My Menial Job at the Anti-Fuck Factory

“The Raised Blade” by Katherine Dunn

There came a day I was in no way prepared for. Fifteen years had passed since I had seen Sam and Carlotta. I was thirty-six years old and living in Boston. Time had ripped me out of my holdings, out of my natural domain, and stranded me on my back looking at a horizon altogether too far away. I had blunted my mind beneath blossoming trees and written my little books in feeble defiance of mortality. I had spun exuberant lies and told crass truths, all to avoid pain and unpleasant incidents. I had dutifully loved and later settled for not loving. After years thick with colorful scenes and phantasmagoria, my life had gone gray, dull, and bereft of my own will, an abandonment of volition that carried me into the cold and out again, like a sand flea in the surf.

I had spent the past many months pursuing a young man. A poet. Jack. He was beautiful, and he despised me. First, I had given him money. When the money ran out I went to work again at odd jobs that seemed to separate me from him more than the hours accounted for. While I was away he took long walks or visited old girlfriends. He spoke well, too, and was a loyalist—novel after all my years with revolutionaries. He disliked my name and changed it. “Sally” he refused, and referred to me, when necessary, as “Miss Gunnar.” For months I had tailed him. Eventually I moved in with him and ignored his talk of previous affairs and his sick, hungry staring at slim women. I was fat by then. No longer just round, but thickening and clumsy.

We lived in a large room with high ceilings and an elegant blanked-out fireplace in one wall. We had moved the hot plate into the closet and dined at a small table in a corner. In another corner was the bed, narrow and too soft, where we smothered each other nightly. And two hunched, high-backed chairs stood near the table on which he wrote late into the night to avoid climbing into bed with me.

It was hot in the old house. The lady on the ground floor, bleary with glaucoma, watched four square inches of her television screen through a magnifying glass, and left her door open to hear us as we passed. She answered the phone in the hall when it rang, and shrieked the number up the stairwell: “Forty-one!” if it was for the pale cleric, “Seventeen!” if it was one of the countless faceless girls who called my phone for the pleasure of hearing his voice.

I told him once that I didn’t care if he kept girls hanging on strings from the window ledge as long as I was one of them. It was not true, but it would have taken a lot of damage to mar him for me. I chose to accept his faults and keep him near.

I always thought of him as pacing, but in fact most of the time he sat very still. He was starkly beautiful with his feet up and the blank pain of boredom on his face. His jaws and lips and nose were so delicately cut that sometimes, as he slept, I would examine his face, marveling at its perfection. I was weakened by my love for him, and he was utterly miserable, stuck with me and by the small degree of comfort I could offer him with my money, my willingness to work for him, the cloying amiability of my devotion. He was not proud to be with me. I was too fat, my laugh too coarse. My occasional melodramatic weeping—“You can’t love someone like me . . .”—all too easily explained what we both felt. He responded by dutifully patting my head. He was unable to say what I needed to hear, due to a lack of facility or his inclination toward lying, which only made him more appealing to me. Even as he patted and stroked my hair, he stared at the wall with a sick expression, yearning to be somewhere else.

Most nights, tired after working for hours at the small table with the lamp, when his poems had sucked him dry, he would slide in beside me. As he lay, breathing softly, looking up at the ceiling, I would be woken up by the pain plucking at him. So we both lay, unspeaking, until finally he would turn to me and work himself to sleep. I was grateful for this evidence of the strength of his will, if not affection.

Now, all those years I had never had an orgasm that was not self-induced. Fifty-seven men—I had counted, too many for comfort, and only a few of any interest—had come with my cooperation but made no dent on my pleasures. The exercise was necessary for my sanity. It reassured me and let me sleep. I sought it out with ravenous energy, but on just as many nights, when my desires were urgent and specific, I rubbed myself into quick peaks of relief.

But this fellow, the fifty-seventh—it is definitely unseemly to have kept count—had a quality of pride and a knowledge that the others had not. He was the first to rouse me, to make me run between the legs, even with only a look. One night he had been fooling with me for a while and stumbled upon the right place, the place, and set me off. I was surprised, and then I was wild with anticipation. I cried out, this time for real; I had pretended thousands of orgasms in my time, arched my back and trembled and rattled my heels, moaned, laughed, raked my nails—all to simulate the only models I had, from literature. But at last I was undone; my orgasm was real. I gave in. I grabbed his hand to keep him from losing his place. I gripped his hair, my hips stiffened. He went on for some time and my hands slid down to keep him there.

But he was insulted by my obvious enthusiasm; he must have realized I had been performing before. It disgusted him.

“Do it yourself, then!” he said, his bitter voice a bludgeon, and rolled away from me, furious.

I began to weep, my sobs puddling, coagulating, until snot and tears ran into my ear. I crept out of the bed, crawled over behind the chairs, choking and grunting with pain. The moon or some streetlight spared me nothing; my great white mounds of flesh spread out on the floor, in the periphery of his view. Though I might have bawled that he had never managed to bring me to orgasm, not once in all those months, that he was too ignorant of my anatomy to do so, that all that time I had been pretending, that all along he had been using me for masturbation—and likely any other woman he’d ever slept with as well, no matter what they may have said at the time—though I might have managed to screech this out through the snot, it would not do. It was not in my nature, not with him. He was my Beauty. To clearly explain myself, I would have also needed to describe the comfort that warmed and softened in my lungs and chest, the indescribable pleasure of his face above mine in the bed, sensations we have traditionally called love.

Instead I lay on the floor, hidden behind the chairs, snuffling, shaking, tears streaming. I did think of all these things to say, and also of the vanity and ignorance of a certain class of male. Since then, numerous books and articles have bombarded men with the truth—surely by now they must know. But in those days they all seemed to think that women needed some apparatus to masturbate. “Coke bottles!” “I couldn’t figure out why she was so wild about zucchini. . . .” A thousand snickers, jokus interruptus, the despairing female entering the room just in time for the punch line and flushing red or going pale—not with embarrassment, but rage. Men fancied that, since we lack our own, women must require a mock substitute for their equipment. “Not true,” we could have said. “We do it just like you do, by rubbing ourselves.”

They would have responded, “Rubbing what?”

Or else, they’d ignorantly bluff about the clitoris: “Oh, well, it’s just this little bump. Nothing much comes of it.”

And I see, from his perspective, how it would be disgusting to discover that this mooing, gyrating, strenuously passionate mammal on which you had been relieving yourself for some time had only been pretending to like it.

But I didn’t say anything. To confess, admit, or announce seemed too dangerous, impossible, because I could see it would have given him an excuse to leave. It would have degraded me to tell the truth after all those months. And I see, from his perspective, how it would be disgusting to discover that this mooing, gyrating, strenuously passionate mammal on which you had been relieving yourself for some time had only been pretending to like it. Rather like emptying a very full bowel into an immaculate pot and discovering that it doesn’t flush, it blows back on you. Truth must begin on the first night, or a woman must forever hold her peace and rub herself to orgasm in the bathroom afterward—while he’s back in bed doing the same, probably.


One day I brought home two dozen donuts from the DoNut Shop, where I worked. He could not take one but watched, expressionless and still, as I ate them, ate them, and ate them. Soon after that I took to hiding them in waxy bags in the closet: in the suitcase, behind the laundry bag, beneath the sweaters piled on the shelf.

He never said hello when I came back from work but went on reading or staring at the wall as the record spun out on its wheel of sound. I would come in as softly as my bulk permitted, kick off my broken shoes, and cavort cautiously to plant a kiss on his troubled brow. He would pat my head as polite as anything, and then I would seek out my hidden treasures while hanging up my coat. I’d rattle open the wax bag, take a bite, change my clothes, munching all the while. Then I’d flush the crumbs down the sink and rinse the sugar off my cheeks before going back to sit at his feet and ask what he’d like for supper. As often as not, he would say, “Nothing.” He seemed to live on red wine, dried apricots, and the odd salt binge. Then I would tell him tall tales and resort to my caches repeatedly during the evening. In the morning I would wait until I got to work where the donuts would be hot and fresh.

One day when I returned home, the donuts were all gone. “You . . .” I began tentatively, “you haven’t done anything with my donuts, have you?”

He swiveled his lovely head toward me with a chilly glitter in his eye: “They’re out there.” He nodded at the fire escape. “I pissed on them.”

“Hee hee,” I said, trotted to the window, and leaned out. He had always been amusing, perhaps he was joking. We kept an old five-gallon paint bucket on the fire escape as a garbage can. I pulled it toward me; it grated over the steel platform. Inside, melted sugar ran down, a shining syrup, and chocolate frosting was crushed into the donut mush. I also whiffed the stench of his urine.

I gasped, pushed the pail away, and whirled round on him, where he sat in my wing-backed chair. I was outraged. I unleashed the unadulterated anger I’d been holding in for months: “Why did you do that?”

“Because you must weigh two hundred pounds already. I pissed on them all day.”

I was burnt by grief, rage, frustration—not, at that moment, by shame, not at all, but because the donuts were no longer edible.

I tried to stop eating them. The shame took hold and festered long after that particular hunger had evaporated. Shame was not new to me and had only been held off, like the remission of a terminal disease. Thinking about how he was shamed by me, brought low, as it were, by my very proximity, fills me even now with misery.


There I lay, naked on the floor, snuffling in the moonlight, feeling already the pain of his inevitable departure, my tears running wetly. Dawn arrived; I could just make out the cheery contours of the furniture. My limbs ached; pain ripped my head slowly, jaggedly into two. Tears and mucus crusted my face and neck. All night he had been still and silent in the bed, while I, on the floor, made noise.

The sheets hissed as he stirred. I watched as he rose, strode to the closet, and took out the largest suitcase. His legs were all that were visible to me—his long, slender legs, graceful ankles, smooth hip, agonizing thigh. He emerged, all in view, but the dried mucus on my eyelids made it difficult to see. His face was, as usual, so still. He took his books from the table; his papers he laid on top of the clothes in the suitcase. He crossed the room in silence and leaned over me, looked directly at me for the first time since the night before. He so seldom looked at me.

“I have to go now.” His face was as if built in some ecstatic vision. His fine, pale hair softened its planes slightly. “I have to go now. I cannot stay anymore.”

I could have spoken, reached out, and grabbed his foot. Instead I listened to his soft footsteps, the door as it closed, his feet light and quick on the stairs.

I died without death at the end. No end for my pain. “Gone!” roared my blood. “Gone!” shrieked the air in my lungs. “Blank! Empty!” Each hollow cell of my brain echoed a tinny chorus.

I felt a cramp in my lower intestine and then a sudden gush as my bladder emptied over my thighs. I waited to collect myself to sufficiently to carry out my plan: get into the closet, stand up, turn on the light, and find a knife. I lay facedown in the mucus and dreamed of his laugh, rare and treasured, and the incredible length of his rib cage, how the bones sweetly bent toward the delicate beads of his spine. Then pain returned—memories of him buying gifts and taking taxis for his other girls, paying for it with my puny money all these months. I conjured images of my sagging plump body, the postures I assumed to seduce him but likely only repulsed him. He must be walking on air now, I thought. The relief he must feel! Had last night been engineered to trigger his escape? Or had he, too, experienced a sudden revelation: that not only was I not pleasing him, but that he was not pleasing me? All of his heroically polite efforts in vain, my devotion to him revealed to be impure. Or had it been my long, fluid honking throughout the night? He despised hysteria, was driven to nausea by the sight of weeping, and consigned to melodrama all professions of emotional discomfort. He only liked me when I was cheerful.

Then the manager of the DoNut Shop knocked on the door. I had forgotten she had promised to wake me up for an early shift. It was already five thirty.

I sat up. For fifteen seconds, I was sure he had come back to make peace, recover our life together . . . I scrabbled at my face, pulled on the door.

“Are you sick?” the manager asked when she saw me.

Yes, very sick, dead in fact. Especially now that she had killed me again simply by not being him. She was a small person, thin. I had managed to keep her from meeting him. The thought of them together had made me wary. She claimed to be intimately acquainted with the singers of the day, to have lived for years on the wit of her own songs and the stage name of Tiger Lily. She couldn’t have been more than nineteen, and she was vastly ambitious for the salaried glory in the back room of the DoNut Shop.

I banged my face hard against the doorframe. I could feel my face hitting the wood, and I knew there should be pain, but I could not feel it. My nose felt wet again.

“What’s wrong? Are you drugged?” She was worried. “Your nose is bleeding.”

I didn’t answer.

“Hey. Are you hungover, Sally? Can you come to work? I have to make deliveries and there’s nobody else to work out front until after lunch. The bakers can’t go out front and serve, you know. It’s the union.” Her soft, young face was grim with disapproval, the anxiety that I might inconvenience her, and the disgust at what seemed to be the aftermath of a problem with drink or drugs.

I let the door swing open and turned to find my yellow uniform. She leaned in the doorway, tapped her own elbows, and watched me. I was tousled, smeared—the alcoholic slut.

“Don’t you want to . . . wash up?” Pat was her name, I think.

We walked down the grimy posterior of Beacon Hill toward the corner. Prime location for a donut shop, directly across from Massachusetts General Hospital. I had managed to put on shoes, and by some miracle, my hair was out of my face.

“No more cheese rolls,” I rasped to a customer from behind the counter. Tears rusted my vocal cords.

“I’m too tired to get you any more coffee. Go away,” I snapped at a sassy intern.

“You are too fat,” I muttered, glaring at a big-butted college girl holding a Rollo May book in a library binding under one upper arm.

“What?” she said. “I want a dozen maple bars.”

“You are too fat!” I shouted, my throat aching. “Don’t you know nobody will share your bed if you are too fat? Go away. Don’t eat for six weeks and you’ll be fine. Go away.”

Mr. Chesbrough, the head baker, emerged through the swinging door from the kitchen. He’d been watching. I always called him sir. He liked me.

“What are you doing?” He spoke to me softly as I scraped the donuts from the display trays straight into the garbage. Sugar, glazed, chocolate, and butterscotch donuts slid into the big plastic garbage pail.

He stuck his arm out, blocked me from grabbing more. “Better lie down,” he said as he led me along.

“You are an anti-fuck manufacturer,” I said to him. “Too many donuts—no more flesh because there is too much flesh.” I giggled. “You’re a goddamn Nazi, handing out poisonous anti-fuck treats to innocent children.”

He deposited me in the chair inside the office. Mr. Chesbrough asked for the name of my doctor. He was kindly, but worried.

“You seem to me like you’ve been smoking marijuana, but if you say not . . .” I hardly listened. “You were throwing my whole night’s work into the garbage, and I am telling you that you are either stoned or drunk, drugged solid it looks like . . .”

There was a big office paper cutter on the desk. The long, machete-like blade was up, waiting. I hadn’t noticed it before. Had no idea it was there.

I had calmed and was now slumped silently in the wooden chair. Dully, feebly, I was aware that I had just lost my job. I felt a certain relief.

“How could you get yourself in such a mess?” Mr. Chesbrough pleaded to understand. “I always thought you were such a lady.” His face was dark with reproach. He was right. I had been so polite at the shop. I never laughed too loudly, I kept my head down, I sympathized with the poor quality of the equipment and the danger of walking to work at two o’clock in the morning. Hadn’t I also admired photographs of his strange children? Wasn’t there something about a diabetic wife? “Miss Gunnar,” he always called me, and did not despise me or ignore me for my sweetness.

He leaned on the desk and peered closely at me. His sympathy melted me.

Tears—I didn’t feel them until they hit my chin. The middle of my face felt shut off, shorted out.

“Gu-blug,” I muttered, nonsense. My throat was full of mucus. I stood up, I tried to speak. “It wasn’t—” I started to sob. The enormous ugliness of my face was distinctly tangible. I wanted to explain that it was a lost love that had made me behave so wildly, that of course I knew it was foolish for one such as I, hardly above slime, to presume to love. I wanted to tell him I had always been a sucker for a pretty face.

I wanted to explain that it was a lost love that had made me behave so wildly, that of course I knew it was foolish for one such as I, hardly above slime, to presume to love.

“It’s not drugs! It’s . . .” Pain, I was going to say, and to aid my credibility I employed a half-remembered tool of rhetoric, the downward swoop of the palms to the podium—in this case, the back office desk. But instead I fell onto the raised arm of the paper cutter blade. In fact, my not inconsiderable weight pressed the long knife straight down onto Mr. Chesbrough’s right hand. It crunched.

“Yahhh!” Mr. Chesbrough screamed. His mouth opened so long I could see his quivering uvula.

I looked down at his hand, saw a flash of white bone, and jerked the knife up again. There was a sound in my ears that went on until I realized it was my own voice, squealing, “I’m sorry, I’m sorry, I’m sorry!”

Mr. Chesbrough’s falsetto screaming continued. “You cow! You stupid cow!” And then he fainted to the floor. Blood pumped from the cut, gently and quietly, onto his white apron, and pooled in the folds of the cloth before slipping off to the floor.

I dropped down beside him and grabbed his wrist tight in my two hands, squeezing, trying to keep the blood from escaping. I whispered, “I’m sorry,” as a kind of tourniquet for my conscience.

The office door opened.

“Christ!” said Pat. She swooped down beside me, reached for his hand, then stopped. “Is he dead? Or is it just his hand?” “His hand,” I said.

“Can we lift him? Between us?” she asked me, and we were tugging at his shoulders when he came to and began to cry. We helped him through the public serving area. Thankfully only a few tables and two stools at the counter were occupied.

“Idiot,” Mr. Chesbrough said, nodding at me. “She did it. Miss Gunnar did it.” It occurred to me he didn’t know my first name.

“Call me Sally,” I said.

It was slow that day at the emergency ward and they took him right away. I sat down in the green waiting room.

“Are you being helped?” asked a nurse.

“I’m waiting for someone else,” I said.

“But it looks like you have a broken nose. You’d better have it treated,” she said.

A little later, a doctor asked me to count backward from one hundred while he administered anesthetic. I relaxed on the paper-covered table and smiled at the white cone a nurse had slipped over my mouth and nose.

Sometime later I awoke and felt acutely nauseous. I managed to turn my head just in time so the gush of half-digested donuts arched out onto the tile floor rather than over me. Some reassuring activity began on that side of the table almost immediately, so I lay back and relaxed, calmly confident that I would never have to face that particular mess, no matter how much I deserved to. At first I was pleased that it had not been odiferous vomit, but then I remembered that my nose was not operating at full capacity, so it might well have been a very odorous puke, very disgusting for the aide or nurse or whoever did the cleaning to deal with. By the time I turned my head to look, he or she, and the vomit, were gone.


They were able to save Mr. Chesbrough’s fingers. “Just a few stitches,” a nurse told me when I was released the next day, and sent home with orders to rest. I wanted bed and a murder mystery. Doctor’s orders.

The old woman downstairs was shelling peas into a bowl as I went by. The stairs and the door, the key itself, were such incomprehensible obstacles that I sat quietly for a moment on the bottom step. A final, enormous effort carried me up and into my room. My cheeks were beginning to itch from the bandage.

I leaned toward the mirror and smiled at my face and the big, white A-shaped bandage spread over my nose and cheeks.

I breathed deeply through my mouth. With an unusual deliberation, I rooted out my tobacco and cigarette papers, a saucer and matches. Carried them to the unmade bed and deposited them on the floor in reach of the pillow. As I smoothed the sheets and removed my uniform, a gentle fatigue began to sneak up the backs of my calves. It felt so good to lie down, to notice the small nagging pains of my body only as they were fading.

It seemed incredible that I should feel so empty and clean so short a time after I had been overcome with that lunatic misery; perhaps I was careful to edit my thoughts to only what I wanted to remember. As I lay in bed, I told myself time would begin again after some sleep. There were plenty of years left for bad thoughts, for replaying Mr. Chesbrough’s bleeding hand, my indiscreet, self-indulgent maundering, and the events of the night before. Morning could bring the grief and shame again, but not before I had rested. I did not even smoke, but slid off wondering, with a grin, if everything had happened because I had so nearly managed an orgasm at some other hand than my own.

In that night of peace, those hours of necessary indifference, the possibility of solitude occurred to me. Lying sprawled there, unwatched, was so very comfortable. I did not feel mortified by the width of my thighs, the size of my buttocks, the thickness of my wrist, the flab beneath my arms and chin, the odor of my feet. If only, I thought, I could be sure of never going hunting again, of never being driven out into the night by my own desires. No more rooting and scavenging for listeners, no more posturing, no more clumsy experiments meant to attract. I mourned all the energy I’d spun away in my futile attempts to secure a back to hug for a night.

I thought of myself as a spider quivering in the center of a web while swearing off flies. I was harmless when I was only chasing and dreaming, but in those few terrible cases in which I had snared some poor prey, made them captives of my cross- eyed, ravenous devotion, the consequences had been strangely poisonous.

Now, on clear mornings, after coffee and an undisturbed hour with a book, I am able to confess that the injury I have produced has been mainly to myself, that those I have afflicted with my heedless acts or stupid talk have bled for longer in my reflections than they ever did in reality.

On other mornings I am visited by a prickling suspicion, haunting the periphery of my mind, that perhaps this self-harrowing is a distraction from some true, instinctive beastliness. I vowed to form a structure for my retreat, fold my tents and creep into my ecumenical shelter, conjure up some idol powerful enough to hold me to it: silence, abstinence, and solitude. I hoped some gift of strength would enable me to remain there.

But even then, at that hour of epileptic misery, fifteen years after my last sight of them, if Sam or Carlotta had knocked, would I not have leapt up, told them my tale with humorous fugues, and then taken them out for a drink to hear their tale in return?

The Debt We Owe Each Other When We Feel Like the World is Ending

Lynn Steger Strong writes characters that haunt me. The narrator of her novel Want is a woman who feels so acutely the demands of being a person and wife and mother alongside the contingency of adjuncting and teaching and trying to scrape by in New York City. I heard Wants protagonist, Elizabeth, in my head for weeks after: thinking about books, commuting to my own adjunct classes, worrying about a million things, the echo of some of Elizabeth’s piercing reflection. When I read her newest novel, Flight, in almost one sitting, I found myself similarly haunted by these people, totally unable to look away from these many characters, the ways their desires and shortcomings structure what we think of as family. 

Flight follows three adult siblings and their families as they convene for Christmas in upstate New York. It’s their first holiday season without their mother, Helen, and her Florida house. They must decide what to do with the house they’ve been left, but at the same time, they must negotiate the stress of the holidays in the house they’re in. Over the three days that this novel follows, these three families collide with another family, a local mother and daughter who need their help. Flight asks us what we owe to each other, but it does so without looking for a sentimental answer. Strong doesn’t shy away from exposing her characters’ flaws: their snap judgements, their old grudges, their impatience and exasperation and anxiety. 

I talked to Strong over zoom about the value of community and family, the precarity of the current historical moment, and the need for novels that destabilize easy categorization. 


Bekah Waalkes: Flight is the chaotic family holiday novel that we needed, which is also to say, the family in Flight is so unsentimental and so realistic: they have grudges that go back for years, they have triggers and sidelong glances and all kinds of immediate, emotional responses to each other. What’s the promise of family, even when we get this really raw and honest look at the ways family keeps failing each other?

Lynn Steger Strong: I don’t know if this is relevant to you, but I talked to Yiyun Li a couple of weeks ago about her novels, which I admire so deeply. And in our conversation, she really helped me understand something, which is just to say, when I talk to friends about her novels, they’re like, “they’re so sad.” And I don’t understand what they mean, because I don’t read them as sad. I think that they’re sustaining and filling novels. And the thing that I realized as she and I were talking was that the reason I find her books extraordinarily hopeful is because she is merciless and unrelenting in her ability to see the world as it actually is. But she still wants to write about it.

I do actually think that making books and, even in this case, making art is ultimately like a pretty hopeful act. Because you’re sort of reaching out and you’re giving and offering, and that feels really pretty incredible to me. And so to my mind, like these characters, if loving each other can exist at all on the terms that I’m interested in, I think we have to acknowledge all of the ways that we are deeply flawed first. Living in America and parenting and competition and all of these things. I wanted all of that to be out there in the light. And if people can still, amidst that, have a moment of—and pardon the absurdity of the statement—grace, then maybe that’s something. But I know some readers are going to hate these people, right? Because they’re like, bad or heavy, but I think they’re just people, you know?  

BW: We have this one family and they’re all so close and we have all of them together for Christmas. But at the same time, we also have Maddy and Quinn, which seems so interesting that we have like these two outsiders whose lives get intertwined. What do they offer the family or the novel? 

What does family mean? What do we owe each other? Is it a bad word? Is it a good word?

LS: I am interested in the ways that fiction can force us to consider the elasticity of language. And one of the words that I was really interested in elasticizing in this book is the word family. And, you know, everybody that enters Alice and Henry’s house has a different relationship to that word, and they’re navigating that word. And their inability to sort of inhabit the word on the same terms is a good amount of where their conflict comes from. What does family mean? What do we owe each other? Is it a bad word? Is it a good word? But I am ultimately interested in being even more elastic than that. Which is to say that I think Quinn and Maddy are also a family. And Alice’s relationship to Quinn and Maddy is a thing that I’ve explored in just about everything I’ve ever written, which is just to say Alice’s relationship to Queen and Maddy doesn’t have a word in the same way that “family” does. And so her trying to navigate that sort of blurry, murky space of wanting to love and care but without the word “family” is as important to me in this book as the other versions of the word family in this book.

I think the word family is super interesting and rich and complicated. But I also think for some people it can function as an impediment. In terms of like most of the people I’m closest with are not my family members. And I want to be allowed to love them exactly as intensely as they love them. And sometimes it feels like I’m not allowed because they don’t have the word family attached to that.  

BW: Thinking about the claims on each other that we can’t name is making me think about the collective grief in the novel. Characters like Tess seem to have a hard time grieving because the word “mother-in-law” doesn’t seem to describe the feelings that she has about losing Helen. But she feels like her claim to grieving sometimes is maybe not as strong as Kate or Martin or Henry. So I guess my question is how do you think about grief as both individual and collective?

LS: I love that you see that and said that because I do think it’s connected to that sort of Alice-Quinn-Maddie trio in terms of connection. Some of us have immediate access in language for the intimacy and experiences that we have, and some of us don’t. And especially for me, Tess and Alice’s relationship to Helen is the most sort of knotty and complicated and interesting. When I was at Tufts, my two best friends in college were in their 70s, because you can take two classes a semester for the rest of your life. I started this book not long after one of these friends, Helen, died. And her son emailed me and said Helen died. And I was sitting at my computer. And there was no space to put what I was experiencing. I was not her daughter. I was not her daughter in law. No one I knew knew her. And it felt like an extraordinary loss, you know, and it felt like this other type of loss because I had no language or ritual or space for what that loss was.  

BW:  Flight is such a loud novel, like a crowded family dinner full of characters, but we spend most of the time in the heads of mothers or women who want to be mothers: Alice, Kate, Tess, and Quinn. Why mothers? What do they offer as a novel?

Some of us have immediate access in language for the intimacy and experiences that we have, and some of us don’t.

LS: It’s tricky because I get very bristly at the idea of the “motherhood novel” and I don’t think that I write that kind of book. But that said, the word mother is just endlessly narratively fascinating to me in the very specific way that it enacts pressure on all of the relationships that exist in the life of the person who is given that title and or the person who wants access to that title but can’t have it. I’m very interested in the female body as a space in which the woman is both subject and object at the same time. Which is not a new idea. But I think motherhood is such a fascinating space where that sort of subject and object idea is maybe most ripe for me, at least at my age. So motherhood—even with Alice and her pursuit of motherhood—is also the way that the female body acts upon and is acted upon.

I was talking to a friend about the Japanese writer Yūko Tsushima, recently reissued with a New York Review of Books. And she’s an incredible writer. And all of her books deal with single motherhood. But motherhood is not her subject, it’s her terrain and it’s the terrain that she inhabits in order to explore what it is to be alive. Right. Because I think the problem is like as soon as people say it’s about motherhood, you get slotted into this space. But motherhood is just such a useful terrain to talk about being a person and inhabiting a body and desire.  And the impossibility of inhabiting any single role as a human being.

BW: That makes me think about the physicality of motherhood, too, which I think Kate and Tess feel so much. And Alice feels, too. How do you think about the embodied aspects of motherhood?

LS: I mean, the body is kind of endlessly interesting to me. And again, this is not a new idea, but I think historically, women only have so much power. I have this sort of running thing that I say to students, and I also say to myself: how is every novel, a novel about power and control? And so often I feel like when you write about women, this space of power and control is within their individual body. And Tess is a runner, she’s very, very thin. That’s on purpose. Kate is not very, very thin. That’s on purpose. Because their female bodies are maybe one of the few spaces where they can enact whatever sort of aspects of power and control that they cannot enact on the world.  

BW: One thread that I found particularly poignant, especially as seasons change, is the concern about parenting in the climate crisis. Henry thinks about it more intensely than others, but with tropical storms hitting Florida, where the house is, and general fear of the future, but every character seems aware and wary of the changing climes. Can you talk about the historical moment this book is centered in? How has the reality of climate change affected families and collectives and communities more broadly?

I’m interested in the female body as a space which both subject and object at the same time. Motherhood is the way that the female body acts upon and is acted upon.

LS: At one point we had this conversation about, is this a climate change novel? And I got very upset and was like, no, it’s a novel about being alive right now and it’s a novel about being a parent right now. The month before I had my first daughter, we were living in New York and we composted. And we would take our compost to the farmer’s market in Prospect Park. But the farmer’s market was not functioning. And my husband was out of town and we had a ton of compost and it was all in the freezer. So I took it in these big bodega bags onto the subway to take it to Union Square. And so it’s August and it’s like a thousand degrees. I was like this massive pregnant person and I’m walking and walking through New York City with these melting, stinky bags of compost and every garbage can was like this taunt, like, do you care about the world that you are bringing your child into? And I was like, yes, I do. And I went to Union Square and I dropped off my compost. And then, of course, I had this moment of utter, ineffectual pity and absurdity of what I had done because I had not made the world better. It was like this odd, performative, aggressive, sweaty response to the knowledge that I both possess and do not, because I’m not a scientist that the world is burning. I read a good number of the scary articles and the scary books that most people have read. I am a person. I’m from Florida. And I drive around the place that I grew up and I think about what it will look like soon.

So this is the thing: I don’t know how to write a novel in 2020 that isn’t thinking about the way that the climate hangs over every day of being alive and every day of raising a child. And so that is embedded in this book. What’s embedded in this book is that I also walk around with that and then I still think about where my kids will go to college. And that’s fascinating to me. Because that’s the thing that novels can do, right? They can hold such impossibly contradictory truths inside of them at the same time, which is that I am terrified for my children’s future and so it feels very absurd to be vaguely curious and concerned about my children’s future in a way that feels anachronistic and antiquated. So I think insofar as the book is interested in climate, it’s interested in inhabiting the sort of miasma, uncertainty and fear and also the banality and mundanity of being a person and a parent.

Does Ovid Still Matter Today?

Why should we continue to read Ovid’s Metamorphoses two thousand years after it was written? For some, the Metamorphoses should be read because of its immeasurable influence on literature and art. What would Shakespeare be, for instance, without the tale of Pyramus and Thisbe, the inspiration for Romeo and Juliet? What would European art be without this epic? No other work of literature, apart from the Bible, has so inspired visual artists. Ovid’s Metamorphoses has been hugely instrumental in the formulation of various later canons within the Western tradition. Yet many have rightly questioned whether this canonical status should justify Ovid’s continued centrality, arguing that the canon itself is a tool of maintaining unjust hierarchies. 

For others, the Metamorphoses has been primarily a source of poetic pleasure, perhaps even an escape into the world of myth. But for many, reading Ovid’s stories of abuse can be anything but a delightful escape, and the presence of rape in the epic has made its continuing centrality in high school and college classrooms controversial. It was the Metamorphoses that gave rise to recent debates about “trigger warnings,” which arose in the aftermath of a 2015 op-ed penned by undergraduates at Columbia University. These students objected to the fact that the epic was being taught without acknowledgment of or prior warnings about its sexually violent content, a pedagogical decision that did not take into account the reality that students themselves might have been victims of such violence. These students were widely denigrated as “snowflakes” who could not handle the more disturbing aspects of “great literature,” yet it was precisely the more disturbing aspects of these texts the students were asking those teaching them to acknowledge and interrogate. 

Like so many works left to us from Greco-Roman antiquity, the Metamorphoses is the product of a patriarchal culture whose sexual politics and depictions of violent rape frustrate the oft-repeated claim that ancient works offer us ennobling virtues to revere. It is hard to keep classical literature on a pedestal while acknowledging its complicity in the hierarchical abuse that continues to permeate our world, and this discomfort has led some to either avoid speaking directly to its violence or to dismiss it with a wave of the hand or with an uncritical objection to judging the past by the standards of the present.


Yet if we do not rethink these texts through the lens of the present, they will cease to have relevance for the present. The inclusion of so many stories of rape in the epic suggests, in fact, that Ovid felt such violence was worthy of critical interrogation, just as he shines a light on the negative repercussions of masculine heroics or divine power precisely in order to question, not celebrate, them. In an epic that takes forced transformation of the body as a central theme, sexual violence cannot be ignored. Rape, like metamorphosis, dehumanizes and objectifies. To ignore the theme of sexual violence, or to quickly explain it away, is in many ways to miss the point. It is also to miss the opportunity to trace the legacies of such abusive power in our own world so as to better understand and combat them. To read Ovid with an eye toward his full complexity—his beauty and his brutality—allows us to scrutinize our own thorny relationship with the past and with the ambivalent inheritance we have received from it. To wrestle with the unsavory aspects of ancient literature is to do the hard work of self-examination. It is easier to talk about love than rape or to focus on ennobling values rather than try to grasp our own human failings. Yet it is precisely this hard work that Ovid invites us to do.

Ovid still matters because he speaks to the questions that still matter to us.

Perhaps the best reason to read Ovid is simply that he gives us stories through which we can better explore ourselves and our world, and he illuminates questions about power, sexuality, gender, race, and art that humans have been debating for millennia. Ovid still matters because he speaks to the questions that still matter to us. The rapes Ovid recounts are traumatic acts of “force” (vis—a legal term for rape), often perpetrated by gods, that leave their victims permanently transformed. Repeatedly, rape is designated a “crime” (crimen), one that those in power can usually (but not always) simply get away with. When Jupiter rapes Callisto, for instance, he grips her in his embrace, revealing himself to her nec sine crimine, “not without crime.” Arachne, who weaves a tapestry depicting the gods’ abusive rapes, is said to depict caelestia crimina, “heavenly crimes.” What may seem an oxymoronic juxtaposition is par for the course in Ovid’s world—power, especially divine power, often goes hand-in-hand with abuse.  

Ovid’s rapes are met not with resignation or acceptance but with horror by the characters within the epic. Such violence silences victims and leaves them wounded and transformed, both literally and figuratively. Callisto, in the wake of her assault by Jupiter, is no longer the same, nor can she tell her fellow nymphs what happened: 

It’s hard not to reveal a crime with one’s

expression! She can barely lift her eyes 

up from the ground. She does not stand beside 

the goddess, as before, or lead the troop. 

Instead, she’s silent, and her blush provides 

proof for her wounded chastity.

Callisto’s psychological wound becomes a physical one in Philomela, whose rapist Tereus cuts out her tongue when she threatens to disclose his crime. The silencing of Callisto and Philomela mirrors the silencing that many rape victims continue to experience. Learning to spot patterns of rape in Ovid can in fact help us see how these patterns repeat in our own world. Just last year, a group of students in India published an article that describes their experience of reading Ovid as empowering. “We have learned to critique rape narratives in literary texts,” they write, demonstrating how this in turn has helped them interrogate systems of sexual power within their own social context.


Despite the horror and trauma the characters themselves experience, it is not always entirely clear where the narrator’s own sympathies lie. At one moment, he treats victims’ trauma with immense sympathy, while at another he compels us to view the abused through a rapist’s violent gaze. Ovid builds such ambivalence into the epic as a whole. In the tale of Arachne and Minerva, for instance, he describes two textiles, one that celebrates power and one that defies it. Both reflect aspects of Ovid’s own text. Even the genre of the Metamorphoses is contradictory—though formally an epic, it displays numerous features of elegy, tragedy, and even philosophy while flaunting or parodying many epic conventions. It is this ambivalence that invites readers in, opening the text to a myriad of perspectives and readings. 

To wrestle with the unsavory aspects of ancient literature is to do the hard work of self-examination.

Because Ovid constantly positions himself both inside and outside of established literary and social hierarchies, many contemporary thinkers, writers, and artists continue to find the Metamorphoses to be fruitful soil for exploring their own work and identities. Elizabeth Colomba adopts Ovid’s ancient subject matter to highlight the absence of Black women like herself from the European artistic canon, even as she claims a position for herself within it. Writers such as Rita Dove, Paisley Rekdal, and Nina MacLaughlin explore contemporary women’s struggles by rewriting and reimagining Ovidian myth, adopting Ovid’s own focus on psychological trauma and powerlessness. Pulitzer Prize–winning poet Jericho Brown uses the Ovidian figure of Ganymede as a way of exploring enslavement and its legacy in the American South, stripping away the comforting narratives in which many take refuge. Such contemporary artists speak to Ovid’s continuing relevance for new generations, and they do so by homing in on the text’s most brutal stories. 

Such adaptation of the Metamorphoses shows no signs of abating. Other recent literary retellings of Ovidian myth include Ali Smith’s Girl Meets Boy, Madeline Miller’s Circe, Mark Prins’ The Latinist, and Charlotte Higgins’ Greek Myths. In film, Céline Sciamma’s Portrait of a Lady on Fire offers a queer retelling of the Orpheus myth, while stage productions include established favorites like Mary Zimmerman’s Metamorphoses and more recent offerings like the one-person play A Poem and a Mistake by Cheri Magid and Sarah Baskin. It feels like Ovid is everywhere. And as he is transformed for new times and places, his text resonates with new meanings that bring the present into conversation with the past.

The Metamorphoses holds up a kaleidoscopic lens to the modern world, one that helps us reflect upon our own (in)humanity, our vulnerability, and our capacity for change. Ovid poignantly explores the innate fragility of the human body, how subject it is to forces beyond our control, and he recognizes how traumatic such lack of agency can be. Humans in Ovid’s world are something of a contradiction, sculpted with divine intelligence imbued into mortal clay. Ours is an endless struggle to surpass our bodies’ limitations, and, like Icarus or Phaethon, we risk constant failure and death. Human grief, especially that of women, is a recurrent Ovidian theme. Grief transforms us, as it does Clymene or Niobe or Hecuba. There is indeed no greater emblem of human powerlessness than the grieving parent, and Ovid’s accounts of such grief resonate across time. It is hard, for instance, not to read Phillis Wheatley’s translation of Ovid’s Niobe episode as a poignant reframing of her own family’s experience of such powerlessness when she was kidnapped and enslaved as a child. 

Ovid illuminates the human obsession with power and how it can transform both its wielder and its victim. The desire for power can turn even the most sympathetic figures into monsters. One of Ovid’s most perennially popular characters is the grieving father Daedalus, who loses his son Icarus as they fly across the sea. But few people remember Ovid’s other story about Daedalus, how he murders his own nephew by throwing him from a high place, the Acropolis—the motive: he was jealous of the boy’s artistic prowess and did not want to be outdone. Nobody is immune from power’s lure. One of the most dangerous things we can do, then as now, is inadvertently catch the notice of those in power. Before Jupiter rapes Callisto, he first sees her. Before Juno, in turn, transforms her, she first directs her gaze her way. On the other hand, the gaze that is not backed up by power can enervate and transform its wielder, like Clytie gazing upon the sun. Ovid’s stories help us explore the tangled power dynamics of the gaze in our own culture as well. 

Ovid treats the connections between desire, gender, and the body in surprisingly relevant ways, showing that what we think of as modern concepts such as gender fluidity or asexuality are hardly new concepts at all. Time and again we meet characters who defy heteronormative expectations of gender and sexuality. Daphne, like many other nymphs in the epic, has no interest in marriage or sex, preferring to stay perpetually a virgin and to devote herself to the asexual goddess Diana. A transgender character such as Caeneus is at home in his new male form immediately, while transformed characters such as Io and Callisto experience the painful dysmorphia that can ensue when living in an exterior form that is misaligned with one’s interior being. 

The Metamorphoses holds up a kaleidoscopic lens to the modern world, one that helps us reflect upon our own (in)humanity, our vulnerability, and our capacity for change.

When I turn to Ovid, I do so to find hope or perspective in moments of crisis and despair.  Ovid continually reminds his readers that, no matter how voiceless they feel, humans will always strive toward expression and agency. Tereus can render Philomela voiceless, but he does not silence her. Apollo may torture the satyr Marsyas for his artistic defiance, but he cannot stop the nymphs and woodland gods from weeping for him. Power can only extend so far. As Ovid tells us in the epic’s closing lines, not even Jupiter himself could destroy Ovid’s poetic achievement. Vivam, “I will live,” is the last, defiant word of this epic song. 

The last few years have brought intense, swift change to the world, ushering in a time of disease and fire and flood and war. Ovid never lets us forget that such chaos can be unleashed into our world at any moment, with staggering human costs. In his epic, floods wipe out entire populations, fires incinerate mountains, and plague taints the very air people breathe. Crisis is unavoidable, but the world is equally resilient, and change inevitable. What resonates with me the most when I read the Metamorphoses is this promise of endless metamorphosis. I do not yet know what the future holds, but I do know, if I am to believe Ovid, that it will leave the world transformed.

Excerpted and adapted from the introduction of Ovid‘s Metamorphoses by Stephanie McCarter, published by Penguin Classics, an imprint of Penguin Publishing Group, a division of Penguin Random House, LLC. Introduction and suggestions for further reading copyright © 2022 by Stephanie McCarter.

9 Books That Take Aim at the Myth of the American Hero

My father was a larger-than-life presence. Not only physically (well over 6 feet and two-hundred-fifty pounds), but psychically too. Like Homer’s Odysseus, the man took up a lot of space—and oozed mid-century New York Irish swagger. Other kids’ dads were accountants or sold appliances. There’s nothing wrong with taxes or crockpots, but honestly? I was embarrassed for them. 

When my father hitched his considerable personal mythology to the Marine Corps—whose tribal mythology rivals those of the world’s great religions—I was all in, a true believer. I didn’t just want to be like my father, I wanted to be my father—the American hero myth made flesh and bone. So, I became a Marine. But after his textbook awful death from Agent Orange-related prostate cancer—all that time smoking Camels in the 100-degree shade of his F-4 Phantom jet watching the Vietnamese jungle defoliate around him—and 5 years of Irish-grudge silence; after I became a writer instead of a lawyer, as he had decreed—I’d had it. 

It was then I started asking: What did it all mean? Sure, all cultures have hero myths—we mortals feel elevated by mere proximity to magic—but the American hero myth is unique, as if Hollywood remade the Homeric ideal, laced it with Wall Street capitalism and Biblical certainty, making sure it played to the cheap seats as well. Now, having officially outlived my father, and with a son of my own, I ask: What am I passing on to him? What will my son’s version of the American hero myth or masculinity be, as seen through the lens of me? Heavy shit, man. 

In response, I wrote Surrender, a book of stories demythologizing a certain breed of American masculinity—the team captain. The Marine. The father. A nailing shut of the coffin—or an exorcism, maybe. 

I’m not sure why my father raised me to be a Marine. Why, after his profound trauma—the pain, the flashbacks, and finally, the humiliating exit—he deemed I share the same experiences. I’ll never understand. But I’ll spend the rest of my life searching for answers. The following books serve as guideposts on that quest.

Billy Lynn’s Long Halftime Walk by Ben Fountain

US Army private Billy Lynn is a hero, or so he’s been told by Fox News and President Bush. Fresh from combat in Iraq, Billy and his squadmates embark on a 2-week “Victory Tour” of America, culminating with the annual Cowboys-Redskins Thanksgiving football game, where they’re ritually adored on national TV. The stakes couldn’t be higher—or more American—as Billy, disillusioned by all he’s seen, contemplates ducking his return to Iraq. An absurd and utterly heartbreaking indictment of America, and our addiction to its noxious yet intoxicating brew of Christianity, capitalism, and nationalism. A damn near perfect book.

Fobbit by David Abrams

In my limited experience, war is more uh-oh than glorious—Marines falling asleep and rolling trucks, shooting one another accidentally (mostly) and blowing themselves up with their own hand grenades; it’s an “industrial accident” on a grand scale. Or, war can be absurd—stealing desert uniforms by the truck-load, so your battalion returns home looking like “warriors,” or getting drunk on a can of warm Coca-Cola and contraband bourbon and then beating the shit outta each other in an abandoned bunker for fun. (And thinking it’s fun.) As portrayed in classics such as Catch-22 or Slaughterhouse-Five or Hašek’s The Good Soldier Švejk, war is inherently violent and absurd—like life itself, only more so. David Abrams captures this reality, too, in his satire about Forward Operating Base (or FOB; one who inhabits a FOB is a “Fobbit”) Triumph in Iraq. It’s a funny book about an unfunny subject. Dark humor weaves through the story of the good soldiers bravely manning the desks of freedom, like toxic smoke from a burn pit. Because not all war stories are about combat and brave deeds. Sometimes, the most dangerous mission is daring to be first in line for Friday night all-you-can-eat seafood. You just don’t get a medal for it.

You Know When the Men Are Gone by Siobhan Fallon

Fallon’s You Know When the Men Are Gone tells the often forgotten story of the home front—the war behind the war. In a society where honoring veterans has become a “secular eucharist” (as Marine and writer Elliot Ackerman described it), these stories recognize the struggle of those left behind—the no-less-noble wives, moms, and kids who keep the lights on while their men are deployed. Fallon strips away all hearth-and-home sentimentality, creating a poetry of the unsung—where laundry, potty training, and the challenge of staying married while your husband is far away are battles as fierce as any Fallujah—just unglorified. “Give the mundane its beautiful due,” as John Updike said. Fallon has.

Missionaries by Phil Klay

“You’re American,” Juan Pablo said. “You’ve killed kids before.” In 2 sentences from Missionaries, Klay scrapes the bone of the American hero myth clean—exposing the wound separating Americans’ perception of themselves as the Good Guys from a reality begging the question: What if we are something else—something less…virtuous? Set amid the twenty-first century Colombian drug wars, when American technology and expertise take the field like odds-on Super Bowl favorites, Missionaries examines the lives of 4 characters—2 American, 2 Colombian—caught in the ethical crossfire. Echoing the spirit of iconoclast Marine Corps General Smedley Butler (“I was a gangster for capitalism…”), Klay burns off all reassuring apple pie mythology to reveal dark truths lurking just beneath American power projection. Namely, that in the service of our country, however noble the stories we tell ourselves, we’ve killed kids before. Crushing.

Rule Number Two: Lessons I Learned in a Combat Hospital by Heidi Squier Kraft

This book, a memoir of Kraft’s year-long deployment to Afghanistan, caught me by surprise. I’m not sure what I was expecting —something “easier” I suppose. But there’s nothing easy about Rule Number Two. Lieutenant Commander Kraft, a psychologist in the Navy reserve, thoroughly obliterates whatever outdated ideas we may have of what makes a hero. Though she never expected to do so, Kraft deployed to serve Marines in far-flung (and often dangerous) locations, while her Marine Corps pilot husband stayed home caring for their twins. This dynamic alone would make the book a worthy addition to this list, but while in Afghanistan, Kraft experiences a life-changing connection with a dying Marine. The title refers to a famous episode of the iconic ’70s TV show M*A*S*H, wherein doctor “Hawkeye” Pierce laments losing a young soldier on the operating table. Colonel Potter, Hawkeye’s commanding officer, explains the two rules of war: Rule No. 1: young soldiers die. Rule No. 2: you can’t change Rule No. 1. Sometimes heroism is as small as holding someone’s hand. A shattering and subtly beautiful book. 

Revolutions of All Colors by Dewaine Farria

“What does it mean to be a man?” A similar question drives my bookso Farria (like me, a former Marine) and I are on parallel quests. Revolutions tells the story of 3 Black men, longtime friends, struggling to define themselves, and their masculinity, while staying true to who they are as human beings—and while defying rigid stereotypes forced upon them like invisible shackles. Ultimately, Farria may not free his protagonists from the prison of ideas that define men, Black men especially, or from what’s “allowed”—but he kicks the door open, just enough. As Farria dismantles stereotypical notions of Black masculinity, he seeks to free all men from the oppression of labels and imposed identity. An important and visionary book.

Preparation for the Next Life by Atticus Lish

On its surface, Preparation for the Next Life could be described as a love story—a cynical take on Romeo and Juliet maybe. Thoroughly unsentimental, Lish’s book is a clinical, almost forensic story of a newly discharged US Army vet, fresh from Afghanistan, and an illegal Uyghur (a Chinese ethnic minority) woman set in the far reaches of Queens, New York. In the storytelling tradition of movies like The Best Years of Our Lives or The Deer Hunter, Lish’s tale is a tragic account of a “good American” seduced by the hero myth, and his charged relationship, doomed to failure by its own expendability—even as love endures. As in life, a happy ending isn’t guaranteed. Ultimately Next Life is a story of disregard for those on the American margins—hidden in prep kitchens, norteño music on the radio, or on far off battlefields—as society mouths thank you for your service. American heroism has always been conditional—and, ultimately, disposable.

If He Hollers Let Him Go by Chester Himes

If He Hollers Let Him Go is the story of Bob Jones, a Black ship worker who comes to LA to work in the yards during the Second World War. What he discovers is a cruel illusion playing to an audience of bored Angelenos, like the bottom half of a B-picture double bill—always promising more, but never delivering. Like Homer at the end of Nathaniel West’s Los Angeles classic The Day of the Locust, Bob is driven to madness by this illusion—by the tease—and the white power structure hidden behind it. Himes’ novel is the ultimate story of Los Angeles—and therefore America—and is, sadly, still relevant today. A classic.

Ceremony by Leslie Marmon Silko

Native American iconography and warrior spirit have long been co-opted by America and her military, notwithstanding the fact that neither have served the Native American people themselves. Ceremony tells the story of Tayo, a “half-breed” Laguna Indian, freshly returned from the Philippine jungle, where he witnessed his cousin’s execution by Japanese soldiers during the infamous Bataan Death March. Silko charts Tayo’s struggle to re-enter a society that never wanted him,  his task complicated by the white-washing power of a US military uniform. With the war over, Tayo and his comrades are back to being nothing more than potential bodies to be found in bushes along the river bank—their decorations from “a grateful nation” a guarantee of nothing, just another broken promise. As Tayo, shattered by war and the weight of the white world, seeks to become whole, he quests for a ceremony strong enough to combat America’s evil. Ceremony reads like a religious text, an earthy bible spreading the true gospel—that America’s hero myth is but bait, conjured by devils unaware of their own evil. A masterpiece. 

Pharrell Would Be Happier with a Securely Bolted Roof

The Roof Is Not on Fire: Dispatches from the Roofing Association of America

March 8, 2019

Dear Citizen,

We at the Roofing Association of America have watched with deep consternation as a sentiment opposing sensible roofing has spread through our culture. To appeal to the public today it seems all you have to do is loudly proclaim your antipathy towards the many benefits which roofs and ceilings offer us. “I’m happy,” Pharrell extols, a feeling which he elaborates is “like a room without a roof.” Have you ever been in a room without a roof sir?! If you spent a substantial amount of time there “happy” would be the last thing you would be. That song should rightfully be called “wet and cold.”

A man named Macklemore boasts about how he and his friends are having such a wonderful time that “the ceiling can’t hold us.” I can’t convey in strong enough terms to the public: If you are in a domicile where the ceiling can’t hold the people within it, please leave immediately. Either you are congregating in a stacked fashion, or the ceiling is extraordinarily low, well below the standards that the RAA recommend.

The net effect of these anti-roof sentiments could prove disastrous for the next generation. If you want to imagine the future, picture a man at home surrounded by his young children, open to the elements. “We’re cool!” the man yells as the snow and sleet descends on him.

To avoid such a future, the RAA will be releasing catchy songs with pro-roofing messages this summer. If you are a roofing enthusiast we would implore you to keep your eyes and ears alert for our songs. You will be able to purchase them on the RAA website, or at your nearest roofing store. You should also attend the most popular nightclub in your area and request them off the DJ—I know from personal experience that determined and repeated queries do work in these scenarios. The songs you will be requesting include “The Proof is in the Roof” and the romantic ballad “You Keep Me Dry.” The latter, written by Sandra Herkel, has the beautiful chorus:

“You keep me safe
You keep me dry
And when I’m with you
I can’t see the sky”

Citizen, I hope you will join us on this path to ensuring a sturdy, dry, and secure life for the next generation of Americans.

Sincerely,

Frank Hammer

RAA President

Windham, ME


Elizabeth Hammer to Jane Thornton, May 14, 2019:

Dear Jane,

It was so nice to see you again at the Ladies Association Dinner before Christmas. My how we’ve all changed since our wild days of sneaking on to the range for “night practice” and all those hours we would simply spend in the locker room without a care, just talking.

Such a pleasant night. Everyone looked so well.

And how is Henry? We pick up the Windham Gazette most any time we’re in town. Such a well edited read. Frank agrees with me.

In fact I’m writing because there might be a neat opportunity coming up for our two “boys” to work together on something! Henry might recall the ladies cup ceremony in March 2017, when Frank told him about his newfound interest in roofing safety. You’ll remember I was worried about Frank for a short while after he retired. But then he discovered this, and it’s so good now. It’s made him young again. Isn’t it funny—we want our men to grow up so badly sometimes, then when one day they do, we miss what’s gone.

I’ve enclosed a special letter that Frank has been working on, which we’ve been trying to get into the papers every which way we can. The mainstream media is a tough nut to crack for two old timers like us. And then we thought of you. Perhaps Henry might like to publish it in his newspaper. As you’ll see it’s all very exciting. Maybe he could even do a special piece on it.

Let’s meet up soon.

Lizzie Hammer


Frank Hammer to Rick Hollywood, August 3rd, 2019:

Dear Mr. Hollywood,

It has been a long time since I was a fan of any particular musician. If you were to ask my old work colleagues, “Is Frank Hammer a music man?” they simply would have laughed.

That has all changed.

You’ve heard of Beatlemania, well “Rick Hollywood mania” has swept through our house. Ever since our only daughter gave me a copy of your CD, The Maine Line, for my birthday this has become a house of music. There was even one night when my wife Lizzie and I stayed up till 2 a.m. listening to it on a loop (our cd player has a repeat function). Each time “Wide Eyed Windham Girl” played I would twirl her, so much so that she got to giggling. Your music does good things to people.

I see from your vibrant website that you offer personalized recordings. I would like to make a proposition to you that would go beyond those to produce something of national importance. I believe that with the broad national themes that our songs contain, you could reach a wider audience than you’ve ever anticipated.

Please see enclosed a clipping from the Windham Gazette, raving about our organization and our dedication to civic improvement. I’ve also attached a number of the songs, written by Sandra Herkel, who you may know from the slurry safety commercials.

Yours Sincerely,

Frank Hammer

RAA President


Elizabeth Hammer to Ivan Crampshaw, November 13th, 2019:

Dear Ivan,

First of all, thank you. You were nothing but kind to us in extending the use of SpiderX nightclub to us for our special event. We, and I speak for my husband here too, had no intention of causing you any trouble.

Indeed, if we look back at the facts of that evening, much of it is positive.

For 5:30 p.m. on a Wednesday, we brought one hell of a crowd. It looks like our extensive leaflet campaign and door-to-door visits really worked to generate buzz. When Rick Hollywood took to the stage, oh boy, it was a boogie.

The evening held many surprises. That is another fact we can agree on. My husband Frank is not a man who shows his emotions. When he stood up there in front of everyone—his old colleagues from Morehaven Timber, Dr Halpin, our daughter Glenda who flew in from Seattle—“oh jeez,” I thought, “I can hear his voice begin to shake.”

I have received your correspondence about what then occurred. I have chosen not to show it to my husband, but to answer you myself. 

Yes, our event was due to finish at 8 p.m., and in our defense we were prompt in wrapping up our merchandise table and decorations.

We intended to stay for just one drink, and then all those youngsters arrived for the night’s bop – the very demographic that the RAA so urgently wants to connect with.

As I understand it, one part of a DJ’s job is to respond to the desires of the crowd in front of him. Since we made up a substantial portion of that crowd—I estimate 1/3 at 8 p.m. and 1/20th at 10:30—we had a right to hear the songs we desired. In rotation we approached the DJ and requested the songs from the RAA album. Out of 25 requests he only responded to 3 of those. Those 3 were modest hits, despite what you wrote in your letter.

It was on the 26th request that the trouble really began. The DJ was quite brusque with my husband. In time this escalated to rudeness. He then chose to play a song that he knew would be deeply offensive to Frank. I did not catch the name of the song, but the loud lyrics spoke of a roof being set alight.

Frank tried to yell above the noise, waving his arms for attention. When this failed he attempted to stop the music in every way he could.

And now here we are.

I have enclosed a personal cheque which will cover both damages to the DJ’ing equipment, and the DJ’s wrist injury. I am being generous and in return I would like to ask the same of you.

As you get older, new and perfect moments are rare. Moments you’ll look back on and wish you could just take a bath in them. You have many of those ahead of you, Ivan. Frank and I do not. If you can send a letter apologizing to Frank, you don’t have to mean it, but just say it, then I can get to work shaping this memory into one of the better ones.

Be sure not to mention the cheque, that’ll be our little secret.

Please be kind,

Lizzie Hammer


Frank Hammer to Ivan Crampshaw, December 10th, 2019:

Dear Mr. Crampshaw,

I read your apology with great satisfaction, and in response I have only one thing to say.

Go Fuck Yourself.

Sincerely,

Frank Hammer

RAA President

10 Books that Celebrate Feral Girls 

This summer the term “Feral Girl Summer” spent weeks trending on TikTok and Twitter. What is a Feral Girl Summer, you may ask? According to actress Rebel Wilson, it’s something like an antonym for Hot Girl Summer: “it means you just don’t care.” But TikTok users who popularized the term have described it as more than simply not caring—it’s an active rebellion that advocates for embracing wildness, doing whatever they want regardless of how they’re perceived for doing it, and being guided by the impulses of the moment, whether that means showing up to a Zumba class hungover, or eating spicy chips and ice cream for every meal while binge watching the new season of Stranger Things

While writing my debut story collection, A Manual for How to Love Us, I spent a lot of time reflecting on the stories that have resonated most strongly for me as a reader—stories that spread like electricity through my body, delighted me and gutted me. For me, those are often stories about messy, complicated women navigating the disparity between who they’re told they should be, and the truth inside them that defies borders of feminine propriety. When I say “messy,” I don’t mean “forgets to do the dishes and sometimes wears sweats in public.” I mean completely unhinged, living at the edge of her animal nature, animal hungers, animal desires. Desperate, craving, obsessive, emotionally obliterated, striving to make sense of a nonsensical world in an uncontainable body. 

Now, as summer wanes and we begin our descent into fall—a chilly breeze creeping in, the leaves orangeing bold and bright before they wither to the ground—the girls are not finished being feral. Under the donning of cozy sweaters, taking advantage of peak latte season, and staring down the pressure to find the great love of your life before the holidays, a squirrely angst festers and builds, reminding us how close we are, constantly, to baring our fangs and claws. 

If any part of you smolders with an untended wildness, here’s a list of ten novels and short story collections about women at the brink that will help you set the mood for Feral Girl Fall. 

Shit Cassandra Saw by Gwen Kirby

Each story in this phenomenal debut collection is a building block of a universe where women’s joys and burdens swirl at the molten core—a world where women encounter abuse, cat-calling, slut-shaming, and a grab-bag of familiar misogynies, and instead of quietly tolerating them, employ (often fantastical) means to confront them. The titular story is a reimagining of Greek mythological figure Cassandra, who uses her gift of prophecy to glimpse a future where women finally get a leg-up on the slog of womanhood, a future with access to tampons, Twizzlers, yoga, and epidurals. Though Cassandra knows she is fated to be killed by the Trojans, she holds the satisfying knowledge that they’ll be reduced by history to a condom brand. This story, which opens the book, sets the tone for the unapologetic, fiery lens through which Kirby breaks the fourth wall on tropes about girls and women, redefining their stories with new vulnerability and power.

Bunny by Mona Awad

Awad takes a setting that might, on its surface, make some prospective readers roll their eyes—a prestigious creative writing MFA program at an Ivy League New England university—and dials the strangeness wayyyy up until it’s singing with electricity like Frankenstein’s monster, bringing fresh and grotesque life to what is at its core a story about feeling ostracized, finding authentic belonging, and the lengths we’ll go to in order to harness that most elusive monster: the creative muse. Bunny spans the final year of narrator Samantha’s MFA in fiction, where she is the outcast in a cohort of women who are all blonde and rich, with over-the-top affectations and wardrobes, forming a hive-mind of gushy pet names and obsessions with miniaturized food. Samantha reluctantly gets drawn into their group, and discovers that while she has been procrastinating on her thesis, the Bunnies have been collaborating on a sinister project that “transcends the patriarchy of language.” Samantha then becomes the hostage co-creator in this disastrous spellwork “hybridizing” the human and animal body, forced to contend with the dangers of fantasy and the desire to be adored into self-erasing oblivion.

Not only is Bunny a sharp, darkly funny satire of literary academia (elitism, class inequality, and fetishization of obscure writing trends, to name a few targets), it’s also just extremely fun to read. The blood and gore is an apt metaphor for finding your way through the surreal, occasionally terrifying circumstances of young adulthood, and the prose is so magnetic that you won’t for a second waver on following wherever the story takes you. This novel is not just for those familiar with the inner workings of MFA programs, but it might be especially cathartic for anyone who knows what it’s like to survive a particularly brutal workshop.

Luster by Raven Leilani

If you’ve been in just about any online literary space in the last two years, you’ve probably seen the appropriately lustrous cover for Raven Leilani’s debut novel, Luster, accompanied by the well-deserved hype about this gleaming book (it gained such rave acclaim that it’s currently being developed into an HBO series). Luster’s narrator, Edie, is a twenty-something New Yorker and aspiring painter, surviving (barely) in the gig economy, flailing under the pressures of mental illness, economic precarity, and her attempts to create art, when she begins an affair with an older married white man named Eric. When she loses her apartment and has nowhere else to go, she finds herself at the mercy of Eric’s strained generosity, living at his house with his wife and adopted daughter—who is Black, like Edie—while he is traveling. She spends her weeks there navigating the tension, and surprising tenderness, of her relationships with his wife and daughter, alongside the growing distance between her and Eric. 

The book expertly lingers in that tension, unflinching as Edie confronts the complex web of power dynamics that underly these relationships: “If I’m honest, all my relationships have been like this, parsing the intent of the jaws that lock around my head. Like, is he kidding, or is he hungry? In other words, all of it, even the love, is a violence.” Through the course of the novel, Edie messes up, is withdrawn, is too forgiving at times and not forgiving enough at others, is selfish, is self-sacrificial, and sometimes says the wrong things—in other words, she is undeniably human in ways we don’t often get to see women, especially Black women, portrayed in fiction. It is a simmering powerhouse of a book, ripe with love and survival. 

Fruiting Bodies by Kathryn Harlan

Looming climate catastrophe serves as the backdrop to this debut story collection, focused on the lives of women and queer people. These stories are restrained but teeming with creatureliness, like toxic algae growing under the still surface of a lake. Harlan paints her characters with eyelashes like cactus needles and rotten-soft loamy insides, drawing women into nature and nature into women, as if to remind us how thin the line is between who we think we are and the animal fear that can strike through us in a flash. This metaphor is best represented in the titular story, in which a woman suddenly grows a flora of tumorlike mushroom spores all over her body. She and her partner retreat to a remote house in the woods, where they live off the fungus in sexual-spiritual sacrament, at each turn aware of the danger inherent in consumption and intimacy, trying to divine the poison from the sustenance.

How to Set a Fire and Why by Jesse Ball

The protagonist of Jesse Ball’s innovatively-formatted How to Set a Fire and Why is a teenage girl obsessed with arson. Need I say more? It’s full of fantasies of cleansing fire that every misunderstood teenage punk has longed for, woven with the sincere optimism and grief that often marks youth and early loss. Society tends to label teenage girls whose passion overflows the bounds of respectability as “melodramatic,” but anyone who has been a teenage girl can attest to the helplessness of that age, and the struggle for autonomy and selfhood that slips out in sparks of rebellion. This novel is that struggle (and its consequences) made manifest: as in the narrator’s life—or anyone’s—fire can represent power, freedom, and wild fury, but such power is ultimately uncontrollable in what it destroys, and how far the destruction spreads.

Marilou is Everywhere by Sarah Elaine Smith

What’s more feral than an adolescent girl living in precarity, bathing in rivers and being raised by her reckless teenage brothers in the woods of rural Appalachia? In Marilou is Everywhere, Smith’s gorgeous, lush prose is wild as the weedy landscape of the young narrator’s mind. The untended grief that penetrates Cindy’s sense of self is fierce and unrelenting below the mask of her quiet compliance; there’s a self-annihilating streak inside of her, a desire to vanish from her body and the place she has been allotted in the world. Then, a neighbor’s teenage daughter disappears, and the mystery of her disappearance overtakes the small town, driving its citizens to desperate ends. Cindy has a clue that could help rescue the missing girl, but she keeps it unspoken while caring for the girl’s declining mother as penance for her guilt. In a refreshing turn, the novel evades the obvious trajectory of “speaking up as empowerment,” instead forcing Cindy (and the reader) to interrogate different kinds of privilege and accountability, and how one person chained to solipsism can set off a domino effect toppling the lives of those around them.

Supper Club by Lara Williams

In Supper Club, a group of women—strangers to one another, but all desperately seeking something the course of their lives have denied them—band together to enact a “living art project”; the resulting “Supper Club” events consist of the group breaking into buildings, ravenously gorging on fine food, wine, and drugs, and shucking off the inhibitions forced on them by their jobs, relationships, families, and the traumas of their past. It’s a satisfying fantasy of succumbing to our deepest hungers, and a howling, joyful anthem for the life-altering impact of female friendship. (As a bonus, this book serves up a lovely bit of food writing; the method of caramelizing onions detailed somewhere near the middle has legit made it into my own kitchen routine). 

Bliss Montage by Ling Ma

This collection by acclaimed writer Ling Ma has remarkable momentum, each story deliciously crashing into the next, driven forward by the voices of women seeking surrender, validation, and destruction, punctuated by bright notes of humor. The speculative-leaning premises translate the emotional crux of the worlds they inhabit (among them: sex with a Yeti, a rich husband who speaks in strings of dollar signs, and a guest house populated by 100 ex-boyfriends). In one notable story, the narrator gets high with a childhood friend on the recreational drug “G,” a concoction that disembodies the user into a spirit-like form. The narration of the trip is woven with recollections of how the two friends relate to their shared Chinese American immigrant identity in different ways: disappearing into thinness for their mothers’ approval, or disappearing into the “default whiteness” of Seinfeld. It illuminates the complications of undefined desire between friends, and the jealousy of almost-siblings that trails those relationships into adulthood. 

Ma’s narrators fain composure or indifference, but eventually a reservoir of animalistic hunger breaks through: “I want to masticate him with my teeth. I want to barf on him and coat him in my stinging acids. I want to unleash a million babies inside him and burden him with their upbringing,” the book’s opening story crescendos. Bliss Montage is what the title promises, if your flavor of “bliss” is less “idyllic drive through the countryside” and more “ecstatic drunken joyride with the music blaring ‘til the speakers burst.”

Aesthetica by Allie Rowbottom

The glory and grotesquerie of curating a public image in the era of Instagram is the focus of Rowbottom’s novel Aesthetica. Cultural discourse tends to speak of social media as an inherently vapid topic, but this novel proves there is nothing more philosophically interesting than how we choose to be seen (or unseen) in a time when many people are vying for attention, money, and power through one of the only truly accessible paths left for achieving social and class mobility: the sway of the internet. 

As the narrator, an 18-year-old aspiring influencer, makes her way through a world of models, photoshop, and dopamine-floods of likes, we witness the meta-performance of herself—not just in photos and posts, but in every real-life interaction; through her, we learn that the result of clawing for relevance in an image-obsessed society is hyperawareness of your consumption and consume-ability. But for the narrator, social media fame is a legitimate method of transcending the circumstances she was born into:

“[I wanted] to transcend my mother’s fate and mine. To make more of our abandonment, my father’s leaving. I wanted to turn the story around and choose how I spent my time, made my money, presented my body. I wanted the power that came with certainty, what was real, what was illusion. I wasn’t sure there was a difference, wasn’t sure there should be.”

Parallel to this mindset is her underlying craving for the opposite: to disappear, and to see someone “without a filter…completely naked.” There’s also a profound meditation on mothers and daughters: how mothers pass on their understandings of womanhood, beauty, its restrictions and its powers, and how each generation’s daughters reject them, while being unable to escape internalizing their messages. 

Aesthetica shows women simultaneously calculated and unbridled in their hunger for power, just as social media can be both self-erasing and self-creating, both spiritual and hollow. 

Portrait of the Walrus by a Young Artist by Laurie Foos

I’ll be honest: I almost didn’t include this book because I worried it might be too feral. It’s one of those special, weird little heart-gems that feels strangely revealing to tell people about—like in pre-internet high school years when you’d fall in love with a band none of your friends had heard of yet. Portrait of the Walrus by a Young Artist is like that for me. This novel is completely unhinged, which I use as a qualifier of extraordinary fondness. 

Francis, the teenage narrator, has just been forced to move to Florida with her uptight, perpetually dieting mother and her mother’s new husband, who owns an empire of local bowling alleys. She spends most of her time fruitlessly crafting clay sculptures, taking up the torch of her deceased father, a sculptor who became famous for a series of clay men with chainsaws for limbs—and in the height of his fame, suffered a mental breakdown which led to him barricading himself in the family’s basement (all of this is treated with more humor than it sounds like it would be). Francis’ bolt of inspiration finally arrives when she glimpses walruses mating at the aquarium; as if struck by a divine mania, her inner life is swiftly overtaken by ecstatic, reverent, and deeply horny visions of walruses. Her art prospers under this all-consuming obsession, until her visions begin to bleed into reality. 

This is a book about art, grief, inheritance, and finding one’s purpose; it’s completely bonkers, surprisingly deep, and a tad Freudian. Not every reader will be on-board for it, but I would venture that if there’s a fanged (or tusked) part of you whose mouth drips in excitement at the description, you’ll love the ride this book takes you on. 

What Is Beauty?

There’s a scene in Easy Beauty, one of many in Chloé Cooper Jones’ complex and exceedingly intelligent memoir, that speaks volumes. In it, the author is asked why she doesn’t write about disability. She replies, “As soon as you identify as something, people start telling you who you are and what you mean. They put you in a little box and leave you there.”

Jones is the kind of writer who defies boxes. Formally, she is trained as a philosopher—but her work as a freelance journalist covering everything from culture and film to travel and tennis earned her a Pulitzer Prize in 2020. She was born with a rare congenital condition that causes acute physical pain and manifests visually as a disability—but Jones has not written, until recently, about either chronic pain or disability. Easy Beauty, too, is a memoir impervious to categorization. Disability is one of the things it’s about—but realistically, it is about much more. Jones’ story captures the experience of moving through the world in a body that others struggle to understand; the perspective shifts that accompany parenthood; the rules and limitations we accept from others and internalize for ourselves. The narrative follows Jones into bars and Beyoncé concerts, on international trips and neighborhood walks in Brooklyn. Throughout, it delivers the story of a woman interested in interrogating herself and, by extension, everyone and everything else.

Chloé Cooper Jones and I connected via Zoom to talk about beauty, transformation, and the art of being fully present—all timeless topics covered thoughtfully in Easy Beauty.


Wynter K Miller: One of the theses underlying Easy Beauty is the belief that proximity to beauty can be transformative for the individual. Assuming that society operates on the same belief—what do you think we’re being transformed into, writ large?

Chloé Cooper Jones: I think that what’s important about this idea that beauty is transformative is that there is a threshold, in a certain sense, in which beauty can be transformative, and in a way that I would associate with positive growth. There’s this operating idea in the book that beauty can give us a chance. And this is not really my idea. It’s Iris Murdoch’s idea, that beauty can give us this chance to escape ourselves, to actually move outside of our ego or our own limited perspective, and that we can use beauty, or the aesthetic experience, or art in general, to step outside of your palace of self-regard, engage in the world, and then to return to yourself further enriched. I think there’s a lot in society that does support that aim, and I think that aim is unbelievably worthwhile and is transformative in the very best sense because it literally lifts us outside of the limits of being just one single person.

I think the other side of the threshold is that too much emphasis on beauty can produce negative results. It can make you value beauty to the exclusion of all else.

WKM: I was thinking about how there are different concepts at play when we talk about “beauty.” There’s proximity to beauty, which is what your book is primarily concerned with, but then there’s also the process of making beauty, making art, and then there’s actually being beautiful. This is probably a reflection of my worldview, but my sense is that the third concept—being beautiful—is possibly counterproductive to transformation. When you’re thinking about beauty as a concept, do you see distinctions between categories of beauty? 

CCJ: One thing that gets kind of confused or sort of misrepresented about my book is that it’s really concerned with physical beauty. But it’s not, actually. It’s more interested in seeking out what beauty does in our lives and what the experience of beauty is—how do we recognize it in our lives? What is that feeling that it gives us?

The only way that you make something beautiful is if it triggers that feeling—that rush—in someone else.

I do think that there are so many messages that we absorb on a constant basis that can help us confuse the categories that you’re talking about. There are so many ways in which we can be manipulated into thinking that proximity to beauty can be a substitute for self-worth, or a substitute for self-awareness or some sort of actualization. And I think that to make something very beautiful, or to really work at the creation of beauty, is necessarily a very selfless and outward-focused act, because the only way that you make something beautiful is if it triggers that feeling—that rush—in someone else. And I think that artists who are making beautiful things are constantly in a dialogue with other people’s minds and other things in the world. As a lover of art, I have benefited so much from that.

And then I think there’s this other type of focus on beauty that’s very inward-focused. It’s also like a way of hiding, right? Like we can hide behind this idea that if my hair is the right way, or my weight is the right number, or I appeal to strangers in a specific way, then that shields me from having to become a more complex person.

WKM: I think that captures exactly what I was trying to capture: It shields you from complexity. Like if you have that part taken care of—if you look “right” to external eyes— it can be a kind of escape hatch, maybe, from working on other things. 

CCJ: Totally. And I don’t want to sound judgmental, because I’ve done the same thing, but I think sometimes we reach for beautiful objects or turn beautiful people into objects and pull them closer to us to be made—and this is a line in the book—”shiny by proximity.” So, if I surround myself with the right kinds of objects that prompt that external validation, or if I date the best-looking people or my friends are the best-looking people, maybe I can soak up all the validation that I require. And, you know, having a very visual, physical disability sort of forever sets you outside of that, in a way, because it’s very difficult for you to have that sort of shield. But in some ways, that’s been the greatest gift of disability—that that’s not even an option for me. I can’t access that.

WKM: When I’m thinking about the definition of beauty—something you said just now made me think that may be part of the definition, because it’s not just a physical or aesthetic or visual thing—something you said made me think that your definition of beauty would be something like “presence in the present moment.” So, being able to experience time without too much anxiety about the future or inability to move away from the past. Does that strike you as a definition you would use?

CCJ: At the very end of the book, I give my definition of it as sort of being able to look at the dense pile of my life and of reality, which is full of good and bad things and complicated things and trash and happiness, and just sort of ask: Can I see the salient thing? Can I find the most important thing?

I think sometimes we reach for beautiful objects or turn beautiful people into objects and pull them closer to us to be made ‘shiny by proximity.’

And then at the very end of the book, I’m talking about just being able to see the most important thing on a walk home with my son—which is him, which is that moment in the present, really feeling it and being very aware of it, and then, importantly, also letting it go. Because I think that’s the one thing I also really struggle with. When I find something really beautiful, I have a tendency to want to memorialize it and freeze it and then, like, haul it off into my neutral room, into a safe space, and then analyze it from every single angle and break it down and be able to permeate it with all my ideas. And you can’t do that with people and you can’t really do that with anything in life. So, beauty is this sort of duality of both: being present enough to find the salient thing, the beautiful thing, to grasp it, to experience it, and then to let it go. And that’s really what the experience of beauty is.

WKM: If you accept the premise that the experience of beauty can be transformative, could you talk a little bit about whether ugliness can do the same thing? And I’m thinking less about aesthetic ugliness. I’m thinking about things like dark tourism or the horror genre. You have a section of your book where you go to Cambodia because you’re interested in dark tourism, and I’m wondering if fear or tragedy and despair can trigger the same kinds of transformations as beauty can.

CCJ: I think it’s a little bit different, or at least the way that the philosophers that I like talk about it is a little bit different. Aristotle says that the base thing that makes us human is our desire to know. So, we desire to know, even about the darkest cruelties that humans are capable of experiencing. We want to know about death. You know, they made like six Saw movies—why did they make six Saw movies? Because there’s a deep fascination with what cruelties we can endure as human beings. And so Aristotle says that it’s just human nature to want to know the full range of things that can possibly be known. And he says that if you experience or explore these things in art, there’s good things that can come out of that. One is that art is obviously a safer place to explore, right? Like if you’re curious about what it means to experience human cruelty, it’s better to experience that curiosity in the Saw films than to go out and experience them in real life. We don’t want to experience them in real life, but we still want to know about them.

And then Aristotle also thinks that darkness—or whatever we might call ugliness—is a realm of human experience that we are fascinated by and must understand, but that we can sort of purge our emotions, and feel the full force of them by feeling sorry for Oedipus, or feeling fear about what can happen to people in this world. And he writes a lot about how feeling pity and fear can move us to purge our emotions in a really healthy and positive way.

So, in a sense, I think that the experience of beauty can help us expand outward and connect with people. And I think the experience of dark art or tragic art can help us feel a little bit more human.

WKM: Easy Beauty is about so many things—and it’s not primarily a book about disability—but I really appreciated the way it addresses disability and chronic illness, and the simplistic and incorrect assumptions people make about those experiences, like that every person with disability would erase it if they could, and that their life would be objectively better without it.  

CCJ: The narrative of my life is people putting limits on me. The most common way that other people relate to me is telling me what I can’t do or making baseline assumptions about my limitations without asking me—it’s just this constant narrative of: We see you as weak, we see you as vulnerable, we see as fragile, we see you as incapable and incompetent, less able. Like that story is just being constantly reflected back to me. So, when I do something really hard, it feels so good. It feels life-affirming in a way that’s not always, like, super mature, right? Because there is this part of me that’s just like, “fuck you, fuck everybody who thought I couldn’t do it.” I think that’s a really relatable thing for a lot of people with disabilities. I’ve talked to people who are just constantly piling on accomplishments because there is this way in which they’re not sure they’ll be seen as a real person unless they’re sort of super able in some other way.

For me, I absolutely throw myself into situations that seem untenable. I do relish being able to take on what other people think I can’t take on, or what they think they can’t take on, because when a disabled person can do the thing that the able-bodied person can’t do, then we’re really in new territory. And there is something about that. That, in a way, is the strongest assertion of myself. But also, because of the body I’m in, that comes with pain. But to not do that would feel like a capitulation to this belief that I can’t do things. So—I keep saying this—on the one hand, my disability is good. And then there’s a threshold where it’s bad, where I’m not authentically looking at what I want, what I really want, how I really want to spend my time, what would really make me happy. I’m not always looking within for those answers. In some ways I’m thinking about my sense of self in relation to the narrative that other people are putting on me.

WKM: You’re direct in the book about chronic physical pain being a part of your experience, and you say that you buy into an idea that you were taught in graduate school, which is that “truth,” whatever that is, cannot be found without the experience of pain. As someone with chronic pain, I find it incredibly tempting to believe that my pain has a purpose, that there’s a reason for it, and that, in fact, without it, I would not be the person that I am. I’m wondering, divorced from theory, what you think the purpose of pain has been in your life, or in life as you’ve observed it? Do you think that it has a purpose?

CCJ: Well, yeah. I mean, that narrative is so tempting, right? It is. I think I go back to this idea of thresholds—like, I have gotten further in life because I’m not afraid of pain and I’m not afraid of hardship. I don’t see difficulty as a negative thing. I see it as just a layer of my every day, constant, lived experience. So, when someone describes doing a difficult thing, like getting a PhD or moving to a different place or traveling around the world or working on a book or whatever, there’s no part of me that reacts in fear. I’m just like, “Yep, that’s just going to be a part of it.” And I think that’s served me very well in life.

But on the other side of the threshold is where pain can become like a myth. And sometimes there are situations in which I cling to my pain—in some ways, I will believe that I can’t live without it. Which means that if I let go of it, or if I try to improve it, I’ll lose something really essential about myself. So, I think the trick is to—and I’m not good at this—to really look at that threshold between the truth of what pain is and what pain can give you. I feel like I can embrace really hard things, and I’m really proud of that. But there is this line in which I sort of hold on to pain as almost a self-righteous thing, of propping myself up or telling myself a story that in some ways allows me to avoid getting better or feeling better. So, it has that dual purpose. Dealing with pain allows you to have a sort of fearlessness about hardship. But then at the same time, it can become a coping mechanism, or a protective way of distancing yourself from things.

7 Memoirs About Leaving Home

Leaving home is a rite of passage. Departure stories often celebrate our origins while heralding hope for the future. But for many, leaving home is an act of survival, an exodus that requires sacrifice and sorrow. It is a search for solace despite trauma, for safety despite harmful histories. Though leaving home is prompted by a search for our place, it is ultimately a search for ourself.

 My new book, Halfway from Home, is a lyric essay collection about leaving a chaotic home to chase restlessness and claiming places on the West Coast, Midwest, and East Coast all while determined never to settle. But it is also a collection about how difficult it is to move forward when you long for the past. With my family ravaged by addiction, illness, and poverty; the nation increasingly divided; and the natural world under siege by wildfire, tornados, and unrelenting storms, I turn to nostalgia to grieve a rapidly-changing world. From the tide pools and monarch groves of California, to the fossil beds and grass prairies of Nebraska, to the scrimshaw shops and tangled forests of Massachusetts, I examine contemporary longing and sorrow, searching for how to live meaningfully when our sense of self is uncertain in a fractured world, and how to build a home when human connection is disappearing.

The seven nonfiction books gathered here offer the stories of others who have left home in search of somewhere to belong. The writers share the struggles of departing the landscapes that define them and the families that raised them, as well as the challenges that come from trying to discover who you are in a place where you are a stranger. While some return, some move between landscapes, and some embrace new places entirely, the writers on this list reveal how we often must leave in order to discover home.

Crying in the Bathroom: A Memoir by Erika L. Sánchez

When Erika L. Sánchez leaves home as a senior in college in search of a life of her own, she willingly accepts the role of outsider. Her choice to pursue an unmarried life of education and writing is unprecedented in her Mexican immigrant family. Forging a solo path around the globe in a community where girls are not supposed to stray from their homes, Sanchez takes readers along for her story of what it means to grow up in the ’90s in Chicago as a melancholic misfit, a hilarious outsider whose sharp insights about the world lead to an award-winning writing career. The best creative expression, Sánchez writes, is born of narrative tension, and this collection juxtaposes raunchy humor with unapologetic honesty in essays about sex, comedy, white feminism, and mental illness. Sánchez explores what it means to live in contradiction, to belong everywhere and nowhere at once, to become your own home after spending a lifetime searching for your place.

Dog Flowers by Danielle Geller 

Danielle Geller inherits restlessness along with eight suitcases that contain the contents of her mother’s life. After her mother dies of alcohol withdrawal during an attempt to get sober, Geller begins to piece together the story of her mother’s life from what she leaves behind. Archiving her mother’s possessions—diaries, letters, photos, clothing, and other artifacts—Geller weaves images and text together in an innovative exploration of legacy and loss, given and chosen family, in an effort to understand her mother and herself. As Geller forges a life for herself, confronting her family’s troubled history and her role as caregiver, she is compelled back to her mother’s home on a Navajo reservation. Exploring matrilineal heritage, the delicate balance of sisterhood, and intergenerational trauma, Geller teaches readers how to honor the homes we have left in the past while showing us how to build a home and family for ourselves in the future. 

Engine Running by Cade Mason

Cade Mason’s debut essay collection is an innovative archive of stories and selves frozen in time, an exploration of whether home only exists after it is gone. Examining what it means to grow distanced from the people and place that raised you, Mason shares the story of his gradual separation from his religious West Texas home and fractured family. Mason travels through endless roads and dusty farms, weaving childhood stories with family secrets in order to piece together the story of how his family fell apart—his father struggling to forget the past in the aftermath of divorce, his mother eager to move on to her future, his sister caught up in the chaos. This is a story of queerness in the rural South, of the myths of manhood, and of the end of a marriage, a family, and a home. Mason teaches readers what it means to love a place that you must also leave in order to live. 

Somebody’s Daughter by Ashley C. Ford

Leaving home seems to be the only way Ashley C. Ford can escape poverty, a challenging relationship with her mother, and the isolation that comes from a lifetime of missing her father, who is incarcerated for reasons she does not know. Growing up poor and Black in Indiana, Ford spends much of her childhood worrying about safety and much of her adolescence being told her developing body is a danger. As she struggles to find connection, she dreams of a day she will finally feel sheltered in her brain and body and hopefully find unconditional love. After a relationship turns violent, Ford learns the truth about her father’s incarceration, and must reconcile her sense of safety with her shame. Leaving her family in pursuit of a life that feels like her own, Ford begins a journey to discover a body and home that feel safe, and to find out who she is outside of her fragmented familial history despite the many ways they will always be connected.

I Came All This Way to Meet You: Writing Myself Home by Jami Attenberg

The daughter of a traveling salesman, Jami Attenberg inherits wanderlust, dedicating herself to a life on the road in the pursuit of her art. Restlessness drives her search, as she chases inspiration and experience, leading her on self-funded book tours and artistic endeavors across America and eventually around the world. Along the way she encounters artists, lovers, and friends, questioning her craft and how to build a career creating art, uncovering ideas, and understanding herself. Ultimately, it is leaving home in the pursuit of rootlessness that allows Attenberg to discover her artistry and individuality, trusting her vision and herself enough to finally claim a life and build a home.

When They Tell You to Be Good by Prince Shakur

Growing up during the early aughts in Ohio as the son of Jamaican immigrants, Prince Shakur grapples with the violent murders of several men in his family, his family’s homophobia, and the complexities of the Afro-Caribbean diaspora. Leaving home for college is just the start of Shakur’s travels—throughout the book, he journeys from France to the Philippines, South Korea to Costa Rica, coming of age as a radicalized millennial to participate in movements like Black Lives Matter and Standing Rock. As Shakur confronts what it means to be young, Black, and queer in this country, he questions life in Obama and Trump’s America, urging readers to do the same as we consider the political landscape we still have the power to shape. Though a memoir of leaving home, Shakur’s search to confront his identity, his family’s immigration, and the intergenerational impact of colonial violence ultimately leads him home to his power, his passion, and his next radical pursuits.

 Dirtbag, Massachusetts: A Confessional by Isaac Fitzgerald 

Leaving home defines Isaac Fitzgerald’s life and this memoir-in-essays. After his birth ends his parents’ marriages to other people, Fitzgerald leaves Boston for small town Massachusetts, his childhood defined by a sad mother and an absent father, a family dynamic of loneliness and depression, anger and disconnection. Later he leaves for boarding school, for the West Coast, for another country in search of a life away from the trauma he knew as a child. He leads many lives—altar boy, bartender, biker, smuggler—on his search for family and forgiveness, for a way to understand and accept himself. Combining gritty honesty about a violent childhood, a lifelong struggle with body image, and toxic masculinity, with humor and unabashed reflection, Fitzgerald leads the way for readers to open their hearts. While this is a story about leaving, about learning to love places and people that did not raise you, it is also about offering compassion, generosity, and forgiveness to others in order to come home to yourself. 

The Real Housewives of 16th-Century Scotland

In Glasgow, Scotland, in 1574, two women landed in legal trouble for a wild public fight: Janet Dunlop threw dirt in Margaret Martin’s window where Margaret had set out her bread, cheese, and butter for sale. Margaret, who was clearly not a woman to be played with, responded to Janet’s spoiling of her wares by throwing urine at Janet.

URINE.

This was only one of the many public fights between married urban townswomen that took place in Scotland’s streets and marketplaces in the 16th and 17th centuries, according to legal records from Scottish town courts. Hair disheveled, cheeks bloody, and clothes askew, the undignified women described in these 500-year-old cases hurled scathing sexual insults at one another—insults based on rules for sexual behavior that were created by and benefit men. This scenario of female conflict put women in the role of policing one another’s sexuality, so that men did not have to do so, and it enabled men to serve as restorers of order and models of restraint; often they broke up fights or were cited by the court as responsible for ensuring that their wives behaved in the future. Historian Elizabeth Ewan has found that women in Scottish legal records were far more likely to attack other women than to assault men. These fights happened in public with plenty of witnesses, as evidenced by bystanders disagreeing in court over details like whether one woman had called another “drunken beast, vagabond, and bitch” or simply “vagabond and whore.” The resulting punishments were equally public, with perpetrators sentenced to issue public apologies that re-articulated their nasty insults for all to hear, walk bare legged through the marketplace, or spend hours locked in the town pillory for everyone to gawk and jeer at them. Jonet Brus, for example, had to apologize to Isabel Kerrington by declaring before the townspeople of St. Andrews, “I called you a common bloody whore and said that you cheated on your husband along with various other harmful words that were not true.” As I read through these legal cases of assault and defamation from 500 years ago, I found myself having a familiar reaction of appalled, scandalized, slightly embarrassing delight. It’s the same way I feel  when I’m watching a fight between women unfold on one of Bravo’s Real Housewives franchises.  

I found myself having a familiar reaction of appalled, scandalized, slightly embarrassing delight.

This parallel left me wondering: why am I—and I’m sure I’m not the only one—so entertained by narratives about women expressing their anger at one another? And where, exactly, is the line between  entertaining stories about female conflict and cases of dangerous criminal violence?  

The enormously popular Real Housewives shows—which have aired for the last fifteen years, currently exist in eight separate city-based franchises, and are the subject of a recent book by Brian Moylan—similarly center on public catfights between women. The crew of cameramen and producers exploit every boozy dinner and cast trip for maximum conflict. The housewives express their anger at one another through table-flipping, wineglass-smashing, drink-throwing, hair-pulling, and slinging insults such as “slut pig,” “beast,” “drunken fool,” and “a slut and a liar and a hypocrite and a snake” who “fuck[s] everyone.” Like the Scottish cases, these disputes often wind up in court: Joanna Krupa sued Brandi Glanville for claiming on television that her “pussy smelled” before the two women reached a settlement, and multiple physical altercations have led to assault charges. The network knows that viewers are hungry for these narratives: the women’s feuds are teased in each season’s premiere episode, drawn out throughout the season to build narrative suspense, and explode when the women confront each other about their grievances and are encouraged by producers to apologize at the season’s end. For example, at the 2014 reunion episode for the Real Housewives of Atlanta’s sixth season, Porsha Williams told her castmate Kenya Moore, “Your vagina is so rotten that no one will claim you.” Kenya accused Porsha of cheating on her ex-husband and called her a “dumb ho,” speaking into a megaphone that she’d brought with her to amplify her insult. Porsha responded by declaring, “You are a skank from the nineties” before rising to her feet and proclaiming, “I will fuck you up.” She seized Kenya by her hair, pulling her to the ground and dragging her across the stage—echoing the 1640 Aberdeen case in which a waterman’s wife named Helen Mearnes dragged Janet Walker by her hair and threw a wooden dish at her. Bravo network executive Andy Cohen, who had just grinned gleefully at Porsha’s “skank from the nineties” insult, leapt up and shouted “NO, NO, NO” as a group of other men materialized from off-camera to help him subdue and separate the women. Porsha was later arrested on assault charges. 

Cohen’s mingled glee and horror at witnessing the women’s altercation exemplifies the irresistible electric charge of titillation, drama, and spectacle central to both the Scottish legal cases and the Real Housewives “catfights”: they are at once dramatic public events featuring actual, living women and highly constructed narratives framed and filtered by men who heard testimonies, gave verdicts, and wrote down every hair-pull and scathing insult word for word. What is more, the Housewives altercations occur between women who were once friends, or at least friendly colleagues for the sake of the show. This, too, reflects medieval interpersonal dynamics, like the case where Isabelle Squyer “laid hands violently” on Helen Gilham, whom Isabelle had previously chosen as godmother to her child, in 1495. These conflicts, even though they’re separated by five hundred years, point to a common cultural tendency to allow women to fight (even while having rules against it) as a way of enforcing social codes: women confront each other for allegedly sleeping with men who are not their husbands, for spreading scandalous rumors, for being financially dishonest. One sixteenth-century Scottish poem insists that women are “downright deceitful, fickle, ferocious, and frivolous,” and these nasty fights over sex, lying, and money appear to confirm those stereotypes while also turning their punishment—in the form of embarrassing, extremely specific apologies in the town marketplace or at a Bravo reunion show—into a spectacle that encourages onlookers to react with “voyeurism and judgment,” as Brian Moylan puts it.

I imagine how the men passing judgment on these cases in Scottish town courts must have been filled with delight and disgust.

The catfight narratives surviving in dusty old court record books are thrilling to read, filled with unexpected and vivid details—such as the fact that Isobel and Bessie Kyntray attacked Jonet Reid by striking her on the face with a raw fish in Elgin in 1545. I imagine how the men passing judgment on these cases in Scottish town courts must have been filled with delight and disgust, struggling to keep a straight face when witnesses to a 1539 fight in Aberdeen’s main street testified that Margaret Porter had attacked Janet Chesame by “calling her common vile friar’s whore, saying that she was one who has a large quantity of lice between your shoulders; I shall lead you to the place where the friar fucked you, where you undid the ends of your belt.” I imagine the male court reporter’s eyes widening as he wrote down that Elspeth Clogy landed in trouble for “throwing stones at Christian Sauchie and biting her through her arm and letting the piece of flesh that she bit fall into the water” in an altercation that also involved Elspeth’s sister and mother.  

I’m aware that these scenarios are shaped by long standing stereotypes that women are naturally antagonistic toward one another and that this mutual antagonism requires male intervention and discipline to restore order, making the women seem like vicious, out-of-control catfighters while the men serve as patient, rational peacemakers. And yet, I still cackled when I read that a beer-brewer named Katherine Jack called her servant Elspeth Mukkart a “common whore and thief that has lain these last nine years in the devil’s arms with another wife’s husband both by night and day.” And I’m not the only one who’s viewed these narratives of women’s conflict as entertaining drama: in a play performed for a public audience in the summer of 1552, Scottish writer Sir David Lyndsay included a scene in which two married townswomen rushed to a tavern to confront an attractive young woman who is drinking with their husbands. They called her “whore” in all sorts of creative ways and threatened to beat her with their wool-spinning sticks, echoing numerous real-life cases in which women hit each other with those very same household tools. 

Like Real Housewives episodes, Scottish legal cases are filled with women expressing their anger at one another through hair-pulling, drink-throwing, and colorful insults: Margaret Ogstone testified that Janet Mawer was drunk on the Sabbath when she called Margaret “base whore, drunkard, thief-faced bitch, English jade, vagabond, queane,” using as many synonyms for “whore” as possible. Janet filed counter-charges by claiming that Margaret had insulted her as “drunken jade.” In Elgin, Margaret Froster hit Christian Vardan on the head with a pan and pulled a large quantity of hair out of her head; Christian verbally attacked Margaret as a “vile mare” (a nasty sexual insult), “common whore,” and thief. In Inverness in 1566, two female ale-brewers teamed up for a vicious attack on a pregnant woman who was drinking in an alehouse that one of them owned with her husband. Jonet Sutherland testified that she was enjoying an innocent drink at John Morrison’s alehouse when John’s wife Elspeth Barnet and her friend Marion Ogilbe “cruelly set upon her and pulled her hair, scratched her face, called her common thief’s brat, and said that her mother broke into barns and lived on cheap mollusks brought out of the sea.” Jonet claimed that the assault nearly caused her to miscarry that night, and Marion’s husband was designated as responsible for answering further charges on his wife’s behalf if Jonet experienced pregnancy complications in the coming days. And in Elgin in 1550, Jonet Maitland was sentenced to one hour of public humiliation in the pillory “for the unlawful casting of a vessel full of ale in Isobel Douglas’s face and striking her on the head with the vessel and calling her injurious and vile words.” The altercation was mutual, as Isobel was sentenced to several hours in the town jail for hitting Jonet and attacking a local town official who intervened in the women’s fight insulting him as a “penniless villain” and “beggar peasant’s brat.” Throwing a drink at someone is still categorized as assault today, and it has become a mainstay in countless Real Housewives conflicts. It humiliates the target by leaving her drenched and sticky, her hair flattened and makeup streaming down her face. 

It humiliates the target by leaving her drenched and sticky, her hair flattened and makeup streaming down her face.

One particular altercation on the Real Housewives of Potomac’s latest season drew headlines because it involved vicious hair-pulling, wine-flinging, and mutually-filed criminal charges. In this conflict between two former friends, which occurred while the ladies sampled wine and cheese at a Maryland winery, Candiace Dillard-Basset and Monique Samuels continued a long-running verbal dispute from previous episodes, stemming partly from a nasty rumor that Monique’s baby son had been fathered by her personal trainer instead of her husband. Candiace taunted Monique while waving a small cheese knife. Another cast member removed it from her hand, a particularly prudent move given the fact that Candiace had threatened a castmate with a butter knife in the previous season. After Candiace repeatedly invited Monique to “drag” her, Monique finally reached across the table and seized Candiace’s wig, refusing to release her. A large white platter of cherry tomatoes slid helplessly off the table between them, ranch dressing spattering across the floor. Monique beat Candiace on the head with her left hand, her right steadfastly gripping Candiace’s hair, as a horde of previously off-scene male producers and security guards swarmed in to separate the women. 

This crowd of men, who materialize on screen to impose order every time a reality television conflict between women escalates from words to physical force, is significant. Typically these men remain out of sight, but the women’s turn to physical violence—which diverges from the expected war of words that characterizes many a Housewife gathering, especially when alcohol is involved—forces the show’s gendered mediating powers to make themselves visible, reminding us that these incidents of women’s anger at one another, from Scottish streets to contemporary television sets, are both real, spontaneous expressions of rage and highly-manipulated scenes that serve particular purposes. 

Both women filed criminal charges of second-degree assault after the incident, which were later dismissed after a judge determined that the altercation was “mutually consented.” The show used the fight and its aftermath, along with Monique and Candiace’s subsequent deliberations about whether to file charges, as the basis for the whole fifth season, rendering it at once a criminally violent conflict and a dramatic entertainment storyline to draw viewers and boost ratings. At the reunion marking the season’s end, Bravo executive producer Andy Cohen encouraged Monique to apologize to Candiace, serving a similar function to the Scottish town officials who sentenced women to apologize publicly to one another for their public displays of rage in addition to suffering humiliation, imprisonment, and fines. 

When I first saw the fight between Candiace and Monique, I was filled with scandalized delight. Perhaps I should not admit this, but watching it unfold on television, almost a year after I read about the criminal charges in the news, was everything I dreamed it would be and more. Even though I, as a Black feminist, am intellectually aware of the pervasive cultural misogyny that shapes these types of representations, and I am also vulnerable to being viewed as an angry, out-of-control Black woman myself, I cannot deny the exhilaration I felt when the wine flew through the air, when the raw broccoli florets scattered across the floor, when all the men with earpieces rushed out from behind the scenes. While the Real Housewives shows and the Scottish legal cases were not created for the same purpose—since the former are produced for entertainment, while the latter are records of wrongdoing and punishment—they’re both “all about conflict and conflict resolution,” to quote Brian Moylan, about entertainment as well as empathy. Moylan says that Real Housewives fights give us “the thrill of vicariously doing something we want to but can’t,” and I do often find myself identifying with the motivations for the violence that the women commit against one another, even if I would never actually pull a ponytail or throw a punch: there is a perverse and shameful satisfaction in seeing Monique finally accept Candiace’s invitation to drag her after Candiace taunts and twirls in front of her, in seeing Porsha rise up and seize Kenya by the hair after Kenya has spent the whole episode obnoxiously shouting insults at everyone through her personal megaphone, in reading about Margaret Ralston hitting Agnes Allen and maliciously scattering the leeks that she was selling in the Glasgow marketplace after Agnes shoved her 

I do often find myself identifying with the motivations for the violence that the women commit against one another.

In other words, these public spectacles of conflict, both then and now, do more than simply enforce social codes about female behavior; they also saddle onlookers with the messy feeling of gawking judgmentally at public misconduct at the same time that we identify with the players enacting it and the sentiments underlying it. Any diehard Real Housewives fan roots for some Housewives, even in spite of their bad behavior, and despises others; similarly, onlookers who witnessed the Scottish fights and their punishments had complicated allegiances to the women involved in them as neighbors, relatives, co-workers, or marketplace rivals. This brings me back to sixteenth-century Glasgow, where Margaret Brown terrorized her fellow townswomen over the course of several years. She shoved Margaret Craig and scratched her mouth and nose, shedding her blood. She attacked Jonet Law by striking her, pulling her hair, throwing her to the ground, and tearing her clothes. She hit Margaret Rossie’s small child, who was being held by a servant. A few years later, Margaret herself was the victim: Jonet Barde had to pay six shillings and publicly ask Margaret’s forgiveness for throwing stones at her, pulling her hair, and striking her, causing her to bleed. When Jonet voiced her public apology and listed specifically how she had wronged Margaret, the townswomen of Glasgow likely had a range of reactions: I’m sure some of them listened with horror, judgment, or disapproval. And I have no doubt that others, given Margaret’s long record of aggression against her peers, listened with scandalized delight, sympathizing all too well with Jonet’s actions even if they would not have been quite so vicious themselves.

7 Books by Women Writers About Humanity’s Relationship to Trees

Trees are a significant part of our cultural discourse, and humans have long had a personal connection to trees. From the centuries-old Cedars of Lebanon to the present-day Lonely Doug, a douglas fir surrounded by a clearcut in coastal British Columbia, we revere trees because they’re long-lived, majestic, and quiet companions in our yards, national parks, and urban green spaces. 

For example, when the city of Melbourne in Australia, gave each of its 70,000 trees an identification number and an email address so that the public could report problems, people began sending the trees messages. According to the Guardian, “One tree fan emailed their favourite golden elm telling it to keep up the good work, while a London plane tree was complimented on its beauty. A green leaf elm was urged to stay in good shape by a wellwisher moving abroad.” 

Several years ago I wrote an essay about trees and their role in our lives. As I researched my essay, I found many books by male authors, including best-selling non-fiction like Peter Wohlleben’s The Hidden Life of Trees and David George Haskell’s The Songs of Trees, and novels like Richard Powers’s The Overstory. But I didn’t come across a lot of writing by women. Perhaps they weren’t writing about trees, or maybe I just hadn’t dug deep enough to find them. As a researcher studying how trees killed by wildfire and pine beetle affected snowpack, I was one of only a few women doing this work. It seemed like I was in a world where women and trees didn’t mix. 

We have recently seen a plethora of books published by women about trees that address our lives in relation to trees, rather than just trees in and of themselves. Each of the books in this list, written by women scientists, artists, and philosophers, provides a holistic perspective on trees in our society, from their role in our ecosystems to their place as a touchstone for our cherished memories and the source of creative inspiration. 

Finding the Mother Tree by Suzanne Simard

Simard conducted scientific experiments to determine that trees share nutrients and chemical messages via mycorrhizal networks that connect their roots. She weaves her life story into the story of her science, from being a consultant to joining the provincial forest service, to ultimately becoming an academic at the University of British Columbia. She writes about her childhood snacking on birch roots, her marriage and family life, her struggle with cancer, and the bittersweet moment when one of her daughters tells her she wants to be a forester. Simard’s groundbreaking research has inspired many others, not just scientists, but also artists such as director James Cameron and his movie, Avatar

The Arbornaut by Meg Lowman

In this autobiography, Lowman shares her research path, from PhD student to freelance explorer-author. Her research focused on insects that eat forest leaves. To do the research she had to access the forest canopy by pioneering a technique to bring her up to the eighth continent using a slingshot, a rope, and a hand-stitched climbing harness. After a brief stint as the wife of an Australian sheep farmer, Lowman’s career led her to become the director of a botanical garden, a tenured professor of environmental studies, the director of a new museum wing, and a senior scientist at a museum in California. At each of these positions she encountered sexual discrimination, which led her to leave her post and move on to the next one. Her work as a consultant now includes helping to build canopy walkways worldwide, and working with researchers in Ethiopia and Malaysia to protect their forests. 

The Language of Trees by Katie Holten

Holten is a visual artist and environmental activist who developed a tree alphabet, where every letter is symbolized by a tree. A is an apple, B is a beech, C is a cedar, etc. In her book, she includes excerpts from famous writers, philosophers, and scientists about trees, printing them in regular font on the right side of the page and in tree font on the left side of the page. There are excerpts about historical American trees, scientific studies of trees in the Amazon, the philosophy of how forests think, tapping into work by Ross Gay, Ursula K LeGuin, and others.

In Search Of the Canary Tree by Lauren Oakes

Oakes describes her PhD research studying yellow cedar in Alaska to find out why it’s dying and whether or not it can stage a comeback given its widespread decline. She details her field preparations and fieldwork, including the emotional toll of seeing nothing but dead trees, sometimes for days at a time. Her research also involves interviewing people in the region—foresters, First Nations, government scientists, and local residents—about their connection to the yellow cedar and what they think and feel not just about its decline, but about climate change in general. In between she processes the ways in which science and numbers fail to represent the visceral impact of a declining species, and how researchers keep an even keel when dealing daily with the impacts of climate change. 

How I Became a Tree by Sumana Roy

Roy’s book is a love letter to trees, a history of trees, and an ode to their peaceful nature and ultimate loneliness. Roy starts her inquiries by noting that she wants to live on “tree time.” As she moves forward with this wish, she writes about the various ways in which she interacts with trees, including how one might conduct a relationship with a tree. Along the way she references Indian literature about trees that isn’t widely known in the Global North, as well as thinkers like Margaret Atwood, Ovid, and others. Her book connects theology, philosophy, and botany to share with readers how they, too, can get to know trees and incorporate their experience of trees into their own life. 

Shelter: A Love Letter to Trees by Ada Limón

In this interconnected series of vignettes, Limón shares the trees that have affected her life and the lives of others. She recalls fond memories, and notes how having your own trees—particularly those that produce fruit—has been a lifelong dream for her parents, who now own an apple orchard. Each vignette shines like a jewel, showing the love Limón has for trees and how they mark key moments in her life. 

To Speak For the Trees by Diana Beresford-Kroeger

In her book, Beresford-Kroeger recounts her summers as an orphan in Ireland, living with her extended family to learn about the land and the Ogham alphabet, which is based on trees. During the school year, she lived in England and studied biology and other fields, enraptured by tree physiology and realizing that her Irish education gave her a different perspective on trees. This led her to make new scientific discoveries, such as that trees release aerosols that have the capacity to heal, and that they are the source of many antibiotics. She also notes that planting trees, as we know, can absorb carbon and, like the Amazon, can drive local and global weather by the mass of trees that exude oxygen and water vapor into the atmosphere. Beresford-Kroeger ends with a description of the Ogham alphabet, describing each character and the tree it represents.