“Memory is an unannounced visitor. It lies crumpled in some corner of the body, then suddenly knocks on the door of reality and makes you scream.”
So states Kyung-sook Shin’s novel, Violets, translated by Anton Hur. Violets centers on Oh San, a young woman struggling with her memories, her desires, her voice and body amidst the uncaring world of 1990s Seoul.
Scarred by a childhood intimacy gone awry, San moves to Seoul and stumbles into a job at a flower shop. There, she begins finding stability through her friendship with a female co-worker, and a sense of peace in her burgeoning relationship with plants. However, after an encounter with a flirtatious photographer, her life splinters and breaks apart. As San flips through an English-Korean dictionary, the word “violet” morphs quickly into “violator.” Violets similarly probes at the painful fissures between the internal and the invasive, desire and violence, voice and silence. Hur’s translation is sparse yet fluid, the prose evoking both the gritty loneliness of a big city and a timeless, almost surreal atmosphere.
Flowers were bursting into extravagant life all around me, as I read Violets in March. I went for a walk in the rain after I finished. When I saw violets in the cracks of the sidewalk, petals tearing up with raindrops, I started crying and could not stop. Months after March, the novel’s last image of Oh San still haunts me. Echoing what Kyung-sook Shin said in our email interview, I hope that others will also take the time to listen to San’s voice.
Translations for this interview are done by the interviewer Jaeyeon Yoo with thanks to Incheol Kwag for helping edit and proofreading.
Jaeyeon Yoo: What is the role of nature, both in Violets and in your own writing in general?
Kyung-sook Shin: Violets features a flower shop in the middle of the city and a farm in the suburbs. These two spaces are interlocked with one another. Going between the flower shop and the farm, the protagonist comes into contact with plants. I hoped that these plants would soothe the protagonist’s alienation and loneliness. In order to do that, I myself had to know the details of the farm and the flower shop; so I got hired and did some work, which was a big help. And because I spent my childhood in the country, I tend to have an affinity for nature. These [experiences] became the foundation of finishing Violets.
JY: I still feel Violets to be just as relevant today as it was at its original publication in 2001 and Oh San’s life in the 1990s. Is there something you’d like to add, when considering Violets in 2022?
To live as a woman in Korean society is to still be exposed to so many kinds of discrimination and violence.
KS: Since I’ve written this book, many things in Korean society have changed, both economically and politically speaking. The position of women has also changed, to some extent. Despite this, to live as a woman in Korean society is to still be exposed to so many kinds of discrimination and violence. They say that, comparatively, we have improved a lot from the past. But I think that society needs to change so that the daily reality of being a woman—whether it be female desire or parenting—should feel protected, instead of being discriminated against.
I [also] think the sisterhood between women is extremely important. Especially in Violets, the solidarity between women is also the solidarity of the weak. They prop up and pull on each other’s lives. Therefore, when that solidarity breaks, the damage is immense. Traumatic events happen to an individual constantly, but they are quickly swept away without being noticed [as what happens to Oh San]. I think that this is the heartless life of modern people.
JY: Given this context, I found Oh San’s desire to have a voice (through writing) all the more poignant. What do you think about the connections between language and violence, and/or language and hope?
KS: Even if you are not a writer, if you can express yourself in your own words—you start striving to protect your own language. There is probably no one who hopes that their own voice will become colored by violence. I view this, the act of protecting your own voice, as hope.
JY: Violets also reminded me of how philosopher Susan Sontag formulates photography as an inherently violent art form, in which the “camera is … a predatory weapon.” I was struck by how Oh San fell for a photographer, someone whose job it is to observe and “capture” others in pictures. I wonder if you have more to say on the everyday act of being observed, as a woman.
Memories have the ability of being transformed at will, by the person who wants to remember them.
KS:Violets is from the perspective of a camera looking down, taking a photograph from above. This was an intentional gesture. The appearance of the photographer is an extension of that perspective, as is the gaze of the construction crew observing the women playing badminton. Even Oh San’s hidden love and desire become observed by someone, and ultimately leads to violence. In the first part of Violets,I focused on the loneliness that comes when an individual’s uniqueness is not preserved, but instead subjected to scrutiny and broken down. Modern life is not made of intimacy, but of being observed by others.
JY: Memory is a noticeably unreliable concept in Violets, not only for Oh San as the narrator but also in how the verb tenses and points of view shifted throughout. Could you speak more about the role of memory?
KS: Memories have the ability of being transformed at will, by the person who wants to remember them. Each person will remember differently, depending on the mood, time, place, and position when the memory is formed. If three people went through one event together, their memories should be the same, but they are all different. Even as this liquidity causes countless misunderstandings, I think life is ultimately completed by our accumulation of memories. This is why memory is precious to me. To keep proving that my memory is close to truth, perhaps that is also what writing is.
JY: I was struck by how you imbued such vivid character into Oh San’s surroundings. The flowers and minari field felt alive, but so did Seoul—with the details of the Italian restaurant, the “long room,” the crowds at night. Could you talk more about the setting of Seoul in the novel?
KS: When I read France’s Patrick Modiano or Japan’s Haruki [Murakami], I have this urge to go see the streets where their protagonists stroll. The street featured in Violets is the street that I lived on during my twenties, and the street that leads from Samcheong-dong to Gwanghwamun [the largest gate of Gyeongbokgung Palace] Jung-dong. I wanted to make my readers want to walk this street, so I described the street that Oh San walks with great detail. Then, during this process, I started to again see the lives of the people who walked that street, and this heavily influenced the novel.
JY: The beginning of Violets is almost surreal, as if we are being told a fable we should know already. You also use the myth of Io within the novel, when describing how violets were created. And then there is the foreshadowing throughout. Do you have more to say about the idea of fate that’s invoked by this tone of fable/myth?
KS: By borrowing the myth of Io, I hoped that the anonymous life of Oh San would be expanded with different symbolism. I wanted to say that this woman didn’t suddenly appear out of nowhere, that this has been passed down through generations. “Destiny” or “fate” is what we call things that we cannot decipher. But even if it cannot be deciphered, I think that destiny is ultimately what you decide in your unconscious.
JY: Any other thoughts you’d like to share?
KS: I wrote this in the author’s note, but a violet is a very small flower. It’s a flower that you won’t even know is blooming, if you don’t look closely. The first sentence of this novel is: “A little girl.” I hope you will listen to this little girl’s dreams that could not blossom, and the broken desire that she held close.
I don’t know how long I had been dead when the girl found me. Long enough that my bones had gone dry and sunk into the earth part way; and that animals now gave me only a cursory sniff; and that my skull was white and wind-shined enough to catch her eye.
She didn’t have to dig me out, but she did. And it turned out, I still mostly fit together. At first I wobbled hopelessly, more like a newborn fawn than a long dead fellow. It made her laugh. The wind felt tickly in my vertebrae. I clinked lightly.
The more we walked, the more I remembered how it felt to stand upright. It is, after all, what bones were made for. I strode with surety. I smiled with all my teeth. I bounced my patella from knee to knee like a ball. She laughed. She held my hand softly in hers.
At nightfall, she took me to the edge of the forest, where her house stood aglow across a darkening lawn. She said I’d better not come inside, but asked if I would wait for her. I don’t think she understood how very little else there was for me to do in death. So I agreed and she nestled me back into a thicket for the night, curled up with the foxes. I did so happily; I watched the owls come and go all night and didn’t even need to dream.
The next morning she came back for me and we lay in the meadow, under a sun so warm I could almost feel it. I told her about the raccoon that had carried off my ring finger during winter—not a great story, I know, but death had been uneventful lately. She looked at me with pity and touched the nub of empty knuckle and, well, needless to say, no one had ever touched me quite like that.
She was lovely, with eyes so alive, cheeks so round and flushed with warmth. At this point, you may want to hear that she was just like a girl I’d loved a long time ago, when I was alive, but the truth is I couldn’t tell you.
When she kissed me, sweetly and clumsily, for the first time, her teeth clunked against mine. She insisted it was okay, cute even, but I was unsure of the way they wiggled loosely in my jaw. I didn’t want to scare her away. She gripped my hand and told me she had never felt this way before.
She wanted me to meet her friends. She wanted me to go to a dance. I would have to meet her parents.
The suit was borrowed from her brother. It hung loosely off of me. Her father stiffened when he saw me, shuddered when he shook my hand. “If you hurt her, I’ll . . . well . . . ” Her mother straightened my tie and pushed us closer together, camera in hand. “Smile,” she instructed. Hers faltered when I did.
We rode in the back seat of her brother’s car, our hands resting together on the seat between us. I watched out the window as the world flashed by. The speed made me dizzy.
The dance was held in a high-ceilinged gymnasium. All around us, others whispered and pointed, and her friends spoke too loud and too fast. But when we danced, her head rested warm on my clavicle and pinpoints of colored light spun across the ceiling like the greatest night sky I’d ever seen. We swayed and we swayed until her body was damp and alive with sweat against mine. Yes, I suppose I was in love then.
She wanted me to stay in the house. Her bedroom was out of the question, so they settled on a box in the garage. It was not so bad. During the day, I waited for her at the edge of the school yard. Other girls would stare at me, whisper to each other, wave hello and then giggle. She told me they were jealous, and they thought I was mysterious. Her lovely, soft face flushed with excitement as she told me. I put my arm around her shoulder and she clutched my rib cage as we walked.
After school, she’d bring me upstairs to lie on her bed while she did homework and argued with her mother about the inches in the door. She played music over the clinking of our teeth. In the evenings, I sat, upright and silent, through dinners with her family. I sat on the couch, her draped over me and a blanket draped over her, my hands laid carefully in her father’s line of sight. The television cast blue and yellow light that glinted off my carpals, her hair.
One night, at last we were alone in the house. She was flushed and nervous in the dark, her whispers insistent. I was afraid my edges might be too sharp and I tried to keep my hands still, but she pressed them into soft places. She panted and pushed against me but I was afraid—of hurting her and of disappointing her. Afterward, she lay her head on my chest and that was the part when young lovers usually talk about heartbeats, but of course, I, well. . . .
In the silence, she asked instead how I had died but I couldn’t recall. This disappointed her, I remember that much. I lay and watched the fan whir overhead and wanted to open a window, to feel the night air.
She asked me not to walk her home from school anymore. We still lay in her bed in the afternoons, or in the sunny grass in the yard. Sometimes, though, she had other things to do. Sometimes she left me for days at a time. I didn’t mind at first. It is not hard for the dead to pass the time.
But even when she let me in, it wasn’t the same. She wanted to know why we didn’t talk more, why I didn’t tell her things. I couldn’t explain how I remembered my life the way one remembers a dream, that is, hardly at all. I couldn’t explain how little I had to tell her. It may surprise you, but it’s very hard to be interesting when you are only bones.
In those days there was something living under my ribs. It kept me up at night with its scurrying. I knew that other boys had noticed her now; I could imagine how they flexed thick arms and talked among themselves, about all the things that they possessed and I did not.
And then, there was the party. She sounded impatient when she asked me. But she clutched my hand and ran her thumb over my missing knuckle, warming it as we walked. Her moon pale legs gleamed and fireflies blinked around us. I caught one in my hand like a tiny cage; its glow flared and faded, gold against my bone fingers. She kissed me—looking back, maybe that was the last time.
The sounds of the party drowned out the thrum of insects before we saw it. A boy’s parent’s lake house, she told me breathlessly, a junior. He invited her himself, during third period. Inside, the heat of young bodies pressed in like a damp August day. Music throbbed through my jaw. Her hand was still in mine; I clung to it as she led me into the pumping heart of the room and I couldn’t hear her words as she shook loose and slipped away.
Bodies bumped and jostled me and I thought my bones were unraveling then as I glimpsed her across the room with her hand on the junior’s chest. Some chattering girls pressed in. What was dying like, they wanted to know and, can I touch your skull? How old was I anyway, and how long had I been dead? They were disappointed by my answers, grossed out by my smoothness to the touch. I tried to tell the raccoon story, but they were not charmed.
How long had I been dead? How many cycles of the moon, of the seasons, of the tender cicadas burrowing into and out of the earth all around me? I missed it then, the hug of sun warmed soil, the soft silt between my bones, the stars overhead, and the semi consciousness when time became endless and also nothing at all.
I made my way somehow to the porch. Outside, moonlight fell on the lake. The woods here were thick, and comfortable, rustling with quiet, unobtrusive life.
At some point, she came out and sat beside me, briefly. She said she was going to another friend’s house and I should head home without her. I told her I was leaving, and she said that she was sorry. Then, that’s right, then was when she kissed me last, just quickly, looking over her shoulder. I know that she was lovely. Much more than that, I can’t recall.
Because this was all some time ago, a season or a snowfall at least. Now my bones feel loose and formless and I’m not so sure I would fit together again. A mouse makes its nest where my eye would be, and I can see stars and hear the loons on the lake, and the night creatures come and go, and I don’t expect I’ll be dug up again.
I have always been keenly interested in the history of folk magic, witchcraft, curanderismo, myths, fairy tales, and Jungian archetypes, but as I began earnestly researching my family’s Caribbean heritage and my curanderismo/quimbois roots in preparation to write a memoir, I did what I always do: turn to the books, follow the story. Yet it became clear that while the publishing market is flooded with fiction featuring magical characters or spell and how-to books from Wiccans, cunning folk, curanderos, brujos, and root workers, to name a few, very few nonfiction narratives trace the authors’ personal stories. If you scour the Internet for witchy or magical narratives, you’ll find lists of fascinating novels, histories of the Salem and European witch trials, or pop-culture grimoires, but you won’t find many spiritual or magical journeys in the form of memoir.
As I continue to contemplate what stories my ancestors, many of whom have been subsumed by colonial repression, its anti-Black, racist caste systems and the Catholic Church’s destruction of our African and Indigenous languages and knowledge, I am buoyed by those with the courage to write about their personal journeys, to share their roads toward decolonization and reclamation of ancestral practices as well as the determination to face this world, which our ancestors would not recognize, and make something new, and better from it. So here is a different kind of list, one featuring real magical stories to show us, individually and collectively, different ways to create a new world.
Amanda Yates Garcia’s Initiated: Memoir of a Witch is about her underworld journey toward claiming her birthright as a witch. Her odyssey begins with her childhood in California watching her mother practice her witchcraft and fighting to maintain her individuality amidst abuse and trauma to striking out on her own as an artist and dancer to her true, soul-deep initiation as a witch.
Throughout Yates Garcia’s moving story, she also shares her own hard-learned lessons and teaches us about the history and theory of magical practices and how we can incorporate the real “practical magic” in our own lives. One of the things I admire about Yates Garcia, in both the book and her social media, is how she consistently walks the walk when it comes to being an ally to Black, Indigenous, and people of color in and out of the magical world, as well as welcoming us into her own learning process, which is often a very vulnerable place. You can tune into Yates Garcia’s deep-dive tarot podcast, Between the Worlds, or book a private reading.
Originally published in 1985 and then revised and updated in 2021, Yeye Luisah Teish’s Jambalaya is a critical text for understanding pivotal syncretic religions with deep roots in African and Indigenous spiritual practices but also tracks her personal quest to becoming a priestess of Oshun (and now a respected, revered elder) from her childhood in New Orleans, living across the street from Marie Laveau’s original address, to Mississippi and then later San Francisco. Teish, whose Southern heritage is African and Indigenous, lays out a detailed roadmap to, in Teish’s own words in the author’s note, understanding “the worldview, spiritual culture, and ritual practices of the African diaspora out of the shadow of ‘spookism’ and into the light of accessible spiritual knowledge.”
Jambalaya is definitely a guide to those practices but she stresses, like Yates Garcia and every other author on this list, the need to fight and overcome systemic white supremacy, anti-Blackness, and racism to find the best path forward. Coupled with her personal anecdotes about her life, such as her Black nationalist activism in college, her struggles to practice her faith during moments of illness and doubt, and her personal search for Laveau’s Voodoo in the urban turmoil of 1980s New Orleans that truly make the book come alive and gently guides readers into believing they can be a part of this at-its-heart inclusive spirituality.
Ingrid Rojas Contreras has recreated what a memoir can be for everyone, but especially for the Latinx and Caribbean diasporas, with her stunning book, The Man Who Could Move Clouds, which traces her family’s lineage of Indigenous curanderos in Colombia. Rojas Contreras and her mother both sustained head trauma from accidents that resulted in amnesia, Rojas Contreras as an adult and her mother as a child. With her mother’s amnesia, however, came an awakening talent that traditionally was traditionally only passed through the male line. Rojas Contreras’ grandfather is a hereditary curandero, a folk healer who could move clouds, and he saved his daughter from complete disfiguration from her accident. When she woke up with the ability to talk to spirits and he reluctantly trained her in some, but not all, of their family’s secrets.
Rojas Contreras may not have come out of her own episode amnesia an espiritualista like her mother, but she is still a dream walker, whether that power was always her or awakened by her memory loss. Years later, when her grandfather visits her in a dream to ask for his body to be moved, Rojas Contreras and her mother embark on a powerful, life-changing pilgrimage to Colombia. Rojas Contreras fought to tell this story as nonfiction and with that victory, it gives so many of us in African and Indigenous diasporas a decolonized roadmap to our own stories, and the stories of our ancestors, that have been patiently waiting for a new generation of storytellers to exhume and breathe back into the world.
Though technically a guide to decolonized, activist magic, Lorraine Monteagut is concerned with amplifying the stories of contemporary brujas and brujxs, and threads her own personal story through each section. When I first began my research into ancestral folk magic/healing practices in 2020, Monteagut was one of the first people I encountered. I read an interview with her that led me to her Ph.D. dissertation, which detailed her experience growing up in Florida as part of the Cuban diaspora, her family’s roots in Cuban Espiritismo (there are different sects of espiritismo as a syncretic religion, Puerto Rico also has their own version) along with her experience with shamanic journeying, which was all fascinating and some of it made it into her 2021 book, Brujas: The Magic and Power of Witches of Color. Monteagut is focused on activism, community building, and uplifting BIPOC practitioners, with each section outlining an overarching topic (Magical Ancestry, Spiritual Activism, Bruja Life) and including Monteagut’s anecdotes along with a feature on a different bruja/x and then a how-to guide with magical tips and lists of organizations for learning more about each subject. It’s not only a celebration of individual stories and ancestral/contemporary practices but also a must-have resource guide for the decolonizing practitioner. She is also an active practitioner, tarot reader, and beekeeper.
In September, I had a dream where the spirit of serviceberry (a plant I could not recall ever consciously encountering, in person or in my reading) visited me in dream as a Native man who introduced me to his friend, an artist who works with wood and was frustrated as she attempted a new technique and my dream self knew she needed the wood of serviceberry. Mystified, I researched this amazing plant, which turns out to be indigenous to North America, abundant, and well used by Native Americans all across Turtle Island as a bountiful fruit, medicine, and also a wonderful hardwood for carving. The search led to a powerful essay on the message of serviceberry by celebrated Native botanist and writer, Robin Wall Kimmerer.
I had been meaning to read her bestselling book, Braiding Sweetgrass, for quite some time and this was obviously a strong sign from my ancestors to do so ASAP. Braiding Sweetgrass is likely the book that should begin this list, though it doesn’t simply because Indigenous wisdom, religion, and culture do not interpret the same meaning of or identify with as “magical” in the same way as others may, per se, and it’s important to be respectful. However, animism and the practice of reciprocity with the earth as mother are the foundation for any meaningful magical practice. The white-supremacist view of Native spirituality as mysticism and something to be exploited, belittled, and commoditized is always a something to be wary of, but Wall Kimmerer’s writings and work as botanist, teacher, and elder gardener, are so essential and all encompassing of how we must shift our worldviews and allow Western science and Indigenous knowledge truly marry to find the new way forward. Wall Kimmerer has spent her life listening to and learning from the plants, trees, and land, and shares through her personal life experiences what she has learned of their language, of their inherent gift giving that when we truly reciprocate back, will lead us to healing and reclaim the original instructions for all life to thrive together.
As Wall Kimmerer argues for Western botany and Indigenous knowledge/practices of land and plants, so Elena Avila argues for Western medicine and cuaranderismo practices to unite, as well. Avila, a widely known and respected curandera from my part of the world, the Southwest and Borderlands, wrote the now-canon Woman Who Glows In the Dark with Joy Parker in 1998 and I had been walking past it on my mother’s bookshelves since I was in my late teens as it called to me, always in the back of my mind, but I had other concerns, until I finally began this particular journey of my own about three years ago.
Avila grew up in El Paso and comes from a family of curandero and always yearned to be an artist but was also as a child deeply called to the spirit of curanderismo. She went to school to become a psychiatric nurse, but was called upon to teach and share her then-small knowledge of traditional curanderismo, a syncretic healing practice that combines Spanish, African, and Indigenous medicinal and shamanic traditions, and felt constrained by the strict separation of body and spirit in the U.S. medical system. Woman Who Glows In the Dark is Avila’s journey to becoming a Curandero Total, a healer who “employs all four the of the levels of medicine as described by [her] Aztec teacher, Ehekateotl: education, bodywork, medicine, and sacred tools.” It is also a comprehensive practical guide in Aztec curanderismo, complete with Avila’s stories of personal healings she had performed over nearly two decades. It is a book that requires one to approach with open mind and heart, as well as respect, for if the call to curanderismo is sleeping within you, to find your own teachers and walk the path, Woman Who Glows In the Dark will awaken it.
China Galland’s Longing For Darkness: Tara and the Black Madonna also isn’t in the most specific terms a magical narrative but I actually found it enormously helpful in my research into the divine feminine, which many magical practices hold sacred and whose histories have been subsumed by the patriarchal religions. Galland’s book, which was first published in 1990 and focuses on her experiences in the 1970s and 1980s, centers on her search for a spiritual place amongst a white-supremacist patriarchal society and its religions. A white woman from Texas, she grew up Catholic, married very young and when she inevitably needed to leave a bad situation, she faced the prospect of having to leave her religion if she could not procure an annulment, which is a very difficult thing to do in any circumstance, but especially if one has no money or leverage.
So Galland broke with the church and became a student of Buddhism but still yearned for a more feminine place in the religion, which, in the midst of battling alcoholism, she discovered the Black Tara, Buddhism’s first female Buddha. Galland then goes on an intense search that takes her from California to Tibet to India to Poland to discover why the Tara is Black and also why the Black Madonna is also a part of so many European cultures.
Galland is not only a brilliant writer and journalist but is starkly honest in her own privileges and slowly dawning awareness that white supremacy is the ultimate systemic and spiritual evil that we must battle head on if we are to find a new road forward together. For a white woman writing in the 1980s, I found her personal revelations both astonishing and comforting because it illustrates how anyone from any background, at any time, can enter the underworld for a powerful reckoning with spirit and soul, to witness and experience, and come out the other side healed and ready to battle injustice.
A carnival of strange delights awaits in Jen Fawkes’ Mannequin and Wife, a collection in which tender stories of taxidermy, talking piñatas, and sentient mannequins lay bare its characters’ loss, longing, and heartbreak. A distinct awareness of gender is omnipresent throughout the collection, as in the first story, “Sometimes, They Kill Each Other,” in which the battle for seniority among male corporate executives turns into literal dueling: “The first time we saw a man slain over a trifle, we were horror-stricken. The next time, too. But after months, then years, of dealing with executives, we found that though some are lascivious and some misogynistic, all executives see us as one interchangeable automaton put on earth for the sole purpose of taking their dictation. And we became accustomed to watching them off one another.”
Inspired by Mannequin and Wife, whiskey serves as the base of this booktail, a nod to the appearances of Jack Daniels and Wild Turkey. Lavender syrup references the lavender soap, stretch pants, and toenails belonging to a certain mermaid-like goddess named Rita. Walnut liqueur derives from the taxidermied body—not saying what kind—buried under a black walnut tree. Last but not least, Bitter Queens Marie Laveau Tobacco Bitters reference a tale of romance and stolen identity, wherein a lover longs for a sniff of his beloved’s spit: “I’ve thought of mixing specks of Slazenger-saliva-soakedtobacco with dried herbs and flowers, making sachets of them, tulle-wrapped bundles designed to freshen sock drawers and other hidden places.” All together, the flavors are warm, nutty, and slightly floral–the perfect combination to accompany this brilliantly inventive fall read.
The drink is presented against a curtain of black velvet, in stark contrast with the cover’s blue tone. The cocktail is front and center in a heavy crystal tumbler, gripped by a skeleton hand extended from a sleeve of dried lilac, like decaying lace. Purple flowers sprout between the finger bones. On the back left, a petite white chocolate skull mirrors the hand, a grinning specter of doom and delight.
Cheers, witches!
Mannequin and Wife
Ingredients
1.5 oz whiskey
0.5 oz lavender syrup (see recipe below)
0.5 oz walnut liqueur
3 dashes Bitter Queens Marie Laveau Tobacco Bitters
Instructions
First, prepare the lavender syrup. Once cool, set a rocks glass in the freezer or at the back of the fridge to chill. Meanwhile, gently stir all the ingredients together in a mixing glass filled halfway with ice. Add a large, fresh cube or sphere of ice to the rocks glass, then strain in the cocktail.
Lavender Syrup
Ingredients
1 cup water
1 cup white sugar
¼ cup dried organic lavender
Instructions
Stir all ingredients together in a small pot, then bring to a boil. Let simmer for 15-20 minutes uncovered, stirring occasionally. Once cool, strain into a clean glass bottle or jar. Keep refrigerated.
It’s been three long years since our last Masquerade of the Red Death in 2019, and let’s just say that the plague is hitting a bit closer to home these days. This year, in homage to our patron party saint Edgar Allan Poe and his story “Masque of the Red Death,” we honored excellence in pandemic fiction. As executive director Halimah Marcus said when she addressed the crowd, writing about the pandemic can make our worlds a little clearer and our emotions a little more bearable. We were thrilled to honor authors who do that work, including Gary Shteyngart for Our Country Friends, Rebecca Makkai for The Great Believers, and Jim Shepard for Phase Six.
We’re grateful to our sponsors for their help in making such a memorable night: marquee sponsors Boxwalla and Mount Saint Mary’s University, and benefactor sponsors Hachette Books, The Shipman Agency, Bookshop, and Plympton.
We donned our (eye, for once!) masks, decked out in our spookiest red and black outfits, and drank some very strong Poe-themed drinks, courtesy of our drink sponsors Smooth Ambler Old Scout, Malfy Gin, and Sipsmith Gin. After hearing remarks from Marcus and editor-in-chief Denne Michele Norris, we danced the night away with Ryan Chapman aka DJ “Nice Deal,” while revelers posed at the photo booth, sponsored by Zibby Books. And because no party is complete without a goody bag, we rounded up the best pandemic novels for partygoers to take home in our brand-new Reading Into Everything tote bags.
Here are some of the best photos from what Gary Shteyngart deemed “the party of the year,” taken by photographer Jasmina Tomic. (We may be a little biased, but we agree!)
Partygoers peruse our table of curated pandemic fiction, from allegories, to realist procedurals, to zombies.
As EL Executive Director Halimah Marcus said, the work of a writer has always been narrativizing life, bearing witness, and making meaning out of a mess, but that work that grew more difficult with the uncertainty and isolation of COVID-19. We were thrilled to honor authors who help us process the past, present, and future of pandemics.
Bookshop founder and EL board chair Andy Hunter with EL Executive Director Halimah Marcus.
We also honored three authors for their excellence in pandemic fiction: Gary Shteyngart, Jim Shepard, and Rebecca Makkai. These distinguished honorees represent how writers interpret the past, present, and future of pandemic life.
We loved everyone’s outfits, from gorgeous gowns to creative masks and headdresses. We think our new Reading Into Everything tote matches pretty well too!
Our beverage partners, Smooth Ambler Old Scout, Malfy Gin, and Sipsmith Gin, helped keep the open bar flowing!
The highlight of the night may have been seeing the phenomenal costumes everyone came in.
From a fiery tops to stunning makeup looks, our guests came ready to party.
Editor-in-Chief Denne Michele Norris, pictured with Joseph Osmundson, author of Virology, and Leslie Shipman of the Shipman Agency.
Special guest Jim Shepard, author of Phase Six, chatted with with Leigh Newman, author of Nobody Gets Our Alive, and Kelly McMasters, author of Welcome to Shirley: A Memoir from an Atomic Town.
Special guest Rebecca Makkai, author of The Great Believers, (far right) with The Commuter contributor Sara Thomason, Heidi Denman Wade, and Bethany Ball, author of The Pessimists.
Contributor and former EL editor Jennifer Baker, The Freya Project founders Nonie Brzyski and Natalka Burian (author of The Night Shift), Marie-Helene Bertino (author of Parakeet), and Mira Jacob (author of Good Talk), enjoyed some Poe-themed cocktails.
Plague-inspired mask? Sequin suit jacket? Karl Jacob shows off a masquerade look.
We heard from Halimah Marcus and Denne Michele Norris, who are also on our best-dressed list, of course! They’re standing in front of wonderful event artwork by Ali Katz.
And once cocktail hour was over, the crowd watched the remarks.
Photo by Karl Jacob
Shouts out to Ryan Chapman aka DJ Nice Deal for bringing the tunes!
A full house danced to remixes by DJ “Nice Deal”.
Seriously…the dance moves were just as firey as this costume.
Our favorite part of the night was reuniting with the EL staff in person after years of remote work! Left to right: Managing Editor Alyssa Songsiridej, Social Media Editor Katie Robinson, Denne Michele Norris, Halimah Marcus, and Books Editor Jo Lou.
And of course, everyone was thrilled for the return of the photo booth, sponsored by Zibby Books! Here are some of the highlights of the night:
Thanks to everyone who made it out and brought their most fabulous Masquerade looks! And a huge thank you to our sponsors who made the whole thing possible.
These days, the early days of COVID-19 lockdowns in 2020 feel like a distant memory. Zoom fatigue, baking banana bread, toilet paper hoarding, learning absurd new TikTok dances: it all blurs together. My roommate kept a consistent journal throughout those days, cataloging our moments of wiping down groceries, marathoning old movies, and checking the COVID-19 news tab over and over again. We called it her ‘primary source journal,’ joking that when historians of the future went to write about the pandemic, it would be diaries like hers that would provide valuable insight into how we spent our days. We felt like we were living through history, living through an event that we might spend the rest of our lives processing, an event worthy of the history books.
These days, as the pandemic morphs into something resembling normalcy, I wonder how novels should consider this very recent history. I’m not ready to read the great pandemic books, the ones that recount in minute details the tedium and fear I lived through. I’m not sure I could stomach the primary source account of what happened. This is why I turn to novels, to fiction: to tell me about what happened, but differently. But what can the best pandemic fiction do? How can novels consider the historical present of COVID-19 alongside its persistence in our lives?
These books take the COVID-19 pandemic as their setting, and sometimes as their muse. They don’t try to recount anything new about the perils of isolation or hilarity of outdoor picnics in January or the terror of loved ones entering the hospital. They follow workers—booksellers, doctors, professors, writers—as they navigate the new forms of their days. These novels refuse to recount lockdown on its own, instead thinking about what we learn about people and their breaking points, what the pandemic made possible for people like us, and, of course, what it took away.
The Sentence follows a haunting: one woman, Tookie, who works at an indie bookstore in Minneapolis is haunted by the ghost of the store’s most annoying customer, Flora. But this haunting quickly becomes one of many—the novel begins on All Soul’s Day (November 1) in 2019, and ends on All Soul’s Day in 2020, covering one year of isolation, turmoil, and challenge. The book follows the COVID-19 pandemic as it slowly, then quickly, emerges, including ways the bookstore must try to survive, but it also follows the murder of George Floyd and subsequent protests. Tookie, herself formerly incarcerated, explores the link between being sentenced and reading a sentence, reflecting on the ways books can liberate us—and the ways they can’t.
My personal favorite pandemic novel was written by Ali Smith, a writer best known for her Seasonal Quartet novels, which transcribe current events into novel form with a short turnaround. It’s not surprising that Smith returns after the Quartet with a novel that likewise takes the contemporary moment as its setting. Companion Piece centers on one woman, Sandy, who navigates the world of post-Brexit Britain during the height of the U.K.’s COVID-19 lockdowns. Reconnected with a classmate, reckoning with a father in the hospital, Sandy learns to let people into her life while also isolating. Along with her COVID-19 storyline, we get lyrical flashbacks to a woman during the Plague, as Smith considers what might connect two women, centuries apart, living through an era of disease, unrest, and its social consequences.
Weike Wang’s novel follows Joan, an ICU doctor in New York City during the height of the COVID-19 pandemic and the subsequent anti-Asian sentiment. Joan’s perspective as a Chinese American woman navigating the front lines of the pandemic and the fault lines of family conflict is prescient and sharp. The most unforgettable aspect of the novel isn’t the tension of the pandemic, though: it’s Joan’s own voice that sticks with you. She’s warm and funny, but clear-eyed and brilliant—a thoughtful voice I wish I knew in real life.
This novel hits close to home for me: part dark academia, part literary fiction, all pandemic angst. Pollard’s Delphi follows a classics professor in London as the COVID-19 pandemic descends. Delphi’s unnamed narrator gets immersed in her research and its rabbit trails as the lockdown gets more and more severe. Her research on ancient prophesies morphs into an obsession with predicting the future, an obsession that distracts her from her marriage and motherhood. I love a novel by a poet, and Pollard’s poetic sensibility makes her take on COVID dark, lyrical, and prescient.
In true Isabel Allende style, Violeta is a sweeping story that follows one woman, Violeta del Valle, from her birth in 1920 to her death in 2020—her life bookended by two pandemics, the Spanish Flu and COVID-19. Her letters form the whole of the novel, detailing a life that’s been subject to many regimes, many waves of feminism, many tragedies and joys. There’s a lot in between these two pandemics, but there’s also an eerie similarity that Violeta herself reflects on.
This is about as dark a pandemic novel I can tolerate, since Moss handles the boredom, claustrophobia, and anxiety of lockdown with such realism. The Fell follows one woman, Kate, who leaves her house during a mandatory lockdown for a walk on the moors and falls, injured and unable to move, unable to contact her family or neighbors. The passive threats of boredom and anxiety morph into the active threats awaiting Kate on the moors, and the searing psychological drama left me unable to look away.
Emergency has one of the most intriguing taglines for a book: a pastoral. And Hildyard does set out to reinvent the pastoral for the contemporary era, considering climate change and ecological disasters as the terrain of the present and future. It’s far from a sentimental take on the world—Emergency is set during COVID-19, which makes all the narrator’s considerations of shared crises even more weighty. In the narrator’s hands, the boundaries between things shift and dissolve, showing how truly interconnected everything is, including past and present, including every person.
Endometriosis is classified by Mayo Clinic as a “common” condition, “treatable by a medical professional.” And yet, when Emma Bolden began experiencing aggressive symptoms of the illness in elementary school, she was treated for decades by doctors who neither believed her account of her experience nor took her symptoms seriously. In her memoir The Tiger and the Cage, there are scenes—plural scenes, vividly rendered on the page—in which Bolden bleeds profusely for hours at a time while doctors insist, “A little spotting is common.” In another scene, an emergency physician explains aloud what is happening inside Bolden’s body, and the ER technician comments, “Ew.”
Like any number of inescapable experiences—trauma, embarrassment, disappointment, fear—illness is one that society marginalizes. The implicit message, reinforced by a pervasive culture of silence, is that pain is private—shameful. For the over 28 million women (in just the United States) who live with chronic pain, the stigmatization is exhausting. If pain is taboo, then the body becomes a very heavy thing. In The Tiger and the Cage, Bolden carries that weight in gorgeous, poetic prose infused with the kind of honesty that is difficult to turn away from.
Bolden starts her narrative in 5th grade, giving readers an in-depth look at a painful (literally and physically) youth and adolescence. In adulthood, as Bolden’s symptoms intensify, doctors begin insisting that only a hysterectomy will alleviate the pain. In the background of every day, Bolden can hear a clock ticking—because while the surgery might cure the endometriosis, what will it mean for the expected story of her life? How will she answer questions like: Marriage? Kids?—and what will the questions become if it doesn’t work?
For any reader ever cast as the unreliable narrator of their own story, I suspect Bolden’s memoir will feel like fierce, validating balm.
Wynter K Miller: I was really struck by how you opened the memoir with learning about the water cycle in 5th grade, and then you closed the memoir with a line about how living is like floating in a sea in which there’s no such thing as sinking or swimming. Fire is frequently used as a metaphor for chronic pain, but I haven’t seen water used for this sort of thematic lift before. How did that come to you—why did water feel like the appropriate metaphor for your experience?
Emma Bolden: Part of it may be about the transmutability of water, and how, under different conditions and pressures, it turns into different things. If there’s too much heat, it boils. If there’s too much cold, it freezes. And each of those things are painful in their own way.
The pain was always there, it just was there in different forms and transformed in different ways.
I think because I experience so many different kinds of pain, and the kind of pain that I experience transformed in so many ways—I mention in the book that at one point I had an operation that was experimental at the time called LUNA, and afterward I experienced peace for a few years where I didn’t really have much pain. And then when the pain returned, it returned completely transformed. So in a sense, it was like water—the pain was always there, it just was there in different forms and transformed in different ways.
But I think it was also important for me because I had this experience that I talk about in the book a bit when I was about three, and I actually almost drowned. And I just have this very, very strong memory of it being frightening, but then it being incredibly peaceful and looking up through the water and seeing the light come through and just feeling this peace that I’ve never really felt at any other time in my life. I think that when I was in extreme pain, it was that moment that I went back to. And I thought about it as a possibility for something that can happen in the body, that experience of peace.
WKM: You explore different kinds of pressures in the book—social pressures as a student, sexual pressures from romantic partners as you moved into adulthood, peer pressures from your cohort. You were also a badass academic trying to get tenure, so you were experiencing professional and financial pressures. How did those pressures affect your experience of your illness?
EB: There was so much pressure! And there were a lot of things that I couldn’t really get into in the book. For instance, the financial pressure was a huge thing. At the end of the book, I do talk about how, when I finally made my decision to have the hysterectomy, a lot of it was due to financial pressure because I realized, like, I can’t keep working my job like this. Things had gotten to the point where I couldn’t keep working without help. It was when a lot of those pressures combined that I realized I couldn’t do it anymore, for myself or for other people.
WKM: Could you talk a bit about the other people? There are moments in the book—and I think for anyone with chronic pain, this will really, really resonate—where you’re experiencing something horrifying internally and externally, you’re projecting normalcy. I imagine that many of the people in your life, even people that were close to you, had no idea what was going on. How did you make decisions about who to tell and what information to share versus who not to tell and why?
Anybody who deals with chronic pain—it makes you develop a really complicated relationship to your body, because you’re not in control of it.
EB: That is a very complicated question. I think a lot of it started because I was so young when I started my period, I only knew one other person in my grade who had her period, and it was because she had been held back. So she was a year older than us. From the very beginning, it was something that was just totally embarrassing and shameful—I remember in the Catholic school where I went, we had to go to bathrooms according to our grades, and they did not have trash cans in the stalls. So, I would sometimes get in a little bit of trouble for being in the bathroom too long because I would have to wait until nobody else was in there so I could take my pads to the big trash can. And there’s a long, melodramatic, deleted scene from the book that talks about the horrible sound that it made—tossing my pads into that trash can—and things like that. I think that it kind of affected me for a really long time. I did very much schedule things around being able to hide them: I always had surgery either during spring break or during the summer because that way I didn’t have to tell anybody. Most of the time, it was just a need-to-know basis because it was just so difficult to talk about and explain—and not only was it hard to talk about in a general sense, but as I got older, the questions became more and more complicated and people became less and less concerned about not, you know, asking them. And so, strangers would ask things like: well, can you have children, or are you going to freeze your eggs?
It was just all different levels of shame and embarrassment that compounded. The majority of my family did not know that I had a hysterectomy—and there are still people I’m related to who probably don’t know.
WKM: And now you’ve written a very revealing memoir—and it says everything. You’re very, very open about your experiences, and I have to imagine that was difficult. Can you talk about the decision to write the memoir and then the process of writing it, in terms of feeling like you’re finally saying all of the things that you’ve been hiding for so long?
EB: I tend to write about something in poetry before I can do it in prose. Especially if the material is really intense, it’s almost like it’s radioactive. And poetry gives me the gloves that I need to handle the radioactive material. So first I wrote a collection called House Is an Enigma. I actually did not know that the title poem was about my hysterectomy until it was in Best American Poetry and I had to write an artist statement. I was like, “Oh no. I have no idea what this poem is about.” And then I realized. I think going through that process made me start to think: Why is this so intense for me and why is it so secretive? It shouldn’t be. It’s just a body, I should be able to talk about it. There shouldn’t be so much shame attached to [endometriosis and pain], and somebody has to be the one to talk about it.
WKM: In order to remove the stigma.
EB: Yeah, exactly—and it’s weird because, I mean, there’s some stuff in there. People are going to know what kind of underwear I like to wear. And I write about really intense things that happen to the most private parts of my body. But I’m not super uncomfortable about it being out there because I’m just like: This happened. It happened to me. It happens to other women.
WKM: Your comment about it being “just a body”—that idea is something I noticed in the prose itself. There’s a scene where you pass out and you write, “When I returned to my body, I discovered that it and I had somehow ended up on the bathroom floor. I was afraid of what my body had done to the me inside of it.”
There’s a separation there between you and your body, and there’s a giving of agency to your body that is not affiliated with you. It’s doing its own, separate thing. I think that separation captures very much what it can be like to experience chronic pain. How conscious were you of making that separation? Did it happen only in the writing of the memoir? Or were you doing it in your head before then? Were you thinking of your body as something separate from yourself at a young age?
EB: I think that anybody who deals with chronic pain—it makes you develop a really complicated relationship to your body, because you’re not in control of it. You are not in control of how your day is going to go. You’re not in control of what happens in your life. So, you kind of have to recognize, in some sense, that you and your body are separate and that there’s a conflict between them. I think that when I started passing out, as the 6th or 7th grader—sometimes I was just on the floor and had no idea how I got there. So I did sort of see the body as a separate thing even early on. In my case, my body just, it just prevented me from doing a lot of the things that I wanted to do in my life.
WKM: There are so many metaphors for the body, even within your own work. In this memoir, there’s the tiger in the cage. In that sense, your body is a cage or a prison or a thing that you’re trapped inside of, that you cannot escape. And the only escape is escaping the body, which is death. But then I’m thinking of House Is an Enigma, and the idea that the body is a home. If you think of it in that way, it puts a very different perspective on what is happening physically and how you feel about it. At this point in your career, and after everything that you’ve been through, do you think of your body more as a cage or a home? And how does that affect your craft and what you do with it?
EB: Yeah, it’s complicated, right? Because the whole time that I was talking about there being a separation between the body, I was also thinking about how dealing with chronic pain and other kind of illnesses involves a kind of intimacy with your body, and an awareness of how the body functions and what the signs are that things are about to go very, very wrong.
At this point, I’ve come to peace with it all, and come to terms with the way that my life did not turn out, the way that I thought it was going to and expected it to. And that had to do with my body. But I think that [my body and I] have a good detente, we’re okay, we have a better relationship.
And I’m starting to understand things like, sometimes I have to rest—and that has to do with both my body and my creativity.
As an Arab American woman, I can tell you that most Western portrayals of the Middle East in pop culture aren’t great. There’s a lot of war and terrorism. In movies, cities like Cairo and Beirut have that weird orange filter that makes everything look hot and polluted. And don’t get me started on the women. Why are we either a belly dancer or Princess Jasmine?
What about a story about a punk-loving Egyptian Filipino American kid from Los Angeles, who spends her summers with her dad and stepmom in the Middle East? That’s the thrust of my new graphic memoir, It Won’t Always Be Like This.
In the book, you’ll find no dusty palette—the sky in Egypt is blue, the ocean is bluer and the desert in Qatar is a vibrant gold. I tried to portray my dad and stepmom as accurately as I could remember (in fact, they helped work on the book too). And with an open heart, I challenge my own misguided American assumptions about the region, while wrestling with my identity as a not-quite Egyptian.
Here are 7 great graphic novels, picture books, and poetry collections by Arab women writers that provide unexpected views and visuals of the Arab world. In one story, a little girl is on the hunt for beauty and inspiration in Yemen. In another, a cartoonist tenderly recounts her father’s upbringing in a Palestinian refugee camp. Each gorgeous book illustrates the profound diversity of storytelling across the region and diaspora.
Meaning “your wish is my command” in Arabic, cartoonist Deena Mohammed’s Shubeik Lubeik draws up a modern-day Egypt in which wishes are for sale. The richest people get the most quality wishes (meaning, if they wish for a BMW, they get a BMW) while the poorest get third-class wishes (if they tried wishing for a BMW, they might get a toy car instead). With illustrations of bustling cityscapes and stories of Egyptians from all walks of life, the book is a thinly veiled nod to the country’s growing inequality and class division.
In Salwa Mawari’s children’s picture book Under the Sana’a Skyline, a young girl named Belquis has a daunting school assignment: write an inspirational story about Yemen. But when your country is in the middle of a civil war—what good is there to say? Belquis travels through the capital asking other Yemenis for help with the assignment, and each person reveals a beautiful facet of the country that she never knew before. This tale of resiliency will leave your heart swelling with pride and solidarity for the Yemeni people.
Baddawi by Leila Abdelrazaq
In this graphic novel about refugee life, boyhood and war, cartoonist and zinester Leila Abdelrazaq tells the story of her father Ahmad as he grows up in the Palestinian refugee camp Baddawi in northern Lebanon in the 1960s. Despite the obstacles of war, poverty and statelessness, Ahmad forges ahead, finding a path to get his education and create a life for himself. Woven into the striking black and white drawings are intricate patterns from traditional Palestinian embroidery—a fitting emblem of Ahmad’s indelible identity. Although Baddawi is just 128 pages, the book offers a rich, emotional overview of the struggles faced by the Palestinian diaspora.
“I have been missing home my entire life,” writes Egypt-born author Marwa Helal in her dazzling collection of poetry, Invasive Species. Helal recounts her quest to find home as she shuttles back and forth between Egypt and the U.S. to gain her American citizenship. Along the way, she questions how she is able to hold both her identities as an Egyptian and American, while at the same time, not being recognized as such in those countries. With themes of dislocation and displacement, Invasive Species contains so much power you can’t help but to read the poems to yourself aloud.
The Arabic Quilt by Aya Khalil, illustrated by Anait Semirdzhyan
The Arabic Quilt, a children’s book written by Aya Khalil, follows the story of Kanzi, a little girl whose family has just moved from Egypt to the States. Feeling out of place in her new school, Kanzi comforts herself with a beautiful quilt that her teita (grandmother in Arabic) gave to her. The quilt ends up being the key to helping her feel accepted by her peers in the classroom. Packed with Arabic words and Egyptian cultural touchstones (like eating a kofta sandwich for lunch), the book is a welcoming and loving picture of Egyptian diasporic life.
What happens when you’re not the only hijabi at school anymore? Egyptian American cartoonist Huda Fahmy tackles this question in her graphic memoir. After her family moves to Dearborn, a town in Michigan with a huge Arab population, Fahmy discovers that there are other girls in her class who wear the hijab, forcing her to explore her identity outside of wearing a veil. With honesty, humor and charming drawings, Fahmy’s teenage self wrestles with crushes, bad grades and sibling rivalry. It’s a refreshing take on the triumphs and tribulations of Arab immigrants and their families in the United States.
Home Is Not a Country, a stunning book of poems by Sudanese American author Safia Elhillo, follows Nima, a Muslim girl who has fled her homeland with her mother in search of the American dream. She befriends a boy named Haitham who understands her frustrations of feeling like an outsider, her desire to reconnect with her country, and her longing to adopt the alter-ego of Yasmeen, a girl she thinks she should have been. Elhillo’s gorgeous prose paints a picture of a young Muslim woman slowly gaining confidence in herself.
Fourteen hours on the plane to Kolkata gave Jonah ample time to feel superior to the other travelers, especially those parents who were bringing along their hapless toddlers. He was traveling to visit his guru in a village that no one knew of. Predictably, the cabdriver tried to cheat him, even though he’d taken this route many times over the past fifteen years. He was still disappointed by the inflated rate, his whiteness announcing itself long before he could switch to a Bengali slang, convince the driver of his adopted roots. His wasn’t a perfect vernacular but should’ve been good enough to avoid the tourist’s fare.
Guruji lived near a sweet shop in a house whose electricity Jonah paid for. With his meager earnings in America, he paid for the gardening as well—a bed of azaleas bright in the sun—and for diabetes pills for Guruji and the education of Guruji’s son. It was his guru’s son who came to greet him.
“Oh, Uncle,” Karna said, touching Jonah’s face as if he were blind. It had been two years since they’d seen each other, and now Guruji’s son seemed more urbane, his face strikingly angular, a fine moustache having found its way onto his upper lip.
Suparna, Karna’s mother, emerged. She was fussing about his suitcase, though it was mostly empty, and fussing about his weight, too. Since his boy had been born, Jonah had been so busy he’d skipped meals more often than he cared to admit.
“You’ve come back to us a ghost,” Suparna said. “But no worries, we’ll fatten you up again.”
Guruji came out, leaning on his cane. “What a ruckus,” he said, though it was clear that he was happy to see his second son.
Jonah had found Guruji at that time in his life when nothing seemed permanent. Twenty-three years old and grasping to call something his own. He used to play folk music at the Bitter End on Bleecker, money out of a hat enough to tide him over from couch to couch, a drink and a lover to boot. He could always play the life out of his guitar, but he never had the voice to attract a label.
Guruji said as much when they first met in Kolkata, all those years ago. “Your voice has a demon in it,” he’d said. “But there is still music in you.”
The flute calmed him. He found he could play for an hour and escape his anxieties for the day. He became Guruji’s first international student and eventually his most devoted, practicing in the mornings and late into the evenings. Year after year while he freelanced in America and pursued a degree in music theory, he’d return to Kolkata to show what he’d learned and to learn the next difficult thing, and every year Guruji would say, “Almost, beta. You are almost there.”
He remembered those words as Suparna poured him tea and asked about Samuel, who’d just turned two.
“It was hard to leave the little guy,” he said, though that was not entirely true. He loved his boy, but once he’d set foot on the plane, he hardly paused to think about him. What he’d thought of instead was sitting with his guru again—one last time, he’d promised his wife. To learn not only from Guruji but also from Karna. “Play something,” he said, smiling at Guruji’s son.
Karna’s lips found their way onto a melody they’d once learned together, an afternoon raga that cut through his jet lag, his sense of city self. When Karna played it sounded like a younger version of Guruji, the plainly hopeful notes breaking through Guruji’s more skeptical, sparse turns.
“Splendid,” Jonah said, his eyes shut, the music leaving the taste of honey in his mouth. When they’d first learned this raga together, Karna had been a five-year-old boy. Now he was months shy of becoming an adult, though even in the early years he’d been serious enough to sit by his father’s feet, for the little boy had no demon in him—he had only song.
“Too sentimental, beta,” Guruji interrupted. He was always harder on his biological son, but Jonah knew what perfection sounded like—the boy wasn’t far off, not at all.
“When do we record the album?” Guruji asked.
“Soon, Baba,” Jonah said. He’d brought along recording equipment to produce an album of Guruji’s best compositions. Though he was surely a gem of his generation, his guru had never made the headlines. He’d never toured the big cities in America or Europe. Instead, he’d worked his whole life as a tax collector, playing music on the evenings or weekends. That hadn’t mattered to Jonah when he’d first heard his guru play a concert in Kolkata. A maestro, Jonah thought, though Guruji’s style, even then, was antiquated, a throwback to a time of courts and minstrels. Jonah would make the album for Guruji, but he doubted that it would bring fame. A few years into his apprenticeship he’d accepted the hard truth that Americans didn’t care for flutes or ragas; the music they played required a commitment to do nothing but listen, and listening was in dying supply, even in Jonah’s own house, where sometimes he’d catch his wife’s eye, her love for him and her doubt of his art; oh, she’d never discouraged his flute playing, but sometimes in the early mornings when she’d mosey into the living room where he practiced, he could sense her bewilderment: Why keep on?
As Karna stopped playing, the weariness of Jonah’s long travel returned. He was shown to the guest room, where Karna had arranged hyacinth petals on the pillow. “For beauty sleep,” Karna said expectantly. From the beginning, Karna had needed acknowledgment for the smallest acts, hanging onto his father’s dhoti for scraps of praise, and now Jonah obliged, stroking the fine hairs on the back of Karna’s neck, before he slipped under the sheets. Karna sat by him on the floor, playing another melody, nothing serious, just whatever came to his lips. There were a few raw notes in the composition, but Jonah didn’t mind. “Play until I fall asleep,” he said, not intending to sound like he was giving a command.
When he awoke from his nap, night had fallen on the village. The house was quiet, and someone had slung a mosquito net over his bed, which he felt grateful for. Guruji’s family might have made a stop at the village temple; they were always throwing flowers into fires, hoping for rain. He needed to call Melanie, so he headed to the phone booth in the village center, with its pay meter that clicked every few seconds.
“Hello,” she said, her voice caught between layers of static.
“I made it,” he said, trying to subdue the elation that he felt. She was three months pregnant with their second child and wouldn’t appreciate the joy he’d felt leaving home. “How is baby?”
“Which one?” she asked.
She was not happy with him, though she’d agreed to give him this week between a toddler and a newborn for himself. One last trip to your motherland, she’d said. The only time she’d joined him in Kolkata she’d caught a case of dysentery so severe she’d spent two days in the hospital; ever since, India had been his motherland, not hers.
“I love you,” he said, watching the pay meter jump with every word he spoke. If only there were such a meter for life itself, you would feel how little time was left in this world; you would say the things that mattered.
“Goodbye,” she said. “I know it’s a fortune to call.”
After she hung up, he imagined her in their railroad apartment in Brooklyn, a coffee in one hand and a cloth diaper in the other. It was much too small now that they had a child and another on the way, but that was true for most anyone in New York. The day before he’d left they’d been trenched in all morning, the branches outside snapping from the wind and the weight of the falling snow. He had strapped his son to his chest to walk into the blizzard. When they returned, Melanie started a bath, and he lay in it with her and with Samuel, who curled close and sucked his thumb. There was still sweetness there, though not as often, not nearly as often as when they’d first called each other beloved.
“Two hundred forty rupees,” someone called, knocking on the booth.
Heading back to Guruji’s, he could see that the family had returned, and they’d put Bollywood songs on the antique turntable. Through the window, he could see Suparna dancing, which was mostly a stationary business with a coquettish flutter of the hands.
“There you are,” said Guruji.
Inside the house, everyone was wearing festive clothes. Someone had put eyeliner under Karna’s eyes, dressed him in a red kurta that was too big for him. It was a party in his honor, Jonah guessed, a welcoming home. Sweet that they’d taken the trouble, though he could’ve done without the music, the lilting high-pitched voice of the playback singer too tawdry for his taste.
“Well, tell him the good news,” Suparna said.
“We were waiting till you returned to us,” Guruji said. “This is engagement party. We are marrying our little boy.”
The sentence confused him. He imagined Guruji marrying his own son, though that was not it, for Suparna was smiling. Now he realized why Karna was dressed for the occasion and why the sweets were finer than any he’d ever been offered.
“She’s just passed her exams,” Suparna said. “The family is well established, living in Howrah. They own two rickshaw repair shops and one shoe store.”
“Karna’s way too young,” Jonah said, unable to control himself.
“Why? He is the age I was married,” Guruji said, the smile on his lips beginning to waver.
“Karna should become a musician who tours the world. He has the talent, Guruji.”
“He will play the music that is in his heart after he finishes his job. I will find a civil service post for him, do not worry.”
“He’s not even twenty-one. Don’t sell him out.”
Guruji lowered his voice. “You are my second son, but not even you can disrespect me in my own house.”
The blood rushed to Jonah’s face, then left it; he worked his jaw from side to side to bring the feeling back. This was a different rebuke than the ones he’d received trying to master the flute. This time Guruji had spoken quietly, as if no one else should hear him being shamed.
“I apologize,” he forced himself to say. He couldn’t make himself meet Guruji’s eyes. He packed his things and left for the village hotel.
He hated the hotel, having stayed there the first few times he’d come to the village, before he and Guruji’s family grew close. At night the roaches would leave their hiding places to crawl over his bedsheets, and in the early mornings the hotel staff would knock and then immediately burst through his door to deliver tea, the enthusiasm of seeing a white man enough to throw propriety out the window. He tried to fall asleep, but the clock in his body was still on the other side of the ocean. Instead, he watched old videos he had filmed of Karna. Whenever Guruji napped, he and Karna would roam the village. Sometimes, Jonah would teach him English. He’d do this by having Karna sing old folk covers.
To everything turn, turn, turn, Karna crooned on the video. At least, when it came to folk songs, Jonah had the upper hand. He’d always wanted to be his guru’s finest student, but from the moment that Karna played the scales, he knew he’d never measure up. There was something Karna had that ten thousand hours of practice hadn’t given him. Sometimes, he blamed his whiteness. Sometimes, he blamed his city life. These days, he mostly blamed the duties of fatherhood, which he’d begrudgingly embraced with body and soul, unlike Guruji, who’d never changed a diaper. It was not in his stars to become a musician, he’d decided with Melanie, so she’d allowed him to visit India a final time. This trip was to be a goodbye to that life. But it needn’t be for Karna, who, from the beginning, quickly progressed from repeating a melody to transforming it into his own language, imbuing feelings he was too young to name.
Someone knocked on his door. “Go away,” he said.
“It’s only me,” Karna said.
It was not so late to consider a visit out of the ordinary. After all, he’d come from a whole continent away. He let Karna in.
For years afterward, he would search for the smell of Karna on the other side of the door, that sliver of life, that musk, and he would remember the aluminum taste in his mouth, his knees frozen. Now he looked for a place to sit. Only the bed was suitable. Jonah fixed the rumpled sheets, searched his bag for snacks, and offered Karna a granola bar.
For years afterward, he would search for the smell of Karna on the other side of the door, that sliver of life, that musk, and he would remember the aluminum taste in his mouth, his knees frozen.
“I’m totally full,” Karna said. “But why did you leave so quickly?”
Now that he was out of the blankets he could feel a chill in the air, not cold, what in his world counted as the first sign of autumn, though back home he knew it was snowing; he knew Melanie had been out that morning with her shovel while Samuel watched from the window. He shivered a little, tore into the granola bar himself. The gesture felt rude, but he was already halfway through. It was chocolate peanut butter, which stuck to his teeth.
“I don’t care for the idea of marriage for you,” Jonah said. “You can be one of the great musicians of our, I mean your, generation.”
“You are too kind, Uncle. The problem is that the girl’s family is very rich, and dowry is very good,” Karna said.
They were forever lampooning their lack of wealth. Along with perfect pitch, Guruji had passed on his miserly attitude to his son, his belief that they were to always live in lack, though over the years Jonah had done his very best to scrape away money for them, delivering a monthly check to Western Union as if it were a piece of his heart.
“I understand money is hard. I just don’t want you to throw your life away.” He had almost said: I just don’t want you to end up like your father. A tax collector with few fans and a single, poor, devoted student.
“Do you remember when you played yaman? Like, when you really understood it? It made me remember the one time I was in Greece, swimming in the ocean at night with the fish glowing greenish blue in the water. The only person who can transport me like that is your father.”
Jonah grabbed one of his flutes and tried to draw out the notes the way Karna had, and though he was capable of a technical fluency he still lacked the fortitude of Karna’s turns. Within the notes were the many microtones, too many to write down; you’d have to remember them in your body. Jonah tried, but it came out a simulacrum.
“Yes, yes, it’s like you’re floating in the ocean a day before the storm,” Karna said. He took Jonah’s flute to his lips and began to play. Yaman was the evening song, and it was meant to be played in the twilight, in that ambiguous hour where dogs appeared like wolves. Karna played slow and fast, bringing in melodies Jonah had never heard. He teased the rhythm structure, which was in twelve beats, and it seemed for moments that there was no ending, no beginning. When he hit a particular low note, it felt to Jonah like the music had changed the work of his heart so that it was beating in time with the music.
Afterward, Jonah sat in silence while Karna cleaned the flutes, but he still heard the music. No one had ever played yaman as Karna just had, Jonah thought. And he had been the one to witness it.
“So, what are my options, Uncle?” Karna said. “We are not people who can change our lives so easily.”
“You must come live in America with us,” Jonah said. He hadn’t meant to speak these words, but as soon as they’d come out he recoiled at how familiar they were. It was no more than a fantasy he’d played in his mind for many years, the prodigy coming to live in their house, Melanie accepting Karna completely. In that moment, he didn’t think of his burgeoning family, their lack of space or funds, or even Melanie’s hardening heart, he thought only of how Karna played the scales, how those refrains traveled up his spine.
“Oh, Uncle,” Karna said. “I feel you’ve unburied me.” Jonah used fingers that still smelled of chocolate to wipe away Karna’s tears. As he did so, he found that Karna’s eyes looked more beautiful with a smudge of black.
Someone lumbered down the hallway and entered the adjacent room. He held his breath. When he laid his hand on Karna’s chest, he could hear Karna’s heart as clearly as when they’d bathed in the village stream together, let the current play on their bare legs. Next door someone tuned the television to what sounded like a Bollywood movie. He breathed again, thankful for the cover, and let his mouth find the boy’s.
Next door, it sounded like a car chase musical: an automatic rifle announced itself, and then a woman began to sing a throaty conniption. He kept his hand by Karna’s heart until its rhythm matched his own. “Don’t call me Uncle,” he said, laying the boy on his bed.
The next morning, he awoke alone with a note on his pillow. Thank you for everything, Jonah, the note said in a fine cursive. He blamed his jet lag for his transgression. His lack of sleep from being a new parent plus the sleeplessness of the plane—he was always wearing dark circles under his eyes—which had meant that once again his lips and hands had roamed where they shouldn’t. It was not only that. For a few hours they’d basked in the possibility of their America. He would take Karna to his stomping grounds, introduce him to the regulars. One of his old contacts might launch the boy on an illustrious career. He imagined Karna at Carnegie Hall as he and Melanie beamed like proud parents from the front row.
But in the morning, he saw the filth of the room, the old stains on the sheets, the desk chip-toothed, the floors cracked. The thin walls between the rooms did little to dampen the snoring that came in stereo. A used condom lay on the floor. Now, he would have to undo that which he’d promised. In the shared hotel bathroom, he dumped a bucket of cold water on his head. A moment of passion—when he’d been with Karna, it had felt as if he were in the center of that glorious, sweet music—was all it had been.
He headed to Guruji’s to triage the situation. He found Suparna in the living room, cleaning the wicker mats where he’d once sat for lessons. “Oh, beta,” she said. “I am so sorry for the disturbance last night.”
What did she know of their tryst? Even those afternoons in the village stream when ankle had grazed ankle, when he’d dried Karna’s back with his towel, his affections hadn’t been more than avuncular. What he’d known of Karna was through the family life, the evenings spent listening to classics on the turntable. But now Karna was older; his music had been like an enchantment. The dogs at dusk had turned into wolves, and the muscles of Karna’s shoulders had been strong enough to sink his teeth into. They’d proceeded through the ritual slowly, for he believed in so doing he might remember the particulars years later. “I had no right to challenge what will surely be a beautiful union, auntie,” he now said. “It’s not my place.”
“Of course, it’s your place,” Suparna said, looking at him as if he were slow. “You are family to us. Do not wonder about that. Anyway, all this morning Karna has been dancing something happy. Now he’s gone to tell Guruji the good news. Guruji had an errand at the post office, but Karna simply could not wait.”
“The good news—you mean about the wedding?”
“Oh, no, the wedding’s been canceled,” Suparna said. “Who needs a little dowry when your boy’s going to America?” She yelped in delight and kissed his cheeks.
“Oh, America,” he said, as something vile caught in his throat. Of course, Karna would already have told his parents about Jonah’s offer. Now Jonah would have to explain how America was mostly a distant possibility, not only to Karna, but also to Guruji and his wife.
“Why don’t we all go celebrate?” she said.
“Celebrate?” he winced.
She took his head onto her bosom, stroked his thinning hair, and cooed into his ear: Thank you, thank you, beta.
The post office was the grandest of buildings. Long ago, in the lore of the village, the British had imagined that this spot of land was to become their capital in India, only to change their mind once they saw how the post office sunk a centimeter into the mossy swamp the village had always been known for. Still, it remained as the last act of gallantry—a stroke of accidental beauty, with Greek balustrades and verandas of marble, and an old mahogany door that could’ve protected a medieval castle.
Given that the locals didn’t receive enough mail to warrant such a building, they’d turned the institution into a mall of sorts. Vendors from nearby villages set up their wares on foldout tables. One could purchase a samosa, try on a faux-silk scarf, or even arrange a marriage with the local matchmaker. They found Guruji and his son at a table that offered thermal underwear and coats.
“Oh, beta,” Guruji said, giving him a great hug. “All my life I wondered why one would buy such a great big coat. Now I know the reason. It is for America.” He held up an ugly green winter coat that looked to have been salvaged from consignment. “Karna will need such a thing, no?”
“It does get cold in New York,” Jonah said.
That afternoon he returned to the phone booth and metered a call to Melanie. “How is everything at home?” he asked.
“Why are you calling again?” she asked. “Your son puked three times last night, and I had to clean the mess three times. Anyway, he’s better now, if you’re one to care.”
“I am one to care. I am definitely one to care,” he said. He tried to imagine how he could broach the subject of bringing someone home with him. “So, Karna’s doing really well.”
“Yes, and?”
“Well, I thought it would be a good time for him to launch his career in New York.”
“Oh no you don’t,” she said. “No way am I spending another dime on that carnivorous family.”
“They’re all vegetarians,” he said.
“Your son’s smearing poop on the walls,” Melanie said, hanging up the phone.
“Very expensive call. Two hundred seventy rupees,” the attendant said, and Jonah fished out of his wallet the exact amount.
He could’ve guessed what Melanie would say. Now, when he returned to America, it would mark an end to his amphibious nature: he would be known not as flautist, nor even as lover, but merely as dad. He would be expected to earn a suitable income. There was a preschool back home that needed a music teacher, and he had a degree for that, if not the desire.
He walked to the river and dipped his toes into the shallows. All around him the birds that had migrated south for the winter flattered themselves and those that remained yearlong carried their own cacophony. A few feet away an old, rotten jackfruit too heavy for its host fell to the earth with a piece of branch. Here, the trees grew heavy with offspring but hardly shed their leaves, a country of perennial sun; even in the so-called winters, there was a significance of bloom.
Here, the trees grew heavy with offspring but hardly shed their leaves, a country of perennial sun; even in the so-called winters, there was a significance of bloom.
That night, he arranged his recording equipment in Guruji’s living room, and though there was no video involved, Guruji emerged in his wedding finery with his oldest instrument in hand. He played an evening raga that soon left Jonah in tears. Before Samuel and before this other baby to come, they’d had a miscarriage. He did not know why the way Guruji played, which that night was perhaps the finest he’d heard, made him think of that crawl of life in his wife’s body, the work of the pregnancy he’d been jealous to inhabit, that being so easily scratched from the world. That was why they hadn’t arrived at a name for Samuel till days after he was born. As Guruji caressed the low notes, Jonah longed for his child and wife and their small apartment. Somewhere in the song Karna joined in, providing harmony, though that was not their usual way. Even Suparna lent her song to the chorus.
“Do you think it will be well received in America?” Guruji asked when they were finished with the cuts.
“Very much,” Jonah said.
In the early morning, he awoke to find everyone else still asleep, Karna’s head on his father’s lap, a trio of snores interrupting birdsong. He felt miserable but clear in what he needed to do: he should have known he was ruined the moment he’d stepped on the plane to Kolkata. A quick peck on Karna’s lips before he repacked his things; Jonah left behind his granola bars and his recording equipment, which he imagined would sell for half the cost of a ticket to the States. It wouldn’t be enough, but perhaps it would count for something.
Soon after he returned home, they moved upstate. It was so much cheaper, and there would be a yard and deer to glimpse through the trees. While Melanie worked five days a week, Jonah cut his teaching load to take care of Samuel and Gandharva, their second son, whose name meant “music.” When Gandharva was still small enough to be carried in a sling, Jonah took the boys into the woods, and one day his second son matched the call of a passing loon with his own sweet voice, note for perfect note. Jonah thought then: Here is the one, though over the years that memory faded into confusion. Even with tutelage from two maestros, Gandharva exhibited no further musical talent. Instead, he became known for writing limericks that made his teachers blush and in second grade changed his name to Gary. Jonah’s boys loved him with a fierceness he found frightening. Sometimes, he’d pretend to be deeply asleep just to feel their anxious hands on his face, cajoling him back to life.
Jonah never responded to Guruji’s letters, or Suparna’s postcards, or even Karna’s emails, which shifted over the years from bewilderment to an imperious rage. Karna had believed that their night together had meant something more than it had. I put my hopes on you, Karna wrote in his last email. Only to find you lack a heart. Jonah had touched his chest when he read the line to confirm the anatomical truth.
A decade later, he found their last recording in his garage, which by then was filled with strollers, bicycles, and the detritus of children growing older. It was the thick of winter, with snowmen arranged on their property like sentries. Only deer walked the woods, though he yearned to hear the forest music that meant the season was finally set to change. As sleet knocked against the garage door, he played Guruji’s tracks, and his heart began to race. Oh, those old familiar notes: evening’s song. For a moment he struggled to breathe as a terror coursed through his chest—what had he done?
But for as plentiful as these books are, the vast majority live in the world of nonfiction—Rebecca Makkai’s excellentThe Great Believers from 2018 is a recent fiction example, notably set not in New York City, but in Chicago. Before that, prominent titles include the later books in Armistead Maupin’s Tales of The Cityseries published in the mid-and-late- ‘80s and Rat Bohemia, also by Sarah Schulman, in 1995.
Fiction is just as important to understanding our history as nonfiction, but it’s the latter that continually takes up the most space, both figuratively and literally, on our bookshelves.
With his crackling debut, My Government Means to Kill Me, Rasheed Newson seeks to change that by offering the queer canon a new hero, one we’ve seen countless times yet rarely at the heart of the story. Trey is Black and queer, effeminate and fearless, unafraid of acting rash when it’s for the good of his community. He’s a character who could easily grow up to be Belize from Angels in America. Reading the book, I felt like I was getting a secret glimpse of how Belize’s last few years as a teenager might have gone before life in the city turned him into a hardened queen. The novel is a sexy, necessary, relentless call-to-action, not to mention an expertly paced read. I got to speak to Newson about his refreshing use of gay sex scenes, fictionalizing the private lives of real historical figures, and why he can’t believe, “something this unapologetically Black and this unapologetically gay is attracting the attention and the positive reception that it has.”
Jeffrey Masters: The novel is written in first person, but from the perspective of someone looking back on their life, as if it’s a memoir. What made you want to tell the story in that way?
Rasheed Newson: Well, I wanted all the newness and excitement of being 17-to-19-years-old. But without the benefit of time and reflection, there would’ve been a lack of maturity in it, right? I wanted it both ways. I wanted a young protagonist who was able to then look at himself with the benefit of age.
JM: It was a profoundly different experience to be Black and gay in the 1980s compared to today. What kind of work or research did you do to get into that mindset for the character?
RN: To really get into that time period, what was good was just reading history, reading ACT UP minutes, and talking to people about what that experience was like.
You send them a white man that they imagine could be at their dinner… because you’re trying to appeal to the power structure.
The first footnote in the book is from Sylvester who died of AIDS and laments that it’s still considered a disease for gay white men. That exclusion is on the lips of everybody from the era and that’s what was happening, politically speaking. The gay rights movement wanted to try to get sympathy from congress. You’re dealing with a bunch of white men and so you send down someone who reminds them of their son. You send them a white man that they imagine could be at their dinner. And you’re doing this because you’re trying to appeal to the power structure. It does, however, silence all those other voices. All the other people suffer.
JM: That’s also reflected in the first major piece of legislation passed to help those living with AIDS, the Ryan White CARE Act. It was named after a nice, young, white, straight boy.
RN: …who got it through no fault of his own. It was a blood transfusion. There was no blame that could be attached to him the way. It was attached to other people who were dying from the disease.
JM: This is the first book I’ve read where Bayard Rustin, a legendary figure in the civil rights movement, pops up half-naked in a bathhouse. His sexuality has been erased in many ways and you gave that back to him.
RN: I wanted to remind everybody. You know he was a gay black man, but you probably never thought about his sexual needs. What were his tastes? What were his appetites? Where did he go to get off? Those aren’t insignificant parts of a person.
I thought it made him more approachable for Trey. In a normal setting, if they met at a cocktail party, Trey probably wouldn’t have had the nerve to go up and start a conversation with him. But there’s something being leveled about the fact that they were in a bathhouse. Like, we’re all here in our towels. We’re all checking out the trade. It humanized him in a way that I think made that relationship possible.
Also, I did feel a little bit of safety—and I don’t think it’s something that besmirches Mr. Rustin’s reputation—but he was arrested in the ‘50s in Pasadena for solicitation. He was in a car and got picked up by the cops. And so, I was like, “Oh, that’s right. He went cruising.” He went cruising and he did it at a time when our sexuality was being criminalized, so he got arrested. That, I think, is the thing that woke me up to the fact of, Yeah, he’s a man. And you know what men like to do? They like to have sex.
JM: There used to be this idea that you can’t write too explicitly about gay sex if you want to sell a lot of books. Did you receive any pushback on the many sex scenes?
RN: No. And I was prepared to have to fight for them. My husband at one point was reading an early draft and he said, “Do you think they’ll let you keep the rimming?” I adore him. I was like, “I love that we’re having this conversation.” And I said, “Well, I’m going to try.”
Nadxieli Nieto at Flatiron is my editor and it never came up. Never once was she like, “You need to pull this.”
JM: You also wrote it so that you can’t delete the sex and still have the book work.
Our sex lives are important to us. They are part of our identity [and] how we relate to the world.
RN: Yeah. I mean, one of the things I’m trying to suggest is that sex is not frivolous. This is not some trashy, tawdry detail.Our sex lives are important to us. They are part of our identity. They’re part of how we relate to the world. They’re part of how we connect to other people and they tell you a lot about a person. And so I don’t think it’s trivial at all to examine the sex life of someone.
JM: All of the sex also helped to keep the book from focusing on trauma, only.
RN: No matter how dark it is in history, people find a way to have joy. They find a way to have a release. They have sex. It’s a part of human history. I just wanted to be honest about it and I wanted to present it in a way that didn’t try to make some sort of moral judgment about it.
JM: One thing you capture is this feeling of whiplash that queer people can experience around how their queerness is treated. For example, Trey’s femininity is a negative thing growing up. He’s called a sissy and made fun of. Then he moves to New York City and suddenly these same qualities are what make him desirable to other men.
RN: I think a lot of us who are queer and move to a bigger city experience that what would have gotten you beaten up in your hometown now has everybody at the bar trying to get at you. And it’s sort of heady and it’s sort of dizzy.
I’d also point out that that feeling of “This is something that’s sort of held me back or held against me it suddenly is celebrated” captures a lot of what I feel about how this book is being received. I can’t believe something this unapologetically Black and this unapologetically gay is attracting the attention and the positive reception thatit has. My plan when we published this was that it would be a book that we’d sell in gay bookstores. I didn’t think it was going be in Barnes and Nobles. I thought there was an audience for this, but I can’t believe it got written about in The New York times.
And part of that is like, “Oh, you like this now?” Something has shifted. I don’t want to be a Pollyanna. It hasn’t all been for the best, but something has shifted where I think this book is able to have a much wider place now than it could five or 10 years ago.
JM: Given those expectations, it doesn’t seem like you changed elements to make it more commercial or “palatable” to non-queer audiences. There are multiple trips to the bathhouse, one of the main characters is a sex worker.
It’s about a queer, femme, Black guy during the height of the AIDS crisis in New York City.
RN: I would love to say I did that out of some kind of courageous, self-righteous stand. I didn’t think there would be any hope in taking those things down. It’s about a queer, femme, Black guy during the height of the AIDS crisis in New York City. I didn’t think there was anything to gain by trying to tone it down. I just said, “Well, you might as well go ahead and just write this the way you think it’s supposed to be written. People who aren’t going to like it, aren’t going to like it anyway. You’re not winning them over.” I couldn’t suddenly walk into a very conservative place and say, “Look, it’s a femme gay hero, but don’t worry, he doesn’t take his pants off.” They still aren’t reading that book.
JM: It seemed to avoid neat storytelling across the board. There’s no happy romantic ending for Trey or grand reconciliation with his family.
RN: There’s also literally no love story, which is something I didn’t even know. A friend of mine pointed that out. There’s sort of this trope that whatever is ailing Trey will be healed when he finds a boyfriend or when he finds someone who loves him just as he is. I don’t know that you get that at 19.
JM: I didn’t register that because, to me, the love story was between Trey and his best friend, Gregory. The love story was their friendship.
RN: At the beginning, when some people read it, they felt like they were waiting for Trey and Gregory to fall into bed together.It led me to tell the audience very early on that these two are not going to get together. Like, it’s never going to happen. Otherwise, the audience wasn’t paying attention to all this other stuff going on. They were almost going into every scene saying, “Oh, is this where it’s going to finally happen?” It’s what your brain does. You’ve been trained to anticipate that.
JM: Trey eventually enters the world of AIDS activism. Did you debate about whether he should contract HIV in the story?
I wanted to live in that space that I feel a lot of people who lived through that time and didn’t contract HIV talk about, which is the sheer randomness of it.
RN: I thought about it, but it would throw the weight of the story off. Suddenly, we’d be dealing with that and I wanted to live in that space that I feel a lot of people who lived through that time and didn’t contract HIV talk about, which is the sheer randomness of it. When they look back on their lives, they don’t understand why someone else they know got it and they didn’t. I liked that space and it felt a little less familiar than what I’ve seen when it comes to other HIV stories.
JM: The book only spans two years. He very well could discover that he’s living with HIV in the years that take place after the book ends.
RN: Yeah, as I explore taking this book to the screen and ask, “Do you do this as a TV show? Or you do this as a movie?” One of my hesitations has been that I thought, “Well, if you do this as a television show, you’re going to blow past the book in the first season. And by season three or four, there’s going to be this drumbeat of “Why doesn’t Trey…why isn’t he HIV-positive?” And, “Are you just doing this because you love the character so much and you don’t want to go through the door?”
JM: Have you found a solution to that?
RN: I don’t know…one of the things that’s interesting about television is that you never know how fast a show is going to move until you are on the show. Like, is this a show that covers years, or is this a show that covers days? And so there is a world where not that much time passes and maybe you don’t have to get very far beyond the calendar in the book. And so then you wouldn’t have to face it.
JM: You’ve spent your career making TV. Why decide to tell his story in a book and not TV?
RN: I didn’t think there would be much of a reception or an appetite for it on TV. Now that it’s IP, that changes the equation. But I thought if I walked in with this as a pilot script, automatically there are only a handful of places I could even think of taking it.
Television is a big tent business. We want as many people to watch and the one example I thought of was Pose, which was incredible. And I think there’s probably a lot of people who would’ve said, “We’ve already covered this territory.” And then Generation came out and had a Black queer lead and it only lasted one season. I wanted this story to be told in the boldest colors without any compromise and television is collaborative by nature. We make compromises in television. That just is how it goes.
Here’s what’s great about television. There are a number of times in television where we’ve been stuck creatively, artistically. And luckily someone else has the answer to a problem and we get to move forward. Writing a book, you have to come up with all the answers.
JM: The origin story of ACT UP as I’ve always heard it has Larry Kramer making a fiery speech at the Lesbian and Gay Community Services Center in New York City. This inspired people to meet and then form ACT UP. In the book, you pose a slightly different story.
RN: I poke at it because…and the thing I made up, I absolutely made up. That’s how I was taught that ACT UP started, that Larry Kramer gave that speech, but when you look at a lot of the original leaders in ACT UP, they weren’t at the speech that night. They weren’t there. And other people had proposed a similar organization with a similar structure for years. So, it was already floating out there.
The people who would pull it together weren’t at this moment that was supposed to inspire the masses, but that’s what storytelling is and that’s what history becomes. It’s this feeling like Larry Kramer gave this incredible speech and ACT UP was born. That everybody went straight from there and hit the streets. And no, no, that’s not exactly everything. In political movements ideas have been flowing around, sometimes for generations before somebody can pluck it out of the air and make it a reality for a little while. But we like a neat story and so it’s just easier to tell those stories that way.
JM: In researching the book, what did you learn or discover that surprised you the most?
RN: I should have known this, but when we talk about HIV/AIDS in this country and we put a timeline together, we normally start with The New York Times writing their first story in 1981. And the fact is that there were hundreds, if not thousands of people in this country dying of AIDS in the ‘70s is something that just sort of escapes our attention and escapes our notice.
JM: That was one of my many takeaways from Sarah Schulman’s history of ACT UP, Let The Record Show. She wrote that HIV can be traced back to the 1940s in New York City’s homeless population. It was so common that they even had a vocabulary for how it transformed the body. They called it Junkie Pneumonia and The Dwindles.
RN: It had been happening for a long time and it shakes us out of our timeline. We like to think the war began on this date. The great depression began on this date. But these things have been rippling and they’re messy and they’re growing and growing and growing. Sarah Schulman’s book is great because it’s reminding you that typically when we pick a date, we’re choosing when did this become of note to the general population? There have been minority groups probably dealing with it for a very long time, suffering for a very long time. The date is just when the masses noticed.
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