7 Books That Will Change the Way You Think About the Road Trip Story

In January 2017, I went on a road trip with my father. We drove from our hometown, Fox Lake, Illinois, to Los Angeles, California, where I was going to university. We elected to go the southern route, following the ruins of Route 66. Apart from a few arguments about tattoos and communism, and getting terribly lost in the red mountains of Sedona, Arizona, it was a relatively uneventful adventure.

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Road trips are, anyway, awfully boring affairs. Long periods of silence and nondescript landscapes, punctuated by cups of burnt coffee and beige motel room walls. Still, I knew that a near-geological shift was occurring deep within me, a change of heart which I did not quite understand, and because I did not understand it, I knew I had to write about it, and to write about it for a long time.

How to write into that silence, that eroded, uninhabitable landscape? These are some of the novels that shaped my understanding of what a road trip could be and, ultimately, helped me to write How To Build a Home for the End of the World, a road trip novel for our dystopian times.

Lost Children Archive by Valeria Luiselli

This novel starts out simple enough: an acoustemologist wants to move to Arizona to record the ghosts of the Apache people. His wife, the narrator, wants to stay in New York. The couple, along with their two children—his son, her daughter—set off on a road trip across America knowing that it is the end of their time together.

Within this frame—the family road trip and its associated diners, motels, and polaroids— Luiselli deftly interweaves more hidden histories: children who go missing on their way to America; indigenous communities decimated by Manifest Destiny. She shows us that a road trip is not wholly personal; when we set out on the road, we are entering into communion with ghosts—past and present—who demand our witness.

Sing, Unburied, Sing by Jesmyn Ward

In Ward’s novel, 13-year-old Jojo, his baby sister Kayla, his mother, Leonie, and her friend Misty drive from the fictional town of Bois Sauvage, Mississippi to real-life Parchman prison to pick up Jojo and Kayla’s father, Michael, who has been incarcerated there for the past three years. This road trip deals with what is visceral: Kayla won’t stop throwing up, Leonie and Misty are on meth, and Jojo starts to see ghosts. Ward’s suggestion is that, on the road, there’s nowhere to hide. Our deepest insecurities, our grudges, our illnesses, and our unburied reveal themselves to us. What we choose to deny stays with us, follows us home. 

The Remains of the Day by Kazuo Ishiguro

The year is 1956. Stevens, a butler who has given his life to service at Darlington Hall, receives a letter from Miss Kenton, a housekeeper with whom he was in love when they worked together at Darlington in the 1930s. Stevens borrows his new employer’s car and sets out on a “motoring trip” to pay Miss Kenton a visit after nearly 15 years of silence. Now, Remains of the Day isn’t typically thought of as a road trip novel because much of its plot is revealed in flashbacks. But because the flashbacks occur on the road—not, say, when Stevens receives the letter—Ishiguro is trying to tell us something. Being on the road begets introspection. Trapped in a cab for many hours, the car becomes something of a confessional booth, revealing our greatest fear, anxieties, sins and regrets.  

Plainwater by Anne Carson

Okay, technically this isn’t a novel, but a collection of essays, but I’m including it because one essay in particular, “Just for the Thrill: An Essay on the Difference Between Women and Men” is easily the best text about a road trip I’ve ever encountered. The narrator of “Just for the Thrill” is a woman on a road trip from Quebec to Los Angeles with her boyfriend whom she calls The Emperor. Throughout, she knows that, when they reach their destination, The Emperor will leave her and she will never see him again.

The way that Carson’s characters oscillate between revulsion and desire, entanglement and alienation, pride and shame, is masterful. She shows how a road trip can throw a relationship into crossfire. To what extent is love scathed on the other side?

Anne Carson is also good at surprises. Half the reason to go on a road trip at all is to look out the window and be surprised. If you have ever driven cross-country, especially in America, you will know that this is often not the case. Between towns, hours-long stretches. Mile after mile of fields, rocks, sky. Carson has language on her side. She will take your eyes and make you look out the window at “clouds bigger than clouds.” You will see “pine shadows hard on the ground.” She will surprise you with “a glass-timber morning.” 

Life & Times of Michael K by J.M. Coetzee

When Michael K’s mother becomes ill, he embarks on a mission to take her from Cape Town to her birthplace Prince Albert across a civil war-torn South Africa. Because they do not have permits to travel— and, anyway, they don’t have a car—K fashions a rickshaw so they can make their way on backroads. If the road, for a writer like Walt Whitman or Jack Kerouac, represents freedom, for Coetzee, it represents the opposite. The road, as an extension of apartheid-era spatial politics, is set up to surveil, to police, to capture. The road is another site of struggle, where a man’s search for freedom comes up against the brute forces of oppression. Relief is experienced only briefly, and the overall feel of the novel is a disorienting one. 

Nevada by Imogen Binnie

After finding out that her girlfriend has cheated on her, Maria steals her car and heads out west. Along the way, she picks up James, who is also trans, and the two proceed to get high, drive to Reno, and confront all that is gross and complicated about being a body in the world. The two separate before they can reach an emotional conclusion. In this way, Nevada is truly the beatnik road trip novel, where beatnik is anti-normativity, anti-respectability, where beatnik is queer, the self is perpetually undecided, and the road upends. 

Paris, Texas by Sam Sheperd and L.M. Kit Carson

Okay, again, not a novel but a brilliant screenplay (which you can buy as a book, so it counts). After four years of wandering alone in the desert, Travis reconnects with his seven-year-old son, Hunter. Together, they drive from Los Angeles to Houston in search of Travis’s estranged wife, Hunter’s mother. In this script, the direction of the road is twofold. In the beginning, it is where Travis wanders, disassociates, pursues dissociation as if it could stand in for an ideal life. In the latter half, the road takes him back to reality, where he must face the consequences of his past actions. This double-movement embodies, for me, what makes a road trip story so compelling. We might head out on the road to run away from ourselves. But the road always has a way to return us to the truth of ourselves. Hopefully, it can help us better face it.

10 Books About Women Who Want to Have Sex

I believe that all readers secretly have one particular book they’re looking for, an ideal book that will fill a primal hole in their literary experience. The book I want is a literary novel about a woman who lusts after a man and it doesn’t destroy her life. I’ve recruited some extremely well-read friends into this mission, but I still haven’t quite found it, at least outside of the confines of the erotica genre. Fine, then. At least give me a woman who wants, a woman who is a subject, not an object, and whose lusts are as vivid and bodily as any of the men in a work by James Salter or John Updike.  

Little Rabbit cover

My wish to read this book, and the incredible difficulty of finding it, led me to write Little Rabbit, my debut novel about a 30-something woman who pursues an intense sexual relationship with an older man. My protagonist, who for much of the novel remains unnamed, is old enough and experienced enough to embrace her own desires while still finding surprises within them, qualities I value and wish for us all. 

I would love to deliver a list of books of lusty women whose desires don’t get them into trouble. But then I would have trouble meeting EL’s seven-book minimum. So I’ve broadened the list to be women who are the active agents of their own sexual urges, rather than the passive prize of someone else’s, women who follow their wants into conflict and self-revelation. The books in this list explore, inhabit, and investigate physical hunger with excellence and flair, taking female desire seriously and helping to center it in the literary world. Many went into the writing of Little Rabbit and helped me live a fuller, deeper, more pleasurable life. 

Luster by Raven Leilani

This landmark novel about Edie, a 22-year-old Black painter, shattered inherited biases about how literature depicts bodies and sex. Edie wants, she sweats, she lives in a body that orgasms and has IBS. She begins dating Eric, an older white man who lives with his family in the suburbs. After Edie loses her job, Eric’s wife invites her to temporarily live with them and their adopted Black daughter. The intimate scenes (not just the sex) are nuanced, delicate, and bold, showing the complexity of want and vulnerability.  

By Grand Central Station I Sat Down and Wept by Elizabeth Smart

I read this poetic prose novel by the Canadian author Elizabeth Smart when I was in my early 20s. The raw, operatic desire of the protagonist is so fantastically intense that upon reading the book, I immediately realized what I’d been missing in my reading. The book is a light fictionalization of Smart’s affair with an older married man, but he as a person is less important than the intensity of the narrator’s own passions, which compel her to cross borders, get pregnant, and horrify her family. 

My Education by Susan Choi 

Ginny, a first-year graduate student at Cornell University, is warned off the handsome young professor Nicolas Brodeur, who she first sees brooding in the back of a lecture hall, wearing a duster and not-intentionally ripped pants. Additionally, he is married to the intense and fascinating Martha, a fellow academic who likes to show up at the town bar in a motorcycle jacket and boots. Ginny’s interest—and explosive obsession—ends up dismantling the delicate balance of their lives. Note that I am completely obsessed with this book. I re-read it about once a year. It’s probably about time for me to read it again. 

Abandon Me by Melissa Febos

Melissa Febos is the queen of writing embodied intimacy in a way that startles and electrifies, undercutting our received notions of sex and guiding us, without entirely realizing it, into quiet, startling revelations. Her second book describes the sudden dismantling of the stability she’d fought her way toward in her first memoir. Her life is upended by a kiss from a stranger, a woman with a mouth like “the soft nail on which my life snagged, and tore open.” The intimate scenes in this book are much like this line—focused and surprising, mixing tenderness and devastation. 

I Love Dick by Chris Kraus

A tale of infatuation, abjection, and art. Back around 2012 (sorry to date myself), Chris Kraus’s novel, written in the form of letters to the titular art critic, “Dick,” seemed to be in everyone’s tote bag. At first, the narrator, a failed filmmaker also named Chris, authors the letters with her critic/academic husband Sylvere, and the obsessive letters are a game in their cerebral marriage. Eventually, though, the narrator breaks away, and the letters mingle the hunger for Dick with questions about why and how we make art. This novel was the first book that helped me draw the connection between sexual desire and the creative impulse. 

Bluets by Maggie Nelson

This lyric work of nonfiction by poet and critic Maggie Nelson weaves the want for a color with the want for a lover, the “prince of blue.” The narrative is also laced with tragedy, as Nelson cares for her mentor, who has been left paralyzed after a bicycle accident. Separated into 240 short numbered sections, or “propositions,” the book flows not chronologically, but by its own logic. The want is palpable not just in the descriptions, but in the language itself. “When I met you, the blue rush began,” Nelson writes, and we don’t have to know precisely what the words mean in order to feel the hunger ourselves.  

The Break.up by Joanna Walsh 

Joanna Walsh’s “novel-in-essays” questions whether it’s ever possible to actually break up in an age of constant connection. This entry is an odd one, because the narrator’s hunger for her lover is almost extra-bodily. She travels Europe and sits in hotels, waiting for texts and sending emails, her longing focused on her screens. Most of the desire happens via electronic distance. Two years into the pandemic, this is maybe too familiar a feeling.  

A Simple Passion by Annie Ernaux

In this slender volume, French writer Annie Ernaux focuses exclusively on her passionate affair with a married man only known as A. Because of his need for secrecy, she’s dependent on his schedule for their encounters. Everything about their brief experiences together, from smells to old button-down shirts, turns into talismans and signs. Ernaux’s subject is ultimately not A, or their relationship, which has no trajectory, but her own experience of her passion for him. 

Her Body and Other Parties by Carmen Maria Machado

Machado’s blockbuster debut collection tapped into a deep vein of hunger for stories that depict women’s embodiment and lust. From “Inventory,” a list of a woman’s lovers through the end of the world, to the lead story “The Husband Stitch,” the stories in Her Body and Other Parties burrow into the desires of women and reflect the world’s response through Machado’s unique blend of horror, humor, and brilliance. 

Vladimir by Julia May Jones

The cover announces this book’s intentions before you even get a chance to flip beyond the title page. A 50-something professor in a small liberal arts college copes with her husband’s #MeToo scandal by developing an intense, obsessive attraction to the English Department’s new hire, the titular Vladimir. This recent debut is a subversive take on the campus novel with a lusty post-menopausal narrator at its core. 

Why Is There a Stigma Around Menstruation?

Have you ever gone to the doctor with a problem that you can’t quite put a name to only to be told that it’s “in your head,” or, worse, leave with a recommendation to “try yoga”? Have you tried to confide in those near and dear to your heart only to be told probably have a vitamin deficiency? Or, my personal favorite recommendation, reduce stress? (LMAO.) It happens more than you think. 

It wasn’t until her thirties that Chloe Caldwell started experiencing increasingly volatile hormonal cycles. What was once uncomfortable, and, at times, even painful, now was starting to dominate her life—from her moods to her relationships. Correlating her anxiety and rage with her menstrual cycle, Caldwell began the process of trying to find answers.

The Red Zone by Chloe Caldwell

In The Red Zone: A Love Story, the critically acclaimed writer takes a closer look at her period, in addition to history of menstruation as a whole. From rubber pants, rags, and other archaic devices to today’s Thinx period underwear, Caldwell examines how social and cultural attitudes towards the period have changed, and how these shifts (or lack thereof) have affected the health and general wellbeing of those who menstruate. It’s through this research that Caldwell discovers Reddit threads and other communities on the Internet suffering from premenstrual dysmorphic disorder (PMDD), which she is (eventually) diagnosed with. 

Validated at long last, Caldwell sets out to create space in her life for her diagnosis, starting with writing this bold and powerful book guaranteed to be a faithful companion for anyone who’s ever struggled with their period.


Greg Mania: Where do you think we are in terms of eradicating the stigma around talking about menstruation and premenstrual syndrome?

Chloe Caldwell: It’s come so far, but that really depends on where you’re looking. Like, my Instagram is lately ONLY people talking about periods, photos of graphic bleeding, and hormone help. But that’s because that’s what I follow. Then there’s the “People Have Periods” ad released by the company Luteal. This is just something you’d never have seen even five years ago. It’s evolving constantly; it’s almost hard to keep up, but I’m so grateful for it. In the book, there is a chapter called “The Linen Closet,” which follows period technology all the way from rubber pants, rags, and menstrual belts, to where we are now with Thinx period underwear. To watch the evolution still blows my mind.

Just the other week, there was this article in CNN about a teacher in Texas who created a “menstruation station” in her classroom. It’s so encouraging that teachers are thinking this way—back in the ’90s, you were barely allowed to go to the bathroom without a hall pass and a whole power trip of signing out. And if you forgot your own menstrual supplies, forget it.

GM: What are some things on the subject that aren’t being talked about enough—or missing entirely—that you would like to see being discussed—or depicted!—more openly?

Periods are a fact of life, and every kid who gets their first period deserves to be educated on what is happening with their body.

CC: I don’t think we talk to kids enough about periods. That’s what made me super sad in “The Linen Closet” chapter, realizing that nine out of ten stories of people’s first periods were negative. My theory is that since so many of us had negative first experiences, we then shut down our bodies. This is tough, because I also don’t want to be the parent or person who is, like, overdoing it and talking about periods all the time. But I do think there’s a way to at least neutralize them. I mean, they were called “the curse” back in the day! That’s nutty. Periods are a fact of life, and every kid/teenager who gets their first period deserves to be educated on what is happening with their body.

GM: Especially because it’s not a one-size-fits-all situation!

CC: Exactly. Some kids are ten-years-old. Imagine being a ten-year-old and having to deal with bleeding and cramps and managing all of that during fourth grade. Others are 18 when they get their periods and have barely any symptoms. There is an enormous spectrum, and the more people talk about it, the more supported kids will be.

GM: The road to diagnosis is anything but linear—trust me, I know. It’s taken me years to get diagnosed with some of the chronic conditions I live with. How did you feel once you were able to name what you’ve been going through?

CC: When I found that one doctor who really believed me and listened to me, and I left my appointment and sat in my car with my paper that said “PMDD” on it, I felt so relieved. Like, SUCH relief. It was similar months earlier when I found the PMDD Reddit group and could read all of these experiences that mirrored mine. It was unbelievable.

GM: I have fibromyalgia, which, like PMDD, is something that hasn’t been recognized as prevalent until recently. Are you optimistic that by sharing our stories more openly, we’ll be met with more validation in doctors’ offices?

It sucks that the patient very often has to educate the doctor with some of these disorders.

CC: I am optimistic about that. I think the reason my experience with the second doctor was so positive was because I really advocated for myself. I had done my research; I was confident in my knowledge, and most of that knowledge had come from the internet. With my first doctor, I presented it more shamefully, I think, with my tail between my legs. It sucks that the patient very often has to educate the doctor with some of these disorders.

GM: Yes, same here! It wasn’t until I did my own research that I was able to walk into a doctor’s office and advocate for myself. And this doctor actually agreed with me! I feel like the whole notion of getting a second opinion is born from a patient’s visceral reaction to being, in some way, dismissed. I think we need to shift from going to the doctor to be told what’s wrong with us to collaborating with doctors to find answers and corresponding solutions.

CC: So true about second opinions! Never thought of it that way. Collaborating is a great way to think of it, and I’ve found I get that more from eastern medicine, like acupuncturists are very collaborative. 

GM: Did writing about PMDD teach you anything new about living with it? If so, what?

CC: Well, it taught me that it’s incredibly challenging to write about. Because whenever I was writing about PMDD episodes I was usually in a more-stable state of mind so it felt difficult to get it onto the page. I think through writing it was how I figured out that treatment was such a layered approach. That’s why toward the end of editing, I changed one chapter name at the last minute from “Things That Helped” to “Things That Helped But Who Really Knows Since Treatment Was Such A Layered Approach?” PMDD is still a goddamn mystery to me.

GM: I always ask my fellow chronic club members if they practice radical acceptance, which is a skill taught in dialectical behavioral therapy (DBT). Is it something you try to incorporate in your life?

CC: Oh, I love this question. In my 20s, I got pretty into DBT and it helped me a lot, though I wasn’t struggling with PMDD then. I haven’t really thought about PMDD in terms of “radical” acceptance to be honest, though the arc of my book does sort of end there. Maybe I didn’t accept it radically, but I did accept it. Whatever you resist persists, and when I realized I was doing myself zero favors by trying to stuff it down, rid myself of it, find a magic cure, and began slowly integrating it, the symptoms began to chill a little.

GM: Another question I like to ask: how do you deal with unsolicited advice, medical or otherwise?

CC: Oof. I used to get this a lot, especially when I wrote about acne. I don’t get too much for PMDD, probably because most people don’t know shit about it. Anyway, I try to let it roll off. People might say stupid stuff, but they mean well, usually. Another technique is to tell the person ahead of time that you’re not looking for advice, you’re looking to vent or rant. It’s hard to be that forthright but it is possible!

GM: You call your PMDD your teacher at the end of the book. What are some things it has taught you since?

CC: I continually learn more about my body, cycle, and symptoms. Every month is a choose-your-own adventure! That’s the cool thing about the menstrual cycle, though. Each month is another chance. Menstruation is actually the fifth vital sign of health—but growing up, it isn’t presented to us that way. And if you can attune your life even a little bit towards your cycle, it can help you thrive.

I Might Be Going Mad, But I’m Not Losing My Mind

The title of La Marr Jurelle Bruce’s How to Go Mad Without Losing Your Mind caught my eye instantly as I scrolled through the lesser-known corner of Instagram known as Black Bookstagram. On the white cover, I made out the silhouette of the shoulders and head of a Black figure whose head is adorned with a dramatically tufted bouffant, summoning the likeness of an early-career Janelle Monae. Written across the figure’s face in white paint are words—French from what I could tell, though I could not make a cohesive translation—that appear as one long sentence too sprawling to fit within the boundaries of the silhouette visage. The figure’s dark eyes stare from the cover. I was transfixed, then enticed.

“Hold tight. The way to go mad without losing your mind is sometimes unruly,” it begins. Over the course of this book, La Marr Jurrelle Bruce articulates understandings of madness that encompass the lived experiences of Black, queer, and disabled people, putting forth a “mad methodology” that capsizes dominant notions of social, political, economic normalcy, and ethics, and invites, for me, a new possibility of Afrofuturistic imagining. It asks the reader to consider what it might mean to extend and exercise “radical compassion” in understanding, seeing, and listening to Black, queer, disabled artists and protagonists whom the dominant culture has deemed crazy.

Bruce’s explorations of madness take examples from both history and fiction, from the dawn of the twentieth century to the present. The book’s mad, Black subjects range from the purported founder of jazz, Buddy Bolden, to more contemporary icons such as Nina Simone, Lauryn Hill, and Kanye West, as well as the fictional protagonists of Ntozake Shange’s Liliane and Gayl Jones’ Eva’s Man. Bruce’s exploration of mad, Black women highlights the racialized and gendered intersections that get tangled up in popular perceptions of madness. In Eva’s Man, Eva demonstrates madness as a (sometimes violent) reaction to the institutional and patriarchal constraints that bind every aspect of her experience. For Liliane, madness is a source of transformation for Black pain into Black art. By the end, what I think Bruce does is craft a dynamic critical analysis of madcrazyBlackness that spans genre, medium, and epoch.

Consider what it might mean to extend and exercise ‘radical compassion’ in understanding, seeing, and listening to Black, queer, disabled artists.

In the first chapter of How to Go Mad, Bruce puts forth a four-pronged framework for understanding madness. First, he describes phenomenal madness, which he defines as an intense unruliness of mind—producing a fundamental crisis of perception, emotion, meaning, and selfhood that centers the lived experience and first-person interiority of so-called madpersons. Second, he describes the most commonly understood form of madness, medicalized madness, which encompasses a range of “mental illnesses” and psychopathologies codified by the psy sciences. The third iteration, and most commonly expressed, form of madness is rage, which he describes as the affective state of intense and aggressive displeasure. And the fourth and most encompassing understanding of madness he terms “psychosocial madness,” which Bruce describes as radical deviation from the normal within a given psychosocial milieu.  

I have thought myself some kind of crazy on multiple occasions throughout my life. In the social context of southern Mississippi, where I came of age, this suspicion was confirmed by my peers who made me aware of my otherness for behaviors, inclinations, and opinions that violated one social norm or another. 

“You talk like a white girl … That’s white people shit … Why you so quiet?”

I have thought myself some kind of crazy on multiple occasions throughout my life.

Knowing this, I tried to tamp down my otherness by trying to be like everyone else. In the insular world of adolescence, the acceptance of my peers was the life-blood of my self-confidence. People-pleasing was ripe within me from my youth. At the same time, I was an introverted, overthinking kid—more concerned with the complexities and conundrums of my inner world, than the social whimsies of the external world. While I wished for acceptance that ultimately never came, I wasn’t overwhelmingly concerned with it. Over time, I found solace in the periphery of the social drama known as high school. 

Rather than sulk in my outcast status, I made a home there as I got older. I insisted on my tomboyish presentation amidst a context that held particularly close to one-dimensional ideals of femininity and gender expression, often drawing stares and derisive comments from family, church mothers, and complete strangers. I doubled down on my bookish tendencies—a disposition that, according to my peers, was evidence of my “trying to be white,” despite my hazelnut brown skin. I kept to myself in a social context that often projected onto anyone perceived as a Black girl, an obligation to give oneself or be of service to others. 

Did that make me crazy? Possibly.

In a cultural zeitgeist that demanded I be one thing—one defined gender who presented one way with one set of interests and one way of being—these interactions and occurrences with peers, family, and community members constituted a “phenomenal unruliness of mind” that could only be expressed in the pages of the diaries I kept as a teenager. The result was a psychosocial madness that manifested itself not in rage (though there was plenty of that built up over time), but in a persistent dissociative tendency. I lived in a “high-functioning” state of prolonged depression that spanned my teens and early twenties. When I buzzed down my chemically relaxed tresses shortly after graduating high school, thwarting the social expectations that I wear my hair as a symbol of my femininity, I learned in hindsight that I had conjured suspicions of madness from members of my immediate community. 

“I was worried about you for a second there,” confessed my father, one afternoon over dinner. 

Embedded in this particular suspicion was a homophobia that was rooted in a Black southern culture of intolerance and anti-Blackness. It was later articulated as a question of whether or not I had “turned lesbian.” At eighteen years old, I had not begun the journey of embracing my queerness in any meaningful way and still had not found the permission to disavow myself of the long-preached condemnation I’d heard levied against same-sex loving people throughout my childhood. It was unreasonable to me how a choice in my appearance could also signal a perceived shift in my sexual preference. 

I have often imagined myself in a lineage of mad, Black artists. I’ve grown obsessed  with the details of their individual lives and stories. I immersed myself in discographies, collections, and bodies of work of artists like Nina Simone and Lauryn Hill—both prominent case studies in How to Go Mad, among others—as well as the works of Octavia Butler and Jean-Michel Basquiat, who are not featured in the book but deserve mention in this conversation of perceived madness. Each of their life stories and subsequent cultural legacies cooled (and sometimes stoked) the embers of anxiety, paranoia, and what Bruce calls “phenomenal madness,” that unruliness of mind that produces a crisis of perception, which are byproducts of their lived experiences of anti-Black racism and queer and transphobia. And in the tradition of mad, Black artists before me, I continue to transmute that experience into language to teach and tell stories that elucidated the human experience in all its nuance.

In my time as an adjunct professor of English, I often taught the story The Yellow Wallpaper by Charlotte Perkins Gilman. I first encountered the story in a Women in Literature class in college and though the protagonist was a nineteenth-century white woman, something about it called to me. In my own way, I was putting forth my own mad methodology of literary analysis trying to uncover—in conversation with my students—the motivations behind the protagonist’s apparent psychotic break. Last semester, while facilitating course discussion of the unreliable narrator of the story, a student offered, “Well, she’s crazy. So, why should we trust her word over her husband’s? Maybe she really needs help.”

Western culture’s popular understanding of madness is an understanding that is limited to medicalized definitions.

Though I didn’t have Bruce’s language to articulate the nuances of mad experience present in The Yellow Wallpaper at the time, that student, without even knowing, it had revealed the limitations in Western culture’s popular understanding of madness—that is, an understanding that is limited to medicalized definitions. Within these definitions, the understanding of what “help” looks like is often limited to pharmaceutical or institutional intervention. The compulsion to diagnose those who vex and perplex the social norms within our social milieu reveals a social desire to dismiss behaviors and ways of being that seem unreasonable. 

The connections between madness—medicalized or otherwise—and artistry were easily recognizable as I worked my way through the recently released three-part Netflix documentary Jeen-Yuhs. Like most people, I have struggled over the past few years to reconcile the MAGA-apologist Ye with the Kanye whose lyrics I’d memorized, whose fashion choices I’d mimicked, and whose infamous TRL proclamation had planted a seed of political awareness in my young psyche in the aftermath of Hurricane Katrina. It is more than apparent that the death of Donda, his mother, was the catalyst for the frenzied psychosis that he exhibits throughout the rest of his career. Bruce extends a “critical ambivalence” that is both critical of the violence and terror that Kanye perpetuates (namely in regards to Kanye’s recent behavior, openly berating and belittling his ex-wife and mother of his children, among other instances of violence throughout his career) and acknowledges the radical artistic possibility embodied in his early career.

This critical ambivalence is crucial in a conversation on madness in a world that insists on ideological certitude and cognitive closure. As with most things in life, madness escapes total condemnation or absolute praise. The question that Bruce calls his audience to consider is what might be the efficacy in madness, even amidst the potential to do harm. What can we learn from so-called madpersons? From the people who don’t fit into dominator logics of normalcy, rightness, and reason? 

As with most things in life, madness escapes total condemnation or absolute praise.

The late-career Lauryn Hill might reveal a radical insistence on what Bruce terms “madtime,” or a sense of time that thwarts the capitalist impulse to show up and perform on queue. Nina Simone’s “Mississippi Goddam” might stand to exemplify the power of rage as a driving force for artistic expression and social awareness. Literary protagonists like the main character in The Yellow Wallpaper or Liliane, another prominent case study in How to Go Mad, may stand to reveal madness as a mode of protection and subversion of “medical” authority. 

In making friends with my own madness—in embracing the process of “going mad” in a world that is maddeningly capitalist, patriarchal, anit-Black, anti-queer, and transphobic in order to not lose my mind—I lean into the radical Black traditions of subversive artistry and transgressive inclination. Though the road is sometimes unruly, I suspect it is a road leading to a liberating future wherein ethics of love, care, and radical compassion reign, and wherein we are active participants in transformation and healing.

8 Literary Friendships Told Through Letters

In 1995, I left the Elliott Bay Book Company in Seattle to teach English in Vietnam. Around that time, my friend and fellow bookseller Janet Brown traveled to Thailand to teach as well. There was no email then, and overseas phone calls were a luxury. So we wrote to one another, meditating on the countries we lived in, the books we read, the books we wrote, and the people we fell in and out of love with.

Love & Saffron by Kim Fay

Four years later I moved to L.A. and Janet moved back and forth between Seattle, Thailand, and China. Rarely were we in the same city at the same time, let alone the same country, but through our devoted missives, we created a shared spiritual plane. When I wrote my epistolary novel, Love & Saffron, we had been corresponding for 25 years. In the story, one character writes to the other: “When a new experience comes into my life, it doesn’t feel real anymore unless I’ve shared it with you.” This is Janet and me. 

We owe our bone-deep kinship to our correspondence. I am certain this is why collections of letters between friends are my favorite. I chose these in particular because each one captures a unique way in which letters can establish profound and unbreakable bonds.  

As Always, Julia: The Letters of Julia Child and Avis DeVoto edited by Joan Reardon

There is plenty of food in these letters, of course! For that it’s worth the price of admission. But what I love most about the exchanges between Julia Child and Avis DeVoto is the way they crafted a rich friendship before they ever met. When Child writes to DeVoto’s husband in 1952 about his article in Harper’s criticizing American stainless steel knives, DeVoto is the one who responds, and in the first letters, it’s clear the two women have an instant rapport. They are unselfconsciously funny. They aren’t afraid to be affectionate with one another. And because of the timing, DeVoto becomes crucial to the success of Child’s Mastering the Art of French Cooking.

Sister Love: The Letters of Audre Lorde and Pat Parker 1974-1989 edited by Julie R. Enszer

Audre Lorde and Pat Parker were Black, lesbian, feminist poets, giving this collection significance in a historical context. But what moves me is the way they constantly encouraged one another. They were both striving as artists and activists, struggling to claim space for themselves, but they never competed with one another. In exchanges about race, politics, motherhood, and cancer, all framed by their writing lives, their mutual trust is unequivocal. When Parker wants to quit her safe job to write full time, Lorde replies: “I support you with my whole heart and extend myself to you in whatever way I can.” To me, this captures friendship in its truest form. 

Between Friends: The Correspondence of Hannah Arendt and Mary McCarthy, 1949-1975 edited by Carol Brightman

Granted, I first heard Hannah Arendt’s name in the wonderfully subversive Party Girl starring Parker Posey. But does it matter how we come to read someone, just so long as we do read them? An admirer of Arendt’s The Origins of Totalitarianism and Mary McCarthy’s Vietnam, I find their correspondence fascinating. Their letters illustrate why they were two of the most important (and controversial) thinkers of their time. They are also a reminder that even the most formidable of people need close friends—that person they can discuss everything honestly with, from the dissolution of a marriage to the definition of Truth with a capital T. 

The Letters of Denise Levertov and William Carlos Williams edited by Christopher Macgowan

Denise Levertov used to come into the bookstore where I worked to chat with one of my co-workers. I was envious. I wanted to have conversations with this serious, surprisingly playful poet. The next best thing was the publication of this book, which begins with the young Levertov’s fan letter to literary great William Carlo Williams. Throughout the 1950s into the early 1960s, the two poets became friends on equal footing. While they share details of their personal lives, their letters sing when they discuss poems; threaded through their correspondence is a master class on writing poetry.

The Delicacy and Strength of Lace by Leslie Marmon Silko & James Wright

I remember first picking up this book because of its physical beauty. A slim objet d’art. I just wanted to hold it. Then I read it and understood what a treasure it truly is. It is yet another correspondence begun by one artist admiring another—in this case James Wright moved to tell Leslie Marmon Silko how her debut novel Ceremony made his life more meaningful. Over the course of 18 months, until Wright’s death from cancer, the two open their hearts to one another with evocative, and often breathtaking, depictions of their lives. 

Always, Rachel: The Letters of Rachel Carson and Dorothy Freeman, 1952–1964  - Kindle edition by Carson, Rachel, Freeman, Dorothy E., Freeman, Martha.  Literature & Fiction Kindle eBooks @ Amazon.com.

Always, Rachel: The Letters of Rachel Carson and Dorothy Freeman, 1952–1964 edited by Martha Freeman

My admiration for Rachel Carson began not with her classic Silent Spring, but with her earlier nature writing about the sea. Her scientific prose as fluid as poetry made me want to know more about her, and I read these letters eagerly. They reveal the genuine love Carson had for the natural world, as well as the tenderness of her heart. She and Dorothy Freeman became summer neighbors in Maine in the early 1950s. During their seasons apart, they wrote to one another often. Their romantic tone has caused endless attempts to define their relationship, but I feel what’s important is the authentic beauty and strength of their bond, which for the two of them was the meaning of life itself.

A Different Distance by Marilyn Hacker & Karthika Naïr

Written during the first year of the pandemic, this exquisite book is an exchange between two poet friends both living in Paris but unable to visit one another. Using the renga form in which the first line of each new poem takes a word from the last line of the previous poem, Marilyn Hacker and Karthika Naïr sent poems back and forth, distilling those early Covid days. Hacker wrote of phone calls and texts that replaced “wine-flavored exchanges in the public privacy of a café,” and Naïr, going through cancer treatment, managed to discover that “something steelier than hope lights the heart once more.” Of the many books written during and about the pandemic, this deserves to be a classic.

84, Charing Cross Road by Helene Hanff

I don’t care that this collection shows up on nearly every epistolary book list. It is a sublime example of how letters can grow a friendship. New Yorker Helene Hanff wrote to Marks & Co. booksellers in London in search of an obscure book. As she and the shop’s chief buyer, Frank Doel, corresponded, their messages about books blossomed into a friendship both tender and fierce, as well as a study on everything from post-WWII rationing in England to the Brooklyn Dodgers. Hanff is especially appealing with her gruff sense of humor and no-nonsense—and occasionally vicious—love of books. Great gaps of time prove (at least to me) why letters make such satisfying reading. They always leave room for the reader’s imagination to play a role in the relationship as it unfolds. 

The Chickens Will Inherit the Earth

“Ark” by Zoë Ballering

On the 152nd day, after a spate of double-crowing at the crack of dawn, Naamah appeared in my doorway. Although she was a normal-sized woman, I had a shoebox-sized cabin, the smallest among any of the handlers, and I had the sense that if she took another step her bulk would pop me out into the passageway. Rain caught at the ends of her eyelashes. Her hair frizzled. She looked mad as a wet hen, which would have solved the chicken fiasco, but she remained defiantly human. 

“Karis?” she asked in a tight little voice. Naamah was Noah’s wife and first lieutenant. She prowled the decks from gray dawn to gray dusk, soaked from her rounds and reliably ill-tempered. The ark carried eight Covenants—Noah, Naamah, three sons, and three wives—and five handlers tasked with overseeing each of the main animal groups. I was in charge of caring for the birds, along with handlers for mammals, amphibians, invertebrates, and reptiles. There was no one for fish, because the fish were doing fine without our help. And even though we advised the Covenants on how to properly care for all of the animals, Naamah bore us a special hatred. If God ever gifted her the right to conduct a secondary selection, she would have bagged us up and tossed us overboard in the time it took for the rain to fill a thimble. 

“Is something wrong, Matriarch Naamah?” It was the honorific she preferred, a means of reminding us that she would become the progenitrix of the whole human race after God finished drowning the world. I suspected she hated the handlers because we threatened the purity of that line. Nothing would make Naamah madder than if Eliph from Invertebrates had a fling with Tersa from Reptiles and they produced an entire second lineage, so that the children of the Covenant would be forced to share the earth with a bunch of accidental boat babies. According to Noah, God had forbidden copulation during the flood, and the punishment for breaking His commandment was expulsion from the ark and the subsequent extinction of the species. So far the animals had listened, even the rabbits and a particularly randy donkey that had a reputation in antediluvian times for his readiness to stud. But humans were different—we could recognize a bluff. 

“Have you checked the chickens recently?” demanded Naamah.

I’d coaxed the eastern rosella to take a nut from between my teeth, I’d petted a collared dove that cooed when I rubbed the slippery feathers at the base of her neck, and I’d taught a rose-ringed parakeet to curse the downpour in language so colorful that it surpassed her plumage. In short, I had really worked my keister off, but I had not checked the chickens, no. 

“Have you noticed—” began Naamah, and then the world really turned against me, what was left of it, anyway, because at that moment the two roosters crowed at the exact same time. I could almost have convinced myself that it was one rooster really cockadoodling his delight in life, but then they crowed again in quick succession—two separate, overlapping notes—and it became impossible to deny that there were two of them.

There was nothing to say. I followed Naamah out of my cabin. Everything smelled briny, dirty, dingy, full of dung. We passed the two large avian compartments that housed most of the birds, though I had chosen to cage some of the more aggressive raptors. I’ll give it to God—He had really struck fear into their fluttery avian hearts, and in addition to copulation, grounds for expulsion included feeding on one’s fellow animals. Still, I could never quite be sure. Sometimes the Cooper’s Hawks got a look in their eyes like they were willing to forfeit all future generations for the pleasure of ripping out a pigeon’s gizzard. 

But the other birds—the ones who ate grasshoppers and walked on lily pads and built blue bowers to woo a mate, the ones who snuck their eggs into other birds’ nests and balanced on a single leg above the swirl of water—those birds sang. 

“What a racket,” muttered Naamah, wrinkling her nose. They clucked and cooed and tweeted and shrieked and drummed their bills and clacked their beaks and the blue jays made a sound like a rusty gate swinging open. I suppose she had a point. Not every utterance could technically be called a song, but I still counted it—they sang for me, an act of celebration. I thought of my mom and how her flock of chickens always clucked when she came near, a deep and satisfied burble. Once I found her in the kitchen feeding sugar water to a weak chick. She held the spoon; he dipped his beak and drank. He had black feathers and shiny black eyes and he cheeped for his mother in the yard. “Very nice, very sticky on your beak,” my mother murmured. She taught me this—to always answer. So I sang too, a slurry of nonsense and liquid notes to greet the birds that I had chosen.

My cabin was so far from Noah’s state room that we walked for twenty minutes before Naamah led me topsides at the stern. It was 7am, the Open Air Hour for Reptiles, so snakes, crocodiles, turtles, and lizards lay strewn across the deck, attempting to warm themselves in the nonexistent sun. I spied Tersa sitting on a deckbox feeding a pair of blue-tongued skinks a scrap of dehydrated apple. I met her eyes and shrugged, trying to convey the dubiousness of the case against me, though in truth I worried that Noah might treat the rooster debacle as an expulsive offense. 

I liked Tersa, but I detested snakes. My heart pounded as I walked past a clump of them, some drab, some jeweled, sliding their smooth, scaled bodies across the smooth, scaled bodies of their fellow snakes. The chill made the reptiles sluggish, and several times Naamah nearly crushed one of the smaller lizards beneath the heel of her rain boot. She didn’t seem worried, though. If she flattened the last remaining female blue anole she’d find a way to blame Tersa. Sometimes I suspected that the Covenants had brought us on to fill the quota for that final, most essential species: scapegoats. So great was our value that Noah had selected five instead of two. 

Noah’s state room had a full bank of windows. He was standing when I arrived, gazing out at the invisible seam where the sky, undifferentiated, met the ocean. He had started shaving his head at the beginning of the flood and his scraped pink skin reminded me of the turkey vultures in the avian compartment. On the ark they subsisted on a diet of fish and pumpkin, but in non-flood times their bald heads kept them from dirtying their feathers as they feasted on rotting flesh. It pleased me to imagine that Noah followed the same laws of hygiene. 

“The Patriarch will see you now,” said Naamah before she retired from the room. 

Noah turned. His eyes passed up and down my body. 

“Sit,” commanded Noah. I sat in a chair pulled up across from his desk. He was silent, glowering. I was silent, studying the room. Twenty of my shoebox-cabins could have fit inside. He was trying to convey a level of austerity appropriate to God’s most devoted servant, but certain details gleamed luxuriantly. A Cross pen shone on the raw wood of his desk; the claw foot of a bathtub peeked out from behind a curtain. 

“First, Karis, I want to express how much I appreciate the work you did while my sons and I were readying the ark. You were instrumental in bringing on the birds. That being said, I think we both know that my family is capable of caring for the animals ourselves. Ham and his wife could handle your job quite easily, maybe even split their time between Reptiles and Birds. So you might be asking yourself, ‘Why have God and Noah blessed me with a spot on the ark?’ Before we talk about the issue with the roosters—a very serious issue, I might add—I want you to understand that I brought you on as a favor to your mother.”

I caught myself midway through the act of rolling my eyes, right when I was looking up at the overhead compartment, and then I lowered my gaze and pretended to fan myself, hoping that Noah might believe that my immense gratefulness had almost made me faint. Certainly it’s true that my mother is Noah’s first cousin once removed, making me Noah’s second cousin, making me also distantly related to the other handlers in some complex way I can’t remember. But Noah has never acted altruistically; he has never acted for the sake of anyone but God. The birds might be tractable and eager to survive the flood, but they still needed someone sensible to care for them, not that hamhead Ham, or Shem, whom I had once caught licking a banana slug in the Invertebrate compartment, or Japheth, who looked like what would happen if God breathed the breath of life into a potato. 

No—Noah picked me because I had a bachelor’s in wildlife biology and because, unlike my cousin Hiram, who holds a PhD in avian management and conservation, I had agreed to host the tapeworm. Hiram responded squeamishly when Noah raised the possibility of a human custodian serving as a secondary ark. I was more open to the idea. It seemed like a pretty good deal—tapeworms contain both male and female reproductive organs, which meant I only had to carry one. 

“Karis, tell me honestly—did you even try to verify the sex?”

“I did! Patriarch Noah, I swear I did.”

How to explain? All those birds luxuriating, squawking, promenading, trying to show themselves off, and me with the power to grant passage. God had ordered them to assemble in the fields around my mother’s house, and I was given five days to pick the most ark-worthy pairs. My mom was packing up while I was conducting the selection, and every time I came inside, the house looked a little barer. And I remember feeling guilty because it was Hiram, not me, who would help her move to higher ground.

At dinner each night before I left, she asked about the birds and while I described them she closed her eyes and gave a hum of satisfaction. I didn’t always want to talk—it was hard work searching for white ibises with the bluest eyes and peep wrens with the brightest spots—but I tried to stay upbeat to please my mother. 

On the morning the ark was scheduled to depart, my mom asked about the chickens. It was an innocent question—she wanted to know what breed I had chosen, because she hated those poofy-headed ones that other people seemed to like. And sitting there, with a spoonful of muesli halfway to my mouth, I felt my heart sink into my rainboots. 

In truth, I’d been so caught up by the exotics that I’d barely paid attention to the ordinary species. The previous afternoon, after a final, frenzied selection, I’d sent the remaining birds home and they’d flown and hopped and harrumphed away—including all of the chickens.

“Oh, Karis,” said my mother. It was the phrase I dreaded most in all the world. 

Of course she let me take her chickens. She wanted to keep the hens for their eggs and the rooster for breeding, but she let me choose two hatchlings from her flock. I did check. I tried the venting method, the one where you squeeze the feces out of a chick and then inspect the open anal vent for an “eminence”—a pimple-sized bump that indicates a male. I determined that I had one male and one female chick. Admittedly, I read all this in my mother’s poultry manual five minutes before I gave it a try. Admittedly, it did not work out. 

 “And you never noticed in the past, oh, one hundred days or so, that you had two coxcombed roosters wandering around?” asked Noah. 

“Well, you can’t really tell the difference between a male and female till the two-month mark, and I’ve seen the adolescent rooster quite a lot lately, but I never saw both roosters at the same time. And then of course they don’t start cockadoodling till five months and I just assumed that all was well until Naamah pointed out the double-crowing.”

Noah pounded his fist on the table. The Cross pen jumped like a gleaming silver fish. 

“Do you understand,” demanded Noah, “that you may wind up responsible for an extinction event?”

“Patriarch Noah,” I said in my quietest, most feminine voice, him being very into these types of distinctions, “I think this apocalypse scenario is a little overblown.”

At which point I thought he might pick up the Cross pen and stab me in the throat. He intoned the Word of God: “And every living substance was destroyed which was upon the face of the ground, both man, and cattle, and the creeping things, and the fowl of the heaven; and they were destroyed from the earth: and Noah only remained alive, and they that were with him in the ark.”

Whenever he quoted God he got that voice people use when they read poetry, quivery and overdramatic. I couldn’t say what I was thinking, which was, hold on, old man, calm down. Noah has always been a blowhard. Whenever he tells a story, you must prepare yourself to divide everything in half. If he says he caught a ten-pound tilapia in the Sea of Galilee, you have to assume it was a five pounder that he pulled from a tank. If he tells you that his grandfather lived for 969 years, it was more like 450. If he says God is so wrathful that He’s going to wash corruption off the face of the earth, you have to figure that God is ticked off and sending a moderate deluge. 

But there was still this niggling voice in the back of my head. Plenty will remain after all this rain, but did I really have faith in the chickens? They’re like feather-covered footballs with dumb, sparkly eyes. I doubted they had the sense to survive a once-in-a-millennium flood. Suddenly I imagined all of my cousins eating quail egg omelets at a family reunion and yelling “Chicken extinctor!” as I tried to hide beneath a table. And I thought about the language that would go extinct, or, even worse, would continue on without a referent, so that no one would remember exactly what it meant to chicken out, or to run around like a chicken with its head cut off, or to choke the chicken, though I honestly wouldn’t miss that last one. 

I panicked just a tiny bit and my mind raced like the female gazelle that used to gallop across the deck. Then one day she slipped and broke through the lifelines and fell overboard. That, too, was almost an extinction event, but Ophir managed to fish her from the water.

Oh God, I thought, what would my mother think? It was her cockerel that I’d mistaken for a pullet. She’d loved birds my entire growing up, always kept chickens, always given them fanciful names. She was the reason I’d majored in wildlife biology with a special focus in ornithology. She’d even encouraged me to apply for a spot on the ark. My day-to-day duties mostly involved mucking the avian compartment and scrubbing guano off the deck, but my official job title—Diluvial Bird Handler—conveyed a high level of prestige. 

The truth, of course, was that I didn’t have much skill as an ornithologist. I lived at home and worked as a waitress after I got my degree. Every few months I’d shoot off an anemic application to an avian preserve, halfway wanting it, halfway not. I liked the tips. I liked being on my feet. I liked going home and not worrying about the harm that chewing lice caused to birds with damaged bills. I had no ambition other than to make ends meet. I even liked how it sounded, that phrase. Making ends meet, taking the tails of my life and lifting them up into a smooth little circle. A modicum of success seemed to me like the perfect measure. The only time I ever felt bad was thinking of my mom. She, too, had a smooth little circle of a life. She was a baker, a keeper of birds, and although the smallness of her circle never shamed me, one day I realized that I filled its center completely. 

I thought I could bear being called a chicken extinctor for the rest of my life, but I didn’t think I could bear for her to hear it. And I thought of my mother high up on the side of Mount Ishtob, and I thought how much I missed her, and it was at that moment that I formed my plan.    

“Patriarch Noah,” I said, “My mom has a whole flock of chickens. She took them with her when she and the rest of the settlement evacuated to higher ground. If we could circle back for a quick second, I can dash up the mountain and grab a hen, just to be sure that we can repopulate the earth if God really drowns all the chickens.” 

“Karis,” he said, “when God has finished there will be no seedtime and no harvest, no hot nor cold, no summer nor winter, no day nor night, and no more chickens.”

“Right.” 

“Very well,” he grumbled. “God commanded me to save two of every animal, a male and a female, and I shall fulfill God’s will. Bring back a hen or you lose your spot on the ark.”


Ten days later, we dropped anchor half a mile from Mount Ishtob and Tersa and Ophir lowered me down on the rowboat.

“You have until nightfall to reverse this extinction event!” screamed Naamah from above. “We’ll leave without you if you don’t come back in time!”

Either I was anxious or the tapeworm was turning somersaults inside of me. Regardless, I felt ill. I grasped the oars and rowed. I was not, however, a very good rower, having never manned a rowboat in my life, and for a while I got caught up in the current and drifted farther out to sea than the ark itself. 

I glanced at the sky. The clouds made it hard to gauge the time of day, but I guessed I had four hours before sundown. I could hear Naamah shrieking, also the animals making all of their animal sounds. 

“Well what do they expect?” I complained to the tapeworm. “I’m not a rower, I’m an ornithologist.” I swished my oars through the murky water. Only the sea creatures had flourished in the flood—I imagined fish flippering insensibly beneath me, one world expanding as the other shrank. 

 Eventually, I righted myself and developed a rhythm, a way of throwing my shoulders into the oars. Naamah’s shrieking died away. It took maybe forty minutes to reach the flank of Mount Ishtob. When the boat finally scraped against the shore, it made the sound of pebbles pouring from a pitcher. I was hungry. My stomach and my tapeworm clamored for food. It was that time on the ark when Shem’s wife summoned the Covenants and handlers for an afternoon snack—hardtack with a dollop of honey. I thought of my mother waiting at the apex of Mount Ishtob. She didn’t have much, but she was still my mother. She always fed me when I came home.  

I jumped out and dragged the boat inland, well past the edges of the makeshift beach. I wanted to make sure that the waves couldn’t steal it away, because although I didn’t believe that God would wipe all life off the face of the earth, the worst-case scenario that Noah had depicted—a chicken-less, Karis-less world—struck me as unspeakably sad. I gazed at the ark. It was long and dark against the gray. I saluted, blew a kiss, made a face, turned my back. I had to bushwhack, but after a while I came to a path I recognized that wound up the side of the mountain.

Was path the right word? Once it had been a hard pack of dirt, but now it channeled excess water. Except that all water had become excessive—it washed over my rain boots in a muddy swirl, moving downward. My mother had lost her home in the first forty days of the flood. The old settlement was somewhere close, east and below, but it unnerved me to see so little debris. I spied a door that had washed up with the skeleton of a dog on top of it, a stroller, a washboard, even, in the midst of ruin, an intact light bulb on a heap of netting. For the most part, though, the world had resolved into water: everything soggy, swallowed, sunk. 

The trees that still stood had died in the first rounds of rain. Perhaps they lost their leaves reluctantly, one by one, or all at once in a great denuding. However it happened, those leaves had sunk or disintegrated or swirled into the ocean, so that an angel who only visited the earth in flood would form such false opinions: that trees had no leaves, that gray was the only color, that humans were subordinate to mold. It bloomed all across the land but also up, so that it climbed tree trunks and telephone poles and barbed wire fences, so dense on the barbs that they became like cotton balls and I could have swabbed my face without a scratch. 

I was forced to admit that this was more than a moderate deluge. Not that we were being wiped off the face of the Earth, but that God had decided to make his point more pointed, us heathens being so obtuse.  

“God,” I cried, looking up at the heavens so that the rain needled into my eyes, “I get your point.” 

Not that I was planning to stop eating meat or rest on the seventh day, but I promised to be kinder to my mother. She drove me crazy—how she scrunched up her face when she couldn’t think of an answer or half-finished one story and started on another without any indication of the switch. When she cooked she touched every knob, appliance, and serving utensil with soiled fingers, so that after the production of a meatloaf or a pork chop the kitchen looked like a crime scene, and I would follow her huffing with a wet paper towel and take her hands in mine and firmly clean them. I found her even more exasperating than Noah, if I’m being honest, but she was also the person I loved most in the world. Sometimes when I was doing something mindless, lying in bed or scattering birdseed, shame would wash over me, and I would vow to be a better daughter—more loving, more ambitious, more sincere.

The path curved around a patch of bare pines and then the new settlement stretched out before me, a scattering of tiny, tin-roofed cabins. By the quality of the light I guessed I had two hours before sunset. The air was thin here, but thick with rain, and the moisture stuck in my throat like a velvet sock, half soft, half suffocating. Mount Ararat was technically a few hundred cubits taller, but the original settlement had existed at Ishtob’s base and no one wanted to schlep to the top of a whole other mountain. I could see my mother’s cabin down the puddled path. Hers looked just the same as all the others, except for the chicken coop that leaned against its side. 

I marched up to her door and knocked and knocked. It occurred to me that she might not be home, and for a moment I felt my heart skitter in my chest. But then—where else could she be? There was nowhere to work, nowhere to walk, and I was sure she was sick of her neighbors. I could feel myself on the edge of tears—that itchy, hysterical feeling that struck me whenever I came home. So I pushed open the door in a fit of panic and there she sat, playing a game of solitaire at her kitchen table. 

“Karis,” said my mother, so composed that she took another sip from the glass by her elbow. “I thought I imagined the knocking.”

“Mom,” I said.

“Are you real?”

“Of course I’m real.”

“Last week the rain delirium convinced your Uncle Talmin that his drowned dog Dodo had shown up with a tennis ball.”

“I brought you a feather,” I said. I held out the only gift I had—a green iridescent tail feather that I had plucked from the golden-headed quetzal. 

“That is so much better than a tennis ball.”

She came around the table and hugged me and I felt how small she was, like a doll with two enormous breasts. I was taller but equally endowed, so that the shelf of her chest ended right below where mine began and we fit together like two buxom pieces of a puzzle. 

When I tried to break free, she pushed me away but didn’t let go. Her hands clamped down on my shoulders.

“Did Noah kick you off?” she asked in her sternest mother voice.

“It’s a long story. I have to get back before sundown.” 

“Thank God,” she said, and we both winced at the phrase. It was one of God’s most successful ploys: language so ingrained that it betrayed us into gratitude.

Then she released me, stuck the feather in an empty jar, and puttered around in the kitchen. I sat down at the table. Her cabin was maybe 10 by 16 cubits, with a cooking area in one end and a cot in the other. There were various vessels spaced across the room to catch leaks from the roof. She hadn’t brought much in the way of decorations, and I guess as a workaround for loneliness she had started doodling on napkins and taping the napkins to the walls. The one closest to me showed a wiener dog standing on top of an overturned canoe and baying at the sky with a little speech bubble that read, “I miss you, moon.” 

“Are you hungry, Karis?”

“Yeah, a little bit.” I knew I didn’t have time to linger, but what I wanted most was for my mom to spoil me like she used to do when I came back from college.  

“I’m sorry I don’t have anything special to give you. I just used my last tin of meat.”

“Aw, too bad,” I said. “We’re vegetarian on the boat. I guess God forbade us from eating meat. That’s what the Covenants say—it’s one of the reasons He’s supposed to be so mad.” 

She filled a pot with water, laid a single, speckled egg inside, and lit the stove. Then she came over and sat across from me. It was such a tiny table that our knees touched. 

“You’ve been okay?” I asked. 

“Oh, sure,” she said, right as a drop of water plinked into the glass that was sitting on the table. “A lot of solitaire. A lot of solitude. I guess I didn’t think it would go on for quite so long.”

“No one did. Folks were guessing forty days at first.”

“Well, Noah did try to set us straight.” We rolled our eyes in unison.

“He’s really very pompous,” I said.

“All the men in this family. You never even knew Methuselah.”

I grinned. Nothing felt better than shit-talking the Patriarchs at my mother’s kitchen table. It distracted me from how the Covenants were almost certainly shit-talking me on the ark. 

Outside the window, I could perceive a slight change in the quality of light, luminous grey shading towards a greater darkness. 

“How are the chickens?” I asked. 

“Gone. A few of them drowned. A few of them stopped eating. The rooster got an infection on his comb and died.” 

I felt like I was about to choke. “But there must be some left,” I stammered, and I reached out and took a gulp from her glass of endlessly replenishing water. A black circle Sharpied on the wood marked the place to put it back.

“Just my favorite hen, Mizzy. That’s her egg you’re about to eat. You remember her, the buff-colored orpington with the—”

“Mom, listen, I know this is a huge favor to ask, but I need to borrow Mizzy till the end of the rain.” I explained the chicken sexing disaster and how Noah claimed he would throw me off the ark, and the more I talked the more my mother seemed to crumple, till she was resting her face in her hands. I knew that I was asking too much—that I was leaving my mom with nothing but a wiener dog baying soundlessly on a scrap of napkin. The Covenants weren’t much company, but I had Tersa and Ophir and the other handlers, not to mention 10,000 mating pairs who sang when I passed by. There was no one to sing to my mother. She was alone in a leaky cabin with a passel of irritating neighbors and only the sound of the rain.

“Oh, Karis,” she said. 

“I can stay if you want,” I blurted. I meant it. I would stay, if she asked. “We can forget about the chickens.”

She shook her head. “You have to take Mizzy. You have to go back to the ark.”

“The birds would be fine without me. Ham’s a dummy, but he can keep them alive for a while on his own.”

“Karis, I’m asking you to take things seriously, for once. The rain isn’t stopping. The water keeps rising. Folks are saying God really means to drown us.”

She had started believing her pessimist neighbors, but I knew it didn’t make sense. How was it possible? How could God make the world and then just wash it away? 

The egg timer beeped and my mom stood up and went to the stove. She returned with the egg, peeled and steaming and slick.

“Eat,” she said.

I grabbed a knife and cut the egg down the middle. It fell open on the plate. The yolk looked as orange as the missing sun, nestled tightly in the saucer of the white. It was perfect, creamy and hot, with just a hint of jelly at the center. I handed half to my mother. 

“You’re sure you’ll be okay?” I asked when we had finished eating.

And she smiled at me so that her eyes crinkled and I could see her crow’s feet.  

“I’m sure,” she said. “I gave you life. I can give you Mizzy.”


Mizzy was so used to being touched that my mom didn’t even have to chase her. She just gave her a few caresses and scooped up the hen into her arms. Buff-colored orpingtons are famed for their plumpness, but Mizzy had shrunk and some of her buffness had faded to a sickish cream. She was missing a good chunk of feathers and I could see her goosepimple flesh peeking out, angry and pink, revealing the thinness of her neck. 

“Shhh,” said my mom as she rubbed Mizzy’s head with her thumb. “Mizzy’s a good girl.”

We were huddled in the covered part of the coop. The floor was a mess of mud and straw. Months of rain had softened the wood so that it felt like standing on a biscuit. My mother showed me how to zip Mizzy up so that her body pressed against my chest and her head stuck out from the top of my raincoat. I supported Mizzy’s weight with one arm and hugged my mother with the other—an awkward hug, our shoulders touching and our bellies angled out so that we didn’t crush the chicken between us. Our raincoats rubbed together with a plasticky swish.  

“Be good, Karis.”

“Always.”

“Do as Noah asks.”

“Most of the time.”

“And make sure to eat enough. You look so thin and pale.”

I bobbed my head. I had never told my mother about the tapeworm and I never would. I wanted her to keep believing that I had been chosen for the ark because of something exceptional inside of me—something unrelated to the worm.  

“I love you,” she said. She looked at me with the biggest, saddest eyes. My mom always hated goodbyes.

“I love you,” I answered. “And I’ll see you on the other side of all this rain.”

Then I ran down the hill, following the stream of water and trying not to slip. I dragged the boat into the ever-rising ocean and hopped aboard and rowed like a maniac, till I could make out the corkscrew of Naamah’s curls as she marched around keeping order on deck. I had a few minutes to spare before the sun sank below the horizon, and for a moment I just sat there, resting my hands on the oars. I looked down at Mizzy’s amber eyes, the flag of her comb like a red flare in the grayness, a sign that the gray had not won. She chortled, then made a sound like a koo koo koo. I revised my estimation of her intellect. She didn’t look dumb. She looked infinitely wise, a feathered football with dinosaur feet, having taken the form of a bird to survive that first extinction. 

She was, I decided, the most beautiful chicken I had ever seen. I wondered if this was what God intended all along—partial terracide to shift our love to the leftover bits. Maybe He wanted the same: to start again, loving deeply what remained. I thought He was wrong, a big God baby who knocked down the blocks when He noticed an error in the stacking, but I couldn’t deny that I felt different now. Once I loved cypresses. Now I poured that love into any tree that still existed. Once I found Gold Laced Wyandottes the most pleasing breed of chicken. Now I loved Mizzy. And my mom, I had always loved her more than all the trees and chickens, but the end of the earth made that clear. 

“Is that what you’re up to, God?” I demanded, but God, of course, did not answer. 

Then Naamah’s head poked over the side of the ark and I raised up the chicken as proof that I had carried out my mission.

“Bring her up,” Naamah ordered.

I lashed the rowboat to the lifts and Tersa and Ophir hauled me back aboard the ark. The  boat jerked upward. Mizzy clucked and shook her head.     

“Wait till you meet the roosters,” I whispered to Mizzy, trying to calm her down, and I explained how they showboated along the taffrail and put the peacocks to shame with their confidence. 

The tapeworm twisted in my intestine and Mizzy pressed against my chest. I imagined all my cousins in the gazebo at the family reunion, dragging their forks through piles of scrambled eggs so fluffy they seemed like they might rise up from the plate. Trees rustled above our heads and the poppies bloomed with tissue-paper redness. The sun was shining and the moon would return in the night. Everything gray had taken life and God saw, again, that it was good. Far away, a tame sea broke quietly against the rocks and the passerines sang from the trees, the thrushes especially for us, song and countersong, a net of notes falling from the sky, but not like rain. I thought of my mother and how everything that was good in me had come from her, and how someday, when we gathered once again, I would not have to hide my face. We would sit side by side at the table, and when my cousins came up to greet us they would call me the Savior of Chickens, and my mother’s cheeks would pink with the pleasure of my name.

Jason Schwartzman Believes Everyone Has a Piece of Flash Nonfiction In Them

In our series “Can Writing Be Taught?”, we partner with Catapult to ask their course instructors all our burning questions about the process of teaching writing. This month, we’re featuring Jason Schwartzman, an essayist, and fiction writer, and author of the memoir No One You Know: Strangers and the Stories We Tell. Check out the 4-week online non-fiction seminar Schwartzman is teaching about wielding the power of brevity and crafting nonfiction that continues to surprise from beginning to end. We talked to him about observation and the value of a good notebook, the intimacy of ping pong, and the enormously delicious Torres Black Truffle Chips. 


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

A while back, I signed up for a Memoir workshop mainly because my life was feeling vacant and I needed a jolt. When we had to turn something in, I was insecure because I didn’t have a Very Big Thing that all memoirs seemed to be made out of. What I had were all these random, surreal-ish, sometimes-poetic encounters with strangers that were filling in the space where my life used to be. When the piece got workshopped, the big-time enthusiasm I received was a shock, especially since I’d been so down. The exact best thing was a phrase someone said. They said they didn’t really know what it was they were looking at but they “would read a whole book of this.” On the walk home, my body was a riot of endorphins and purpose. I created a playlist called “a whole book of this” and then I spent a year writing the whole book. That’s how No One You Know happened.

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

In a fiction workshop, one dude HATED a story I wrote about a celebrity profile gone wrong. This dude took real glee in trying to tear the story down, which felt like the unforgivable sin (rather than how deeply he’d misunderstood it, which happens!). At one point I remember he said something like “The only interesting thing in the entire story is this one line,” which was just a description of a shower drain. It got to the point that the instructor felt a need to step in and defend it (which helped). While the dude was talking, I wrote a free-form haiku, which I also remember: 

“Bludgeoned by a buffoon
The whacks are hard
But do not hurt.”

I was lying though. It did hurt!

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

Raise your alertness by keeping some kind of field notebook (pocket, digital, mind palace, whatever works) for observing.

For nonfiction writers, my bedrock advice is what the tour guide and poet Speed Levitch once called “taking notes on the present tense.” The idea is to raise your alertness by keeping some kind of field notebook (pocket, digital, mind palace, whatever works) for observing, remembering, and riffing. I think it works like writing down your dreams: the more you do it, the more you remember. The more you write in your notebook, the more you’ll observe. 

Recent gleanings from mine: (1) when I asked someone how they were doing, they responded: “I’m rusting” (2) the mystery of how solitary wasps seem to be spontaneously generating in our apartment, each living the exact same life over and over (3) meeting a man who carries around some kind of lube to maintain his ping pong paddle. 

Many of the gleanings might not amount to anything bigger, but some will. Even for the ones that don’t, there’s often a joy in rediscovering them later.    

Does everyone “have a novel in them”?

I’ll let the novelists duke that one out. Everyone definitely has a piece of flash nonfiction in them, though! A single uncanny moment or anecdote or observation or idea is enough to get going. While brevity comes with its own challenges, on the whole, short nonfiction is a highly accessible form to try out. It’s practical (takes less time) and can be a productive distraction from longer projects while still being extremely powerful in its own right. I enjoy sending flash pieces I love to my friends who “aren’t readers” because even they can be seduced by something that’s just a page or a few.  

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

No. That doesn’t feel right to me. 

A fruitful workshop combines a mix of what’s working and what’s not, always with a spirit of kindness.

This is very different, but I do think it’s helpful sometimes to remind students (and myself) that there are so many other worthy, wonderful goals besides, beyond, or in addition to a White Whale they’re chasing. I’ll mention small presses, which cracked open a whole world for me, self-publishing, lit journals, open mics, and the oft-forgotten but pure delight of sharing something you wrote with a friend, reading it out loud, and them hearing it.  

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

A fruitful workshop combines a mix of what’s working and what’s not, always with a spirit of kindness. It’s really hard to choose because I think they need each other, but gun to my head, I’d say praise!

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

I like a hybrid approach. I tend to do my best work in the darkness of the cave, without any expectation and just seeing what happens. That takes the pressure off. But sometimes when I’m in a rut or not writing or I’m worried I’ve got the yips, a journal’s submission window opens up, catches my eye, and becomes a prompt in itself. Writing with an outcome in mind lights the match once again. 

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

  • Kill your darlings: Hilariously macabre. I do think it’s a good idea to ask yourself whether a particular piece of a story is distracting or serving the whole, but I also advocate “preserving your darlings” in a dump doc.  
  • Show don’t tell: Showing is artful and great and often recommended, but telling gets a bad rap and deserves its day in the sun. This is especially true in flash nonfiction when you frequently need to condense or abbreviate in the name of focusing the camera on something else. 
  • Write what you know: Generally sound advice, though I’ve found George Saunders’ comments on disentangling writing from Big Personal Experience liberating and useful.
  • Character is plot: This one feels less relevant in my corner of essayistic nonfiction, but I did just watch a roundtable interview with the writers of “Breaking Bad” and they swore by this maxim. Whenever they were lost, they’d come back to the question: “Where’s Walt/Jesse/Skyler’s head at?”

What’s the best hobby for writers?

Showing is artful and great and often recommended, but telling gets a bad rap and deserves its day in the sun.

I would recommend hobbies that get you away from your screen, out of your house, and out of your head. Long gallopy walks in stimulus-rich urban areas have always been my warhorse, though maybe that doesn’t quite rise to the level of “hobby.” Ping-pong works well for me. It’s social, intimate (due to the small table), conversational, and time and again steers me toward new friends.   

What’s the best workshop snack?

Anything someone’s willing to share, because that subtly primes and reminds everyone that the workshop is a community and we’re in it together and here to help each other. If we’re talking specifics, Torres Black Truffle chips are the way to my heart. 

A Love Story About Outsiders Set During Trump’s Presidency

In the biblical Exodus story, before the enslaved Israelites escaped the Pharoah, Moses had his own personal exodus. After striking and killing a sadistic Egyptian slave driver, Moses, terrified, ran away, exiling himself to the desert. He struggled with his identity, feeling othered and alienated while away from home, so much so that he named his first son “Gershom”—a stranger in a strange land. It is Gershom who painter Christopher Bell declares himself to be at the beginning of Zachary Lazar’s new novel The Apartment on Calle Uruguay. 

The Apartment on Calle Uruguay by Zachary Lazar

If anyone is to be a stranger, Christopher Bell is a compelling one. A brown-skinned American Jew and the child of Israeli immigrants, Christopher is difficult to categorize, so he confuses people—at one point he says he looks like Osama bin Laden. Like Moses and Gershom, Lazar’s characters are wandering, lost and looking for home in places ready to spit them back out. The Apartment on Calle Uruguay tells Bell’s story as he attempts to put his life back together, retreating from New York City to a quiet cottage near a pond after the death of his girlfriend Malika and his complete detachment from his painting career. “I had lost some part of myself a long time ago, even before Malika died”, Bell recounts to himself.

Lazar’s work is concerned with the reverberations of violence, from the immediate to what is passed down through generations. His last novel, Vengeance, blended genre in what he calls “fake nonfiction”—a journalist reporting at Louisiana’s Angola State Penitentiary befriends Kendrick King, an imprisoned man who claims he was coerced by police into falsely confessing to a murder. 

The Apartment on Calle Uruguay is an American story told through a distinctly Jewish lens—Lazar is able to deftly weave religion, politics, and history to create a vivid portrait of immigrants and exiles building, moving, and grieving home amidst the turbulent Trump presidency. By connecting his novel to the biblical Exodus and the Israelites wandering through the desert, Lazar is able to tap into a lineage of exile and tenuous belonging. This confusion over where home is, it’s the central engine to Lazar’s writing.


Jonathan Dale: Your novel begins with the 2017 Charlottesville Unite the Right rally and Heather Heyer’s death. What about that event felt like the novel’s entry point for you?

Zachary Lazar: I wanted to write the novel in real time. So whatever was happening in the story had to correspond with whatever was happening in the news. I just was like, that’s where the first scene of the story starts. And this love story that I’m starting to tell has to be very much impacted by this story in the news, because both characters would be very preoccupied with it.

I knew that I wanted to write a love story, and I wanted it to have something to do with the border and people feeling like they wanted to leave the United States, but I’d planned that before Donald Trump was even elected. And once he was elected, I wasn’t going to do that. Because it sounded like it was too topical.

JD: When we meet Christopher, he is in a very low, anhedonic place. His girlfriend was killed in a car accident and he’s lost his artistic spark. He is an interesting protagonist to me because at the beginning, he seems defined by what he lacks—he’s grieving. 

ZL: It’s challenging to have a character that starts at zero and to see what you can do to a story to bring him back. Revitalize him without it being sentimental without it being, you know, ridiculous or artificial.

William Blake talks about this cycle that we are always going through. Which starts with spring where you feel like you are very vital, and things are going well. And then you enter into the summer, and that’s life kind of going along. And then you start to get old, and then you go into this winter period that he called the “ulro”, where you’re disillusioned, and what you do is you turn in on yourself in this posture of self-regard and self-pity. And what I liked about it when I read this from some guy who’s writing in the 1700s, is that wow, okay, he felt like this was just sort of a cyclical thing that everybody goes through. Because it’s a kind of psychology that I can identify with, that’s how life has always felt to me. What you need to do when you’re in the ulro, this dark place, is to somehow summon up a new outburst of creativity, creative energy, even if that’s just being outraged. In the case of my book, I think it’s romantic love, he falls in love with this woman and doesn’t expect her to be there. Which sounds corny, but when you’re in that place, you don’t want to be out of that place. You want to stay in that place, because it’s stable. It’s kind of like a womb, he compares it to the womb. So it’s this kind of a comfort zone, it’s a way of being dead while you’re alive.

JD: I was very interested in Christopher, the protagonist, being a non-white Jewish Israeli-American. What led you to Christopher as a protagonist?

ZL: My work has always been about a kind of exile from some sort of home. Whether that’s literal or metaphorical. And I wanted this character to not be able to comfortably fit into any ethnic group. I wanted this person to be misperceived all the time. I have been in Israel enough to have a firsthand experience with the Jews from different parts of the world, which was something I didn’t know about either until I went to Israel. I mean, I knew about it, but I didn’t have a good grasp of how diverse the whole Jewish world is.

JD: I feel the same way— as an Ashkenazi Jew, my Jewish world has been very white. So to explore the multifaceted Jewish experience is cool, it changes your understanding of who you are.

ZL: Well, I think Ashkenazi Jews have been so assimilated into America now that it’s hard to write about Jews in the way that someone like Philip Roth or Saul Bellow was able to. I don’t think there’s enough of a distinctive difference between us and every other white person in this country. Although many would disagree I’m sure. I think that there’s a lot of things about Israel and Judaism that people simply don’t know. 

Since I was in my 20s, I’ve been very influenced by this book called The Thirteen Petalled Rose by Israeli rabbi Adin Steinsaltz. It’s about Kaballah, the Jewish mystical tradition, dating back to Isaac Luria. Luria was a Sephardic Jew who in the 1500s wound up living in Safed in what is now Israel. Jews had been expelled from Spain In 1492. 1492 was quite a year. You had this colonialism happening in the Americas, and you also had the expulsion of the Jews from Spain. And some of them went to Israel. And they created this mystical tradition which is all about taking their exile, their real political, physical sort of exile and thinking of it metaphorically as an exile from God. And thinking that this is sort of a universal condition that everybody faces. And then they find ways to talk about that, but also to talk about how we are not exiles from God. One of their famous concepts is Tikkun Olam, which means repairing the broken world.

JD: Christopher is the children of exiles—his Polish mother’s family moved to Israel after the Holocaust and his father, who’s Tunisian, moved there due to anti-semitism in North Africa after the creation of Israel. I’m attracted to the idea—and I don’t know if this gets lost in the conversation or not—that Israel is not monolithic, but that it’s composed of all these people that come from everywhere.

I’ve always been interested in this idea that Israel is a beautiful metaphor. That when it becomes reality, it becomes something that is quite a bit more complicated.

ZL: And race is very interesting in the way it plays out in Israel. A lot of the same problems we have in America exist in Israel. I’m not talking just about Jews and Arabs, I’m talking about light-skinned Jews and dark-skinned Jews. It’s a huge part of the political equation over there. And it doesn’t always play out in ways you might expect. What I’m interested in is pointing out the diversity of Israel, pointing out the diversity of Jews. Jerusalem has always been a metaphorical place.

JD: Right, but Israel as a state and as a metaphor are very different things.

ZL: I’ve always been interested in this idea that Israel is a beautiful metaphor. That when it becomes reality, it becomes something that is quite a bit more complicated. To go back to William Blake, one of his central ideas is that our task on Earth is to build Jerusalem, which he thought of as a purely imaginary place. But he also thought you had to be active in a world, you’re supposed to play a part in the world around you. And so that’s a paradox. And I don’t I don’t know what to do that information.

I wrote a whole book about Israel called I Pity the Poor Immigrant in 2014. Things have only deteriorated since then from my point of view. I’m still not particularly interested in having a political conversation about Israel, because I know that conversation’s not going to go anywhere. But I think that one of the things that anybody has to think about is that it exists. Whatever you think of it, it does exist. And that makes it more complicated than an idea. Even if you wanted to unwind Israel, walk it back, so to speak, how are you going to do that? But let’s face it, politics in Israel have moved even further to the right.

JD: There are similar themes between this novel and your last one, Vengeance, specifically, with the character Jesse, who’s incarcerated. What is it about prison that has kept you compelled to write about it?

ZL: I’ve become close friends with a few people who are either in prison or were in or out as part of my daily life, so it’s how I see the world now. It’s not a peripheral subject. It is part of the central subject for me, the central ambience of my life.

I think Ashkenazi Jews have been so assimilated into America now that it’s hard to write about Jews in the way that someone like Philip Roth or Saul Bellow was able to.

I’ve gotten to know more about this paradoxical aspect, I guess. I’ve gotten to know more about my friends who are or were in prison. And I still feel like I have very little understanding of how it would feel to be in prison. I can talk about them all I want but it’s a world I’ve never actually been in myself. But with this book, I felt much freer to write. I had done Vengeance, so I had confronted a lot of questions and political issues that one would have to confront about that subject. And this book was pure fiction. And I had more confidence about it. And I had gotten to know Quntos KunQuest and Layla Roberts [two formerly incarcerated people to whom the book is dedicated] a lot better.

JD: Like you said, themes of exile and violence exile run throughout your body of work, especially considering your book Evening’s Empire: The Story of My Father’s Murder. Do you find yourself gravitating toward stories about violence? 

ZL: It’s a thing that I don’t like to write about, but I keep having to write about it. It’s the central energy of my work, for better or for worse. It would be pointless to resist that at this point.

JD: Has your understanding of violence and how people react to it changed over the course of your writing career?

ZL: Has it changed? No, it’s a mystery. There’s political violence and there’s economic violence. My father was murdered for very rational reasons about money. But there’s still the mystery of the ruthlessness of somebody doing it and causing it to be done. That is kind of fundamental, and in this new book, the violence makes no sense. And yet it does make a kind of sense, I think. But I think for me, violence is the baseline and we’re just lucky that it’s not a constant. I’m working through my fear.

The Garden of Pain Needs a Good Hard Freeze

A Snowy Day

The snow fell first as childhood
longing, small as a soap doll’s Ivory curls,
blown from paring knife to floor.

A few crescents was all there were:
on eyelashes, making it impossible to see,
another landing bitterly on the tongue,

hushing it, dissolving like medicine
as roses erupted on the trellis—grown up,
unafraid of the coming disaster. 

Gradually, it shocked the pine and maple,
birch and black walnut; it seemed
the world was being washed, 

like an infant in the sink, astonished
by a butterfly before it traipsed away: flake
of the first felt moment, a heart-

in-the-throat one, like those holy seconds
before that one door opened or 
the glossiness of a gaze before a kiss.

A rake, forgotten in the garden, 
is powerless as a child left alone, sat close 
to the television, pressed against pixels

to find the rainbow in the glass. 
The birdbath, gone solid, X’d by the robin 
and chickadee, stepping quizzically,

becomes the memory of the ice rink 
where a girl in Dutch braids spun and couples
do-si-do’d to the organ, while watchers

stood outside the circle, heavy in earth-
bound shoes, as the dead assemble to watch
us, ringing our every happiness.

Burrs

Burrs spangle a garden that cannot be 
anymore called such. In autumn, once plot of innocence 
overrun with seed gone to seed, waiting 
unmet, ghost-children crying somewhere to be lifted. Ignored, 
they withered or crawled away. Was I sleeping 
or reading in a hammock when softly they dissolved? 
Soon the crisis will be over. Drawing close the liquor 
and bread, I’ll think I’m in pain. How strange to have lived 
long in that state and not uttered the word.

Poetry About Being a Taxi Driver in New York City

Sean Singer’s poetry collection, Today in the Taxi, could easily be described as as a vivid portrait of ride-sharing in New York City in the years leading up to the pandemic. At heart, however, these poems read like unaddressed letters sent to help us navigate an unsettling modern world.

While driving a taxi in New York for six years, Singer is carjacked, has a baby left in his car, drives a nearly dying young man, gets stiffed, berated, hit on, and cried to, and drives a few celebrities. What carries him through is what also moves this book beyond a compilation of anecdotes and into a significant book for our time: Singer’s lyricism unveils a voracious mind at work, a mind enriched by books and music and shaped by many kinds of grief. Singer considers Kafka, Wanda Coleman, Jacqueline du Pré, and various jazz musicians both invoked and found in his actual backseat. The thread of jazz in this book will be of no surprise to previous readers of his work, which includes his debut collection, Discography, winner of the Yale Series of Younger Poets prize and the Poetry Society of America’s Norma Farber First Book Award. Singer is also the recipient of a National Endowment of the Arts fellowship and author of the collection Honey & Smoke, and he writes the daily newsletter The Sharpener: thinking through poetry.

We spoke over email about writing a poetry collection inspired by his cab-driving experiences.


Rebecca Morgan Frank: Where and when were you driving a taxi?

Sean Singer: I drove the taxi from fall 2014 until the pandemic started in March 2020.

RMF: It’s hard not to think of Jim Jarmusch’s film Night on Earth when picking up this collection, and of course you address this directly with the poem “Night on Earth (Dir by Jim Jarmusch, 1991)”—Winona Ryder gets a part in your poem, too. How did this film influence this collection?

Because of the danger of driving itself, and the risk of violence from passengers, the driver has to be constantly scanning and evaluating then dismissing most of what happens.

SS: I like the film, but it’s more of a fantasy than something that shows what it’s actually like. The movie shows the strangeness of the characters and the attentive nihilism, or calm risk-taking involved with taxi driving. Because of the danger of driving itself, and the risk of violence from passengers, the driver has to be constantly scanning and evaluating then dismissing most of what happens. The job is 90% boredom and 10% sheer terror.

RMF: Jarmusch’s soundtrack featured Tom Waits: what were you listening to in the taxi? What would the playlist for this collection include?

SS: I mostly listened to WQXR, which is New York’s classical station. I find that classical music has a very calming effect on people. But if there was a playlist for the collection, it would include Arvo Pärt’s “Tabula Rasa” and of course the music of Charles Mingus, who is one of the “main characters.”

RMF: Let’s talk about another main character: Kafka appears throughout the book. How did he end up in your cab, so to speak?

SS: Kafka, Mingus, and the Lord (who is a female voice) appear in the book as guides through the Styx that is New York City. Kafka is the most important writer for me. He’s simpatico because of our backgrounds, family dynamic, and psychodynamic attitudes. 

Each of the trips is a transition into a passenger’s little world; the driver is present, but ultimately an outside observer.

The period during which I was driving was a time of considerable upheaval in American life—intensification of culture wars, a rise of totalitarianism—and a time of great loss in my own life. These poems reflect my living- and thinking-through the problems of this time. Three main themes emerge: what it means to work in the gig economy in a time of sharply intensifying income divide, watching my home of New York City transform through time and history, and charting my relationship to Jewish experience in a time of rising anti-Semitism.

Kafka was a figure who could address some of this material that allowed me into these conflicts in a less head-on way.

RMF: As you mentioned, there is also the presence of “the Lord,” throughout the book: she cleans, rescues plastic bottles from trashcans in Williamsburg, and is at times prophetic. How and when did she find her way into the book, and what do you see as her role?

SS: The Lord in the poems is a guide, an ethical GPS, allowing the reader to bear witness along with the driver. She is an Old Testament Lord because one of the tenets of Judaism is uncertainty, or questioning, and I believe these poems try to present the situations described as questions above all else. The relationship between the speaker and the subjects of the poems—often the city itself—is one of questions. These questions are often not resolved or answered definitively. 

She is a force of empathy, but also sometimes is vengeful, merciful, or a force of justice. Since a poem is a public space, the personal memory of a city becomes the public expression of a city. Since identity is tied to memory, I aimed for poems that showed the connections between the driver’s private world and a shared world with the strangers in the car. I wanted my poems to ethically describe urban space, but as justice-seeking poems, rather than aesthetic objects. 

Justice is love and the figure of the Lord in the poems is a steady beam, the lines on the road that tell us what the right path is. She has a female voice I think for several reasons: She is unexpected, confounds tradition and expectation, and is a way into balancing a ratio of relief and loss. My mother died of a brain tumor as I was writing the book, and I suspect the Lord having a female voice is a way to preserve her guidance and belief in me. 

RMF: You really do make some incredible turns in these poems—at times dark, at times funny, at times transcendent. These seem to perfectly reflect the dissonance between the outer life of the job and the inner life of the driver, including your personal grief. Can you talk more about how you found your way to these sharp swerves?

SS: Poetry’s metaphorical power is about connecting unrelated things. It also has a metabolic power, which is physical and involves the ear and the breath. Finally it has a metamorphic power, which is about the transformation of the self. The turns in the car are a little of all these because you have to avoid not hitting anything: bicycles, dogs, horses, cars, buses, trucks, people, objects; part of driving is physical of course, but most of it is mental. Alert attention has to be met with calmness, but also—especially in New York City—aggression and defensiveness. I also had to wrangle with my self-image. Was I a writer, a failed academic, a driver, or what? 

The turns in the poems allow the self to move in and out of these states and spaces. The poems are filled with contradictions because the task is so contradictory: sitting and moving, calm and assertive, looking ahead but having to talk to someone behind you, listening to intensely private moments but being invisible.

I wanted to convey the spontaneity and the inevitability of the interactions I had. I wanted to find ways to connect the immediacy of my embodied experience to the electricity of language. I felt each of the poems in my body because I was there doing the driving day in and out for five years. I lived each of those poems, and a lot of that was physical.

RMF: Jazz has informed your previous work, and this collection is no exception. How do jazz structures and rhythms continue to influence you?

SS: Jazz is about being joyful in spite of conditions, and about rhythm. Rhythm is a way of splitting up and organizing time. Part of the form in the book is the phrase “Today in the taxi” (or some variation of that depending on the time of day), so the cumulative effect is that of a kind of endless recurring series of trips that have a constant element and a variable element. The quick turns of the poems are like those of the car, and those surprises come from my interest in the freedom of jazz.

RMF: This condensed chronicle of so many years comes to us as readers as a liminal space, a timelessness shaped by continual transitions, yet that rhythmic repeated line, “Today in the taxi,” also grounds us in each particular dateless and hourless present. Was there a daily record that the book emerged from?

Anything can and does happen in New York City, and the car is a little version of that.

SS: Yes. I kept a notebook in the car and while I was driving I was able to remember every trip I took. Over 8,000+ trips, I could remember each person, where I picked them up and where they were going. The constancy of that line reiterates the sameness of every trip, and allows the driver to be like Charon, a cosmic ferryman, whose boat carried the souls of the dead across the river of death.

Each of the trips is a transition into a passenger’s little world; the driver is present, but ultimately an outside observer. The odd anonymous intimacy also means the driver’s inner monolog and what he’s reading and hearing can permeate his entry into those little worlds. 

RMF: Is there a story from your taxi experiences that never effectively made it into a poem, but you wish had?

SS: Once this drunk man came up to the car and said “I need a taxi.” I said: “I’m waiting for another passenger.” He said, immediately enraged: “Who? Who the fuck are you waiting for?” I told him Alexandra because a young woman had called and asked me to wait in a particular place.

Then I was thinking he was drunk and would leave, but he got into the car. So, I said again: “I can’t take you. I’m waiting for another passenger.” He screamed: “I’m Alexandra’s fucking father! Don’t, don’t fucking tell me you’re waiting for another person! You’re going to Berkeley Heights, New Jersey!” 

That kind of abuse was common. There were other times when women tried to flirt, pick me up, or invite me up somewhere.

A third moment happened on New Year’s Eve when I was hijacked by a guy who demanded I take him to Coney Island. He told me to stop somewhere on Surf Avenue so he could pee at a construction site and I drove away and left him there. 

Anything can and does happen in New York City, and the car is a little version of that.