In Kaitlyn Greenidge’s “Libertie,” a Mother and Daughter Search for a Deeper Freedom


Inspired by the true story of the first Black woman doctor in New York, Libertie follows Dr. Cathy Sampson and her daughter Libertie as they explore the meaning of freedom in Reconstruction-era Brooklyn. Dr. Sampson, a light-skinned woman who looks white enough to pass, is ambitious in her medical practice and only wishes for her daughter to one day follow in her footsteps. However, Libertie’s reverence towards her mother falters as she grows older and she becomes adamant about her desires and craves autonomy on her own terms. When both mother and daughter begin to reckon with their discernments and expectations of each other, distance propels them apart and brings them back together.

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Greenidge deliberately moves readers from Weeksville—the free, working-class Black community in Central Brooklyn—to Jacmel, Haiti—the first free Black Republic—in order to recreate spaces for Black communities, by Black people. Yet the issues of colorism, gender roles, and creed continue to prevail in these collective sanctuaries.

Kaitlyn Greenidge is a historian, writer, and the award-winning author of We Love You, Charlie Freeman. Her writing has appeared in The New York Times, Glamour, The Believer, Vogue, Harper’s Bazaar—where she is currently the magazine’s features director—and other places.

I spoke with Kaitlyn Greenidge about reimagining what freedom looks like and writing about a mother who gets to have wider world ambitions while still being a parent.


Kukuwa Ashun: In preparation for our chat today I revisited your debut novel We Love You Charlie Freeman, before reading Libertie. I was drawn to the prevailing theme of motherhood and the mother-daughter relationships in these novels, especially since we see two instances of daughters examining and being in close proximity with the work their mothers have pride in. How important was it to reveal the complexities behind these relationships in your work—to create fissures and profound bridges—between these generations of women through their chosen professions?

Kaitlyn Greenidge: What often gets explored is a mother giving up, or subverting her life, for her children—which, historically, makes sense. This decision is the likelihood for a lot of people, but I also know the likelihood for other people is that motherhood is a part and parcel for their wider ambitions for the world. I wanted to write about mothers who do have wider world ambitions, who try to do both, and hopefully aren’t too terribly punished for it. They get to live complicated lives where the love that they have for their children is still palpable.

A lot of the discourse between motherhood is black and white. The thing that everybody likes to say is, “No one tells you that mothers are unhappy!” That’s all we ever hear about mothers and it really fucking sucks! I’m more interested in the grey areas where people try to bring their whole selves to motherhood, instead of this dichotomy of either “Everything is great,” or the Suffering Wife (which I don’t think is true for anybody anymore), or the “I’m the wine mom and I’m getting drunk at 3:00 p.m. because my baby is bothering me, and it’s cool, and I’m self-medicating.” I know those realities are true for a lot of people, but that’s not necessarily what I’m interested in. I like writing about ambitious women. I like writing about how that ambition can both be curtailed in the world and also find fulfillment and serve unexpected places.    

KA: There’s a sense of community and community-building preserved within these pages, whether we’re in Weeksville or whether we travel to Jacmel. In both locations, there are people intent on changing their communities, on their own terms, for the better. Can you talk about what it meant for your characters to be in these burgeoning, free Black spaces during this time in the 19th century?    

KG: Libertie’s life takes place from right before the start of the Civil War through Reconstruction. Black people had just lived through probably the most traumatizing experience on earth while being enslaved in the United States and still had the wherewithal and desire to create these incredibly vibrant communities. It blows my mind that within a year or two after slavery ended, people were setting up their own newspapers, schools, hospitals, churches, and communities. The drive to do that is so interesting. 

When I’m talking to people about this book, they’re often like, “It transcends race” because white people aren’t in it. But I don’t know many types of people who could’ve lived through slavery and two years later say, “I’m starting a newspaper.” And not only am I starting a newspaper, but I’m also going to include a primer to teach people how to read because I have the foresight to understand that not everybody in my community knows how to read and I want them all included. That is some genius level thinking that comes from us, from Black people! Oftentimes, because it comes from Black people, it’s like, “Oh, anybody could’ve done that.” No. Not everybody could’ve done that or else they’d be doing it—and they don’t, and they didn’t. One of the joys of writing this is to be able to explore that and to explore that love of community.     

KA: We can’t talk about this novel without talking about freedom and liberation, especially since each character has their own individual idea about what this looks like for them. From Mr. Ben Daisy to Ella—everyone’s idea of free feels dissimilar. What were some of the central questions around liberation that you wanted readers to take away when they finished this novel?

KG: I wanted to think about other ways to define freedom outside of the dominant American narrative. In the U.S., freedom usually means I’m free to dominate someone who has less power than me and if I don’t have that freedom, somehow, that means my freedom has been taken away. If we can think of a freedom that doesn’t include domination of another gender, of your children, of the land, of someone who you think is lesser than you—what does that look like? The people who are often being dominated, the people who are at the bottom of society, usually have a grander understanding and vision for what freedom could mean because they’ve been enacted upon as part and parcel of how much we’ve missed. 

In the U.S., freedom usually means I’m free to dominate someone who has less power than me and if I don’t have that freedom, somehow, that means my freedom has been taken away.

As a dark-skinned Black girl, Libertie has some privileges because she’s “free born” in New York, but she’s essentially at the bottom of the hierarchies of most of the societies she’s moving through. It’s through her that I hope the reader can expand what their ideas of freedom would look like. Oftentimes Black people, especially in the U.S., tend to think that all we would need is an all-Black country, state, or place and then freedom would automatically follow. Libertie goes to Haiti and she sees that that’s not necessarily the case. Often times the response then is to pathologize Blackness and to say, “Well, that’s not the case because Black people can’t handle freedom.” In fact, that’s not the case.

Unless we come up with a better definition for freedom, we’re just going to repeat the same violence that went into the making of the Western world that we are products of. It’s become en vogue, and I’m very glad that it has, to talk about freedom dreaming. Tourmaline talks about freedom dreaming a lot in her work and I love that phrase—the idea that we have to sit down and do the deep, imaginative work of what freedom would actually look like if we didn’t just take the things that the wider culture has told us is possible. For Black people that could mean a society and community that is truly interested in serving and giving voice to all of us, not just some of us—even those who we disagree with.

If you look at something like queer identity, it’s very difficult because queer identity is chimed into how Blackness is read in the United States. But there are loud voices in our community who say, “That’s not what Blackness really is” or “We don’t have to listen to that segment because we should be focusing on x population instead.” One way towards liberation is to get rid of zero-sum thinking. That’s one of our biggest challenges right now.   

KA: I was also really captivated with the way songs and extended silences are portrayed throughout this novel. I was in tune to these moments of silence, like Libertie’s silence towards her mother, in the same way that I tuned into these harmonious songs, like the music from Fèt Gede. Was it intentional to have these intense silences between characters juxtaposed with these soulful melodies?

KG: I think a lot about silence and silencing. To borrow from the Oprah meme: Were you silent or silenced? In areas that are silenced, of course, there’s a lot to learn in the things that we don’t voice. I’m not Haitian, or Haitian American, or part of that culture. When I knew that I wanted the novel to go to Haiti, I started to read as much as I could about both the history and the culture. One of the ins for me as a writer is figuring out how important the music, songs, and sayings are to that culture. You can say music is important to every culture, but I think some cultures value that ability to quickly make up music and to continually innovate on music more than others. Haiti is one of those cultures that value that ability. Once I figured out that, I thought, okay, this could be my in.

Music makes my research easier as a writer because I can find these songs and musical traditions and listen to them when I can’t actually physically travel there. I don’t speak or read the language so I’m very limited to images and sound. Because we are part of the diaspora, there are so many ways that the musical traditions in Haiti echo our musical traditions here in the U.S. That was another way to define Libertie’s world for a reader, in a way that could be really immediate, and not necessarily like, “In 1873, such and such was happening in the U.S. legislator…” What could be an immediate way for the reader to feel like they were in a room with Libertie and not reading this through the sickness of a historical novel trying to historize things?

KA: I’m switching gears real quick. Toni Cade Bambara’s essay “What I Think I’m Doing Anyhow” was transformative to me as both a reader and writer, and, of course, you pay homage to it through your newsletter. There’s a line where she says, “I am concerned about accurate information, verifiable facts, sound analyses, responsible research, principled study, and people’s assessment of the meaning of their lives. I’m interested in usable truths.” How do these lines from Bambara resonate with you and inform the stories you bring to light, the ones that don’t often get told?

KG: I love that essay too. An ex-boyfriend sent it to me when I just started working on this book. I had read Bambara’s fiction and non-fiction, of course, but that essay had escaped me, so it was wonderful to read it. I think about it a lot. In the essay she asks, what do you give breath to? What do you give utterance to? That’s a really sacred thing. What you give breath to shapes your reality, so you should be really conscious and aware in general, and even more so as an artist and creator about what you are giving creative energy to. I’ve always instinctively felt that, but it meant something to read that written down on the page by someone who is so smart and who I admire so much. 

When your art stops asking questions and starts to become ‘Everything sucks and I’m the smartest person in the room because I’m telling you everything sucks,’ that’s a huge turn-off.

I was drafting Libertie for the last four years, over the course of our last presidential administration. While engaging with the wider world during that time, I had to remind myself that it’s so easy to go down the “Everything is fucked. We’ll never be better. We are terrible. Nothing will ever be good again. Everything is awful. You will never have happiness. No one will ever be able to do anything, so let me tell you all the different ways we are fucked!” I’m a historian. I also read a lot of political news, so the idea that we’re in a terrible place is not a revelation to me but I don’t think it’s a revelation to a lot of people. In the last four years, I did notice how many people engaged with the wider world speaking in those terms. The “You think it’s good? Well guess what?! It’s terrible. You’re thinking about this terrible thing that could happen? Well, this happened.” I have that impulse. I know where that impulse comes from, but ultimately, it’s not helpful. If our goal in liberation is to change things, that is the least helpful thing to do.

Like Tourmaline says around freedom dreaming, as an artist particularly, what is the most helpful thing to do? One of the more helpful things to do is to start asking the questions that could lead us to something better. When your art stops asking questions, when your art starts to become “Everything sucks and I’m the smartest person in the room because I’m telling you everything sucks” that’s a huge turn-off. I see so much stuff written and so much art done around that. People do it because during the Obama years so much of art was like, “Don’t worry about it! It’s fine!” So, I understand the impulse to overcorrect, but both of those things are not helpful. The questions you’re asking about liberation and community—these questions are so much more generative than either of those approaches to the world.  

KA: Libertie is full of so many themes: misogyny, trauma, desire, race, love, grief, class, religion, colorism, freedom, spirituality. Of course, this is not a comprehensive list, but Libertie does feel very much in conversation with a lineage of Black historical, archival texts, and art forms. I just wanted to share that I threw on Nina Simone’s I Wish I Knew How It Would Feel to Be Free and saw Libertie riding into the sunset.

KG: I tried to listen and watch things across genre and time, things that I felt could be in conversation with Libertie. When I was working on this novel, I saw a screening of Cane River. It’s a really wonderful lost gem on the Criterion Channel by this Black filmmaker from the early 80s. It was re-released in 2018 and they had a screening at the MoMA. Anyway, it’s a beautiful movie and it’s beautifully shot. It’s about a Creole community in New Orleans and this light-skin guy from the city falls in love with this dark-skin girl in town. They have this beautiful love affair. At the very end, she’s like, I have to go to college, and he says okay. She goes to college and he stays home. She writes him a letter that says, I’m in college and I’m free but I still love you. And I was like, this is great! It’s so revolutionary and beautiful. I think it ends on this moment with him fist-pumping or whatever. It’s just really lovely. I wanted Libertie to end similar to that. I wanted it to end in a way that you know this relationship has issues, flaws, and Emmanuel maybe needs help. But they still have affection for each other, and they still love each other. There’s a way, once they figure it out, for them to figure out how they come back together again. I found liberation in that.

One of the things I kept thinking about was what stories do we have about romantic love? I’d never written a long-form novel like this where romantic love was going to be one of the focal points. I didn’t want their relationship to be really cookie-cutter; I wanted it to feel real and I wanted their tensions to feel real. In the course of their lives, you could potentially want their interactions to continue. Seeing Cane River, seeing how that director solved that problem for his characters and was able to make a movie so wedded to place, and to talk about colorism, specifically, in a romantic relationship between a light-skin man and a dark-skin woman is super rare. I just wanted to do that. I’m so glad you said you listened to Nina Simone at the end. Yes! It’s the biggest compliment to hear that the work can be in conversation with that, so thank you. 

Investigating the Dark Side of America’s Teen Behavioral Treatment Programs

In his new book Troubled: the Failed Promise of America’s Behavioral Treatment Programs, investigative journalist Kenneth R. Rosen follows four adolescents through the multi-billion dollar troubled teen industry (TTI), the largely unregulated network of wilderness survival camps, residential treatment centers, and “therapeutic” boarding schools which claim to use “tough love” to rehabilitate so-called troubled youth. In Troubled, Rosen explores how many adolescents are subjected to systematic physical, sexual, and emotional abuse designed to break their will in the guise of treatment.

Troubled: The Failed Promise of America's Behavioral Treatment Programs:  Rosen, Kenneth R.: 9781542022118: Amazon.com: Books

Rosen, a contributing writer at WIRED, the journalist-in-residence at the Washington Institute for Near East Policy, and author of Bulletproof Vest, among other accolades, isn’t just reporting on the TTI. He is also a former client investigating the story he’s been obsessed with since 2007 when he entered the industry and was sent to three different programs in New York, Massachusetts, and Utah. While reporting Troubled, Rosen interviewed more than 100 TTI clients, as well as their parents, psychologists, educational consultants, and other health care professionals, ultimately focusing on four individuals. 

Like Rosen, I am a survivor of the TTI. I too have spent a portion of my adult life driven to investigate and share my story in order to protect kids currently enrolled in the TTI.

Rosen and I discussed investigating the story you have been obsessed with for most of your life, why society doesn’t trust survivors, and the struggle to dismantle a multi-billion dollar industry.


Deirdre Sugiuchi: The troubled teen industry damages a lot of people. Why do you think it has survived for so long?

Kenneth R. Rosen: The only change that is going to come is if the survivors and the people who want to change these programs have an equally strong lobby with deep, deep pockets. 

One of the talking points I have been pressing is reforming the family, reforming the institutions back home, because the undertaking of dismantling a multi-billion dollar industry that has been thriving—not because they are good at what they do, but because they have predatory practices to reel in unsuspecting parents—means that we are against something much larger than a hashtag can handle.

It would be very nice if we could get regulation to shut down all the programs, if there is a solid movement, if there is cohesion together and moving towards state and federal legislation. Barring that the best thing we can do to keep these programs from harming children is to work on the family unit and say these alternatives are not alternatives. The best we can do is say the parents could use a little bit of help too. The kids may not be the whole issue here.

We need to look at putting all that money back in the community. Rather than putting $40 grand a year in tuition out-of-state, why don’t we start investing that in local hospitals, outpatient programs? 

DS: In the book, you discuss how you began writing this in 2007, when you entered the program. Did you understand your problems as a family issue then? I remember being 15-years-old, and sitting at the table at my program, and looking at the different girls, thinking: “your parents divorced; your dad died; you were raped,” thinking that all of our problems are so much bigger than us. 

KR: Even in the wilderness, a fundamental treatment plan, I remember thinking “that guy, his pupils are dilated really bad, and you’re just going to drop him in the woods? With some kids? That’s not something you treat that way. That requires some medical supervision or something that is not available in wilderness.”

From the beginning, it dawned on me that there were issues, that there was no way these kids were going to be treated properly. I identified the people who had real struggles back home, but then you’re sitting in a group of 20-25 kids and the therapist goes, “Why don’t you tell about the time your uncle raped you?”

And I remember being mortified for that young woman, [asked] to sit there and talk about that [issue] which she doesn’t want to talk about, so she never gets to really address it, she just pushes it down to get through the program, and it’s apt to explode later. It’s terrible. 

DS: The troubled teen industry is a for-profit system, and, as a rule, is paying the staff the least amount of money possible. Often staff are adults in their early 20s with no experience in childcare or with mental health. How does this impact their clients? 

KR: I’m trying to be as even-handed as I can about everything. There is something to be said about the staff who are meant to handle the kids throughout the day, the residential staff.

The dismantling of a thriving multi-billion dollar industry means that we are up against something much larger than a hashtag can handle.

Unfortunately, they step into this role, the Stanford Prison experiment ideology, or these ad-hoc therapy sessions, or these restraints that end up killing people. They’re not supposed to be intervening. They’re underpaid and they’re not trained well because they’re not supposed to interventionists. I just looked at a bill that Oregon State Senator Sarah Gelser sent me, a draft bill, asking for my thoughts, and it noted that anyone seeking a referral to a program should also be made aware of the qualifications of the therapeutic staff and to know how often the residential staff is on shift in comparison to the therapeutic staff. I think that’s a fair look, because parents aren’t supposed to be concerned with the guy that’s taking the kids to class or watching the kids play and make sure they don’t hurt themselves, but eventually, you are worried about that person because they intervene. 

I was talking to a parent in December, before the book was published, wanting to know where she should send her kid and I was like, “You’re looking for the wrong information from the wrong guy. You have the resources to finance a program like this for your child outright—it paints a picture that to me says you want the best for your kid. You want your child to succeed. So what is it about sending your kid three hours south of Salt Lake City, Utah, in the middle of nowhere makes you think you are getting in any way near the type of treatment in your metropolitan city?”

That’s the disconnect. There’s some thinking that the beauty of remove—this nature, that people will appreciate—is indicative of therapy or beneficial to emotional growth. We see it’s beneficial for veterans, for people with Alzheimer’s, but for children who are going through a difficult time, to put them with unqualified people in the middle of nowhere where there isn’t supervision for the supervisors, which we know time and again is necessary, you’re apt to not get good treatment, plain and simple. 

DS: The other night when I was updating my Good Reads account, I noticed on a review of Troubled that someone wrote that because you were a client, you’re biased. What does this type of logic reveal about the way our society doesn’t trust victims and survivors of trauma?

For children going through a difficult time, you’re not getting good treatment by putting them with unqualified people in the middle of nowhere.

KR: I think it would have been unbiased for me to not have disclosed that I went through these programs. I went out of my way to consider everyone’s perspective and to include everyone’s perspective. I’ve heard that people have said that by virtue of me being a survivor or having gone to these programs that I shouldn’t be listened to. Those are the same people that are saying invariably, “Look at him and how great he turned out. He should be an example of why these programs work.” So it’s a cop-out, but it’s also an easy way for them to engage in conversations which are uncomfortable by knocking me down, by knocking the stories down of people who suffered traumatic experiences in these programs. If you don’t engage, you’re always right.

It’s been tough to hear that feedback because I worried I was going to undermine the four main stories I focused on in the book. But I think that I succeeded in a lot of ways by saying this is how everyone felt, by providing a counter-narrative.

DS: I was so heartbroken when I realized you were bearing witness to the stories of kids you went to school with. What was that like to write this as a journalist, to work with subjects you knew personally?

KR: That probably was one of the easiest things I ever had to report. I hugged everyone when I saw them. I thanked them. Oftentimes it was easier to chat than it was in a normal interview. I didn’t feel like I had to worry about where my narrative was. They turned over all their notes. Everyone has saved everything—intake records, psych evaluations, letters with their parents and their grandparents, their caregivers. They turned over their personal journals.

That made my job super easy, but when I sat down to write, I’m looking at these people’s intimate notes on their lives as kids and I have a stack of marble notebooks of my own. I’m just comparing the two and everyone was suffering in their own way and then somehow miraculously we came and met each other every day in the program and would just be these cordial people, but in these notebooks, we would just be these devastated teenagers who wanted everything to go right but nothing was. We wanted to get out and we were trying to get out, but the next day would begin and then we would go to a therapy session. It became our normal vernacular but we were hiding our truest selves.

The writing itself was really difficult because I was living through all these memories again. I was a professional. I was writing so many words a day and then at times I was sort of stepping back and asking my wife to come visit me because I was at a residency. There was one night she came all the way, two hours, to visit because I called her and said I was having a tough time. She came over and I just cried for most of the night. After reading through all the notes and my own personal journals and the stories of these kids—all these things flooded in and I felt that I had not changed. I felt like I was still broken. I felt like I couldn’t tell these stories because I hadn’t grown past them at the end of the day. I do feel like I have a lot of the tendencies I had as a teenager, but I feel like I have been able to compartmentalize them better now.

I hope that all these efforts now— #BreakingCodeSilence, #ISeeYouSurvivor—everyone who is telling their stories and giving their testimonies, I hope they find some solace in that too. I want everyone to know that if offering your testimony and telling your story is the last thing you want to do (to fight) the troubled teen industry, that’s fine. It’s more about you than it is about the industry, because if you can survive and you can move on and become a better person than the person you were 20 years ago, that’s a win, and that means that the program’s lost.

Literary Translations and Crossword Puzzles Are More Similar Than You Think

My journey as a literary translator began three years ago, whereas I only started constructing crosswords in the early months of quarantine. But it didn’t take me long to discover that literary translation and crossword construction share many qualities. Both are puzzles with particular rules and constraints: translators move the meaning and culture of a text from one language into another, and cruciverbalists populate grids with words that translate into a set of clues. When I translate poems and construct crosswords, I often find myself asking the same questions: What does this word mean? Will others understand? And, of course, how can I have fun with this? 

While working on translations and crosswords concurrently, I have thought a lot about how the two crafts illuminate the complexity of language and the joys of wordplay. The process of creating these puzzles is enlightening, self-referential, and playful. They thrive by challenging the boundaries of what we know and don’t know. And perhaps the most rewarding lesson I’ve learned from them is that art creates community. As much as working on translations and crosswords can feel like a solitary task, it is thanks to these puzzles that I’ve watched my world expand, even as I now spend all of my time at home. 


David Bellos argues that the question we should ask about translation is not what it is, but what it does. The same can be said for crosswords. And what these puzzles do so well is uncover the multiple meanings of a word and the richness of language. When I translate a Chinese word into English, I have to choose between different synonyms and consider which word would best reflect the effect of the original text. The word 繁殖 (fán zhí) may be “breed” or “multiply,” for example, but “breed” may be more appropriate if I want a one-syllable word, while “multiply” may work better if I want a word that isn’t as strongly associated with biology. A similar train of thought follows me when I write crossword clues. SWING can be clued as “playground fixture” or “music from the 1920s,” but the playground clue may be more fitting if SEESAW also appears in the puzzle, while the music clue may ultimately be my preferred option since I, the constructor, like swing dancing. Both crosswords and translations encourage me to consider the universal and personal layers of meaning tucked away in a single word. 

Both crosswords and translations encourage me to consider the universal and personal layers of meaning tucked away in a single word.

It is because of this multiplicity that we often see the same words clued differently across various crosswords or encounter new translations of the same text. One word can inspire many meanings, just as one text can spawn varying interpretations. On wordplays.com, a website aptly named, you can even search up the different clues that have been used for the same word. For instance:

  1. Fleetwood ___, rock group
  2. Big ___ (burger)
  3. It has no Windows?

It may be obvious from the first, second, or third clue that their common denominator is MAC. Is it necessary to debate over which clue is better? It seems strange to apply the notion of superiority here, since the experience of playing crosswords can be so subjective. A Fleetwood Mac fan would like the first clue, while a McDonalds regular may prefer the second. But no clue is inherently “better” than the others (although the third may get extra points for being a pun). After all, how a word is defined does not only depend on its dictionary definition—it also depends on how you want to define it. 

Just as one word can be clued in a myriad of ways, it is valuable to have different translations of the same text. Different readers have different takeaways from the same book, so it makes sense that no two translations are identical. There are around 60 translations of Homer’s Odyssey, and Emily Wilson made headlines in 2017 for becoming the first woman to translate the epic into English. Much has been written about her take on the opening line, “Tell me about a complicated man,” which differs from the translations offered by predecessors such as Robert Fagles in 1996 (“Sing to me of the man, Muse”). In an interview with Vox, Wilson explains that she described Odysseus in plainer terms to challenge the idea that Homer has to sound “heroic and ancient.” Throughout her translation, she pays close attention to minor characters and refuses to gloss over the epic’s references to slavery. As such, Wilson’s translation has been praised for the ways in which it invites contemporary readers to think about how the Odyssey resonates with society today. 

Crosswords and translations tell us about a word’s relationship with the world around it over time.

How a translator approached a text in 1996 will differ from how a translator interprets the same text in 2021, just as how the most common clue for a word today may differ from how a constructor would have clued it two decades ago (contemporary clues for ELSA, for example, almost always reference Frozen). Like textual time capsules that track our ever-evolving relationship with language, crosswords and translations tell us about a word’s relationship with the world around it over time.


Although translations and crosswords can feel like intimately personal projects, however, they eventually face an audience. Both the translator and crossword constructor must ask themselves: will my reader or player understand? When making crosswords, I want clues and answers that will make sense to the player, just as when translating, I want to produce a translation that my target readers can access. This means that my clues should correspond to my crossword fill (which ideally shouldn’t be too obscure, unless I am making a cryptic crossword), and my translation should bring as much of the source language into the target language as possible. Of course, all this is easier said than done, and these challenges are often laid bare on the page for strangers to see. 

Translators are sometimes criticized for “translatorese,” a term used to describe translations that don’t read fluently in English because they render the original language too literally. But for many translators, being told that their translation reads as if it were “originally written in English” may not be the highest compliment. When I translate the term 茶餐廳, I do not opt for “diner” or “tea restaurant.” Instead, I leave it in its transliterated form, cha chaan teng, which is so quintessentially Hong Kong that I doubt an English name would work as well. The rest of my translation should capture the feeling of the place—which, more so than its name, is what defines a cha chaan teng. I want my readers to know that what I present to them is a translation—not an original English text—even if it means that they might encounter something unfamiliar as they read. 

Similarly, when constructing and playing crosswords, it is common to encounter words we don’t often use in everyday life. There aren’t many three letter words that begin and end with “O,” which is why ONO (as in Yoko Ono) shows up in many crosswords. So do directions, such as NNE (North by East) and Latin words (ETTU, as in Et tu, Brute). “Crosswordese” has become its own language, and the best solvers are intimately familiar with its lexicon. Yet crosswordese is sometimes frowned upon because it suggests that the constructor has a hit a dead end when filling in their grid and has resorted to using unoriginal words to pull their puzzle together. 

The task of the translator and cruciverbalist is to choose the words we want to see in the world.

In my crosswords, I do try to avoid crosswordese, just as I try to avoid translatorese in my translations. But when I play crosswords or read translations, it is precisely when I stumble across new or foreign words that I remember I am engaging with a medium in which meeting the unfamiliar is part of the package. In fact, coming across words you don’t know in a translation or crossword is what makes both such excellent learning resources. Lately, both translation and crossword worlds have seen a rise in discussions about how to create more inclusivity in their communities. These conversations are not only about who gets published, but what gets published, and how. Many translators advocate for retaining non-English words in their translations without having to italicize them to signal “foreignness,” or “otherize” them for an English readership. Many constructors are championing efforts to reference more women and people of color in their puzzles, avoiding clues that have traditionally catered to a white and male audience. Platforms with high visibility and significant resources, such as the New York Times crossword or Poetry Magazine, have a responsibility to spotlight underrepresented voices and listen to them as well. The idea that reading makes one more empathetic or educated will only remain a platitude unless publishers take concrete steps to ensure that more diverse voices are being heard. The task of the translator and cruciverbalist is to choose the words we want to see in the world; we hope that editors can meet us there, too. 


I would be remiss if I didn’t mention technology in this essay, for I sometimes wonder whether my work as a translator or constructor would be possible without it. For instance, a telltale sign that I’m working on a translation or crossword is the millions of tabs that I have open on my laptop. While translating, I’ve had to embark on rigorous Google searches to learn about sustainable fishing practices, the names of various trees, and Hong Kong’s complicated relationship with chickens. When I construct crosswords, I often look up words to consider their various definitions or verify whether they are words at all. Thanks to technology, resources such as online dictionaries, thesauruses, and the OneLook search engine make it easier for me to find the words I need. They also help me think more deeply about how to define a word, which is at the heart of translating and clue-writing. 

At the same time, I have learned that it’s crucial to take a step back from Google and focus on my instincts. As useful as dictionaries are, searching up endless synonyms for “vault” didn’t help me translate a line about the sound of chopsticks returning to their container; it wasn’t the shape of the vessel that was important, but rather the “clang” of the utensils. Similarly, looking up whether IWIN is an acronym (“Interactive Weather Information Network”) once stalled me from realizing that IWIN can also be interpreted as “I win,” a “victor’s cry.” As much as translation and crosswords ask us to play by the rulebook, they also encourage us to go rogue and have fun. After all, the most delightful element of a crossword is a clever theme that incorporates wordplay, or a chaotic clue that defies our expectations of how a word should be clued (Paolo Pasco’s “Cookie sometimes dunked in orange juice (4)” may be the most-talked-about clue of 2020. The answer is OREO). 

As much as translation and crosswords ask us to play by the rulebook, they also encourage us to go rogue and have fun.

The internet does a thorough, albeit biased, job of showing us how a word has been clued or translated in the past. Yet while search engines are crucial tools for translators and cruciverbalists, it’s often by thinking outside of the (search) box that we get to the playful heart of these puzzles. There are many established ideas about what a crossword should look like, for example, and a quick Google search will show you that rotational symmetry has long been an important component of American-style crosswords. As such, it’s refreshing to see how (and why) constructors break this mold. The black squares in Soleil Saint-Cyr and Ross Trudeau’s “Wakanda Forever,” published on Rossword Puzzles, form a heart, a fitting shape for a tribute puzzle to the late Chadwick Boseman. In Elizabeth C. Gorski’s New York Times puzzle from October 18, 2009, the black squares form a spiral shape that alludes to the puzzle’s theme: the Guggenheim Museum, famous for its iconic spiral staircase. 

Then there’s Kameron Austin Collins’ May 14, 2015 puzzle, also published in the New York Times, which asks its solvers to also think outside the grid. The answer to 1-across, “Flag position,” is HALFMAST, but only LFMAST appears inside the grid. 13-down, “Idyllic, like a past time,” is HALYCON, but the grid can only accommodate LYCON. In both instances, HA appears outside the grid. The words of the puzzle, as its revealer suggests, literally “burst out laughing.”

Heart-shaped crossword puzzle grid celebrating Chadwick Boseman (59 across); spiral-shaped crossword grid featuring ten artist names highlighted in yellow; and the grid described in the piece featuring "LFMAST" and "LYCON," as well as other clues missing the letters HA, and the revealer clues BURSTOUT LAUGHING
Click to enlarge

Breaking rules is an essential part of experimental translation, too. Brice Matthieussent’s Revenge of the Translator, translated from the French by Emma Ramadan, is narrated by a translator (“Trad”) who eventually enters the text he translates. Toward the end of the novel, Ramadan has the opportunity to step into the novel herself—and she does, inserting herself into the narrative just as Trad did. As Arshy Azizi writes in LARB, “perhaps Ramadan’s translation is her own form of revenge against a discourse that, riddled with sexism, has little concern for not only the female writer but the female reader, as well.” 

In 2011, five years before she would go on to win a PEN Award for her translations of Sagawa Chika’s poetry, Sawako Nakayasu published Mouth: Eats Color, a collection of “Translations, Anti-Translations, and Originals” that reimagine ten of Sagawa’s poems. The book experiments freely with multilingualism, includes multiple translations of the same text, and challenges preconceived notions about what a translation should look like. Even the publication of the book was unconventional; Nakayasu published it herself through the aptly-named “Rogue Factorial Press.” 

By transgressing in translation, Ramadan and Nakayasu both went “rogue” to produce translations that expand the possibilities of literary translation itself. Despite all the rules that dictate how one should construct a crossword or translate a text, it’s often by going against the grain that we tap into the creative wellspring at the heart of these crafts.


Crosswords, translations, and other puzzles push you to make the best of a confined space by exploring the limitless options within limited boundaries. At age six, I experienced my first lockdown in Hong Kong when schools shut down during the 2003 SARS outbreak. I don’t remember much about the epidemic itself but have fond memories of piecing together jigsaw puzzles and making crafts with my mom at home. So perhaps it is only fitting that I started constructing crosswords during this quarantine while wondering how to live fully as my radius of daily activities began to shrink. 

Crosswords, translations, and other puzzles push you to make the best of a confined space by exploring the limitless options within limited boundaries.

Playing with words through crosswords and translation has become my favorite way to spend my time, especially because I know that I am not alone when I translate or construct. Last June, my husband Kevin and I started a website called Crossworthy for publishing original crosswords. We send out a 15×15 puzzle every Sunday to a group of subscribers, mostly friends and family, and often bounce ideas off of fellow constructors on Twitter. Moreover, while translators often work independently, I treasure moments where I get to share work with fellow translators, learn from their expertise, and mull over translation problems together. When I chat with the writers I translate, who live on the other side of the world, I’m reminded that translation—even in times of quarantine—does not happen alone. Rather, it cannot exist without collaboration. 

Translation and crosswords have much in common, even after they are published and in the hands of critics. Just as translations are sometimes unfairly reviewed on the basis of a single word, crosswords can sometimes be picked apart by players who disliked a single word or clue. But many people also give these puzzles generous time and attention—there are blogs dedicated to reviewing crosswords, journals that exclusively spotlight works of translation, and groups set up to support emerging translators and constructors. People from around the world gather annually, in-person and virtually, for translation conferences and crossword tournaments. When I work on translations and crosswords, I know that I am part of something larger—a community of people who love to spend time with words. At a time when the world can appear indecipherable, I find solace in searching for the right words, imagining possibilities within constraints, and creating works of art to send into the world.

Sometimes I Wish We Were a Beagle

Sometimes I Wish We Were a Beagle

for Sonny
        
If I was in love with you for no reason,
I would die in the road waiting for you
 
to scratch my head before school. I would have
 
           too many tapeworms. So many
you could scratch their heads.
 
So many they would help you
 
on the bus because of all your crying.
 A witness sees inside & says aloud.
 
If I was in love with you for one reason,
 
it would be the way you carry your cage
  around. You look like a loaf of bread
 
with a life knifed into it. If I was in love
 
with you for money, I wouldn’t be me,
           now would I? I would
 
be a hairy train—you could hear me
 
   crying all the way to heaven.
      You could hear me dying
 
all the way to loving how you let me
 
 slobber on your face
like a decent sacrifice.

Meanwhile on the Moon

Over Mare Imbrium basin,
birds are bland, diamonds
with boiled wings, bullet
 
holes valued higher than our very
breath. Even here the downpours
come to party, leave with empty
 
lungs. We bob for bloodshot
eyes in buckets of buttermilk,
these our current incarnations.
 
Every year the fragments of worship
from centuries before finally arrive,
full of soft light, wave admiration.
 
We feed the world these words
& take the forms of frightened
horses like a dark glitch, drain
 
your language of love & leave
our bodies long enough to lick
your sightless lives once more.
 

8 Novels in Translation About Living Under Italian Fascism

Italians lived under fascism for over two decades; long enough to shape the lives of multiple generations, long enough for it to feel normal. Mussolini assumed power in 1922, and the violence that followed began with the repression of the free press, the mistreatment of those deemed political enemies, and the cruel neglect of many unindustrialized parts of Italy, especially in the South. In 1935, aspiring to a colonial empire to rival the other European powers, Italy invaded Ethiopia, a sovereign nation, and three years later, the country, now allied with Nazi Germany, passed racial laws which ultimately culminated in the Holocaust. Italian fascism, with its violently imperialist aspirations, did not only affect Italians, or the Italian peninsula: in addition to Ethiopia, it invaded or occupied (including but not limited to) Somalia, Libya, Greece, Albania, Yugoslavia, Egypt, Tunisia, and, for good measure, part of France. And after the Allied invasion in 1943, Italy endured what was essentially a civil war, and by the end of World War II, its mostly conscripted army was scattered into POW camps across the globe. 

When I started writing The Vietri Project in 2015, I knew the novel would take the shape of a narrator’s attempt to trace a stranger’s life in Italy, a man encountered while working in a Berkeley bookstore, and that it would be a long life, one spanning the last century of Italian history. This, of course, meant researching and writing about the fascist period, an often panic-inducing activity during the Trump years, as my search mirrored my narrator’s.

These novels, set during the Italian fascist era, have characters whose dilemmas and heartbreaks take place against an ominous—but in some cases only occasionally intruding—political background. They have wordplay and long meals and trips to the mountains, soulful dogs and unhinged landladies and complicated fathers who are adored or despised, academic struggles and young people arguing about politics over drinks late into the night. They also have abject cruelty, vanished worlds, semi-mythic islands, prisoners, communists, socialists, memorable graveyards, villages forgotten by the outside world, and neighbors turning into strangers or the people who will send you to your death.

Christ Stopped at Eboli by Carlo Levi, translated by Frances Frenaye

There is a character based on Carlo Levi in my novel, and I found myself frequently needing to change his story to make him less interesting; what was true seemed outlandish when fictionalized. This memoir covers the three years of his exile in a small village in the desiccated Basilicata region in the mid-1930s, a common punishment at the time for opposition to the fascist regime. A doctor, painter, journalist, and poet, he is a lonely, observant, deep-souled guide to the quiet violence of the lives of the peasants of Italy’s unindustrialized South, where children beg in the streets not for money or candy but quinine pills to alleviate their malaria, and villagers are allowed to die painfully and preventably from broken bones and burst appendices, their families unable to afford the useless, nearly blind village doctor. The character sketches are unforgettable: his landlady, a known witch, her lover, a violent albino, the painter himself, who wanders the town and naps in open graves, the only source of shade in the deforested landscape. 

The Path to the Nest of Spiders by Italo Calvino, translated by Archibald Colquhoun

Calvino’s first novel is, surprisingly, a work of realism, but it is a deeply strange and imaginative book in its own way. It follows a young boy who runs away after stealing the gun of a German soldier and joins a band of partisans living in the woods, part of the resistance against the fascists and occupying Nazi soldiers. Though often violent and out of control, our narrator is still a child, unable to fully comprehend the adult intrigues, romances, and risk of death his companions face. What he longs for, ultimately, is a true friend to show the discovery of his young life: the place where spiders make their nests.

Bread and Wine by Ignazio Silone

Bread and Wine by Ignazio Silone, translated by Eric Mosbacher

I first read this book in high school, when I picked up a used copy at a bookstore in Oakland. I had almost no context for my read of it, but I was interested in Italy, I loved bread, and I had the feeling that when I was old enough, I would like wine. But a cheery novel about the simple pleasures of Italian food this is not. The novel follows a young communist who goes to a remote village in the Abruzzo region disguised as a priest, both in hiding and hoping to rally the peasants against the fascist regime. He falls in love, a tough break when you’re supposed to be a priest, but even that is no comfort; its chilling ending has stayed with me in the decades after. 

Family Lexicon by Natalia Ginzburg, translated by Jenny McPhee

I was about ten pages into this book when I knew I was reading something truly great, a book that would become one of my favorite novels. It’s a masterpiece of forceful language, featuring a specific delight immediately familiar to those from big families, of wordplay, inside jokes, and the changing and shifting allegiances among siblings. It’s also a guide to the major figures of the Italian intellectual and political left of the ’20s and ’30s, names unchanged; the portrait of a tyrannical but mostly nonviolent and rather ineffective father; and an elegy for the costs, almost unbearable, of being a family of antifascists who oppose a violent and mostly effective regime.

The Novel of Ferrara by Giorgio Bassani, translated by Jamie McKendrick

A kaleidoscopic novel of the walled city in the Emilia-Romagna region in which our narrator slowly emerges as a character himself, one of the members of Ferrara’s Jewish community, “a great number of whom, within a few years, would be swallowed up by German crematoria ovens”. The destruction of this community, witnessed and aided by former friends and neighbors, is viewed and reviewed through a series of indelible characters. We meet the one Ferranese Jew (out of 183) to return from the German death camps; a beloved doctor, gay and tolerated until he is no longer; lonely siblings raised behind the walls of a villa; and our narrator’s father, an early member of the Fascist party who is ousted from the group 20 years later.

Arturo’s Island by Elsa Morante, translated by Ann Goldstein

The author’s History is much more explicitly about the horrors of the fascist regime, specifically the wartime years, but the shadow of living under fascism is present in this novel as well, though no political figures or events are mentioned until “the war” happening off-stage is acknowledged in the final chapters. Instead, this is a coming-of-age novel, with frequently perfect and astonishing sentences, narrated by a young boy growing up mostly alone on an island in the bay of Naples. Arturo worships his mostly absent father and adopts his disdain for women, the island’s other inhabitants, and anything not heroic and masculine according to the naïve code he develops for himself in the absence of any other family, teachers, friends, or guidance (Rule One: THE AUTHORITY OF THE FATHER IS SACRED!). His lonely world is disrupted when his father marries and brings a step-mother, just two years older than Arturo, to live with them. 

Beyond Babylon by Igiaba Scego, translated by Aaron Robertson

This is a beautiful, forceful novel, but I am cheating a bit by including it on this list; only one scene is set in Italian fascist-occupied Somalia. However, it is a harrowing, brutal scene that echoes down through the generations of all of the other characters in the book, whether they are aware of it or not. Primarily this is the story of two mothers and two daughters—set across Somalia, Argentina, Tunisia, and Italy—connected by a past they can only partially understand.

General of the Dead Army

The General of the Dead Army by Ismail Kadare, translated by Derek Coltman

This is the best novel I know to reckon squarely with the aftermath of Italian fascism and the violence of the war that resulted. Set in Albania after WW II, the main character, a general, is sent to recover the bodies (now only bones) of the Italian soldiers sent there by the fascist regime, in order for the remains to be reinterred in Italy. Accompanied by a priest and encountering the generals of other nations in search of their own dead, their circumstances become stranger and more claustrophobic as they traverse the Albanian countryside. The final mystery, the location of a Colonel whose well-connected widow insists he be found, circles a violent story that the narrator, by the end, and unlike the reader, is mostly able to forget.

The Last Thing You Need to Read About Book TikTok

Writers and book lovers have made spaces for themselves on every social media platform that gets popular. And although Bookstagram and Twitter have dominated the scene in recent years, the literary section of TikTok is the newest and fastest-growing of these spheres. It’s called BookTok, and you’ve probably heard about it.

If you feel too old to investigate it yourself, though—and almost everyone over 25 does—that’s fine; BookTok’s whole thing is valuing authenticity, which means they don’t want you hanging around just because you feel like you have to learn about the latest book marketing space. Instead, here’s everything you need to know, so you can stop feeling like you need to learn more things.

BookTok Is for Feelings

Where Bookstagram values appearances, book covers, a cohesive aesthetic, and short snappy reviews, BookTok leans heavily into “relatable” content—which is to say, less curated and more emotional. Here, feelings run rampant, with short recommendations about books that’ll make you cry, believe in love, or ruin your week. The primarily young women who are pushing BookTok videos make inside jokes about popular characters, share their favorite quotes, or simply record themselves reading pivotal scenes.

Although some older generations feel that TikTok is tricking underdeveloped brains into sales, I believe the power and success of this platform is coming from a more genuine place. (I’m 24, though, so perhaps I’m just biased towards the unfinished-prefrontal-cortex crowd.) BookTok is proving to be not only a lucrative marketing tool in a digital age where making content that feels authentic and casual is praised, but a source of valuable insight into what the upcoming generation of readers and writers value. Short version: they value authentic emotional responses, and they don’t really care about literary or publishing “legitimacy.”

TikTok: A Refresher

At this point, I’m confident you’ve heard of TikTok if you aren’t on it already. TikTok is a video app similar to the now-defunct Vine. However, unlike Vine’s strict six-second length restriction, TikTok videos can be as long as a minute (though the average video on TikTok is around 15 seconds). TikTok also uses viral audios—songs, snippets from interviews, etc.—that users record over or build on to make jokes, share thirst traps, or start dance trends.

While you can follow people on TikTok, the majority of the app is spent on your For You Page or FYP. Here, “The Algorithm” shows you videos based on your specific interests, viewing patterns, and demographics. After my two years on the app, my FYP knows that I’m a lesbian in my mid-twenties who likes books, cows, and Phoebe Bridgers. I didn’t have to consciously seek out these subgenres; they were gifted by The Algorithm, which in the mythos of TikTok takes on an omniscient God-like role.

What is BookTok?

If The Algorithm detects an interest in reading, you may find yourself inundated with videos from creators who are loosely categorized as book TikTok—or BookTok. The BookTok hashtag currently boasts 5.9 billion views, most of the videos being young women and teens recommending their favorite books. As Alicia Lansom said in her Refinery29 article last month, this corner of the internet is relatively free of controversy and discourse, and values community over trends or competition.

BookTok is the overarching title for any literary content on TikTok. Some accounts dive into recommendations, others feature authors giving writing tips, and some accounts host virtual book clubs, often congregating on specific hashtags. BookTok is like the literary and fanfiction side of Tumblr, but with faces and voices (and songs) attached. Here fans can meet under specific hashtags to share their fan art, link to their playlists, and answer questions. But there’s also the added bonus of the FYP handing you videos about new books and series—or a chance to connect about your old favorites.

Accounts to Know

Quintessential BookTok

The typical BookToker is a teen girl, young woman, and/or queer person with a passion for literature. Though the most popular content focuses on YA, romance, and fantasy, creators and fans share a deep love for poetics, diversity, and books guaranteed to bring on the tears. 

If you scroll through #BookTok you will see endless accounts dedicated to sharing literature with the masses, and like Bookstagram (literary Instagram), it’s hard to give any sort of definitive listing of the biggest or most influential accounts. So here are a few popular accounts at the moment.

@chamberofsecretbooks

Cameron, or @chamberofsecretbooks, doesn’t rely on creating recommendation guides, though she does recommend plenty of enemies-to-lovers or angsty-demon smut. In her most popular videos, which have gained her 4.6 million likes, she crafts a one-minute glimpse into her own unpublished writing or ideas for stories, with over 220,000 followers cheering for more.

@alifeofliterature

According to a recent New York Times profile, @alifeofliterature (boasting 206,00 followers and over 4 million likes) excels in “convincing the viewer to buy a book based on its perceived aesthetic.” The two teenage sisters started posting videos at the start of 2021 and have found massive success in combining YA best sellers with popular audios and mood boards.

@caitsbooks

Cross-platform @caitsbooks has almost 50,000 Instagram followers, and on TikTok, 178,000 followers and over 6.2 million likes. Using their home library as a backdrop, Cait recommends books based on genre or theme, as well as creating more humorous videos about being a bookworm. They also run a “BookTok Book Club” with other popular creators @sixofhoes and @entangledteen.

@nyycharm

I s2g they’re either obsessed w b0obs or they infantilize women there’s literally no inbetween #fyp#booktok#bookish

♬ original sound – Char

Other BookTokers:

@aymansbooks, @brenda.reads, @literarylesbian, @nyycharm, @selena_sapphire, @the.teen.writer

Authors on BookTok

With the buzz around TikTok and BookTok, many writers are wondering if they need to jump onto this new platform to sell their books. There are certainly plenty (and perhaps an increasing number) of writers on the app—though in my experience as a writer and TikTok user, most authors aren’t fluent in TikTok, and end up creating “cringey” or inauthentic content, which viewers are quick to sniff out and criticize. In fact, if your content is out of touch or too calculated, you’re most likely going to become a meme, or even disliked. BookTokers don’t care about your accolades if your content reeks of corporate, millennial marketing.

However, some writers, like the Green brothers (John and Hank), have been consistently present across social media, while others are successfully making a name for themselves on BookTok.

Rupi Kaur

Rupi Kaur, @rupikaur, the 28-year old who epitomized “Instagram Poetry,” made a BookTok account last week. Although her account is still growing, it’s easy to see her lasting effect on social media literature through #poetry or the 32 million views on #milkandhoney. Though her TikTok career is off to a rocky start, Kaur will undoubtedly be influencing the next generation of poets via fifteen-second videos.

Carrie Aarons

Carrie Aarons is a Romance author who self-published over 40 books in the last few years. Although she’s been on Bookstagram, Aarons has amassed almost 90,000 followers and over 2.1 million likes on her TikTok account, @authorcarriea. Her most popular videos, averaging in the hundreds of thousands to millions of views, feature a brief typed synopsis of one of her books and then the reveal of the title. 

Michael Bjork

Michael Bjork isn’t selling his own books on TikTok—instead, he’s giving writing advice. A professional copywriter, @michael.bjork has gained over 111,000 followers and 2.3 million likes through creating a series of videos where he gives his professional opinion and answers questions from aspiring writers. His advice ranges from why it’s a good idea to avoid over detailing characters, what Chekov’s gun means, and how to use first-person plural.

BookTok’s Faves

When I first started seeing BookTok videos, I thought to myself, “I know these books from Tumblr.” As Elizabeth A. Harris wrote for the Times, “most of the BookTok favorites are books that sold well when they were first published”—in part because of legions of young fans, much like today’s BookTokers, who talked them up on other social platforms. But since the perfect combination of teenagers on TikTok and the need for a cathartic cry, these books are seeing sales like never before.

Song of Achilles by Madeline Miller

Song of Achilles by Madeline Miller was an instant Tumblr classic. A story ripe with violence, gay love, and yearning, it was the perfect fodder for Richard Siken fanedits and a cult following. That following has grown tenfold on BookTok. It’s hard to see any recommendation video without catching a glimpse of the golden helmet of Achilles and the tears of the reader who has finished it.

A Court of Thorns and Roses by Sarah J. Maas

A Court of Thorns and Roses by Sarah J. Maas (or SJM) is another book that is ubiquitous in videos. Although it started as Beauty and the Beast fanfiction, the fantasy-romance series now spans five books and over 2,500 pages while showing no sign of slowing down. #ACOTAR has close to 700 million views, with countless videos of hundreds of thousands to millions of likes crediting it as their favorite book or series.

Six of Crows by Leigh Bardugo

Though the television adaptation will appear on Netflix on April 23, Six of Crows began as a fantasy novel by Leigh Bardugo. A part of Bardugo’s “Grishaverse,” this cast of misfit teens redeem themselves by working together to pull off an impossible heist, using their powers and criminal backgrounds. This duology’s hashtag has over 136 million views and it’s @caitsbooks’s favorite series and universe.

Other BookTok picks:

We Were Liars by E. Lockhart, They Both Die at the End by Adam Silvera, The Selection by Kiera Cass, Red Queen by Victoria Aveyard (who is on TikTok @victoriaaveyard), Red, White & Royal Blue by Casey McQuiston

So What’s Trendy?

Since the core demographic of TikTok already is teenagers and young adults, BookTok tends to heavily feature YA recommendations. In fact, if you aren’t reaching for YA already, BookTok can feel like it’s not the place for you. Of course, there are also more literary-fiction niches; recently I’ve been seeing a lot of videos for “people in their mid-20s” featuring The Idiot or My Year of Rest and Relaxation.

The most interesting trends I’ve noticed—besides tearjerkers and the full embrace of romance and fantasy—is the amount that BookTok welcomes fanfiction and self-publishing.

https://www.tiktok.com/@mylittlebitofmagic/video/6907811199769939205?_d=secCgYIASAHKAESMgowQMfFWxWZfMXKPQ%2FexiUl%2FBdhel9bXki8EgcLQUdeOCfpgMqtr0i%2BJ89wRzEgSmeKGgA%3D&language=en&preview_pb=0&sec_user_id=MS4wLjABAAAA8cwZPlNkNGbjU3aN8PFIVorDe8NIhUBUCu_FpyhFz1LI4MVHky3EKfybK_Dz7i6e&share_item_id=6907811199769939205&share_link_id=22AB83C4-FEAB-440C-B46C-E2F8988EFA10&timestamp=1616700580&tt_from=more&u_code=d3i6g332ibl7hg&user_id=6635644777185148934&utm_campaign=client_share&utm_medium=ios&utm_source=more&source=h5_m

It’s not surprising to me that we’re at a point where young people who read fanfiction are okay with that being public—especially in a book scene where many of the biggest series started on fanfiction clearinghouses fanfiction.net, Wattpad, and AO3. I didn’t admit that I had read fanfiction until I was in high school, and even now, I use my childhood obsessed with Ginny X Luna fics as an embarrassing third date anecdote. Meanwhile, BookTok is praising fanfiction writers and tropes the way many of us would only revere “literary establishment figures.” 

There are also entire “book clubs” dedicated to reading certain fanfictions, or fan accounts for particularly popular fics—including All The Young Dudes, a 500,000+ word Remus X Sirius alternate-universe story (that is now being bound and sold) that I read in under a week because of BookTok. 

But outside of actual fanfiction, audiences crave tropes like enemies to lovers, slow burn, or coffee shop AUs in their published reading. This is why books like Song of Achilles, a slow-burn queer romance based on The Iliad, are proving to be so successful with these young people; they want writing that’s familiar and accessible, while still being brilliant.

Why You Should Care

As someone who grew up learning about literature on Tumblr, BookTok is unequivocally more accessible. On Tumblr, you had to have prior knowledge of who to follow or what books to read. On this platform, as long as you like certain videos, The Algorithm is going to feed you more books, more reviews, more authors. There is a personalized and endless stream of videos telling you what to read next. 

Plus, BookTok is one of the only literary scenes where it doesn’t seem like people are criticizing what book you’re picking up. Maybe this is because the core audience of TikTok is teenagers who are the prime demographic for YA and not deterred from genre, but it still feels safe and genuine. These aren’t carefully curated photos of book covers; it’s young people filming themselves upset, elated, or enraptured in their favorite books and series. 

BookTook, like TikTok in general, is also overwhelmingly supportive of LGBTQ people and people of color, whereas in the “real literary world” those doors don’t always feel as open. This niche internet hashtag isn’t only driving sales and defining bestseller lists (Song of Achilles, published ten years ago, is now selling better than it did when it first came out), but it’s providing the next generation of readers and writers with a sense of community without judgment. 

For BookTok to so openly welcome genre, fanfiction, and self-publishing into the fold make me hopeful for what’s to come to the industry.  There is a force of young people who don’t care about accolades or using literature as a moral high ground. They want cliched tropes like enemies-to-lovers, they want queer people in love, and they want to support writers like them or who have backgrounds like them.

8 Nonfiction Books About Women Trailblazers in Male-Dominated Fields

In 1946, pollsters asked U.S. adults if they thought women were as intelligent as men. Only about a third said yes. These days the vast majority of Americans think men and women are equally smart—thankfully. Yet the impact of all those decades of women being undervalued can still be seen in their work lives.

Women today serve as CEOs of a mere 8% of Fortune 500 companies; less than 1% of those companies have a Black woman as CEO. Women hold just 29% of science and engineering jobs. Women fill only 27% of the seats in the U.S. Congress. According to the World Economic Forum, it will take 208 years for the United States, as its current pace, to close its gender gap.

Yet these statistics don’t tell the full story. Women do pry open the door to male-dominated fields, and do so in spectacular fashion.

Launching While Female by Susanne Althoff

I’ve spent the last five years tracking down and talking to such women. As part of my research into entrepreneurship’s gender gap, I interviewed over 100 women business owners, as well as nonbinary entrepreneurs. They are building rocket ship engines, searching for ALS and cholera treatments, and using blockchain technology in novel ways. I also studied women entrepreneurs of the past—such as Madam C.J. Walker, who created a hair-care empire in the early 1900s, and Olive Ann Beech, whose company manufactured the planes that helped win World War II. 

Their stories are collected in my book Launching While Female: Smashing the System That Holds Women Entrepreneurs Back. The big lesson I learned is that while women can and do build successful companies, their path to success is way harder than it needs to be. Women have significantly less access to startup capital. They experience discrimination and microaggressions. In a male-dominated field, it’s harder for them to find mentors and role models. And of course they have to deal with sexual harassment and assault. The pandemic has made many of these hurdles more evident and more daunting, and makes fixing entrepreneurship’s gender gap all the more urgent. We need more women starting businesses and creating jobs.

Here are eight books about women doing what can seem impossible. They’ve broken barriers in the fields of politics, medicine, science, business, and filmmaking.

Lab of One's Own

A Lab of One’s Own: One Woman’s Personal Journey Through Sexism in Science by Rita Colwell and Sharon Bertsch McGrayne 

“We don’t waste fellowships on women” is the answer Rita Colwell heard in 1956 when she asked a professor for financial help to study bacteriology. Six decades later, Colwell believes the world of science is still infatuated with the idea of the “white male genius.” In A Lab of One’s Own, Colwell, a microbiologist and the first woman to lead the National Science Foundation, writes about her own career and that of other women scientists, highlighting the obstacles and the allies they encountered. She outlines ways to overhaul the field, noting that we don’t need to get more women interested in science. We need to stop impeding their advancement.

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The Firsts: The Inside Story of the Women Reshaping Congress by Jennifer Steinhauer

The women elected to Congress in the 2018 midterms were “firsts” in multiple ways: Rep. Alexandria Ocasio-Cortez, for example, is the youngest woman ever to serve, and Rep. Ayanna Pressley is the first Black woman from Massachusetts to do so. New York Times reporter Jennifer Steinhauer followed about 20 of these women during their first year in office, recounting their battles to get meaningful legislation passed despite dysfunction, sexism, and racism in Washington. Steinhauer catalogs details such as phone calls with constituents back home and the books they had on their congressional office shelves (for Rep. Lauren Underwood, How to Be Successful Without Hurting Men’s Feelings). The paperback version of The Firsts includes an epilogue addressing the 2020 election.

Women in White Coats: How the First Women Doctors Changed the World of Medicine by Olivia Campbell 

In 1847, after being turned down by dozens of medical schools and urged to abandon her dream of becoming a “lady doctor,” Elizabeth Blackwell finally found a college in Geneva, New York, that would admit her. The 26-year-old became the country’s first woman medical student. Blackwell would go on to build a medical career serving women patients and recruiting and teaching other women to become doctors (but not without warning them that the nontraditional career choice brought “social and professional antagonism”). In Women in White Coats, journalist Olivia Campbell profiles Blackwell along with two of her contemporaries—Elizabeth Garrett Anderson and Sophia Jex-Blake—and tells a riveting tale of medical pioneers. 

It's About Damn Time

It’s About Damn Time: How to Turn Being Underestimated Into Your Greatest Advantage by Arlan Hamilton with Rachel L. Nelson

The venture capital industry—which funds many of the fastest-growing startups—is dominated by white men. In 2020, only 16 percent of investment partners at VC firms in the United States were women, and a mere 3 percent were Black. Arlan Hamilton pledges to change this, and along the way invest in innovative companies with founders who are women, people of color, and LGBTQ (she is a Black gay woman herself). In her book It’s About Damn Time, she chronicles how she entered Silicon Valley’s investment world without personal wealth or a college degree and built her own thriving VC firm. Hamilton incorporates practical career advice that applies to any industry.

Stories from Trailblazing Women Lawyers

Stories from Trailblazing Women Lawyers: Lives in the Law by Jill Norgren 

In 2005, a group of young women lawyers interviewed 100 of their more senior, successful counterparts, creating a set of oral histories that showed how women fought their way into courtrooms and law firms. The book Stories from Trailblazing Women Lawyers is drawn from these interviews. Ruth Bader Ginsburg makes an appearance, sharing how much pressure came with being the rare woman student in a law classroom: “If we were called on, we worried that if we failed, if we didn’t give the right answer, we would be failing not just for ourselves, but for all women.” Antonia Hernández recalls losing a case against a Los Angeles hospital sterilizing Latina women against their wishes, but eventually seeing success with new legislation. 

The Wrong Kind of Women

The Wrong Kind of Women: Inside Our Revolution to Dismantle the Gods of Hollywood by Naomi McDougall Jones 

To explain how Hollywood men like Harvey Weinstein have been able to commit abuse and harassment for so long, actor/filmmaker Naomi McDougall Jones points to “an industry that has systematically ignored, undermined, and excluded women’s voices for the better part of a century.” She shares her own story of trying to find consistent work and advancement but repeatedly learning she’s not pretty enough, too smart, or lacking some other quality. Jones weaves in damning data—such as that characters with disabilities fill just 2.4 percent of speaking roles in top-grossing films, despite being a quarter of the population—and the perspectives of others frustrated by the industry. Her final message is hopeful: With tools like streaming services and vigorous advocacy, all people boxed out of the film industry have a better chance of being seen and heard.

Overnight Code: The Life of Raye Montague, the Woman Who Revolutionized  Naval Engineering: Bowers, Paige, Montague, David: 9781641602594:  Amazon.com: Books

Overnight Code: The Life of Raye Montague, the Woman Who Revolutionized Naval Engineering by Paige Bowers and David Montague 

In the early 1950s, Raye Montague wanted to major in engineering, but the only college in Arkansas that offered that course of study wasn’t open to Black students. So she focused on business instead. It was one of many times in Montague’s life that she found a workaround when faced with racism, sexism, and other hurdles. After graduation, Montague moved to Washington, D.C., and held a series of jobs doing computer work on naval projects. She excelled at it. In 1971, Montague was credited with drafting the first U.S. Naval ship design using a computer. She worked all hours to achieve this feat, hence the title of her biography, Overnight Code (which was co-authored by her son, David). Montague died in 2018.

The Highest Glass Ceiling eBook by Ellen Fitzpatrick - 9780674496071 |  Rakuten Kobo India

The Highest Glass Ceiling: Women’s Quest for the American Presidency by Ellen Fitzpatrick 

Well before we had Vice President Kamala Harris, we saw these path-blazing women: Victoria Woodhull, the first woman to run for U.S. president, which she did in 1872. Margaret Chase Smith, who, in 1964, became the first woman to run for a major party’s presidential nomination. And Shirley Chisholm, who, in 1972, was the first Black woman to seek the presidency. In The Highest Glass Ceiling, which profiles these three women, historian Ellen Fitzpatrick writes, “As citizens who defied constraints on their political participation, rights, and liberties, they seized historical moments they believed were rife with possibility. In defeat, each imagined a successor who would eventually reach the presidency.”

We Need to Translate More Armenian Literature

On December 7, 2019, Ara Baliozian passed away. Hardly anyone noticed. Wikipedia maintains that he’s still alive, because the only proof of his death—a social media post written in Armenian—isn’t considered a reliable source. I’ve scoured the newspaper archives of his native Kitchener, Ontario in search of further proof, to no avail; through Facebook, I contacted his friends for documentation, but none of it exists online. A relentless advocate for Armenian literature, Baliozian was the author of some two dozen books of prose and poetry; as a prolific literary translator, he recovered from obscurity the works of Armenian writers scattered across countries and decades, urging readers and writers alike to stare deeply into our pasts and pull out the trauma we carried, like a surgeon extracting a tumor.

There’s much more I could say about Baliozian’s life, but this is not an obituary; the time for that has passed. This is a call to action.


I had the great privilege of growing up in a house with several floor-to-ceiling shelves bursting with books. So far as I remember, they were largely ornamental, but I have a hard time believing that they went unread: my parents were not the hoarding type. One day, shortly after graduating college, stuck at home and with nothing else to do, I began to really look at the books for the first time. Non-fiction bestsellers like I’m OK—You’re OK sat next to memoirs owned by every Armenian household, like Black Dog of Fate. Tucked between such books, I came across Gostan Zarian’s The Traveller & His Road, published in Armenian in 1926 and translated by Ara Baliozian in 1981. 

It has a truly wretched cover—forest green ink on a plain beige backdrop—and I would’ve reshelved it had I not read Baliozian’s introduction:

Next we find [Zarian] in Istanbul, which was then the most important cultural center of the Armenian diaspora, where in 1914, together with Daniel Varoujan, Hagop Oshagan, Kegham Parseghian, and a number of others, he founded the literary periodical Mehian. This constellation of young firebrands became known as the Mehian writers, and like their contemporaries in Europe—the French surrealists, Italian futurists, and German expressionists—they defied the establishment fighting against ossified traditions and preparing the way for the new.

Baliozian showed the Armenian diaspora that we had our own voices, our own poetry, our own stories to tell.

Until that moment, the idea that an Armenian literary tradition existed had never crossed my mind. Students of literature have all but memorized the various networks of influence between different writers and artists, but whoever has not achieved sufficient popularity remains the other on the outside. I became very excited at the idea of Zarian’s literary works running alongside the rest of the 20th-century canon. On top of that, he had learned how to wield the language he had forgotten at the age of 25 while living in Europe. I held in my hands an irrefutable testament that the obstacle of one’s diasporic status could be overcome. When I questioned my father why he had held onto this book, he mentioned that he had read the original in school, but he didn’t like Zarian as an author, finding him too hard to follow. That’s an accurate assessment, but it never explained how the translation ended up on his shelf.

After reading The Traveller & His Road, I acquired all of Baliozian’s translations; after exhausting the list, I became a literary translator myself. For myself and many Armenians with literary interests, Baliozian revealed that our own heritage was rich with authors of equal to those we studied and admired in school—and of even greater value to us, because they were originally written in the language we spoke. Armenia is situated right at the crossroads of Western Europe and Russia; its writers have produced works influenced by the very same themes and trends which originated from those regions. Baliozian showed the Armenian diaspora that we had choices beyond Kafka and Camus, Homer and Milton, Shakespeare and Ibsen. We had our own voices, our own poetry, our own stories to tell.


The omission of Armenian literature from global anthologies is no accident. In 1915, the Ottoman Turks systematically arrested and murdered thousands of Armenian community leaders—their own citizens—in a desperate attempt to silence their calls for independence after nearly four hundred years of occupation and abuse. This was an escalation of violence that had started in the late 19th century, only this time, the pashas specifically targeted artists and intellectuals to eradicate any trace of Armenian culture and history. This genocide would not only exterminate the lives of 1.5 million Armenians—close to half the population—but also expel its survivors. Armenians, driven from their homeland, were dispersed all over the world and forced to adapt to the language and customs of their new countries.

The diaspora created by the genocide also exacerbated a preexisting schism in the language. Spoken and written Armenian as used in the country of Armenia is colloquially known as Eastern Armenian, a standard form that developed as Armenians mixed with their neighbors along the country’s eastern border, primarily Russians. Western Armenian is a standard form of Armenian influenced by the myriad of languages which passed through Constantinople. After the collapse of the Ottoman Empire in 1922, what was left of Armenia was wholly absorbed into the Soviet Union, and Eastern Armenian became the de facto standard.

The omission of Armenian literature from global anthologies is no accident.

The Armenians fortunate enough to escape the genocide and emigrate brought the older Western form to their new homes. Although the two languages are mostly communicable, there are enough grammatical and orthographic changes to consider each as distinct from the other. As a consequence of this forced bifurcation, one branch of the language thrives while the other wilts: Eastern Armenian continues to grow, evolving through use as its native speakers live life in Armenia. Meanwhile, most of the Armenian diaspora communicates with the stilted, century-old Western language, which UNESCO identifies as endangered and under threat of extinction. It remains frozen in time; like a remora, it only grows by feeding off its larger hosts, incorporating words from the English and French and Arabic communities where Armenians established their new homes. What Western Armenian holds orthodox, Eastern Armenian maintains as old-fashioned; what Eastern Armenian views as obvious, Western Armenian finds unfamiliar.

Of course, Armenians are not the only dispersed peoples struggling to connect with one another. The challenges of keeping languages alive in diasporic communities exacerbates their original division, as the ability for second- and third-generation diaspora to communicate in their mother tongue is further weakened by assimilation. (That includes me: I was formally educated in Armenian until I was ten years old, but lived most of my life in English. Twenty-five years later I still find myself thumbing through colorful language books aimed at children to recall the most basic grammar.) These pluricentric languages behave like two close siblings who were suddenly placed into separate orphanages. They may share memories of their past, but eventually, they each grow with new experiences in their own way.

The distance between any diaspora and their homeland is measured not in miles, but in years. The longer we move away from the original rupture, the more pertinent it becomes to preserve what existed before the schism.


Baliozian primarily translated Armenian authors who challenged the status quo, a dangerous position for any writer no matter the era or language, and self-sufficiency. He translated authors across both standard forms; more accurately, he believed that there was no need to separate them: great literature is great literature, no matter the language. At one end are the Western Armenian authors of the late 19th century who lambasted their subservient status in the Ottoman Empire; at the other end were the Eastern Armenian authors of the mid-20th century that produced barely-disguised rebukes of Soviet authoritarianism and censorship. Between 1880 and 1960, the world was modernizing and identities were reforming; literature across Europe and America evolved in response to these changes. Poe had all but invented the short story format; Balzac and Chekov were conveying the harsh conditions of real life; Woolf and the Brontë sisters heralded larger feminist movements. These were movements that Armenian writers adopted as well: Krikor Zohrab was so skilled in his craft that he was dubbed “the prince of short stories”; Hagop Oshagan pontificated on humanity’s unfulfilled yearnings; Zabel Yeseyan worked towards the liberation of women. And Baliozian translated them all. 

For the Armenian, a minority within a minority, coming across Baliozian’s works is a reassurance that the Armenian identity is composed of much more than gaudy celebrities and an easy punchline to jokes.

Baliozian often lamented that he was unable to find publishers willing to produce his books. These works can be found scattered online like gold dust, self-published or preserved through the valiant efforts of smaller independent presses and bookshops. For many years, he posted snippets of his translations and literary analyses on his blog, granting him the freedom to pontificate without interruptions. He understood the medium as a way of at least ensuring that the words he cherished were at least tagged, archived, and made permanently available, if not read. For the Armenian, a minority within a minority, coming across Baliozian’s works is a relief, a reminder, a reassurance that your feelings and history are legitimate, that the Armenian identity is composed of much more than gaudy celebrities and an easy punchline to jokes.

Above all else, Ara Baliozian’s dedication was fueled by a frustration with a single truth: that Armenian literature has a universal appeal that no one acknowledges. It is hard not to imagine him agreeing with a line that appears on the first page of The Traveller & his Road: “Every thinking Armenian is like a radio station in the middle of a storm sending messages to distant places and receiving no answer.” Baliozian never gave up hope on the value of Armenian literature. He sought to elevate Armenian writers, only to be ignored by both the literary establishment and the reading public—in life, and in death. The only public proof of his labor is an “unreliable” Armenian social media post, and, of course, his translations.

Hundreds of years of Armenian literature remains untranslated.

Hundreds of years of Armenian literature remains untranslated. As Andreea Scridon, the Assistant Editor at Asymptote, wrote in 2018: “[I]t is something of a surprise that a country with such an ancient literary tradition, dating from 400 B.C., has not had more of its corpus translated into English.” The scarcity of the source texts almost certainly hindered the availability of works appearing in translation. To anyone with the passion, interest, or inclination, the opportunities for translation exist, even if it’s just for yourself. If my admittedly biased opinion does not convince you of the worthwhile endeavor to translate from Armenian, then perhaps Lord Byron might. He studied Armenian for several months, working on his own translations, and noted that it’s “a rich language” which would “amply repay any one the trouble of learning it.” 

With an endorsement from one of England’s greatest poets, there should be nothing left to add. But there remains a problem: even after fifty years of working as a translator, Baliozian did not bring about the revival of Armenian literature he had hoped for. As the months after his death passed, I began to question my own efforts to translate Western Armenian literature for an English-reading audience. What was the point if no one would publish them, let alone read them?


This reflection began shortly after Baliozian’s death, and I should have completed it in 2020. It may have arrived far too late, but it has never been more relevant. While the rest of the world was living through history once, Armenians were living through it twice. Last July, Turkey and Azerbaijan initiated yet another war against Armenia, over a territory that’s been a part of Armenia since the 5th century BCE. All over social media, Azeri users wrote messages denouncing Armenians and our culture. They posted pictures of gruesome beheadings and bombed churches, vowing to eradicate every last one of us. It’s impossible not to draw a parallel between now and 1915, as another genocidal purge is festering, while other countries keep to themselves, distracted this time not by a world war, but Covid-19.

In translation studies, we often ask how to approach a translation. But we rarely ask why we do it at all.

In translation studies, we often ask how to approach a translation: what methodologies we’ll use to take concepts and eloquence from one language and transform them into another. But we rarely ask why we do it at all. The easy answer—the fun answer—is that translators are readers, and readers all belong to the same enthusiastic club. As fiction and poetry continue to be pushed behind other digital distractions, we seek to lure fans to our favorite reads by endlessly advocating on behalf of the stories we discover; too few have ever been accused of binge reading. For our own sake more than anything else, we translate so that we have someone else to share a story with. 

The hard answer is much longer.

There’s an imbalance in the published translations of minority languages versus majority ones. Most publications come from the same set of European languages: Spanish, French, and German, maybe with Russian, Japanese, and Korean thrown in if the publisher considers their imprint “diverse.” On the whole, I understand the decision to limit one’s language sets: publishing is a fragile business, and there are inherent risks in producing works that are different, whether by first-time authors, unknown translators, or “untested” languages. The consequence of this nervousness is the flattening of literature into something unremarkable. Consider, for example, Valeria Luiselli’s irritation that every Latin American writer must now resemble Bolaño or they won’t get published (as expressed in Faces in the Crowd, translated by Christina MacSweeney). The issues at hand with the cultivation of languages to translate are already prevalent in every aspect of cultural power dynamics: who decides what is worth publishing, and are they appreciating or appropriating the work? As readers celebrate the arrival of more world literature, we must ask where the stories are coming from, whether the stories are actually representative of the culture they are being translated from, and whether these stories do more than just reconfirm the existing narratives and opinions already prevalent within the majority language.

Aside from bringing attention to cultures and ideas different to a reader’s own, translation also has the potential to teach readers about their own literary lineage. For members of a diaspora who lack access to their mother tongue, either through its suppression or subsumption, translations into a majority language are oftentimes the only way in which people can access their histories. Storytelling is more than just a form of entertainment: it’s also an unceasing memory.

Storytelling is more than just a form of entertainment: it’s also an unceasing memory.

We, the minority language speakers, must take the serious responsibility of translation into our own hands. Readers don’t just need more Armenian literature, they need many more stories outside of Europe, more stories from and about post-colonial countries, more stories written in languages that are withering away. This is the only real way to ensure that we are being expressed honestly. Through our translations, we are extending compassion to the majority language readers: our labor brings them the wonderful tales that they will otherwise never be privy to. Baliozian understood this, encouraging readers to judge an author’s work “as human beings and not as Armenians.”

Translating literature, in any language, is a never-ending task. And we need more translations from minority languages not because we seek inclusion into cannons and anthologies. We need them to assert our very existence. This practice goes beyond just the neglect of Armenian literature. It’s about blunting the erasure of indigenous peoples all over the world. Majority languages don’t need to worry about their stories being written in disappearing ink—we do. As more translations are made available from minority languages, it brings more validity to all the other languages that are disproportionately represented in so-called world literature. We, the descendants of the displaced, must undertake these acts of remembrance and preservation not only to honor our mothers and fathers and unbroken lineage of survivors. We do so to inspire our brothers and sisters whose stories have been buried by the machinations of conquest. We do not only tell ourselves stories to live; we tell others our stories in order to survive.

7 Books to Understand the Arab Spring

The series of uprisings known as the Arab Spring was a watershed moment in the modern history of the region. Protests began in Tunisia in early January 2011 (following the self-immolation of Mohamed Bouazizi in December 2010) and swept across a continent, up into the Levant, and as far south as Yemen. The world watched as city squares erupted with demands for freedom, dignity, and better living conditions. The youth-led protests persisted, despite often brutal crackdowns, until regimes toppled like dominos—from Tunisia to Libya to Egypt and beyond.

It would be a mistake, though, to think of the Arab Spring as an event bracketed in a single year of outrage. It has continued right up to the present, with 2019 seeing widespread protests in Lebanon, Iraq, Algeria, and Sudan (where al-Bashir’s 30-year reign came to an end). This is an on-going struggle, and we haven’t seen the end of it.

It’s impossible for any one book to capture the totality of these revolutions. My novel, Silence is a Sense, concerns a young Syrian refugee who fled her homeland when the uprisings there descended into civil war. After a harrowing journey through Europe, she is settled in an unnamed English city where she must navigate a community gripped by rising Islamophobia while attempting to move past her traumas. While there are references to the failed revolution and the violence that followed, the novel cannot encompass the totality of what has taken place over the last decade. It takes reading a whole host of literature in order to approach an understanding of the complex and conflicted natures of these events.

Here is just a sampling of fiction and nonfiction books to get you started. The majority of these titles reflect on the early years of the uprisings and their aftermath rather than the 2019 wave of protests, which will no doubt spur their own literary explorations in due course.

The City Always Wins by Omar Robert Hamilton

This kaleidoscopic novel chronicles the immediate aftermath of the Egyptian revolution that toppled Mubarak’s nearly 30-year regime. Moving from the ecstatic highs in the wake of January 25th to the power grabs and crackdowns that came a few years later, we follow Khalil and his friends as they witness and document this attempt to re-fashion their world. The novel uses lyrical prose alongside actual tweets and headlines in a poignant illustration of the chaos of the time.

Death is Hard Work by Khaled Khalifa, translated by Leri Price

A finalist for the National Book Awards, this novel is set during the civil war that followed the failure of the Arab Spring uprisings in Syria, which has resulted in immeasurable violence and one of the most severe humanitarian crises of our time. The narrative takes the form of a road trip, where three siblings are tasked with fulfilling their father’s dying wish to be buried in his ancestral village. What follows is a multi-day journey across Syria by van with the decomposing corpse, during which the siblings reflect on their history as well as the fractured state of their country. The absurdity of war is sharply brought into focus with moments of dark humor, such as when guards at one of the many checkpoints recognize the corpse and attempt to arrest it for crimes against the regime (the father had been a rebel leader).

Syria Speaks: Art and Culture from the Frontline by Malu Halasa, Zaher Omareen, Nawara Mahfoud

This collection, published bilingually by Saqi Books, is a collage of works by writers and artists documenting the rapid breakdown of the protests of 2011 into civil war. I believe that in order to even approach any sort of comprehension of these monumental events, it’s important to view them not only from multiple perspectives but also in multiple forms. Syria Speaks features cartoons and illustrations (from artists including the anonymous collective Comic4Syria) as well as photographs, poetry and prose to document the hopes and sorrows of the time. 

Our Women on the Ground by

Our Women on the Ground: Essays by Arab Women Reporting from the Arab World edited by Zahra Hankir

In this groundbreaking collection, 19 women journalists provide searingly personal essays on their experiences reporting on the revolutions. From Iraq to Libya, Syria to Yemen, Egypt to Sudan, these Arab women shatter stereotypes and risk their lives in order to access stories and perspectives overlooked by the Western media as well as their male colleagues. Their daring stories highlight the dual front that women in the region routinely battle on: a desire to engage politically against oppressive regimes and a struggle against local patriarchies that seek to silence and suppress women’s voices. The collection is indispensable for anyone looking to understand the uprisings (and everything that followed) from a female perspective.

The Queue by Basma Abdel Aziz

The Queue by Basma Abdel Aziz, translated by Elisabeth Jaquette

This novel is a piercing work of dystopian satire. Set in an unnamed Middle Eastern city (though because of the author’s nationality, this is assumed to be a reference to Cairo), the narrative tracks members of the populace as they form an ever-growing queue outside the Gate where they wait to be let in and have their paperwork completed. With touches of Orwell, Kafka and Huxley, the novel explores bureaucracy and totalitarianism, how governments make enemies of their citizens, and how propaganda and distortion are used to exert power.

The Return (Pulitzer Prize Winner) by Hisham Matar

The Return by Hisham Matar

This Pulitzer Prize-winning memoir follows Matar’s return to his homeland of Libya in 2012 (for the first time since 1979) as he attempts to uncover the fate of his father, an opposition leader who disappeared into Gaddafi’s prisons in 1990. In the course of the narrative, Matar reflects on his displaced youth, the conflicted nature of his relationship with his father, as well as the chaos and hope following the toppling of Gaddafi in 2011 as part of the Arab Spring uprisings.

Guapa by Saleem Haddad

This fierce and unflinching debut takes place over 24 hours in an unnamed, composite Middle Eastern capital following a failed revolution. Rasa—an interpreter for Western journalists—spends his nights in Guapa, an underground bar, with his best friend Maj—a fiery activist and drag queen—or looking for opportunities to sneak his lover, Taymour, into his room without arousing the suspicion of his grandmother. When she discovers their relationship and Maj gets arrested, Rasa finds himself forced to confront the alienation he feels from a society that will not accept him. The novel beautifully sheds light on the frustrations and struggles of underrepresented youths in countries ruled by chaos, contradictions, and hypocrisy.

The Post-Divorce Catharsis of Chopping Wood

“Lumberjack Mom” by Carribean Fragoza

That Spring, when the dormant roots and seeds started sprouting and our father stopped coming home, our mother took to the backyard with fervent urgency. Overnight, it seemed, vegetation had burst through the cracks, split the tile and cement, broken through the clay pots and tin cans. Grass spilled over the hedges with a despicable gusto. One morning, my brother and I woke up to find our breakfast already cold on the kitchen counter and our mother at work in the backyard, crawling on her hands and knees, clawing out odd weeds with tiny flowers we’d never seen before that now burgeoned in tenacious clusters throughout the lawn. She dedicated hours to these new invaders, ripping them out from the grass like clumps of hair. Fistfuls of roots dangling dirt and squirming worms like freshly torn scalps still steaming. Our mother’s face sweated and twisted under the sun. We watched her silently from the bathroom window, heads butted together. We heard our sister call out from another window, Mom are you okay? Yes, mija. It’s just hot, she answered, wiping the sweat with the back of her bare hand.

The next day, we noticed she’d pulled out some gardening tools, small hoes and some shears that she sharpened with a rock. We recognized the hand-sized, volcanic slab from our grandmother’s house in Guadalajara, from before she passed away. One of her prized possessions, our grandmother had used it to sharpen her knives and shears, sitting alone and in silence at the head of the table. My brother and I would sit in front of the TV and pretend not to watch her. She’d then retreat into the kitchen with her knives to perform mysterious domestic acts.

Our mother used her freshly sharpened tools to cut up the thick roots of unidentified plants that seemed to be waiting for the right time to reveal themselves. She wasn’t going to give them a chance. Eventually, we noticed that her favorite tool was a set of narrow-nosed pliers that she’d stab into the ground to extract even the most reluctant roots. She’d have to pull very hard, sometimes using both hands and the weight of her small body. Often it was the thin, spidery roots that were the most persistent and dug themselves in the deepest. Our mother, however, was very thorough, for any remnant would have sabotaged everything.

She also found tiny insects chewing at the leaves of potted plants that she’d grown from cuttings or from seeds she’d sprouted herself. She not only trimmed these contaminated leaves, but also the ones she suspected would soon become infected. At first she snipped gently at the herbs, only removing the diseased tops of the hierbabuena or oregano. Eventually, she cut them down to stubby brown stems, but left those roots intact.

As the days passed, we watched her rove through the garden, flower bed to flower bed, potted plant to potted plant, and then cycle back methodically to rip out the invasive flower clusters that resurfaced in the grass. When she arrived at the lime tree’s jagged shadow, she immediately got up off her hands and knees. I thought she might have hunched after spending so much time curled over the ground or that she might need to steady her head if it was spinning with blood having been bent low beneath the sun. But she stood straight up before the lime tree as if measuring her height against it. She seemed taller than usual, as if she had height stored inside of her for certain occasions.

That night at supper, my siblings and I watched her swallow down a large glass of water with hardly a breath. And then she announced that she wanted to cut down the lime tree. My brother and sister and I looked at each other in silence. Although she’d never outright said so, we knew she’d wanted to cut it down for some time now. The tree is useless if it doesn’t produce limes, she stated bluntly. And that, she pointed out, was our father’s fault.

When we were very young, my parents had lovingly smuggled the seeds in their luggage from Mexico. They wrapped them in embroidered, perfumed handkerchiefs that they carefully packed into plastic baggies, rolled into socks and then stuffed into tennis shoes. They’d even planted a decoy in their suitcase so that when the customs people pulled out our candied fruits and held up the sugared rolls to toss them ceremoniously in a trash bin, we feigned disappointment. Together, bound by complicity, we silently relished our secret accomplishment, and held warmly in our hearts the knowledge of those protected little seeds that were on their way to starting a new generation. Just like us.

Together, we watched the tree grow. We talked to it as one might talk to a baby, using sweet gibberish and tickling its leaves. We’d tell it what a lovely little tree it was, oh what a beautiful little tree growing so big so big now, bigger every day look at you, drink your water, stretch toward the sun, ay que bonito limoncito. We celebrated every one of its lime tree milestones, its first tender branch and its first flower. Its first lime was observed carefully and treasured. How we loved its sour fruit. She had loved it too.

Over time we allowed the tree to grow at its own whim, not having the heart to cut off a single one of its beloved leaves or branches. However, instead of growing juicy limes that ripened fully and dropped to the green grass for us to gather, it produced many tiny, hard limes that it guarded with a web of knotted branches and vicious thorns. The fruit would ripen deep within the foliage and finally drop to rot on the ground. The interior growth was so dense and low that we could no longer reach under it to rescue the limes. The shade spoiled the ground, and the lime acid spoiled it too. Most trees that spoil their own ground, roots deprived of essential nutrients, gradually suffocate themselves. Yet this one continued to grow, and we accepted it, cruel thorns and all.

Several years ago, our father made his last attempt at landscaping. My mother had asked him to prune the tree, said that it had been choking itself with its own gnarled branches. The tree needed maintenance and care like any other living being, my mother said to my father. He knew where she was headed with this, so he grabbed a machete from the garage and began chopping. He left the tree entirely bereft of its flowers, fruit and foliage, sparing only a large chewed-up grey bulk of thorny twigs and branches attached to its short trunk. It looked like a lopsided brain that had been cut up but remained alive, sputtering splintered thoughts. We wept for days, including our mother, and our father didn’t come home until we shut up. Our poor tree. After several seasons, it eventually recovered its green leaves and grew back its barbed branches, and it even began to flower, but refused to give fruit altogether.

My siblings and I continued to watch the lime tree for signs. We studied the flower buds, careful not to disturb the fragile petals. We also refused to trim it, even though we knew, as we always had, that we should for the good of the tree. We loved it, perhaps as much as we loved each other, but didn’t know how to care for it.

Since then, our mother had avoided the tree. She had blocked it from her field of vision, until now. Sitting at the dinner table, my brother and I said nothing in response to my mother’s idea. However, we saw that our sister was carefully sifting through something in her mind. It shifted quietly in her head, trickling a little in one direction then another, moving it in a subtle bob that was neither a nod nor a shake. Through the silence, our mother’s thoughts seemed to have moved on to a different subject as she finished off her meal in a few large bites and stood up to gather the dishes from the table. As she disappeared into the kitchen, we could still hear her chewing, crunching on her char-edged tortilla. I thought for an instant of her strong teeth, large for her small thin-lipped mouth. None of us had inherited teeth like that.

After several days, when she had finished tearing bald spots into the lawn and taming the hedges, at least for a while, she noticed all of the crap we’d put out in the yard over the years and forgot about. Mostly defunct furniture we never got around to throwing away. She turned her instinct to an old chest of drawers we’d long abandoned in the far end of the yard, where it was now rotting. From our usual window, my brother and I watched her break it up with her bare hands. A family of cats ran out, the kittens chasing after their mother. She pushed the chest over on its side like a small whale carcass and pulled on the panels with the weight of her body. She tore out small rusted nails and staples that once held  the pieces together. We could hear her grunt as she worked, clenching her teeth, the bone of her jaw gleaming. The veins in her forearms and hands bulged as she pulled and snapped off the rotting boards.

At dinnertime, we watched her bandaged fingers scoop food from her plate with bits of tortilla. Without looking at us, she said, I’ve been thinking about getting rid of some of the old furniture in the house. My brother and I were overjoyed, relieved. Our sister’s head bobbed excitedly. There was plenty of old, not to mention ugly, furniture we’d insisted on getting rid of for ages. Most of it was furniture my parents bought on layaway when we were still babies. By now, their emotional value had worn out. Their laminated surfaces blistered and peeled, revealing the cheap particleboard underneath.

The next day, our mother showed us a new pile of what used to be a bookshelf. The following day, a sewing table. Throughout the week, some old chairs, an entertainment center, a lazy boy. She found a rusty saw among the tools our father had abandoned in the garage. She sawed into the legs of various upright pieces, then broke them down into smaller pieces, which she arranged into tall piles in the middle of the yard. As the days grew longer, she’d work later through the afternoon and the piles got larger. My siblings and I came out to the yard to admire them at the end of each day. At dusk, our sister hugged our mother until it grew dark, while my brother and I filled the trash bin with debris. We smiled too, but started to think that maybe she’d cut up enough furniture. We didn’t want her to start chopping the stuff that we actually liked and needed.

It occurred to us, my brother and me, that our mother had demonstrated such natural chopping skills, that perhaps she could make an excellent lumberjack. We imagined her out in the woods somewhere marching with great determination, every part of her body radiating strength as she swung her ax at redwoods that were no match for her. With a single blow she’d splinter the entire thing into perfect logs that would land in neatly arranged cabins, their small windows somehow already curtained. Our mother, smiling, sweated gold.

We decided to surprise her with a new ax and a small pile of neat logs. We installed one strong stump in the yard to hold the blocks, take the blows and hacks. She went at it immediately with remarkable precision and grace, like a dancer slicing each log down the middle. It was a beautiful thing to watch. She held that ax as naturally as if it were the hairbrush she’d used, until recently, to brush her hair out of a braid while she waited for our father late into the night. She’d brush and brush until her long hair gleamed like cascading water or the grain of polished wood.

Now that her wait was over, she just split logs most of the afternoon, one after the other in clean strokes. In the evenings she oiled her calloused hands before walking off to bed without saying goodnight.

Every morning we’d find our mother in the yard, chopping away at logs or pausing to scan the yard for returning weeds. She spent most of her time outdoors, coming inside only to use the restroom, drink some water and prepare her usual tortilla thinly slathered with beans and a bite of raw green chile. My siblings and I were also on the bean-tortilla diet. Following her brief meal, without a pause, she’d wipe her hands on her clothes and reach out again for the ax. My brother and I were pleased by her focus and commitment, but started to wonder what would come next.

To break the monotony of watching this daily routine through the bathroom window, we started playing checkers in the bathtub. We waited for an idea to come to us about what to do next as we listened to the sound of wood cracking beneath a neatly sharpened blade. One day, the sound of screams shook us from our pensive game. We ran outside to find her axing through the weathered boards of our backyard fence. Our sister stood by, watching with crossed arms. The neighbors stood frozen in shock over their vegetable patch as my mother shredded the old wood fence. They were nice people. They often left grocery bags filled with freshly picked oranges, sometimes odd fruits we didn’t have names for, hanging on our side of the fence. Usually they smiled and waved at us from their back porch. Today they gripped onions to their hearts, shouted at us in their language. She remained focused on the fence even while my brother tore the ax from her white knuckles and I held her tightly against my body with all of my strength. I could feel her heavy breath pushing through her small rib cage. I expected to feel her heart whipping its wings against her ribs like a parakeet shaken in its cage. Instead, inside I felt a large furry animal balled up, breathing slow but strong. It waited patiently to break out.

We knew that she was ready for more than mere log splitting. My brother and I deliberated while our mother rested in the dark living room, our sister watching her intently. By dinnertime, we had a plan. We proposed an excursion to a nearby mountain to cut down her first tree, after which, we promised to treat her to dinner at her favorite Italian restaurant. Another silence spread over the dinner table. Our sister peered at our mom from the bottom of the glass of water she’d long finished drinking. After a minute or two, our mother stopped glaring through the blinds at something in the yard and seemed to be considering our proposal. Finally, she nodded, tight-lipped. We accepted that as a gesture of approval and even perhaps determination. We felt encouraged. Things were going to move forward.

That following Saturday morning, we wrapped up her ax in an old crocheted blanket we found in the garage. It used to be our baby blanket, but for this occasion, we’d pulled it out of the black trash bag where my mother had stored it. We all packed into the car and drove up the nearest mountain until we found enough trees to call it a woods.

My brother and I had printed out instructions from the Internet for beginner lumberjacks. Apparently, selecting a proper tree for your experience level and body type was essential. We fumbled with the instructions while our mom and sister opened the trunk and carefully pulled out the ax, still wrapped in its blanket. It seemed heavier here in the woods, its steel duller but somehow more dangerous, and its wooden handle felt like it might blister one’s hands more easily. Something about the air here made everything more so.

We scouted around for a proper tree, calling back to our mom to put on her new gloves on and get ready. My brother and I disagreed and then agreed on a tree. We chose a medium-size tree that seemed to be drying up. It looked ashy all over, and we could see some dusty spider webs up in its branches. The bark flaked off easily in thick scabs against our palms.

My brother and I shuffled through the crumpled printouts. There were sections about posture and handling the ax and how to strike your tree at just the right angle. It seemed there was a right way and a wrong way to cut down a tree. Our eyes glazed over the italicized and underlined phrases, the little diagrams of people and trees with green check marks next to them for Yes, red circles and slashes for No. We just wanted our mom to get right to it. Cutting trees is a timeless practice, we figured. Didn’t we all cut trees at some point to build our civilizations? It must be the kind of thing you get the hang of once you get going. Although we briefly talked about having our mom use a hardhat or some kind of helmet, we realized that we hadn’t brought one along, so that ended that conversation. We decided not to read the rest of the instructions.

When we returned, our mother leaned against the car eating sandwiches out of paper napkins with my sister. She offered us the ones she’d packed for us, but we told her it was time to get to work on that tree we’d picked out for her. She pulled on the new gloves and flexed her fingers to break in the tough leather. She picked up the ax awkwardly, without a hint of the grace we’d witnessed days earlier. When we arrived at the tree, she stopped. She seemed to not know what to do. Neither did we. We tried to encourage her. Try it out, just hit it and it’ll come! You’ll figure it out! You can do it!

She tried swinging the ax but had a hard time raising it over her shoulder. Her wrists kept getting twisted up. She couldn’t even figure out how to stand and kept shifting and switching her feet around. Finally, she swung and the blade hit the flaky trunk. A few bark chips flew off. She swung and hit it again with a thud and some dust fell from the spider webs onto my sister’s hair. My sister is terrified of spiders.

My brother and I realized something. Chopping down a tree in the woods is completely different from chopping up furniture or logs in the yard. Nothing was happening.

Our mother dropped the ax onto the pine needles covering the forest floor. She didn’t want to do it. Her heart wasn’t in it. It was more difficult than we all expected. And besides, she said, the tree, although it was dying, deserved to die with dignity on its own. Let’s just leave it alone. Just leave it alone and let it die, she said softly.

My brother and I stared at the ax on the ground. I ran to it, panicked that already it might be rusting and then all hope would be lost. Our mother dropped to the foot of the tree and buried her face in our sister’s arms.

After that, our mother insisted on staying indoors. She picked up the crochet needle my grandmother had left her, complete with an unfinished doily still attached to the spool of thread. My mother’s siblings had found the crocheted thing at the base of our grandmother’s armchair shortly after she passed away, and somehow figured that my mother should have it, though she had never crocheted. Nonetheless, she’d kept it at the base of her own seat on the couch. We watched her pick up the doily and needle. She held it in her hands and laid it on her lap before throwing it back to the floor, and remained still and silent until it became dark.

My brother and I wished she would pick up the ax again. We bought a fresh pile of logs and even collected some old furniture from the neighbors, hoping to entice her back to chopping. We rubbed the rust out of the steel and even oiled the wooden handle. We laid it out on a pretty gingham cloth next to a pitcher of cold lemonade on the kitchen table though she hardly made her way to the kitchen at all now. If only we could get her started again, we could figure out what to do next.

She remained in the living room for three days.

On the fourth day, my brother and I went out to collect more furniture discarded along the curb. We weren’t ready to give up on our mother. We began arranging the pieces around the front and back yard. We placed them by the front door and near windows where she might catch sight of them. There was one particularly attractive small log about the size of a meaty arm that we even left out on a coffee table in the living room.

When we returned from one of our excursions, we noticed  a trail of splinters, long shreds of wood. The small tables we’d left in the front yard had been pulverized. We were excited. We looked at each other eagerly. Finally! Our mother, we were going to have our mother back. We’d figured things out. We were going to make the best of it.

We followed the trail of debris to the backyard. We followed the sound of her ax. It sounded different than wooden logs or particle board or panels of cherry wood or anything like that. Our sister stood solemnly at the gate to the yard and did not look at us.

We found our mother chopping through a tangle of branches. Her arms were gashed by the long thorns, as if they’d been fighting back for their lives. Her face was also covered in a web of thin scratches, but they were hardly visible against her darkly tanned face. The scratches were lined with tiny beads of black blood that shone like unblinking eyes in the sun.

The lime tree, our little lime tree. We were aghast. She had chopped it down. She chopped our lime tree down to brambles. She’d slashed off all of the leafy branches without regard for  the countless white blossoms, heavy with pollen and bees. The yard was littered with tender leaves, their young flesh brilliantly green against the coarse dry grass. The blossom scent was sweet in the dense air. She’d cut through the tree’s gnarled underbrush, which was piled waist-high all around her. She stood at the center of a ring of thorns with the amputated limbs strewn at her feet. Through the underbrush, we could see that the limbs had been healthy and green at their core. They were covered not in scabby bark, but in a thin skin that would break easily even with the lightest fingernail scratch. We remembered how vulnerable the tree always felt to us.

Oblivious to us, our mother continued chopping the remaining branches with greater ease and expertise than we had ever witnessed before. Finally, she arrived at its naked trunk that stood alone among the brambles that now filled most of the yard. We could not reach our mother without crossing this field of thorns. Our mother, ax in hand, and the tree trunk, alone, guarded by this destruction.

We cried out, “No!” Not our tree, not our little lime tree, but our shrieks awakened her from her dizzy reverie, and then, as if in reflex, she swung the ax into the tree’s body, piercing it halfway with the blow. And without pause, she swung again a final time, leaving but a thin ligament of green fiber attached at the base of the tree’s neck. Without breathing, we watched our mother drop the ax over the bed of thorns and grip the trunk’s limp fiber with both hands. She wrenched it free with one long grunt that became a scream at the end. It shook the wild parrots out of the neighboring trees, and all we could do was watch them flap away as her scream dissipated into the hot, colorless sky. And the air became very still and unusually quiet. Except for my mother’s breath, which came in long draughts, in and out like a strong tide.