonize, dehumanize and to justify violence against Muslims, occurring across the globe. So it’s sort of this balancing act where I want to make sure that I’m staying true to the views and beliefs of the characters but as the story gets bigger and bigger, it’s also important that I’m maintaining sort of that earlier idea we were talking about, of making sure that we always have this framework of a historical context. So when I’m writing about Islam and about Muslims, I have to have the War on Terror, and the rampant demonization and violence against Muslims across the world. I have to keep that in mind, and it’s one of my issues with some of the writing that’s sort of occurred by “writers coming out of the Muslim world”. Someone, for example, like Khaled Hosseini, and his representation of Islam, of devout Muslims, it’s been used time and again to demonize, to justify violence against Muslims. Writing that sort of work is incredibly irresponsible. And it’s something I try to avoid as much as possible in my own work.

BG: I agree there’s a responsibility attached to writing about Muslim characters, but I do worry about the white gaze. Did you ever worry about that, how it would be perceived?

JJK: Yeah, absolutely. That’s something I’ve struggled with a lot throughout my development as a writer. It’s something I continue to struggle with, especially when I sold my first book, and I began to realize that the majority of my reading audience is going to be white. There’s always going to be this immense pressure just from the market itself, just the way that it’s set up to write to them, coddle them, to guide them through a country, to translate terminology for them, because everything has to be written for them. And one of the realizations that I had is that that type of writing is poor, because you have to keep making these sacrifices within the narrative. At a certain point, you get tired of it, and you’re like, I’m going to write these stories how I want to write them, my audience is going to be my family or my community, and I’m not going to have to explain things to them. At the same time, though, I do think it’s always important for writers of color, and in particular, Muslim writers to understand that as much as you can resist pandering in different ways, in the end the American audience is gonna be white readers. The entire industry is built to serve them and to sell them your work, you have to keep that in mind and understand that your writing can have a real effect upon the larger perception of the subjects you’re writing about. 

When I’m writing about the American War and Afghanistan, I know a lot of Americans are going to read this book, so it’s important I don’t shy away from things that can make an American readership uncomfortable. In fact, it’s actually very important for me that I continuously challenge my American readers to question, and ponder upon the crimes that their government and military institutions have committed in these different countries, and that largely, the media wants to ignore, and that they’re gonna want to valorize soldiers and justify these wars. And they’re not gonna want to look at the dead bodies on the ground, the dead children, and for me it’s then very important to make sure you don’t get to look away from that in my work.

BG: In Saba’s Story, we see how Mor faces judgment from Kabuli women for wearing the chador which, to me, is a product of the colonized mindset. I find that it speaks to how sometimes, it can be relatively easy to disregard the white gaze and Institution, but the hardest fight is with your own people. How do you grapple with this issue of internalized racism and how do you think we can dismantle it within our communities?

For me, there’s no moral complexity about an invasion, about the Israeli occupation of Palestine.

JJK: Well, one of the first steps is just being honest about its existence. When we look at the ways that Islam is talked about in Western cultures, and the way there’s this constant association between the more devout someone seems, the more backwards they are, that’s rooted in colonization, in these imperial fears of the mujahid figure, or the crazy mullah. I think it’s important we begin to bring light to it because often someone can be incredibly progressive and they’re rooting their critique of Islam in varying forms of progressivism, thinking like I’m progressive because I don’t wear the chador, because I’ve rejected religion. But at the same time, they’re belittling, dehumanizing and demonizing people who are devout. And people who are devout oftentimes are people coming from some of the most impoverished, war ridden areas of the world. You see this happening within the Afghan community in particular, there’s this urban rule divide that occurs with people from Kabul looking down upon people from the countryside, and then it gets even more complex because there’s ethnic, religious and sectarian tensions. So, it’s a matter of being honest about the ways that these things exist in our society and beginning to think through them, to write about them, shine a light upon them. If we don’t pay enough attention to it, at a certain point it is gonna come to a head within our cultural or literary discussions about Islam, and about how Muslims are depicted and painted within varying forms of cultural production.

It’s More Dangerous to Stand Still

Mom on the Beach

My mother, with two knee replacements, asked us to take her to the beach. She conjured for us warm, bright afternoons, salt breeze tickling skin, and starfish basking in their rocky pools. She told it like we might find deep truths in some sparkling sea foam. “I don’t need to swim,” she said. “I just want to walk a little in the water.”

With swimsuits on under our clothes, we drove down on the day we had free and found it cloudy, blustering, sixty degrees under gray sky. I scraped coarse sand off of three lounge chairs where we lay towels. But when we went to walk along the strand, when we felt our toes digging into the damp sand, we said, “It’s worth it.”

Between my husband’s and my supporting arms, my mom pressed her weight forward off of one foot to the next. Her voice changed. I heard strain. When the first wave hit our shins, she screamed mixed fear and joy, and the water rushed through our six pillar legs as if the earth was flying beneath us till its farthest point, and there that wave held briefly as still water, a lip of the great ocean lingering— 

I thought I never had seen anything more beautiful than those bubbles briefly clinging in rings around our shins. Then the wave drew out again, and beneath our feet I felt sand stripped away, the rough grains dragging, the earth shifting till I grew unstable, bent my knees to balance myself. “Mom!” I braced my own unsteady weight under her shoulder, and now she screamed real fear.

Then with new nerve she took a jerking step, the kind a baby is applauded for. One step restored her steadiness with a new plinth of sand beneath the foot. A second step reset the balance, and when I looked back at the place where we had stood, six misshapen pits yawned where we had sunk into the shingle, smoothed but not obliterated by the last streams of the dying wave. We learned we had to walk as the water pulled back out, although the world moved around us and we yearned to just stay still. Stability came in our own motion. The sea pulled its supports out from below.

She had soon had enough. We helped her back to her lounge chair where she laughed and lazed with sunglasses pressed back tight into her eyes although the clouds had deepened. She scrolled through pictures on her phone and chatted blithely with the passing families who brought kids or dogs. She watched the daring swimmers from her drier, sturdier place, and I could not stand the thing inside me sinking, that the simple pleasure that she so had craved instead had proved another thing she no longer could do, the way she once had loved to ski, play volleyball, had camped on mountainsides. Now, if she fell to the ground she could not rise. She could not put direct weight on the metal knees. I was not sure we could have lifted her to her feet if she had fallen in the sea. She would have sat still in the water, salt waves washing to her chest and streaming sand out from beneath her body till she sank.

Only in the way she kept those sunglasses pressed tight to her face, only in that hiding did I sense regret, and perhaps even that pain was imagined. Perhaps the pain was only my own, and perhaps my mother had accepted time in ways I yet had not. I left my husband and her there, walked out along the strand until their forms had vanished among the host of obstinate beachgoers. I stood against the sea and let the waves crash through my legs and draw back and I stood still till I nearly fell.

9 Books Featuring Female Villains Who Lean Into Their Wickedness

There is a point in my novel No One Knows Us Here when my heroine does a very, very bad thing. She doesn’t have to do the bad thing—it’s not one of those “steal a loaf of bread to feed her starving family” situations. She has other options and chooses to go down the dark path anyway.

I had early readers who worried that, once my heroine does her horrible deed, she becomes unsympathetic. I could have tweaked the story to make her actions more justified but ultimately decided against it—I wanted her to commit this morally dubious act. Look at famous literary bad guys like Humbert Humbert, Norman Bates, or Hannibal Lecter. A child abuser, mother/murderer, serial killer—do we sympathize with these guys? Or maybe the better question is, do we need to? At some level, yes, we can sympathize with even the most depraved characters, see their humanity despite (maybe even because of?) their wicked behavior. But really, finding a character sympathetic is secondary to whether we find them interesting. As readers, we don’t relate to Hannibal when he chows down on a victim’s brains (at least, I don’t)—we find him fascinating because of his base desires.

Literature doesn’t lack female villains—Nurse Ratched, Cruella de Vil, every wicked stepmother from every fairytale. And more recently, in 2012, Gillian Flynn’s Gone Girl, with the sociopathic Amy Dunne (and her famous “cool girl” monologue) proved that bad women can be just as devious and captivating as our Humbert Humberts and Hannibal Lecters. The contemporary villainesses on this list aren’t necessarily riding around on broomsticks, murdering Dalmations and turning them into fur coats, or locking their daughters in high towers. They are girls or women who do the wrong thing, sometimes out of malice, sometimes out of desperation, sometimes out of a very human desire to get exactly what they want, at any cost.

Baby Teeth by Zoje Stage

Baby Teeth fits into the “Is your child a violent psychopath or am I just a horrible parent?” subgenre along with We Need to Talk about Kevin by Lionel Shriver and The Fifth Child by Doris Lessing. In this case, our villainess comes in the form of a little girl, Hanna. Sweet as candy to her adoring father, Hanna terrorizes her mother the minute he turns his back. “It was hard to pour endless love into someone who wouldn’t love you back,” observes the narrator. “No one could do it forever.”

Social Creature by Tara Isabella Burton

Described as “A Talented Mr. Ripley for the digital age,” Social Creature isn’t a retelling or a re-imagination of Ripley as a woman so much as its own, original story, with its own crazy, messed-up characters and plot twists and turns. Poor girl Louise gets swept up in the party animal lifestyle of the rich and glamorous Lavinia. If you know what Tom Ripley would do in this situation, you have a pretty good idea of what happens next. If you don’t—all the better. Ultimately, it wasn’t the story that lured me in so much as the wry, detached writing style and the over-the-top depiction of the wild lives of the spoiled rich. 

An Elderly Lady is Up to No Good by Helene Tursten, translated by Marlaine Delargy

A Swedish collection of interrelated short stories with a very unsuspecting villainess, an 88-year-old woman, Maud, who travels the world and gets into a little bit of trouble—but nothing a little murder can’t resolve. A celebrity who wants to take over her apartment, annoying neighbors, or anyone else who gets in her way—no one is safe from this octogenarian serial killer. Who would possibly believe such an innocent, feeble-looking lady could be capable of such atrocious crimes?

My Sister, the Serial Killer by Oyinkan Braithwaite

Korede and her sister Ayoola have an arrangement: when Ayoola kills a boyfriend “in self-defense,” Korede will get out the bleach and rubber gloves and help her sister get rid of the evidence. That’s just what sisters do for each other, right? The tagline really sells it: “My Sister, the Serial Killer is a blackly comic novel about how blood is thicker—and more difficult to get out of the carpet—than water…”.

Eileen by Ottessa Moshfegh

By the author of My Year of Rest and Relaxation, Eileen is a creepy little book with a very creepy main character, Eileen Dunlop, who dreams of escaping her stifling life taking care of her alcoholic father and working as a secretary at a boy’s prison. She becomes obsessed with Rebecca, a counselor at the prison, and eventually gets tangled up in a strange and disturbing crime.

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

It’s hard to pin down the better villainess in What Was She Thinking?: Is it Sheba, a grown woman carrying on an affair with one of her underage students? Or Barbara, a frumpy older teacher at the same school, who is writing up her account in Sheba’s defense when the crime comes to light? Here’s what Barbara has to say on the subject: “In the end, I suspect, being female will do nothing for Sheba, except deny her the grandeur of genuine villainy.” The book is much darker and funnier than the movie version (called Notes on a Scandal) starring Cate Blanchett. 

Out by Natsuo Kirino

Set in the suburbs of Tokyo, a fed-up woman strangles her husband to death—then recruits her night-shift co-workers to help her cover up the crime. I read this book shortly after the English translation came out in 2005, and I still remember some of the gruesome details of these women’s exploits. It’s not easy getting rid of a body in the middle of a gigantic metropolis, as it turns out. One of the women, Masako Katori, emerges as the leader of this ragtag group of criminal novices. A shrewd, fiercely loyal villainess to root for.

White Ivy by Susie Yang

As a child growing up in Boston, Ivy Lin’s immigrant grandmother teaches her the art of thievery, a talent she carries into adulthood, when she finds herself drawn into the world of a WASPy rich family. She then goes to extreme lengths to secure her new position there. White Ivy reminds me of other great books: Donna Tartt’s The Secret History for its commentary on social class and also White Oleander, Janet Fitch’s 1999 hit that also happens to feature an excellent female villain. At the same time, White Ivy offers a completely different take on the immigrant experience and introduces a memorable villainess who never disappoints the reader by doing the right “bad” thing.

The Perfect Nanny by Leila Slimani

Originally published in France under the name Chanson douce (Lullaby) in 2016, The Perfect Nanny is a parent’s worst nightmare. When a mother decides to return to work as a lawyer, she finds the ideal candidate to tend to her two children—meek, unassuming Louise. From the very beginning, you know how it ends—horrifically—so the tension comes in watching the tragedy unfold. Sometimes the quiet ones are the most villainous of all.

Booktails from the Potions Library, with Mixologist Lindsay Merbaum

In Neil Gaiman’s celebrated novel American Gods, we first meet the protagonist—a strong, quiet man named Shadow—while he’s in prison: “he’d plunged as low as he could plunge and he’d hit bottom. He didn’t worry that the man was going to get him, because the man had got him. He was no longer scared of what tomorrow might bring, because yesterday had brought it.” Yet, upon his release, Shadow finds his reason for being—his wife—is gone and, along with her, the world he knew before his incarceration. In its place is an odd playground for divinity, legends, and creatures, a reality revealed to him by a con man of a god who calls himself Mr. Wednesday. After Wednesday manipulates him into his service, Shadow takes everything that happens next in stride, from his introduction to old-school deities like Anansi, Kali, Horus, Easter, and Chernobog, to encounters with leprechauns, dwarves, and goblins. Because once you’ve lost everything, the impossible doesn’t seem all that surprising. 

As Wednesday draws Shadow further into his twisted plot to win the war between the old and new gods, Shadow learns he’s on a quest of his own to figure out his past, and his future. And that con men never change. 

This booktail is made with brandy infused for nine days with orange peel, rosemary, and whole cloves. These same flavors appear in a brandy-like elixir that Wednesday offers Shadow when he’s sick from traveling through liminal space and time. The infused brandy (call it Odin’s brandy, if you will) is combined with Drambuie–a honey liqueur, and a nod to fermented honey-based mead, which Wednesday calls “The drink of heroes. The drink of the gods.” Three glasses of the stuff seal the deal between Wednesday and Shadow, cementing the mortal’s fate as well. A twist of lemon adds a lovely touch of citrus to complement the other flavors—because there’s always a twist when an immortal being like Wednesday is around. 

This drink, fit for the gods, is presented in a snifter, which is as round and full as the moon Slavic goddess Zorya Polunochnaya plucks from the night sky. It sits at the center of an offering circle that includes smoking sage and flowers—for the voluptuous and divine Easter—with stones and cardamom seeds to honor Kali. Present as well are pomegranate seeds—the fruit of life—and feathers for Anubis and the weighing of the soul. The novel stands behind the circle, blue lightning crackling across the cover, complemented by the shimmering blue, purple, and silver backdrop. The boughs and trunk of a tree are visible just to the right of the book, a reference to Shadow’s vigil and the great Nordic myth of Yggdrasil, the sacred tree at the center of nine worlds, containing all life. 

American Gods

Ingredients

  • 1 cup of brandy
  • 1 ounce of Drambuie
  • Skin of one orange
  • 1 sprig fresh rosemary
  • 3 cloves

Instructions

Add the rosemary, orange peel, and cloves to a jar, along with the brandy. Seal, shake, and let sit for 9 days in a cool, dry place, shaking once per day. Once the brandy is ready, fill a mixing glass halfway with ice cubes. Add 2 ounces of the infused brandy, along with the Drambuie, and gently stir until well mixed. Don’t over-dilute. Strain into a rocks glass or brandy snifter and garnish with a twist of lemon.

Announcing the Winner of Electric Lit’s 2022 Book Cover Tournament

Over the holidays, we asked our social media followers to vote for the best book cover of 2022 and after an especially close competition, a crowd favorite won the hearts of book lovers.

From 32 beautiful cover designs, here are the semi-finalists:

Valley of Want by Ross White, cover design by Ross White vs. Burning Butch by R/B Mertz, cover design by Robert Bieselin

Anatomy: A Love Story by Dana Schwartz, cover design by Kerri Resnick and art by Zach Meyer vs. Olga Dies Dreaming by Xochitl Gonzalez, cover design by Lauren Peters-Collaer


From the Final Four, now we’re down to two crowd favorites:

We spoke to the designers of Valley of Want and Anatomy about creating their book covers:

Ross White, author and designer of Valley of Want:

Electric Lit: Tell us about your design process for this book cover and what you wanted to convey through the artwork?

RW: Honestly, I was blown away that Andrew Saulters from Unicorn Press would even let me design my own book. I’ve only been designing books for a few years and had no formal training in design, so there’s always a feeling that I have no business doing this work. And I’m also keenly aware that an author’s vision for their book cover is often a more private (and sometimes less expansive) perspective than what an outside designer can bring, so I wondered if I was shooting myself in the foot. So much of Valley of Want is about seeing yourself as a monster but allowing that monstrosity to be softened by love, and I was determined to find visual representation for that specific tension.

EL: Did you have any interesting false starts or rejected drafts you can share with us or tell us about?

RW: My earliest draft of the cover had several of the elements that made it into the final draft—a dominant pink, aquatic life, the textures of a sculpture—but when I wasn’t able to license the artwork for that draft, I pivoted to a whole other visual language for the book. In retrospect, there was a lot of body horror in those middle drafts, though I was only able to see that after Andrew pushed back on a few covers in a row. I was doing research for a different book when I stumbled across Bulgarian artist Stefan Ivanov‘s work, but when I saw his sculpture “Object III,” it had everything I wanted for my own book.

EL: What’s your favorite book cover of 2022, besides your own?

RW: I don’t think I can restrict myself to just one. Matthew Olzmann’s Constellation Route, Sofi Thanhauser’s Worn: A People’s History of Clothing, Rio Cortez’s Golden Ax, Ama Codjoe’s Bluest Nude, and Andrea Gibson’s You Better Be Lightning some of the books that really caught my eye this year.

Kerri Resnick, designer, and Zach Meyer, artist of Anatomy:

Electric Lit: Tell us about your design process for this book cover and what you wanted to convey through the artwork?

Kerri Resnick: Designing Anatomy was challenging but incredibly rewarding. While reading the manuscript I knew that we needed a striking image to convey both the historical and medical aspect of the book without appearing too specific or dry. We had such a strong title, so I began with many concepts using only type. I tried integrating different body parts into the letters of Anatomy but nothing felt quite right (or legible). I also tried a few options portraying the main character, Hazel, as the sole focus, but it felt looked ordinary and didn’t quite hit the mark. 

The editor mentioned the idea of an optical illusion, which sounded great but very daunting. I had never designed an illusion before and wasn’t sure how to approach it. After many hours and a lot of trial and error, the thought of a dress turning into a heart popped into my head. I remember it struck me while I was in bed, and I jumped up and doodled it out because I was so excited to finally have an idea.

From there, the process was fairly seamless. I had already known of and admired Zach Meyer’s stunningly detailed illustrations. I’d been waiting for a project that might suit him and knew he would be the perfect artist for such a complicated concept. 

Zach Meyer: Kerri Resnick approached me with a rough photo collage of the concept; having the heart concept completed, I had to recreate a drawing in my style that matched the book and character Hazel.

I ended up putting my wife in a red wig and shooting photographs of her from above. It was such a unique angle that I had to shoot my own reference. When that was completed, I began sculpting the heart shape in photoshop, utilizing fabric photos and digital painting. This was very challenging and took a lot of sketching and tinkering to get right. After this was completed, I drew the drawing in graphite and charcoal, I scanned that in, and colored it in photoshop. I had two variant covers in the end, one of which went to Barnes and Noble as a special edition red cover. 

EL: Did you have any interesting false starts you can tell us about?

ZM: One of the false starts I had was just misinterpreting the brief and making the heart initially feel more fleshy and heart-like instead of forming into a dress. Kerri Resnick gave good guidance through this process; the cover went from looking like a real human heart to feeling like a part of Hazel’s dress all in one.

EL: What’s your favorite book cover of 2022/2023, besides your own?

KR: One of my favorites is Maame by Jessica George. This cover was designed by Olga Grlic. I find it so striking and beautiful; it stops me every time I see it. 

ZM: My favorite cover is Star Eater by Kerstin Hall; the artwork is done by Sam Weber, all painted in oil paint. 


The winner of Electric Lit’s 2022 Book Cover Tournament: Anatomy: A Love Story by Dana Schwartz, cover design by Kerri Resnick and art by Zach Meyer.

Click to enlarge

How Shall I Reject Thee? Let Me Count The Ways

Oh, rejection, rejection, wherefore art thou rejection? Deny my genius and refuse my praise?

Or if thou wilt, take all myself and I’ll no longer be a writer.

At the end of the day, all writers must ask themselves: to query or not to query?

You know what they say, nothing ventured, nothing gained.


Dear Mr. Shakespeare,

Thank you so much for giving me the opportunity to consider Romeo and Juliet, I appreciate it, and apologies for taking so long to get back to you!

I had trouble staying connected with the main characters of Romeo and Juliet.

While at the beginning I was pulled into the story, which you did a nice job setting up, I had trouble staying connected with the main characters of Romeo and Juliet. I also got a bit lost during the infighting between the Montagues and Capulets. I was hoping for more of a focus on the love story, rather than the family drama.

Sincerely,

Romance Lover


Dear Will,

Thanks again for following up and giving me the chance to read your work. The dialogue is working really well in your writing, but even so, I only got through the first two acts before skipping to the end.

In your work, too much happens, too quickly. Also, Tybalt, Mercutio, and the main characters ALL die? It was too much for me, so I’m going to pass.

—Not a Fan


Hi Billy,

First, thank you for being patient with me while I took eighteen months to read your submission. Sorry for leaving you hanging!

I love the premise of this story and its unconventional take on marriage. There is also a lot to admire about your facility with language, especially the rhyme scheme, it’s impressive 😊

Romeo is such a fun character, but he’s a little too conflicted for my taste, I mean he’s a lover and a murderer? I know he had his reasons, but still. However, I’m sure the right agent will connect with him on some level, keep the faith!

Kind regards,

In Your Corner


Hi Will,

I’m sorry to be sending this on Christmas. I loved your use of iambic pentameter in the Prologue, and I’m one of those people who usually hate prologues!

My parents also disapproved of my choice of husband, so I completely related to Juliet’s point of view. I was also intrigued by your use of religion as a character and how it ultimately plays a role in the plot.

It’s always hard to make monologues as intriguing as action scenes, and while I think you have achieved it to some extent, the amount of time your characters spend addressing the audience was off-putting, and I’m going to step aside. I know you’ll find the right agent soon, and I’ll probably kick myself later.

Wishing you a joyful holiday,

Close But No Cigar


Dear Bill S.,

Thanks for contacting me. Although I couldn’t put Romeo and Juliet down, I’m not going to be signing you as a client.

You have created some very memorable characters here with the Nurse, and the apothecary-obsessed Friar, I almost wished the story was more about them!

I wonder if you might consider ending on a happier note?

Although there is lovely writing here, a lot of bad things happen, and the ending was really tragic. I wonder if you might consider ending on a happier note?

This is just the feedback from one agent so take it with a grain of salt. Good luck!

All the best,

Prefers Comedies


Dear William Shakespeare,

Thank you for contacting First Folio printing. If we are interested in seeing more of your work we will get back to you. Please don’t respond to this email as it will not be responded to.

Best,

The Editors


Good luck to all #amquerying writers in the trenches out there, hope you get a “Yes” in your lifetime.

[1] In Shakespearean “wherefore” means why, not where. I know, it’s dumb and confusing. English! 

7 Books That Celebrate Underappreciated Crafts

In 1937, on the bank of the river Ravi in Lahore, the 10-year-old protagonist of my novel realizes that he is affected by smell in a way that others are not. On that day, he is inducted as an apprentice to his uncle at the family’s perfume shop, and so begins the formal education of Samir Vij. Set against the backdrop of the 1947 Partition, he falls in love with Firdaus Khan, an illuminator of manuscripts; their days filled with perfume and paper, olfactory and amorous impulses. 

The Book of Everlasting Things is at its heart a love story, but it’s also very much about characters who continue to practice traditional crafts—perfumery, distillation, calligraphy and illumination, paper-making, Ayurvedic medicine, carpet weaving, leatherwork and tanning—in a changing world. Perhaps it is my own training as a traditional printmaker that inevitably directs my attention to these now-rare, highly intricate, labor-intensive disciplines that have sadly been swallowed by the modern and automated. And so, in an effort to celebrate underappreciated art forms, ancient traditions, and unique occupations, I present a list of books that have informed the texture of my writing.

The Earthspinner by Anuradha Roy

The Earthspinner deftly revisits the themes that Roy’s novels are well known for—history, memory, myth, and love. Elango is a Hindu rickshaw driver and potter whose dream is to create a terracotta horse, and whose crime is falling in love with Zohra, the granddaughter of a blind, Muslim calligrapher. A neighbor, Sara, becomes both witness and chronicler of his days, as she entwines herself into his life as his apprentice. One day, a lost dog, Chinna, appears, adopting the potter. With the completion of the terracotta horse, a community is enraged, and the pair of lovers flee into exile. Told in alternating first and third person, moving between India and England, the novel harnesses the elemental power of rain and fire, the strength of the earth, and the bodily nature of craftsmanship.

The Hare with Amber Eyes: A Hidden Inheritance by Edmund de Waal

British ceramicist Edmund de Waal inherits his late uncle Iggy’s collection of two hundred sixty-four nestuke, Japanese wood and ivory carvings used as kimono ornaments, none bigger than a matchbox. It is a “very big collection of very small objects,” comprising, among other creatures, a hare with amber eyes, a tiger turning to snarl, a seated man holding a gourd between his feet, rats with sinuous tails, some with signatures or bits of paper glued to the bottom, others with fading patina and dulling details. This inheritance leads de Waal from Odessa to Paris, Vienna to Tokyo. Part memoir, part detective story, it absorbs centuries of art history, state and family archive, memory and secret, as de Waal unearths how and why these ornaments came to be acquired by his ancestor, the French art historian Charles Ephrussi, in the nineteenth century, and their tumultuous journey thereafter.

Chronicle of a Corpse Bearer by Cyrus Mistry

This was the first book I read when I moved to Montreal, a city enveloped in bitter cold for the better part of the year. Despite the seemingly morbid subject of the novel, I found the deliberate quiet of its prose resonated with me enormously. In the city of Bombay, there is a near-invisible community of Parsi corpse bearers called Khandias, whose job it is to collect the bodies of the deceased from across the city on foot, perform the final rites, and carry them to the Towers of Silence. Phiroze Elchidana, son of a Parsi priest, falls in love with Sepideh, the daughter of an aging corpse bearer, and makes the decision to adopt the profession. This is one of the most noble services a Parsi can perform for his faith, an ancient profession, and yet it renders them untouchable, often ostracized, for their contact with the dead. Bringing together the landscape of pre-Independence Bombay and the lesser represented stories of priests and corpse bearers of the Zorastrian faith, Mistry’s narrative is one of intimacy and tenderness, which, on more than occasion, led me to close the book and reflect on its melancholy.

The Printmaker’s Daughter by Katherine Govier

In Japan’s nineteenth-century Edo period, when artists and writers were suppressed by the shogunate, Kastushika Hokusai, a printmaker, lives with his daughter, Oei, working on pieces like The Great Wave that will one day become legend. However, in their time, they live in poverty, traveling often to avoid arrests. Through research, Govier imagines the life of Oei, who reveres her father above all else. She works in his studio for her whole life, and may well have been the hand behind some of his most famous works. This is a novel about artistry and the ukiyo-e tradition of woodblock printing and painting, but is as much about family and loyalty, and the place of women. In the final chapters, Oei says, “I am the brush. I am the line. I am the color”—and yet this is weighed down by one final admission: “I am she, Hokusai’s daughter.”

The Lost Generation: Chronicling India’s Dying Professions by Nidhi Dugar Kundalia

From the women of the Baiga tribe in the jungles of Jharkhand who have intricate godna tattoos etched upon their bodies to the professional mourners called rudaalis deep in the deserts of Rajasthan, from the Hindu priests on the banks of the river Ganga in Hairdwar who maintain genealogical records, rolled up to resemble resplendent tree barks, to the Urdu scribes or kaatibs of Old Delhi, Nidhi Dugar Kundalia’s book chronicles 11 of India’s dying professions. Though the book is by no means exhaustive—as there are many more such professions across the country—it is a splendid starting point for any reader, written with an atmospheric delight that restores a world on the verge of extinction.

A Scented Palace: The Secret History of Mary Antoinette’s Perfumer by Élisabeth de Feydeau, translated by Jane Lizop

Élisabeth de Feydeau, a professor at the Versaille School of Perfumers, draws on the papers of Jean-Louis Fargeon, tracing his life from 1748, when he is born into a family of perfumers in Montpellier, to his becoming perfumer to the young queen, Mary Antoinette. He serves her for fourteen years until the Revolution sweeps the nation, composing luxurious and bespoke fragrances and pomades, and chronicling her extravagant expenditures. Rather than providing broad historical context, the book speaks to an intimate court life and relationship between perfumer and queen. It spends considerable time on fascinating beauty secrets, ingredients, luxury goods, and articles for grooming—lemon pomade, carnation powder, perfume sachets, and a selection of beauty spots and creams to purify and whiten the queen’s complexion. The back of the book contains notes on Fargeon’s palette and his methods of ingredient extraction. Interestingly, one of his floral formulas survived the revolution and is now called “Black Jade.”

Jadoowallahs, Jugglers and Jinns: A Magical History of India by John Zubrzycki

One of my early childhood memories in India is of the magicians, puppeteers, and snake-charmers that attended our birthday parties. There are photographs of them making eggs appear and disappear in our hands, pulling doves from top hats, finding coins behind a cousin’s ear. India’s association with magic goes back centuries, and in this magnificent book, Australian writer, John Zubrzycki explores how “magic descended from the domain of the gods to become part of daily ritual and popular entertainment.” Highly imaginative and rich in detail, the book draws on archival records, newspaper articles, interviews, and memoirs of Western and Indian magicians and illusionists to culminate in an extraordinary cultural history of oddities.