Our Decades-Long Friendship Has Become a Liability

“Pre-Existing Conditions” by Katie Moulton

I got the house off Natural Bridge Road for a great price, especially for spring when everybody wants to move. The previous owner had died in the recliner in the back room I planned to make my home office and company headquarters. I didn’t mind the traces of solitary old lady between the floorboards. I loved the tall old windows and original casings, the northwestern light—the potential, the bones, as they say. 

But I used the fact of Miss Lunelle’s passing to my advantage in negotiations with her grandniece, who always sported a dismal aqua windbreaker. I handled her, asked well-timed questions and poured enough honey to drown a hive. I called on the ghost of my own mother in central Illinois to warm up the folksiness of my cadence. When we discovered a gaping hole in the plaster behind the upstairs toilet, I just said, well lookee here. I emphasized, with sympathetic eyebrows, how the house just needed some love. Then I leveraged the need for a new HVAC against the closing costs. If I felt the grandniece gaining ground, I tilted my head and stage-whispered, So is this where she…? By Easter, I was moved in. It looked like the houses on either side in this 1940s development—a brick cube with sloping eaves and a screened-in porch—holding out in its neat respectability while the streets all around went to hell. And it was mine. 

A single middle-aged lady moves into the house where a single old lady had died. In any case, I needed a new city along the Midwestern interstates. I’d been passing through St. Louis for almost two decades for work and for my best friend Wendy, and now I lived fifteen minutes from her. We could team up, be single middle-aged ladies together. We would hit the bars, we’d brunch, we’d join a rock-and-roll crafts circle or whatever. We’d shoot the pilot for our own HGTV home makeover series. To my eye, she hadn’t been getting along so well on her own, ever since Bridget went to college and Scott abandoned them. “He didn’t leave, Rhonda,” Wendy complained more than once. “He died.” To which I said, same difference.

Then before I even fully unpacked, I got sick. And suddenly Wendy was mission-leader for Operation: Keep Rhonda Above Ground. The irony was pretty much too much. Who wants to be the butt of a punchline?


Radical double mastectomy. The words were technobabble to me. The phrase that really frosted my tits was the next one: TWENTY-FIVE THOUSAND. Dollars or dirty martinis, that’s too many of anything. 

For the last decade-plus, I’d run my business as an independent sales rep for luxury décor and gifts, things like vases, crystal, china, which I presented as “jewels for the home.” While there are plenty of people out there who still have money to burn on beautiful objects, the recession wasn’t exactly friendly, and lately the level of discerning taste had dipped along with the economy.

All to say, money was tight, and I had scrimped on health insurance. 

Wendy went with me to those preliminary doctor’s appointments. She took a personal day—which she never did—from her job in human resources at Houseware Warehouse to attend the meeting with the hospital’s in-house Health Care Decision Counselor and Insurance Liaison. Same person. Wendy and I sat side by side in faux-wood, polyester-backed chairs and listened as a woman in head-to-toe khaki explained my “options.”

“With the insurance level you currently maintain,” she said, “the development of this health issue could be considered related to other health conditions…”

“Excuse me, what other health conditions?” I asked.

“Well, your age has to be considered a risk factor.”

“My age is a pre-existing condition? Guess I forgot to die at forty.”

“And you don’t have children, which slightly increases—” 

I turned my glare toward Wendy, who clasped my hand in a comforting talon. She cleared her throat like a teacher’s pet and said, “But surely, ma’am—”

“In any case,” the Liaison continued, “the procedures that Dr. Purohit recommends are not fully covered at your level, as you are not a Full Choice-Plus member. Meaning that if you choose to undergo the procedure, you may incur significant costs. After reviewing your documents, it is also possible that filing this claim with your provider might result in rescission—”

“Recession?”

“—rescission, wherein your policy would be cancelled. That is, unless your partner’s employer-funded insurance provider contains an option to add a dependent, which I believe in your tax bracket may be a possibility. Now I am aware that many employers do not yet recognize full benefits for same-sex partners, but I believe—”

A week before this meeting, my doctor had called with concern over my most recent mammogram. Four days later, I was diagnosed with cancer. Today, I was being reminded that not only could I die—single and poor—but I also appeared to have a love life unrecognized by the state. Wendy and I had been mistaken for Bridget’s “two moms” at her college orientation, but in the hospital, we laughed a lot more. We cut off the Liaison and slapped our knees. “Wouldn’t that sort things out?” I howled. My jaw hurt. 

We saw ourselves out of the beige office and across the off-beige lobby. As we passed the threshold of the automatic sliding door, Wendy said, “How the (fuck) are you going to pay for this?” Wendy only used the f word around me, and never at full volume.

I put a hand under each of my breasts, jostled them up and down. “Maybe I can sell them on the black market,” I said. 

I pulled up my narrow, shared driveway, halfway under the painted-wood carport. We climbed the back steps into the kitchen. It was still musty and wallpapered and not so long ago I had plans to gut the whole damn thing. I heaved my purse onto the counter and gave a loud sigh. 

“I’ll get the vod-ka!” Wendy sing-songed. She was once captain of her freshman cheerleading squad. 

“Hook up the IV,” I said. “I’m taking off my shoes.”

Packing cases and cardboard boxes were scattered all over the living room. I sank into a chair near the front windows, and it formed around me. I’d hung new curtains as soon as I arrived, billowing linen in a color called timeless eggshell, and now I left them closed. 

Wendy came in and handed me a brimming glass. She settled onto the rug with her white wine. “Cheers,” she said. I was already taking a drink.

“Now we need to get you fully in,” she said, peeling back packing tape with a fingernail. “Really, I just wanna go through your goodies.” The boxes were full of vendor samples: tea services, hand-painted platters, a terrine crowned with a porcelain fish. “You know what I found the other day? The silver rattle you gave us for Bridget. God, when I held it, I just cried and cried,” she said, laughing. 

I met Wendy twenty years ago, just before she became pregnant. That was back in Springfield, closer to our respective hometowns. We both grew up in rural Illinois, from town families in former farming communities; the regional difference was that my town picked up Cubs radio broadcasts, and hers rooted for the Cardinals. In Springfield, we both worked at the mall, me in the jeweler’s, Wendy the manager of the prom-dress chain store. According to mall gossip, she had fired a friend-of-a-friend for being “unprofessional.” I formed my opinion: corporate goody two shoes. Timid, hiding behind other people’s rules, and probably tacky. 

One lunch break I strode into the dress store to scope her out, but there was just a gloomy salesgirl steaming crinoline behind the register. Then I heard an outbreak of giggles, which I followed back to the fitting rooms. In the mirrored hallway, there was this Missy Manager: Wendy, about my age, bright voice, chestnut perm, big-shouldered skirt-suit in the right shade of burgundy. She was fussing around a teenager, gathering a sash in her hands. “Hi!” she called when she saw me in the doorway. “You’re just in time for the bow-tying demonstration! Now everyone, step back, I’m a professional.” She flitted around the girl’s outstretched arms, wrapping and measuring the strands between her taut fingers. Gather, thread, wipe imaginary sweat from her brow, wink, then one precise pull. A final fluff. “Voi-la!” 

I remember the girl’s mother and sister clapping. Wendy gave a little bow. “It’s perfect,” the girl sighed, smoothing the symmetrical ribbon-end, a docile wing. “But how will I do it as good as you before prom?”

“Just as long as you can undo it after prom, sweetie.” I said it under my breath, but somehow Wendy heard me. She cracked up and said, “Oh, you are bad!” then turned her most wholesome gaze on the customers. “We’ll practice as many times as you need.” She smiled up at the girl on the pedestal. Her eyes flicked to the mother and back. “Soooo, what are we doing for gloves and shoes?”

Now there’s a saleswoman, I thought. I could respect that. What’s more, she seemed to mean it. 

In my living room a hundred miles and many years away, I cracked my toes against the rug. Wendy unwrapped a bone-china serving tray—hexagonal, in a royal blue-and-white design, floral, vague chinoiserie.

“Can you believe I saw Spode at T.J. Maxx the other day,” I said.

“Fakes?”

“Nope.” I sipped. I explained that luxury-goods companies, even legacy brands, will sometimes sell versions of their well-known designs at discount stores. “The old high-end manufacturers knock themselves off before somebody else does.” Another sip. A clean, pure bite.

Wendy turned the dish over in her hands. The process for making it had hardly changed in more than two hundred years. The English porcelain refined to the extreme, the underglaze blue transfer printing. “You just don’t see things like this, this quality,” she said. “It’s priceless.”

“It definitely has a price,” I said. “That’s what’s so great about it.”

Wendy’s pale eyes brightened. “We could have a hell of a yard sale,” she said. “Raise some funds?” The glossy dish reflected light onto her face. “Or, you know I don’t do the internet, but what about…eBay?” 

I sucked a vodka-soaked ice cube. Apparently, Wendy thought that all these treasures belonged to me. Some did, sure, some I had paid for, some I’d received as gifts. But most of the items were samples. Sent to dazzle clients at point of sale. If a pattern was retired, or a client needed a bejeweled rooster stat—back in the box they went. They were only mine for now. 

That’s not how Wendy thought about life or possessions. It’d been years, but she still only used one side of her closet; the other side was stocked with every collared shirt or jersey that Scott ever owned. They were already married when we met, and I tried to keep him on the outside of our fun. I badgered him for being a filthy smoker, ahead of my time always. But as with Wendy, he won me over big time. A shy engineer, he looked like a sandy-haired, willowy Burt Reynolds and had a wicked sense of humor. Sometimes we’d sit out on their apartment’s patio, me with my stiff drink and he with his cigarettes. If Wendy wasn’t scolding us in mock-prudery, we’d tell raunchy jokes until we ran out. I wanted to convince her that the man who wore those clothes was long gone, and she deserved a whole closet for herself, but there was no telling her.

“I’m not sure this neighborhood is the best market for this product,” I said. 

“Well, I think better when my hands are moving,” Wendy said. “Let’s fix something!”

“Take your Houseware Warehouse propaganda somewhere else, lady.”

Wendy started humming the big-box store’s jingle, Renew, Redo, Re-you! and I held my icy glass against my forehead. But she cajoled and cheerleaded until I was on board: While we figured out how I could afford to stay alive, we would renovate my upstairs bathroom. 


I spent the next morning trying to make sense of my “options,” paging through the brochures and insurance policy fine print and medical records. After a few hours, I felt like I was stranded and starving on one of those floating islands of human garbage, so I took a break. In the bathroom, I looked in the mirror and combed through my roots, made an appointment to get them touched up. I remembered a few years ago, the day before Scott’s wake, I had to do it myself in a rush and my typical ashy blonde bob came out of the wash an almost sherbet pink. “Usually she’s the blonde,” Wendy had said, introducing me to other mourners. 

I’d almost forgotten about the greenlighted renovation project until Wendy showed up in the evening. I hid the mess of my office and answered the front door. She looked like a pack-mule, bundled with her toolbox and plastic buckets and freshly bought supplies. She walked in mid-conversation, “So I asked Ange and my guys in building materials about the best approach to patch the drywall, if the drywall is maybe plaster, and if the patch is more of a gaping hole…”

“How’s Ange doing?” I asked.

“Oh, you know,” she smiled. “He’s Ange.”

Ange was Wendy’s boss at Houseware Warehouse. I’d met him once at a company-volunteer day Wendy had recruited teenage Bridget and me to carry water-logged trash out of a house after another flood. Ange was around my age, burly, pale for a guy with Italian heritage, nearly bald. He had an easy, creasy-eyed smile and strong white teeth. A wink. He and Wendy were pals since she started working there. She didn’t talk about him all the time, but when she did, she took on the twinkly blushing tone of a girl with a crush. 

“Will you go for him already or what?” I said as we climbed to the second floor. 

“I am not going to ‘go for’ him!”

“Why? Because he’s your ‘friend’?” I was ribbing her, but pressing. “You love him.”

“We just have a special bond,” she said. Good girl a little pleased with herself. “Besides, even if, I mean, it would never, but it would be against the rules since he got that district promotion.”

“My mistake,” I said. “Forgot I was talking to a nun.”

Wendy could hear the edge in my voice. “Rhon-da,” she said plaintively. “I’m not—you know—”

“Teasing,” I said.

We squeezed through the guest bedroom and into the upstairs bathroom. “Now about this hole,” Wendy said.  

The space was tight, nearly every inch of wall lined with the toilet, the vanity cabinet and mirror, a narrow linen closet, and the low-rimmed tub. Its thick porcelain looked like a stick of butter half-melted into the floor. The tile, everywhere, was pink. Not salmon and not Pepto-Bismol; more like a long-forgotten stick of Big Red dug out of the bottom of a purse. Above the toilet in the corner, there was a wall, painted a dingy mint. In that wall was a hole. We could see the pipes, the studs, and the blackness between. The hole had a ragged edge. Wendy reached her hand out and touched the opening. The wall crumbled a little more.

“Oh my,” she said. “Maybe, for now…a curtain?”

I laughed and left the room. I came back with a large metal picture frame and a piece of thick silk, embroidered by somebody, somewhere, with dark geese flying in loose formation, backlit by a waxing moon. Impressionistic, eastern, not cheesy. “Something like this?” I framed the image, then folded and tucked the silk. 

Wendy gasped in delight. “Of course, you wouldn’t just use a dish towel.”

“If I have to look at it, it better be on purpose.” 

We tacked tight around a spare scrap of foam, secured it to the frame with the baby nails Wendy had brought. She moved it against the wall until I told her to stop. She measured the spot with her finger, hammered in a nail, balanced the frame. She stepped back to admire it. 

“Pay no attention to the hole behind the curtain,” I said. “A start.”

“Are our wheels turning yet?” she asked. She got comfortable on the toilet.

I settled onto the twin bed in the adjacent bedroom so we could talk through the doorway. “I’m thinking about calling Keith,” I said. Wendy made a face. “He’s actually good with practical advice. And money.”

Keith was the man I’d been involved with the longest and most seriously, on and off through years and complications, still back in Chicago, I thought. I’d had other short-term boyfriends and people I met up with on the road between clients, but Keith was the closest I ever got to what Wendy recognized as a real relationship. Still, she’d only met him once and never liked what I relayed to her. The older she got, the less intrigued she seemed by my dalliances.

“Don’t call Keith,” she said. “Unless he’s a totally different person.”

“He could be. He’s old, you know. He had that heart stuff.””

“Listen, I had an idea. You need to get a job.”

“Pretty busy at the moment, Wend.”

“No, you need to get a job at Houseware Warehouse.” She laid it out, growing giddy with the steps. I would get hired—full-time but low-level—work long enough for the insurance to kick in, then take a medical leave of absence for my surgery. The company would assume I’d be back when I’d recovered.

“And maybe you will!” she said.

“You let people do this?”

“Well…I hire people who go on extended leaves. I’ve got people with cancer, everything, and maybe they know about it before I hire them, maybe they don’t, but it doesn’t matter. Once they’re in, it’s all covered. You could get hired as a cashier. The pay isn’t what you’re used to, but it’s temporary. The insurance is kinda unbeatable.”

After many years, Scott had dropped the cigarettes. I took some credit for all the shit I’d given him over the habit. Wendy had given him an engraved money clip to mark the occasion. But how long had they both let warning signs slide? How often did he sneak out for a cheeky drag? He still got sick. He went fast, got smaller and smaller, like he’d spent himself in tiny pieces, without even noticing. I was still living up north then, in between dogs and ready to put some distance between me and Keith. I knew nothing about being a widowed mother, but I could be there for Wendy, show her how to care for herself after only caring for others her whole life. I stopped in whenever possible. I taught Bridget six ways to tie a pashmina, how to arrange a modern centerpiece, how to properly shake a cocktail. We toured colleges all together and Wendy and I both encouraged her to choose the one where she could see herself, even if it was half a country away. I poured Wendy’s wine in the best glasses and tried to make her laugh. 

Wendy had moved to the carpet, sat cross-legged. Houseware Warehouse was a big regional chain, but still family-owned, and prided itself on being employee friendly, she said. I rolled my eyes. “The point is, benefits start in six weeks. You’d never get that at Lowe’s.” I told her we’d have to see if I had that kind of time to burn. “First week or so is training and shadowing anyway, so you won’t be in too deep before the procedure,” she said. “You’ll have to put on a show of good faith, of course, for the sake of—you know.”

“Legitimacy?”

“I have to keep reminding myself that people do this all the time,” she said.

Was she going to hire me? No, she couldn’t do that. There were policies against hiring family and close friends, but she was sure I could get hired on the spot by her district manager, Ange. 

“Always takes care of me,” she said. “We just won’t mention anything like a diagnosis until you’re in the door.”

She was trying not to sound nervous. Wendy the goody-goody. Play-by-the-rules, even-if-it-hurts-me gal. Human Resources! In the good name of all that is tedious. But she took it all seriously. I understood what risk this held for her.  

“And if it doesn’t work,” she laughed a little, “it might be considered, they might call it something like, well, insurance fraud.” 

Maybe this was the answer. And maybe this risk would even be good for Wendy. She was magical like this—a little dream maker, so ready to MacGyver your fantasy into a reality: the perfect prom dress, a bathroom for a queen. As the light got low in the house, we sat with our drinks, looking into the bathroom, the hole now covered with a beautiful picture that wasn’t even meant to be a picture, brainstorming all the improvements we’d make. For a moment, I pictured the two of us, a more wholesome Thelma and Louise, on a highway that keeps rolling. 


At the interview, I shook Ange’s hand firmly. A bionic woman kind of shake, but make it sexy. Every interaction as a sales rep is like an interview, less a transaction, and more like a special bond. I’ve got to convince clients they want me around. This time, I had to pretend to want to ring up caulk for $7.50 an hour. 

Ange’s office was a large concrete closet behind the lumber department. Before he recalled my face, he introduced himself as Angelo. He was taller than I remembered, younger looking. He leaned back in his chair as I spieled off my experience—a version of it, anyway: many years in various sales positions (mall jewelry), and recently as a small-business owner. “Nothing at this scale, of course,” I said. 

Ange nodded, glanced over my resume. “Obviously you’re qualified. How does Houseware Warehouse fit into your future plans?”

I told him I loved the problem-solving and self-starting of running my own business, but I wanted to make the shift to regular hours and stable benefits. “And, I’ll be totally honest, I would like to stay local, less time on the road. That’s part of why I moved here, to help Wendy out.” I leaned forward a little in my seat. “It’s been hard for her.”

Ange uncrossed his legs. “You’re a good friend.”

“Well, that’s just what we do,” I said.

Ange’s smile warmed. “Since you applied at a general associate level…well, I’ll leave it to you. Which position do you prefer?”

“That’s a bit of a personal question, isn’t it?” We both laughed, very chummy. Ange rocked forward in his chair, and almost imperceptibly, gave my breasts a glance. Beneath my royal-blue sweater, I’d worn one of those flattering undershirt bodies that squeezes in your sides and puts the goods on a platter. I could be imagining it, but I was pretty sure. Well, lookee here. I knew about Wendy’s crush and her closed door, but did that door need to stay closed for me too?

In fifteen minutes, Ange offered me a job at a store near my neighborhood, starting right away. He stood from his desk and said, “I’d bet Wendy should be about done for the day. Should we call her? Slow Teddy’s for a celebratory beer?”

“Make it a vodka tonic and absolutely,” I said.

I shouldered my purse. Watched him dial. I could hear the beep-beep of a forklift, voices echoing off mile-high shelves of sheet metal. 

A couple days before, Wendy and I had lunch at a no-frills café on Natural Bridge. The building was a house like mine, complete with screened-in porch, just full of metal tables. Afterward, in the parking lot, she stood beside me as I called Bridget. 

“Well hello, Auntie Rhon!” She had sounded surprised but happy. A little out of breath, taking long strides somewhere. She had chattered a few minutes about her astronomy class, how they met at a planetarium on the edge of the wooded campus. How somehow that had led to going deep into her Zodiac birth chart with a roommate. 

“Listen, kiddo, I’ve got some news—” And launched in, stayed steady. “We didn’t want to worry you until we knew more.”

“But what does that mean?” The girl’s voice rose and broke over the word “mean.” I could hear a breeze around her phone. Pictured her standing outside a gothic building, chin tucked into a lightweight scarf, spring later there. “Stage three out of four? Jesus, sorry—shit, I’m outside my seminar—”

“She’s crying,” I’d mouthed to Wendy and handed her the phone. 

“Bridge?” she’d said. “Honey, it’s okay. Rhonda is going to be fine. They caught it. They’re going to do everything possible for her. Yes, I do know. She’s just fine.”

But what Wendy had said wasn’t true. Maybe it would be true, but not yet. If that lie was for anybody, it wasn’t for me.

In the cold office, I adjusted my sweater. I could imagine Wendy feeling delighted at Ange’s invitation—and then jumpy at the idea of all of us having a drink together. She didn’t want to draw attention to my hiring. Maybe she’d even feel a little jealous, maybe she’d do something. “Come on,” I practiced saying, “it would’ve been suspicious if we didn’t go.”


I found a new doctor on the other side of the city. I called Wendy after the next appointment, the new mammogram, the new diagnosis. This doctor recommended the mastectomy stat. We scheduled the surgery six weeks and five days from my start date. 

I spent four full days sliding around on a plastic chair in a drop-ceilinged break room at the back of my local Houseware Warehouse. I clicked through multiple-choice quizzes on an ancient PC while my riffraff colleagues came into guzzle Big Gulps without spilling on their aprons. Then I spent three shifts “shadowing” employees, from the hard-ass broads who held down Returns to the 26-year-old department head with sparkly nails who had me powerwalking on that polished concrete floor. They didn’t teach me to use the saw to cut lumber for customers, but I liked cracking wise with contractors about their beam lengths. I even exchanged contact info with a couple interior designers. But in slow moments, nobody down my echoing end of the building, I found myself reaching for my breasts under my apron. What was roiling inside, expanding, multiplying, about to explode? I watched the clock, watched the calendar. Watched the phases of the moon and wondered if I’d ever felt its supposed tides and cycles before. Or if I would again. I’d take my break and hightail it to Garden, where there was air, at least.   

My sister with the pinched mouth came up from Florida. Greeting Wendy, she instructed her that there would be “No tears, absolutely none.” Wendy planned to stay awake worrying in the waiting room for as long as it took.

“It’s my body and she’ll cry if she wants to,” I said.

We gave my sister a tour of the house, and just couldn’t resist. I told her to say hello to the house’s previous owner, Miss Lunelle, and Wendy pointed out the items that periodically slipped off shelves. 

“There’s no ghost,” my sister said. “And if there were, for Pete’s sake, don’t talk to it.”

We showed her the bathroom. We went on about our reno ideas: vintage French tiles, vessel sink, beveled mirror, double the shower head, double the window, paint the cabinets black. “Or near-black,” Wendy said. “Off-black?”

“I might knock out the whole wall and turn the guest room into a goddamn spa,” I said.

  “Knock out your whole 401K—oh, wait…” My sister’s eyes roamed around the room. “Is there a draft coming from behind the toilet?”

“I think she and I are going to become really close,” Wendy whispered to me.

We told her we had a “work thing” and went to Slow Teddy’s. It was a Wednesday, when Ange and other manager-types sometimes gathered there. Ange lit up when we arrived, ordered us a round, and we all stood crowded at high-top tables near the dance floor. A cover band was playing, and a middle-aged couple was two-stepping immaculately, no matter if the song was country or Def Leppard. A manager from a different store asked Wendy to dance, and to my shock she went, shaking her head in protest. Then, to my greater shock, she was a totally competent dancer! She clutched her partner’s hand and let him swoop her around, her little suede boots intuiting what direction his feet might lurch—deft in their own way. She was grinning to the ends of her cheeks. 

Ange nudged me and pointed his beer bottle. “Check out ol’ twinkle toes!”

“To a new era,” I said and clinked my glass to his. 

Then, I’ll admit, I got after it. One vodka tonic, two. A manager man bought shots, and I took one to be sociable. Ange was laughing at all my jokes, asking how I was settling in. Another man proclaimed I must be on the fast track to management, here at happy hour already. I was up and I was down. Then someone lit up a cigarette; you could still do that some places then. I started in with my usual line, and the good-natured man laughed, “But I’m quitting, I quit!”

Then I told them something a European colleague told me once, on some vendor’s trip in Cologne or Copenhagen. “They said, ‘Do you want to know why there’s so much lung cancer in America, but we Europeans smoke all our lives and don’t get sick?’” I noticed Wendy was back at the table, but now I had to finish. “It’s because Americans always get pressured to quit, and then the body doesn’t know what to do. The key is to never quit!” 

“To never quitting!” Ange toasted, and we all drank. I couldn’t catch Wendy’s eye. 

“Let’s take a poll,” I said loudly. “Boob jobs—yay or nay?”

Laughs and rumbles. “Her body, her choice,” one of the men said, “but I would be as supportive as possible.” 

I told them I was considering a boob job, which drew every eye to my chest, perched lightly as it was on the cocktail table. Innocent, but a nice warm glow. I said I was accepting cash offers for preferred nipple tattoos. “Let’s get creative, fellas!”

Ange laughed, leaned in. “Come on, you’re not serious—”

“Sure I am!”

“You would never. I’ll bet you five hundred—” 

“You’re gonna be sorry you doubted me, boss, when I have to—”

“Have to?” 

“She wants to,” Wendy said, sliding closer. “I mean, she’s thinking about it. I tell her no.”

“There, the voice of reason!” Ange put his arm around her shoulders. “Keep that shit out of your body. And if you ever need to, just pull ’em up.”

Later, she pulled me into the hallway by the restroom. Wood paneling and near-fluorescent lights.

Boob job? That was so reckless,” she whispered, a hand around my forearm.

“It’s just fun,” I said.

I put my neck out,” she said. “You made me lie for you.” 

Here we were, finally, at the edge of some action. We were supposed to be in this together, but here she was, trying to keep her perfect nose clean. I said slowly, “But you already lied.”

“Not to his face,” she hissed. “Not because you forced me to. What were you saying back there?”

“You’re just worried that he won’t think you’re perfect.”

She straightened herself. “His opinion is important to me.”

“Well, he’s never gonna screw perfect,” I said. “Never gonna screw a martyr. And you wouldn’t let him anyway.”

Then Wendy walked out of the hallway, said a smiling goodbye to the men, and left the bar without me.


We didn’t speak for a week. I sent her a text, then didn’t try again. It had never happened like that before—on purpose. Any other time, we would have been distracting ourselves with tile options and full glasses. We would have been strategizing about timing and wording for the call. She would’ve reminded me to sound “gracious.” Instead I picked a day on my own and called Ange after hours, when I was sure to get voicemail, to announce that I needed to take a leave of absence. Feeling lousy, went to the doctor. Totally blindsided. Unendingly grateful for your support.

On mastectomy day, Wendy showed up to the hospital, right on time. In the prep room, my sister reminded her to keep my heart rate steady. “No silliness,” she said. “It doesn’t help anybody but yourself.”

My sister stepped out for a Coke, and Wendy looked like she wanted to follow her. The room had a window that looked inward, into the hospital. I touched its stiff curtains.

“I know I’m not supposed to ask, but how do you feel?”

“Hungry.” I hadn’t been allowed to eat in twelve hours. “And numb.”

She was fiddling with a remote, couldn’t tell whether it was for the TV or the bed. 

My irritation got shot with tenderness: I knew how much she hated hospitals. What the word cancer did to her. Then the other voice: And what about what it’s doing to me.

“So, did everything go through okay with your LOA?” she asked.

“I think so. I got a voicemail from Ange. I haven’t listened to it yet.”

“Me too. I mean, me neither,” she said, her voice brittle. Tears, but I couldn’t tell which kind. “Don’t worry about anything except this thing right now. You’re going to be fine.”

My sister came back. Then the nurse arrived and pushed them out. Tight, vibrating hugs. I changed into a paper-napkin poncho and sat on the bed. A bra strap dangled from between the folds of sweater and jeans stacked on a chair. My eyes outlined every tiny hook and millimeter of silk. One moment, I felt next to nothing. I was just waiting for an appointment. The scratchy smock felt more real than my body, just a swimming pool for my psyche.

The next moment, my heart was constricting. My breath retreated like a cloud of cockroaches. Jaw locked. 

I’d lied to Wendy. Maybe she’d lied to me too. The voicemail from Ange was long. He had hit all the marks of concern: shocked by the news, we’re here for you, everything they can do for breast cancer these days. Then his voice stiffened as he got to the point: “Rhonda, you haven’t been an employee here long, so there are a few benefits protocols we need to run through whenever possible. The company will request records of when you received your prognosis, for example.” A pause on the line. “And we should talk soon about whether you plan to return after your recovery, should your health allow. We’d hate to lose you”—okay, that was too much— “especially since Wendy vouched so strongly for your character. And that’s why we could bring you on so quickly—on the strength of her word.” Another pause. A little frustrated? The voicemail box is an unsatisfying object for calls to the carpet. 

I listened to the message, then placed my phone face down on my desk in the home office, boiling. I dared Ange, the corporate boy scout he revealed himself to be: Just try to fire me for this. I didn’t ask for this, goddamn. I didn’t even smoke. My habits were manageable, balanced even. My behavior was individual but decent. And here I was, getting mutilated, possibly dying, for some fluke of timing. And this asshole tried to shame me in the name of his mid-year bonus. In the name of company commandments and stock-option scraps and some sort of sacrifice-reward system that people like he and yes, Wendy, especially Wendy, clung to. I could call him back now, as I get on a gurney, and proclaim, it was Wendy’s idea, dumbass! 

But, of course, Ange probably already knew that. And that job—could Wendy handle another constant shattered? Where else could Wendy believe she was needed like that? I could never tell her any different.

I knew Wendy would wait through the surgery and come back to the house with me. She would take the late shift and stay up scraping at the bathroom wallpaper with a putty knife, even if I told her I wasn’t sure I wanted a new bathroom anymore, that maybe I could live with a hole in the plaster. She’d be mad at me but would work hard to turn the feeling inside out.

It wasn’t Scott’s fault that he died either. He probably did quit for good. But you can do the right thing—eventually, or from the start—and you can still die. You can also do the wrong thing and survive. But you can’t survive and stay the same. I knew that then. I sat in the hospital room, and my heart fluttered and steadied. That’s what this was for. That’s what Wendy didn’t get. That she couldn’t go all the way with me, keeping watch. We both had to change to keep breathing. That was the last thing I thought as I went under, and even then, I knew I wouldn’t be able to explain it to her when I woke up.

7 Books That Vividly Capture Hospitalization

I used to think I was afraid of death because it is the only problem in life you can’t fix with a good retelling. My own death, I mean—the potential dying of my loved ones did not grip me so tightly; such deaths seemed remote in a way that the sudden failing of my own heart, lungs, or other vital organs did not. I was not a generous phobic. The first time I went to the hospital with early nervous collapse, I had been searching for discount high-end sheets at an outlet store in Union Square. Out of the blue, I was electrocuted by nothing: a shock from behind my eyes shot down my arms and legs, leaving me frozen, with ringing ears and broken eyes that saw from somewhere far away and dark, like the bottom of a hole in the ground. What is this? I thought. Then it happened again, and then I couldn’t breathe, so I went to the hospital. 

What did I hope to find there? Relief, which at first means diagnosis and treatment, a cure, though in time we learn, the chronically ill, that our best hope is palliation. A visibly annoyed doctor gave me an Ativan and told me to go home. I was confused—wasn’t the hospital the ideal place for someone always about to die? In the Hospital was the working title of my first novel, now called A History of Present Illness, in homage to how much the protagonist wanted to be there, admitted and considered, cared for and cured. But the hospital is not that kind of place. I know that now, and I am there all the time, at the bedside as a doctor showing up to palliate the worried unwell. 

The following seven books stretch across genres to capture the confusion and powerlessness of being subject to a body, subject to a hospital, subject to life and death.

The Two Kinds of Decay by Sarah Manguso

The effect of illness on the self is central to this poetic memoir of living with a protracted nerve disease related to Guillain-Barré syndrome. If being in the hospital is always a profound surrendering of volition, the trap in this case is emphasized by literal paralysis. There are no triumphs here, as the dissolution of Manguso’s mind and body advance in an unforgiving medical atmosphere, all rendered in precise and cutting prose. The Two Kinds of Decay is a startling account of which injuries can heal, and which cannot, and how long it takes to find out what matters. 

Dear Friend, from My Life I Write to You in Your Life by Yiyun Li

Li’s is a personal history of language, literary friendship, and incidental hospitalization, as well as a chronicle of self-dissection. The complicated sequelae of chronic despair suffuse this brief and generous memoir, which includes little in the way of solace. Once an aspiring research scientist, Li describes her turn to writing as a compulsion toward circling the unsayable. Her chapters are letters from deep within the isolation of personhood in all its limitations, from a thinker so obsessed with self-effacement, it is a gift that she was driven to write to us at all.

My Happy Life by Lydia Millet

A place like a hospital provides a frame for the recollections of a vagrant woman, unwanted since birth, found abandoned as an infant in a shoebox. The woman recounts with a tone like wonder her bare life of trauma and isolation. When finally she is locked away and forgotten, left to eat toothpaste and plaster dust until the world dissolves around her, she leaves us at least half-enlightened (and fully grateful for life) on the right side of the walls. Grim and surreal, this singular novel is a haunting meditation on optimism in a violent and senseless world.

The Hospital by Ahmed Bouanani

The Hospital depicts the instant unwinding that comes with protracted illness and confinement. In a delirious dream of time and memory, the narrator, unclearly tubercular, finds himself stuck in a dirty hospital somewhere in the Magreb, his fellow patients all wild men who cling to stories of sex and violence to imitate the vigor of the lives they once led. Set apart from the rhythms of regular life, these men face the degradation and debility of the ailing body—true for us all, but starkly revealed by the enforced humility of medicalization. 

Little Pharma by Laura Kolbe

A debut poetry collection from a practicing physician and medical ethicist, Little Pharma is the product of a clinical mind finding art in the bulky lexicon of hospital medicine. Here we find compassion for a vanishing cadaver, and reverence for the farness between self and other, self and lover, self and self. Kolbe’s speaker comes to seem like someone on whom nothing is lost: the smell of a coat, the shape of teeth marks, toad-sized human hearts. Kolbe takes great pains to make the hospital new, even to those of us who live there. 

Obit by Victoria Chang

A read for remembering that we will all be made to give up what we have—all of it. This collection recounts the loss of the poet’s parents, fast and slow: her father’s stroke, which left him aphasic, her mother’s death from pulmonary fibrosis. Writing in the form of dozens of obituaries, Chang circles grief meticulously with language, refusing to yield to the sense-destroying force of loss. Despair is not where this book ends but where it starts, levitating from there toward something beyond hope, something more like communion. 

A Personal Matter by Kenzaburo Oe

A cram-school teacher feels his dreams foreclosing as his wife goes into labor with their first child. His tepid fears of responsibility are blown away by what comes next: the infant is born deformed, likely brain-damaged, with few future prospects beyond life as “a vegetable person.” The new father spends the bulk of the book avoiding the hospital in hungover regression, waiting for a phone call announcing his young son’s death. Oe crafts a complex moral landscape to elevate the question: When we give up youthful dreams of permission and escape, what is left?

Aimee Suzara Wants You to Own The Fact That You’re a Writer

In our series “Can Writing Be Taught?“, we partner with Catapult to ask their course instructors all our burning questions about the process of teaching writing. This month we feature Aimee Suzara, a poet, playwright, and performer whose book, Souvenir, was a Willa Award Finalist (2015). Check out her 6-week online workshop on archival materials and research in poetry. We chatted with Suzara about popcorn, bearing witness, and three-dimensional joy.


What’s the best thing you’ve ever gotten out of a writing class or workshop as a student?

This allowed us to both feel witnessed and to feel the confidence needed to keep going.

My first poetry class in college was with the great Ishmael Reed, who, though having such laurels of his own, made sure my, our, writing felt heard. The young poets in our class had such different styles and themes, but he heard and drew out our developing voices, could tell their promise and strength, and this allowed us to both feel witnessed and to feel the confidence needed to keep going. 

What’s the worst thing you’ve ever gotten out of a writing class or workshop as a student?

I was in a class where it felt that the instructor was just talking to himself, not really listening to us, and this felt more about ego than about our voices.

What is the lesson or piece of writing advice you return to most as an instructor?

“You are a writer” – one of my beloved teachers Elmaz Abinader said in a workshop.  I was a writer already, but it felt powerful to affirm it.  As simple as this seems, claiming and reiterating that statement can be extremely necessary and empowering. We could write for years but still have difficulty owning that title, that role, as though it must be earned a certain way.

Does everyone “have a novel in them”?

Sure!  I don’t teach novel writing, but I do write plays and stories, and believe that each person has an interesting life or story their imagination could invent that could lend to a novel.  Now, whether the person has or will do the steps to gain the craft skills to put that to paper is another story.

Would you ever encourage a student to give up writing? Under what circumstances?

No.  Writing is always helpful.  Perhaps someone could re-direct their writing in terms of genre or take some time to write for themselves instead of submitting, but I would never say to give it up.  If you have the drive to write, you must write.

What’s more valuable in a workshop, praise or criticism?

That’s a trick question!  Both are equally important.  AND I do lean a bit towards making sure there’s praise, regardless of how “good” the work is — because we already live in a world that’s so challenging, so discouraging, and most of us are subject to so much criticism that to receive a bit of positive witness for our creative work could be a necessary boost.  I also remind myself to offer praise because I can often jump too quickly to the criticism and forget how essential that bit of positive witness can be for someone to even receive or stomach the criticism.

Should students write with publication in mind? Why or why not?

Generally, no.  Publishers are just one category of audience, and we can forget that behind every publication are just human beings with tastes, with opinions, with favorite authors and styles and aesthetics.  I notice that students who get too focused on publications also get too focused on the rejections that are a necessary part of submission. Write first for yourself, then for your intended audience — those readers for whom you write, those readers whose lives may be changed, or opened up, or who may feel witnessed when you read.  As for me — when I think of an audience, I think about young Filipinas and girls of color who may see some bit of themselves in me.  I can only imagine growing up believing that my story could be central, could be not “strange” and outsider and exotic, but could be important, or even normal.  So in that way, publication is just one means to getting to those audiences.

In one or two sentences, what’s your opinion of these writing maxims?

You must care enough about the lives you wish to approximate to decide if, first, it’s really what you want to or should write about.

  • Kill your darlings: This works for me often; when I feel too attached to a character, or a line, but I know intuitively it’s not working, sometimes its best to take them out.  Perhaps they return, but “killing” them, even if they are to be resurrected again, could be what saves the piece.
  • Show don’t tell: Usually I tailor this to be “show, more often than tell” — in poetry.  Specificity, palpable, precise details, are indeed what give poems life.  However, if taken too far, it can lose sense.  If you’re writing a letter in first person, or a monologue, sometimes telling is better.  So I think it’s really an entry point, especially for those beginning poetry, to notice where they’re telling us something that really needs to be illustrated, needs to be offered by way of the senses so that the reader can feel/hear/taste/smell for themselves.
  • Write what you know:  I don’t often say this upfront, but I do use it as an internal compass when encouraging students to draw from their experiences and knowledge AND to do really good research.  So if you don’t know something, get to know it.  Writing without doing the hard work of getting to know your subjects, the human beings, places, circumstances that are the content of the writing can lead to stereotyping, misrepresentation, or superficial writing.  So it’s not to say that you must write about your own life, but you must care enough about the lives you wish to approximate to decide if, first, it’s really what you want to or should write about, and then render those stories or poems well. That humanization and empathy can only improve the writing.
  • Character is plot: This one I’d tailor to say “character drives plot” or “so much comes out of character” when it comes to playwriting or short stories.  Even in poetry, narrative poems can come out of strong understanding of character.  Studying, sketching, understanding, internalizing your characters will often help you to develop plot, because it will have everything to do with how they react to events and pursue their goals.

What’s the best hobby for writers?

Anything that brings you joy!  If it’s dancing, drawing, photography, or knitting, making sure you have something palpable, three dimensional that gives you joy is wonderful.

What’s the best workshop snack?

Popcorn.

A Novel that Reckons With German Colonialism in East Africa

In 2021, Abdulrazak Gurnah, author of ten novels, including By the Sea, Paradise, and Desertion, was awarded the Nobel Prize in Literature “for his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between cultures and continents.” Gurnah’s newest novel, Afterlives, which captures the devastating effects of German colonial rule in East Africa, is enriched by his deep knowledge of the subject, which he became familiar with both through firsthand stories from friends and family and through his own subsequent years of research. 

In Afterlives, Gurnah tells the story of intertwined characters who seek connection despite the ways that colonization has ravaged—and continues to destroy—the landscape, their lives, and their futures. There is Ilyas, who is stolen as a child by German colonial troops and forced into the war. When he returns to what was once his home, he finds that his parents are gone and his sister, Afiya, has been given away to a different family, where she is beaten and forced to work for no pay. There is Hamza, who voluntarily joins the Schutztruppe and goes to war, “a nightmare.” Hamza is taught German by an officer who shows him kindness laced with a cruelty that taints every interaction. When the characters meet, they all bear scars, both visible and not, from a war that has inflicted harm upon them, even if they are not on the frontlines or even of the same generation.

I spoke to Gurnah over Zoom about writing into history, balancing hopefulness with the weight of harm, the power of story, and what winning the Nobel Prize has meant for him and his work. 


Jacqueline Alnes: This story is set in a landscape ravaged by countless violences; colonization harms people, relationships, the earth, bodies, entire towns, industries, futures. Everything seems so intertwined. How did you approach writing about colonization and its effects in Afterlives, in particular?

Abdulrazak Gurnah: It was the nature of colonialism to be overwhelming. Essentially, suddenly a group of strangers arrives and says, “We are running this place. We are running the show.” This means that everybody, sooner or later, will say, “You’re not.” Sooner or later, they have to be slapped down or otherwise subdued. Because of the political structure of many of the places—not all—that were colonized, certainly in that part of Africa, the European nations that arrived with their military forces weren’t dealing with a nation. They were not dealing with a state. They were working with groups of people who were competing or negotiating or getting on or not getting on. So, in a way, they could actually deal with one group at a time. 

In the case of somewhere like Afterlives, that landscape, the Germans were at war from 1886 or 1887, whatever year it was that they decided to claim that part of the world, they were at war from then until, literally, the territory was taken away from them in 1918. In other words, that state was coercive and violent and, generally speaking, unwelcome. The appearance of the Germans in East Africa was, from the beginning, a military operation, an invasion. It was a little bit like the Spanish people arriving in Mexico, or something like that. 

There was no conversation; it was conquest. It’s not surprising that the entire episode is just so full of violent anger, given also that the Germany that existed in that period was already a militarized state. 

JA: In an interview with The Guardian, you talk about the lack of knowledge that British people hold about “less glamorous histories,” meaning they are aware of their own geography, but have very little knowledge of places outside that. Though I’m in the U.S., while reading Afterlives, I’ll confess that I was made very aware of my own lack of knowledge about the presence of Germany in East Africa. The book itself alludes to the idea that there is an extensive history chronicled, but many of the documents and records are from the colonizers, the Germans. What does inhabiting history through your work mean to you? 

AG: All colonial history is written—or at least what’s available to the general reader—in the West, would be the ones of the colonizing powers. Very little from the colonized. But I grew up there. I grew up with these stories from relatives who had, in some respects, been involved either as conscripts or later on in the second world war as volunteers with the colonial forces. And these are stories that were always around us, some of them mythic: the Germans were like this, the British were like that, and so on. But this is how stories are translated. To me, it wasn’t new to people in our modern-day Tanzania, it wasn’t news at all. This is not something unknown. This is something fully known. In some cases, in the area in particular in the Southern part of what was German South West Africa, where the Herero people lived, you may remember from the book. After they were defeated, their leader was beheaded and brought back to Germany as a trophy. Well, just a while ago, that head has been returned to its place of origin. 

This is still a living history. It isn’t something so far distant that people are unaware of it. A museum has just been opened in that part of Tanzania in Iringa, which is to commemorate the German presence in that part of Tanzania. So my point is that it isn’t news. It’s something that bears revisiting because details are also worth looking at again, even if you know the story. It’s very good to know more. For other people, in Germany, Britain, the United States, Argentina, this is news.

I guess that’s what makes writing interesting and worth doing, that you are able to say, “Let me tell you about this.” Literature is about pleasure and challenging certain ideas or injustices, but it’s also about bringing the news and telling us about things that we didn’t know about at all or knew very little about. That’s one of the fun things about reading about other places.

JA: This book, as much as it chronicles the violences of colonization in real time, also foreshadows the long shadow of harm still to come. What do you hope present day readers take away from reading this account? 

AG: I’ll mention that I hope they enjoy it.

JA: Which I did!

AG: Excellent. I want it to be engaging because I hope it makes the world smaller, in a sense. I remember reading Goethe, the German poet, when he was launching himself on his project of world literature, read a novel written by a Chinese writer and said, “My god, they’re just like us!” He was kind of surprised at this possibility that they weren’t so different. It doesn’t have to be that dramatic, but that’s one of the things you get from reading about these things we don’t know. We think: they’re just like me, or I am just like that. I hope that these things don’t seem outlandish, like something that would happen on the moon, but that people would read this history and think that now they understand something about the period, about the episode, about how colonialism works and I guess it’s contemporary meaning. 

There are still people in denial about what happened or want to see that colonialism was a wholly beneficial or benign project. Or want to believe the myth of civilization rather than self-serving greed and violence. And, also, complicity. What does it matter to us if this had happened? Do we bear any responsibility? Clearly, Germany does. The British are more reluctant about it, but the German state has embraced this idea and is paying millions in reparations to southwest Africa—Namibia now—for the Herero people. It doesn’t repair lives, of course, but it’s a symbolic gesture to say we take responsibility for what we did. There is a contemporary dimension to all of this, to say that these are not just things that happened; they are things that still have to be accounted for and how people understand themselves and their history and their responsibility to others. 

JA: While thinking about this book in the weeks after reading, the glow of love between characters and a certain sense of hopefulness stuck with me, despite the fact that this is such a devastating portrait of the effects of colonization. For you, what is the balance between our capacity to love and bear the weight of harm? 

AG: We can’t escape harm, unfortunately, sooner or later. Maybe lucky people or people in peaceful or lucky states or societies can, but in your rich and prosperous country, every day we hear stories of mass shootings and various other harm going on. State harm is different, of course. Harm, at least in that period, in that episode, is not escapable entirely. It does seem to me that we, human beings, have a capacity for retrieving something from this harm. You see it in the way that victims of war and violence are able to rebuild their lives. You see it in the way that people who individually, or in small ways, suffer psychological damage and can retrieve something from that. I admire this and I have written about this in many of the books that I have written. This is an example, I suppose, of Hamza and Afiya are two people who have gone through traumatic experiences and are able to retrieve something from that. They are able to do it because of love and generosity. That’s how it is. Despite violence and cruelty, there is still an ability to get something out of it, somehow, and come away with something that allows life to go on. 

JA: Stories play such an important role in the lives of many of these characters; they serve as a form of shared joy on the porch, allow for agency, enable escapism sometimes, and contribute to a greater collective narrative as well. As someone who has written so many books, what do you think is the power of story? 

All colonial history is written—or at least what’s available to the general reader—in the West, would be the ones of the colonizing powers. Very little from the colonized.

AG: If you are reading something that engages you, then what engages you is a degree of involvement with people’s minds and lives and dilemmas they face and how they resolve them, and that kind of thing. One aspect of story is how we live ourselves, simply because that’s how we think. We think and narrate lives to ourselves. And the other thing is that stories are a way to express a world view, especially in a storytelling culture, that is to say one that is not fully dominated by a TV, say. Or one that is not fully dominated by image. People talk to each other. People sit around, outside and inside their homes. In that respect, that’s what I mean by expressing a world view. As people tell stories, that’s how they view the world, that’s how they understand what’s going on around them. They don’t read newspapers—I mean, maybe now they do more, but in the period I was writing about in Afterlives they wouldn’t have been reading about the news. They would hve been telling each other about it and comparing stories. 

Stories do that; they express a world view. They are very important. We are assimilating that world view, sharing it, solidifying it, and creating a communal resource, a way of expressing solidarity. Stories work to make culture, make society. And then also, they are entertaining. It’s important as a way of passing on literature, by which I mean if you don’t have libraries, or if people are not literate, as they probably were not universally in that period that I’m writing about, then what we call literature, poetry, storytelling and the pleasure we get from that, is conveyed orally by a storyteller. There are all sorts of ways that stories are essential to human society, whether we read them in books, tell them to each other, or watch them on TV. They are all stories.

JA: What did you learn from telling this story of Afterlives, in particular? 

AG: For myself, I learned that I enjoyed writing, still.

JA: Always good to figure that out.

AG: Yes, it was good. It was pleasurable to write, partly because I had just retired from my academic life, so it was the first time that I was actually able to do nothing but write, if I wanted to. I could work at a good pace, without rushing.

The other thing is I got to do a lot of reading. I knew quite a lot about this material because of my work, but I was able to do some focused reading and I found out a lot of things I didn’t know as a result. For example, about the diseases and health programs that were brought in and carried out. European medicine was still something quite new and miraculous. In some ways, it was miraculous because there were so many advances in medicine in that period. In a way, if you’re thinking about the benefit of colonialism—incidental, not intentional—then that was one: the arrival or introduction of medical discoveries. Germ theory, for example, various forms of epidemics that were identified, like cholera. 

I found out a lot more about the processes of German colonization, most interesting was that I found the story with which the book ends. Some people say, “Don’t tell me, don’t tell me,” so I won’t, but it was more or less a real story. It was interesting to discover other stories by former soldiers or people who became stranded in Germany during the Nazi period. It was a good book to write and a very interesting book for me to research. 

JA: When you were talking about the incidental benefits, something that crossed my mind is that there was the potential for so much connection and shared experience through Hamza learning German. On the surface, in a different situation, learning a shared language seems like it could be such a beautiful space for building community cross-culturally. But instead, for Hamza, his knowledge of German is sometimes weaponized against him. 

As people tell stories, that’s how they view the world, that’s how they understand what’s going on around them.

AG: My idea in the officer teaching Hamza German and leaving him with a copy of Schiller is that there is a sort of tenderness in his embrace of the boy. Some readers have wondered whether there is a sexual interest there, but it doesn’t matter if there is or not. What I think I was after there is that even agents of such violent or ideologically driven violence like colonialism, even agents of that are divided themselves. They can recognize the humanity of those who they are subjecting in this way. This division cannot be acknowledged because to acknowledge it is to say: I can see that this person is just as human as I am but I am still going to treat them terribly. That would be a very difficult thing to think about or to say. The acts of kindness, then, are disguised as something else so they don’t seem like weakness. They don’t seem like an admission of guilt or being involved in an unworthy project. This was also trying to tease out the officer’s relationship with Hamza. He can’t quite say I look after you as well as I can, but at the same time he does.

JA: I would be remiss not to ask one last question: What has it been like to win the Nobel Prize? 

AG: It’s been really wonderful, of course. For any writer, its reception is global, which means everybody, whether they are big readers or not, gets to know about it. For some reason, perhaps because of who has been awarded it in the past, it has such enormous respect. Nobody says, “Oh, what a load of rubbish this thing is.” Everybody is aware of it. For that, it’s great. I feel very honored and proud to be included in the line of many writers I admire. 

The other brilliant thing about it is that people want to publish the books in their own languages. There are new editions in many, many different languages and places where I never thought anyone would want to read my books, but they are going there. That’s wonderful. And readers, all the people wanting to talk, like you, about the work. Finding new readers, books getting around, books coming back for reprinting. For a writer, what can be better than that? 

How to Build a Dad Out of Bricks

A riddle in which were they heavy or were they bright

My father was a bag of bricks 
my mother carried around, 
stone enough for foundations 
but stubbornly refusing  
to become a building. 

My father was a right pallet of bricks  
of the opinion that buildings  
were corrupt, ugly, and foolish— 
so better make a ring of stone  
for a cookfire, better make a circle  
at the lakeshore for the fish  
we caught, out all night  
by flashlight with the hooks  
catching in our arms. 

My mother was heavy, too, 
with sleep, forgetting to drink 
water, remembering to drink  
too much to forget and sleep—
the twin fish of her moods 
tugging against herself, 
and she was light, too, a kite torn  
needing a third cord 
to ground her, who found 
my father, lovely bricks, 
to hold her down. 

My mother tied me, too,  
for flotation, to a story  
she’d anchored at the heavypoint— 
possible suitor, lost career— 
her vessel backwards 
through hardship toward 
a wider story or wilder fruit  
than the fallow years: she would 
unharvest me, unhusband 
into a more musical life, no  
baby floating in the front-row  
cloud of smoke at a truckstop cafe. 

They were heavy, here, 
at the balancepoint—still possible— 
between tragedy to come and the past; 
they might yet rescue themselves and each other.

They were radiant, too, lit from within 
the binary gravity they made, 
the tight dance of interlocking pulses—look: 

my mother is here, relishing 
my father in a tuxedo, cooler than omar sharif, 
descending the grand stairway, 
of the mafia restaurant where they both work—
his every step lighter than her hopes 
as she walks, heavy with worry, up, 
and she is then more girl than I am now 
or perhaps have ever been. 

She has not seen him in three days, 
not since confessing what she’s survived, 
and he asks, as she collects her last paycheck, 
        Are you going to be home tonight? 
and she says–all she can say–is:  
        Yes.


Fathers Named by Sons

My father talked so often
about how glad he was
not to have a son
that it became clear
how badly he wanted one
who would take from him
his given name and've given him
another one, baptized him
as the father of the son
so named by the father,
Abu ibni, and in this way
my father could become
a self-named man.

What a son I became
first-born, j-turn
on a dirt farm road,
tall girl, gun-comfortable,
I threw my body over gaps to bridge
a divide that would not die.

And my father kept his name--
the one his father gave him--
on paper only: 'Abd, a servant
to no one, and gave himself
to everyone as Hadi,
the peaceful.

9 Books About Monstrous Transformations

I have always been drawn to the uncanny, to the strange that doesn’t feel strange, to the stories that can frighten us at the same time that they reveal the brutal truths of our realities. As Lydia Dietz says in Beetlejuice when asked why she can see the spirits of the dead, “Live people ignore the strange and unusual. I myself am strange and unusual.” 

Stories that are considered strange or surreal, where fantastic, magical or even horrific things happen to disrupt accepted realities, often feel strange because they force people to experience the very real strangeness of everyday violences. These stories can be doorways to imagine both what is possible and how the effects of trauma, violence, displacement, and illness change the most vulnerable people. Speculative storytelling is expansive, incorporating horror, science fiction, and surrealism to help readers confront what we are most unwilling to see and highlighting how systemic oppression breaks open and creates new realities.

My first book, Las Criaturas, began for me in 2016 while I was supposed to be writing a novel towards my thesis in my second year of my MFA program. During that time of stilted writing, I would leave my novel manuscript to write stories, poems and strange little hybrid works and zines. These stories and poems were moments of catharsis and reactions to the racist rhetoric of the Trump presidential campaign, the microaggressions that I experienced from people in my program and navigating the beginnings of a chronic headache condition that was unlocked by the stress of my life. My body felt out of my control, and I began to look to other writers who were exploring characters becoming unruly creatures in the face of trauma and change. 

These are stories and words that I come back to again and again, to read, to learn from and to teach in my own workshops and programs to help others unlock and recognize the beautiful strange inside themselves and their own work. 

Women and Other Monsters: Building a New Mythology by Jess Zimmerman 

In Women and Other Monsters, Zimmerman seamlessly blends cultural critique of the Greek myths that have shaped Western cultural consciousness with personal reflections on the times in her life that she has been made to feel “monstrous.” In each chapter, Zimmerman delves into different female Greek monsters who are considered grotesque, ravenous, fearsome and altogether meant to be punished by the heroes of Greek myth, most of whom are men. She discusses these stories in the context of what these monstrous traits historically have to say about how women are socialized, and connects to the journeys she has undergone over the course of her life to embrace these traits. Rather than allowing monstrousness to become patriarchal limitations, Zimmerman invites us to consider how letting ourselves be more monstrous means allowing ourselves to be free. 

Women Who Run with Wolves: Myths and Stories of the Wild Woman Archetype by Clarissa Pinkola Estés

This book can be described as memoir, storytelling aid, poetic missives and academic study of the archetypes and stories that depict the wild and monstrous feminine. Dr. Clarissa Pinkola Estés incorporates traditional stories and archetypes across cultures to illustrate how women have strayed from their instinctual inner guides through the continuation of oppressive systems and why we need to embrace these archetypes to remember what makes us strong and unruly.

The author, who is a Jungian psychologist, as well as scholar and poet, uses these archetypes from a psychological perspective to remind women and femme peoples that our innate wisdom should not be silenced. The text has endured since its publication over thirty years ago and continues to be a touch point for scholars and poets alike. 

The Low Low Woods by Carmen Maria Machado, illustrated by Dani 

Machado’s collection, Her Body and Other Parties, was a big influence on my work, but I wanted to highlight one of Machado’s newer works for how it continues to explore the violence against women, especially women of color. In a small mining town, two young women, best friends, are navigating the next steps in their lives while also trying to solve the mystery of mass memory loss among the other women in their town after rampant sexual violence perpetuated by the men of the town. This beautifully illustrated graphic novel depicts the physical transformation caused by unresolved trauma and how survivors of violence can become the most potent allies. 

Nightbitch by Rachel Yoder 

In this debut novel, Rachel Yoder depicts the extreme physical and mental exhaustion of motherhood as well as the loss of personhood and identity experienced by the main character. The book depicts the mother’s transformation into Nightbitch, a hybrid version of herself that becomes more and more doglike as she embraces her rage at how her labor as a parent is treated and taps into her instincts as mother in her dog state. I read this book as voraciously as the mother consumes red meat and it made me feel connected to the disparities of how parenthood and feminine labor are valued in our society. 

Itzá by Rios de la Luz

I have loved Rios de la Luz’s short stories and zines for some time, and her novel, Itza, is no exception. In Itza, the narrator tells the intergenerational relationship of water brujas in her family from her great grandmother to her mother, and how their relationships shape the way that she moves through the world and navigates racism and the way that her young body is treated and sexualized. When she sexually assaulted by a parent figure, she struggles with her relationship with her body and with her mother as trust is lost. Rios de la Luz writes with a tender fierceness and shows that healing from trauma is a process of returning to one’s truest self. 

Eat the Mouth That Feeds You by Carribean Fragoza 

In her collection, Eat the Mouth That Feeds You, Fragoza writes about Mexican and Chicana women who are navigating intergenerational relationships, abuse, and the way that the body changes and ages over time. Several of the stories address the violences done to women and femme peoples bodies and the labor that is often taken for granted in families. These characters give and give of themselves until their body becomes something entirely different, transforming into rock, dissolving away, or even becoming a living saint. It is a collection of unique narrative voices, but also feels very cohesive, showing how love, bitterness, rage and freedom can exist in one person’s experience. 

Freshwater by Akwaeke Emezi

Sometimes you read a book that challenges and changes what you imagine is possible in your own writing, and Freshwater is one of those books. In this debut novel from Akwaeke Emezi, the main character Ada is born as a gateway between earthly and spirit realms. From childhood, she becomes a volatile and strange child that her parents struggle to understand. As she grows older, Ada attempts to control the inhuman parts of herself, but when she goes to college in the United States and experiences a traumatic and violent event, her psyche and sense of self fractures and the Ogbanje—spirit gods of Igbo origin—take over to protect her, forming multiple selves. Ada’s becoming is sometimes violent and painful, but depicts the indefinable nature of being inhabited by gods who defy categories of gender and psychological diagnoses. The poetic descriptions of Ada’s experiences and the different voices that burst forth from Ada’s body are vicious, bloody and beautiful.

Wound from the Mouth of a Wound by torrin a. greathouse

This collection of poetry is a devastating and beautiful depiction of disability and trauma as they intersect with gendered bodies. Greathouse is a poet that weaves devastatingly compelling images with forms that evoke the stories that a trans disabled body holds. Their poems depict the effects of sexual violence, abuse, medical trauma when a disabled person’s body is treated as an object that is both hyper visible and disposable. In some poems, greathouse invokes the voices of the body, allowing the blood and the skin to peak, while other poems reflect on the body through the story of Medusa and the violences done to her. As someone who writes frequently about the body, this book continues to be a touchpoint for me and can help anyone who wants to explore the ferocious and tender creature that is their bodies. 

Tiny Nightmares: Very Short Stories of Horror, edited by Lincoln Michel and Nadxieli Nieto  

This collection of very short horror stories is a wonderfully unsettling read that will definitely inspire you to write your own creepy flash fiction stories. Each story explores a different idea of what scares people across cultures and experiences, utilizing tropes and traditional stories that readers might be familiar with, including ghost and monster stories. The book is organized by parts of the body such as head, heart and limbs, and some of the most frightening stories, like “Fingers” by Rachel Heng, in which a village is threatened by an unseen creature pulling children into the ground, and “#MotherMayem” by Jei D. Marcade, in which a viral challenge depicts the mutilated body as a rite of passage, reach into our deepest fears of what is lurking beyond our reach, or what we might lose should we venture too close to the edge.

Booktails From the Potions Library, With Mixologist Lindsay Merbaum

In Helen Oyeyemi’s novel Peaces, Otto and Xavier set off on a non-honeymoon honeymoon aboard a gorgeous old sleeper train crossing Europe, a veritable antique in motion with a library car and a greenhouse, but no other guests. The locomotive is owned by the theremin-player Ava Kapoor, whose ancestors hid their ill-gotten fortune in some as-yet undiscovered place. Ava now stands to inherit an absurdly large fortune from another source entirely, a former patron whose gift comes with a curse: a test of her sanity. To keep the waters of her mind still, Ava lives aboard “The Lucky Day” with only two other women and her pet mongoose for company. It just so happens Otto and Xavier also have a mongoose of their own, named Árpád XXX, among other strange coincidences, some far too particular to be accidental. The couple soon realizes that on “The Lucky Day,” nothing is as it seems. 

In this delightfully surprising Calvino-esque novel from a magical realist master, lead characters become observers, and the observed can be unseen: “You run the gauntlet without knowing whether the person whose favour you seek will even be there once you somehow put that path strewn with sensory confetti and emotional gore behind you. And then, by some stroke of fortune, the gauntlet concludes, the person does exist after all, and you become that perpetually astonished lover from so many of the songs you used to find endlessly disingenuous.”

Darjeeling tea-infused vodka serves as the base of this booktail for the library car’s “double bed-sized fainting couch upholstered in brocade the colour of Darjeeling tea in the fourth minute of brewing…” and for the vodka found in the Xavier and Otto’s carriage, among other goodies like white wine, champagne, Kentucky bourbon, and crispy pieces of salted egg fish skin, the couple’s favorite snack. Lemongrass soju honors Shin Do Yeon, Xavier’s wealthy and formidable aunt, who gave the pair the train tickets as a gift and enjoys many soju milkshakes in their absence, plus “gin rummy parties with extra gin.” Lemon and simple syrup evoke a fateful moment recounted by Ava’s girlfriend (also the train operator) who watches as Ava drinks Pimm’s and lemonade, completely unaware of her patron’s son–a pivotal though largely invisible figure in the novel–as he makes himself ridiculous in an attempt to capture her uncapturable attention. 

This booktail is presented atop sumptuous waves of green velvet fit for an old fashioned seat cushion or fainting couch. The background is papered with a single black and white sketch of a train interior, the second row inverted, mirroring the first, while the third row alternates between right side up and upside down, a symbol of varying levels of awareness and alternate states of consciousnesses. Violets adorn the velvet around the glass for the violets in the garden car. The drink itself is served in a vintage martini glass, with a short stem to mitigate spills suffered over the course of this rollicking ride. 

Peaces

Ingredients

  • 1 oz Darjeeling tea-infused vodka
  • 1 oz lemongrass soju
  • 1 oz simple syrup
  • 0.5 oz lemon juice

Instructions

First, prepare the vodka by adding 1 cup of vodka and 1 Tablespoon loose leaf Darjeeling tea to a jar. Cover and shake, then set in a cool, dry place for five hours. Strain and discard the tea, then add the infused vodka to a shaker, along with a large cube or chunk of ice. Pour in the soju, simple syrup, and lemon juice. Agitate vigorously until the ice begins to break up and the shaker turns frosty. Strain into a martini glass. 

9 Voices That Capture the Sound of Modern Scotland

This year, Scotland is host to a year-long celebration called A Year of Stories 2022. A celebration of the great storytellers of Caledonia that have set the world ablaze, we will, of course, be harking back to classics like Robert Burns, Muriel Spark, and Robert Louis Stevenson, as well as the more recent likes of Irvine Welsh and JK Rowling—both of whom have made their salient mark, nationally and internationally. But who’s next in line? Who are some of the cult crusaders of the future—the young lexical butter churners people should know about and be ready to cherish? Funny you should ask, because I’m zesty and chomping at the bit to tell ye!

Me, I’m Michael Pedersen, a Scottish poet who’s toured my books/words the globe over. I just unfurled my first book of prose, Boy Friends, which launched in the UK in July 2022 and arrives in North America in September 2022. Boy Friends is a love letter to friendship, a paean to friends everywhere: those here, there, and elsewhere. Though grief is squat in the belly of this book, on account of the untimely departure of a dearest human, it’s a tome of gooey celebration—for the friends we love to excess, yet still not nearly enough.

And to my Sound of Scotland curatorial credentials? Well, I’ve been programming and curating events in Scotland for the past ten-plus years—for Neu! Reekie! (the prize-winning literary collective I co-founded in 2011), and alongside the Edinburgh International Book Festival, Edinburgh International Festival, Burns & Beyond Festival, the Scottish Poetry Library, and many more lustrous arts bodies. So, I present below a few words on The Sound of Scotland—as seen from my harbour. These are the writers and word sculptors making vital magics over this side of the pond. Each in the list is coming for North America, if they’ve not already landed. My advice is get ahead of the curve and begin your feasting now. Slàinte!

Roseanne Watt

Watt is a poet hailing from the Shetland Islands who utilises Shetlandic language to craft poetry that vibrates through the bones and thrums in the skin. Her debut collection Moder Dy (Mother Wave), published by Scotland’s own Polygon Books, won her the Edwin Morgan Award, a Somerset Maugham Award, and an Eric Gregory Award. Her smouldering, susurrus tones ensure these poems crackle into the ears like the best sounding bonfires.

Darren McGarvey

A working-class writer, social commentator, and hip-hop artist who happens to be one of the most adroit public speakers this country has to offer. He’s gone on to produce two bestselling books—Poverty Safari and The Social Distance Between Us—and fashioned a mordant live show out of each tome. Between them, the two have been translated into multiple languages, birthed an associated BBC TV series, and earned Darren the Orwell Prize for Political Writing. You can catch him waxing masterfully on the “The Blindboy Podcast” or Russell Brand’s “Under The Skin.”

Hollie McNish

Though born in England, Hollie McNish is Scottish enough for me. She’s regularly on Scottish cultural showcases and is a ubiquitous presence on our live literature scene—trust me, her Glaswegian parents wouldn’t have it any other way. Hollie’s words have been shared many many millions of times across social media and YouTube, she won the Ted Hughes Award for New Work in Poetry, and has a Sunday Times bestseller under her belt straps. She’s known to be taboo-busting, sweetly sentimental, trenchantly political, and a favourite amongst mums and parents, for whom she writes splendiferously. To say the world needs Hollie McNish (which The Scotsman, our national newspaper, did) is bang on the bell. The book to check out first is: Slug & Other Things I’ve Been Told To Hate.

Janette Ayachi 

This Scottish/Algerian poet is one of the most vivifying and vivacious writers on the Scottish scene. A favourite of the Scottish Poetry Library, her most recent collection Hand Over Mouth Music, published by Liverpool’s Pavilion Press, won the Saltire Prize for Best Collection (our Scottish Book Awards). She’s as stylish in person as her words are stirring on the page, and is already working on her first memoir, which is going to be a sumptuous read. 

Jenni Fagan

Foremost known as a novelist, Jenni’s debut The Panopticon became a true sensation, adapted for stage by the National Theatre of Scotland and soon to be produced for the big screen. Her most recent novel, Luckenbooth, is a contemporary masterpiece and continues to enthral readers the world over. Not only that, she’s a superb poet, has a history of singing in punk bands, just announced a memoir, and is currently adapting Irvine Welsh’s The Blade Artist for TV at his canny request. Her work gives glorious voice to ancient Edinburgh tenements, to the Devil’s daughter, to the care-home kids, to witches, to all us pariahs and cowgirls.

Malachy Tallack

Another of Scotland’s ace Shetland writers, Malachy has just unfurled a new fishing memoir entitled Illuminated By Water. Available in both the UK and North America, this deeply ruminative, ponderous, love letter to fishing, is edifying enough for the aficionados whilst being gorgeously welcoming to those more entranced by the mystic, meditative elements of the sport. A flag waved also to his around-the-world travelogue-esque memoir, Sixty Degrees North.

Hannah Lavery

Hannah’s currently Edinburgh’s Makar, the poet of the capital city. She also curates an incredible literary festival called Coastwords out in the stunning seaside town of Dunbar—go there if you can, Hannah will keep you right. Alongside her snazzy poetic cred, Hannah’s making an esteemed name for herself as a playwright. Her autobiographical play, The Drift, toured with National Theatre of Scotland, and her second play, Lament for Sheku Bayoh (a pertinent exploration of the tragic story of a Black man who died in police custody) was an NTS, Royal Lyceum Theatre, and Edinburgh International Festival collaborative production. Hannah has been crucial in carving out spaces and stages for writers of colour in Scotland, and her own debut collection (Blood, Salt, Spring) is a triumph.

William Letford

William/Billy came bounding into the literary scene with the moniker “the roofer poet,” on account of the labouring work he undertook on Scotland’s rooftops. This trade gave him a unique vantage on the scurrying occupants and scavengers of the streets below—a bird’s-eye view and poems bursting with brio. Published by the august Carcanet poetry press, Billy soon won a New Writers Award and an Edwin Morgan Travel Bursary. His collections Dirt and Bevel are pullulating with musicality, mischief, sword-sharp wit, and gloopy beauty. If the, somewhat hackneyed, “poet of the people” banner was to be revitalised for anyone, Billy would be front-runner to own it.

Young Father performing in Portland, Maine

Young Fathers

Yes, okay, they’re not book writers and that’s bucking the trend of what came before. But it’s a sound you need to hear: Scotland reimagined; the soundtrack of Trainspotting 2; the beat of the street of Edinburgh. Besides, we’ve published one of their frontmen, Kayus Bankole, in our poetry anthology series (Neu! Reekie! #UntitledOne), and they unfurl a concert within the pages of my book. The band has won the Mercury Music Prize and the Scottish Album of the Year (twice), on top of collaborations with Massive Attack. The sermons this band uncage upon crowds are stupendous, and, for a few attuned humans, life-altering. To listen to YF is to be engulfed within a cosmic storm. Pop, hip-hop, krautrock, avant-garde wailing, gospel—they come coruscating into each genre and bursting out the other end.

I Wrote A Book About How To Live When Your Best Friend Disappears

How do I start this story about friendship and relationships and the power of a good book? If I were any younger, I don’t think I would be able to write this story at all.

It’s about my friend Susan and Donna Tartt’s The Secret History

It’s about carrying grief for the past quarter-century. 

It’s about how, with my second novel Circa (that I dedicated to Susan) having been recently published, it is time to release all the contradictions and remember with love.

There remain three delineations of time in the years I moved as a reporter to graduate student and back to reporter, from Georgia to Florida to Illinois to Hawaii to New York and back to Georgia, in the late 80s and 90s: Before Susan was sick, during Susan’s illness, after Susan died. Then there’s the fourth category: the intervening years.


Before Susan was sick. These are tidbits that I can rattle off, tell strangers without my throat closing up or my eyes burning with unshed tears.

She was in graduate school at the University of Illinois at Urbana-Champaign with my future husband and me. She was pursuing her PhD in social work, ABD (all but dissertation). She was his friend first (but she liked me more ☺).

She was a lapsed Catholic, a big believer in Indigenous rights and native medicine, cared for the homeless and the hungry. In 1991, she and my spouse co-founded the Bouchet Outreach and Achievement in Science and Technology program for at-risk minority kids in Champaign, introducing them to and instilling a love of STEM and science. BOAST as it’s called is named after Edward Bouchet, the first African-American to earn a PhD from an American university. He earned his degree from Yale in physics in 1876. Susan and I spent hours converging on the acronym and the logo. She and my spouse spent hours securing NSF funding to sustain the project long after we were to have all graduated.

She was a lapsed Catholic, a big believer in Indigenous rights and native medicine, cared for the homeless and the hungry.

She loved the Indian food I cooked and mint chocolate chip ice cream and a towering vegetable sandwich called The Dagwood from the newspaper-themed café near my apartment. She loved the arcade across the street from the university, loved the outdoors and frequented farmers markets with me on the weekends, bought gladioli from the vendors and homemade pies and breads from the Amish who’d journeyed from afar to sell their goods.

She loved walking for charity and in the early 90s I had a collection of t-shirts from all the 5K and 10K cancer research fundraising walks I completed alongside her.

She and I hung out almost every day for two and a half years. Then my husband and I graduated and moved away. For the next two years, we talked frequently on the phone. Every time that I spoke to her from O’ahu I begged her to come visit.

 “I will one day,” she said. “I promise.”


During Susan’s illness. This is a loop, continuous, unchanging, exhausting, a movie that I cannot help but watch, a movie that I want to stop watching.

In the fall of 1994, I had just moved to New York City and started graduate school for the second time, at Columbia’s School of the Arts. I lived by myself the first year, in graduate housing, in a studio that was 10 x 16 including the bathroom and the kitchen. There were bars on the windows and the only time when direct sunlight filtered through—around ten in the morning. 

One day, she called to tell me she had found a new walking partner and they had been walking for the past month, in the mornings. She added that the whole time she’d been walking with him she had inexplicable pain in her knee and an upset stomach impervious to over-the-counter medicine and kitchen wisdom. 

I sighed. “Will you please go to the doctor?”

“Yes,” she replied. “I promised my new walking buddy, too.”

The whole time she’d been walking with him she had inexplicable pain in her knee and an upset stomach.

The next time she called, her voice was loud, angry. At first I couldn’t understand what she was saying through her prolonged wails. Then I learned that my 34-year-old friend had leukemia. Acute lymphocytic leukemia. The kind kids beat but adults usually don’t. “I don’t want to die,” she yelled into the phone.

“So don’t,” I said. “Go be the one person who beats this thing.”

There was a valiant effort in the pre-cellphone, pre-email days, getting the word out that Susan needed a bone marrow transplant and needed a donor. Turned out her older brother was a perfect match. 

So she had her first bone marrow transplant and she recovered and all was well. Her hair grew back brunette (the shade of her brother’s hair) instead of her lifelong blonde, and she quipped, “Does this mean I’m going to become a Republican, too?” Although she lost her job working for a major-brand charitable organization (because they didn’t want to carry her on their insurance), she had secured a job as an oncology social worker at the local hospital in Champaign-Urbana. The doctors told her that it was possible she could live another five years, more if she took good care of herself and lived a life free of stress. Susan worked even on the days she felt ill (because her health insurance was tied to her job), her boyfriend broke up with her, she had to give away her cat, her medical bills mounted. A group of us, all of Susan’s closest friends, helped out as we could, throwing chili-supper fundraisers and taking over some bills – my husband and I lived far away from her so we decided to take over her phone bill. So she could call whomever she liked and talk for as long as she liked. This went on for a while. A year to be exact. 

The second time she contracted leukemia, she called me. Her voice was calm. By this time my husband had moved to Georgia and I was finishing my final year in the MFA program in New York. The doctor shared with her that the leukemia had returned. He had used the word aggressive. Susan’s attitude had changed: “I will go through it again, the pain, the blisters and sores, the hair loss, the nausea. I want to live. But if I don’t make it, I’ll be giggling at you from heaven.”

The doctors told her that it was possible she could live another five years, more if she took good care of herself.

My husband and I took every available opportunity to visit her in Illinois in those years. We took Fridays off, we drove through the night, we redeemed airline points – anything to spend the weekends with Susan, go out to lunch, catch a movie, play pinball at the arcade. One visit, while I was still in New York, I flew and met my husband in Chicago and we drove in a rented car down to the university. We had a fun time, punctuated by naps and takeout, and just before we left, I pointed out the book-bag full of treats and books to read. She was an avid reader. Among her most prized possessions was a letter from Alex Kotlowitz; she had written him after reading his non-fiction book, There Are No Children Here, and he had written back. That trip, I bought her a copy of my favorite book at the time, one I couldn’t forget: The Secret History. I had recommended and gifted that book numerous times. I had re-read that book frequently and each time I still loved it, immersed in the world of the suspenseful story of those college kids. I left it amongst a stack of other books, novels, memoirs, and a book of poetry by my teacher Lucille Clifton.

“You should start this book at the beginning of the day,” I told her, holding up the Tartt novel. “That way you won’t stay up too late. I know you need to get your sleep.” 

I remember her nodding, a disbelieving smile on her face.

“I’m serious,” I said, “but if you do get started at the end of the day and you stay up really late, you can call me. It doesn’t matter what the time it is, I’ll answer.” It was Sunday afternoon, and I left. 

Sure enough, thirty-two hours later, at precisely 2:37 a.m., the landline rang in my apartment, this one four times the size of the previous place with a picture window overlooking Broadway and West 112th. She didn’t say hello, she merely asked, “Are you asleep?” 

I had re-read that book frequently and each time I still loved it, immersed in the world of the suspenseful story of those college kids.

I answered truthfully. “No, I’m up trying to write a story that’s due in the morning and not quite done.” 

Susan said, “I’m on page 190! I have to go to bed but I can’t put this book down! It’s so good.” She took a breath. “You were right! I should’ve started it earlier. I’m really mad at you right now because I can’t go to sleep because I have to turn the page and see what happens next!”

Two days later when she was all done, we spoke at length about how we loved the book, how well it was written and how immersed we were in the world of Henry and the twins, our protagonist and the others who made up the close-knit group of classics students. Susan and I agreed that the book reminded us of…well, us. How when we were all students together, we lived in our own universe, unencumbered by the outside world. 

“Except for…you know, the murder,” she quipped.


After Susan died. This part is muddy and continues to smother my heart. I have to start while she’s still alive.

I was about to turn thirty a week before Halloween, coincidentally both Susan’s and my favorite holiday. She was going to have her second bone marrow transplant in as many years and the last time I called her was just before the operation. She was intubated. Her oldest sister answered the phone in the hospital room. “She’s written you a letter,” she said. “I’m putting it in the mail today.” Susan’s immediate family had requested that no friends come to Minnesota where she was going to have the transplant – that the sight of Susan post-operation often caused the visitors to break down. So my husband and I made no plans to visit.

The sister put the phone to Susan’s ear and I told her that I loved her, that I’d see her soon. I don’t remember exactly how she responded except that I know she made a noise that I took to mean as acknowledgement, reciprocation. 

She was going to have her second bone marrow transplant in as many years and the last time I called her was just before the operation.

Three days after my birthday, my husband and I were in California visiting family when the news came in, that Susan had died post operation. There were funeral plans and memorial plans all in the works and we received many calls asking us if we would come to Illinois one last time. 

Her memorial was October 31, 1996. The Unitarian church was packed with people from all the facets of Susan’s life – home, school, various works; she was beloved by so many. For example, sitting next to the town’s mayor was a homeless woman Susan had befriended years before and whom Susan stayed in touch with until she left for Minnesota the last time. 

My husband sat next to me and wept. Many cried but I was not among them. I kept staring at her photograph, enlarged and framed, resting on a table near the podium where the female minister spoke. In the beginning, my husband and I were asked to say a few words. But the offer was rescinded once the organizers realized we could not arrive early to rehearse.

After the service, we said goodbye to the band of Susan’s close friends and promised to keep in touch. A few months later, we received a cryptic note from one of these friends with a couple of photographs of Susan and a salwar kameez my mother had had made for her in India. 

I think about the moment I turned thirty-seven and realized that I was older than her.

Susan was cremated. Those same friends took the ashes and spread them over a lake at a Girl Scouts camp somewhere in Illinois. We were not invited. We do not know where her final resting place is.

When we returned from California and Illinois there was a letter waiting for us in our mailbox. It was from Susan, sent just before her operation, subsequent coma and death. “You are my family,” she wrote. “I love you.” 


The intervening years. I think of all that I could not share with Susan. I think about all the times I reached for the phone to call her, and halfway through dialing her number, remembered she wouldn’t be able to answer.

I think about the moment I turned thirty-seven and realized that I was older than her.

I remember the happiness that I felt when I got word the university awarded her PhD posthumously.

I remember how I pumped my fist in the air when I learned that the BOAST program lives to this day, as a permanent after-school resource for minority children in Champaign, IL. 

I know that her name is spoken: the food surplus program she started in Champaign about thirty years ago bears her name – and there is a humanitarian award given by Champaign city fathers that also bears her name. 

For the past twenty-five years, I’ve been trying to write a story about our friendship. Circa has taken on many iterations and many forms and most of it was lost in 2010 when I lost the bulk of my writing through no fault of my own.

When I finally sat down to rewrite and re-imagine this story a few years ago, I gave the truth a wide berth. I wanted to explore the nature of grief, I wanted to pay homage to all the wonderful, silly giggling Susan and I did; I wanted to think about all the ways people can disappear, and how silence and stoicism can damage the body. So I followed my poetry teachers’ advice and made a myth from a real-life friendship. 

I’m telling a story about how to live when your best friend disappears.

The Most Anticipated LGBTQ+ Books for Fall 2022

A few years ago, I found myself a bit tipsy at the National Book Award ceremony. It was my first—and so far, only—time there. The experience felt grand; it was a red-carpeted “benefit dinner” on Wall Street. People wore tuxedos and gowns. I couldn’t look around the room without seeing a writer I admired: Dorothy Allison, Rigoberto González, Sarah Broom, Jericho Brown. Between bites of buffet-table bread, I sat there staggered that I had somehow ended up in queer literary heaven. 

LeVar Burton, the man who’d helped me and many others my age become serious readers, was hosting, and that year another living legend was set to receive a medal for Distinguished Contribution to American Letters: author Edmund White. In his wry acceptance speech—preceded by an introduction from filmmaker John Waters who called White a “literary top”—White discussed the struggle of having tried to publish gay fiction pre-Stonewall and even many decades later; how his work was rejected for being both too explicit and too subtle, stating that the “familiar is more threatening than the exotic”; and how it “only” took him half a century to go from one of the most maligned writers in American letters to being honored. The brief speech ended, of course, by acknowledging how far the publishing industry has come both on the page and on stage. 

Listening to him say this in such a hallowed hall had a profound impact. I got goosebumps, as if my body was a barometer detecting a change in the literary landscape. I felt it again a few weeks ago, when Malinda Lo won the National Book Award for her lesbian YA novel, Last Night at the Telegraph Club. And I still feel it, writing this. We’re queer and we’re here. (That my own novel, We Do What We Do in the Dark, is coming out in the midst of this exciting shift is surreal.) 

These 13 new titles have got you covered from your last beach read to your first book by the winter fireplace. In addition to big names like Andrew Sean Greer, there are a slew of really exciting debuts: Rasheed Newson, Jeanna Kadlec, Grant Morrison, Jessi Hempel. There are stories of grad students and murderers; trust fund kids and horror movie aficionados; drag queens, missed connections, and unearthed family secrets; high schoolers reckoning with their identities and novelists finding their way home. 

My Government Means to Kill Me by Rasheed Newson (Aug. 23)

It’s 1985 and Earl Singleton III—he prefers Trey—has fled his wealthy Indianapolis family (and a six-figure trust fund) for the less-green, grittier pastures of Manhattan. Presented as a sort of fictional memoir, studded with historical figures and footnotes, Newson’s debut is an audacious, vibrant Ragtime-esque ride through the sordid sanctuary of AIDS-era New York, a book about sex and activism and the power we have to liberate ourselves.  

Didn’t Nobody Give a Shit What Happened to Carlotta by James Hannaham (Aug. 30)

For over 20 years, since 1993, Carlotta Mercedes has been serving time in a men’s prison—during which she had begun living as a woman—and while fate has never been kind to Carlotta, she is, to her surprise, allowed out a year early on parole. But the post-9/11, post-gentrification Brooklyn she reenters throws her for a loop. Set over the course of a Fourth of July weekend, Hurston/Wright Legacy Award-winning author James Hannaham’s latest novel is at once irreverently funny and devastatingly sad, a quixotic tale about the queerness of missed time; how, for the most marginalized, the shackles of the past and uncertain promises of the future make dwelling in the present seem impossible. 

Real Bad Things by Kelly J. Ford (Sept. 1)

This lush, unsettling southern noir from the author of Cottonmouths centers on a woman who, twenty-five years earlier, confessed to murdering her abusive stepfather; yet, because his body was never found, she was never convicted. Now, however, human remains have turned up, and Jane returns to her small Arkansas town to atone for her crime, unearthing many other buried secrets.  

Luda by Grant Morrison (Sept. 6)

Paradigm-shifting comics scribe Grant Morrison altered the world of superheroes by applying a post-modern gloss to the cape-and-cowl set. (Their runs on Animal Man and Batman are especially fun). The dense, metafictional thrills characteristic of Morrison’s work abound in their first prose novel, a bombastic rhapsody about a middle-aged drag queen with a flair for the occult who begins mentoring a bewitching young ingenue in the dark arts of disappearance and seduction. 

A Minor Chorus by Billy-Ray Belcourt (Sept. 13)

Imagine a mashup of Wayne Koestenbaum and Tommy Pico and you’ll get a sense of this blazing work of metafiction, from the author of the genre-bending prose-poetic essay collection A History of My Brief Body, about a queer Cree grad student brimming with “tweetable despair” who flees academia for the most quixotic of notions: to write a novel, “the beginning of a series of minor but purposeful reinventions.”

Less is Lost by Andrew Sean Greer (Sept. 20)

The Year of the Literary Sequel continues with Greer’s follow-up to his Pulitzer-winning romp Less. Our hero, Minor American Novelist Arthur Less, is enjoying a brief moment of reprieve: his writing career is going okay and his relationship with Freddy is also going okay. But when his old ex-lover, the man whose house Less is currently living in, dies, he is left grieving; to make matters worse, he has to somehow find a way to pay many years’ worth of back rent. He agrees to profile a prominent, elderly sci-fi writer, a gig that entails driving the man across the American Southwest. If the first iteration of Less’s adventures saw him bumbling across Europe and Asia, this one finds him even more out of place, a stranger in his homeland. By turns deliriously funny and devastatingly heartbreaking, Greer’s sequel is an always-moving escapade through middle age. 

The Family Outing by Jessi Hempel (Oct. 4)

Journalist Jessi Hempel debuts with a wondrous memoir a la Fun Home that cleans out the Narnia-vast family closet. By the time Hempel became an adult, she, her father, and both her siblings had come out as queer, while her mother brought her own dark past to light. Built partly on revelations that came about via pandemic-induced interviews, Hempel paints a moving portrait of filial secrets, of loved ones’ unknowability, of the continual courage it takes to come out to oneself and others, of generational trauma and the salve of togetherness. 

It Came from the Closet edited by Joe Vallese (Oct. 4)

Few things are more fraught (and fantastically thrilling) than the relationship between queer people and horror films. Culturally, our community has, as Joe Vallese writes in his introduction to this chimerical compendium of critical essays, been treated as “both victim and boogeyman,” predator and prey, and it’s perhaps this dichotomy that draws us into its campy happenings. Featuring pieces on Jennifer’s Body, Halloween, Candyman, and more, Vallese’s volume is an essential look at how spooky movies so often offer solace through subversiveness. 

Heretic by Jeanna Kadlec (Oct. 25)

This we know: Jeanna Kadlec has long been a champion for other queer writers, a steadfast challenger to the many iniquities of the media world, and a delightful live-tweeter of films filled with gay subtext. Now she is gifting us her debut memoir, an achingly rendered story of leaving the Evangelical church and an oppressive marriage, a story of losing faith and finding oneself. Within these pages, Kadlec combines revelatory personal narratives with assiduous cultural criticism, Midwestern wonder with intellectual vigor, to explore how some of the social and spiritual functions of religion can be both abhorrent and illuminative of a new path forward. 

Mistakes Were Made by Meryl Wilsner (Oct. 25)

Twenty-one-year-old college student Cassie gets hot and heavy with an older woman she meets at a bar near campus, only to discover the next morning that the woman, Erin, is her best friend’s mother, visiting her daughter for Parents’ Weekend. Hijinks and steamy trysts ensue as these two women in the midst of significant transitions pursue a complicated but ultimately palliative relationship. If Wilsner’s first novel—the smoldering Hollywood-set romance Something to Talk About—was a slow-burn, then their latest, known colloquially as “The MILF Book,” is a fun-as-hell five-alarm fire. 

A Scatter of Light by Malinda Lo (Oct. 25)

Lo follows the National Book Award winner Last Night at the Telegraph Club with an alluring coming-of-age story—billed as a “standalone companion” to Telegraph—about a high school senior whose plans for the summer are upended when topless photos of her circulate on Tumblr, prompting her to spend her last months before college with her grandmother. Initially disappointed, Aria warms to her situation as she gets to know her grandmother’s gender-nonconforming gardener, Steph, who introduces her to the colorful, Oz-like world of San Francisco’s queer community. Lo is so adept at crafting rousing, deeply personal tales of late adolescence set against momentous political backdrops. 

Best American Essays 2022 edited by Alexander Chee (Nov. 1)

In his soul-stirring introduction to this year’s anthology, Alexander Chee refers to the Best American Essay series as “a poker hand laid down in a bet against oblivion”—an apt description of what it has been like to read, to create, and to compile writing in whatever-the-hell epoch we’re living through right now. Chee’s installment celebrates and laments, captures and transcends our current predicaments. It’s also super queer, featuring some of our most illuminative voices: Melissa Febos on the animalism of the female body, Alex Marzano-Lesnevich on the complications of gender and futurity, Justin Torres on what’s found when objects are lost, the late Anthony Veasna So on art and mortality. 


Don’t forget to check out the following titles, published January through August 2022!

Acts of Service by Lillian Fishman (May 3)

Eve, a 28-year-old waitress, knows exactly one thing for sure: she’s got a good body, the kind of body—not that she’s vain or anything—that should be appreciated and utilized to its potential. Anonymously, she posts a nude picture online, which captures the attention of a couple looking for a third. The resulting relationship expands and constricts Eve’s world, opening and closing the doors of her self-perception. Ottessa Moshfegh’s urban malaise meets Raven Leilani’s loquacious eroticism in this provocative novel. 

The Third Person by Emma Grove (May 3)

Grove’s debut is a doozy—a mesmerizing 900-page graphic memoir chronicling the author’s arduous gender affirmation process and battles with mental health. The heaviness of the story’s subject matter—dissociative identity disorder, trauma, the limitations and small graces of therapy—is leavened by lighthearted humor, mordant dialogue, and expressive illustrations, culminating in what Detransition, Baby author Torrey Peters calls “a beautiful, vulnerable, exquisite book that offers an uncommonly clear look at a mind coming to know itself.”

The Women’s House of Detention: A Queer History of a Forgotten Prison by Hugh Ryan (May 10)

From 1929 to 1974, in New York’s Greenwich Village, near the end of Christopher Street, in the place that contains the Jefferson Market Garden, there stood a prison, a detention center housing women and transmasculine people that was “dangerous, vile, violent, dirty, and cruel”—but also a place that became a locus of the local queer community. Among those incarcerated were Angela Davis and Andrea Dworkin, and punishable crimes included everything from murder and larceny to writing a letter with the word “lesbian” in it. In this essential, abolitionist work, historian and author of When Brooklyn Was Queer Hugh Ryan uncovers the stories of this bewildering place and of the people who populated it. 

All the Things We Don’t Talk About by Amy Feltman (May 24)

Feltman’s follow-up to her debut novel Willa & Hesper—a wonderful novel of family, faith, and first love—centers on Morgan, a nonbinary teenager, and their father, both of whom are thrown for a loop when Morgan’s mother, who’d left her husband and child when the latter was an infant, returns to the fold. 

Rainbow Rainbow: Stories by Lydia Conklin (May 31)

A lesbian couple living in Laramie, Wyoming—a town made infamous by the murder of Matthew Shepherd—debates whether to have a child despite being at a crossroads in their relationship. Two tween girls from the suburbs venture into the city to meet an older woman with whom one of them had been flirting online. Conklin’s vibrant stories are populated by people fumbling awkwardly toward the next stages of their lives with skewed perceptions of what awaits them. 

Yerba Buena by Nina LaCour (May 31)

After a terrible tragedy, sixteen-year-old Sara flees her hometown for a new life in Los Angeles, where, years later, she crosses paths with Emilie, an aspiring florist who’s trying to outrun her own demons. The first adult book by YA superstar LaCour—whose previous novel, We Are Okay, was a best-selling Printz Award winner—is a heartbreakingly beautiful story about two lost women who somehow find each other and in doing so find themselves.

Brown Neon by Raquel Gutiérrez (June 7)

Gutiérrez’s debut essay collection is a must-read book about butch identity, an impassioned love letter to southwestern desert queers, a meditation on the indefiniteness of gender, and an elegiac and celebratory ode to the legacy of literary legend Jeanne Córdova. 

God’s Children Are Little Broken Things by Arinze Ifeakandu (June 7)

Like Chinelo Okparanta and Akwaeke Emezi, Caine Prize finalist Ifeakandu chronicles the beauty and brutality, the bittersweetness, of queer Nigerian life, and how intimacy can be the warm light against the harmattan haze. 

Greenland by David Santos Donaldson (June 7)

Much to the chagrin of his husband, who is about to divorce him, Kip has barricaded himself in his basement with nothing but a couple boxes of Premium Saltine Crackers; 3 tins of Cafe Bustelo; 21 jugs of Poland Spring water; and his Macbook, which he’s nicknamed Sophia. The reason? He has given himself 3 distraction-free weeks to complete his masterpiece: a historical novel based on E.M. Forster’s passionate love affair with a Black Egyptian tram conductor, Mohammed El Adl. But of course, writers can never sequester themselves from their own demons. Donaldson’s debut novel—which alternates between Kip’s story and Mohammed’s—is a delicious and delirious work of metafiction. 

Home Field Advantage by Dahlia Adler (June 7)

As an anthology editor and the blogger behind LGBTQ Reads, Dahlia Adler does so much for the queer literary community; her work has, for years, indubitably made our stories more visible. But she’s as much artist as advocate, an author capable of spinning delightful sapphic yarns, as she does here in this sporty romance between a high school cheerleader and the female quarterback whose sudden arrival throws their Florida community for a loop. Adler’s full-hearted latest shines as bright as stadium lights on a Friday night. 

Just By Looking at Him by Ryan O’Connell (June 7)

“Even with the best love,” says the narrator of this humorous and heartfelt novel, “you could still wake up one day next to a beautiful man with a beautiful penis and be bored.” From the creator and star of the Netflix comedy Special—adapted from the author’s memoir about being a gay man with cerebral palsy—comes the story of a television writer living his supposed best life (the aforementioned beautiful man with the beautiful penis, a job for which he makes “a dumb amount of money”) who’s nonetheless unable to settle into contentment, a book about the pitfalls and pratfalls of desiring external validation and the importance of self-acceptance.  

The Kingdom of Sand by Andrew Holleran (June 7)

The author of the seminal queer classic Dancer from the Dance returns with a wide-eyed and wise novel about the ecstasies and agonies of being an aging gay—how disorienting and vast the chasm is between feeling young and looking young, the pains of a still-puerile desire versus the aches of a body in decline. 

Nevada by Imogen Binnie (June 7)

“[W]hen you take away the mystification, misconceptions and mystery,” Binnie writes in this newly-reissued dark comedy of dysmorphia, trans women are “at least as boring as everybody else.” While it’s true that the iconoclastic beauty of Binnie’s 2013 novel lies partly in its straightforward nature—a bookstore clerk gets dumped and then fired from her job, prompting a solo sojourn out west—it also brims with uncommonly judicious insight into the emotional topography of trans bodies.

So Happy For You by Celia Laskey (June 7)

Set in an alternate version of America in which the wedding-industrial complex has become (even more) deranged—like, Midsommar-level deranged—Laskey’s frenetic second novel centers on Robin, a gay academic whose estranged straight friend asks her to be the maid of honor for her upcoming nuptials. Robin is getting her PhD in feminist studies, writing her dissertation on the moonstruck evolution of America’s state-sanctioned wedding frenzy, and sees her friend’s ceremony both as a way to maybe reconnect and to witness the craze firsthand. Yes, it’s Black Mirror meets Bridesmaids, but Laskey’s latest has shades of Jennifer’s Body, too. It’s an absurdist spine-tingler about how societal pressures can so often devour friendships. 

Virology: Essays for the Living, the Dead, and the Small Things in Between by Joseph Osmundson (June 7)

For many queer people, the beginning of the pandemic brought with it the eerie and surreal sense of repeating history—the arguably botched, heavily politicized response to COVID-19 reminiscent of the AIDS crisis, the way the marginalized are always hardest hit. We are tasked, writes Osmundson, now as ever, “to sacrifice, in the face of a virus, to care for one another, and yet to never lose sight of pleasure, even when both the present and the future seem impossible.” In this scrupulous and impassioned manifesto, Osmundson, a microbiologist and activist (and podcaster!), looks at the nature of disease—and its impact on individuals and communities—through a distinctly queer lens. 

Enjoy Me Among My Ruins by Juniper Fitzgerald (June 12)

Fitzgerald’s foray into kid lit, 2018’s How Mamas Love Their Babies, was a vital and playfully iconoclastic book that dispelled any myth that motherhood is monolithic, that a parent’s worth as a provider should be tied to capitalistic ideals. Here, too, in this memoir partly about mothering as a queer sex worker, she laments the normative judgements and restrictions placed on women like her while finding solace in existing outside those norms. 

Body Grammar by Jules Ohman (June 14)

Despite being told repeatedly that she has the looks and disposition for modeling, Oregonian teenager Lou prefers to be behind the camera rather than in front of it. But the accidental death of a good friend, as well as her perceived part in it, causes a mental break from her old life, pushing her to escape the Pacific Northwest and embrace a more glamorous life in New York. Like a figure in a glossy magazine ad, Ohman’s debut novel is lithe and invitingly mysterious. 

X by Davey Davis (June 28)

Davis’ enticing debut is a Winterson-reminiscent tale of love and lust on the margins, a bewitching mix of kink and dystopian thrills. It stars Lee, a professional sadist whose topsy-turvy world is turned even more so when they encounter—and are topped by—an alluring, elusive woman known only by the letter of the novel’s title. X is about to be “exported”—what the autocratic government does to people it deems undesirable—and so Lee sets off on a quest to get to her before she could be gone forever. 

Gods of Want by K-Ming Chang (July 12)

Chang’s first novel, 2020’s Bestiary, was a magical realist marvel, by turns gorgeous and grotesque. Her words are like hearts ripped right out of bodies: abject, pulsing, full of awe—prose-poetry that is perfectly tailored for the short form. Her collection is a medley of visceral myths, stories of devotion and desire. 

Our Wives Under the Sea by Julia Armfield (July 12)

After a deep sea dive goes horribly awry, stranding her for months in the murky depths, Leah returns to her wife subtly yet fundamentally changed. What emerges is a love story like no other, a tale of two women trying to tiptoe back into domestic bliss while disoriented by missed time. Armfield’s fantastic first novel is about the pockets of unknowability that pop up in even the longest intimacies, how marriage, like the ocean, is full of “the teeth it keeps half-hidden.”

Pretty Baby by Chris Belcher (July 12)

Devotees of Melissa Febos—which is all of us, right?—will be seduced by this captivating memoir chronicling the author’s ascent from Appalachian girlhood to becoming “LA’s Renowned Lesbian Dominatrix.” Belcher’s pen is at once graceful and scathing as it prods the complexities of desire—the ever-present dangers of straight maleness, the sometimes complicated haven of female queerness. 

Sirens & Muses by Antonia Angress (July 12)

Donna Tartt’s The Secret History meets Meg Wolitzer’s The Interestings in this entrancing portrait of 3 young artists who meet at an elite college at the height of the Occupy movement. Angress so deftly portrays the splendor and squalor of trying to create something great in the face of rampant capitalism, of love and lust in the face of tooth-and-claw competition. 

Briefly, a Delicious Life by Nell Stevens (July 19)

“Every love story is a ghost story” goes the famous David Foster Wallace quote, an apt description also of this haunting, longing-filled nocturne from the author of Bleaker House. Bianca was 14 years old when she died in 1473, doomed to forever drift among the Mallorcan monastery at which she’d perished. It’s there, many centuries later, that she encounters Frédéric Chopin and his wife, the gender-bending writer George Sand, with whom Bianca also falls in love. 

The Work Wife by Alison B. Hart (July 19)

Working in media, especially as an assistant in any capacity, means being constantly unable to separate home from the office, not simply in a take-it-with-you way but often in a self-effacing way, an I-work-therefore-I-am way. So it is for Zanne, an ambitious 30-something personal assistant to a movie mogul, whose livelihood and identity is tied too closely to her boss’s happiness. Hart’s effervescent first novel unfolds over the course of one day as Zanne is planning an important party that will either make or break her career. 

All This Could Be Different by Sarah Thankam Mathews (Aug. 2)

“As the summer began, I moved to Milwaukee, a rusted city where I had nobody, parents two oceans away, I lay on the sun-warmed wood floor of my paid-for apartment and decided I would be a slut.” So begins Mathews’s raw and insouciant debut about a queer Indian-American woman who’s just graduated into the great recession’s aftermath searching for love, friendship, and independence. 

Knocking Myself Up: A Memoir of My (In)Fertility by Michelle Tea (Aug. 2)

The acclaimed author/activist and cultural icon Michelle Tea—whose 2000 novel Valencia changed the game for queer fiction, and whose 2019 essay collection Against Memoir played fast and loose with the rules of autobiography—returns with an often irreverent sendup of the “Fertility Industrial Complex,” and a complex portrait of a 40-ish mother-to-be. 

Didn’t Nobody Give a Shit What Happened to Carlotta by James Hannaham (Aug. 30)

For over 20 years, since 1993, Carlotta Mercedes has been serving time in a men’s prison—during which she had begun living as a woman—and while fate has never been kind to Carlotta, she is, to her surprise, allowed out a year early on parole. But the post-9/11, post-gentrification Brooklyn she reenters throws her for a loop. Set over the course of a Fourth of July weekend, Hurston/Wright Legacy Award-winning author James Hannaham’s latest novel is at once irreverently funny and devastatingly sad, a quixotic tale about the queerness of missed time; how, for the most marginalized, the shackles of the past and uncertain promises of the future make dwelling in the present seem impossible. 


Don’t forget to check out the following titles, published January through April 2022!

All of You Every Single One by Beatrice Hitchman (Jan. 4)

Fans of Sarah Waters’ historical dramas should take note of this sweeping story set in Vienna at the turn of the twentieth century, in which Julia, a married woman, runs off with her tailor, Eve, leaving behind the comfort and safety of wealth for the bohemian freedom of life on her own terms. 

Fiona and Jane by Jean Chen Ho (Jan. 4)

Spanning nearly thirty years, Jean Chen Ho’s linked story cycle centers on the ever-evolving relationship between two best friends as they weather the hard-partying highs and the lonesome lows of youth, the comforts and frustrations of filial duty, and the often-baffling search for some semblance of stability. 

High-Risk Homosexual: A Memoir by Edgar Gomez (Jan. 11)

From his uncle’s cockfighting ring in Nicaragua to gay bars and bedrooms, Gomez’s lionhearted memoir chronicles coming of age as a queer, Latinx person, wrestling with a mindset that at once embraces and rejects the trappings of machismo, navigating love and lust in the time of PrEP, and learning how to redefine (and reclaim) pride. 

To Paradise by Hanya Yanagihara (Jan. 11)

The author of the titanic, tectonic-shifting A Little Life returns with another Big Novel, spanning from the 1890s to the 2090s in alternative versions of New York. Many of the hallmarks of Yanagihara’s past work are here: illness, liberation, finding moments of brightness among the bleakness, quiet lives lived among the overwhelming din of sociopolitical strife. 

Lost & Found: A Memoir by Kathryn Schulz (Jan. 11)

Pulitzer Prize-winning New Yorker writer Kathryn Schulz sets her inquisitive memoir at the intersection of parental death and romantic love, as the passing of her beloved father coincided with meeting, just eighteen months earlier, the woman she would eventually marry. Yet this is not simply an autobiography or an elegy; as the book’s title suggests, Schulz wondrously explores the myriad ways we process fortune and misfortune. 

Sticker by Henry Hoke (Jan. 13)

Hoke’s keenly constructed memoir-in-essays is really a memoir-in-stickers, from the glow-in-the-dark stars and coveted Lisa Frank unicorns of childhood to a Pixies decal from his teenage years. The book also peels back the complicated notoriety of the author’s hometown, Charlottesville, Virginia, juxtaposing Dave Matthews’ fire dancer emblem against a truck emblazoned with the words “Are You Triggered?” on its back window heralding the infamous white supremacist march. 

Love and Other Disasters by Anita Kelly (Jan. 18)

Dahlia is a sweet-natured divorcée looking to start over after her failed marriage; London is a salty curmudgeon with a marshmallow heart. The two of them meet as competitors on the set of the cooking show Chef’s Special, and the simmering tension between them begins to boil as the competition heats up. Add to this the fact that London, the program’s first nonbinary contestant, has decided to come out on air—to the public, yes, but also to their father, who hasn’t been the most accepting—and you’ve got the recipe for a delectable, emotionally stirring romance.

And the Category Is…: Inside New York’s Vogue, House, and Ballroom Community by Ricky Tucker (Jan. 25)

Combining fly-on-the-wall reportage, personal experience, archival research, and art criticism, educator and Lambda Literary fellow Ricky Tucker casts a prismatic light on the Ballroom subculture, cultural knowledge of which can so often be a dance between appreciation and appropriation. With kinetically poetic prose, Tucker pries Ballroom’s past and present from white capitalist hands and allows it to be told by the community’s queer and trans BIPOC innovators, offering “a blueprint for the marginalized to find artistic, personal, and professional grounding in a groundless world. It is an observance of struggle and an offering of freedom.”

Perpetual West by Mesha Maren (Jan. 25)

With her debut Sugar Run, Mesha Maren heralded herself as a highest-order storyteller of Southern noir, a chronicler of queer Appalachia. Here, a young married couple moves to El Paso, Texas, so Alex, the husband, can study the sociocultural significance of lucha libre wrestling; but after he falls in love with the fighter he’s profiling and then goes missing, it’s up to Elana—his wife, harboring secrets of her own—to find him.

A Previous Life by Edmund White (Jan. 25)

The 2019 recipient of the National Book Foundation’s medal of Distinguished Contribution to American Letters goes meta with this intriguing and inventive novel about a husband and wife who decide to confess all their past sexual escapades, including, on the husband’s part, a love affair with writer Edmund White. 

Open: An Uncensored Memoir of Love, Liberation, and Non-Monogamy by Rachel Krantz (Jan. 25)

Provocative and candid, this memoir by a founding editor of Bustle examines some of the pains and pleasures of non-monogamous partnership. Fusing autobiography and cultural analysis, Krantz lays herself bare in order to ask questions about sexual agency, bodily autonomy, queerness, and that insidiously thin line between what we want and what we have been conditioned to want. 

Manywhere by Morgan Thomas (Jan. 25)

After an anxious misunderstanding, a trans office worker pretends to be pregnant, a white lie that starts to spiral out of control—especially when she purchases an artificial belly bump—and yet becomes “not a false thing” but a “thing that served its own purpose, parallel to pregnancy, not a ghost of it, a different thing altogether.” Elsewhere, an intersex person forsakes a romantic relationship and embarks upon a transatlantic boat ride to pursue a historical figure who they hope will unlock a better understanding of their own self. Comic and melancholy, Thomas’ debut collection (read an excerpt here) is about people preoccupied with their inchoate desires, wanting to feel a sense of arrival with no fixed destination.

 Anonymous Sex, edited by Hillary Jordan and Cheryl Lu-Lien Tan (Feb. 1)

Featuring stories by Helen Oyeyemi, Meredith Talusan, Edmund White, and many others, this kinky collection of short fiction feels appropriately like a game, an anthology in which the selections are stripped of authorial attribution, leaving readers blindfolded as they make their way through the book. 

Count Your Lucky Stars by Alexandria Bellefleur (Feb. 1)

A rising—ahem—star in the romance world, Bellefleur continues the semi-linked series that began with the bestselling Written in the Stars with this page-turner about a wedding planner fated to confront the one that got away—when the latter turns out to be the Best Woman in the wedding party the former is organizing. 

Please Miss: A Heartbreaking Work of Staggering Penis by Grace Lavery (Feb. 8)

Subtitled “A Heartbreaking Work of Staggering Penis,” activist Grace Lavery’s unabashed and tantalizing book queers the memoir genre in multiple senses, taking readers on a wild ride through the author’s multitudinous identities. 

Delilah Green Doesn’t Care by Ashley Herring Blake (Feb. 22)

The titular heroine of this deviously fun rom-com is a New York photographer desperate for her big break who receives a lucrative offer to take pictures at her estranged stepsister’s wedding. Unable to pass up the big paycheck, Delilah heads back to her hometown in Oregon, where she bumps into Claire, once a member of her stepsister’s mean-girl clique in high school. Claire is also the Maid of Honor in the wedding, and Delilah, a city-hardened heartbreaker, hatches a plan to seduce Claire and ruin her stepsister’s upcoming nuptials. 

Dead Collections by Isaac Fellman (Feb. 22)

Lambda Award-winning author Isaac Fellman’s second novel features a tenderhearted romance between the widow of a beloved television writer and a trans vampire archivist—sold? Confessions of the Fox author Jordy Rosenberg calls it “a moving and provocative novel, that caresses the decay nibbling at the hard edges of postmodern officescapes, exposing a sexy, neurotic, cinematic vampire love story bubbling up from the ruins.”

I’m So (Not) Over You by Kosoko Jackson (Feb. 22)

Fake dating is one of the most reliably compelling romance tropes around, one Kosoko Jackson utilizes in all its angsty splendor in this comedy about exes who pretend to still be seeing one another as they attend a big-deal wedding—an event that has huge implications for both men. 

Manhunt by Gretchen Felker-Martin (Feb. 22) 

Felker-Martin’s post-apocalyptic white-knuckler pulls no punches, an audacious dystopian story—think The Road by way of David Cronenberg—about trans people trying to survive and thrive in a world beset by a plague that has turned those with elevated testosterone levels feral. This is destined to be one of the year’s most talked-about novels. 

The Verifiers by Jane Pek (Feb. 22)

By night, Claudia Li comforts herself with cozy mystery novels, which also help her bond with her otherwise hard-to-please immigrant mother; by day, she works for a clandestine agency as a kind of “dating detective,” helping clients obtain information on potential lovers, hunting down people who’ve ghosted them on various apps. When a new client turns out to be lying about their identity, it forces Claudia to investigate her own. Pek’s first novel is a whip-smart and super charming techno thriller that feels at once contemporary and classic. 

I Was Better Last Night: A Memoir by Harvey Fierstein (Mar. 1)

In this dishy memoir, the raucous Tony Award-winning actor, playwright, and gay icon reveals the trials and triumphs behind some of showbiz’s most indelible productions and performances. Past all the hairspray and glamorous stagecraft is a touching story of what it means to live against the grain.

Girls Can Kiss Now: Essays by Jill Gutowitz (Mar. 8)

To be queer is to have a love-hate relationship with pop culture; we yearn to see ourselves reflected in media, sometimes even just a tiny glimpse, but that mirror can also so often distort. And where once we were all but invisible, on-screen depictions of female queerness now abound. Into this amusing ubiquity steps internet comedienne Jill Gutowitz, a self-styled “Overlord of Lesbian Twitter” who, both online and in this clever essay collection, traffics in “memes about lesbian movies and middle-aged actresses with a dogged persistence and untethered horniness.”

Body Work: The Radical Power of Personal Narrative by Melissa Febos (Mar. 15)

Febos’ 2021 essay collection, Girlhood, is an essential read on how the patriarchy poisons the well of women’s erotic and emotional lives, a fierce compendium of agency and autonomy that undoes the stories we’ve forever been told about ourselves. Body Work is a sort of spiritual sister to that brilliant book, a memoir-meets-craft-manual that offers guidance on how to tell our own stories on our own terms. 

The Town of Babylon by Alejandro Varela (Mar. 22)

Echoes of Christopher Isherwood’s A Single Man resound in this deeply profound debut novel about a Latinx professor reluctantly returning to his suburban hometown to attend his high school reunion and care for his father, who has recently fallen ill. 

Let’s Not Do That Again by Grant Ginder (Apr. 5)

Ginder, a former congressional intern and speechwriter for John Podesta whose 2017 book The People We Hate at the Wedding is currently being adapted to film returns with a political romp about a mother whose Senate campaign is derailed when her daughter is photographed destroying a storefront window during a protest in Paris. She dispatches her son, a chronically single gay man who swore off public affairs and is writing a musical about Joan Didion called “Hello to All That!” Imagine a mashup of Veep and The Other Two and you’ll get a sense of this screwball family dramedy. 

Rave by Jessica Campbell (Apr. 5)

Canadian cartoonist Jessica Campbell delivers a gracefully laconic graphic novel about a teen girl in the early aughts wrestling with faith and sexuality. The daughter of deeply religious parents, Lauren begins to question all she thinks she knows about herself when she’s paired with the rebellious, cigarette-smoking wiccan Mariah for a school science project. Campbell’s unobtrusive style makes for a quick read that will nonetheless linger with you long after you turn the final page.  

Violets by Kyung-Sook Shin, translated by Anton Hur (Apr. 12)

San and Namae are two young outcasts growing up in a rural village in South Korea, two “nothing-girls” who enjoy the burgeoning intimacy of their private time. But after Namae rejects her, San becomes more isolated, retreating further inside herself. Years later, in her twenties, San applies for a job at a flower shop, where she encounters a veritable bouquet of colorful characters. But even after all this time, San, who had fled her village and never returned, can’t shake the memory of Namae. 

Young Mungo by Douglas Stuart (Apr. 5)

Stuart’s heartrending, Booker-winning debut, Shuggie Bain, was a richly textured novel about working class Scotland and the enduring love between a mother and son. It was at once lush and uncompromising, doleful and brimming with hope, all of which can also be said of the author’s follow-up, centered on the star-crossed romance between two boys—one Catholic, the other Protestant. 

Like a House on Fire by Lauren McBrayer (Apr. 26)

Pushing 40, Merit’s life is at a bit of a standstill: she’s in a humdrum marriage with a husband who’s only half there, and she’s taken some time off from work to care for her new child and to nurture an ultimately unfruitful painting career. She decides to apply for a position at an architectural firm led by the brilliant and glamorous Jane, a woman almost twenty years her senior. But soon the lines between boss, mentor, friend, and something more begin to blur. 

Burn the Page: A True Story of Torching Doubts, Blazing Trails, and Igniting Change by Danica Roem (Apr. 26)

True to form, Roem, who made headlines and history in 2017 when she beat an anti-LGBTQ+ incumbent to become the first openly trans person elected to U.S. state legislature, has written a political memoir unlike any other. Inspired by the opposition research she conducted on herself during her campaign, the Virginian delegate chronicles her rise from a metalhead reporter moonlighting as a food delivery driver to a game-changing public official. “It’s possible to live a big and honest life,” Roem writes, “and be successful because of who you are, not despite it.”