This Epistolary Novel Plumbs the Anxious Depths of a Broken Heart

Alejandro Varela’s Middle Spoon is an epic page-turner narrative structured around emails (72 in total!) to an ex-boyfriend. The story takes us on a deep dive into the corners of a heartbroken mind while simultaneously negotiating mental health and polyamory. After Ben breaks up with our narrator, a public health worker in New York City, he is bewildered, grieving, searching for ways to make sense of his pain and loss. The context behind this loss deepens its force: the narrator’s husband of 20 years, their two children, the two therapists receiving the avalanche of emails and the backdrop of a contemporary New York City. 

In Middle Spoon, we get a close view of the anxious mind at play: the imaginative leaps of jealousy, the intellectualization of feelings, the obsession over details. Navigating this specific breakup for our narrator also means dealing with his own mental health, people’s views on polyamory, his own ideas [of/about] gay men’s sluttiness, as well as the social and political ramifications of structural inequalities as they manifest themselves in New York City. Yes, there’s an obsessiveness in this epistolary saga, and that is its strength: The obsessiveness sizzles with humor and honesty. The pull of the text is visceral because it deals with the very human ways we want to be seen, witnessed, and loved in our pain. 

Varela and I spoke about anxiety, being gay while heartbroken, and the very strong desire to be witnessed while we experience loss.


Julián Delgado Lopera: How’s your heart?

Alejandro Varela: Exhausted, frightened, happy, you know. Thanks for asking.

JDL: I loved your book. I was trying to figure out, what is it that I really love about this book? The voice of the narrator is smart, sassy, very self-aware, anxious and, at times, absurd. How did you arrive at this voice,and why is it the best one to tell this particular story?

AV: The book is a love story, a heartbreak story, a poly story. It’s all those things. But it’s also a mental health story. I had this feeling as I was writing it, that I was trying to transcribe an anxious mind—I can’t say that’s super different than what I do in my other books—but the character in Middle Spoon is grappling with mental health issues. And I thought this was a great way to communicate the intensity of the experience, both the heartbreak, but also the way his brain processes emotions and life. The voice is then aided by the structure, because the letters allow him to be . . . I don’t use the word manic here, but he is in a high energy.

JDL: That anxiety to me is an emotional engine for the narrator and also for the piece. What keeps the momentum going is the fueling of this anxious mind.

AV: I think anxiety, which I have dealt with in my life, can be very debilitating and scary and frustrating. But when you’re writing it, and maybe even when you’re reading it, there’s a humor there because the anxious mind, or at least this narrator’s mind, is such a gloom and doom, like worst case always. Everything for him is intense and urgent and scary. But, in the end, it’s just heartbreak. I mean, it sucks, but it is just heartbreak. When I’ve been through this process of heartbreak, all I need is to talk to a few people in my life, and I can see and hear in their voice that they feel bad for me, but they’re also like, okay, and what are we making for dinner? Which could be callous and is actually very grounding because it’s a reminder this is going to pass, I’m not dying. But the anxiety communicates something different. When I was writing Middle Spoon, I wanted so badly for how terrible heartbreak feels to come across. This is heavy, this is real, but then also the fact that the narrator loses control over himself is fascinating to me. I wanted to intellectualize the pain away, because I knew it was not going to be there forever.

JDL: Why is the epistolary form the best way of capturing heartbreak here?

I wanted so badly for how terrible heartbreak feels to come across.

AV: The age gap between the narrator and his ex is almost a decade. The narrator has been out of the dating pool effectively his entire life because he married his husband very young and has been with him a long time. In addition to feeling this pain, he is also trying to navigate the rules of breakup. As he says in emails, he just wants to reach out to Ben. He thinks it is ridiculous that they’re not talking. I mean, even if they’re going to break up, they should talk about it, they should process it. At no point does Ben say, “never contact me again.” But our narrator is held back by this idea of boundaries. He could have been reaching out to Ben the entire time, but he’s like, No, I’m going to be strong, and I’m not going to break these rules, I don’t want to be seen poorly

That is a preoccupation of mine in this life, in this moment. I’ve been young for so long, and I’m no longer young, and I forget that. I could imagine being in a scenario in which I reach out to someone who’s dumped me, who’s younger, and them being like, what you’re doing right now is such an infringement on my safe space and my boundaries. Our narrator has that sort of self-awareness and always wanting to be a good guy, which can be really annoying. The letters were a way to get it all out. And they never affect anyone because they only go to the therapists. And I liked this idea that they were unsent, because then he could write as many as he wanted, and then I could write as long as I wanted to, because they are never going anywhere. So there’s no danger of like, abusing anyone or mistreating anyone. He’s just getting it all out for himself in a way.

JDL: There’s something really interesting that happens with time in these emails that feels very loopy to me. Time is circular here. Towards the beginning of the novel, the narrator writes how he doesn’t want to forget how he’s feeling, the pain he’s experiencing. There’s this constant back and forth between wanting time to pass quickly while simultaneously not wanting to forget. Wanting to dig and unearth memory after memory. The act of trying to both remember and forget, this push and pull, is an obsessive way of keeping Ben alive inside him. 

When you are feeling that sort of pain and grief, it’s very easy to feel absolutely alone, like you are in a dream.

AV: There was a very brief moment in the writing process where I wasn’t sure what the time span was going to be for the book. What if this were all one day? What if I really magnified his OCD and his anxiety? What if I just said, this is what happens when you cannot be left in the dark? One of the pillars of OCD is needing all the information at all times to feel safe. But here, there’s uncertainty. The narrator just doesn’t know. He doesn’t really understand why the relationship ended. He doesn’t know what Ben is doing. I could imagine those 72 emails being easily written in one day, but I didn’t want that. I don’t know if I was talented enough to do that. I thought it was important to show a little bit of growth and process, and then you have to acknowledge time. But you’re right. The writing was a way to keep Ben alive. At the beginning, he says he didn’t just love Ben. He loved loving Ben. That whole experience, he didn’t want it to disappear. For the pain to be over, he’d have to stop loving Ben. And so it’s almost like, let’s keep feeling the pain because at least that keeps Ben alive.

JDL: This gets to the strong desire to be witnessed by the therapists, by his friends, his husband. I felt very tender about his need to be seen even though he knows everybody gets a little bit annoyed of constantly witnessing him. The emails are not meant to be read by Ben but there’s an entire audience—the readers—who are witnessing and seeing his pain.

AV: There’s a scene in which he’s in the farmer’s market, and all he wants is to connect with a complete stranger, someone who didn’t know anything else about him, but who knew the experience of heartbreak and could comfort him. When you are feeling that sort of pain and grief, it’s very easy to feel absolutely alone, like you are in a dream. You know people are out there but there’s no way to break out of your haze, and so you feel even more alone. And then it’s scary. I remember once talking to a therapist at the height of grief, we were ending the call and I said, I’m really afraid for the call to end because then I’ll be alone again so I would love to just talk to you for the rest of the day. He started to cry and said, you’re going to be fine, I promise you. And then the call ended. But it was like that feeling, just please someone see this, because if you see it, I’m not alone. I don’t have that particular trait in common with the narrator. When I am going through something, I email everyone in my life, and I say, please come over for dinner every day this week, I need someone. I will cook dinner. Because for me, community is incredibly healing. Writing the book was a way to connect with a lot of people at once. Like you said, it’s a little meta, he’s writing these things that none will see, but I’ve written it as a book for everyone to see.

JDL: Sometimes the narrator would start talking about Ben, but then it would lead into gentrification, and we zoom out and discuss that, and then we come back to bed with Ben. There’s the backdrop of New York, which is where it all happens, and the aspect of public health and social justice claiming space into his memory. How does public health and social justice intersect with heartbreak?

Everything I write, I realize after the fact, is questioning conformity.

AV: It’s twofold. On a very personal level, my background is in public health. I consider myself a public health worker, and my medium is fiction. I see the matrix clearly after studying public health, in a way that makes me so much more empathic and understanding and creative. I’m thinking constantly about how us individuals fit into a larger system. I like to give perspective, but I want to connect with humans on an individual level. I want to constantly remind myself and others that we are part of this grid, like we’re much bigger than this moment. When I’ve been in pain or sad about something, I’m still thinking about what the hell is happening in the country and in Gaza, they’re on my mind all the time. I wanted that to come through in the writing.

JDL: There is so much gay culture, especially gay male culture, that our narrator is constantly negotiating. For instance, his unwillingness to fuck around or have anonymous sex as the gay-male way of forgetting Ben. How much he’s pressured to do it, how much he is constantly thinking Ben is using Grindr to forget him. And one of my favorite parts are the pages we spend talking about top/bottom power dynamic. All of this takes up so much space in his head.

AV: Everything I write, I realize after the fact, is questioning conformity. It’s like I’m constantly wondering what systems are in place for a good reason, and which ones are in place for a bad reason, and which are just lazy because we haven’t questioned them. And the narrator has been in a relationship for 20 something years, has been primarily monogamous, and so he doesn’t have a lot of experience fucking around. He’s questioning a lot of his own preconceived notions around sex and health and probably religion, and he’s feeling envy. It’s funny, only this moment of heartbreak could drive him to question his values.

JDL: Why is that? 

AV: He’s so desperate to feel something. He’s willing to be like, the last 40 years I’ve been afraid of casual sex, so I’m just gonna give it a try, right? I like that we follow someone who can be so closed-minded or conservative about this sort of thing, and then see him change and witness what it takes for him to change. It was kind of fun to break apart his life a little bit, not in a masochistic or sadistic way. I mean seeing a life change because of the circumstances, the dire sort of straits he’s in, emotionally lead to life changes. 

JDL: The way you’re dealing with polyamory here is very interesting. I noted how people’s reactions to this relationship structure in the narrator’s life were playing out in the narrative. The way, for instance, that Ben was having to be kept a secret, but also how people’s reactions to this structure were affecting the narrator while he simultaneously carries all this guilt with his husband for being such a wonderful supportive man while he is a mess heartbroken over a boyfriend.

AV: When I started writing the book, I didn’t intend for it to be poly. But while I was editing it, I embraced it. I’m very happy to talk about it, but it really was so focused on the grief part. You’ve heard of peps? Progressives except for Palestine. Well, I would add, I know a lot of progressives, except for public school and except for polyamory. For some people, the discomfort with polyamory is around them immediately putting themselves in the place of someone left behind. People that I’ve encountered who are opposed to polyamory [are opposed to it] because they see themselves as being mistreated. As in, in this situation, they identify with the husband immediately and say, well, there must be something wrong. They can’t even imagine being comfortable or safe enough in a relationship or with yourself for this relationship structure to be okay. It’s so foreign. And, in a way, the narrator is having trouble with it, but he’s justifying it to himself. The narrator didn’t decide he wanted a poly situation. What he decided was that he wanted Ben to last, and then it was suddenly like, oh, this is poly. He should have read the book first, but he didn’t. And so he’s figuring it out as he goes. And in his way of trying to fit in, which is back to the conformity, he’s like, Well shit. Now I’m going to be in this unorthodox structure that makes me stand out. So he’s making a case for why it’s normal and healthy, like he’s selling it to the reader because the logic is, if you accept this, you accept me.

JDL: Why is the humor so important for this book?

AV: Because he can get professorial. Also, yes, respect to OCD and anxiety, but it can still be annoying on the page. So the humor, which, by the way, comes naturally to me. Someone asked me the other day if I do a humor pass on my writing, and I don’t, but I think the humor makes the rest palatable. The narrator first disarms you, and then annoys the hell out of you, and then he’s endearing. I believe, I hope, because he’s not easy to tolerate. But it becomes easier if you can laugh, right? If you can laugh a little bit while this is all happening, I think it makes it much easier. We’re talking about reparations in one chapter and then sexual assault in another, and it goes down a little bit more smoothly with humor.

Ecstasy Is Temporary but Being Fabulous Is Forever

An excerpt from Terry Dactyl by Mattilda Bernstein Sycamore

The first time I met Sid she was on the dance floor in a silver and gold tube dress pulled over her head except it wasn’t just a dress because the fabric went on and on and somehow she knew the exact spot on the dance floor where the light would shine right on her or that’s how it felt when she was writhing inside this tube of fabric, pulling it up and down, a hand out and a hand in, and then her face exposed in harsh white makeup and black lipstick with long glittering eyelashes and then she rolled onto the floor, she was crawling or more like bending but also she was completely still in the bouncing lights and all this was happening on a crowded dance floor at the Limelight while I was sipping my cocktail and I didn’t know what I was seeing I mean it felt like this went on forever, how many songs, it was like there wasn’t even music anymore just my body inside the fabric peeking out and then she pulled the dress up around her neck like a huge elegant collar, and underneath she was wearing a gold bodysuit with a silver metallic skirt that flared out, with ballet slippers also painted gold and she walked right up to me and said what did you think.

And I had no idea how she even saw me but I must have mumbled something because then she took my hand and said let’s go upstairs, honey, and I thought we were going to the balcony but we went up the stairs in the back, and at the top she kissed the door person on both cheeks and then we went inside.

And there was a whole other dance floor there, the club inside the club, and she guided me over to the bar and said: I can’t believe she’s gone.

And then she said it again: I can’t believe she’s gone.

And then she looked up at me and started laughing—­oh honey, she said, I totally thought, I totally thought.

And then she just stopped right there. I didn’t know if she thought I was someone else, or if she thought—­I really just didn’t know.

She said what are you drinking, honey, but she didn’t wait for my answer she just ordered two vodka sours with grenadine, I loved the color and after I took one sip I knew this would be my drink from then on. She poured some coke out on a coaster and then handed me a straw, and I made sure just to snort half but she motioned her hand like you take the rest, and when I was done she handed me a big flat round pill and I swallowed it with the vodka sour.

I was a little worried because I was already a bit coked up and alcohol and coke mess with ecstasy but I definitely knew not to turn down free drugs, I mean wasn’t this what was supposed to happen in New York?

Sid, she said. Sid Sidereal.

Terry, I said. Terry Dactyl.

And she touched my back, and said: Where are your wings?

I could feel them right then. It was the way she touched me. Like she was drawing my wings on.

One by one, the others came upstairs and took their magic pills—­I didn’t know anyone yet, but when they saw me with Sid it was like we were old friends.

Sid was so high that her eyes would roll back whenever she wasn’t speaking, and I was ready to go there. Jaysun Jaysin kept petting her coat like it would take her to heaven or maybe she was already in heaven. Bleached curly hair with dark roots, eyebrows dyed green, and she was wearing a big ratty faux-­fur coat and maybe nothing on underneath and she touched my nose and said: Twins. I looked at her nose, and noticed her gold septum ring did match my silver one, and everything in her eyes. And then String Bean arrived in clown makeup and ruffles, platforms that made her so tall that everyone had to look up to her. And CleoPatrick, with a giant red Afro and tattered ball gown. And then Tara and Mielle, in matching suits and bleached hair with spit curls like Jazz Age style-­dyke twins.

And eventually Sid said: Is everyone ready? And we all went downstairs to the coat check and Sid picked up a box with her coat, and then we went outside and jumped in two cabs—­I didn’t usually take cabs in New York because I was still in love with the subway but here I was with Sid, Jaysun, and Cleo, all of us squished together in the backseat and Sid said Christopher Street Pier and then soon enough we were there, one cab and then the other like we were in tandem.

And I’ll be honest here and say that I hadn’t even been to the piers before, I mean I saw Paris Is Burning in high school when it played at the Egyptian, and then of course everyone started lip-­synching to Madonna and practicing those moves, but that was about all. It was late, and I didn’t see anyone voguing, but there was music, and just as we started walking out onto the pier this queen ran up behind us and said Esme!

And Sid turned, and this queen said girl, I thought you were dead.

And Sid said: I thought I was dead too.

And this queen said: Oh honey I’ve missed you and your messy makeup.

And Sid said: My messy makeup can’t compare to you.

And then she put her box down, and opened her arms, and the two of them were jumping up and down and Sid said oh Monique. And right about then I started to feel this pounding inside and I looked around to see if everyone else was feeling it too, and Monique said so are these your children or did someone get lost on the way to the circus.

What was I doing wasting my time with the dead white men of the Core Curriculum when I could be so alive right here with tranny shoulders.

Monique was ready to read each one of us, and we just stood there in the way it takes a while to react when the X is really kicking in and when Monique got to me she said girl, you’re as tall as me and you’ve got them tranny shoulders so why the freakshow makeup—­and it felt like I’d been waiting for someone to say tranny shoulders all my life, yes, what was I doing wasting my time with the dead white men of the Core Curriculum when I could be so alive right here with tranny shoulders the air on my skin so much air and that current going through my body my eyes yes my eyes and lips yes lips and tongue, and there it was, language, when I said: Takes one to know one.

And Monique shrieked, and held out her hand, and I got on my knees and kissed it, and she said oh honey I’m not a lezzbian but I do like the attention. And then when she was done clocking all our outfits, she said: So what’s in the box.

And Sid said JoJo.

And Monique gasped, and stepped back, and she was so dramatic about it that at first I didn’t realize what was happening, but then she and Sid hugged again, and this time there were tears, and I got a chill up my back even though it wasn’t cold, not really, was it, I mean a second ago I was sweating and now I was cold and I knew this X was going to be good but also I felt like this wasn’t what I was supposed to be feeling, even if I could tell we were all feeling it, and maybe that was the point.

And Sid said I came here to tell Estella, and Monique said she’s with a date. And Sid said JoJo wanted her ashes in the river.

And Monique said that bitch stole a hundred dollars from me, twice, and then paused, and said: Not that I hold it against her.

And Sid said could you tell Estella for me. And Monique said what’s in it for me?

And Sid pressed something into her hand, and Monique held a baggy of coke up to the light and said oh honey you know me, you know me too well, and then she kissed her on both cheeks and we were off.

And when I say we were off, it wasn’t exactly runway it was just the only way to walk, all together now, walk, and at this point my eyes were rolling back and I was licking my lips and holding someone’s hand, feeling that clamminess, we were all bodies and wind and the cars going by—­me and Jaysun, String Bean and Cleo, Sid and TaraMielle—­they went by one name together I didn’t get it the first time but I got it now.

We walked down the West Side Highway until we got to another pier, I don’t know how long we walked and I don’t know which way because I’ve never found that pier again or maybe I found it but it didn’t look the same so all I know is when we got there it was just us, just us in the sky, the sky and the air, the sky in the air in my body inside this coat and we walked out to the middle of the pier, and Sid opened the box, and I’d seen this before, the ashes in a box like this or a big glass bottle or a beautiful urn or sometimes just a bowl so you could touch with your fingers, yes there were chunks of bone but on ecstasy it felt like I was part of this ash, this water, this bone, this air, the sky, this breath, it was all of us.

Sid handed out paper cups and maybe I was thirsty but the cups were for the ashes, each of us filled one up and we walked out to the end of the pier, the thing about the Hudson is it’s always wider than you think and you’re looking out at the skyline but it’s Jersey. The lights, I said, look at all the lights and everyone nodded their heads, we were there, in the lights, I could feel it.

And Sid said before we get this party started, I want everyone to know one thing, and we all turned to face her, and she said: Don’t ever call me Esme, okay? Sid, Siddhartha, Sadie, CeCe my Playmate . . .

And Jaysun said: Come out and play with me.

And Cleo said: Do you know what that bitch said to me? She said . . . No, never mind.

And Jaysun said: What.

And Cleo said: No, no, I don’t even want to say it . . . Okay, she said: you look better as a boy.

And we all gasped. And then String Bean hurled her cup of ashes way out into the water just like that, and then she did some kind of om shanti thing, blessed be, she kept saying blessed be blessed be blessed be, and I definitely didn’t believe in any kind of blessing but my eyes were open wide. Cleo said JoJo’s the bitch who taught me to walk, and she turned to show us, and so we all turned and there it was, New York, New York—­New York, New York and JoJo I mean Cleo was walking with New York, she was walking with New York but leaning to each side because New York was heavy in those big platforms that weren’t tapered so they looked kind of dangerous and right then I realized I needed to get the ones like String Bean’s with the wedding-cake effect, and when Cleo turned she almost tripped but what was wrong with falling, we were all falling another way to fly and some of the ashes flew out of her cup and when she got to us she said see, I still don’t know how to walk, and we can all blame JoJo. And you could really see the glitter in her eyes—­I tried to hear the ashes land but what do ashes sound like, just the water and the cars and the music, I mean it was the sound of the water against the piers or maybe metal slamming a buoy but it was music now.

TaraMielle sat down on the ground and we sat down with them and that’s when Jaysun started crying and Sid put her arms around her and then we became one big mass of breath and oh and oh and ohhhhhhhhhhhhhhhhhh and I wanted to say this is the best way to celebrate death. But I couldn’t say that, could I? And just as I was thinking how did we even get here, when we were at the Limelight, suddenly it was like we were at the Limelight again because Sid pulled the tube dress over her head and down to the ground, there was so much fabric she was in the tube and I realized that earlier was a rehearsal because here it was again one hand out of the fabric toward heaven, and one foot out of the bottom toward the water beneath the pier and the way she could roll over herself, twisting around I mean everything was fluid and brokenness and this was a dance for death, I knew it now.

And then String Bean started waving her arms and Cleo was twirling around and around and then I threw my ashes into the air and they fell down on us as Sid was pulling one arm in and then pushing one arm through, like each part of her body wasn’t connected to anything, just floating on its own, her face peeking out, just one of those gold eyelashes and then back into the fabric, it was like we were all in the fabric we were inside we were inside we were inside we were inside-­out.


In ninth grade, we had an AIDS awareness assembly and I was prepared. My mothers were dykes and most of their friends were fags who had been partying at our house for my whole childhood and now they were dying, one by one they were dying I mean one day they would be dancing with that disco ball and the mirrored walls in the living room and then we’d be at a memorial at the park or the Arboretum or at someone’s apartment where I’d never been before.

When I was five, my grandmother died of brain cancer, but I’d only met her once when we flew out from Seattle to visit her, and when we were getting ready to make the trip from Boston to Nantucket my mothers said let’s play dress-­up. I already knew they weren’t going to let me wear my favorite pink dress because they wouldn’t let me bring it, and they said I couldn’t even wear my hair in pigtails, not until we got home, so I watched them get dressed instead. They were wearing wigs and makeup that made them look kind of like Charlie’s Angels and I knew Eileen didn’t really like that show but we watched it every week at Jack and Rudy’s and all the queens were obsessed. Eileen and Paula looked at each other and then at me and said isn’t this fun but I could tell they were tense. When we got to my grandmother’s house, she didn’t look scary like I’d expected she just looked like an old lady who pinched my cheeks and said my my isn’t he a beauty, just look at those curls.

I was focused on the glass panda sitting on the table in the entryway, I’d always loved pandas and my grandmother noticed and said Melody, please wrap this up for my grandson, isn’t he a prize, and she took my head in her hands and said oh, let me get a good look at you again, my my isn’t he magnificent.

That panda is the one thing I have of hers—­a clear glass paperweight with those dark panda eyes, and pink and red and blue flowers growing inside its belly, it looks like there’s water in there too but I guess it’s just glass. I still love that panda, the feeling of its weight in my hands, but now I know we were visiting my grandmother to prove that her dyke daughter was worthy of an inheritance, I was the proof that she had finally done something right. We got the inheritance, which paid for us to move out of the Biltmore and into our new house on 12th right by Volunteer Park and when I had an asthma attack on the first night and had to go to the hospital we moved back into the Biltmore while all the carpets were torn out, the floors stained, and the walls bleached and repainted and the windows replaced and I even got to choose the colors for my bedroom walls—­bubblegum pink, with lavender trim—­so when we got back a few months later it was a whole new place.

So my grandmother was the first person I knew who died, even though I didn’t really know her, but she was the only grandparent I ever met—­my grandfather died before I was born, and I never met my other grandparents because they kicked Paula out of the house when she was sixteen after she got caught making out with her friend in bed and that was the end, just like that, when I was little I didn’t understand how parents could be so mean when they were supposed to take care of you, and probably I didn’t understand death either, but when my mothers’ friends started dying in the ’80s I understood more.

They just got really skinny and their eyes got scared and then they were gone.

There were no platitudes about heaven or a better place or anything like that, they just got really skinny and their eyes got scared and then they were gone, like Peter who was standing on the card table in his gold platforms and gold pants with matching gold bomber jacket unzipped to show off his muscly chest, holding the disco ball and saying I’m Atlas, I’m Atlas, and Paula who was DJing said Peter get down. And then I heard he was in the hospital, he had thrush and pneumonia and maybe shingles, I would hear the words and look them up in the dictionary I mean I knew what pneumonia was but I didn’t know why.

So I was ten or eleven when it all started, and then it didn’t stop.

They kept dancing, though, and I kept coming down from my bedroom in the early hours of the morning to sit on the sofa and cuddle with these dancing queens and their cocktails and pills and visits to the bathroom to powder their noses. My mothers gave me my own cabinet full of potions in the kitchen so I could join everyone, and I would make elixirs out of pomegranate juice and St. John’s wort tincture or damiana and kava kava and lemon balm and lemon juice, and I would sip my potions in sparkling plastic cocktail glasses with all these queens dancing in the living room while Paula reigned from her DJ table, hair dyed and spiked out or permed and asymmetrical, makeup in bright colors forming shapes across her face or swirls and curls around her trademark cat eyes. When I was a kid I thought Paula was the rich one because every day she came home with a new hairstyle and some wild shiny outfit, but that was just because she was the receptionist at the hair salon so she was the in-­house hair model, and after work she would stop at Chicken Soup or Value Village, and Eileen might have looked plain in her burlap or denim or cotton jumpsuits, dark curly hair pinned back with barrettes, but everything was Liz Claiborne and she shopped at the Bon although it didn’t seem like anyone noticed the difference in those spinning lights with Paula playing Donna Summer or Nina Hagen or esg or Kraftwerk I mean everything felt like magic except when someone suddenly looked sad on the sofa all alone staring at the lights and I would go over and we would stare at the lights together.

I still remember the first time some girl at school said everyone had a mother and a father, not two mothers, and when I asked my­ mothers about this Paula just laughed and said oh honey that’s nonsense, you have two mothers and a whole roomful of fathers, don’t you. So when I was little my fathers would hold me in their arms and tickle me and lift me up to the spinning lights and I would get giddy until I fell asleep on the sofa and someone would carry me up to my bedroom and I would sleep for the rest of the night. When I got older I would go to bed like usual, but as soon as I heard the music I would run downstairs in my favorite silky robe and a tiara, and everyone would call me their little princess, so I was a princess among queens.

Technically maybe they were my fathers, even the ones who didn’t seem like men at all, they were somewhere in between or beyond but that’s how my mothers got pregnant, it was their sperm in the turkey baster—­did all those queens get together for a sex party first, or maybe just one by one jerking off in the bathroom, of course it wasn’t just one time I mean the details of the story changed but what didn’t change was that all the sperm was mixed together so if this worked out then no one would ever know who the father was.

When I was little, my mothers told me they both got pregnant together, no men involved, but once I realized half of me couldn’t have come from one mother and half from the other they told me it was Eileen who gave birth to me but they were both my mothers and I could tell they were nervous about this but I was relieved because I thought they were going to say Paula, there was something about our connection that felt more physical, but once I realized it wasn’t her this kind of balanced things out.

So by ninth grade it already felt like all my friends were dying, like this had been going on forever and it would never stop, and I know they were my mothers’ friends but I grew up with them way more than with other kids. I didn’t understand kids, so I would climb trees, I liked the way you had to really focus to get somewhere but once you were there you didn’t have to focus at all, and at the AIDS awareness assembly I thought we would all share stories of friends we’d lost, so I was surprised when it was just about which bodily fluids contained HIV and how we were all at risk so here’s how to put a condom on a banana and I knew all that, I mean there were condoms and pamphlets about safe sex all over our house. But at school everyone laughed at the banana and then their questions were weird like can you get AIDS from kissing someone on the cheek or what if you cut yourself and no one was around and you only had a dirty sock to wipe it off, could you get AIDS from a dirty sock that really really smelled and then someone said I feel sorry for the AIDS victims but it isn’t their fault, and that’s when I raised my hand.

I said I have something to share, and the teachers nodded, and I took out a list that I’d prepared ahead of time because I didn’t want to get nervous and forget anyone. I started with Peter, and how he used to shake the tambourine—­he would run all over the house singing shake shake shake and I would run after him. And Marty, who used to cut my hair at home because of my asthma so I didn’t even have to go to the salon we would do it in the kitchen and he specialized in curly hair so he always got it right. And then his boyfriend Tommy who didn’t look sick but then I started seeing the sores on his neck and wrists and back, my mothers said they weren’t always painful but they really did look like they hurt. A lot of my mothers’ friends had the sores, some of them would try to cover them up with makeup but you could still see. Like Cammy who taught me the eyebrow trick and the secret ways to do contour and how to always use lip liner if you wanted your lips to stay that way. Or Ansel who used to wear the prettiest dresses and hold her hand like a microphone and do these elaborate dance numbers while I would try to learn the moves but I just couldn’t keep up.

I wanted to say more, but the bell was ringing so I looked up to see if it was okay to keep going and the first thing I noticed was that everyone was completely quiet, I mean not even the boys in the back were making jokes anymore, and as soon as I stopped I could tell there were kids who were about to cry or maybe they were already crying and the teachers looked shocked too, especially the PE teacher who everyone said was gay, so she must not have been gay or why would she have been shocked, and I didn’t know what to do so then I stopped talking.

8 Books About the Excesses and Intrigues of Celebrity

Being interested in celebrity is not something most people like to admit. It’s a waste of time! Crass! Anti-intellectual, even, to be so invested in the lives of people you’ll never meet. But the thing is, as anyone who has clandestinely scrolled down the Daily Mail’s sidebar of shame or taken a cursory interest in Taylor Swift’s romantic life will tell you, fame—real fame, the kind that we all implicitly recognize but very few possess—is fascinating.

For my part, I’ve had an almost morbid curiosity about fame for as long as I can remember: As a child growing up in the 00s, I would take every chance I could to catch up on what was going on in the public lives of the rich and glamorous. I did my best to hide my guilty pleasure, but I still whiled away more hours than I could count refreshing gossip blogs and leafing through tabloids. As I got older, that interest morphed into something more critical, and I started to think more deeply about the relationship between us (the general public), them (famous people), and the strange, quixotic social contract we all cosign that keeps them on their pedestals—or in their gilded cages, depending on which way you look at it. And believe me: I’ve looked at it every which way. Ultimately, it’s what led me to write my debut novel, I Make My Own Fun, a satirical examination of celebrity culture and obsession. I wanted to unpick fame as a cultural phenomenon and see what might happen when stratospheric, excessive fame goes unchecked. How might society bend to keep someone famous? What privileges does that level of celebrity really afford someone? And what might they get away with?

That desire to understand fame and the ways we all participate in it has also informed my reading choices over the years. I’m a wide reader—I like everything from searing social commentary to delicious beach reads and plenty in between, but one of the unifying traits among the books that stay with me is a character that feels like they’re spilling out and over the pages, brimming with complexity, or charm, or intensity. Naturally, books about famous people—fictional or otherwise—tend to have this in spades, and I’ll keep coming back to them over and over.

The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid

It’s not possible to make a list of this kind and leave out Taylor Jenkins Reid. I had my pick—complex famous women are TJR’s specialty—but I had to go with Evelyn Hugo because the eponymous protagonist has that seismic, dial-shifting fame that is so difficult to capture. The book follows Evelyn Hugo, an elusive, Elizabeth Taylor-eqsue actor, as she opens up for the first time about her rise to fame, her decades in the spotlight, and her infamous seven marriages. This is the book you take on holiday and delay pre-dinner drinks to finish reading: It’s propulsive, emotionally absorbing, and oozing with old-Hollywood delights.

The Meaning of Mariah Carey by Mariah Carey

Mariah Carey knows she’s a character, and the title of her memoir conveys a heavy wink to camera. But The Meaning of Mariah Carey is as much a meditation on how she became the Mariah we know today—she admits in the book that she didn’t feel like “her life” would begin until she had a record deal—as it is a study of the sheer resilience needed to get there. Working with the writer Micheala Angela Davis, Mariah takes us through her difficult (often traumatic) childhood, the experience of growing up mixed race in 1970s America, and her emotionally abusive marriage to Tommy Mottola (it’s hard not to see the parallels of that relationship, where she was monitored via cameras constantly, and the height of her fame). It is not at all what you might expect from a celebrity memoir, veering away from gossip and closer to deep self-excavation.

It’s Terrible the Things I Have To Do To Be Me by Philippa Snow

Philippa Snow writes about fame as an art form, and when I first discovered her work, it felt electric. Here was someone writing with such intelligence, such clarity of thought, and infinite wit about things that until that point I’d felt a lingering embarrassment for being interested in. From Marilyn Monroe and Anna Nicole Smith to Elizabeth Taylor and Lindsay Lohan, the book looks at famous women whose lives mirror each other in some way or another as a vehicle for examining fame, femininity, and the complex relationship between the two. It’s Terrible the Things I Have to Do to Be Me is a biting exploration of fame as performance, whose excellent title is taken directly from something Anna Nicole Smith said in court. Fabulous!

The Favorites by Layne Fargo

Wuthering Heights meets Ice Princess. Need I say more? In all seriousness, I was wildly entertained by this novel. Following competitive figure skater Katarina Shaw and her childhood sweetheart-turned skating partner Heath Rocha on their dramatic, often scandalous road to the Olympics, it’s a tale of love, ambition, and notoriety. It asks whether it’s possible to have one without sacrificing the others. What this book does well—alongside making reading about figure skating feel like watching it (no mean feat)—is showcase just how many people are involved in making—and keeping—somebody famous. It offers as much a peek behind the fame machine as it does the world of Olympians, and I gobbled it up in one sitting.

Didion & Babitz by Lili Anolik

Joan Didion and Eve Babitz were two of the most celebrated chroniclers of twentieth century life, including Hollywood and high society. They were also, to use common parlance, frenemies of the highest order. Or were they? Set against a backdrop of LA in the 60s and 70s, Anolik’s biography of the relationship between these two women is wonderfully gossipy. So be warned: If you are someone who believes themselves above gossip, it’s not for you. Anolik herself and her loyalty to Babitz (whom she has written about many times) are also very present in the text—but if you enjoy dipping your toes into the murky waters of second and indeed third-hand tea, then you will have a great time with Didion & Babitz.

Swing Time by Zadie Smith

As an adopted North Londoner (I moved to this city at 18), I’m a long-time Zadie Smith fan. I love how perfectly she paints my city in all its grey glory, which often serves as the backdrop to her novels, including Swing Time, which moves from London to New York to West Africa in a sweeping, intricate story of friendship, talent, and privilege. The central relationship is between our unnamed narrator and her childhood best friend Tracey, both dancers desperate to use their love of music to leave their neighborhood. But it’s the figure of Aimee, the enormously famous pop star who becomes our narrator’s ticket out of her housing estate, that serves as an excellent commentary on contemporary celebrity and the often posturing philanthropism that come with it.

The Most Famous Girl in the World by Iman Hariri-Kia

If you followed the rise and fall of Anna Delvey, German-farm-girl-turned-European-art-magnate-turned-imprisoned-scam-artist (whew!) then you will devour this book. The Most Famous Girl in the World is about Rose Aslani, a first-gen Middle Eastern American journalist who writes an article that breaks the internet, revealing socialite Poppy Hastings to be a scammer. A pace-y, satirical skewering of a very 2020s type of celebrity, this is a mixed-media joyride of a book about society’s fixation on fame and the lengths people will go to get to the top—and tear someone back down.

Great Big Beautiful Life by Emily Henry

Emily Henry is the reigning queen of the beach read (she even wrote a book called Beach Read). Often, her novels are about writers falling in and out (and in again) of love with each other, and Great Big Beautiful Life is no exception. But it’s the story within the story that makes this novel a welcome addition to the “books about fame” canon. Two writers are brought together to compete for the commission of the biography of Margaret Ives, the reclusive scion of a great American entertainment dynasty. Think the Coppolas and then magnify them. This is at once a sweet romance and a juicy, emotive story of the highs and lows of a life lived entirely in public view and the complicated baggage we inherit from our families, and yes—I read it on a beach, and it was perfect.

Nonfiction Isn’t False, but Who Says It’s True?

Nonfiction is a strange term, isn’t it? Defined through fiction’s absence, the label offers denial rather than affirmation: What you’re about to read is not false. Yet is it true? According to whom? How do they know?

No universal answers exist for nonfiction—the genre is too sprawling, too catch-all—but examining how individual books answer these questions can reveal hidden patterns. In the case of three recent books, the answers suggest the emergence of a new micro-genre—one where the author explicitly narrates how and why they come by the truths they’re claiming.


Earlier this year, I raced through Rebecca Romney’s Jane Austen’s Bookshelf, preferring that slightly girlish, jewel-tone tome to all others on my nightstand. I thought: I haven’t been this enraptured since Naomi Klein’s Doppelganger. Then a month later, I came across Why Fish Don’t Exist by Lulu Miller and binged it with the same voracious energy. 

At first glance, my enthusiastic reaction seemed like the only thing these books had in common. Published over a span of five years—Miller’s Why Fish in 2020, Klein’s Doppelganger in 2023, and Romney’s JAB in 2025—they cover vastly different terrain. Why Fish follows ichthyologist David Starr Jordan through science and disaster. Doppelganger traces a cultural history of doubles. JAB recovers the women who influenced Austen’s fiction. I often start nonfiction with interest, only to feel overfed midway through, stuffed with so many names, dates, and details that I’ve lost my appetite. So the fact that I devoured these three gnawed at me. That gnawing turned into an inquiry: Why were these different? I put them side-by-side, and it hit me: These books aren’t just about forgotten women writers, or cultural doubles, or ichthyology. They’re about the authors’ obsessive journeys into these subjects—journeys launched not from expertise, not even curiosity, but something rarer: a sense of necessity. An instinct that if they can understand this sliver of the world, they might understand themselves. 

Each book opens with a personal rupture that sends the author searching for explanations. For Miller, the end of a relationship plunges her into a depression so deep she questions the point of living. In that state, she latches onto the story of a nineteenth-century ichthyologist who rebuilt his fish collection again and again—first, after it was destroyed by fire, then by earthquake. His near-maniacal persistence draws Miller like a beacon, igniting Why Fish’s study on resilience, obsession, and the peril of mistaking drive for moral principle.

Naomi Klein’s rupture is stranger: Years of being confused for the feminist intellectual Naomi Wolf—the “Other Naomi”—devolves into a crisis when Wolf morphs into a MAGA firebrand and Klein begins to receive vitriolic attacks for the “Other Naomi’s” views. In Doppelganger, Klein takes this uncanny doubling as an entry point into a wide-ranging intellectual and cultural investigation of mirrors, shadows, and evil-twin tropes, providing a lens through which Klein probes her own disintegrating identity. 

Authority has become less like a marble statue and more like a quilt—provisional, hand-stitched, showing its seams.

Rebecca Romney’s crisis arrives when she encounters a rare Frances Burney volume while appraising a client’s book collection. This spurs the uncomfortable realization that, as a reader, she had reflexively dismissed Burney, along with every other woman writer of Austen’s day. Romney’s reckoning with her own bias propels Jane Austen’s Bookshelf, which, in the course of profiling eight forgotten women writers, probes bigger questions: How did the canon come to elevate just one woman, and how did a feminist like Romney come to accept that winnowing without pause?

Page by page, the books stitch knowledge together from fragments and claim authority through process rather than credentials. There’s a muscly physicality to them; we see not just what the authors uncover but how they uncover it. This is one way nonfiction can cohere: not through a particular subject or discipline, but by showing the reader how truth takes shape. 


Research, the accumulation of minutiae, the tap-tap-tap of search queries, form the arcs of these books. The investigations play out in libraries and on laptops. Reversals occur. We sit alongside the authors as they learn their starting expectations were naive, their subjects more elusive than they’d seemed. These are, unexpectedly, detective stories that unfold through primary sources and marginalia. The authors lean into this conceit to varying degrees: JAB features an explicit Sherlock Holmes allegory; all three dangle clues and cliffhangers. 

This straddling of memoir, cultural criticism, and detective narrative means these books don’t neatly fit any existing genre. All emerge from an author’s need to make sense of something that won’t stop tugging at her mind. The writer burrows into her obsession like a miner chasing a vein of ore. These shared characteristics are so distinctive that I see the works forming a cohesive group, a micro-genre I’m calling the Obsessive Investigation, in which the author’s intellectual inquiry supplies the book’s structural engine. The pursuit is the story. 

This micro-genre is defined not by its glittering surface but by its undercurrent: the deep tow of the author’s inquiry; their need to know and the idiosyncratic research that follows, which itself pushes plot and insight. In the Obsessive Investigations, we see forces that usually stay hidden. Most research-heavy nonfiction conceals the personal circumstances that drove the author to write—the breakup, the identity crisis, the chance encounter that couldn’t be dismissed. We don’t learn what’s happening in the author’s life while they write, even though it inevitably shapes what they see and how they see it. But in these books, those forces are laid bare. This is what distinguishes these works from traditional nonfiction—their willingness to show the author’s subjectivity from the start, and how that subjectivity drives them through facts and source materials to reach particular insights. We have front-row seats to a mind in motion.


This micro-genre’s emergence belongs to a larger cultural shift. As a society, we’ve turned away from institutional expertise in favor of loosely networked, first-person nodes of influence. Authority has become less like a marble statue and more like a quilt—provisional, hand-stitched, showing its seams. The Obsessive Investigation books sit squarely inside this shift. They don’t deliver meaning from on high; they show meaning getting made.

Scroll through your social media feed of choice and you’ll see the ripples: confessional-style #booktok reviews (“This book broke me!”) with the viral power that traditional reviews lack; parents posting child-rearing wisdom learned in real time to thousands of followers; homeowners sharing DIY renovations that spark new design trends. These are ordinary people building authority through doing, redistributing their ground-up expertise through networks that demand no credentials.

Today’s influencers preach and prove a do-it-yourself approach to nearly everything. Including, more recently, intellectual pursuits. Substack, the newsletter platform where long-form writers bypass editorial gatekeepers to build audiences directly, lends itself to this: Take a stroll, and you’ll encounter countless articles on how to research, how to take notes, how to read Great Books, how to self-study intellectual disciplines like art history and philosophy. The generically-named Sarah’s Substack, which typically earns three hundred likes or fewer per post, racked up 22,000 likes over the summer for “How to Start Researching as a Hobby.”


Like those Substackers, the Obsessive Investigation authors are laypeople forging their own paths. Klein and Miller are journalists, yes, but these aren’t reported books synthesizing expert interviews. They’re original inquiries built on trial-and-error, persistence, and hard work. Implicit is the notion that there is no magic to it. Any of us might undertake our own version of the obsessive investigation, if we can muster the motivation and grit.

The Obsessive Investigation books don’t deliver meaning from on high; they show meaning getting made.

Which is not to detract from their accomplishment: These authors have made intellectual inquiries surprisingly readable. I, a serial did-not-finisher, found myself reaching the acknowledgements the honest way: by simply reading all the pages that came before. With alchemical grace, each writer turns mundane research into narrative gold—scouring digital archives, chasing footnotes, finding hidden links. The dangling promise of an insight just around the corner gives these “nonfictions” the propulsive quality of detective work. In JAB, for instance, Romney points out questions that surface as she delves into forgotten writers’ lives and then cuts away, building intrigue and momentum. In Doppelganger, Klein punctuates the tale of Naomi Wolf’s political transformation with anxious reflections from her own life that expose their intertwined unraveling. Why Fish, the most lyrical of the three, drizzles unsettling imagery over the opening chapters, hinting that beneath the plucky, wholesome story of Jordan’s scientific achievements, all is not as it seems. Line by line, the authors let us trail their thinking, reinforcing the sense that we’re intimate witnesses—Watsons, even—to each discovery.


Central to the Obsessive Investigation is the assumption that these authors, none formally trained in their subject, can undertake intellectual inquiries on their own terms. Miller wades through Jordan’s writings—“more than fifty books, all told, and hundreds of other texts”—to find the pattern of his resilience; Klein traces doppelganger motifs through folklore and film; and Romney pores over 18th-century literary reviews. Each writer charts their own syllabus in pursuit of insight. History, literature, and culture become intellectual commons—open territory that anyone with curiosity and initiative can explore and interpret independently, drawing conclusions without prior authorization.

In claiming this intellectual territory, these writers also claim visibility for themselves. Their self-directed research is the story, with the author-as-investigator anchoring the narrative. This approach has roots in works by Susan Orlean and John McPhee, who feature as the narrators of books like 1998’s The Orchid Thief and 1990’s Looking for a Ship. Orlean and McPhee, in turn, refined 1960s New Journalism, which broke with past tradition by foregrounding the journalist’s presence. But whereas Orlean, McPhee, and New Journalists like Joan Didion and Tom Wolfe immersed themselves in the social worlds they chronicled, these Obsessive Investigations retreat inward. Their fieldwork takes place in archives and in their own minds; their discoveries are mediated through text and thought rather than personal encounter. 

Elif Batuman’s 2010 essay collection, The Possessed, is closer kin. In the essays, Batuman dramatizes her Stanford graduate research on Russian literature. “I was sucked in, deeper than I ever expected,” Batuman writes of her obsessions with Babel, Tolstoy, and Pushkin, anticipating the investigative compulsion that Romney, Miller, and Klein would report in their books. But The Possessed diverges in fundamental ways: Batuman, with her PhD credentials, investigated her literary heroes from within the academy’s exclusive tower. And rather than beginning with a personal rupture that demands investigation, she starts with a clear agenda: to reclaim literary criticism for people who love to read, which she does through explorations of the lives of the Russian writers she reveres alongside their works. Yet what makes The Possessed worth considering here is Batuman’s insistence that author biography matters to literary meaning—Elena Ferrante be damned. And not just the life stories of Russian writers, but her own, too. She weaves in her fish-out-of-water adolescence as a first-generation Turkish immigrant in New Jersey, the odd jobs she pursued during her lean student years, her crushes and romances—personal anecdotes that somehow all related back to Russian literature and shaped what she saw in the texts. By making her experiences prominent, Batuman shows that personal stakes can deepen rather than compromise intellectual work. It’s the implicit argument of the Klein-Miller-Romney books as well: The author matters.


Tracing what these books share, I keep coming back to the fact that Klein, Miller, and Romney—and Batuman before them—are all women. Maybe it’s just coincidence: A majority of authors and readers in the US these days are reportedly women, and as a woman myself, I might be over-reading. But these books teach us to be alert to the questions that spring to mind, to worry at threads and see where they lead.

I pulled one such thread and discovered this: In the 1980s, feminist theorist Donna Haraway critiqued traditional intellectual discourse that elevates the voices of white men above everyone else. She called it a “god trick”: the suppression of authorial presence, in which a writer’s voice appears to float above the page like an omniscient, unattached observer. At the time, that posture belonged exclusively to white men; they were the only group whose right and authority to speak was taken for granted. Others—women, minorities—had to prove their authority, defending the narrow ground on which they, as situated, earthbound individuals, were permitted to speak. The “godlike” white men spoke for everyone, while the marginalized writers spoke only for themselves. 

The “god trick” names a tone that has always bothered me—one I recognized instantly but never had words for. It’s that because-I-said-so voice in the literary criticism I read in college—a tone that brooked no dissent, couldn’t even imagine it. It’s less prevalent now but hasn’t disappeared. A recent Emily Dickinson biographer wrote from on high even as he made wildly subjective judgments, like his observation (in reference to Dickinson’s esteem for a Longfellow poem) that the “quantity of mediocre writing she took seriously can be alarming.” (Passive voice—the preferred style of gods.) I recognized it too in some partners I worked for as a young lawyer, who would never concede any limit to their understanding. If they saw something a certain way, well that was the only way to see it. 

Which is perhaps why I devoured Klein, Romney, and Miller. They satisfied an unknown hunger for writing that didn’t talk down to me, that treated me as a peer. Unlike traditional nonfiction, these authors center their subjectivity, reminding us that individual perspective shapes inquiry. They present not the truth but their truth. And by laying bare their motivations, methods, and mediations, they invite us to judge for ourselves. It’s a nourishing shift. 


But here’s where it gets complicated. As we increasingly embrace the authority of laypeople who show their work, we can—and should—still value traditional modes of expertise. This is not an either/or proposition. Yet our current moment treats it as such, struggling to make space for both. While Klein, Miller, and Romney represent the empowering aspect of our culture’s shift toward bottom-up knowledge, there is also a darker side, surfacing as a blanket rejection of expertise itself.

Respect for institutions is at an all-time low. What once belonged to experts—diets, medical treatments, even how we should live—has migrated to podcasters and self-styled wellness gurus. At the same time, conspiracy theories once relegated to the margins have gone mainstream, convincing many people that the earth is flat, that elections are rigged, that deadly tragedies are staged “false flags.” While such beliefs can be dismissed by most of us as ludicrous, others hit closer to home. Many of us share a lingering suspicion that we’re being jerked around like pawns, even if we bitterly disagree about who’s doing the jerking and why.

In the midst of this collapse of trust, how could we not shrink inward, grasping for things we can control? The pandemic intensified this instinct, training us to trust only our own tight circles, to retreat into family units or “pods.” We’re still reeling from this loss of orientation, and the result is a crippling inability to calibrate our focus—to triage our anxieties, to separate the trivial from the urgent.

The ‘godlike’ white men spoke for everyone, while the marginalized writers spoke only for themselves.

“It has often struck me,” writes Klein, reflecting on her fixation with her far-right doppelganger Naomi Wolf, “that I am hardly the only one who has turned away from large fears in favor of more manageable obsessions.” She faults herself for writing a book about her doppelganger crisis when there are so many societal ills she might have chosen to confront—the climate crisis looms largest. Yet even self-reproach can’t snap her out of her private labyrinth of doubles back to the broader world.

I’m guilty of the same retreat, though in smaller ways. I’ve all but stopped keeping up with the news. Instead, I bury myself in research projects, digging through past lives and cultural histories—terrain that feels safer, more containable than the sprawling crises of the present. Though this questing isn’t ostensibly about our current anxieties, I have a nagging suspicion that it’s born of a desperation for meaning, for a way to understand this self-destructive species we belong to by working backwards.

That shared urge is what draws me to these books: They, too, reach back into history and culture for answers. Miller investigates Jordan’s obsessive resilience to understand her own depression. Klein traces doppelganger myths to make sense of the “Other Naomi” and our conspiracy-addled moment. Romney excavates forgotten women writers to understand how exclusion becomes canon. Each uses the past as a lens for illuminating the present. This intellectual form of inquiry offers a private retreat—and a semblance of control—in an increasingly arbitrary and untethered world.

Nonfiction has long posed as objective truth while masking an author’s motives and methods as if its contents were inevitable. The Obsessive Investigation offers something more honest: a personal perspective, a mind in motion. Therein lies its power. These books meet a hunger that feels distinctly of our time: to follow thought as it unfolds, to see the forces that shape it, to watch meaning being made instead of delivered. They remind us that truth is not a verdict from on high but a composition shaped by the very act of seeking it.

10 Books That Refuse to Dramatize or Sanitize Mental Illness

Writing about mental illness is a strange and unforgiving task. The interior reality of a mind in torment resists easy transcription, and the rhythms of psychiatric suffering are nothing like the tidy arcs editors prefer. The “action” of a panic attack or a suicidal thought is intense, but most of the lived experience lies in tedium, fragmentation, and emptiness. Living within a damaged psyche means enduring long stretches in which nothing happens; mental illness, as I’ve said over and over again, is usually boring. Sickness is mostly a matter of slowly grinding away internally, succumbing to deeper and deeper delusion, with the rare moments of action more likely to be pathetic than dramatic. Treatment, in turn, is a quotidian slog of appointments, med changes, waiting, numbing. Those are the moments that most define what it is to have a failing mind: the mundane moments, the ordinary ones. But because publishing demands drama, most representations of mental illness either overstate the thrills or sanitize away the pain. 

In my new novel The Mind Reels, I try instead to carry the dull weight of real, unromanticized suffering, and thus sketch the truth of mental illness without ceding to spectacle. My protagonist Alice’s descent into psychosis is not a gothic exaggeration or spiritual revelation, but something prosaic, deadening, and cruel. My hope is that readers drawn to this list will find a clearer sense of what it means not merely to have a psychiatric disorder but to live with a mind that persists in pain.

The books on this list—some fiction, some memoir, some reportage—are my picks for those rare titles that make a noble attempt at negotiating the gap between interior illness and exterior narrative. They don’t sanitize the disorientation, the self-doubt, the breakdowns that follow breakdowns; they resist turning mental illness into a metaphor or exotic spectacle.

Girl, Interrupted by Susanna Kaysen

Susanna Kaysen’s 1993 classic is a brief, utterly singular work of imagistic memoir. The book details Kaysen’s 18 months spent in the famous McLean Hospital, a psychiatric facility that once treated Ray Charles, Sylvia Plath, and a roster of other celebrity patients. Reading Kaysen’s relentlessly evocative prose, which dances back and forth between clinical detachment and unbearable feeling, you immediately understand why Hollywood was desperate to option the book even before its publication. Reflecting on the story, you immediately understand why adapting it was so hard: Nothing really happens. There’s a cohort of fellow patients and nurses and orderlies and doctors, many of whom will be familiar to fans of the movie. But unlike in the movie, there is no dramatic escape, no 1960s iconography, no chilling confrontation in the basement. Instead, we spend the book inside Kaysen’s mind, as she unspools what it’s like to question one’s own sanity in lyric, seductive reveries.

Blue Hour by Tiffany Clarke Harrison

Harrison’s debut novel is a spare, elliptical study of postpartum depression and the pressure women feel to perform composure. The unnamed narrator, a Black photographer married to a white husband, describes her spiraling alienation after a miscarriage with language that feels both photographic and dissociative, focused on light, framing, and absence. The book’s fragmented structure mirrors the way her mind refuses sequence; time loops, memory stutters, and even love feels pixelated. What makes Blue Hour exceptional is, first, its intimate and convincing portrayal of a dissolving mind, and second, its refusal to treat recovery as narrative closure. Depression here isn’t overcome but endured, metabolized into a muted attentiveness. Harrison captures the psychic drag of grief so honestly that even beauty feels anesthetized. And in doing so, she relays both a deeply Black experience and a universal one at the same time.

Strangers to Ourselves: Unsettled Minds and the Stories That Make Us by Rachel Aviv

Rachel Aviv’s Strangers to Ourselves is not a traditional memoir; it opens with Aviv’s own story, but then becomes a tapestry of case studies, letters, diaries, and poems from people who live in the ambiguities of mental distress. Aviv’s guiding concern is not to tidy up complex stories, but to dwell in the blurry borderland where memory fails, language frays, and the self resists easy definition. She lives in the “psychic hinterlands” of illness, exploring eating disorders, depression, paranoia, and religious fervor, all without offering conventional closure or simple moral lessons. Through her own early anorexia, and her struggle with defining what “really” happened, she shows how narratives are always assembled from incomplete fragments. What makes the book especially strong is its reserve: Aviv respects how lives are damaged by illness and by diagnosis, by stigma, by culture, and by the stories we tell ourselves. It’s a book for readers who want mental illness shown in its true porous, unstable reality.

Weather by Jenny Offill

Jenny Offill’s Weather is less a novel of plot than of consciousness, and that consciousness is restless, jittery, and unquiet. Lizzie, a university librarian and mother, narrates in short, aphoristic fragments that mirror her fractured attention. The voice is funny, sly, and tender, but always edged with dread: She frets about her brother’s sobriety, about daily obligations, and about climate collapse and the end of the world. Offill captures a form of modern anxiety that isn’t contained by the self alone but bleeds into global catastrophe, where personal worry and planetary fear become indistinguishable. The novel doesn’t dramatize breakdowns or offer diagnostic labels; instead, it portrays the ordinary psychic toll of living in a collapsing world. By rendering the rhythms of obsessive thought, comic detour, and creeping terror, Weather shows how the contemporary mind is rarely at rest, always cycling between hope, humor, and despair.

Prozac Nation: Young and Depressed in America by Elizabeth Wurtzel

Few memoirs have ever been more willing to make the memoirist look unsympathetic than Prozac Nation; three decades after its release, the book’s critics still don’t understand its self-awareness. A raw memoir of depression lived in excess—an excess of shame, despair, and spectacularly fractured ambition. Wurtzel writes of growing up bright, sensitive, full of promise, then gradually being undone by an illness that induces acute panic, long stretches of exhaustion, and humiliations she feels she can’t escape. Wurtzel’s language is blistering, grandiose, and often unbearably earnest. Long passages feel (and are) performative, as critics have charged, but with a purpose: Wurtzel understood that depression makes you pretentious, selfish, and myopic—and that the most unlovable parts of her are the parts she must learn to live with. Prozac Nation doesn’t offer tidy lessons, only a voice that says, this is what it was like. In that willingness to be ugly, the book is an act of great bravery.

Sons, Daughters, and Sidewalk Psychotics by Neil Gong

In Sons, Daughters, and Sidewalk Psychotics, sociologist Neil Gong offers a stark examination of mental health care disparities in Los Angeles. Through ethnographic research, Gong contrasts the experiences of individuals receiving public mental health services with those attending elite private treatment centers. He uncovers a dual system where the wealthy access personalized care aimed at rehabilitation, while the impoverished often face minimal intervention focused on containment. Gong critiques the notion of “freedom” in treatment, highlighting how autonomy can sometimes lead to neglect, especially for those without resources. The book challenges readers to reconsider societal values and the ethics of care, urging a reevaluation of how mental health services are structured and who they really serve.

Mental: Lithium, Love, and Losing My Mind by Jamie Lowe

Jamie Lowe’s Mental is both memoir and cultural history, anchored in her own life with bipolar disorder. Diagnosed as a teenager, Lowe recounts manic episodes marked by grandiosity and collapse, hospitalizations, and the long project of stitching a livable life together. Central to her story is lithium, the drug that both steadies and imperils her; she writes candidly about its necessity and its cost, including the damage it does to her body over time, which eventually forces her to leave the drug behind. Interwoven with her personal narrative are histories of psychiatry, profiles of other lithium users, and reflections on how societies define and treat madness. Where so many such narratives come to pat conclusions, Lowe insists on showing the persistence of disorder even in moments of stability. Mental succeeds not by resolving the contradictions of medication, illness, and identity, but by keeping them in full view.

Life at These Speeds by Jeremy Jackson

Life at These Speeds follows Kevin Schuler, a high school track star who survives a tragic bus crash that claims the lives of his teammates and girlfriend. In the aftermath, Kevin develops a remarkable ability to run at unprecedented speeds. His newfound talent becomes a coping mechanism for his unresolved grief—and, eventually, a means to avoid doing the emotional work of healing. The novel delves into themes of trauma, memory, and identity, illustrating how Kevin’s physical prowess masks his internal turmoil. His journey reflects the complexities of mental health, where external achievements can coexist with inner struggles. Jackson’s narrative explores the intersection of athleticism and emotional healing, offering a poignant commentary on the human condition and the seductive pull of denial and forgetting.

The Acid Queen: The Psychedelic Life and Counterculture Rebellion of Rosemary Woodruff Leary by Susannah Cahalan

In The Acid Queen, Susannah Cahalan turns her investigative gaze to Rosemary Woodruff Leary, wife of Timothy Leary, foregrounding a figure frequently obscured in counterculture lore but whose life amplifies the fraught intersections of mental health, psychedelia, gender, and power. Rosemary is revealed not just as a companion to a guru, but as a psychonaut in her own right, someone who tested the limits of her mind in the intersecting worlds of LSD communes, spiritual experiments, and political radicalism. Cahalan, famous for her memoir Brain on Fire and her remarkable debunking of the Rosenhan experiments in The Great Pretender, handles Rosemary’s psychedelic explorations with neither celebration nor condemnation. Instead, she excavates the consequences—psychotic depersonalization, disillusionment, personal betrayal—that accompany attempts to dissolve boundaries of self, to blur mind and substance, especially for women whose emotional and psychological suffering is too often privatized or pathologized. The Acid Queen joins the company of works that resist easy redemption, insisting that the edge of sanity is a lived terrain to understand, often with ambivalence, complexity, and cost.


The Best Minds: A Story of Friendship, Madness, and the Tragedy of Good Intentions by Jonathan Rosen

Rosen’s brilliant book traces the life of his friend Michael Laudor, once a gifted adolescent with outsized ambitions, whose professional ascent was stalled by schizophrenia and whose life as a free man ended in an act of violence. Rosen details his long, intense friendship with Laudor, from their shared Judeo-intellectual upbringing, through Yale, to Laudor’s diagnosis, hospitalization, and devastating final breakdown, which resulted in the murder of his fiance. The book shows how Laudor’s brilliance and ambition exacerbated his illness, how academic success and public acclaim strained his fragile stability. Alongside the personal story, Rosen indicts the mental-health system, examining the shortcomings of deinstitutionalization, the legal limits around forced care, how disability activists have created a culture of benign neglect, and what happens when hope, stigma, and treatment mix. The Best Minds is a portrait not of spectacular madness but of a life gradually unraveling under the weight of genius, friendship, and failure—and it’s one of the best works of nonfiction I’ve ever read.

My Mother, My Aunt, and the Horrifying History of Psychiatric Hospitals Under Nazi Rule

“Pear Soup,” an excerpt from Unexploded Ordnance by Catharina Coenen

It is late August of 1943. Elfriede and Anna are in Elisabethenpflege, an orphanage in Schönebürg, only ten miles from Biberach, where they and Lotte had lived with the stern landlady, and sixty miles from Tübingen, where their mother is now hospitalized at a Nazi-run “home for mothers” close to the university hospital while she waits on bed rest for the birth of their brother.

“But I am the older one,” the smaller girl says. Her blue eyes flash defiance, curls radiate from her head. She holds her sister by the wrist. The chubby-cheeked girl by her side towers over her by nearly a full head, but her bottom lip is quivering.

Sister Sabina watches Sister Canysia take a second look at the birth dates in the girls’ files, discreetly counting months on her fingers beneath the surface of her desk. Sabina doesn’t blame her. It’s hard to believe that Anna, the taller girl, is nearly twenty months younger than little Elfriede, whose sixth birthday is coming up next week.

The size reversal is so striking that, for a moment, Sabina wonders if the two girls might have been playing games, exchanging the cardboard name signs hanging from their necks. But no: the driver, who delivered them here from the railroad station in Reinstetten, would have forbidden them to take off their signs. After years of war and delivering small children from railroad to orphanage, he knows that no child can be reunited with her parents unless strict tabs are kept on who is who. Before he met them on the platform, the girls must have been on the train for less than twenty minutes—it’s just a few stops to Reinstetten from Biberach, where their mother’s landlady had put them on. They look scared enough that Sabina can’t imagine them getting bored with being alone on a train and planning some kind of nonsense.

In the weeks that follow, Sister Sabina never again doubts who is the older one. Elfriede doesn’t let her sister out of her sight. No child taunts Anna without repercussions, no adult needs to check that Anna’s teeth are brushed or that her hair is combed. On Sister Sabina’s final round through the junior girls’ makeshift dormitory in the attic, she has grown accustomed to finding Anna in Elfriede’s bed, Elfriede’s arms protectively around her younger sister, holding on, even in the depths of dreams.


Forty-three years later, my parents and I stand in a wood-paneled hall. We have walked through several locked doors to get here. The ceiling is tall, far above our heads. The nurse asks for our names before she leaves through another tall wooden door to fetch Elfriede.

I’m twenty years old, home from college for the weekend. When the call came this morning that Elfriede had been committed to a psychiatric hospital, my mother seemed to come unglued: unable to sit down, pacing between frantic phone calls. Even my father seemed shaken, unsure what to do. I couldn’t imagine getting on the train back to school, couldn’t imagine sitting in genetics class, wondering how my parents were holding up, wondering what they would find. Or whom: Elfriede, the competent nurse? Or Elfriede who glues photographs and magazine clippings all over her apartment walls, Elfriede who rages on the phone, calling her mother Satan incarnate?


“I’ve bought myself a little tiger,” Elfriede says.

I feel my mother tighten next to me, watch the image flash through both our minds: a cub, striped fur, teeth, claws. How big? From where? A wild beast snatched from its parents, bound to grow enormous, all-devouring, a raging flame—

I search Elfriede’s face, the sparks in her blue eyes beneath cropped, ash-blonde curls.

“At the gift shop?” my father asks.

My mother exhales. The gift shop. Stuffed.

Elfriede nods. She says she’s doing well. Very well. So very well.

None of us mention that the police brought Elfriede here. None of us ask about the elderly man she was hired to nurse, and nursed so very well, for months. Has he recovered from Elfriede pushing him, in his wheelchair, through busy streets, to the busy plaza beneath Cologne’s famous cathedral, at breakneck speed, singing, stopping here and there to take off pieces of her clothing, give them away? From watching her dance, naked, beneath the looming towers of the church?

We don’t stay long. This is the only time I can remember visiting Elfriede in the hospital at Marienborn, though she will be brought here over and over again. For years, she will drift from long periods of extreme caretaking into hallucinatory manias. Usually, the police bring her to the hospital after she gives away all her possessions, ending with her clothes. Each time, the doctors release her when she calms down enough that they believe she might stay on her medications for a while. Each time, eventually, there is another phone call from a hospital, or from a landlady asking who’s going to clean up the apartment, to pay for damage to the walls.


Sister Sabina catches a glimpse of Anna and Elfriede as she passes by the portal to the children’s dining hall. Again, Elfriede is standing ramrod straight, her iron grip around Anna’s pudgy wrist. Sabina can see her lips move as she turns to Anna’s tear-streaked face: “We don’t do that.”

Sabina knows the words—repeated each time Anna is ready to join the other children in a folly, a small infraction. Now, as always, Elfriede is serious, unyielding. Sabina steps through the door, scans the dining hall. Elfriede must have just pulled her younger sister away from the other kids, who are spooning soup from the floor. The tall windows are open wide, admitting a warm breeze laced with the cloying aroma of overripe pears. Sun flecks dance across the new linoleum, the white walls. Anna stands next to Elfriede, watching the children with longing. The soup has been the first sweetness these children have had in many weeks. In the midst of this war, the Lord has blessed the orphanage’s orchard with an abundance of late-ripening fruit—more pears than can fit into their supply of canning jars. More even than can be boiled down for thick pear juice, their only reliable supply of sugar.

The puddle of soup on the floor is nearly gone, and Sister Adela has not yet emerged from the kitchen to discover the damage. The older girls in charge of serving the midday dinner must have handled the entire calamity. Sabina feels pleased with them. In this time of lack, a small upset can have large consequences, but the older girls have kept their heads. Most likely, one of them stumbled when they carried the soup kettle from the kitchen. Or the kettle flipped when they tried to set it on a stool that is low enough for them to dip the ladle. They must have turned the kettle upright, then told all the girls to bring their spoons and eat the soup from the floor. They know the linoleum is spotless. Two of the girls mopped it this morning, after porridge was served for breakfast.

Adela steps from the kitchen, raises an eyebrow, then inquires with the two supervising girls, sends them for mops and buckets. She’s preoccupied, has not noticed that Anna and Elfriede are standing by.

Sabina makes her way over to them. “You children should eat!”

Anna, spoon in hand, turns to join the others, but is brought up short as Elfriede’s grip retightens on her wrist. The corners of Anna’s mouth twist in protest as she turns back to her sister, but she says nothing. Sabina looks at Elfriede’s thin, pinched face, feels steel-blue eyes seeking her gaze straight-on.

“No,” Elfriede says. “We don’t do that.”

“Don’t do what?” Sabina asks.

“We don’t eat from the floor.”

Sabina considers arguing that the floor has just been cleaned, dismisses it as useless. Elfriede’s standards of cleanliness far exceed those of any other child. She will starve before she will compromise. Adela, Sabina knows, will have none of this, will send them away without food. But Elfriede, slight and pale when she arrived, has grown painfully thin in the four weeks that have passed since then. Her cheeks are hollow. Depressions have deepened below her collarbones. The letter from the girls’ father leaves no doubt that he will ask questions when he returns from Russia to retrieve his daughters—which may be months from now. Sabina glances at Adela’s back, then calmly turns toward the sisters. “Come with me.”

She walks the girls down the hallway, into the kitchen by way of the scullery. She takes two bowls from the long shelves lining the walls, ladles soup, places the bowls on the kitchen table. “Eat up quick,” she tells the girls, “and then rejoin your group.”


Perhaps two years after the hospital visit with the tiger, I stood about twenty miles from Elfriede’s hospital at Marienborn, on a grassy farm track by a field of wheat. The field was very flat. It was very silver green. It smelled of summer and it smelled of wind. It smelled of blooming wheat, the semen-like ripeness of pollen on the wind. Just then, in May or early June, it had a sort of even smell—as though nothing could ever change in the cycle of ripeness and yield. The absence of insects and birds echoed in the swish of blade against blade, the hum of the greenhouse ventilators down the road, the cultivator five or six fields over, and in our silence between the words of our guide, a geneticist in jeans, button-down shirt, and sandals, worn with socks.

“This,” he said, his hand pointing, “is the second generation after the cross. Notice how the plants are all different heights, how the awns have different lengths, the kernels different sizes.” He crushed one wheat spike in his hand, then another, thumb grinding against palm. Unripe grains popped from glumes, revealing different plumpnesses, greennesses, grainnesses.

There should have been crickets. There should have been flies and the swallows’ twit-a-twit as they swooped in circles, dove, shot up, beaks filled. Instead, only the hum of the cultivator, only the rustle of one student’s nylon raincoat against another, the shifting weight from one foot to the next.

“This,” the geneticist continued, scattering kernels and chaff, sweeping his arm toward the next neat block of plants, “is the fourth generation, this the sixth, eighth, and, finally, there’s the tenth.” The grass of the farm track slicked and squeaked under our sneakers as we spun. As our eyes followed his hand, the wheat plots became movie frames, a flip-book: The shaggy-dog look of the initial cross flattens out, morphs into crew cuts, the movie’s final frame a battalion of elite soldiers, all of them even in bulk and height.

It was 1988. We were all white. We were in Köln Vogelsang, the field station of the Max Planck Institute for Plant Breeding Research. Yes, we had grown up alongside the children of Turkish “guest workers” in our elementary schools, but few of them had gone on to university, and none were on this particular multiday field trip for a class that was supposed to show us where people with biology degrees might work.

If parents refused to give up their disabled children, authorities would threaten to take their other children away and commit the parents to forced labor unless they complied.

Was it me who asked why? Why breed for ten or twelve generations, a decade or more, to end up with this evenness? The answer was: machines. Run the combine harvester at one height. Sift uniform-sized grain away from dirt and rocks. Cut all plants on the same day, knowing each grain is ripe, holds identical, ideal moisture. Guarantee the mill, the bread factory, this much gluten, this much sweetness, starch, this stickiness, this stirrable-ness, this rise. Identical loaves, batch after batch, bag after bag.

It had been all around me growing up as I raced my bike up and down the road at my grandparents’ house, through oat and potato fields, or later, as I rode horses through summer-scented wheat-wheat-wheat that had, for centuries, made my hometown’s wealth. It had never occurred to me that the oats whose kernels released milky sweetness when crushed between my teeth, the wheat, the potatoes, the sugar beets that scented my town’s air with molasses from the factory, could be shaggy, mosaics of different greens, different rustles, different scents. Köln Vogelsang was the place, the moment when I understood that wheat, like any crop, did not just come the way it was, all one hue, one size, one frame of ripe. That we had made it so.


When I search for official records of Elisabethenpflege online, I find an Erlass, a decree, by Württemberg’s minister of the interior that passed into law on November 7, 1938. It spells out that all of Württemberg’s orphaned children were to be classified into “the following groups”:

I. Mentally and genetically healthy children

II. Physically handicapped children, including deaf and blind children, with normal mental capabilities

III. Children with genetic defects or signs of advanced neglect

IV. Children with severe mental handicaps or psychological pathologies

V. Gypsies and children that resemble gypsies.

I think of what happened to more than five thousand children classified as groups II, III, IV, or V all over Germany. When the Nazi Party came to power in 1933, it immediately passed the “Law for the Prevention of Offspring with Hereditary Diseases,” which enabled the euthanasia program that was later named Aktion T4. By 1939, all doctors were required to submit questionnaires about patients whom they deemed “feeble of the mind” to Tiergartenstrasse 4, a house in Berlin. There, “expert” doctors hired by the extragovernmental “Kanzlei des Führers” labeled as lebensunwert (unworthy of life) anyone suffering from a disease deemed “heritable,” such as schizophrenia, alcoholism, or dementia. They especially targeted patients who had been ill for a long time, were no longer able to work, and did not have relatives who checked on them frequently. The Ministry of the Interior then sent notes to the caregiving hospitals, asylums, or orphanages that these patients must be transferred to Schussenried or one of many other psychiatric hospitals that were used as “interim institutions” (Zwischenanstalten) for patients that had been selected to be sent to one of only six “killing hospitals” (Tötungsanstalten). Grafeneck alone drew its victims from a network of forty-eight Zwischenanstalten, each of which transported between two and five hundred patients to Grafeneck. A few months later, relatives of the patient would receive a note from these “interim” hospitals that their family member had, unfortunately, succumbed to a disease, usually pneumonia.

The program initially concentrated on children below the age of three, who were killed by injection of chemicals. With the beginning of the war, criteria for selecting patients for euthanasia were broadened, age limits rose rapidly, and gas chambers increased the number of patients who could be killed in one day. Eventually, as so many children began disappearing from institutions where they had been transferred to purportedly receive “improved treatment,” parents grew suspicious. If parents refused to give up their disabled children, authorities would threaten to take their other children away and commit the parents to forced labor unless they complied. Families of adult patients also began to hear of disappearances; many tried to get their relatives released from psychiatric hospitals. In Baden-Württemberg, these Aktion T4 euthanasia programs were carried out through lethal injections in hospitals or through carbon monoxide gas in Grafeneck Castle, less than an hour’s drive from Schönebürg.

Elisabethenpflege was assigned to accept only children in “Group III” of Baden-Württemberg’s 1938 Erlass. But reality might well have been much more chaotic than official Nazi rules: over the course of the war, an estimated twenty million children in Germany lost one parent, half a million lost both—orphanages were flooded with children everywhere. Most likely, the landlady in Biberach simply sent Anna and Elfriede to Elisabethenpflege because it was the closest orphanage that had space.


When I ask my mother if she has heard from Elfriede, she says no. “Not this week, but sometime next week, I’ll ask your father to look through the package that she sent four months ago.”

My mother tells me she put Elfriede’s package in the basement when it arrived. I can imagine where: top shelf, well toward the unlit end, away from the dim window, above eye level, by the boxes of winter boots and heavy binders of old tax returns awaiting the date after which they can be tossed. She doesn’t want to see it when she ventures down for bottled water, for veggies from the chest freezer, for canned tomatoes or extra shopping bags.

“Last time I called, she sounded alright again,” my mother says, “so now your dad can fish out any items that might still be useful to her and I’ll mail them back. The rest he can put in the trash. I don’t want to know about any of it.”

I can guess what the still-useful things and “the rest” might be. Decades ago, Oma Lotte occasionally mentioned the things Elfriede would send her in packages like the one in my mother’s basement now: a hand mixer, a hairbrush, toothpaste, shoe polish—household goods that, if you have to repurchase them every few months, add up for someone who lives on social security. “The rest”: collages of images from catalogs and cut-up family photographs, bizarre junk sculptures, a long letter berating my mother for not caring for my father’s early-stage dementia and mobility problems the right way. Make him drink holy water from the church’s stoup, or cart him to a faith healer Elfriede has just discovered who can heal “anything!!!!” In between recipes for miracle healings, the letter will also threaten that ignoring Elfriede’s advice will mean the devil has closed my mother’s mind. There will be vivid descriptions of what Satan will do to my mother if she does not turn away from him. Most likely, there will be lengthy passages of “proof” that Lotte too was possessed by Satan (or, in fact, embodied him) when she was alive.

I can’t blame my mother for not wanting to look.


Wild wheats are tall and short; green, gold, and red; ugly and beautiful; sickly and strong. Some plants will germinate and ripen early, some very late. Some grains will be full of the best kind of starch for bread, some will be small, low in gluten, a pain to sift and grind, unfit for fluffy, yeasted loaves.

To select against this diversity means to weaken the entire population, to lessen its chance of surviving the next catastrophe. This is why we keep seeds of wild and woolly wheats in doomsday vaults buried at the Arctic Circle deep in rock. This is why we must keep growing old and wildish wheats on farms, where they evolve with downpours, droughts, and wind, with locusts, rusts, and blights.

To grow all your wheat in just one way, to eliminate the ugly kernels, the late or early ones, is to kill your future. The plant with few, small kernels may be the one that resists drought, or insects, or disease. The plant that struggles and lags in too much rain may be the one with roots shallow or deep enough to find scarce nutrients.


All of her life, my mother has been unable to argue. Any tiny discord sends her heart into overdrive, turns her mind to cotton wool, shakes her knees. All of my life, my mother has begged me not to quarrel with my sister, because my mother’s knees are shaking. My mother wants me to keep peace with my sister: peace, peace, peace. My mother says she doesn’t want to hear what my sister has or hasn’t done. She doesn’t want to hear what I want or do not want. She says all that matters is that there is peace, peace, peace. She says there will never be peace in the world unless I make peace with my sister. My mother says all she ever wanted was to get to keep the older sister who protected her.

When I ask my mother what it was like, in the orphanage, her face closes down, the way it always does when conversations drift toward the war.

“Oh, it was hard,” my mother says, and asks, immediately, if I would like more tea.

I shake my head no, willing her not to get up from the table, not to end this conversation.

She gathers cake plates, saucers, cups, then looks up. “But I always had my sister. She was watching out for me. I never felt alone.” She pushes the stacked porcelain to the center of the table.

I exhale.

She tells me how she would crawl under Elfriede’s covers every night, how Elfriede would hold her and whisper in her ear until she fell asleep. She remembers white enameled beds, lined up under the eaves of a large attic, a makeshift dormitory. She remembers the light fading slowly outside the window in the gabled wall. She remembers dozens of little girls, alone, orphaned, traumatized. All around her, children cried from thirst. Many wet their beds. The nuns “treated” bed wetters by giving them bread with salt right before sleep, to “bind the water in the body.” They forbade them to drink.

Against the whimpers and weeping all around, against the dying light, my mother remembers her sister’s warm body, her sister’s arms around her shoulders, her sister’s voice, fervent, confident, a whispered affirmation in her ear: “We won’t have to stay here. We’ll go back home soon.”


Some little boys want to become firefighters when they grow up. Nikolai Ivanovich Vavilov, born in Moscow in 1887, wanted to end famine. His father had grown up in poverty and hunger because, over and over, Russian crops had failed. As a young scientist, Vavilov soon realized that ending famine depends on the ability of plants to resist adversity: drought and flood, heat and hail, attacks by snails and locusts, rots and molds. He read everything he could about the fledgling field of genetics, sure that it might help him to understand plant immunity. As a researcher, he traveled the world, collecting tubers and seeds.

During World War II, hunger threatened not only children, not only soldiers, but also the seed varieties that Vavilov had amassed in his Leningrad institute, sure that this genetic treasure trove would, one day, save humanity from future famines. From September of 1941 through January of 1943, Wehrmacht soldiers besieged Leningrad. Stalin had ordered the city’s art to be evacuated from the museums ahead of the siege—but he provided no aid at all to save Vavilov’s tubers, bulbs, and seeds. Collecting plants had been declared “bourgeois” by the communist regime—a gentleman’s pastime rather than what would be needed to avert famine from ordinary people.

When I ask my mother what it was like, in the orphanage, her face closes down, the way it always does when conversations drift toward the war.

By the time of the siege, Vavilov himself had been arrested and was slowly starving to death in prison. The scientists left behind in his institute understood that the future food security of their people was in their hands. They also understood that they were sitting on a cornucopia of edible grain and potatoes, in the center of a city that would starve.

Vavilov’s botanists armed themselves. They took turns patrolling on the roof, day and night, their guns in full display. They fought mold and rats. The rats, too, were crazed from hunger. They had multiplied because desperate people had eaten most of Leningrad’s cats. Vavilov’s scientists stayed and stayed, tending to the crops in their care all through the siege, without ever eating them themselves. Several of them starved to death as they were tending to the collection, surrounded by bags of wheat.


Based on what I can gather from my grandfather’s letters, Anna and Elfriede must have spent about two months in the orphanage, from late August until the end of October in 1943. In the middle of this, Elfriede turned six—far from her parents. I doubt that there were presents. I doubt there was a birthday cake. Sixty nights of making sure her sister’s teeth were brushed. Sixty nights of whispering affirmations in her sister’s ear as children cried all around.

Eventually, I ask my mother if she will check in with Elfriede about her memories of the orphanage when she next calls.

“Elfriede says she remembers nothing,” my mother reports back the next time we talk. “Except that we were there forever, and that she thought we would never get back home.”

I think of five-year-old Elfriede, in an orphanage full of children labeled “Class III,” desperate children, thirsty children, children who wet their beds and cried themselves to sleep. I watch Elfriede in the dining hall, tall in her shortness, her hand snapped tight around my mother’s wrist: instructed by her father, in writing, not just to take care of herself without her mother, but to watch her sister, to prevent her “follies.” I think of how closely “Group III” in Baden-Württemberg’s 1938 Erlass describes, in terrible words, the many foster children that my aunt will, eventually, collect into her home.

We now know that psychoses can be triggered by childhood traumas like bullying, physical abuse, moving, and abandonment. What marks a manic episode, in part, is grandiosity: The unshakable conviction that you can accomplish anything. Walk on water. Heal the sick. Protect your sister. Pray your mother back to health, your father safe through gunfire and grenades, your sister and yourself onto a train back home. Mania can increase goal-directed activities and reduce the need for sleep. A review article titled “Developmental and Personality Aspects of War and Military Violence,” published in the journal Traumatology in 2003, identifies children between the ages of five and nine as most vulnerable to developing psychiatric illnesses after war; girls are more likely to show symptoms than boys. Maybe human physiology and genes were selected for this triggering, this trait: a switch, activated by extreme stress, that transmutes tiny girls into superwomen who pull their younger siblings through.


My mother says that, one day, the nuns in Schönebürg put her and Elfriede back on a train. She remembers that both of them were wearing cardboard signs around their necks. The signs spelled out their names and the station where the conductor was to make them get off: Schussenried.

My mother remembers seeing her father there, waiting for them, on the railroad platform: one arm protectively around her mother’s shoulders, the other hand securing baby Alfred’s pram. She remembers the gratitude her parents expressed for having found a room in Schussenried, in the house of a couple named Baus, how kind their new landlords were, how my grandparents trusted them so much that they asked them to serve as baby Alfred’s godparents.

Herr Baus worked as a nurse in Schussenried’s psychiatric hospital—the same hospital where patients behind a barred window had dangled a doll made of dirty rags toward Anna and Elfriede months before. My mother remembers hushed conversations. She remembers how Herr Baus would return from work and collapse at the kitchen table, put his head down onto his arms, and sob.

Later, Oma Lotte told my mother that Herr Baus broke down in tears, again and again, as he told her how his patients had disappeared into gray buses with painted-over windows, bound for Grafeneck. I’ve looked it up. Between June and November of 1940, eight “transports” conveyed an estimated six hundred patients from Schussenried to Grafeneck Castle, where they were gassed, usually on the day of their arrival. Grafeneck Castle was the place where gas chambers were first invented and perfected, before they were installed in concentration camps.

After the bus transports stopped, doctors ordered Herr Baus to inject patients with lethal medicine. He said he refused—only to be forced to watch the doctors administer the injections themselves.


Schussenried’s psychiatric hospital, in operation since 1875, is still housed on the abbey’s grounds, though it moved into newly constructed buildings twenty years ago. The train no longer stops at the abbey, but satellite views on Google Maps show a large parking lot: the baroque library and church remain a popular tourist destination to this day. The bars across the windows of the former hospital are no longer in evidence—buildings that used to house patients now host art and cultural exhibits, business meetings for companies, and conventions for churches and special interest groups.

When I ask my mother about Schussenried, she reminds me that we, too, were tourists there, in 1982, when we walked around the immaculate grounds on a trip with my Oma Lotte. I remember the journey, the bright-white buildings, but not my mother’s shock at the missing bars across the windows, the traces of her horror cleared away. Now, over the phone, she tells me how deeply disturbed she was to find nothing to remind visitors of the people behind the bars. The dangling rag doll still haunts her dreams, the shouts from behind a barred window above her head, distorted faces, waving arms. Each time Elfriede is hospitalized, my mother just knows she’s there, behind those bars. Her adult mind understands that her sister never was committed to Schussenried but to Marienborn, a different monastery hospital, in the Eiffel mountains, far to the north. And yet the doll keeps rising in her dreams. To Anna, Elfriede is here, forever here, with the shouting, waving people, the people with big mouths, big eyes, behind iron bars.

Others share my mother’s pain about the erasure of the psychiatric hospital’s terrible history under Nazi rule. In 1983, Schussenried’s protestant minister finally succeeded in having a small plaque installed on the hospital patients’ division of the local cemetery. Ten years later, the artist Verena Kraft was commissioned to erect a memorial to the “victims of euthanasia” on the monastery grounds: a sculpture of concrete pillars and a concrete doorframe, outlining a room made of air, with no walls or ceiling, to signify the utter vulnerability of psychiatric patients. Each year since the installation of the sculpture, officials and community members have held a memorial service for the former patients around this wall-less room.


By the time I stood in the wheat field of the Max Planck Institute for Plant Breeding Research, the institute had been in Köln Vogelsang for thirty years. Before that, it was called the Erwin Baur Institute, and before that, the Kaiser Wilhelm Institute, which was then located in Müncheberg, near Berlin. Its director, Wilhelm Rudorf, joined the Nazi Party in 1937, and later the SS. By 1937, he wrote about the importance of plant breeding not only for making Germany independent from imported foods, but also, and especially, for “settling” yet-to-be invaded countries to the east and north. Vavilov’s research team succeeded in preserving the tubers and seeds he had collected through the siege of Leningrad. But when German soldiers marched into Ukraine, Rudorf oversaw the theft of seeds and tubers that had been accumulated, bred, and studied by Ukrainian research institutes. He employed Richard Böhme to oversee 150 women imprisoned in Auschwitz to conduct research on rubber-producing dandelions, seeds stolen from Ukraine.

By the time our sneakers squeaked over the grassy paths separating wheat plots at Köln Vogelsang, Rudorf had been retired from the institute for about twenty years. Yes. Retired. Böhme had been clubbed to death as he fled from Russian soldiers. But Rudorf, his boss, was “denazified” by British forces, with essentially no consequence, and kept his post as director of the institute. From his position, he prevented reemployment of Jewish plant scientists who had fled Germany to save their lives.


Once, when I researched Elisabethenpflege, Schönebürg, I found posted transcripts from the orphanage’s record book. The Mother Superior of the Elizabethan nuns wrote in the book that, at some point during the war, she cut out and burned all pages from 1933 onward to prevent information about newly admitted children from falling into the hands of Nazi authorities. She then tried to rewrite what she could, from memory, years later. The reconstructed entry for February 1940 explains: “The local police want to know which of our wards have criminal tendencies or parents with criminal tendencies. These children are to be listed. They fingerprinted twelve children.”

Others share my mother’s pain about the erasure of the psychiatric hospital’s terrible history under Nazi rule.

The psychiatric hospital in Marienborn where Elfriede stayed was established in 1888 by Cellite nuns as permanent housing for Catholic women suffering from intellectual and psychiatric disabilities. When Hitler was elected in 1933, the sisters at Marienborn were caring for 700 women suffering from epilepsy or from psychiatric conditions like bipolar disorder or depression. From 1941 to 1943, the Gestapo “selected” 490 of these women to be bussed to the psychiatric hospital at Hadamar, where they were killed by lethal injection, medication overdose, or gas: Anyone deemed “unfit to work,” and hence “a drain on the economic resources or genetic health of the Volk,” could end up on that bus.

The use of the word “selection” by both plant breeders and the Gestapo was no accident.


Five years ago, Elfriede finally agreed to move into assisted living. She says she likes her room, her bed, the food. She has not been hospitalized once since she moved in. Often, her medications, now administered with regularity, make her sleepy, fuzzy-minded, dull. But sometimes when my mother asks to speak to her on the phone, she’ll get a nurse who says Elfriede is busy, singing with the other residents, or in the workshop, making art. Perhaps Elfriede’s prayers saved her from the fires of hell. Perhaps they finally brought her to a place where she’s allowed her scissors and her glue stick, where she sings.


Excerpted from Unexploded Ordnance by Catharina Coenen (Restless Books, Oct. 28, 2025). Copyright © 2025 Catharina Coenen.

Exclusive Cover Reveal of “Earth 7” by Deb Olin Unferth

Electric Literature is pleased to reveal the cover of Earth 7 by Deb Olin Unferth, which will be published on June 9th, 2026 by Graywolf Press. You can pre-order your copy here.

An end-of-the-world love story, an epic full of pathos and humor, asking what can be saved of our planet.

Well, that’s about it for the story of planet Earth, poor Earth, reduced to not much more than a piece of burnt coal. But, as Deb Olin Unferth shows in Earth 7, her latest electrifying novel, life—and love—persist, even in the most unexpected, inhospitable places.

Earth 7 is the tale of two women who meet on a beach of artificial sand. One was raised in a pod in the ocean and the other may or may not be a robot. Their love—or any love—seems so unlikely. Earth has severely depopulated. Some humans have given up, gone off to Mars. Others pursue eternal life as digital code. And yet others, like Dylan and Melanie, are holdouts—and some of those holdouts are constructing a vast molecular collection in hopes that someone in the future may be alive to make a new Earth. Foolhardy? Misguided? Quixotic? Probably. But what can a human (or a robot) do, especially if they can do it together?

By the end of Unferth’s wild, poetic, revelatory, and slyly philosophical novel, the reader has traveled to the very edges of the cosmos as a “soul globule” and between grains of sand as a microscopic tardigrade. Is all matter conscious? Do any living beings die? Earth 7 is a poignant inquiry into death, mourning, and indefatigable life, the most exhilarating work to date by one of our most original and beloved writers.

Earth 7 is an epic sci-fi masterpiece and a love letter to the totally lush, and shockingly diverse, life-forms of our planet. I adore this book. Everyone who lives on planet Earth should read it.” — Rita Bullwinkel, author of Pulitzer Prize finalist Headshot

“An electric, hilarious, and harrowing story of fractured technological identities and interdimensional exile in a shattered future. With her signature absurd genius, Deb Olin Unferth has created a shocking and moving speculation that I suspect breaks new ground in climate fiction.”—Jessica Anthony, author of The Most


Here is the cover, designed by Vivian Lopez Rowe, with original artwork by Elizabeth Haidle:

Deb Olin Unferth: I was starting to write a new book, which meant I was taping newspaper clippings to my wall, images I liked, when I received an envelope in the mail from my friend, the illustrator Elizabeth Haidle. Some years back, she and I collaborated on our graphic novel, I, Parrot. Now, she was making a book with her brother, Paul David Mascot, an adaptation of a science fiction story by Philip K. Dick first published in 1953. The envelope contained several prints of watercolors she was doing for the book. Gorgeous and strange and funny. Lonely, surreal landscapes, a single human walking through. A man boarding a spacecraft carrying a little suitcase like he was getting on a bus. I was especially taken by one of the earth, a rocket shooting off it, zipping around in a few impossible loops, moth-like, skimming and swerving, batting the moon, and flying away. I taped them all to my wall amid the newspaper clippings.

As I wrote the book, gradually many of the images came down. Either I removed them or they unstuck themselves and fluttered to the floor. Soon only a few remained: a man emerging from very blue water. A barren landscape of rocks. A figure perched on a small, capsized boat. Plus, a single watercolor print by Elizabeth: Earth and its springy rocket.

I stared at that handful of images as I wrote and they became the spine of the story. Human, water, rock, sky. Motion, journey. That deep blue outer space.

And Elizabeth’s watercolor became the cover. You can see some of earth’s continents, not precise drawings but a gesture, a quick sketch that to me spoke of our incredible planet and of civilization, all its mistakes, all its successes, the land a shining white, the water a blue gray. Soaring away from it is a single mechanical representative, a little rocket. I love the energy. It feels daring and smart, but also playful and funny. It’s got nerd-girl energy. And it’s philosophical, existential, lonely. Earth’s gravity waylaid, humanity so small. Who is leaving on that rocket and why? Who is left behind, besides earth itself?

The brilliant book designer Vivian Lopez Rowe did a great job. I love the hand-lettered font, how tactile it feels. The orange adds a bold, electric edginess to the design. The words shimmer on the dark blue.

Elizabeth Haidle: The blue background was created with liquid watercolor dyes, and the elements were scanned, cut out, and added digitally. My brother and I collaborated from a distance on a series of images, sending the files back and forth and improving things as we went. It was actually a really wonderful collaborative experience.

I’m Sorry, You’ve Reached the Wrong Messiah

Paul’s Tomb

After I died, I came back out of the earth. The acolyte asked for my approximate date of death and said, “Wow, you’ve been gone a while.”

It had been hundreds of years since I’d been buried beneath a bunker in Iowa. This was in accordance with the wishes of the church, of which I had been a member.

“It’s been bad,” the acolyte said. The church was just him and a dwindled congregation in Syracuse. He made space for me in a storage area. Iowa was in something called the “radiation belt,” which caused the air outside to glow at night. He was right; it seemed pretty bad.

In the prophecy, a man would emerge reborn from the burial chamber and lead the sect to Jerusalem to await the end days. For the first week I was there, the acolyte didn’t bring it up. 

The church had no name. I hadn’t professed. Profession involved a series of statements and dedications to labor in life and in the afterlife for the church. My wife had, but I hadn’t. It had been a point of contention.

Paul asked me questions about baseball games I’d gone to in ’72 and ’73. The church at the time forbade attendance. “I remember the light and also the smell. Boiled peanuts and grass. At one point, everyone was singing. I wasn’t supposed to be there,” I said.

I asked Paul if I could go down into the chamber to visit my wife. “The records from back then burned up in a fire,” he explained. “I can let you in, but I don’t know which one it is. The only reason I know you’re you is because you told me.”

The next night, Paul said that he didn’t know how we’d get to Jerusalem. The radiation belt had worsened, and removing us would be expensive and dangerous. The Syracuse congregation was noncommittal at best. I took that as an opportunity to tell him I hadn’t professed. “I don’t think I’m the person you’re looking for,” I said, and his lips curled in on themselves. “I don’t know how I ended up in the burial chamber. My wife must have cut a deal. I don’t know, I wasn’t there for it.” I meant the last part as a joke, but his lips bit in harder.

A few nights later, I snuck down into the chamber. Paul was right; it was just row after row of unlabeled, anonymous coffins stretching deep within the Earth. I picked one at random, sat on the cold concrete, and bowed my head. Over time the air grew heavy. It pressed down on my neck like a dumbbell, pain blooming as my vertebrae compressed. I imagined their voices, thousands of them. “You’re alive,” they whispered, their tone at turns accusatory and affirmational. I opened my hands. There’s this strange thing where your life can feel like it isn’t fully attached to the background around it, like a piece of paper stuck to a wall with a single short strip of masking tape. When my wife would bring up the matter of profession, I would try to explain the lack of solid attachment, the weakness inherent in it—the tape and the paper and the like. Color would rise in her cheeks and forehead. “At what point,” she’d ask, “are you expecting to come alive?”

“What do the people in Syracuse think about me?” I asked Paul one night. He wiped his forehead. He muttered that the Syracuse congregation had gotten mixed up with another religion. They’d lost the faith, the true faith, and mostly just sat around and sang all the time, a practice they called PERFECT LANGUAGE FOREVER. “How long have you been out here?” I asked, and he just stared back out at the glowing air.

A week passed without sight of Paul, then another. He eventually stumbled from his room, eyes wild, and asked, “When you came back through the tunnel of fire, which angels did you see? In the chamber of judgement, what was the name of the arbiter’s wife?” His face was red and wet. He demanded, “Who sits to the left hand of the throne of god?” I’d never seen him like this, like his sadness was on fire. I told him I was sorry. I didn’t think Jerusalem was going to happen. 

“False messiah,” he said, and, “Where’d you bury the real one?” He spoke too quickly to understand. He started shoving me, quick jabs to my shoulder. I didn’t give him any warning. One blow and he was down. I hadn’t realized he was such a thin thing.

He came up in a daze. His eyes were soft like incandescent bulbs. “Alright,” he said, and then he went through the door between his room and my room and down the staircase that led to the burial chambers.

Weeks passed. I have seen no sign of Paul since.

In the mornings, through a speaker in Paul’s room, I hear the church in Syracuse singing. I don’t understand their language, but the shapes of the words, the forms made by human voices—they’re a comfort nonetheless. 

I’ve been mapping out the songs they sing. The phonetic pronunciations, the rise and fall of their pitch. I’m making progress to PERFECT LANGUAGE FOREVER. I hear them in my head as I try to fall asleep, mouthing along until all effort leaves me.

10 Memoirs That Take Readers on a Medical Journey

There is no greater betrayal than the feeling that the body which houses you has failed you. There’s no estrangement from your own body or mind. You can’t block your own calls or send your ailments to junk mail. When I first learned the possibility that I carried a genetic mutation—the same one that killed my mother when I was a child—I’d never felt more trapped inside an impossible situation.

I sought books by others who had experienced what I was going through and, honestly, back in 2012 the pickings were pretty slim. Out of desperate loneliness, I started a blog without any readers and journaled notebooks of self pity I hope never again see the light of day. But over the past several years, other authors have written incredible stories of how they faced not only betrayal from their bodies or minds, but how this opened them up to new possibilities for themselves.

Now that I’ve written Living Proof: How Love Defied Genetic Legacy, I can see the symbiotic relationship between a physical or mental health challenge and writing one’s way toward new perspectives. When I first learned of my own genetic mutation, I just wanted to know how it would all end. Tapping into creativity in the face of bad medical news can’t necessarily change the outcome. But it offers connections to the larger world, and isn’t that why we turn to stories again and again?

Between Two Kingdoms by Suleika Jaouad

Suleika Jaouad was in college when her battle with leukemia started. In Between Two Kingdoms, Jaouad shows us how her illness impacted her family and the loving, youthful relationship that carried her through her treatment. When she had to be isolated during treatment, she filled her days with painting and journaling. Upon being declared cancer-free, Jaouad takes a road trip around the country, connecting with those who reached out during her periods of isolation. She demonstrates how even when your world feels unbearably small, tapping into your creativity can sustain you through even the darkest days.

Little Earthquakes by Sarah Mandel 

A trauma psychologist and pregnant mother of a toddler, Sarah Mandel’s life changes when she discovers a lump in her breast. Almost immediately after giving birth, Mandel begins not only a treatment of chemotherapy and immunotherapy, but to imagine her family’s lives going on without her. To her shock, after three months of grueling treatments, her scans show no evidence of disease. Instead of the elation she would have expected upon learning this news, Mandel is left with a whiplash of grief she can’t control. Little Earthquakes examines how illness shakes the foundation of an entire life and forever changes the ways in which survivors face the world. Sarah sadly passed away in 2024, leaving her story as a legacy.

Knocked Down by Aileen Weintraub

Aileen Weintraub always prided herself on her independence and humor. But when this Jewish New Yorker falls in love with a man from upstate, she surprises herself by agreeing to move to his family’s farmhouse. Their charming life as newlyweds is upended when Aileen learns she must be placed on bedrest four months into her pregnancy. From her bedroom, Weintraub has nothing but time to question the professional and personal choices that led her into complete isolation in a community where she has no social connections. Broken into 38 chapters—or weeks, which is the length of a healthy, full-term pregnancy—Weintraub hilariously and honestly shows us that despite our best efforts, life has its own plans in store for all of us.

Before My Time: A Memoir of Love and Fate by Ami McKay 

It seemed like someone was always dying of cancer in Ami McKay’s family. Otherwise healthy people, often young, saw their lives cut short throughout her family tree. This family curse caught the attention of a doctor after her great aunt told him she expected to die young. Before My Time tells a multi-generational story of the family who led to the medical breakthrough of dianosing people with Lynch syndrome and McKay’s own experience of living with this genetic predisposition to cancer. If it sounds heavy, that’s because it is. And yet, through lucid storytelling and lovable characters, McKay shows the human side of medical research and its impact on future generations.

The Year of the Horses by Courtney Maum 

The Year of the Horses starts with Courtney Maum’s young daughter refusing to put on a sock. But a sock is never just a sock. This beautiful metaphor of being in a life that doesn’t fit right catapults Maum’s journey to examine her growing feelings of depression. When standard medical care doesn’t offer the balm she needs, Maum seeks to remember a time when she felt as joyful as she did on the back of a horse as a child. This book moves back and forth through Maum’s challenging childhood and teen years and her grown-up desire to reclaim her sense of self. By introducing readers to the world of horsemanship, Maum shows us that sometimes wisdom isn’t always about growing older—it can be about giving our inner child (and animal) room to play.

The Family Gene by Joselin Linder

Like many women in their twenties with mysterious symptoms, Joselin Linder faced years of misdiagnoses. Upon discovering a rare blockage in her liver, she reckons with her father’s death ten years earlier and the possibility that she could face the same fate. As Linder pieces together her family’s medical history, she sees a connection she can’t ignore—but also one that hasn’t yet been validated scientifically. Written like a mystery, Linder shares what it’s like to discover, diagnose, and treat rare diseases. She explores the power of genomics, its implications in real-life decision making for people with genetic diseases, and the deeply personal ethical considerations this knowledge forces patients to confront.

Crybaby by Cheryl E. Klein

Cheryl E. Klein wants a baby. She and her partner try everything for her to get pregnant, and face the physical and emotional toll of infertility, IVF, miscarriage, and breast cancer. After wondering if they’re even fit to become parents, the couple warily enters the world of open adoption, facing the challenges of bureaucracy and the steep financial and emotional risks of potential matches that fall through—all the while acknowledging an imbalanced system in which birth mothers and adoptive mothers can feel as though they’ve been pitted against each other. With humor and irony, Klein laments how deliberate same-sex couples need to be in their desire to grow their families and how this pressure can cause fissures in even the strongest relationships, making you wonder if the life you’ve been working toward is worth its cost.

In Love by Amy Bloom

In the most straightforward, tightest way possible, Amy Bloom shares the heartbreaking story of helping her husband, Brian, end his life by doctor-assisted suicide in the wake of receiving a diagnosis for dementia. She walks readers through her journey of finding a way to honor this last wish as their mutual grief grows. Bloom shows us the beauty and honesty within their marriage as the secret plan they plotted kept moving forward. Throughout the entire story, the reader knows the painful destination they’re heading towards, and yet you keep going, drawn in by Bloom’s humor and warmth. Using Brian’s story, Bloom shows us how challenging it is to make dignified decisions about death, and how sometimes, the greatest love of all is letting someone go on their own terms.

The Invisible Kingdom by Meghan O’Rourke

For years, Meghan O’Rourke suffered debilitating bouts of pain, night sweats, brain fog, and the feeling that electric shocks were covering her body. In prose that flexes her poetic and journalistic skills, O’Rourke takes readers through her uncertainty, frustration, and moments of hopelessness in search of wellness. She shows us the doctors who dismissed her ailments; the long, winding road she took in search of understanding; and, finally, treating the tick-born infections and autoimmune disorders that caused them. She offers a glimpse into a world that the medical community tends to avoid, which is what life looks like for the millions of people for whom medicine cannot cure entirely. While the story centers on O’Rourke’s experiences, she puts it in the broader contexts of Western and alternative medicines, and offers insights into ways patients have been treated and let down by both.

Brain on Fire: My Month of Madness by Susannah Cahalan

Brain on Fire starts with 24 year-old Susannah Cahalan waking up in a hospital, completely forgetting how she landed there. She takes readers through the previous month of strange behaviors ranging from paranoia, outbursts of giggles, lack of hunger, and suddenly becoming unable to do her job. Once hospitalized, doctors aren’t sure what to make of her. Cahalan’s case appears to be a psychiatric one, but over the course of a month, her condition becomes increasingly challenging to treat. As her speech and movement faculties begin to fail, her family refuses to believe she isn’t still in there, trying to return to them. Using her training as a journalist, Cahalan shows us just how hard it can be for an otherwise healthy, young woman to be taken seriously in a medical context, and how easy it would be to slip through the cracks.

8 Books That Embrace the Expansiveness of Queer Families

Amid rising threats to queer families—including health policies that restrict trans kids’ health care and attacks on marriage equality—I find myself craving books that showcase LGBTQ+ families in an authentic way. Though queer representation has improved in literature in recent years, I still need to actively seek out the types of stories I’m looking for, so I set out on a reading journey.

I was looking for books that portray diverse queer families and all the dynamics they entail. I read stories of queer kids coming out to straight parents, and queer parents navigating raising children. I found books about relationships between queer adults and their siblings. I especially enjoyed books that explore how different cultural and generational contexts influence these relationships. 

I was also looking for different definitions of family. The concept of “chosen family” carries deep history and resonance in the LGBTQ+ community, especially for those who have been rejected by their families of origin for choosing to live openly and proudly. I wanted to make sure chosen families were represented in the literature I read, so I sought out books that portray new ways of building family ties and community.

The eight books I’ve collected here span genres and cultures but they all share a nuanced, authentic representation of queer families. Together they create a rich tapestry of LGBTQ+ stories that break stereotypes and show the beauty of all types of families.

Martyr! by Kaveh Akbar

This poetic book follows Cyrus, a queer Iranian-American young man, who grapples with issues of loss, family, and identity. After losing his mother at a young age, Cyrus and his father leave their native Iran for America, hoping to start over. As an adult, he reflects on this journey, seeks answers about his mother’s death, and is led to an art exhibit centering a terminally ill woman to whom he feels an unexplainable pull. Along with its fascinating portrayal of Iranian and Iranian-American culture, the novel features two queer characters navigating their identities. Readers can also look forward to an unexpected but very cute queer friendship-turned-romance. 

Spent by Alison Bechdel

The legendary lesbian writer’s latest comic novel is an often humorous portrayal of queer families, both traditional and chosen. It picks up on the author’s cult-favorite comic strip, “Dykes to Watch Out For,” which debuted in 1983 and portrays a loosely knit group of queer friends as they navigate love and relationships. In Spent, the characters have aged a few decades and are now living in COVID-era America. The storylines include characters navigating evolving relationship dynamics and polyamory, as well as how the current political landscape and polarization impacts relationships between queer people and their families of origin. Illustrated in Bechdel’s iconic, simple yet expressive style, the book is brimful of diverse queer families—there are queer parents and their queer child; a gay adult and her straight, conservative sister; and many others. All this coalesces into a witty and incisive look at modern queer identity.

Patsy by Nicole Dennis-Benn

This is a beautiful and heartbreaking exploration of queer identity told through the lens of Patsy, a lesbian woman from Jamaica who leaves behind her home and her young daughter Tru to follow a childhood love to New York. Told over a decade, the novel follows both Patsy and Tru as they struggle to find themselves and search for happiness while constricted by traditional views of gender and sexuality. Dennis-Benn’s book explores lesbian identity and gender nonconformity with compassion and authenticity. Told through a mother-daughter relationship defined by queerness and love, as well as geographic and emotional distance, this is a book about family ties both lost and found.

Exalted by Anna Dorn

This is an edgy, captivating, astrology-themed book that follows two women who are trying, but not necessarily succeeding, to get their lives together. Emily is a millennial who makes a living running a famous Instagram astrology account and struggles with a dysfunctional relationship with a guy she refuses to call her boyfriend. 40-something Dawn is searching for meaning while navigating a breakup with a girlfriend and a tense relationship with her son, whose needs she never seems to put before her own. Dorn doesn’t shy away from a characters’ lack of likeability, which makes her examination of psychology, queer identity, and surprising familial relationships all the richer. It also contains a shocking plot twist that will leave you reeling.

Girl, Woman, Other by Bernardine Evaristo

Evaristo’s novel explores race, sexuality, gender, and how views of these identities have shifted in recent decades. The book follows the lives of a dozen characters, most of whom are Black, queer, British women, as they navigate life’s challenges. Among the storylines is the relationship between Black lesbian playwright Amma and her teenage daughter Yazz, as well as Shirley, a Barbadian-British teacher who grows jaded by the racism she witnesses in the education system, and her conservative colleague Penelope, who makes a startling discovery about herself. I especially enjoyed the book’s portrayal of how lesbian and queer identity has shifted from a focus on women-only spaces to an embrace of gender fluidity and nonbinary identity and the portrait of tensions arising as older generations struggle to adapt to—and at times clash with—younger people’s evolving ideas.

April May June July by Alison B. Hart

This novel follows four siblings in the Barber family, each named after a month of the year, as they navigate the aftermath of the tragic event that defined their childhood: their father’s kidnapping in Iraq. Now, years later, new developments in their father’s case force each sibling to deal with the possibility that their father is still alive. The sibling set includes two queer characters: June (who as an adult goes by Juniper), a soccer coach about to wed her longtime girlfriend, and July, a college student who is learning about his sexuality and navigating feelings for two very different guys. What I love about this book is that it does not fall into the trap of making the queer characters’ sexuality their defining characteristic, rather sexuality is just one of the multitude of aspects that form an identity. 

Under the Whispering Door by T.J. Klune

This romance with a dash of fantasy is a perfect read if you are looking for something heartwarming. It begins with its main character, a middle aged career-driven lawyer named Wallace, attending his own funeral as a ghost. There he meets a Reaper, who takes him to an unusual yet charming cafe that serves as a crossing to the afterlife. The book centers on Wallace’s time at the coffee shop, where he gets to know a quirky cast of characters who spend their days ushering the dead into the afterlife. He discovers unexpected friendship and even romance, and is forced to grapple with the life he led and what he wishes he had done differently. It is a lovely exploration of queer love and chosen family that will leave you smiling.

The Latecomer by Jean Hanff Korelitz

The book follows the Oppenheimer triplets, born to a Jewish-American New York family via assisted reproduction in the early days of IVF. As the trio grow up, they each navigate different interests and aspects of their identities; Sally’s coming out journey as a lesbian intersects with her brother Lewyn’s burgeoning college romance. They also come to learn unexpected things about their parents, which force them to reckon with topics of loyalty, love, religion, and race. Throughout, the book weaves queer identity into storylines about the ebb and flow of family relationships as characters find themselves, their political identities, and relatives they didn’t know they had.