Stay Forever in the Office of the Mind

“Office of the Mind” by Leland Cheuk

On the first day of work, I sat at my desk in the bedroom and put on my company-issued Office of the Mind (OotM) glasses, earpieces, and haptic gloves. Immediately I was transported into an office again, in a half-cubicle, a new clean desk, a 55-inch HD curved monitor at my workstation, with coworkers chattering all around me in their cubes, like the old days. All of us wore work clothes, and the pop-up tutorial prompted me to customize mine with a few taps of my index finger and thumb tips. In reality, we were likely in the clothes we slept in, inside our various homes, hiding from all the diseases.

“Welcome aboard,” said my cubicle neighbor, a sales engineer named Murray, a middle-aged white gentleman, who added that he was based in Mozambique, originally from the UK. He had moved to Maputo after getting fed up with Brexit and earned citizenship. “Wanna get coffee?” he added.

“We can get coffee?!” I squawked.

He laughed and beckoned me to follow. We walked across the virtual cubicle floor, turned the corner at the elevator bank, and waited for the elevator to take us down. In my apartment, I had traversed my bedroom and turned into my closet. I could feel my hanged clothes brushing against my face.

“Where did you work before?” Murray asked.

“I was a freelancer for a long time,” I said, taking a step back. I left it at that. I had been a little shocked I got the job. But every multinational needed readable content these days for the search engine algorithms. 

“A lover of freedom, eh?” Murray said.

“Until it became too much.” I kicked myself for saying that. It made me sound like a layabout instead of what the freelancer life was really like: doing fifteen assignments one day for $30 each. Then doing zero assignments the next week and eating packaged ramen for dinner. I just felt lucky to have health insurance for the first time in a decade.

The elevator doors opened. The interior was gold-plated. I felt the familiar unbalanced feeling as we descended. How did my OotM hardware simulate those sensations so accurately?

“It’s the earpieces,” Murray said, as if reading my mind. “They emit electrical pulses that mess with your sense of balance.”

“Wild,” I said with childlike wonder.

“They even sent me a roomier set of glasses because I wear these,” Murray said, pointing to his tortoiseshells. “I’m definitely buying stock in Office of the Mind when they IPO.”

When the elevator doors opened, we walked out into a bustling café. Our coworkers communed, sitting at tables, drinking espresso drinks. Tears came to my eyes. I used to love cafes. Murray and I walked up to the barista stand and ordered cappuccinos.

“How does this work?” I asked.

The barista, a man-bunned and willowy twenty-something white fellow, handed us our virtual drinks, and Murray and I walked over to a table round and sat. In my bedroom, I was on the corner of my bed.

“Try it,” Murray said.

I raised the fake cappuccino to my lips and fake-sipped. The buzz and the taste felt real!

“Whoa.”

“Pretty cool, huh?” Murray said. “It’s all in the earpieces.”

I raised my virtual cup. “I’m going to love working here.”


OotMs were all the rage now. After Nicole was fired from her editorship at that magazine-turned-clickbait-factory, she started in entry-level PR at The Bank, and those larger, more institutional companies were slower to adopt new tech. She was still doing her same old video conferencing and phone conversations. She and I had started dating before The Shutdown and moved in together about a year ago when we couldn’t afford our own places anymore. Our apartment was only 500 square feet so all of my blind roaming while in the Office of the Mind had me bumping into Nicole and/or our things frequently.

“That’s just my partner again in his Office of the Mind,” she’d tell her coworkers on video conference, while pushing me in the direction of our living room, where I would then nearly trip over our coffee table or armchair. The end of my workdays would be filled with random bruises on my shins, elbows, and knees. One time, I went ass over couch and was lucky not to lose a tooth—or worse, break my OotM glasses. These challenges were worth the experience of being part of an actual office work culture, part of something larger than myself. Nicole and I lived in a place with no central heating and drainage so bad that we wore galoshes in the shower and couldn’t even flush TP in the toilet. Our neighborhood had a serious vulture problem from all of the pandemic deaths. We were both supposedly well-employed, highly educated knowledge workers but our $500 espresso machine was our nicest possession. Getting a full-time job with benefits felt like being dragged out of the open ocean onto a rescue ship.

“I’m loving my job,” I told Nicole, taking off my OotM glasses at the end of an especially invigorating workday, both professionally and socially.

“I’m really going to need for you to watch where you’re going and to pay attention to me every once in a while,” she said.

Getting a full-time job with benefits felt like being dragged out of the open ocean onto a rescue ship.

“We could try looking for a bigger apartment,” I pointed out. “It’s only a matter of time before you’re going to be working in an Office of the Mind.”

Sure enough, a month later, The Bank shifted to OotM. Within the hour, she understood. “I love not being in our shitty apartment while being in our shitty apartment,” she said. “I love not seeing you at all during the day even though I live with you so I can focus on my work.”

“Me too!”

I’m not going to lie; our OotMs affected our home life in some deleterious ways. The most obvious one, of course, was that we were both now injury-prone, walking around blind in our tiny apartment, bumping into walls, knocking into each other, flying over furniture. We looked for ways to ameliorate the household danger and found that there was already a sizable and growing repository of online content on the topic. Some were instructional videos from the OotM team like the “How to Person-Proof Your Home” series, which already had dozens of videos, each with millions of views. There were also many listicles like the ones I used to write, with headlines like “27 Things You Need to Do Right Now to Avoid OotM Head Trauma.”

We opted to have padded walls installed like the ones in psych wards. Expensed to our employers, they’re more elegant and fashionable than they sound. There were boutique online businesses that made wall padding in all kinds of colors and textures. We chose shiplap, which looked like wood but felt like down pillows when you slammed up against them face-first. We also got rid of our glass and metal coffee table and replaced it with a bean bag that you could just kick out of the way if it happened to be in your path. (Always humorous to see your colleagues suddenly do a kick in the OotM while they’re walking the halls with you.) Finally, we child-proofed our dining room table, kitchen counters, anything with a hard edge or corner, and we wore elbow and knee pads and bike helmets with our OotM gear.  

Despite our stylish, new home mods, when we took off our hardware at the end of a long workday, our apartment looked impossibly drab, our various screens tiny. Our wall-mounted TV was a meager twenty-seven inches. In the Offices of our Minds, they were all at least twice as large, we complained to each other. My work cubicle felt like half the size of our apartment. All the appliances in the office were brand new. We had free food in the kitchen that, even if it didn’t give us actual sustenance, tasted great to our brains. When I’d cook dinner for me and Nicole after work, real food just tasted bland. I wanted the virtual foie gras pasture-raised egg breakfast sandwich from my Office of the Mind. We both began to lose weight.

One night, around 1:00 a.m., thinking about work and trying to get a head start on the next day, I left Nicole in bed and pretended to use the restroom. In our bathroom, I put on my OotMs. The office was at least two-thirds full.

My cubicle mate Murray was there. It was 6:00 a.m., Central Africa Time. 

“You’re here early,” I said.

“I can say the same for you.”
“Lots to do,” I said.

As I walked around the office, filling my fake water cup in the kitchen and getting a fake bowl of muesli with fake oat milk, all the while doing circles in my bathroom, I noticed tons of people I’d met who said they lived in The City, which meant they were also working at 1:00 a.m.

“You must be on deadline,” I said to Casey, a marketing coordinator who lived in two neighborhoods over.

“Not really,” they said. “I just can’t sleep.”

“Me neither,” I said.

Casey and I went for coffee downstairs. We both knew our fake cappuccinos would keep us up all night. 

“My life isn’t great,” they admitted. “I’m single. The pandemics. My brother just died last year from the emu one.”

“Gosh, I’m sorry,” I said, not saying that I was partnered because Casey was a looker. “Hopefully work can be a distraction from all the horrible things going on outside. For me, it’s nice to know I can come here and be part of something. My life isn’t great either.”

“So you’re liking your role?”

“I am! I got tired of writing those ‘eighty-nine reasons its unhealthy to pee sitting down’ listicles.”

Casey laughed and laughed, the OotM version of their face turning red. Tears were in their eyes. I wasn’t even trying to be funny; I was being honest.

“I was doing deliveries and rideshare driving before the androids,” Casey said.

“It’s all for the best, I suppose.”

“Things worked out the way they were supposed to.”

“Where are you right now?”

“In my bedroom,” they said.

“Pajamas?”

“Been wearing them for months,” they purred, mock-flirtatious. 

Even though I knew they were joking, I grew hard. Casey looked great in that fake pants suit and those black ankle boots.

“What about you?” they said, looking down into their fake coffee.

“Seated on the lip of my bathtub.” I didn’t mention that it was still draining the murky water from my nightly shower.

Casey tittered. What a titter.

“I’m sorry,” I said, taking myself out of the moment. “I’m just thinking how weird this is.”

“I know, right?”

We laughed.

I heard my name in the distance. From outside the bathroom door. 

“Who are you talking to?” Nicole said.

I flipped up my smartglasses, autopausing the OotM, and opened the door. “I’m on a work call.”

Nicole’s brows rose. “Okay.” She didn’t buy that even a little bit. I shut the door in her face. By the time I put my OotMs back on and rejoined Casey, it just didn’t feel right. My heart was beating really fast. I knew I had hurt Nicole’s feelings and that things would be chilly around the apartment for days, if not weeks. And Casey’s feed was jittering, their mouth moving with no audio coming out.

“Hey, I should get back to work,” I said. “This was fun!” Then I turned off my glasses.

When I got to the bedroom, the lights were on, and Nicole was perched on her side of the bed, her back turned to me.

“Sorry to wake you,” I said, sliding under the covers. “I should turn off work notifications.”

She didn’t respond. I reached over and put a hand on her shoulder. She turned around, startled.

Nicole was wearing her Office of the Mind glasses.

We didn’t talk about that night as I expected we would. Instead, we both started using the Offices of our Minds almost twenty-four-seven. When we streamed movies after a long workday, we snuck peeks at our smartglasses, darkened when at rest, save for the green lights on the temples. When the lights flashed, that indicated a medium-priority-or-above work message.

At night, I continued to have trouble sleeping, so I retired to the bathroom more often, inviting Casey for late-night coffees. I learned a lot about them. They had grown up in Y— and had always dreamed of living in The City, but now found it disappointing. They wanted to move to S— and was saving up to buy the relatively low-cost real estate there. 

Their true passion was music, and they shared a link to their artist page, from which I streamed their songs while I was working. The tunes were a little folksy and twee for my tastes, but they had a lovely voice. They also made and sold jewelry online. They said the time it took to walk to the post office to ship their products was their designated time to be away from the Office of the Mind, when they could see the world with their own eyes. I was impressed by their creativity. Nicole and I weren’t creative. I’d tried to start a novel at least a dozen times, but didn’t have the guts to finish. Nicole was into all kinds of trendy pandemic-borne crafts like mask-masking and goggle-blinging, but she liked to start things and never complete them. I admired Casey for their confidence, their perseverance, their ability to make actual objects and send them out into the real world where they were touched and enjoyed by other humans. For Casey, this company was just a waystation to some better, bigger future. For Nicole and I, our OotMs were it for us, sucking off the teat of companies creating value for society, rather than us making anything worthy ourselves.

One night, Casey gave me a handcrafted gold bracelet, of which they’d snapped a photo with their OotMs. Cool feature: hold your thumb and pinky tips together and the virtual office disappears and your smartglasses turn into a camera. Take a picture of any object from your real life, and OotM converts it into virtual form so you can drag and drop it into your office environment. I wasn’t much of a desk decorator, but Murray, for instance, had framed photos of his family and running medals and all manner of personal memorabilia in his cubicle. I wore the bracelet with my work outfit, and my wearing the gift made them smile. 

Casey had become my work spouse.

I suppose I should have noticed that after she got her OotMs, Nicole wasn’t particularly present in our lives either. We were ordering more takeout than ever, sometimes twice in one night if one place was dissatisfactory. Often I would say I had a meeting during dinner when I didn’t, or she would say she had a meeting, and there was no way for me to know if she did. I would hide in the bedroom behind my smartglasses and just be at work, walking back and forth to the fake printer. I went to virtual meetups in conference rooms for channels like #cookingtogether and #socialimpact.

Our OotMs were it for us, sucking off the teat of companies creating value for society, rather than us making anything worthy ourselves.

Casey would be at the channel gatherings too, and we would make fake sushi, bake fake cookies, and feed them to our fake selves. I’d never been so happy. I couldn’t believe that I’d waited ten years to latch onto a legit corporation, wearing my freelancer’s liberties like a badge of honor, instead of what it was: a financial albatross. The company paid me well and gave me community in a time when we weren’t allowed to have community in real life. The degraded state of my home life felt like a small price to pay.

Nicole and I asked each other about work happenings. Higher-ups quitting or getting fired. Re-orgs and their implications for our roles. But the reality was: I didn’t care about her Office of the Mind, and she didn’t care about mine. The only time we seemed to be together was right before we went to bed, and we were both exhausted, eyes bloodshot from being on the glasses all day. We’d now both started to gain weight from all the takeout we’d been eating and the exercise we weren’t getting. We’d stopped grooming because the OotMs automatically groomed our virtual selves. Our avatars were delightfully outdated, fifteen pounds ago. In real life, our hair grew long, all over our bodies. I was sporting a scraggly, patchy beard, which Nicole openly hated to kiss, and she was an incredibly hirsute woman, I’d come to discover. Luckily, we only looked this shitty to each other. I felt horrible about my actual body. I was still attracted to Nicole, but when we made love, I couldn’t help but see Casey in their digitized pants suit and ankle boots, and when Nicole moaned, I couldn’t help but hear Casey’s falsettos and see that smile they gave me when I put on their fake gold bracelet.

After six months at the company, I was promoted. My boss said he’d never seen anyone so committed to our culture and reported that everyone on the team loved me, and I was doing a great job. Nicole wasn’t promoted, but was transferred to a role she liked better: in Corporate Social Responsibility. 

On the rare day off for her, Nicole wanted to go for a Plexiglas-covered scooter ride (one of those pandemic impulse buys that we rarely used). Winter in The City had broken, the sky was lavender instead of the fiery orange we were used to. We’d been outside a half a dozen times all year, on each occasion taking care to wear our respirator masks, protective eyewear, gloves, and utility belts that shot out six feet of measuring tape at a press of a button. Nicole understandably felt nostalgia for the outdoors and asked me if I wanted to join. I told her I was too busy at work. After she left, I slid on my OotMs and messaged Casey to meet up for coffee.

They suggested we meet in the #cookingtogether channel conference room instead. Since I had the apartment all to myself for once, I didn’t bother to hide in the bathroom or bedroom. The conference room had been fully decorated with Casey’s jewelry, like the room was their own store. The fake office tower windows gleamed with sunlight from a clear white sky that I didn’t think I’d live to see again in real life.

“Do you like it?” Casey asked.

“It’s amazing,” I said. “You’re amazing.”

We started kissing. I could feel their lips (and the little buzzes from my earpieces). In the living room, I reclined on the couch, lowered my sweats, and fondled myself with my haptic gloves as Casey laid down on the virtual conference table. We were both fully clothed in the Office of the Mind (a bit of a bummer, for sure, but naturally, solid HR policy). I hovered over them and kissed their neck. I was impressed with how real it all felt. I could feel Casey’s hands on my chest and then down at my hips. Too bad touching each other’s nethers was out of the question. When I tried, my hands disappeared, and I felt nothing but air.

I’d later find out that Nicole had received a work message that brought her back to the apartment early. I heard the door open and her saying: “Where did I put my glasses?” and then a squeal as she saw me with my sweats down, OotMs up.

“What the fuck?!” she shouted. 

I ripped off my glasses, took off my earpieces, and pulled up my sweats. What could I say about myself? Nicole stood there in our tiny living room, mask below her chin, goggles off. Her scooter, bared of its Plexiglas hood, was parked near the kitchen counter, which was festooned with takeout boxes that neither of us had bothered to bag up and lug to the trash because it required us to put on our various forms of PPE. Our apartment with the padded walls like a psych ward was nearly empty of furniture because we had gotten rid of most of it. How had we come to this bleak place?

Nicole just shook her head and snapped up her OotM glasses, which were encased in their brushed chrome cylinder on the counter. “I have to take a call,” she growled, before putting on the OotMs and storming toward the bathroom. But with her eyes covered, she didn’t see the scooter she had forgotten to put away and went flying over it. She landed with a thump and cried out.

“Are you okay?” I said, rushing over.

“Oh, oh, oh!” She got to her knees and held her right forearm as it spurted blood. Her still-gloved hand and wrist stuck out from the arm at an unnatural angle. Her glasses had flown off, and one of the lenses had cracked against the hardwood floor near the entrance, the only area of the apartment we had neglected to pad.

I dashed into the bathroom and ripped all our bath towels off their hooks and used them to contain the bleeding. I fired up the rideshare app on my phone and fingered a self-driving car because the ones driven by androids were insufferably rude. I reaffixed Nicole’s mask and goggles, and then wore my own, before rushing us downstairs into the car, which said hello and drove itself to the hospital, which needless to say, no one wanted to visit during multiple global pandemics.

As one might imagine, there was awkward silence on the way. The towels had slowed the bleeding but were sopped through with red. In the back seat, Nicole was on her cracked OotMs leaving a message for her team, telling them that she had broken her arm and was on the way to the hospital and would log in later when her arm was set. She said, “Log off,” and the glasses cleared.

“Take them off me,” she said icily.

I did as told and put the glasses and earpieces in the case and into my sweats pocket, before sliding Nicole’s goggles back over her eyes.

“Look, I’m sorry,” I said, figuring there was no hiding what had happened. “There’s a colleague at work. Casey. We’ve been having a . . . thing. It’s not real.”

“Shut the fuck up,” Nicole said. She was blinking slowly, and her breathing was ragged and audible. I worried she was in shock.

“Do you need to lie down?” I asked.

“I said: shut the fuck up!” 

When we got to the urgent care unit, the medical workers were mostly androids, except for the ones managing the androids. The robots were all muttering expletives under their breaths, and two laughed hysterically as they wheeled out a gurney with an uncovered corpse of a woman whose eyes looked like they’d been taped open, and whose mouth was forced agape by a pair of those big forceps they use for childbirth. Behind their face shields and masks, the human medical workers had dark circles beneath bloodshot eyes. They all looked like they hoped we wouldn’t ask them for help. At the front desk, a young woman in scrubs wept while typing something on her tablet with nitrile-gloved hands.

“I’m sorry to bother you,” I said to her. “But my partner has a broken arm. Compound fracture.”

The nurse plucked tissues out of a box and lifted her face shield to dab her eyes. “Oh, that’s it?” she said chirpily. “That’s the easiest thing we’ve had to deal with all week. I’ll call an android.”

Just then, one passed by singing, “‘It’s murda. It’s murda.’” Nicole and I watched in horror as it stared back at us with its dead-eyed metal head while its body continued to walk down the hall. 

“Can we request a human for this job?” I said to the nurse.

“Oh, that one is a big fan of rap from the 2000s,” said the nurse. “Follow me.” She led us into a closet where she uncovered Nicole’s arm, disinfected the wound, padded the area, and applied a vacuum splint. After the nurse shot Nicole up with a painkiller, we waited in the hallway for X-rays. There weren’t even any chairs. We leaned against a wall. Nicole swayed from the anesthesia.

“Do you want your Office of the Mind?” I asked her, trying to get her to talk to me about anything.

She shook her head, eyes glazed. She just drifted away from me without a word, like we had drifted away from each other.

“Where are you going?” I asked.

“Bathroom,” she said without turning around.

Her Office of the Mind case vibrated. The lights on the hinges flashed red, indicating an urgent work message. What else could these people want from her? She already told them she was having a medical emergency. I opened the case and put on the glasses. A message bubble slid across my field of vision and disappeared.

“Ok, I’ll leave her,” a fellow named Liam had written. “Will u leave him?”

My legs grew weak. I snapped off Nicole’s OotMs and saw her frozen in the hall, cradling her broken arm, staring at me. For a moment, I thought she was jittering on my OotM feed like Casey had. From the look on her face, Nicole seemed to know exactly what I’d seen.

“I—” she began. Then she just sagged and rejoined me against the wall while I put her Office of the Mind glasses back into their case.

We avoided looking at each other. I watched more corpses being transported down the hall and back. Who knew where they were all going? Probably to the empty meatpacking plants outside The City. I thought of my OotM glasses back at the apartment. How I wanted to put them on and escape into that simpler virtual existence instead of the ever-narrowing one in which we lived. The desire throbbed in my ears and punched out of my ribcage it was so intense. I looked into Nicole’s eyes, and she looked into mine. I suspected we were thinking the same thing although neither of us would ever know for certain.

She put her head on my shoulder and asked, “When do we get to retire?”

7 Novels and Stories That Prove Fiction Can Grapple with Illness

For a very brief period of time, I wanted to be a doctor. My medical aspirations were not, however, borne of so noble a desire as to ease suffering—frankly, what I was really interested in was job security. As a pragmatic (if not especially altruistic) college student, it was clear to me that illness, pain, and disability were not aberrations of the human condition but, rather, sizable components of many individuals’ lived experience. Indeed, today, in the United States alone, six in ten adults live with chronic illness, and that number is much higher globally

And yet, chronic illness and disability are something I see far too infrequently on the page, particularly if what I’m seeking are accurate depictions. Am I just supposed to believe that the characters in my favorite novels are never in ill health? For readers as skeptical as I am—readers, perhaps, interested in more nuanced and realistic reflections of life lived in a human body—these books don’t pretend “healthy” is the default.

Luster by Raven Leilani

When Edie, a 23-year-old Black woman living in unaffordable Bushwick meets Eric online, she’s not discouraged by the red flags: he’s much older than she is, and he’s married. The implications of these facts are the meat of the story, but threaded throughout is the reality of Edie’s body. She’s been diagnosed with irritable bowel syndrome, an amorphous chronic condition that influences her life in small, but disruptive ways. For example, Edie prepares for a date with Eric by not eating for 10 hours beforehand. “I cannot anticipate the overreactions of my stomach,” she says, “so if I think there is even the slightest possibility of sex, I have to starve.” Though Edie’s strange interpersonal relationships take center stage throughout the novel, her health is always present—the background to her romantic foreground. An excerpt of the novel was published in Recommended Reading.

All’s Well by Mona Awad 

Miranda Fitch is a theater professor living her post-perfect life—that is, after a freak accident steals her successful stage career and leaves her mired in chronic pain, she muddles through her days in a fog of painkillers and resentment. When her student production starts going off the rails, taking her life with it, Miranda meets three strange men in a bar and her horrible luck takes a miraculous turn. But what does a life without pain cost? All’s Well is a dark, painfully funny look at chronic pain and our desire in erasing it.

The Answers by Catherine Lacey

The protagonist of Catherine Lacey’s second novel, Mary Parsons, is ill and Western medicine has failed her. Her symptoms are excruciating and unmanageable—until suddenly, they aren’t. In desperation, Mary tries an experimental therapy that miraculously works. The catch? It’s unaffordable. In a desperate attempt to pay for her treatment, Mary accepts an acting role as the “Emotional Girlfriend” in a famous actor’s elaborate research experiment. As the gig becomes increasingly demanding, Mary is forced to face uncomfortable questions about love, art, and how much one should reasonably be willing to pay for the absence of pain.

Conversations with Friends by Sally Rooney

If you haven’t read the book that spawned “the cult of Sally Rooney,” you’ve probably at least some idea of what it’s about: introspective young people in complicated relationships. Two female 20-somethings, Frances and Bobbi, are best friends and former girlfriends who become physically and emotionally involved with Melissa and Nick, a married couple in their 30s—cue drama. But against the backdrop of the quadrangle’s spiraling interpersonal dynamics, the novel is also about Frances’ struggle with the increasingly acute symptoms of endometriosis, as well as depression and self-harm.

If the Body Allows It: Stories by Megan Cummins

Though Megan Cummins’ debut is divided into six sections, each named after various parts of the body (“Heart,” “Eyes,” Lungs,” etc.), it is very much a linked collection. Marie, a woman in her 30s with a chronic autoimmune illness (lupus), is the centerpiece around which the narratives orbit. While many of the stories grapple with the body’s limitations, “Skin” is a particularly compelling look at illness and the difficult choices people with illness often confront. The stories in If the Body Allows It, winner of the Prairie Schooner Prize in Fiction, clarify the impossibility of divorcing oneself from the physical.

The State of Me by Nasim Marie Jafry

Based on the author’s own experience with myalgic encephalomyelitis (also known as chronic fatigue syndrome), The State of Me is unadorned autofiction that follows the protagonist, Helen Fleet, from her diagnosis at age 20 through the aftermath of her illness. Jafry has described her novel as “the antithesis of sick lit,” and indeed, it would be impossible to describe Helen’s experiences as anything approaching romantic. But as much as the novel is an honest, sometimes ruthless exploration of chronic illness, it’s also a story of everything else that might populate a person’s life: love, sex, relationships, and all the “life bits” in between. Helen’s voice, quirky and sardonic throughout, makes for an immersive and compelling read.

A Little Life by Hanya Yanagihara

Yanagihara’s doorstopper (it clocks in at over 700 pages) is nothing if not an in-depth examination of chronic pain and trauma-induced illness. Technically, the novel follows four male friends over three decades, but Jude’s life—particularly his mental and physical well-being—is the metaphorical glue that binds the quartet together. As the victim of ghastly and vicious abuse, Jude’s adulthood is permanently and profoundly marked by the trauma of his childhood. A Little Life is a difficult read, to be sure, but if you’re looking for an absolutely unflinching look at a life in an injured body, Yanagihara delivers. 

A Novel About Race, Class, and Gender Set on the Oil Fields of North Dakota

In O Beautiful, Elinor is a 42-year-old ex-model from North Dakota on assignment in the Bakken, a career-making offer that comes unexpectedly from her grad school mentor and former lover. Though Elinor lands not far from where she grew up, she is—just as in childhood—often made to feel foreign by local white residents because of her biracial identity. The images in O Beautiful that most stay with us feel like metonyms of a Midwest that is both rapidly changing and refusing change: a gas station with a cartoon eagle on a wooden sign, pump jacks bobbing their heads across a field, a fading mural of a football player, caravans of tourists eager to see what Teddy Roosevelt once saw. Yun raises questions of who has the right to this land, a question that grows in complexity the longer Elinor stays. 

Jung Yun’s novel is not simply a narrative about corporate colonialism and corruption, but of the deep divisions between Americans that are fueled by racism and capitalism and which, because they often remain unspoken, loom insidiously in our national consciousness. This book asks us to reckon with how unreconcilable truths occupy the same space—as good a definition for America as any I can think of. 

In its thematic considerations of the American Dream, regionalism, racism, and insularity, O Beautiful might be in the lineage of Grapes of Wrath, yet this novel is unwaveringly feminist. Yun, who has been compared to Egan and Gaitskill, writes the leering of men page after page, mimicking what women experience all day long, whether in the oil fields of Dakota or on the streets of New York City. Yun just as insistently considers how women undermine and scrutinize each other, and she grapples with the impulses of competition, distrust, judgement; the women in this book, all too familiar with sexual aggression, never doubt the stories of rape and unwanted touch they hear in the camps and work sites—nonetheless, in supreme acts of cognitive dissonance, they condemn the women who tell those stories. 

Jung Yun and I met to discuss her novel in Washington, D.C. near George Washington University, where we both teach. We spoke about the male gaze, white insularity, and the potential of truth.


Annie Liontas: What did it mean to you to dedicate this novel to your parents, who emigrated from South Korea to the United States and “chose a strange and wondrous place to call home?”  

Jung Yun: So much of my life as a writer and so much of who I am as a human being was shaped by the fact that my parents chose North Dakota to move to when I was four. I worry sometimes that people in North Dakota will think, “she hates this place and she’s putting the state in such a terrible light,” when really what I want is for this small fictional town in North Dakota to serve as a microcosm of a much larger country and state of affairs. I love North Dakota, it was the making of me as a person. Everything I care about started because I lived there, which is not to say it was a perfect, happy childhood. It certainly taught me to be observant. I like to write fiction about how people treat each other. That’s not a mistake or an accident. 

AL: Elinor, your main character, is an ex-model working in journalism. She is half white and half Asian, and though she grew up not too far from the Bakken, she is constantly perceived as foreign by locals who are insularly white even when they don’t identify politically as white separatists. Do you see Elinor’s role as an insider-outsider?  

JY: Returning reactivates memories that she finds difficult and upsetting and even rage-provoking. She is an insider at times—that’s why she was sent there, supposedly—but she’s constantly having that sense of belonging questioned by the very people who are her neighbors, her schoolmates, her father’s friends. In actuality, she is an insider in name only: she’s never felt it. That creates a lot of resentment in her that she carries throughout her lifetime. She’s a very elbows-out character, trying to make her own space. 

AL: I wonder if Elinor knows what to look at, what to see, because of that?

JY: I think she’s rediscovering how to see. She is realizing she has been looking at things one way for a long time, that she is a product of her community, her culture, especially as her eye goes to the case of this missing white woman. Like so many people, she is conditioned to pay attention to this smiling beautiful face and not really think about all the other faces that you never get a chance to see, that people don’t think about enough, that people don’t talk about. She’s realizing that the way she has been taught how to see is incredibly flawed. 

AL: What did inhabiting the perspective of a former model open up to you?  How were you able to see the world—especially this world—in a new light?

JY: This was a nod to my twelve-year-old self growing up in North Dakota and thinking my life would be so much better if I were pretty like the other girls. I was too young and too unformed as a human being to understand how twisted that was and how I was aspiring to a very European model of beauty I was never going to fit into. It wasn’t until much later in my life when I started asking “Who defines these standards of beauty?” and “Who does it omit?” and “What does it mean to omit other definitions and ideas and norms of beauty?” 

On some level, I was trying to signal a much younger version of myself to say, “It’s all going to be ok, it’s not what you think it is.” And here’s this fictional person who is beautiful enough to have made her living from her appearance, and she is really struggling. Being an attractive person in this society is often seen as an asset, and when you go to the Bakken at the height of the oil boom and you’re surrounded by men, it’s very much a liability. You can’t blend in, you can’t be invisible. You just stand out for a host of reasons you don’t want to, and I thought that was an interesting premise to work with.

AL: The unrelenting male gaze is a real force of threat and tension in this book. We are confronted by it page after page, much the way women in real life, day after day, deal with unwanted male attention. 

JY: Putting an ex-model, now journalist, in an oil field filled with men was a way of exacerbating the daily realities that non-models deal with in cities and rural areas and small towns across the country—across the world—clocking every implicit and explicit aggression day after day. It was an intentional way of talking about an experience we’re often trained to ignore. Don’t talk about it, don’t roll your eyes, pick up your pace, quicken your step. Move from the source of it. But you can’t move from the source all the time!

AL: Because it’s everywhere.

JY: Because it’s everywhere. And you shouldn’t have to. I was trying to magnify something that’s very real for women and girls. 

We spend a lot of time trying to be righteous instead of doing right.

AL: Did it affect you to write it?

JY: I look back at my own teenage years—there was a point in my life when being whistled at by a guy felt like being seen. That is a kind of conditioning in my 40s I’m still thinking about and working through and deeply concerned about. Elinor is too. She’s looking back at the ways that she leaned into this behavior, not realizing that it hurt her and may have hurt others, too. Did you have that experience, yourself, Annie? Where you liked that kind of attention? Or did you never care for it?

AL: Male attention is the ultimate currency in our culture, so even as a queer woman, you know, you don’t get away unscathed. I have a very different relationship to it now, as you do, because I see the myth of that currency. But in the novel, even as you take up how men and women talk to one another—the implied, the unsaid—you just as fiercely look at how women talk to women. What did you keep bumping up against as you considered how women are socialized and how the women in this novel interact?

JY: I’m thinking about how much smarter our students are. They seem more thoughtful, more open, less judgmental. Elinor is a very judgmental person. She’s very quick to come to conclusions about people. She observes other women doing this, too, and by virtue of hearing and seeing these women, she becomes more reflective about how complicit she is in this type of behavior. She hasn’t been the best ally to other women, women of color certainly. 

AL: What about the cost of relying on male violence to remedy the violence of other men?  

JY: This is one of those things that Elinor recognizes towards the end of the novel that she’s going to have to live with and think about for quite some time. She knows what she’s doing, she knows what she’s allowing to happen. She is imperfect, even as she is recognizing her own power and role in all of this. 

AL: This seems like a matter of justice that is not accessible any other way. There is such a failure to protect women or condemn men who are predatory. In some ways we forgive her, because it’s such a distance to cross. 

JY: I was writing this during a period when we were all talking about and thinking about #MeToo. One of the comments I would hear often is, “Not guilty until guilty by a court of law.” It’s like don’t you understand courts of law have failed women, sexual assault survivors, for so long that sometimes excel spreadsheets and Twitter feel like all the justice that anyone is ever going to have? Towards the end, Elinor is grasping for whatever she can even though she knows it’s not right. But that’s how badly systems of government and law fail survivors of sexual violence, domestic violence. It doesn’t work. 

Writing the book during the four years of the Trump administration, every day brought something heretofore unimaginable. Here I am writing a novel that talks about the violence done to women, to people of color, and real life is reflecting that back to me in ways that I would not have thought possible at such magnitude and such volume ten years ago.

AL: We feel erasure as an eradicating force in O Beautiful. It is not just that the environment is pillaged or that the landscape of the town changes, or that the place is overrun by newcomers. Women fear sexual assault and sexual harassment, yet often remain silent. There are disappearances of multiple Mahua Nation women from the nearby Northfork reservation, which the media, susceptible to bias, ignores. What is the cost of erasure in a country that has historically employed erasure as a tool?   

I don’t understand how people can look at what’s happening and think that there is not something structurally unsound about how we talk about race and gender in this country.

JY: People are so angry. The problem comes when it is the people who have historically been in power who claim not to be seen, not to be heard. It feels like we’re talking in different languages. Do you understand history?Do you understand the values and principles and actions and deeds this country was founded on, and how many people were hurt, displaced, killed. I love this country. Yet it seems that somewhere along the way we lost the word patriotism. It became this other thing, this semi-militant, half-cocked expression. There’s part of me that wants to reclaim it, but I also want to keep asking what it means to care about this country. How we became this, acknowledging the whole truth, what was lost, and who lost what, and who lost more. This country has so much promise and so much potential, and it breaks my heart.

Part of writing this book was thinking about the individual, what one person can do. It’s not a lot. Elinor is making an effort, rather than giving into this hopelessness that I admit I sometimes feel, and she is correcting her own acts of erasure rather than giving excuses for why she behaves the way she does. Sometimes I’m too mad and too frustrated and too tired to try. Writing this book was a way to try.

AL: Elinor is determined to expose convenient falsehoods and unspoken truths, particularly racism and white separatism. What are the convenient falsehoods that you intend to keep writing about in your work?     

JY: This idea of the American dream that so many people from immigrant families like ours chase. It’s not accessible to everyone for lots of reasons. This country is deeply racist from its origins. What we see unfolding on Native American reservations every day, every year—missing and murdered Indigenous women and girls. I don’t understand how people can look at what’s happening, at how invisible those women and girls are made to be, and think that there is not something structurally unsound about how we talk about race and gender in this country. I’m going to be chasing some variation of these threads for most of my writing life, probably without resolution.

AL: What felt empowering in writing this novel?  

JY: Feeling truthful. Being honest. Recognizing that you can be this bruised—and at times broken—person who is capable of acting outside of your pain and anger and frustration. That, despite Elinor having a hard upbringing and somewhat difficult life, she is taking responsibility, and she’s not irredeemable because she’s being honest with herself about her own actions and complicity. In her own flawed way, she is trying to do better. We spend a lot of time trying to be righteous instead of doing right. She’s trying to do the right thing, she cares less about being right. That distinction matters. 

Hootie & the Blowfish Killed My Rock and Roll Dreams

The death of college rock: September 5, 1995

I’m drunk on a Tuesday at the old Knitting Factory 
and stumble into Milano’s, where by chance
the MTV Video Music Awards is on.
Drew Barrymore presents
the Video Vanguard Award to R.E.M.
and I am 15 again, pogoing in the mud
in Piscataway, hearing Michael Stipe
sing for the first time. I wore white jeans
and a Corona poncho. I cut off the jeans,
chucked the poncho, and wore a Murmur shirt
for months. I thought I’d outgrown band worship,
but watching R.E.M. on the screen feels
as if my childhood had won, as if
arty kids everywhere had won.
The feeling does not last.
Not much later, Hootie & the Blowfish
play their hit, “Only Wanna Be with You.”
If you were able to establish
which songs were objectively awful,
this song would be the index case
against which all other objectively
awful songs were compared.
Hootie wears a backwards baseball cap.
The Blowfish are all in cargo shorts.
As they play, the audience
bobs their arms like they’re at a frat house.
And then comes the real atrocity.
After the guitar solo, the Blowfish
stop strumming and raise plastic cups.
“We’d like to drink this to R.E.M.,”
Hootie says. “If it wasn’t for them,
we wouldn’t be a band.” The crowd cheers.
The cameras do not cut to members of R.E.M.
because if they did, we would have seen
their looks of disgust and horror.
This is the moment college rock died,
in case anyone is wondering. The band
plods on, cargo shorts and baseball cap, and
my night ends like most nights ended back then:
I stumbled outside, hazy, unchanged.

On Realizing Poison’s “Every Rose Has Its Thorn” Has the Same Chords as the Replacements’ “Here Comes a Regular”

Of course we’re always disappointed
on some level, and since of course we know
the opposite of logic is regret,
by which we mean the act of regretting,
and therefore the prototype of heartache
are songs about cowboys who sing sad songs,
which is to say that for each brainy kid
who flips through Edith Hamilton
there is a freak who looks for certain
kinds of danger, but not the usual stuff,
to wit, epic snafus or wrecked careers,
we’re talking about the opposite of bluffing,
which is betrayal, by which we mean the act
of betraying, and a sad cowboy song
will always break you down, irregardless
of one’s cowboy status, just like
the opposite of myth is description,
which is to say the act of describing,
or why every Greek maiden pulls a double-cross,
or every poor god gets tied down to a rock
or turned into a cow, to which I would add
every barfly I’ve ever met will croon
along to Don McLean to drown out
a rehash of their fuck-ups, which is to say,
short story long, that every barfly to whom
I’ve told a joke says they’ve heard the joke before,
which is to say the opposite of a poem is
just like the ache for one more poem like it.

7 Books About Immigrants Encountering the American South

In American fiction, when immigrants and first-gen characters encounter the U.S., they’re often in New York. Or Miami. Or at Harvard. I love many of those stories—works by Jhumpa Lahiri and Ana Menendez, for example, have long been among my favorites, and I’ve got my own Miami short story in that vein—but there are also fictional immigrants who end up in less glamorous places, ones that aren’t as emblematic of a larger ideal of America’s prosperity and opportunity.

What if the land of opportunity isn’t represented by an immigrant’s view of the Statue of Liberty as glimpsed from a ship gliding through New York Harbor, but instead by a Mauritanian kid driven from the Memphis airport to a dusty crop field in Mississippi? What if your welcome to the new world wasn’t a concrete jungle or the gates of Harvard, but a mannered and provincial white lady on a mountain in Tennessee offering tea? Sometimes, fictional immigrants end up in the rural South—or Southern towns like New Orleans or Atlanta—places as rich in literary history as they are infamous for their insularity. It’s compelling to me, the ways that that region has been, for some writers, fertile ground for fictionally exploring the lives of immigrants or first-generation strivers trying to make it in this country.

My book of short stories, The Boundaries of Their Dwelling, explores that terrain, and it emerged from an existing literary tradition, represented here, that feels as if it’s less identified in that way than it could be, even if the books themselves have had a rich life of their own. Here, then, are seven of my favorite books about immigrant and first-generation encounters in the U.S. South:

The Foreign Student by Susan Choi

“[Chuck] studied in all his free moments, but the rate at which he fed himself words was so slow that they weakened and died before having a chance to accumulate, and now, at Sewanee, the rate was too fast. The few words he had were overpowered and swept away. His limited English was mistaken, as it so often is by people who have never been outside their own country, for a limited knowledge of things. But he didn’t bother to dispel this impression. He liked having a hidden advantage.” 

In Choi’s novel set in the 1950s, a young Korean man named Chang—who goes by Chuck in America—flees the war at home to attend Sewanee University in Tennessee, where he meets Katherine, a rich young white woman with a history of sexual abuse at the hands of a professor in this small town. Both Katherine and Chuck are written so empathetically and beautifully and with such emotional precision, and as the novel alternates between their entanglement in the present action and their disparate pasts filled with wildly different traumas, it opens up into a larger showcase for Choi’s abilities as chronicler of small-town Southern life and the warscape of Korea. That a writer could be so authoritative on such vastly different worlds and could find such an elegant and heartbreaking way to intermingle them, that is what makes this debut novel such a stunner. 

Homicide Survivors Picnic and Other Stories by Lorraine López

“‘Why are those guys so white?’ Roxanne asks in a stage whisper that is maybe a half-decibel lower than her speaking voice . .. . ‘Shush.’ Against her will, Lydia glances over her shoulder. The men, seven or eight in all, are strikingly white from their balding pinkish pates to their glossy patent-leather loafers, and in the sunshine pouring through the plate glass, they are nearly luminous, ghostly. With beaky noses and hunched shoulders, they huddle over their sweet rolls and coffee like celestial buzzards picking over paradisiacal carrion. These men provide such sharp contrast from Roxanne’s dusky skin and kinky jet hair that Lydia’s pupils dilate perceptibly when she turns back to their own table. ‘Maybe they’re in a club or something.’”

In this riotous and tender collection set mostly in the South, Latinos and white people, Japanese foreign students and other outsiders and ne’er-do-wells find themselves up against an assortment of traumas, rendered with humor and wit but never excess irony.

Whether it’s a teenager attending a picnic of homicide survivors to mourn the gang-related death of her sister’s boyfriend, or a struggling junior college professor—Lydia, in the above excerpt—trying to learn on the fly how to raise her cousin’s baby, here are characters that navigate their hard-luck circumstances in maybe not the best of ways, but in ways that make sense, that bind us to them emotionally, sometimes against our better judgment.

That many of these characters are Latino, and that many live in a Georgia which feels akin to Flannery O’Connor’s or Tayari Jones’s, feels both incidental at times and essential at others. What I mean is, you can’t help but feel how a certain lower-middle-class, Southern psychosphere is present in these characters’ worlds, at the same time that that milieu is simply present, without being thrust in your face as somehow steeped in a heavy-handed tradition of Southern writing. 

Transcendent Kingdom by Yaa Gyasi

“Under better circumstances she would have made fun of my car, an oddity to her after years of Alabama pickup trucks and SUVs. “Gifty, my bleeding heart,” she sometimes called me. I don’t know where she’d picked up the phrase, but I figured it was probably used derogatorily by Pastor John and the various TV preachers she liked to watch while she cooked to describe people who, like me, had defected from Alabama to live among the sinners of the world, presumably because the excessive bleeding of our hearts made us too weak to tough it out among the hardy, the chosen of Christ in the Bible Belt.”

They’re not analogs, but there’s something of Faulkner’s Quentin Compson in Gifty, Yaa Gyasi’s Stanford grad student in neuroscience whose Ghanaian-Alabaman family has been beset by a host of tragedies. Gifty’s brother has died from addiction to opiates, and her mother has attempted suicide and remains depressed beyond functioning. But more than anyone in the Compson family, Gifty feels like someone to root for. Why? Perhaps it’s her earnest struggles to balance dedication to neuroscience and her Evangelical faith. The book includes beautiful passages where we see Gifty praying, and later rejecting that faith, given what she’s learned of its inherent racism as practiced in Alabama. It also includes much of Gifty’s disdain for her grad school colleagues, avowed atheists who seem so removed from anything like a soulful life. 

“The Displaced Person” from A Good Man is Hard to Find & Other Stories by Flannery O’Connor

“She was sorry that the poor man had been chased out of Poland and run across Europe and had had to take up in a tenant shack in a strange country, but she had not been responsible for any of this. She had had a hard time herself. She knew what it was to struggle. People ought to have to struggle. Mr. Guizac had probably had everything given to him all the way across Europe and over here. He had probably not had to struggle enough.”

This is O’Connor’s tale of a Polish Holocaust survivor, Mr. Guizac, “the displaced person,” who finds himself working for a genteel Southern lady in rural Georgia named Mrs. McIntyre. Told in a limited third person that shifts between two white ladies with complex, racist attitudes toward the displaced person that make you wince, this novella reveals the nuanced oddities and mysteries of bigoted white Christians trying to come to terms with the presence of a competent outsider in their midst.

This lesser-anthologized of her works holds up disturbingly well in today’s times, and it’s easy to see a kinship that other writers on this list have with her and her sensibilities. Change Mr. Guizac to a Haitian refugee sent to Georgia from the Mexican border, and this story could easily pass for fiction of our times. 

The Celestial Jukebox by Cynthia Shearer

“A girl he didn’t know took him by the arm. You can’t wear the same thing every day. This is America. 

America was the burning imprint of a girls’ hand on your arm. America was your one lucky suit of parachute cloth shrinking your skin, burning you. 

America was a tinny, watery Sousa march through a tired trumpet in sixth period, and Boubacar attempting to answer it with cascading ripples on a xylophone, to collapse the melody into itself and play it fast, several times, so it could be repeated more often, after the fashion of a Cape Verde band he liked.”

Imagine a Mississippi town where, in the lead-up to 9/11, a Chinese grocer has a crush on a Honduran employee, and a Mauritanian boy—depicted in the quote above—stumbles upon the wonder of the Delta blues, while a Black Ivy League student returns here to find out the story of her great grandmother’s life, and a white landowner tries to help his longtime neighbor quit a gambling addiction fed by the local casino (the new business that threatens the livelihood of the whole area’s population). This is Shearer’s imaginary town of Madagascar, and these are only a few of the characters and situations that populate this wondrous and lush book, a panoramic Mississippi novel that recalls the best of canonical Southern fiction while also insisting that that tradition enter the 21st century, with all its modern complaints and entanglements. 

The Radius of Us by Marie Marquardt

“Q. Mr. Flores Flores, where do you presently reside?

A. At 3422 Ivywood Circle in Atlanta, Georgia.

Q. Is that your permanent residence?

A. No, ma’am.

Q. And what is the address of your permanent residence?

A. I don’t have a permanent residence. I mean, not right now. My brother and I are from Ilopango, in the region of San Salvador, El Salvador.

Q. And when did you leave your home?

A. On September sixteenth of last year.

Q. Why did you and your brother decide to leave Ilopango?”

In this YA novel, Phoenix Flores Flores—a Salvadoran boy of 18—has traveled north through Mexico with his brother and ended up in Atlanta, where he’s battling uphill against a deportation case (depicted above), while his brother remains in a detention facility in Texas. In Atlanta, Phoenix finds unlikely friendship in the husband-and-wife owners of a tattoo parlor that, as one Black character notes, might be the kind of place to fly a Confederate flag. 

The main story revolves around the burgeoning relationship between Phoenix—named so because his mother, who left to find work in Phoenix, Arizona, wanted to be reminded of him in what she saw every day—and Gretchen, a white teen who’s been assaulted by a Latino gang member and is working through the trauma related to that experience. As those two dance around their interest in each other, Marquardt explores the contours of a migrant life on the edge. It’s a tender and authoritative story, one that shows Marquardt to be attentive to the larger cultural and legal forces at work in the lives of so many outsiders who find themselves ensnared in the penal system upon arrival in the US. 

Zeitoun by Dave Eggers

“‘You should be scared,’ Ahmad said. ‘This one could be for real.’

Zeitoun was skeptical but paid attention. Ahmad was a ship captain, had been for thirty years, piloting tankers and ocean liners in every conceivable body of water, and he knew as much as anyone about storms, their trajectories and power. As a young man, Zeitoun had been with him for a number of those journeys. Ahmad, nine years older, had brought Zeitoun on as a crewman, takin him to Greece, Lebanon, South Africa. Zeitoun had gone on to work on ships without Ahmad, too, seeing most of the world in a ten-year period of wanderlust that eventually brought him to New Orleans and to his life with Kathy.”

Zeitoun is a strange book of nonfiction to read in the wake of what’s happened with the titular character since (feel free to go down that rabbit-hole on your own). But there’s no denying how compelling Zeitoun’s story is made here, how emblematic it is of how a confluence of factors—cultural norms on immigration and the war on terror, unnatural natural disasters—can funnel down into a single, potent blow delivered to those least in a position to withstand it. 

Zeitoun, a Syrian with a severe case of wanderlust, ends up in New Orleans. Through hard work, he establishes a house-painting business. During Katrina, he stays in New Orleans to “hold down the fort.” Beyond the first days in which he rows through flooded streets like an angel of mercy saving people from the flooding tombs of their houses, much goes wrong. He’s detained at gunpoint. Imprisoned. Given no means to contact his family, who think he’s died amid the hurricane’s ruins.

The story pivots adroitly between those gripping scenes and memories from Zeitoun’s life before New Orleans, when he was still in Syria, when he was a young man working as a deckhand as his father once had, sailing the world from port to port, trying to find his place, in a time before he could’ve conceived of a life in a place as fraught and beguiling as the South. 

Which Book Cover Looks Better, the British or American Version?

Over the past few years, there’s been a lot of heated discourse surrounding a trend in book covers in which many new releases opt for variations of the same colorful abstractions: The Blob. Somehow deemed appropriate for everything from dystopian debuts to literary fiction bestsellers, these indiscernible “blobs of suggestive colors,” as The Week coins them, clearly make for a successful marketing strategy. However, the unintended consequence of making these incredibly varied books appear similar, is that readers are left with little insight into the characters, general mood, or topics a book explores. 

We wanted to look at some of our favorite book covers of 2021 from the U.S. and across the pond, hoping to find something beyond the bright blobs. Do readers still respond to abstraction and pigmented color palettes? Is realism making a comeback? To tackle these Very Serious Literary Inquiries, we polled our Instagram followers to discover what they like best. With British versions on the left and American takes on the right, read on to start judging some books by their covers and see what’s resonating with our audience.  

Crying in H Mart by Michelle Zauner

While both covers are doing similar things—bright red background, line-art-heavy illustration, food imagery—something is pulling readers towards the American cover’s slightly bolder noodle depiction. Zauner’s memoir is a story of her finding and accepting her identity, from growing up Korean American in Oregon and losing her mother to tackling the role of food in her culture and life. Perhaps it’s the tension of the noodle pull or a font that seems a bit rawer, but readers clearly think the U.S. rendition is the tastier of the two. 

The Death of Vivek Oji by Akwaeke Emezi

The suggestive color blob is a clear winner when it comes to packaging the heart-wrenching story of Vivek Oji, a character who grows up in southeastern Nigeria. The blobs are at least identifiable, perhaps depicting Vivek’s long, grown out hair braided into his cousin Osita’s, with whom he has a close bond. The need for connection, for closeness, is at the heart of this story, where Vivek’s suffering stems from being misunderstood by his loved ones and wider community. Emezi has published prolifically these past few years, and this cover stands out from the previous, more muted color palettes of their Freshwater, Dear Senthuran, and Pet. Clearly, the bold approach is working, especially when paired against the beige realism of the U.K. cover, which reads more like nonfiction to me.

Burnt Sugar by Avni Doshi

The U.S. is on a roll, dominating once again with nearly 70 percent of the votes for the Booker Prize shortlisted Burnt Sugar. The U.K. cover’s use of color feels all over the place when compared to its paired down American counterpart. The plant looks like aloe, the juxtaposition between spiked leaves and healing properties hinting at the tensions within this mother-daughter story, in which a daughter must care for her free-spirited elderly mother despite her mother’s selfishness and negligence throughout her childhood. Illustrated book covers without pictures of people have appealed widely in the past decade, and in this instance, that continues to feel true. 

Popisho by Leone Ross

While both covers are colorful and abstract, the greater clarity of the U.S. version makes for a clear winner. Popisho’s cover gives so much more of the story away—the island setting, the magical realism, the mythical characters, perhaps even the sociopolitical tensions explored. While I think the British title might actually appeal more as readers can imagine the whimsy and fantastic nature of a “sky day,” its inability to hint at the plot visually renders this blob of suggestive colors unsuccessful. 

How Beautiful We Were by Imbolo Mbue

The Brits have entered the competition! With a narrow margin, the brightly drawn U.K. cover excels over the stoic and photographic black and white American take. While I love the crisp and haunting marbled arms, one cannot deny that the U.K. version does far more storytelling work. The illustration captures the tension between the environment and an American oil company with the vines seeming almost cleared away to glance at this oil field, the haunting figure caught in the middle. For a book where the fictional setting of African village Kosawa is so key, this scene seems an appropriate introduction to the story. 

Matrix by Lauren Groff

Our readers seem to like both of these images with almost equal fervor. For an imagined telling of real-life poet Marie de France’s life in which she serves as an abbess for a 12th-century nunnery, the U.K. version squeaks out a victory at 52 percent and it is easy to see why. The illustrated nuns reading or praying are not only sweetly rendered, but speak to a sense of community integral to the story or even the evolving nature of Marie’s role at the nunnery. The bold colors prove transcendent and just a touch more eye-catching than the dreamy, almost Renaissance ceiling style of the U.S. cover, which opts for a more muted version of the blue and gold color palette. 

Wayward by Dana Spiotta

With an apparently rare win for realism, the U.K. cover dominated, and I wholeheartedly agree. In this story of a wife and mother who walks out of her life following the 2016 election, the maudlin interior and stray, lamenting arm perfectly capture the moment of crisis and unraveling this book unpacks. Although both covers hint at the idea of a home—crucial in a book that kicks off with Samantha buying a deteriorating house in Upstate New York on a whim, before she has even left her husband or home—the U.S. version could be celebrating first home ownership with its bright hues and celebratorily hung keyset. The left side allows us to empathize with someone rooted in a place—a political landscape, an aging body, an expected role—that she doesn’t want to be in and that is the work of a successful piece of art. 

Love in the Big City by Sang Young Park, translated by Anton Hur

It is as easy to fall in love with the details of the U.K. cover as it is the characters in Park’s English language debut. The Marlboro reds and raining boba hint at the book’s exploration of a youthful existence spent in motion, pleasure seeking. While the American rendition shows us the chaos of Seoul and the desire for connection, that work is already being done by the title. The U.K. is simply more generous and specific, prepping us for the complexity and all-consuming nature of a queer, millennial existence, equal parts loneliness and joy. 

Nightbitch by Rachel Yoder

After a British winning streak, the Americans attempt a comeback with the graphic glory of Nightbitch. An artist with an absent husband feels lonely and unfulfilled in her new role as a mother and begins to transform into a dog— either evolution or deterioration. This feminist take on modern motherhood refuses to look away from the raw, bloody realities of what women are forced to endure, how they are expected to sacrifice and transform, and the consequences of those restraints. The American cover aptly blends the realism of the meat of this story with the suggestion of the dog, the animalistic and fantastic avenue through which this emotional heart is delivered.

100 Boyfriends by Brontez Purnell 

The humor and heart of this expansive exploration of gay men’s tendency to self-sabotage comes across perfectly in the drawn American cover. The heart and lifelines on this hand suggest a kind of palm reading, promising us intimate and honest access to these characters and their stories. This playful image transcends the relative unimaginativeness of the British take, which seems a little boring and expected. It feels like it came from the very first day of the design meetings: How do we signal queerness? Let’s make the cover pink. How do we get at the breadth of experience? Let’s collage a bunch of pictures. What about the depth of emotion? Make them black and white. Great, fast-track this to production. There’s just a little more of the book’s magic in the U.S. edition. 

Of Women And Salt by Gabriela Garcia

Personally, I think each of these covers is beautiful and readers seem similarly split. Both have a powerful but feminine energy to them that sets up this expansive, intergenerational saga of women. Because the book takes us between 19th century Cuba, 1950s Mexico, and modern-day Miami, the sense of place has to remain a bit abstract and the cover must instead indulge in the feeling of the story; the panther pleasantly suggests some sort of feminine pushback—readers just have to indulge to find out it is against the tyranny of men, oppressive regimes, and immigration policies. 

The Slaughterman’s Daughter by Yaniv Iczkovits, translated by Orr Scharf

There is so much whimsy decoration in the U.K. cover for this historical adventure novel and in this case, more is more. The disappearance of a wife and mother in late 19th-century Tsarist Russia makes for an epic tale, and the intricacy of the British illustration hints at the classic style of this story (think War and Peace) while remaining lighthearted enough to assure readers of its accessibility.

The Woman in the Purple Skirt by Natsuko Imamura, translated by Lucy North

In the closest vote of the bunch, the U.K. just barely claims a victory here and I think it is for all the right reasons. The reserved colors, the unsettling lack of a face, the voyeuristic vantage point—it is all spot on for this highly psychological undertaking. The unseen housekeeper, the Woman in the Yellow Cardigan, observes and subtly manipulates the Woman in the Purple Skirt as she has an affair with her boss, crafting a powerful reflection on power in the workplace and what it means to be seen and/or desired. 

The Dangers of Smoking in Bed by Mariana Enriquez, translated by Megan McDowell

It can be especially hard to design a cover for short story collections, but I actually think both countries nailed this one. Merciless, horrific, and unnerving, the dark background and bold illustration of both looks seem to universally work for readers. Perhaps the U.K. edged out a win for its slightly more modern look, almost magazine-like as it markets uneasy, allegorical stories of women and witches, homemade porn and homeless ghosts, among a sea of other unflinching and haunting plot points and characters. 

The Weak Spot by Lucie Elven

Americans have the clear winner here and I think it comes down to, as Brandon Taylor might say, the vibes. The Brits went for a more dated look, from the old-timey illustration to the generic font, while the U.S. version seems a little more confident and arresting. A pharmacy on a remote mountaintop is a strange setting made even stranger by the confession-like role it plays for locals who come with stories and seek spiritual healing as much as physical remedies; the mysterious green structure more accurately hints at that kind of surreal space. It also is oddly reminiscent of Sheila Heti’s Pure Colour, so maybe the all-too-popular vague color bomb will be overshadowed by a new era of single-colored abstractions.

Little Scratch by Rebecca Watson

Although another close call, the U.S. cover and its endless thumbtacks takes the cake this round. I think the American cover is doing a lot—it plays with the title while simultaneously getting at the feelings of both a generic office space and an anxious headspace. The novel covers 24 hours in the mind of a young, female worker who has recently been sexually assaulted, balancing the profundities of human emotion with the mundanity of an office to explore how the mind works through a trauma. While the U.K. cover similarly conjures up the workplace with its crumbled-up yellow paper, perhaps the line-art is too cold and generic for a story that plays with form so innovatively and grapples with this #MeToo moment without losing its sense of humor.

At Night All Blood is Black by David Diop, translated by Anna Moschovakis

The American cover is quite simply the cooler of these two. I feel like I’ve seen the U.K. version before, and it veers too close to colorful blob territory. Instead of any old soldier, the U.S. version gives us this severed hand, a crucial plot point, that looks enchanted or as if it is being showered in bullets. All of this to say, the American version actually speaks to this specific story of a Senegalese man called to fight with the French army during WWI as his trauma leads to strange and violent behavior that ends up putting a target on his back. The U.K. version gives us generic blue blobs and a soldier, so the points are clearly for creativity here!

Writers & Lovers by Lily King

Another clear American winner comes down to originality. I don’t feel as if I’ve seen the U.S. cover before with its still life qualities and juxtaposed color scheme. The U.K. version, on the other hand, feels like every rom-com cover from the last ten years. It might even do a disservice to the literary nature of this novel about navigating writing and grief and capitalism and love in your early 30s. 

Who is Maud Dixon? by Alexandra Andrews

When an unsatisfied publishing company assistant gets the chance to potentially assume the identity of a mysterious and successful novelist, she just might take it. I like the anonymity of the American cover and how one line extends into two faces, asking readers where we draw the line between right and wrong or our inner lives and public persona. The U.K. cover has a certain warmth to it, but once again, realistic faces seem to deter the literarily minded. 

Hot Stew by Fiona Mozley

While the U.K. cover delivers pretty literally in hinting at both sex work and the London Soho locale, there’s definitely more charm and character to the winning American cover. In a story about gentrification, ownership, class, and agency, there’s a certain playfulness to the American rendition. It employs what looks like aristocratic art to touch on ideas of the extreme upper class and their often-unsympathetic view of capitalism’s victims, apparently ranging from exploited and marginalized people to the unsuspecting swan these expensive hunting dogs are set upon. 

9 Short Story Collections About the Uncanny

As a child, the worst mean-big-sister trick I ever played on my little brother was to convince him that I could transform at will into an evil entity named Madame Ruby. The most insidious aspect of this transformation is that I would look exactly the same, sound exactly the same—would, in fact, in every way still resemble his sister—but within, I would be someone unknown with vast, dark powers. I later learned in my training as a psychiatrist that there’s a term for the belief that someone you know has been replaced by an imposter: Capgras syndrome. I find that this is more often the stuff of novels (see Rivka Galchen’s Atmospheric Disturbances) than of my day-to-day clinical practice, but it’s an idea—a fear—that illustrates the uncanny, a concept I find fascinating. In his 1919 essay on the subject, Freud attempts to explicate the uncanny, or unheimlich, meaning literally not homey, strange, or unfamiliar.  

It’s this space of the uncanny that most interests me as a writer.  In my new collection of short stories, Now You Know It All, I explore that sense of dislocation in the quotidian, the creeping dread that arises when something feels just a hair off.  Whether it’s the story of a troubled boy attempting to unleash the villain from an internet hoax onto his party guests, or a smitten student finding more than she bargained for hidden in her favorite teacher’s attic, the stories in my collection often teeter in the place between the natural and the supernatural, belief and disbelief, what we think we know for sure and what gives us a pang of doubt.

Uncanny Lit is decidedly not horror, nor is it exactly magical realism or gothic literature (although obviously, to some extent the edges of these categories blur). It shares with its sister genres a certain breath-holding build-up of suspense along with intrusions of the strange, but I’d argue that Uncanny Lit operates more slyly, through suggestion, and tends to start solidly in the mundane. Each of the collections below offers a taste of this subgenre. 

Likes by Sarah Shun-Lien Bynum

Rooted in the humdrum of jobs and parenting, Bynum’s work still shimmers with eeriness in the periphery. Take for example the wonderful first story, “The Erkling” which takes place at a children’s fair at a school. The setting is both mysterious and not, vaguely threatening and not, while the perspective glides between the mother, with her parental anxieties, and the child, who seems to see a strange, beckoning figure at the edge of the crowd. (An erkling, by the way, is a sinister elf who preys upon children…) If ever a writer knew how to chill without overplaying her hand, it’s Bynum.

The Dark Dark by Samantha Hunt

What else but pregnancy and motherhood can be simultaneously so utterly familiar and yet so strange? Hunt mines this fertile subject matter in her stunning and spooky collection. In one of my favorite stories, “A Love Story,” the classic it’s-coming-from-inside-the-house trope gets inverted. The main character hears someone lurking outside at night and sends her husband out to check, only to discover the intruder, the one she fears, is a person she’s known all along—and the most frightening thing, “the biggest experiment,” is one she’s already willingly signed up for.

The Love of a Good Woman by Alice Munro

While no one could argue that Alice Munro is underappreciated, I would argue that she might be underappreciated as a practitioner of the uncanny. Once you start looking, you notice it playing a role in lots of her stories. This particular collection includes one of my all-time uncanny favorites, “Save the Reaper,” which operates as a kind of homage to Flannery O’Connor’s “A Good Man is Hard to Find.” Eve (a grandmother, as it happens) thinks she’s following a road she recognizes, searching for a spot she recalls from childhood, only to find herself at an unrecognized house, surrounded by a group of menacing characters, one of whom manages to tag along for the ride when she leaves. As always, Munro’s moves are subtle, but this story leaves the reader with a real shiver.

What It Means When a Man Falls from the Sky by Lesley Nneka Arimah

Lesley Nneka Arimah’s wonderful debut collection presses up against the borders of Uncanny Lit from a more decidedly magical realist or surreal direction—something that’s true for a couple other favorite collections that I’m not including on this list (see Kelly Link’s Get In Trouble or Carmen Maria Machado’s Her Body and Other Parties.  Yes, the categories blur!!!). But what strikes me as uncanny in Arimah’s work is the way the strange seems to arrive in the ordinary world with so little fanfare. Take “Who Will Greet You at Home,” in which the fact of women animating babies made out of yarn or raffia or mud is almost unremarkable against the complexities of class and privilege and longing or the symbolic weight of women’s hair. (This one was read and discussed by ZZ Packer on a New Yorker fiction podcast not long ago, if you want to check it out.) 

The Wrong Heaven by Amy Bonnaffons 

Amy Bonnaffons’ striking first collection is another that abuts the surreal or fantastical, but it’s her deep acknowledgment of uncertainty and her grounding in the material world that makes me include her in the Uncanny Lit camp. Take for example the title story, in which an elementary school teacher purchases a lawn ornament Jesus and Mary who come to life. The protagonist of the story says:

“I believe the world is malleable, that our understanding of it is provisional, improvised, subject to a change of rules at any time; that sometimes the magician pulls out the tablecloth and the dishes all stay in place, and sometimes the magician pulls out the tablecloth and everything is gone, including the table.” 

Tender by Sofia Samatar

Sofia Samatar’s wildly imaginative collection also straddles several genre categories, but she definitely makes the Uncanny Lit cut. Most notably, you’ll find her story, “Olimpia’s Ghost,” which is a spin on the story of The Sandman by ETA Hoffman, famously interpreted by Freud when he attempted to define the uncanny. (But if that’s not enough to draw you, there are also stories of selkie, witches, alien babies, and more.)  

After the Quake by Haruki Murakami

This slim collection of six stories set just after the 1995 Kobe earthquake is nothing if not uncanny. In one of my favorites, “UFO in Kushiro,” a man rocked by the sudden departure of his wife is asked to deliver a mysterious box to a bleak location in the north. This story is a master class on the power of withholding. (If you’re interested, it was read and discussed by Bryan Washington in a recent episode of the New Yorker fiction podcast.) 

We Show What We Have Learned & Other Stories by Clare Beams

Clare Beams’ marvelous and unsettling debut collection epitomizes Uncanny Lit. Take the opening story, “Hourglass,” in which schoolgirl narrator Melody arrives at a boarding school that promises “a transformational education.” The headmaster, preoccupied with his quest to shape his young charges, is both beguiling and sinister, and by the time his “special project” is revealed, you’ll be left with a pit in your stomach. Beams picks up where Shirley Jackson left off in these nine weird yet weirdly moving stories.

Bobcat And Other Stories by Rebecca Lee

I love Rebecca Lee’s collection so much partly because, much like Alice Munro noted above, she taps into the uncanny through a staunchly realist angle. Despite this realism, there’s still the looming feeling of threat in the shape of all the difficult human unknowns, all the reversals that can affect us. In the title story, for example, the question of whether a woman has survived an attack by an actual or metaphorical bobcat is muted by the late-night arrival of a strange woman at the door—like the answer to a question the narrator was not yet prepared to ask.

A Graphic Novel About 100 Years of Matrilineal Family History, From South China to Singapore

To hear Weng Pixin tell it, Let’s Not Talk Anymore started out as a kind of “fuck you” move after a particularly bad fight with her mom but—as these things tend to go—it gradually transformed into a project to locate herself within the moth-eaten story of her matrilineal line. 

Moving back and forth across a 100-year span, the graphic novel depicts snapshots from the lives of five generations of women from Pixin’s family, all aged 15—from her half-mythic great grandmother Kuan, to an imagined daughter in 2032—as they navigate the hostilities within and without the home. The result is a family history riddled with recurring themes: separation, sexual assault, and emotional isolation. Mothers and daughters stewing silent in their anger, each of them hoarding pain like heirlooms for the next generation to inherit. 

There’s no telling where things are happening, but the characters are clearly shaped by the cultural and social mores of a traditional Chinese upbringing in Southeast Asia. Though many of these standards have changed over time, the reticence to express true, deep emotions remains. Time and again, these characters resort to anger as their only recourse, unable to cope with the unacknowledged pain sitting within them like a stone. 

The novel is deeply invested in the theory that every act of violence—emotional, physical and verbal—has its roots in something undeniably human. In seeking out the truth in the probable lives of her mother and ancestors, Pixin uncovers a road to healing and something that feels a lot like freedom. 


Samantha Cheh: I did notice a stark difference in the registers of dialogue in Let’s Not Talk Anymore. On one end of the spectrum, you’d have characters saying very mundane things, like what do you want for breakfast? Let’s go to the field—but then there’s the other side. Characters explode into anger, and language becomes extremely emotional and hurtful. There doesn’t seem to be an in-between mode, no gaps between them. 

Weng Pixin: I was particularly thinking about my own experiences growing up with my mother. My dad was away for work a lot of the time, and so she was a primary caregiver. What I remember the most from my upbringing is that when she gets really mad, she doesn’t make a lot of sense: in the words that she used, in what she’s telling me about why she’s mad, in what she’s planning to do. Now, as an adult, I began to realize that I’m working with a mother and a person who has a lot of difficulty trying to explain why she’s upset. If we think carefully about it, that ability to remain calm requires many sets of skills, and I can now see that she had no ability for it. 

Those gaps that you describe between these extreme outbursts and the plain language of everyday life—I think those are the conversations, questions and answers that we can ask to get to know each other better. Not to feel what the other person is feeling, but to develop a vocabulary to describe our full human experiences. I think that’s severely lacking in the Chinese Asian parenting culture, and that was what I was perhaps keeping in mind while I was approaching this graphic novel.

SC: I feel like what you’re describing is an ability to process emotions that most of our parents are not equipped with; they can be so reactive. Of course, they came from a very different world, one I am keenly aware is characterized by suffering, but it’s developed in them a kind of eternal survival mode. Tunnel vision. There’s so much emphasis on survival that the quality of life really suffers. 

WP: Yes, and I don’t blame them. It just doesn’t make sense to do so when it was a completely different generation, era, and context. There is a scene where Kuan’s mother gives her the porridge, but saves only the porridge water for herself. Later, somebody told me that porridge water has more nutritional content, but the point is it’s not a balance between getting more nutrients or vitamins or energy. It’s “what do I do to survive to the next day”; not “what do I do to live well.”

As a child and teenager, I blamed my mom a lot. I just hated her for just the kind of parent that she was, but through working on this comic, I realized I had never thought about the possible life she came from. I had heard stories, sentences here and there—maybe from her sisters, or whoever is chattier—but not from her because she’s very quiet. 

They were just concepts I didn’t really understand, but with comics, you’re thinking in visuals. You have to find a way to put an image down to accompany the concepts. For example, when I was painting my mom missing her dad who left her very abruptly at a young age, I had to ask: What does her dad look like? Would he be sitting very far away from her? What would that be doing while he’s in his daily life? In the process of thinking and putting down those pictures, I got to kind of experience or feel a little more about what it was like to live in her shoes somewhat. 

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SC: I can imagine her reticence to share those stories must have hurt quite a lot. 

WP: I think I understood the hesitation to share more, but it’s also weird because my dad is very chatty. In the family, he’s like the black sheep because he’s so verbal. His communicativeness makes him come off as very forthcoming and straightforward and honest, and because of that, I’ve never felt bothered if he doesn’t tell me something. 

I wanted to show how when you carry your own pain, if you don’t give yourself the opportunity to process it—or if you don’t even have the ability to do so—the pain will stay inside of you.

On the other hand, my mom’s uncommunicativeness bothered me because there’s this protectiveness or defensiveness. I read her not talking as not trusting me, or her misreading my questions as invasive when they’re more inquiring. But when I thought about that attitude in relation to where she came from, I realized that what I saw as defensive was maybe a sense of helplessness at my questions. 

My dad is so communicative, but even he has difficulty expressing himself—she generally struggles with communicating, so talking about her day-to-day life? Sharing things that seem simple and basic to us? It’s difficult for her. My theory is that she came from an environment that is way more repressive than I can possibly imagine, so talking is a very big challenge for her. In that sense, my questions to her weren’t just, can you tell me this? It was more, can you be this now? Someone that is completely not you? That’s why she reacted with the desire to protect herself because what I was asking of her, she felt like she couldn’t do it. 

SC: When you began connecting the dots between your mother and her past and how you were brought up, did it change the day-to-day experience of your relationship with her?  

WP: Yes, it definitely did. Halfway through making the comic, I saw that in our in-person interactions, I was a lot less frustrated or reactive because I was putting myself in the space of trying to be in her shoes more. From doing this work and from reading research on her generation or time, I became very aware that she didn’t have a lot of opportunities. She’s been influenced not just by society, but also her mother’s messaging that women have to get married and bear children. If we go a bit further, as a child, she also didn’t have the opportunity to learn how to express herself. Just like what she did to me. 

Working on the comic helped me get the barest shape of where she really comes from, and made those ideas a lot more concrete. And once they were concrete, I found that it made no sense to remain angry at her for who she is. All I see now is a person who—with the limit of skill set that she has—came out as this individual. To ask more of her would be irresponsible and selfish on my part, and by the end, the main anger towards her dissipated. 

Also physical space apart also helped make the mother-daughter relationship have some opportunity for repair. 

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SC: Reading the novel, you do get the sense of reparation. With your art, you’re filling in the fissures in the relationship between you and your mother, but also within yourself. I saw some of that with Kuan’s weaving and Mei’s sewing. 

WP: For me, art has always helped. With my mom’s upbringing, I was continually discouraged from talking, from expressing myself, from telling her that something is troubling me. It came to a point where I wouldn’t even ask her for advice or anything. I just felt like she was the most unsafe person to consult because I would just end up feeling hurt or disappointed or—even worse—betrayed. For a very long period of time, I was largely a very quiet individual. Not just because I was shy, but mostly because I felt that whatever I say, it’s gonna be wrong—because that’s the lesson I picked up from being with my mom. Everything that I say is met with a very negative outcome. I learned to keep quiet in order to survive. 

With my art, I was able to process a lot of things that I felt I didn’t dare do with words. It’s been healing in a sense of just being able to let something out. It sounds disgusting, but it’s just like diarrhea. Like mental, spiritual diarrhea. Art provided that lovely toilet bowl for me to share the love. [laughs]  

SC: There are a lot of like images that recur for me in the comic, motifs like absent fathers, sexual predation, separation, and weaving. Certain scenes clearly speak to each other across time

WP: I was trying to show how trauma gets passed along and affects the way we relate to another human being—and how that can get even more pronounced when this relation is between a parent to a child. For example, Mei, my maternal grandmother, is sexually assaulted and she deals with this trauma privately because she just had no space to tell it to anybody in this society, not even her adoptive mother. To make it more confusing, her adoptive mother treats her like slave labor but also takes care of her. It’s a very strange message for somebody to grow up with: the person that provides for you essentially doesn’t care about your well-being, but you have to trust and rely on them.

I learned to keep quiet in order to survive. With my art, I was able to process a lot of things that I felt I didn’t dare do with words.

The thing to remember is that these characters are adolescents, and what adolescent has the amazing ability to differentiate how much to trust someone or pull back, all while still needing them to survive? That’s why, with that kind of upbringing, I felt it was possible that she can then find somebody, get married, and then unconsciously reenact that same pain and trauma on her children because she’s just unaware of how much they have taken over her. 

I really wanted to show how the minute you carry your own pain, if you don’t give yourself the opportunity to process it—or if you don’t even have the ability to do so—the pain will stay inside of you. And whoever that you meet next will get it in some way from your lack of ability to attend to them, because you haven’t attended to yourself. 

SC: The funny thing about getting older is that you can now recognize all the ways your needs weren’t met, all the gaps that were left by the adults in your life. If you could go back, would you? 

WP: I think that question is interesting because on the one hand, I would definitely always say yes. Would I have benefited if I had a parent who was attuned to my needs? Of course, yes. It wouldn’t make crying feel shameful, it wouldn’t make feeling some things or encountering some experiences outside of home feel weird or scary. 

The thing I’ve always struggled with is what my art would have been like. Would I have content? Would it have been interesting? Would the non-pain and non-challenge have yielded something interesting, art-wise? That’s the part I have no idea how to answer. I hope so, but the reality is that my art has been derived from challenges, pain. Things that confused me, things that have upset me. I’ve always been provided for physically, but I think it’s more the emotional landscape of myself that has been a big struggle to make sense of. I wish I could say that my talent and skill would have yielded art that was just as good, but I cannot claim that.

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SC: Actually, at times, reading the novel was a little bit difficult because there was not always a lot of distinction between characters. They look and often feel very similar. 

WP: It was just as confusing in my head, and there was no interest to get them to look distinct. Partly because of the cartoony style, but I remember kind of thinking I don’t really need them to be so distinctive. I kind of want it messy and confusing. The only structure the reader can grasp onto is the year that’s been written down because that’s just the way my mind was. I have no picture of how my great grandmother looks, of her living space. I have no visual. There’s still tons of missing things. I imagine for most people, when you’re trying to recollect a memory, it’s visual; it’s experience, it’s the feeling. All that is missing because there’s no stories. 

SC: I love that by imagining the shape of Kuan’s possible life, you’ve kind of woven for yourself a sense of continuity that you didn’t have because of all those gaps in your history. Now with this complete work, is that emphasis on remembering still important for you? Why? 

WP: Why do we need to know our history? Why do we need to know the past? In one sense, it’s to help give you a stronger sense of where you’re from, and the kind of values or belief system that you come from. Not that you in the present necessarily need to follow, but you just have a better understanding of your origins—and I don’t, from my mom’s side of the family. I don’t have a great grasp of where I come from, in that sense. 

I can tell you from my dad’s side that I know that my paternal grandmother was really into business, and she had a father who was an opium addict. She was from Hong Kong, and that immediately made me feel I have kinship with this country even though I don’t live there. It sounds kind of corny and cheesy, but it’s almost like, oh this is a connection there, it didn’t come out of nowhere. It also shapes a bit of how we look at our future. 

In knowing our history we find out more about ourselves. I know my art comes from my maternal side because all my aunties painted before they got married. My mom still draws when she’s on phone calls, but the sad thing is that she dismisses herself. When I was a kid, I visited my maternal grandmother’s house and I saw the paintings that each aunt did, as well as my mom, so that came from them. That’s why I made up the story that my great grandmother loved to basket-weave when she was free, and my grandmother loves to sew. I just imagined I came from this line of women who made art in private and nobody sees it.

I Joined a Cult, But I Still Feel Alone

“Once Nothing, Twice Shatter” by Tyler Barton

Luther buys cars. It’s what he does, and it’s what his billboard says he does—LUTHER BUYS CARS. He bought my dad’s car. He bought the mayor’s car. He came to a surprise party for my mom’s sixty-fifth and left with her Sportage. Think back. If you lived in Gettysburg in the late aughts, Luther probably bought your car. Maybe you heard about him on TV, about what he built, and you thought, I would never sell that man my car. I’m sorry. I don’t believe it. It’s his aura—smile like the grill of a Chrysler, hair a horse’s mane. Luther glowed gold.

I was en route to leaving town, to finding peace, to ridding my life of so much me, when I crashed into the back of an Integra, transfixed by the riddle of its vanity plate—HEDIE4U. My brakes tried. Our cars veered into the cornfield. The other driver’s baby cried as we waited for the police, and it was raining, pouring, and my door wouldn’t open, and Luther appeared, bearing an umbrella and a guarantee: my Buick was totaled. Bereft. Unsound. With his big vocab, that quiet murmur, the cleft-lip scar, you just hung on to Luther’s every word. I was cold, high, and scared, but his serenity kept me from fleeing deep into the corn. Luther went shhh, and then he bought my Buick. “I’m notarized,” he said, and shook my hand with both of his—so warm. “It’s all legitimate.”

I left my eleven books on Zen in the trunk, took my hamper, and walked to Wawa. I bought so much made-to-order—enough to kill a horse, as they say. “Mozzarella sticks for pumps two through eight,” I told the cashier, sopping. Luther had made me magnanimous. I thought it was my middle-aged life turning over like an antique engine. That night I got a nose ring. Not that Luther was pierced, but his high-tier moxie made the world feel like something you could bring to heel.

Luther bought my car for three hundred dollars, but then I had nowhere to live.


After the accident, I stopped wearing the hat a fan had made me, a red mesh trucker embroidered with the words Brad the Broadcast Bandit. It’d been two years since my shock-jock radio show, and I’d been going by a slew of dumb identities—Greg, Jed, Art, Hal—any name that sounded burped. Todd. I started living in the yard behind my dealer’s double-wide. Basically it was a doomsday shelter dug by shovel and lined with ten-pound bags of rice. That’s where I slept, on rice bag beds. I cut this guy’s grass, loaded his little dishwasher on wheels, and kept his cats alive. His name was—I’ll call him Colt. I owed Colt a lot of money, and he had dirt on me too.

“Don’t just do something,” Colt would say. “Sit there.” Which meant: Do something. And then he’d hop on one of his crotch rockets and tear off into the afternoon. While he was out, I’d clean his trailer, and I’d clean his girlfriend’s trailer; I’d clean his other girlfriend’s trailer, and I’d clean her girlfriend’s trailer. I thought about a billboard that said, TODD CLEANS TRAILERS. At first I figured I might get empty this way, cleaning all day alone. What I wanted was to make my ego go quiet, to learn to think of nothing but the dish when I rinsed it. But then one morning with the radio on, I got lost in my head and snapped a porcelain plate. Then I smashed a glass. Then I whipped the squawking radio at a ceiling fan and left.

So I tried Mom again, walked all the way to her house, offered to cook and clean for a spot on the couch. She lived in an unaffordable split-level that would soon be repossessed because the loans had been written in a language the country no longer spoke. In ’09, that was the story of Adams County, the elegy of the country, really— homes being pulled out from under us like rugs.

Mom raised honeybees and wasn’t fond of taking off her aerated beekeeping veil. She looked like an outer space nun. Through the mesh, she told me my problem was that I didn’t know how to blame myself for anything. I had to start doing right.

“But I don’t want to do anything,” I said. “That’s the point. I want to want nothing.”

“You hearing this?” she said, turning to her hives. “You see what I’m talking about?” I told her I was becoming a wandering monk. I threatened to join the US Army. I gave her a hug.

“What about that nice man Luther?” she said. “I hear he’s hiring guys like you.”


Cars, yes, but it turns out Luther had also bought land, so much land, enough land to kill a horse. In May, trucks drove over to spread dirt into an oval, a track. That’s why he bought our cars—to stock a demolition derby. Even miles away, in town, you could hear vehicles collapsing into one another, and that’s when I came to Luther for a job, holding my hands out like a cup, empty.

Piles of busted rubber tires fenced the track, and I entered slowly, passing teams of men wrenching Jeeps with gusto. In his shed I sat on a red fender and told Luther to make me a driver, a derbyman, a dead-to-the-world heel on the gas. With enough impact, I’d smash the grasping clean out of my body like a pair of dumb dice through a shattered windshield. Luther rocked in his racing seat, prayer hands pressed to his marked lip, eyes shut in one long blink. He wore a white tank top you could see his dog tag necklace through. I poked at an eraser on the table between us. There wasn’t one light on, but the toolshed shone.

Finally he said, “Todd, you consume drugs, correct?”

“What can I say?” I twisted my nose ring, smelling the sour of my cartilage. “Youth.”

We laughed at that. I was forty. The hole was infected.

“Substances deliver you a kind of . . . orgasm, yes?” Luther said, every word a whisper.

I shrugged and did not say: Yes, they used to, they once helped me see all the way to god. “Todd, the goal is to be in a state of perpetual,” he said, pointing to his temple, “orgasm.” I laughed. “And that’s why we’re creating the Track.”

When he handed me a paper, I thought it was his manifesto. He told me to read aloud:

Anybody know what this place is? This is Gettysburg. This is where they fought the Battle of Gettysburg. Fifty thousand men died right here, fightin’ the same fight that we’re still fightin’ amongst ourselves today. This green field painted red, bubblin’ with the blood of young boys. Smoke and hot lead pourin’ right through their bodies. Listen to their souls. I killed my brother with malice in my heart. Hatred destroyed my family. Listen, take a lesson from the dead.

For a second, I felt heroic. I couldn’t put my finger on the film the words were from, but it felt like one where when people fall down, they keep getting back up and keep getting back up.

“I’ll employ you as my anchorman,” Luther said. “You’ll narrate the races. Remind the crowd precisely why they’re here, why they want to return.” I shook my head no. Airtime was the one drug I could not do anymore. If you’re listening to this, you know I’ve relapsed.

Remember the Titans. That was the movie. And Luther—a titan. Tycoon. A tyrant-to-be. I heard people outside the shed laughing, saws coughing into metal. Luther stood up from his cockpit, came around the table, and put his hands on my shoulders. I shivered, but it felt holy.

“Can’t I just clean the dirt?”

“You’ve got to be somebody before you can be nobody,” he said, pulling an I-9 from a glove compartment nailed to the wall. Had he been reading my old mystic books? In his words I heard Thich Nhat Hanh and bits of Be Here Now—ideas rang familiar but newly bold, glossy, like chrome. Luther handed me the form. I read it aloud, but Luther wouldn’t laugh until I signed.


Luther tore tickets. Luther sang the anthem. Luther sold snacks. Luther mopped the johns. Luther meditated alone. And for these reasons, he didn’t watch the derbies. And because he couldn’t watch, it was important to him that the story I told through the loudspeaker rocked. I used a voice other than my natural and hid in a booth made from the detached cab of a Durango. With my microphone and my Diet Mountain Dew, I said everything I saw.

The Excursion is, oh boy, turning, gunning, and the Civic doesn’t know it, but he’s about to get a RUDE wake-up. And on rude, the cars crashed. Mud flew. Every once in a while, something came on fire. I popped addies to keep my focus, E to get the crowd excited. I narrated from the perspectives of the cars everyone loved. Your Avalanches, Chargers, Colorados, and Broncos—anything sounding ripped from the West. They whooped and booed at my command. I couldn’t help it, becoming someone again. My ego ate up every noise they made.

There goes Crown Vic, America’s hero! The crowd would erupt. Lick ’em good, Vic!

One night Luther motioned for me to roll down the window and handed me a thesaurus. I started using careen, incognito, tragicomedy. I said indigent and aroused.

Admit it: when Punch Bug surrenders to the barrel roll, you feel a UNIQUE arousal.

And on unique my crowd would tear a hole through the air.

Sometimes when a part fell off a car, I’d declare a dance-off, and anyone in the audience who wanted that bumper or that mirror or that broken, melting helmet would stand up on the bleacher and shake it. Our camera guy would shoot slow across the rows until I found a dancer I couldn’t criticize. The winner got to run out on the track and pick a prize.

In the parking lot, after all was smashed and done, Luther would gather lingering fans for a last beer, gratis, and do what Luther did best. Often he’d stand on the cooler. He’d whip out this statistic I think he made up, about the average Pennsylvanian spending three hundred hours driving every year. “Each of these precious minutes is spent on a road that’s designed to take them exactly where they’ve been told to go. You comprehend?” Forceful but breezy was the way he spoke. “We’ve forgotten that we can color outside the lines.” Some listeners would stay on, join up. Our crew grew large.

There’s no denying how magnetizing it was to see your own car out there on the Track, broken and totaled but—my god—firing back up again. How the motor always, eventually, turned over. Within a month, we started running double features, Sunday specials. Eventually, Luther lent me a car, not to smash, but to use. It was a Celica, which means cosmic. I backed it up into all of Colt’s motorcycles on the day I left his place for good.

One night in July, I found Luther behind the bleachers, swinging a sledge at a wrecked RAV4.

“Boss?”

“Go ahead and clock out, Todd.” Luther swung underhanded at the front tire, and the hammer bounced from his hands. He sat in the dirt and nursed his wrist. “Meaning farewell.”

“Mind if I take a swing?” I said, not wanting to leave. Luther shrugged.

I swung. I swung, and in a minute it was obvious that all we want is to be young again.

Luther watched me lay into the windshield—once, nothing; twice, shatter—and then asked if I would hold a second. He climbed into the back of the car and sat still in the middle seat. Legs crossed applesauce, he held his hands together at his chest. Luther let his eyelids close.

“Use the vehicle,” Luther said. “Perform your tantra, the physicality of enlightenment.” And I heaved the hammer up, a slow arc, and brought it down like a house. The back bumper cracked and a cloud of spiders poured out. Like a hangnail, that bumper hung on until I slammed it again. I swung until the thing was in pieces. Until the make and the model and the year disappeared. These were things that didn’t matter anymore: the make, the model, the year, the future, the past. Things like what we know. What mattered was the place you built to go inside your head. What mattered was your sanctuary. Not what was coming down all around you.

“But remember, it is only a vehicle,” he said. “Never become dependent on your vessel.”

My knees buckled when the Toyota looked like gum, chewed. Luther’s aura glowed louder than ever. The ceiling liner drooped down around his shoulders. A tear in the upholstery made it look like the car had swallowed his skull. I got in and sat passenger—we meditated together. You could hear the moon. Time got loose.

“What is the first of the five Yamas of Yoga?” Luther whispered. He didn’t wait because I didn’t know. “It is ahimsa, or nonkilling. Then nonstealing, nonjealousy, continence . . . and?”

The last was truthfulness.


Luther made money, so much money, but he only seemed as happy as the guy on top of a consolation trophy—always smiling with his teeth tight. My pay was decent, and I hardly protested when Colt came weekly to collect half my dough. I just gave it over like always.

You have to remember, I was trying so hard not to want anything. I helped the food crew with their gardens and tried to practice detachment: if the tomatoes ripened they ripened, and if they rotted they rotted. Some were stolen in the night, and I failed; I cared. What Luther preached was the abdication of attachment. No more clinging. I gave his weekly speeches to the crew. You must detach from your sense of morality. Without bad there is no good; all good creates all bad. There is no hippie without a cop. The goal here is to start sensing all phenomena as one—no good, no evil, just is.

Luther, my boss. Luther, something else. I didn’t want to let him down, so I helped him transform the Track into a compound. We made bleachers from bench seats, captain’s chairs, the railing cobbled together with pipes. A bus chassis became the foundation for a bunkhouse, though Luther used the term dormitory. Dozens of us worked 24/7. On shelves made of mangled doors, Luther built a library of Eastern thought, and it featured all my old books.

In a month, we had a kind of halfway home built out of automobiles. I wasn’t the only one who started sleeping there. Drivers boarded too, taking turns cooking eggs for breakfast. I’d try to get them talking about their jobs, about how it felt to destroy the body you were trapped inside. “Do you ever get the urge to take the helmet off?” I tried. But they ignored me. Maybe they hated my affinity with Luther, our intimacy, the way he touched my head during meditation? Maybe it had to do with Colt coming by and taking my money every Friday. Our security team made me meet him on the street, and as I handed over the money, you could hear them spitting. They called me Told, as in Does what he’s told.

Luther, they loved. He’d given their lives purpose—kindhearted ex-cons, crabby old men, stupid kids addicted to pills and Monster Energy, women who’d left the shelter forever. They would follow him into battle, me high up on my horse with the bullhorn, calling out Luther’s messages to our rabid audiences: How many of you lost a home? The government and the bankers—they gambled away our lives! The Track is a home. Let go of what you’re grasping for, what’s always slipping through your fingers. Show us you’re ready, sell us your car, join us tonight!


One night, during our weekly RAV4 session, a schoolteacher who’d quit her job to work at the Track came by with a question about using chunks of rubber in the children’s play area. I was cloaked in sweat from hammering the car, and Luther’s head was lost inside the drooping upholstery.

She looked shaky when she said: “Just want confirmation from you before we—”

“Excuse me,” Luther yelled into the Toyota’s ceiling. “Did you observe the two of us before you approached?” She winced. “Never interrupt when Todd and I are fellowshipping!”

It wasn’t like him to yell. The woman left, ignoring my wave goodbye. I remember thinking: Wait, we have a children’s play area? I tried to clear my head, resume concentration, but Luther’s hand grabbed my shoulder: “Who’s the man who takes your money each week?”

“Who?”

“The one who comes every Friday on a motorcycle. Who steals your pay and leaves.”

“Oh, he’s just someone I owe.”

“The only one you owe is you,” he said. “Tell me the truth. What have you hidden?”

The thing with Colt was kind of a shakedown. The drug debts were done, but he had a video of me from a few years back, full throttle on a mix of pills, stealing a Shetland pony from the mounted police unit at Jefferson Carnival. Officers on horses, if you can believe it. One cop had his kid there, holding the reins of this short shaggy horse, posed beside a sign that said BE SOMEBODY! During some chaos with the Gravitron, I snuck the little horse into a field and fed it tomatoes, just so many tomatoes, and by morning it died.

In order to release them from their material lives, we will erase their homes. We will be the Amazon-dot-com of carnage.

Colt had been there, filming, because we filmed everything back then. We thought we belonged on TV. Earlier in my life, Colt had been a wild friend who raised my temperature, plus my supplier—the means for my journey to anywhere but Gettysburg. But the day after the pony’s death, I told Colt I was done for good, and what he did was send the video to my bosses at the radio station. Now that I had left him for the Track, I knew he’d show the cops if I gave him a reason, if I stopped paying. I had a record for possession already. Theft from the cops, the murder of a horse—I could never handle prison. The word for all this was extortion, I think.

“You’re under remote control,” Luther said, eyes closed, his cleft scar trembling.

“Nah, it’s just nothing. I’m not attached to it.”

“Brother Todd,” Luther whispered. “You can’t let something go until it’s gone.”


Next weekend, Luther unleashed a new special event: DOUBLE-WIDE DEMOLITION. In the center of the track, a ramp made of recycled metal led to the front door of a local sap’s mobile home. Luther had given the guy ten large, a gig as a greeter, and a bunk in the dorm, which everyone was now calling a barracks. From the stands, the old man waved at the camera. The engines ignited. Every single onlooker lost it, screaming. You could hear us from space.

Ladies and gentlemen, I said. Prepare yourselves. But I didn’t know what for. I was terrified. Because I think we’re about to cross a line!

And on line, the Crown Vic wrecking-balled through the wall. The owner had left his pictures up, his bookshelves full. The ruined pages caught up in the dust like leaves.

That night, we had a team meeting. Drivers, grounds and food crew, construction, visitor experience, recruitment—all of us. Luther bowed, waved, smiled, and then handed me a script.

Tonight we embark on a groundbreaking drive. We’re bringing the demolition to the customer. In order to release them from their material lives, we will erase their homes. We will be the Amazon-dot- com of carnage. This customer has paid handsomely, and we need the funds to complete the transformation of this dirt lot into the temple we deserve. I need five drivers—and here, the hands went up, just so many hands—you’re going to the Viewbridge Trailer Park off Lincoln Highway, Lot 21. There is one rule, which is to make the place rubble.

I couldn’t comprehend the words I’d been fed, but the address was familiar. Soon, five drivers had their engines revving. I found Luther at the RAV4 and handed him my questions, each one boiling down to Why? and What is this? I passed the barracks and wondered why exactly we needed a barracks. Colt. It was Colt’s address. Don’t just do something. Sit there.

“Your drug dealer is stealing from the whole community,” Luther said, his head in the roof. “Do you want to waste your life being hustled, or do you want to locate peace?”

“I don’t want to hurt anyone,” I said. “You know . . . ahimsa?”

“Pain, pleasure—feelings are only chemicals,” he said. “It’s all the same thing: nothing. And, relax. Colt is not presently inside his domicile.” A muffled noise came from the trunk. I’d given Luther my car, my man-hours, my voice. For all that happened at the Track, I was guilty.

And I still am, listeners—don’t forgive me.

“Brother Todd, I understand. Colt was once your vehicle to enlightenment, and his drugs showed you, for a brief moment, the light,” Luther said. “Let all of that go. The light is inside.”

In the dirt I found the sledgehammer and put it through the back window. Screams came from the trunk. “I quit,” I said. “I want to leave. I’m leaving.”

Luther called a car, and in a minute, a Volkswagen was idling beside me. When I got in, the driver—a woman wearing a welding mask—locked the doors. I didn’t know where to tell her to take me, and I felt relieved when she chose the direction. Luther did not wave goodbye.

Minutes later, there I was, sitting shotgun in a Golf, ten headlights beaming on the home I used to clean. We were a spacecraft that, as the engines revved, was about to ascend. I didn’t try to stop it. That night, I only used my voice to scream. An old woman in curlers watched us from a next-door window, shaking her head. We passed through Colt’s weak walls like a gale force, the plastic siding and plywood shattering around us. I heard cats howl. The radio was on inside. When we reached the backyard what we did was reverse.


Colt stopped coming by the Track on Fridays. I didn’t know what happened to him. I still don’t.

By the end of August, we had a mess hall, fitness center, studios where artists made mosaics from the shards. My mom, newly evicted, kept the gardens stocked with pollinators. There was a position here for anyone. We shipped in red clay for the derby surface because dirt slowed you down. Under the new halogen lights, the slick adobe shined. Turnouts skyrocketed, standing room only. The Track was like a university, an outpost on the moon—the dust of crushed glass embedded in the clay and made everywhere we walked look like a Kingdom.

But it started to feel like a jail to me. I took long worried walks past our blooming gardens, through the junkyard, Brothers and Sisters watching and whispering in their own earthy language. Yes, there were issues with trust. To use my car, I had to ask Luther for gas, so I stopped driving. Nobody talked to me. Even Luther was a cold shoulder. Nights I could hear him fellowshipping with others, the sound of hammers on metal ringing through my sleep. I went to the library, looking for guidance, but the only book left was Sun Tzu’s Art of War.

I still narrated the derbies, though poorly. I rooted for and preached about the inner lives of the cars the crowd hated, the ones they booed—the black Bonneville, the knock-off Oscar Mayer hot dog bus that couldn’t turn, the pink VW bug doing donuts in the back. Don’t trust anyone, Punch Bug. Believe in your true essence! Crowds, kids, members of our hundred-person staff would come to the window of my booth and beat the glass. The cars went at each other like bulls, and I was hoarse-throated and high, yelling: Any place you stand at all you are vulnerable! Truly, there is nowhere to stand! To make it out of this ring, you must find a way to be formless! Oh no, the bus is gunning it. Here she comes. Unless you’ve found a way to disconnect your mind from your physical body, folks, this one’s going to hurt even you fuckers up in the nosebleeds!


The night of my last derby, the Crown Vic, fan favorite, was destroying everyone. Vic could take all manner of damage—windows busted, roof caved, bumpers barely holding on. Painted like one of those rocket popsicles, smashed like a stepped-on flag, I called the Vic French just to spite the audience. The only other car left on the track was the much-hated, all-black Pontiac #0.

Long live number zero! You’re an old soul and misunderstood! Our beautiful audience, listen to me: Go home. This is not healthy!

And the crowd chanted back: LO-SER, LO-SER, CRUSH HIM, PO-LICE CRUIS-ER.

More like, Le Cruisiér, I yelled into the microphone. You French fuck!

The cars raced, and the packed stands turned feral. Luther came to my window. I refused to roll it down. He berated me through the glass, asked who the hell I thought I was.

“If you want to leave, Lieutenant Todd,” he said, “there’s the fucking door!” But he was pointing to his forehead. And bleeding from the nose. Out on the track, the car chase ended when #0 finally drove through the black rubber boundary and escaped, but the hero still needed someone to hit. Luther signaled like a coach. Fifty yards away, Crown Vic turned toward me.

Yes, I said into the mic. Do it.

Vic came, pedal down, straight for my booth. I watched it coming. You’re still listening, so I imagine you want to know what I saw: I saw America take her helmet off.

Here comes a pancake! I narrated, gripping the dashboard. Or should I say CRÊPE!?

And on crêpe, the cop car came through the gate like a fist, but I rolled out of the booth before it went up and over, slamming down on its ceiling, my Diet Mountain Dew all over the fractured glass. Unscathed, I looked out at the crowd, their faces elated, bewildered, mouths agape, children crying, the moon above our whole scene doubled-over with laughter. Luther vanished into the crowd of bystanders. The Vic did donuts in front of the concession stands. I saw nothing sacred, no one I trusted. I heard nothing truthful. Then I saw the #0 abandoned in the corner of the ring, which is where I ran, screaming.


The #0 started right away, but the thing was, it didn’t turn left. Fans pointed and yelled as I drove in circles past the stands. When the gate opened up to let Crown Vic loose on me, and the roar of the stands reached tsunami levels, I gunned it for the exit and crashed through the gate door, knocking down half the pit crew. But I was out. I maneuvered right through the parking lot toward the exit, a break in the wall of tires. The engine rattled like a mob of neighbors knocking at your door. Above me: a hole in the ceiling I could see the stars through. The road opened, but there was still this feeling of being trapped, and I thought of Luther’s theory about how we only go where past roads lead, but when I saw the sign for Route 30, the Pennsylvania highway that’s rumored to run all the way to California, a sense of freedom filled me, and I chose it, but it was a left-hand exit, so the car kept going straight—straight through a red light, down an embankment, and end over end. My heart fell into my head, totaled my brain. Have you ever felt your karma clear? I thought I would have zeroed out. Things broke I didn’t know could break when the car landed on its windshield, obliterating the dash, raining debris—but I wasn’t free of anything.


At the police station, they asked me questions, and I asked for help.

“I think I’m in a cult,” I said, and the room was silent. “But I still feel alone.”

Detective Ulrich explained everything they already had on me— the horse, the trailer I helped demolish (the neighbor lady had ID’d me), the reckless driving, the drug possession. Apparently, she had sent a pair of officers down to the Track recently to investigate Colt’s disappearance, but they ended up selling their cars and quitting the force. Ulrich wanted me to wear a wire. Here it was, another cycle. Again I asked the question I still ask to this day: Will I ever escape a microphone? She patted my hand with hers, and if I’d been the old Todd, I might have fallen in love, followed her to war, but no, I didn’t trust her. Trust for people does not exist in me anymore, regardless of the fact that we are all waves breaking on the same shore. Her voice sounded as if it had fallen into a well, like she was speaking through a straw. I kept slipping into some space between awake and sleep, and she interpreted that as me nodding yes.


Not all heroes wear capes. This I know because Luther had started wearing one. I found him the next night out behind the bleachers, lying facedown on the hood of a Focus. At first I thought it was a red blanket draped across his back. For that second he seemed dead, my order to trick some confession out of him now pointless, the tiny microphone taped to my chest just a moot joke.

“Luther,” I said. “Captain.”

“Lieutenant Brother Todd,” he said, still as a statue, cheek squished against the windshield. “I have a new job for you.” His voice was smoothing out, like he was about to buy something of mine. But I had nothing left to sell, so I rushed into what I’d come to ask.

“Do you remember my friend Colt?” I said, sticking to the script Ulrich had given me. The car groaned as Luther rose, the red cloth Velcroed around his bulging neck. He looked dead. “Friend?” he said. He took hold of my shoulders and looked me in the eyes, his pupils almost nonexistent. “You know what I saw in the Middle East, Todd? Bedlam. Chaos. Even our regiments, our own commanders, inept. I’ve been listening to the Tao on audiobook, and you know what I hear? It’s chaos all the way down. If nothing exists, then there’s sure as hell no order. The bank took my fucking house, and I thought I had nothing. The house my father built was no longer mine. But now? Now I have a sanctuary. As do you, Brother! And the government is worried that we found it! They’re watching us, Todd! I’m seeing things, things I don’t like!”

“Are we going to be attacking any more homes?” I said, enunciating.

“Brother.” He touched my head. “I never had a friend like you. Will you do me a favor?”

His boot was untied, and I swear, some part of me tried to kneel down and knot it.

“Please,” he said. “Get into the back of the Focus.” My legs shook as I stood my ground, but Luther grabbed me by the nose ring, pulled me to the trunk. Inside, I tucked into the fetal position as he slammed the door. “Knock once if you want salvation,” Luther said. “Twice if you need hell.” And for what felt like all the years I had been alive, hail the size of hammerheads fell. The loud was so powerful that I could hear my own soul squeaking. I tucked my nose down into the collar of my T-shirt and whispered, Luther buys cars. Luther buys cars. But the codeword wasn’t working, because I didn’t hear sirens. All I heard was Luther’s sledgehammer falling hard against the trunk, the metal pinching down like teeth, pinning me in. Have you ever tried to picture all the people who love you standing shoulder to shoulder in a field? It was just an empty field. Where was Ulrich? Couldn’t she hear me? Listen: don’t forgive me. Don’t feed tomatoes to horses. Only be someone if you have a reason. Is anyone listening to this? Colt and I wept together burying that animal. Man, if you’re hearing this somehow, email me, we’ll have you on, dude, we’ll let you tell it. I say we as if it isn’t just me alone in this studio. Jesus, I hate this part.

From inside that tiny trunk, I could hear the engines of derby cars, their backfires, the footsteps from our hundred-person crew. The whole Track crept close through the quiet night. It was dark in the trunk, but light poured in when the backseat dropped forward and Luther handed me a mic. I accepted it. His script was simple, a long apology, a rant in which I begged forgiveness.

“Anybody know what this place is?” I whispered my final address. “This is Gettysburg.” And when I got to the part about the field bubbling red with the blood of brothers, I went off script and tried my best to give the police reasons to swarm. “We’re going out tonight in cars. We will demo downtown until it is rubble. Sword Store. Gun Depot. Wine and Spirits. We’re going to meet back here and wait for the rest of town to arrive. They might bring guns, but we’ll show them what to point them at. The world. The rest. The country. They might bring pitchforks, but we’ll put them to work in the fields. If they bring torches, we’ll cook s’mores. If they bring dogs, we’ll have pets.” I wondered if I was the only one who could hear the sirens.

“We built something here, a new way of living,” I said, giving it every ounce of personhood I had left. “Put your hand up if Luther bought your car. Now close your eyes. Keep that hand raised if you would sell it again.”

I Am Mother, Hear Me Howl

The first time I saw artist Martha Rosler’s “Semiotics of the Kitchen,” I laughed. Made in 1975, the video depicts a young Rosler wearing a long black dress and apron as she stands in a traditional kitchen. Cooking utensils are laid out on the table in front of her, and with a completely emotionless face, Rosler displays for the camera one utensil for each letter of the alphabet—A for apron, B for bowl, C for chopper, etc. Her face remains affectless throughout the video, but as she demonstrates how to use each tool, her motions become more and more aggressive. An ice pick is speared fitfully into the wooden tabletop and a knife, held like a weapon, is stabbed violently into the air. Even seemingly innocent tools like ladles and measuring spoons are displayed with a ferociousness that seems comical until it isn’t. The video ends with Rosler spelling out the final letters of the alphabet “YMCA” style while holding a knife in each hand. As the camera zooms out, she crosses her arms and shrugs as if to say to her viewers, “What of it?”

My first viewing of Rosler’s presentation left me so stunned that I found myself watching it repeatedly. The piece is brilliant in its commentary about the assumption that domestic work is women’s work, but what struck me most was Rosler’s lack of facial emotion throughout the entire piece. It’s precisely this lack that led me to laughing through the first handful of letters until I eventually realized her emotionless face was actually more terrifying than funny. All her passion was channeled into her movements as she juiced an imaginary lemon, cracked imaginary nuts. It was as if her anger—the anger of the woman relegated to so called “traditional” women’s work—could only be showed through her gestures and actions rather than with her own face and voice, and even then, despite the anger, she still had to continue working.

All her passion was channeled into her movements as she juiced an imaginary lemon, cracked imaginary nuts.

As a society, we know that women are angry. Still, we as women are expected to keep this anger close to us like a secret. If we ever do let it slip out, we are labeled “hysterical,” and “crazy”—descriptions that are meant to discredit us and our pent-up rage. Rachel Yoder’s recent debut book Nightbitch explores this anger through her main character, a woman so angry that she believes she is turning into a dog.

A new mother of a young boy, Nightbitch—for that is the name she gives herself—has left her “dream job” of “running a community [art] gallery” in order to stay home full time with her son—a gendered choice made by Yoder that feels deliberate amongst the book’s commentary on women’s work—while her husband, a man who makes far more money than she ever did, travels nearly full time throughout the week for his job as an engineer. For much of the week, Nightbitch lives like a single, stay-at-home mom, filling her days by taking her son to mundane social activities and trying to get him to fall asleep in his own bed. She is exhausted from this mother work, but when her husband comes home on the weekends, she finds that her work does not stop even though there are now two adults able to care for their only child instead of just her.

When Nightbitch tells her husband she suspects she might be turning into a dog, he thinks she is being funny. He does not believe that the mysterious lump on her lower back is really the beginnings of a tail, and he brushes off her concerns about a large patch of hair that has begun sprouting near the nape of her neck. Still, Nightbitch remains convinced of her canine attributes. Throughout her days alone with her child, Nightbitch quietly seethes over the humdrum routine of childcare that has become her life, and she loathes the group of mothers that often attend the local library’s “Book Babies” program. To her, these mothers appear like perfect, put together moms, fully dedicated to their children. She despises them for their seeming lack of struggle, and she tries to avoid them at all costs. However, one day, a pack of dogs who she believes to be the Book Babies mothers in disguise, show up on her front lawn and begin coaxing her into a new, dogged way of life.

She develops a taste for raw meat and begins going out at night to run wild and naked through the neighborhood.

The crux of Nightbitch revolves around Nightbitch’s transformation into a domesticated dog. She develops a taste for raw meat and begins going out at night to run wild and naked through the neighborhood. During these outings, she is a savage beast hunting small animals and capturing them with her bare teeth. She is full of rage and desire, her pent-up emotions from the day spilling out into her dog form. She thinks to herself that “she likes the idea of being a dog, because she can bark and snarl and not have to justify it,” and “if she could not be part of the world of ambition and money and careers, she want[s] to leave it behind entirely and recede into the wildness of her deepest dreams, of her corporeal yearning.” Being a dog is therapeutic for her. It allows her her anger without denying her herself.

Nightbitch can be seen as a domestic take on the werewolf parable, but instead Nightbitch turns into a weredog. Her motherness, that thing about her that is devoted to caring for and nurturing her child, keeps her from morphing into the wild animal of a wolf—her domestication and motherly warmth still present in the form of a common house pet. This domesticated transformation only adds to the idea that mothers, much like our everyday canine companions, are always expected to be a source of comfort and guardianship, as if this house-trained lifestyle is precisely what women have been bred for. Still, her transformation is not without its savageness, a trait she shares with the many female werewolves throughout film.

Women have a lot to be angry about. From a very early age, we’re taught to think of ourselves as the lesser sex. We learn that our bodies aren’t truly our own but rather the property of any boy or man who feels attracted to us. We become accustomed to cat calls and lewd remarks thrown our way, and every woman understands the experience of being told by a stranger that we should smile more. Magazines and advertisements tell us how we should present our bodies. We dread weight gain and blemished skin. We learn to apply makeup so we can appear more attractive and desirable to others. If we aren’t married by a certain age, we’re asked why? If we are married, we’re asked how soon before we have kids? If, God forbid, we decide not to do either of those things, we’re called “selfish,” as if our bodies were never really ours to inhabit but rather nothing more than a vessel for the men in our lives to fill up with children. If we do have children, we are expected to devote everything to them, and if we get angry or frustrated with our newfound lack of self, we are called “bad mothers” and looked at with disdain and pity. If we are women of color or trans women or both, we are constantly looked at with suspicion.

In Soraya Chemaly’s book Rage Becomes Her, she explains, “there is no time of life when [women’s] anger is acceptable. Teenage girls are spoiled, silly, or moody for standing up for themselves. Older women, fed up and saying so, are bitter castrators. Angry women are butches, lesbians, and man haters. We are called Sad Asian Girls, Hot-tempered Latinas, Crazy White Women, and Angry Black Women. It goes without saying that “angry women” are “ugly women,” the cardinal sin in a world where women’s worth, safety, and glory are reliant on their sexual and reproductive value to men around them.” So yes, women are angry and without anywhere to channel our anger, it’s no wonder that women like Nightbitch dream about turning into wolves.

The history of the werewolf dates back centuries, and the depiction of the werewolf in literature and film remains a popular tale today. Typically, when a werewolf is mentioned in stories, it’s frequently portrayed as a man who turns into a wolf-like creature on the night of a full moon. It’s common knowledge that werewolves can only be killed with silver bullets, and if you’re bit by a werewolf but not killed, you, too, will join them in their savagery. Female werewolves are rarely portrayed, but when they are, they typically seem to embrace their transformation rather than fear it like their male counterparts. If we look at films like Ginger Snaps and Trick r Treat—both of which portray female werewolves in one way or another— we find groups of women utterly unafraid of the rage of the wolf that resides within.

We are called Sad Asian Girls, Hot-tempered Latinas, Crazy White Women, and Angry Black Women.

In the cult classic Ginger Snaps, two teenage sisters Brigitte and Ginger are forced to reckon with Ginger’s transformation into not just a woman but also a werewolf. Bitten by a werewolf on the night she gets her period for the first time, she begins transforming into a beast. At first, she’s terrified of the changes—an increase in body hair, sharpened teeth and nails, and the presence of a tail—but as Brigitte races to try and find a cure for Ginger’s transformation, Ginger begins to find herself enticed by her inevitable wolf-like form. “It feels so good, Brigitte,” she tells her sister. “I’m a god damn force of nature. I feel like I could do just about anything.”

Before getting bit by a werewolf, Ginger and Brigitte were social outcasts. Neither were considered attractive by society’s standards, and they actively avoided everything they perceived to be feminine and pure. But as soon as Ginger begins menstruating and boys begin to notice her, it’s clear that her life as an innocent girl is over. Thus, she is faced with a choice: allow herself to succumb to the societal expectations of women or channel her rage into the werewolf inside of her, taking full control over herself, her emotions, and everyone in her life.

To some, Ginger’s choice might read as a lack of control, but I don’t think so. Much like Nightbitch and her recently pregnant body, Ginger’s body is going through a hormonal transformation (not just a werewolf one). Like Nightbitch, these alterations have an effect on Ginger but also on those around her, signaling to others that both women have changed. For Ginger, this means she’s now perceived as a sexual being, something to be desired. For Nightbitch, she is viewed as a mother body, an objectified version of the woman whose only purpose is to feed and care for her young. Because they are both now perceived more as object than as human being, Ginger and Nightbitch come to understand their inner rage. Described as “that single, white-hot light at the center of the darkness of herself,” Nightbitch, like Ginger, decides to make something of this newfound fury by embracing their rage and transforming into their respective dog and wolf forms. By doing so, they find power in themselves, and it’s precisely this power that gives them the strength they need to stand up to society’s standards and fight back.

Puberty and pregnancy aren’t the only ways women are objectified. We also find ourselves diminished to only our bodies by way of what we wear, eat, shave or don’t shave. Often, female rage goes hand in hand with society’s constant messaging that we must look and behave certain ways to be desired, as if being desired is the only goal. Trick r Treat, a horror anthology film written and directed by Michael Dougherty, includes a story about Laurie, a young teenage girl headed to a party in the woods with her sister and friends on Halloween night. Forced to wear a sexualized Red Riding Hood costume—a nod, no doubt, to the notorious fairytale famously involving the Big Bad Wolf—Laurie seems uncomfortable. Not used to being sexualized in this way, she travels to the party alone, and along the way, she is attacked by a local serial killer. Just when the viewer thinks she’s about to be killed, her and her friends reveal themselves to be a pack of female werewolves bent on luring unsuspecting boys and men to the secluded forest where they murder them before transforming from their traditionally feminine bodies into savage, rageful beasts. The women feed on the bodies of the men all while their own bodies crackle and break into hairy, clawed wolves. Having shed their human forms, the women gain power from their “ugly” wolf selves, suggesting that the typical female form—bodies that are constantly subjected to standards that encourage hairlessness, thin figures, and perfect skin—holds women back from embracing their true, savage selves.

Her body, no longer reduced to society’s standards of femininity, is free to be and do whatever she pleases.

When Nightbitch turns into a wolf, she is no longer “that woman anymore, that mother and wife.” She imagines herself ripping out the throats of “men asleep on benches” in the park, and she’s “overwhelmed by her strength.” Her body, no longer reduced to society’s standards of femininity, is free to be and do whatever she pleases. The female body is always being critiqued, but if the female body turns into a werewolf, it can no longer be subjected to criticisms simply because the werewolf body embraces everything that society tells a woman she must reject. Entirely covered in hair, there is no such thing as a Brazilian bikini wax for a werewolf. Mani-pedis do not work on a werewolf’s tough nails, and you can forget about using a pumice stone on rough patches of werewolf skin. To willingly choose the werewolf body is to systematically reject society’s chosen female one, and this choice (or rejection) almost always leads the woman to a place of power. Female werewolves are becoming more and more popular in literature and film. The Howling and its sequel depict strong, rage driven female werewolves that refuse to give up their wolf-like powers. The Company of Wolves can be seen as a precursor of sorts to Ginger Snaps, exploring female adolescence by way of the werewolf parable. YA fiction is filled with stories depicting girls and women turning into wolves, and a handful of comics display similar tales. In Emil Ferris’ breathtaking graphic novel My Favorite Thing is Monsters, 10-year-old Karen Reyes draws herself in her notebooks as a small, unassuming wolf girl, and the release of Maggie Tokuda-Hall’s latest graphic novel Squad tells the tale of four adolescent girls who use their werewolf powers to punish boys for their crimes against other girls. Much like Nightbitch, these stories all embrace the idea of women and girls turning into werewolves to regain a sense of power in the world. In Rage Becomes Her, Chemaly describes the often “common belief that, as women, we are all mothers in waiting, and that, as mothers, we will happily sacrifice our bodies, health, work, and sense of selves,” but this outdated way of thinking simply isn’t true. Women are raging. We’re angry and we’re tired of looking for ways to displace our anger without getting blamed or discredited. Like Nightbitch, many of us “[inflate] with mother-rage” every single day over the sheer amount of unbelievable work, paid and unpaid, that is asked of us. Chemaly suggests that “for women, healthy anger management doesn’t require us to exert more control but, rather, less.” And so I ask you all, in the midst of your own, terrible, unique, beautiful anger, to find your inner wolf, and to howl.