Sheila Heti on the Geometry of Stories

After we have finished and put down a book, when the dust has settled, once we have slept many nights, had dinners, taken walks, taken care of our duties, then the book returns to us as a shadow-shape, as Virginia Woolf puts it, a visionary shape: “There they hang in the mind the shapes of the books we have read.” Why does the word shape keep occurring to her as the best way to speak of what lasts of the books we have read? In my experience, it tends to be writers who speak of the shape of books—not only of books they have read, but also of books they are writing. It is not just a mood or story the writer wants, or characters or ideas, but something more plastic, a form, just like sculpture has a form. A book is a watery sculpture that lives in the mind once the reading is done. When I think back on the books I have loved, I rarely remember the names of characters, the plot, or most of the scenes.

A book is a watery sculpture that lives in the mind once the reading is done.

It is not even the tone or mood I remember, but some residue remains—and that unlikely word is appropriate here—of a unique shape.

Sometimes the shape of an entire book will be compacted into the memory of a single scene: something simple—a room that was conjured in the mind, in which two characters sat, speaking. Sometimes the shape will be something more metaphysical: a new understanding of life, as the book ends. But how does an understanding turn into a shape? Perhaps because books always place us somewhere; they involve bodies in space, or the progress of minds. It’s as though a series of shapes—rooms, bodies, narratives, revelations—are laid one on top of the other, as you turn the pages of a book, and finally it’s like looking at a stack of translucent, colored sheets of plastic, which averages into an ultimate shape.

How are we, as readers, to judge the shape of one book against the shape of another—if the shape of a book is what lasts? How does one even describe a book’s shape to another person, when this shape does not correspond to something simple, repeatable or shared, like a triangle, circle or square? A book’s watery shape is formed by its movement—the progress the characters or the narrative took, which was a progress we lived through while reading it, and which then solidifies into a single, continuous episode, no matter over how many sessions we read the book. This mental episode excludes all the living that happened between the times we picked up the book. Yet the final, shadowy shape includes some of the living that occurred while we were turning its pages—not only what happened in our imagination, in the form of images of scenes, but also what room we were sitting in, what was going on in our life, what the days smelled like, how young we were, the political situation in general. The shape of the book ends up being some alchemy between the shape the writer created and the shape of our life as we read it.

This alchemy of these two separate worlds creates a frozen shape. But the shape is not actually frozen, for over the years and decades of recollecting the book, time melts and re-freezes the shape, again and again. 

That is what makes literature such a living art form. The books we have read keep changing through time, perhaps more than a painting we love changes, because while paintings and theatre and movies live in our memories as things we have witnessed, a book is undergone like a dream. The specific images it calls up in the imagination can no more be communicated than the images from our dreams—so the real book is not the physical book, but its residual shadow-shape.

More mysterious is the fact that a writer is trying to create a shape when they write their books. But how can they be assured that the shape they are aiming for, that watery mental sculpture in their imagination, will be the same mental sculpture that appears in the reader’s mind? There is no way of assuring this, and no way of knowing if any book, read by a reader, leaves a shape of any resemblance to the shape the author had in their sights when they were making it. But it doesn’t matter. What else can an author do but try to create, with the book they are writing, a shape that is satisfying in the cavern of their own mind; something that seems to them to have a certain movement and harmony, and the most pleasing dimensions. 

A circle or triangle doesn’t emerge from a movement, the way the shape from the progress of a narrative does. But say that was true of triangles and squares. If literal shapes were formed not by their sides, but by some unfolding in time that—once the unfolding had passed—left behind an inner sensation that we called “square” or “circle,” we would call literature one of the maths. And whether a book was a success or a failure would not be left in the hands of critics. It would be geometry that called it.

The real book is not the physical book, but its residual shadow-shape.

At the end of her essay, Virginia Woolf compares the pleasures of reading to the pleasure of being in heaven. In fact, God, who is stuck in his heaven, envies human readers—for while his heaven is one place, books offer multiple places. The reader doesn’t grow bored like God does. Yet I don’t feel that How Should One Read a Book? is an essay in praise of the heavenly pleasures of reading. Every time I read it, I am left with a darker feeling. I think the essay came from Woolf’s displeasure in having to pass through the critics in order to reach her readers. If the reader needs to be taught to read better, she says, it is to set an alternative standard for the writer, who is assaulted by the standard of the critics, who provide no real standards at all. Why? Because they are too busy: “Books pass in review like the procession of animals in a shooting gallery, and the critic has only one second in which to load and aim and shoot.” One second! Critics are killers of books, and since there will be no end to critics, the only hope for the writer is the hope of there being “another kind of criticism, the opinion of people reading for the love of reading, slowly and unprofessionally, and judging with great sympathy and yet with great severity.” Can a multitude of such readers triumph over these clumsy critics and make them ludicrous in the eyes of the world—such as this one, who “misses altogether and wastes his shot upon some peaceful cow grazing in a further field”? 

In the 1970s and ’80s, the status of Virginia Woolf changed quickly and radically, from that of an important minor writer to a canonical, major one, a pivotal figure in twentieth-century English literature. How did this happen? It was largely because of the hard work of feminist academics. Decades after Woolf ’s death, the readers whom she was hoping for—with their own set of standards, different from those of the newspaper critic—came and read and understood her novels. Biographies were written about her, and countless academic papers and books, by people who had those qualities she thought the responsible reader must have: taste, sensitivity, patience, sympathy, curiosity, a history of having read widely and the understanding of literature that comes from having written oneself.


Excerpted from How Should One Read a Book? by Virginia Woolf, introduction by Sheila Heti. Copyright © 2020 by Sheila Heti. Excerpted by permission of Laurence King Publishing Ltd. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

When the Past Hangs Around Your Neck

Fate

To Jorge Payá, for his good ideas

Stretched out on the beach, Lyuba removes her bikini top, nestles into the warm sand, and feels a prick. It’s a shell that sparkles in the sun. It looks very old. Without much thought, she tosses it aside and closes her eyelids, which glow with red light. Beside her, Jan steels himself for the test that will decide his fate. He’s crazy for Lyuba but doesn’t dare tell her. Soon he’ll have to return home, so he should either speak now or forever hold his peace. He picks up the shell, studies it. Through the little windows time has opened he sees a logarithmic spiral, the kind that rotates and expands from an infinitesimal point. He decides to set the shell on Lyuba’s belly button. If it balances for more than two minutes he’ll ask her to marry him. If it falls off he’ll return to his homeland, move away from the girl like that infinite spiral moves away from its center. As he lifts his hand, he notices that Lyuba has a strange belly button. It’s an outie. Nothing will balance there. Above, a peregrine falcon draws wider and wider circles in the sky.

Forty years earlier, a young woman lurks in the brush. It’s night, and this rainy June the vegetation seems fuller than usual. She carries an apple in her pocket, the only food she has to eat. If she searches under night’s cover she might find something else—the Germans must be asleep at their surveillance posts. Hunger is stronger than fear and, besides, she has legs made for running. She looks up at the sky, sees a miracle of floating parachutes, like beautiful pregnant kites. She crouches, watching them. Shots fire in the distance. The girl runs, hides, stumbles and falls face down on a soldier who looks asleep, but with his eyes open and almost transparent, eyes that look towards the sky as if asking a question. He’s not German, the Germans don’t wear this uniform. Taking care not get blood on her, she checks his pockets, finds a medal, some foreign coins, an iridescent shell, a photograph. She hides the money and throws the shell towards the sea. All of a sudden, giant hands seize her by the neck, a German soldier, he rips the coins away, repeating furiously, “Dollar! Dollar!” As she walks with her hands behind her head, she realizes: if she’d thrown away the coins instead of the shell it would have saved her life.

Almost two centuries before, a girl strolls along this beach. She thinks about her father, a man to whom nothing matters as much as money, and about her mother who shamelessly deceives him. Between her mother’s furious freedom and her father’s greed, the girl prefers her. She hates this Godforsaken place, this depraved town where nobody has dreams. Winter has sunk its teeth into the gray sea. The girl jumps, gathers her petticoat away from the lace of the waves, faint salt lines appear on her boots. She picks up a shell, toying with it on the way home. In the living room, by the fire, her mother seems to float atop the evening sadness. She wears a new dress, her hair upswept, cheeks burning. The girl decides to surprise her with a gift, and slips the shell inside her purse. As she does so, her hand grazes a piece of paper. She balls it up in her fist, waits smiling for the woman to caress her. But the girl bores her mother. The woman finds the shell, holds it up between two fingers, muttering, who put this crap here, she gives her daughter a shove and rushes off. Later, between the sheets, the girl reads the promissory note her mother signed to a moneylender. She tiptoes out of bed, leaves the note open on her father’s table. In the morning, cocooned in her blankets, she smiles, listening to the screams.

Centuries ago, also in Normandy, a crowd advances. The plague has been declared, and prophets sell salvation, threatening the stake. Desperate, mothers toss their newborns into the sea, as if the rocking waves offer a fate less tortuous than life. Warrior maidens promise to save them, and, though nobody believes them, they follow them still, in the end faith nourishes. Some move towards an unknown destination. Others retreat with the wagons carrying the deceased, and when they are exhausted, abandon them on the side of the road, without time to close the eyes of the dead. All tremble but for a little girl who smiles, jogs behind the crowd. She doesn’t have a family, at least not one she remembers. Her sole possessions are the clothes on her back and a shell she picked up on the beach. She does cartwheels for coins, which are tossed with hostile words that don’t bother her because she’s deaf. The blows yes, the blows hurt. That’s how she lost her hearing, and she has vowed to get revenge. The next time they strike me, she says, the next time. The occasion arises as a soldier pushes a young woman towards the stake. The girl cartwheels, extends her hand towards the soldier, and, irritated by the crowd’s silence and the cries of the condemned, he strikes her in the face, then rips off the shell hanging from her neck. The girl spits out a tooth. After dark, she chooses a live coal among the sleeping embers, creeps over to the hay cart where the soldier is snoring. A little while later, the town is burning, the soldier howls, his long hair in flames.

It’s freezing as night falls two hundred thousand years ago. Next to the bonfires, in the distance, the tribe swarms about, it’s hungry, it devours itself. There’s no hunting this winter, no fishing either, the grass can’t pierce the ice. The blackened forest seems dead, snow immediately covers the animals’ tracks between the giants trees. A female has fallen behind her group, can no longer keep up. And there’s no time to get to the cave where she could lie down on the furs. She’s alone on the beach and her belly is heavy. Her fear has been growing for a while now. Fear and urgency. How can she survive surrounded by ice? What will she do by herself until the heat arrives? The sea is a limitless field of ice that you can walk across. The rhythmic pains in her belly force her to squat. She’s never given birth, and begins to salivate, the mess that will flow from her might be her salvation. She also knows this won’t be easy. But blood, there is lots of blood between her legs, blood always comes first—thick, red, hot, nutritious blood. She howls, grabs ahold of her knees, pushes and roars, the effort breaks her. When she is exhausted, when she can’t go on any longer, finally something tumbles out. The female examines the sticky mess, poking at it, finding its scent. She opens her maw over the tempting body, about to lick the blood. How easy it would be to pounce on this defenseless, warm meal now beginning to whine, hunger overwhelms her and saliva floods her throat. Suddenly, on the snow covering the beach, a glimmer catches her eye. It’s a sparkling shell. For a second, it distracts her from her greed. The moon has risen, illuminating the shell’s iridescence. The female, so weary, feels an unfamiliar emotion awaken somewhere inside her body. Everything shines in the pale light, and in the strange silence the sky is a celebration of stars. She closes her jaws, clenches her teeth, restrains herself. With the flint she carries on her hip, she pierces the shell, gestures vaguely for good luck, ties the talisman around her daughter’s neck.

When the world was a boundless blue ocean, when all life existed underwater and the land was no more than bare rock, the first gastropods emerged and crawled onto the beaches. This was more than 500 million years ago. Maybe the patient sea salt allowed these creatures to accumulate their beautiful layers, maybe fate’s meticulous hand carved them, drawing expanding spirals on their shells. Beautiful, but defenseless, they bounced on the wild waves, fizzled in the foam, floated. Thus, pushed by the sea, a shell came ashore. There were hardly any clouds, the emergent land floated south, and Europe was a newborn island on whose beach the mollusk landed, it began to squirm, replicate itself, to expand its spirals until it became whirlpools, hurricanes, galaxies.


About the Translator

Rachel Ballenger is a writer and translator from the San Francisco Bay Area. She was educated at UC Berkeley. Among other outlets, her work appears in Your Impossible VoiceGulf Coast and the Los Angeles Review of Books. An excerpt from her novel Take My Life won the Inprint Joan & Stanford Alexander Prize.

9 Books to Fill the Void of GLOW Season 4

With this week’s recent announcement that season 4 of GLOW—which would have been the show’s final season—was canceled, many fans were left devastated. Sure, there are other ways to watch women wrestle on TV, even during the social distancing era—but where are we going to get our explorations of female friendship and community? Our body diversity? Our thoughtful, nuanced explorations of identity? Our ‘80s music cues? It would take a lot of books to fill GLOW’s wrestling boots, but we’ve given it our best go with a variety of reading options covering different aspects you might miss about the show.

Swing Time by Zadie Smith

Into GLOW’s exploration of the ‘80s, intensely intimate friendship between women, and complicated artistic tensions? Swing Time tackles all of these topics with Smith’s exuberant and eloquent prose. The narrator and Tracey meet in a tap dancing class in 1982, London; as the only two mixed-race girls in the class, they stand out—and become fast friends. Smith traces how their life trajectories diverge from one another, asking questions about lineage, talent, and racial inequality. (And if you want more books set in the ‘80s, check out this list.)

The Secret Lives of Church Ladies by Deesha Philyaw

Filming the show provides a way for GLOW’s female characters to find a community, expressing sides of themselves they weren’t previously allowed to explore. (How dare they deny us more Sheila as Liza Minnelli!) In a similar vein, Philyaw’s debut collection of short stories explore the lives of churchgoing Black women. Whether eating brussels sprouts together or finding solace in a parking lot, Philyaw’s characters explore what it’s like to publicly follow the rules of the church whilebreaking them in private, discovering new truths about themselves.

Trust Exercise by Susan Choi

Do you love the meta-framing of GLOW, the shooting of a show-within-a-show? Trust Exercise shows just how important narrative framing is, and asks similar questions about who gets to tell which story. Set at a performing arts high school, Choi’s novel begins with a passionate affair between two theater kids—but what starts out as a typical-seeming love story spirals out into anything but. Choi masterfully juggles topics like class, age gaps, friendship loyalties, and the idea of “fiction” itself. 

Big Friendship: How We Keep Each Other Close by Aminatou Sow and Ann Friedman

Our society tends to undersell friendship, usually placing romantic relationships or familial ties above being “just friends.” If you love how GLOW puts friendship (and the consequences of having a falling out, cough cough Debbie and Ruth) at the center of its narrative, try Sow and Friedman’s non-fiction book. The authors, co-creators of the podcast Call Your Girlfriend, talk frankly about what it means to have and sustain a “big friendship”—embracing both its messiness and gloriousness.

Interior Chinatown by Charles Yu

If you appreciate how GLOW tackles stereotypes, Interior Chinatown might offer a topsy-turvy lens into Hollywood stereotyping and racial microaggressions. Willis Wu, a self-identified “Generic Asian Man” who acts in bit roles for a never-ending cop show—the most Willis can hope for is to achieve the status of “Kung Fu Guy” (not unlike Jenny, reluctantly trapped in the role of Fortune Cookie). Structured as a screenplay itself, Interior Chinatown is a deft satire of the entertainment industry and stereotypes. 

Sisterhood of the Squared Circle: The History and Rise of Women’s Wrestling by Pat Laprade and Dan Murphy

Are you one of those viewers that are super into the wrestling sequences? Have you sought out the original GLOW footage—and rewatched it many times? Take a deeper dive into wrestling with this thoroughly researched, detailed study on women’s wrestling. From the 1800s carnival circuits and to contemporary matches, the book tackles politics, big personalities, and the history of wrestling in the U.S. After this book, you’ll find yourself well-armed with information to beat anyone at wrestling trivia. 

The Sea of Light by Jennifer Levin

If you’re interested in how GLOW explores queer sexuality in tandem with the intense physicality of wrestling, try Levin’s novel about competitive female swimmers. The Sea of Light focuses around three women, each driven to success: Brenna Allen the coach, swim captain Ellie Marks, and recruited athlete Mildred “Babe” Delgado. As a tentative community forms between the women, they must balance their desires with societal pressures. 

Tipping the Velvet by Sarah Waters

Are you into the backstage escapades of the GLOW crew? Can’t get enough of the big ‘80s hairstyles? Big Yolanda/Arthie shipper? Jump even further back in history and amp up the glitter with Tipping the Velvet. Set in the 1890s, the book centers on the relationship between Nan King and Kitty Butler, a male impersonator performer. Although Nan begins as Kitty’s dresser, the two run away to London to begin a double-act. Gender performance, disreputable women, and self-discovery take center stage in Waters’s debut novel. 

Oprah’s Talk Show Made Me the Man I Am Today

Cable wasn’t available where we lived in rural Ohio, but my father had splurged on a satellite dish. New-fangled and cutting-edge, the big, half-moon monstrosity shot up its invisible rays to the heavens from the corner of our weedy vegetable garden, delivering the gifts of MTV and movie channels, and a carousel of sitcom reruns: The Brady Bunch, Different Strokes, Who’s The Boss, Three’s Company.

But no matter what else was on, at four o’clock, I turned to the Oprah Winfrey Show. Oprah talked to everyone, famous or not. She carried herself with a kind of authority, but was funny and charming, an adult I wanted to be around. Everyone was watching her. My teachers, the girls on my basketball team, my mother on her days off. My coach said Oprah cared about real people. 

Today, Oprah was on the road, broadcasting from a small town in West Virginia. Two, maybe three hundred local citizens filled the auditorium. They were there to talk about the controversy that had put their little town in the national news that summer, after Mike Sisco, a 28-year-old gay, HIV+ man, had gone for a dip in the public swimming pool. When he got in, everyone else clamored out of the pool and ran, as Mike described it, “like in those science fiction movies where Godzilla walks into the street.” The thing is, by 1987, the public knew, or should have known, that AIDS could not be transmitted by swimming in the same waters as someone who was positive. The mayor ordered the pool to be drained and disinfected, and Mike was barred from returning. Mike was the monster. The monster was AIDS. 

In 1987, after over 40,000 people, most of them gay men, had died of AIDS in the United States, after six years had already passed since the first known death, President Reagan delivered his first public speech about AIDS. Instead of focusing on sex education, the government fanned fear and prejudice. In 1986, conservative author and journalist William Buckley wrote an op-ed in the New York Times calling for “AIDS carriers” to be tattooed. A family in Florida whose three hemophiliac sons were infected from blood transfusions had been forced out of town, their home set on fire. 

The hysteria around AIDS defined the ’80s, and like most kids during that time, I soaked up all the fear and disgust, without understanding the pain and grief: the images of AIDS patients in Time or Life; snippets on the evening news; Ryan White attending class via telephone; and the endless jokes at school—Gross, don’t touch me, you’ll give me AIDS. Homosexuality was a sin, and here, on TV, was more proof. If you were queer, you would die—and everyone hated you. 

On Oprah, a man in the audience stands up to the mic. “I am repulsed by the man’s lifestyle. I am repulsed by his disease,” he says. “Nature will take care of something that’s wrong, it will eradicate it.” When he proclaims that gay men will become extinct “from the face of the earth in no time,” the audience breaks out in applause. 

As the audience unleashes their vitriol, Mike sits there, listening, occasionally smiling, occasionally frowning, but mostly, his face is controlled, a protective mask. He wears a snazzy purple and green sweater, an earring glinting in his left ear. In a calm voice, he describes the pain of being ostracized and rejected. He’d been suicidal, depressed. For months, cruel outlandish rumors and lies had swirled around town, including that Mike had been seen licking the fruit at the grocery store, intentionally trying to infect people. His sisters and parents had welcomed him home, but now they too were struggling: “They were afraid to show the love they had for me… they were afraid of what the community would do to them,” he says. Mike left Dallas, where he’d been living, because he wanted to come home to be with his family: “I was dying, and I thought [the town] could overlook the fact that I am a homosexual and see that I need some compassion and to be in my hometown.”

Did some part of me recognize myself in Mike, in his queerness, in mine?

My heart thudding, I held the remote in my hand, my fingers alert—if my mother walked in, I would quickly change the channel. A feeling of secrecy and wrong-doing hummed inside me. Did some part of me recognize myself in Mike, in his queerness, in mine? Or did the show stay with me out of a fear that I would become like that, that I might lead such a sad, lonely life? I was a quiet kid who lived by the rules, content to slip into other lives through the books I read and the thrill of imagination: I never expected that one day I would start to let the world see my hidden self or that I would even want to be seen. I never expected the TV episode to lodge itself into my brain, to be remembered years later, a story that hung around, an impression, a shaping. 

Twenty-five some years later, I started to write about a man who gets kicked out of his hometown pool. The scene grew into my novel, The Prettiest Star, about Brian Jackson, a gay man with AIDS who leaves New York City to return to his home town in Appalachia in 1986. The novel is about secrecy, shame, and denial, and it’s also a story about a family, about love and redemption. 

Brian’s story is not my story. I didn’t lose close friends or lovers from AIDS. But I understand what it means to feel estranged from your family and hometown. How shame wears a person down. How for queer people the story of home is a complicated one, with no single door. 

I came out as queer in my early 20s. Still, for years after that, I hid inside my body, performed gender, pretended. Not until my 30s, after I’d learned the words to express myself, after I’d met other trans-masculine people and built a supportive community, did I start to let go of some of that shame. Transitioning didn’t come suddenly, but was a slow journey, saddled by fear, like trekking out of a dark canopied forest that is the only home you know and then stepping into a clearing: here is the sky, here is the sun. You are here. 

In my research for The Prettiest Star, I learned that Oprah had returned to Williamstown, West Virginia in 2010, 23 years after the original show. This time, Mike wasn’t there—he died in 1994. According to his sisters, after the show in 1987, Mike left town and moved to California. They said Mike didn’t regret going on the show, despite all the ugliness and hurt; he’d wanted to educate America about AIDS and gay people. He wanted to make a difference.

After re-watching the original tape, Oprah says she felt struck by Mike’s bravery and profoundly disturbed by the audience’s lack of compassion. The man who proclaimed AIDS would eradicate gay men was invited back on, and only after Oprah prods him does he admit minor regret about what he said. But he doesn’t apologize, not really. Instead, he frames his homophobia by expressing concern for Mike—wouldn’t he have found better healthcare and more understanding in a city (far away)? 

In a startling moment, Oprah addresses him—and so she addresses us, the viewers—“But who are you?” She asks: “Who are you, Who am I? Who are we to say whether or not a person can come home to be with their family?”

Who are you? 

Who are we?

As a country, we need to face our collective response to the men, and women, whose lives were cut short by AIDS, and who were victims of the homophobia, shunning, and cruelty that played out in small towns, in families, in cities, and in the national landscape. In The Prettiest Star, I try to bear witness, to tell Brian’s story, a story about the pain of homophobia, about queer existence and visibility and survival. 

That day in 1987, the Oprah episode reaffirmed for me what the world had been telling me: if you were gay, you would be ostracized. You would be cut off from friends and family, and hated by your country. You may die from a terrible disease. I wasn’t at all surprised to hear a man say he was repulsed by gay men or hoped for their extinction, or by the audience’s applause. 

But something else stuck with me, too. 

I’m certain this was the first time I saw a gay man with AIDS tell his side of the story.

Back then, I didn’t know any gay people, let alone trans people. No one was out of the closet in my town. There was little to zero queer representation in pop culture or the media, except in the way of jokes—Jack on Three’s Company faking gay by adding a lisp or flip of the wrist—or the occasional villain or clown, always minor, always expendable. 

I’m certain this was the first time I saw a gay man with AIDS tell his side of the story. A gay man who lived in a town like mine—a gay man who looked like my cousins, my neighbors. Who wasn’t wealthy or living in a far-away city. He was someone I recognized. And, maybe seeing him on TV, showed me another possibility: you could live your life with courage, without shame. Like Mike Sisco. Who, on a hot summer day, in a small town in West Virginia in 1987, went for a swim. And, then, he went on the Oprah show, in front of millions of people, to declare that, as a gay man with AIDS, his life had value. 

12 Books on How Midwives Are Changing Childbirth

Although natural births are making a comeback in the U.S. today, midwives have historically faced opposition for being as dangerously unprofessional, unhygienic, or just too “hippie.” However, midwives and doulas—birth workers without formal obstetric training—can often play crucial roles in forming female communities of power and support. Additionally, alternative birthing practices have deep roots in reproductive justice, with many midwives drawing upon indigenous practices and traditions. (If you’re looking for further reading on reproductive justice and women’s health advocacy, check out Efe Osaren’s list of books here.) 

All this makes for rich literary fodder; the list of books below run the range of midwife narratives, addressing topics from legal battles to rural community drama, gristly birth descriptions to tender midwife-patient connections.

The Fig Orchard by Layla Fiske

A politically and emotionally complex saga centered on Nisrina Huniah, a Palestinian woman who turns to midwifery. Set in the Middle East right around WWI, The Fig Orchard paints a vivid historical portrait of one woman’s journey: when Nisrina’s beloved husband is kidnapped to serve in the Turkish army, she chooses to go to a Catholic university and study midwifery, so that she can support her children without re-marrying. Fiske’s debut novel is an exciting exploration of tradition, religion, and female agency. 

The Birth House by Ami McKay

Rural midwives are often stereotyped as “backwards” or “old-fashioned,” but this Canadian bestseller shows that they can actually be feminist pioneers. Dora, the first daughter in five generations in the Rare family, finds herself as a midwife’s apprentice. When a new doctor threatens to shut down midwifery, Dora must decide if she wants to keep practicing. Set in a rural Nova Scotia village in the early 1900’s, McKay’s novel highlights the struggle for women’s rights, both in and out of the hospital room. 

Listen to Me Good: the Life Story of an Alabaman Midwife by Margaret Charles Smith and Linda Janet Holmes

At age 91, Margaret Charles Smith was one of the oldest surviving traditional midwives in Alabama. Lay midwives like Smith were vital to the Black female community, drawing upon traditional knowledge and building a sense of solidarity. But in 1976, a state law condemned midwifery, causing many to lose their permits for the next five years. Published in 1996, this oral history documents Smith’s lifelong work of providing racially equitable healthcare for women, offering a view of the Civil Rights Movement from a rarely-seen angle. 

Call the Midwife: A Memoir of Birth, Joy, and Hard Times by Jennifer Worth

Birthing is always messy—and fairly often fatal—in Worth’s memoir. In this first book of the Midwife Trilogy, Worth writes of her real-life experiences as a midwife in the slums of 1950s East London. Featuring a cast of deftly drawn, unforgettable characters—from the lovable nuns that she lives with to the prostitutes of poverty-stricken streets—the book vividly describes Worth’s female-centered community. If you’re a fan of period British shows (looking at you, Downton Abbey fans), check out the critically-acclaimed BBC show of the same name, which is an adaptation of Worth’s series. 

Midwives by Chris Bohaljian

When a home birth goes fatally awry in rural Vermont, midwife Sibyl Danforth finds herself accused of manslaughter. That night unleashes a long court case, with doctors and attorneys that are only too happy to use Sibyl’s case to attack the midwifery profession. During the years following, Sibyl struggles to prove herself not guilty and, amidst the pressure, keep her family intact. If you’re looking for your next thriller, try Bohaljian’s tension-filled examination of human responsibility. 

The Blue Cotton Gown: A Midwife’s Memoir by Patricia Harman

Patricia Harman runs a women’s health clinic in the Appalachian mountains of West Virginia; she works there as a midwife and manager, while her husband is the clinic’s ob-gyn doctor. Through her interactions with pregnant teenagers, abusive husbands, and transitioning patients, Harman shows the day-to-day life operations of midwifery. Meanwhile, she herself must deal with financial struggles and marital tensions. Focusing equally on individual midwife-patient connections and the larger logistics of operating a clinic, Harman intertwines both the professional and personal aspects of her life beautifully in her memoir. 

Someone Knows My Name by Lawrence Hill

Hill’s emotionally wrenching novel is told from the perspective of Aminata Diallo, who was kidnapped from her hometown in West Africa and forced into slavery in South Carolina. Because of the midwifery skills she learned from her mother, Aminata is considered to be more useful. Set against the backdrop of the American Revolution, Someone Knows My Name shows Aminata constantly fighting for her own and others’ freedom. 

The Witch of Cologne by Tobsha Learner

A historical drama that addresses forbidden love, mystical studies, and birthing babies in the 17th century? Add in the Spanish Inquisition and Jewish ghettos, and you’ve got The Witch of Cologne. Learner’s novel centers on Ruth, a fierce Jewish woman who is determined to practice kabbalah andmake a life for herself through midwifery skills. Through Ruth’s story, who faces torture for her religious practices and simultaneously falls in love with a Catholic churchman, Learner explores the ideas of faith and love. 

Why Not Me?: The Story of Gladys Milton, Midwife by Wendy Bovard and Gladys Milton 

This memoir begins in court, with the State of Florida Health and Rehabilitative Services vs. Gladys Milton. When Milton started practicing in rural Florida, many hospitals refused to serve Black and brown women; Milton was able to help by safely delivering thousands of babies. However, when the state medical agency unjustly asks her to “retire” or face charges, she must go to court to fight for her case. The struggle for reproductive rights and access to adequate healthcare rings only too true today, with a Supreme Court Justice nominee who could help overturn the Roe vs. Wade case. 

Baby Catcher: Chronicles of a Modern Midwife by Peggy Vincent

This memoir talks about Vincent’s own journey from a nursing school student to midwife in the 1980s, and her experience with “catching” over 2000 babies. Vincent’s humorous prose and her details—from jealous pets to oven-warmed blankets—make this an intimate, page-turning read. And if you’re looking for another contemporary midwife memoir after Vincent’s, try Carol Leonard’s Lady’s Hands, Lion’s Heart

The Midwife’s Confession by Diane Chamberlain

A midwife’s profession itself is based on bringing new life into the world. When a young midwife commits suicide, her friends are left struggling to make sense of her previous commitment to life with her abrupt and tragic death. In the wake of her death, they discover that Noelle, the midwife, has been hiding a shocking secret. Chamberlain’s page-turning thriller combines regret and hope, death and life to keep you reading late into the night. 

Spiritual Midwifery by Ina May Gaskin

No book list on contemporary midwifery would be complete without this classic text, written by founder of the Farm Midwifery Center. Gaskin’s 1977 book was a radical departure from previous medical texts that treated birth only from a clinical, scientific perspective; Gaskin draws attention to the emotional and generative aspects of childbirth. She includes tales of amazing births she has witnessed, as well as including practical techniques, statistics, and resources for natural birth. Already read Spiritual Midwifery? Try Gaskin’s more recent publication, Birth Matters: A Midwife’s Manifesta

The Right Way to Write an Autistic Character

“I decided to wear a kimono and high heels to the party because I wanted people to see me in a kimono and high heels at the party,” the unnamed narrator of A Room Called Earth reasons in the novel’s opening line. And, just like that, readers are immersed in her mind, her world, and her movements over the course of one night. As she prepares for, attends, and, with varying degrees of success, attempts to engage with people at a house party, we are treated to her wide-ranging but methodical reflections on everything from sartorial choices to the devastating legacy of colonialism in Australia. We see—and feel—how she senses herself and her surroundings, how she processes all of this information, and how she responds to it. 

A Room Called Earth by Madeleine Ryan

A Room Called Earth is the first novel by Madeleine Ryan, an Australian writer who is autistic. Although her character’s neurology remains as unspecified as her name throughout the book, there were many aspects of her thought process, her interests, the way that she experiences the world, and the way she expresses herself that struck me as familiar as an autistic reader. I felt like I was reading a stream-of-conscious narrative for a type of consciousness that is still painfully misunderstood and misrepresented. 

Through Skype, I talked to Ryan about autism in writing, her feelings about the label itself, and the extent to which she identified with her character.


Sarah Kurchak: Your character, this voice, never uses the word “autism,” or “autistic.” Do you think of her as autistic, or is that an outside assumption that has been placed on her?

Madeleine Ryan: I do see her as autistic, but I’m conscious that the label brings with it all of this stuff that I wish it didn’t. That, I think, is changing and opening up, and becoming more diverse, which is more representative of what it actually means. And more magical, which is what I see it as. I don’t see it as a disability. I don’t see autism as something that’s disabled, or defunct, or a burden in any way, or as something that’s really defined by the scientific and medical establishment. I know that it is, but I don’t live by their definition. It doesn’t sort of define my life. So it doesn’t define her for me. 

I don’t see autism as something that’s disabled, or defunct, or a burden in any way.

So yes. I absolutely see her as autistic. I mean, there are lots of things I see her as that I haven’t labeled. And that I see the book as exploring, like feminism, veganism, mysticism, sexism, environmentalism. There are so many -isms. 

As I was writing it, I became conscious she was autistic, and I knew that. By putting it on her, I was conscious of the cultural and social ramifications that that might have. But I was also aware that, to be able to create the change and open up, she needed to live with the label. If the word is going to expand, and represent what I see as something that’s sacred and just wonderful and an amazing addition to humanity, then she needed to be there. It was definitely a difficult choice, but I think it was the right one. 

SK: I’m suspicious of non-autistic writers who create autistic-seeming characters without ever using the word. I feel like they’re dodging any responsibility they might have to real-life autistic people. If anyone takes issue with the portrayal, they can say, “Oh, we didn’t really mean to say so-and-so was autistic.” It’s really interesting to see an actual autistic writer deal with an autistic character without the label for entirely different and more admirable purposes. 

MR: I’m so glad. I think that labels—not just the autism label but labels in general—have their place, but they can become lazy and heavy. And I think that avoiding that as much as I could in the book, in every sense, stays true to what it’s like in our own minds, to some extent. I’m not calling myself a feminist all the time, or identifying with labels when I think about myself. I only [use] a label when I think about how I’m interacting with other people, or the wider world, or when I’m going on long political rants in my mind, or trying to work through things. And even then I don’t know if labels come into it. 

It’s much more of a social global sort of need, I think, in terms of categorizing people, and schools of thought. Stuff that, you know, has its place, but I think that it can become constrictive and limited and I didn’t want A Room Called Earth to be a world that was categorized in that way. I wanted those transient experiences and thoughts to be the defining feature. Which I think is the most sacred part of life. The labels are these kind of secondary things that we use to try to sort of navigate one and other, or society, but ultimately it’s that sort of transience and moment-to-moment quality that’s kind of uncontainable by anything that’s more interesting to me. 

SK: At the risk of making you deal with yet another label, do you think that, beyond the character herself, there is anything inherently autistic about your prose, about the way you’ve approached this book, and the very concept of it?

MR: Well, yeah. I mean, it’s how my brain’s wired. I guess it makes perfect sense to me, the structure and the logic of it, and the blow-by-blow nature of it. And, in my mind, it’s very methodical. Absolutely. I have no doubt. 

Labels have their place, but they can become lazy and heavy.

But at the same time, I was doing that thing of, “Well, this makes sense to me. If it resonates with others on the spectrum, or off the spectrum, fabulous. That’s lovely. If not, OK. But this inherent emotional and narrative structure feels right, and I’m just going to trust it.” And if that’s autistic or if it’s… Someone called it a circadian novel, so even that has a label, too. It fits in this category of books that [takes place] over 24 hours. And it goes here, and here, and here. 

But yes, I think it could be described as that. Because it’s inside her mind. And if her mind is autistic, then, you know…

SK: As an autistic reader, one of the things that struck me about this book was that it seemed to contain none of the stuff that people always told me was necessary for a narrative, but that I always thought was just nonsense. Like the literary equivalent of small talk is not in your book.

MR: Ahh. What’s literary small talk to you?

SK: Having to establish a scene in a particular way. You introduce a character’s name at a certain point. You should say this, this, and this about their physical description instead of what impression just hits you at that moment. 

MR: Got ya. I double majored in literature and creative writing at Melbourne Uni so many years ago now, and I think I had to spend so many years probably undoing all of that. I did not enjoy that at all. As you’re speaking, I’m going, “Oh yeah… all that stuff. Oh God. I’d forgotten!” I’ve spent so many years having to undo that, to find and hear something that felt like a story that was genuinely coming through me. Not my idea of a story, or how to tell a story. 

God, all of those rules. All of those ideas about how to share an idea. 

SK: Books have always struck me as a medium that can be particularly effective for introducing non-autistic people to an autistic thought process, because it draws readers sort of inside a person or character’s mind, instead of the outside-looking-in perspective that so many stories about autism have. And I thought this book was an excellent example of what I believed was possible. 

MR: Wonderful. That makes complete sense to me. And I think that, as I was writing it and becoming aware of her being autistic, I was aware of the power of, like, “Yeah, well you’re in her mind. So… welcome.” It felt a lot more direct and intimate than experiences that I’ve had of watching stories about autistic people. I think every good story has its place, but I certainly haven’t watched—or read—anything that’s been that inside. There’s no escape from her world and how she thinks and processes, so there’s not that sense of safe distance or detachment. I think that that is powerful. And I hope that it can invite people in in a more profound and intimate way, for sure.

SK: Have books been a window for you into things you maybe didn’t otherwise understand?

MR: Yeah. Self-help books mainly! If you saw my book shelves, they’re predominantly self-help. And spirituality and psychology and mysticism. Those have absolutely been my life raft through the world in lots of ways. Both in terms of my person-to-person interactions, but also just a sense of being a part of something bigger than me and my mind, and the one-ness of everything. Those books have been a huge factor in navigating my way. 

But prior to that, I grew up in a house of writers. My parents are both journalists. They had lots of fiction, lots of classic literature around the house. I did grow up around that, so I don’t doubt that is operating very heavily in my conscious and unconscious mind. But in terms of the last sort of 15 years or so of my life, it’s been self-help. 

It’s funny, too, because my parents, they’re critics, and they were always like, “We don’t write in the ‘I’! You write in the most objective way possible.” And then here I am devouring self-help and everything I write is in the “I” and I’m autistic and it’s just so “ME! ME! ME!” I’m like the antithesis of everything that they are and believe in and what I grew up around. But I’m sure my work is probably a marriage of both worlds.

SK: Any time a woman writes fiction, there is a tendency for people to want to conflate her with her characters. Especially, I think, when a character shares any sort of identity with an author. Is that a problem you’ve faced? Do you have concerns that you will face it as you talk about this book and begin to promote it more?

MR: I can imagine that happening, but I don’t know if it bothers me. People are going to think what they’re going to think. The only person so far who has directly said to me, “Is this you?” was my dad. So I think we’re doing OK so far. I was like, “Dad, I don’t have a kimono. Calm down.” He was like “Oh, I thought you did.” And I was like, “No. I have a lot of silk dressing gowns, but I don’t have a kimono.”

If people do that, they do that… it’s that classic thing, isn’t it? A part of you is always in it. In everything we create, a part of us is in it, but it’s also not us. So she’s me and she’s not me. She’s her own living, breathing thing that I gave birth to. So in as much as a parent is their child, I’m her, is how I see it. 

Here’s Why We’re So Obsessed With Zombies

Gwen asked if I’d kill her. I had to think about it. The two of us sat in a theatre in downtown Toronto, paper programs in our laps. Black walls, black curtains, black metal legs supporting grey plastic chairs, all lit by the white glow of the house lights. The kind that bring out the red in your cheeks. Blood vision.

“I could do it,” I said. “Emotionally, I think I could.”

I took silent inventory. With me, I had a messenger bag containing a notebook and a bottle of red wine. The pockets of my jeans were empty, save for my old leather wallet. My keys, a ticket stub, a small black cellphone, and a handful of unused tissues cluttered the various compartments of my theater-school-grade corduroy blazer. I was unarmed. “But I don’t think I have anything that would really help me with the dirty work.”

“You can kill a zombie with your hands,” she said. “You do karate.”

I pictured the hypothetical scenario. A raspy moan, Gwen’s eyes covered in the instant cataracts of undeath, mouth gaping with angry eyebrows. She’d go for my exposed flesh first, probably—my face and neck. I’d guard myself, either through the automatic reflex of a karate high block or by cartoonishly palming her head to keep her at bay, the Bugs Bunny to her flesh-eating chicken hawk. Honestly considering my abilities and the implements at hand, I couldn’t imagine any way to remove Gwen’s head or destroy her brain.

Considering my abilities and the implements at hand, I couldn’t imagine any way to remove Gwen’s head or destroy her brain.

“I don’t know. Is karate even enough?” I said. “I’d have to run.”

Gwen raised an eyebrow. People crowded near the edge of the stage, looking up at the risers, squinting and doing basic math, trying to find a place to squeeze their party in with the rest of us spectators.

“Let’s say you had something,” she said. “Let’s say you had a bat or a shovel. Let’s say you could definitely do it.”

I asked where she was headed with this. Judging by the densely packed seating, we didn’t have a ton of time for zombie talk before the curtain’s rising.

“Okay,” she said. “If I attack you first, having not bitten anyone to spread the zombie virus, and you karate me back to death right here, will anyone believe you did it to save the world? Or will they all think you’re a murderer?”

Everyone in the theatre sat, shifting, murmuring, and turning off their phones. The collective noun is audience, crowd. But I was thinking about hordes.

“I’m just saying, the smart thing to do is let the situation get a little out of hand,” said Gwen. “Not too out of hand. Not 28 Days Later out of hand. Just enough that tomorrow’s headlines contain the word ‘infected’ instead of ‘murder.’”

The lights began to dim. For a moment, a couple hundred bodies sat in utter darkness.

“This is probably a good time to tell you I’m coming down with a fever,” Gwen whispered. “Remember, let it get a little out of hand.”

“What if you bite me?”

“I don’t care, I’m already dead.”


We talk about zombies to talk about each other. In pubs, at parties, in theatre audiences waiting for plays to start, we imagine the undead uprising in present tense. In a hypothetical survival scenario, your interests, obsessions, and special skills take on heavy significance. The summer job you had landscaping could make you the chainsaw-wielding splatterpunk who saves her friends in a cloud of gas fumes and blood. Time served on your high school baseball team might elevate you to the José Bautista of blunt-force head removal. Practical firearms experience accrued on a hunting trip with your uncle can cast you as Annie Oakley in St. John’s Revelation.

We talk about zombies to talk about each other.

As an old millennial, of the cohort who started surfing the web around age nine, I learned to write personality profiles for my digital self before learning the cardinal directions in school. Chat rooms, pop culture forums, and instant messenger programs like ICQ required me to socialize without a body. Like other people my age, I built digital avatars out of song lyrics and self-portraits. Screen name, age, country, favourite movie, favourite song, inspirational quote,  uploaded  image—disclosure of this data is an essential first step in communication for people who came of age during the rise of internet society, who spend most of our social lives in collectively imagined non-corporeal spaces. That’s why zombies are such an appealing conversation topic. A zombie apocalypse discussion is profile building for the meatspace. Agreeing to a set scenario with high stakes and an internal logic established by film, TV, video games, and past conversations, we define ourselves in opposition to the undead. We laugh, we drink, and together we agree that in a world consumed by viral walking death, the people we know and love will survive by virtue of our describable utility.

Because zombies are non-human, non-living, and unable to list their hobbies in order of practicality, the shambling corpses are barely part of the conversations they inspire. Generally, actual zombie talk begins and ends with taxonomy. If we’re really going to discuss a survival plan, we need to know what kind of monsters we’re running from. Are we dealing with classic slow zombies or a newfangled strain of rage zombies that can run? Do their bites quickly transform living victims into card-carrying members of Club Z or are we imagining a situation in which infection only means resurrection after a less supernatural death? These questions, along with the origin of the zombification vector—biomedical research gone wrong, trendy anti-aging cream applied too liberally, a novel coronavirus—help define the survival logic of the discussion. Everything else is about being alive together and staying that way.

Your zombie apocalypse profile is constantly changing with your interests, attitudes, and values. Physically active hobbies usually take up the first bits of conversation. The knee-jerk reaction is that a zombie apocalypse privileges those who can pulverize a skull. But close-contact melee with zombies is a losing battle. It’s like beating back the rising tide with a crowbar.

It only takes a few minutes to realize that survival is about creatively cooperating to make the best of the worst possible situation. Identifying friends and acquaintances with first-aid training leads to recollected adventures in babysitting. Finding shelter and foraging for food evoke shared memories of hiking, camping, and hunting. At one point, someone inevitably suggests commandeering a boat and waiting out the apocalypse on the water. This person will share stories of sailing, powerboating, or working at a marina over teenage summers. The conversation will progress, trust will emerge, and those of us with chronic medical conditions will ask if the survival party minds stopping at a pharmacy to loot EpiPens, inhalers, or insulin.

Your zombie apocalypse profile is constantly changing with your interests, attitudes, and values.

I am a lifelong martial artist, which usually puts me on guard duty. I graduated university with a performance-heavy theatre degree, which is generally thought to be useless unless you count the fact that it’s probably the reason we’re talking about zombies in the first place. I have asthma and a chronic back injury. My favorite band is the White Stripes. My favorite film is The Blair Witch Project. My inspirational quote is a haiku by Kobayashi Issa: “O snail / Climb Mount Fuji, / But slowly, slowly!” Please add me to your zombie survival network.


Zombies are the monster we talk about because the stories that focus on them use the language of breaking news and scientific discovery in a bid for verisimilitude. Mysticism, meet biohazard, meet broken quarantine, meet 24-hour news coverage and presidential addresses and riots. Exorcists, meet researchers. Demons, meet germs.

I was in Grade 9 math class on September 11, 2001. My teacher, Mr. Leonard, didn’t tell my class why school was suddenly cancelled, so it was only after being ferried home on a school bus, turning on the TV, and flipping to the all-news channel that I became aware of the mayhem. Sitting alone on the dusty grey couch in our sunlit family room, still wearing my school uniform, I saw the images we’ve all watched on repeat. Planes flying into skyscrapers. People jumping from windows. Buildings I’d only ever seen depicted in fiction collapsing. After the initial impacts, in that uneasy time when any horrible thing seemed possible, almost every channel replayed the footage for viewers just tuning in.

Something important and world-changing is happening, I thought, and it made me sick with guilt. Watching the news that day was the first time I understood the World Trade Center buildings as real, and as I saw them tumble over and over, I felt a mortifying, horrendous thrill. This could be the end. I felt flattered to be alive, witnessing violent history. The newscasts flashing on my family’s tube television taught me the vernacular of a world falling apart.

The zombie films of the early 2000s adopted the visual language of terrorist attack coverage as a shorthand to illustrate how the real undead threat ought to feel. Danny Boyle’s seminal 28 Days Later, released only thirteen months after the Twin Tower catastrophe, begins with the images of violent news footage prior to the film’s inciting outbreak. Its second sequence, which takes place after the evacuation of Great Britain, features actor Cillian Murphy silently walking through a decimated London, juxtaposing recognizable landmarks like Big Ben with the post-9/11 iconography of a wounded metropolis, most notably a makeshift memorial wall covered in drawings, letters, and photos of victims. The 2004 remake of Dawn of the Dead, written and directed by superhero filmmakers James Gunn and Zack Snyder, respectively, goes all the way with its allegory, using staged news footage of military deployments firing automatic weapons into swarms of bodies, and White House press briefings in which politicians are unable to confirm whether the victims of a spreading pathogen are in fact living or dead.

I’m not saying 9/11 invented the zombie apocalypse. That’s reductive. But it did familiarize the media language of mass mayhem that’s used to make zombie outbreaks seem more realistic in entertainment. Boyle and Snyder showed me what the news coverage would look like if monsters attacked instead of Al Qaeda. Their ability to self-justify their horror brought it closer to the border of potential reality.

Two years after Snyder’s Dawn of the Dead remake made malls the place to be for the apocalypse, zombie self- justification was bolstered even further by non-fiction. The eighth episode of the BBC documentary series Planet Earth, titled “Jungles,” captured a real-life, albeit diminutive, zombie apocalypse in high-definition film.

“These bullet ants are showing some worrying symptoms,” narrates David Attenborough over close-up shots of an insect in distress. “Spores from a parasitic fungus called Cordyceps have infiltrated their bodies and their minds.” The camera follows the fate of one ant, which, compelled to climb upward by the fungal filaments nesting in its body, clamps its mandibles into the stem of a plant before its head erupts, producing a white tendril that rains spore particles on the colony below. Bullet ants caught under the falling dust are doomed to the same fate, playing host to zombie mushrooms as mycelia manipulate their nervous systems. “The fungus is so virulent,” says Attenborough, “it can wipe out whole colonies of ants.”

As you’d expect, Cordyceps supercharged the zombie conversations of the Planet Earth era. The realistic images of disaster news coverage showed us what a zombie apocalypse looked like after that first fateful bite, but until Planet Earth, the origin had to be speculative, some sort of fantasy virus. Cordyceps gave us a clear beginning, a real zombifying infectant only one cross-kingdom jump away from fulfilling the prophecy of our catastrophic fantasies. “Have you seen Planet Earth?” someone would say after the clink of pint glasses. “How about those zombie ants?” Ten minutes later, the table is three weeks into a sustainable post-apocalyptic survival plan and more intimately connected than most first cousins. In the zombie apocalypse, you build a new family.

People we don’t know might as well be bad weather. They might as well be zombies.

With the missing piece of a realistic vector in place, zombie fiction finally possessed all the tools for a fully plausible secular apocalypse, leaning closer to speculation than fantasy. In 2013, video game developer Naughty Dog released The Last of Us, a narrative-driven experience that takes players from the eve of a human Cordyceps outbreak and the cold military response straight through to the bleak conclusion that humanity might not be worth saving. Featuring real motion-capture acting, touching voice performances, and easily the best script written for a major studio-developed video game, The Last of Us is overgrown with verisimilitude, achieving the exit velocity required to escape the gravity of horror genre and video game stigma.

The Last of Us, many critics argued, was not a game. One didn’t so much play The Last of Us as they endured it. The violence was too realistic, requiring the player to murder human beings with bricks or improvised petrol bombs, for no reward other than safety; no points, just survival. The Last of Us aspires to realism first, horror second, and in doing so reveals how meaningless those distinctions actually are. It’s the only zombie story that can make me cry in its final moments. It’s about the horrible things we do for family. People we don’t know might as well be bad weather. They might as well be zombies.


“I want you to cut it off,” said Bruce. “Dave can use the fire axe. But I’m probably going to pass out. I think if we make a tourniquet first, that might help. But we have to cut off my arm.” He looked at me from across a table covered in paper, wooden game pieces, and a map of the Royal Ontario Museum. “I show them my arm.”

“Bruce shows you his arm,” I confirmed. “The bloody teeth marks are surrounded by dark bruising. Deep blue and black veins stretch out from the wound, almost reaching his shoulder.”

As the game master of the tabletop role-playing game session, I maintained distance. The umpire and living statistical engine of the imaginary zombie apocalypse, I brought my best friends—Katie and her fiancé Dave, Emma and her pre-med student cello teacher, the soon-to-be-armless Bruce—on this field trip of nightmares. I couldn’t participate in the decision. I was there to watch and roll dice—and confirm or deny potential actions while the closest thing to a doctor at our table argued for an unanesthetized amputation.

“Can’t we do anything to numb the pain?” asked Katie. “You can knock me out. Then I won’t flinch.”

“None of us know how to knock you out,” said Emma. “This isn’t TV. If we hit you in the head, you might die.”

“Hold on. Hold on,” said Dave, hands out over the table as if physically pushing the rising emotions down onto the game pieces. “Can I just pause for a second? Peter, we don’t know enough to call these zombies. Right?”

I had to think about it. I consulted my notes. “There are similarities. Obviously.”

“This is a bad idea,” said Emma, sitting farther away from the table.

“Yeah, I don’t want to do this,” said Katie. “It’s my arm,” said Bruce.

And it went on like this.

Outbreak: Undead bills itself as a zombie survival simulator. Available to order as a couple of hardcover books from one of the nerdier corners of the Internet, it’s a comprehensive set of probability charts, lists, timetables, and tips on how to facilitate a fun and collaborative time imagining the end of the world. Devised by King of the Nerds contestant and dragon-enthusiast Ivan Van Norman, Outbreak: Undead is appealing because it helps apply rules to zombie apocalypse conversations. Personal profile building meets the aspirational realism of the zombie genre itself. A personality quiz translates every participant’s fitness ability, emotional capacity, and mental aptitude into statistical character sheets, and the game master handles the larger narration while dice take on the role of luck.

Emma, Katie, and Dave convinced Bruce to keep his arm. Even if they conceded that they were facing off against real-deal zombies, they couldn’t possibly know the underlying logic of whatever was causing Torontonians to hunger for the flesh of the living. Recognizing the zombie apocalypse is not understanding the zombie apocalypse. The mental gymnastics required to come to this conclusion still impress me—playing a game designed to simulate a zombie apocalypse, they pretended they didn’t know it was the zombie apocalypse until they’d accrued enough empirical evidence to make the comparison, only to deduce that whatever they were experiencing might not be the zombie apocalypse after all. It was Olympic-level suspension of disbelief.

I designed this armageddon, so I knew that eventually the black veins would stretch all the way to Bruce’s heart, killing him. And if his friends didn’t destroy his brain, or remove his head, or dissolve him in acid, or do something equally obliterating, he would return, no longer Bruce but a monster with his face.

Zombie talk is a way of painting our modern fears of annihilation with a bloodless coat of grey.

Before any of that could happen, their party was ambushed. As they attempted to escape onto Bloor Street through the broken glass of the museum entrance, three shambling ex-urbanites descended on Dave. He swung his axe; I rolled the dice. Two attackers stumbled back, but the third sunk its teeth into Dave’s neck. Katie and Emma blinked back tears and Bruce’s face sunk. Dave let out a deep breath. These four people had talked so many times about the undead end of the world as a hypothetical, but now words meant action, and action always means consequence. The fantasy fell apart. We only played Outbreak: Undead once more after that. Then we stopped talking about zombies altogether.

Zombie talk is a way of painting our modern fears of annihilation with a bloodless coat of grey. Self-justification animates those fears, makes them shuffle, and moan, and bite. By treating the zombie apocalypse as real in our conversations, we tacitly give ourselves permission to associate real disasters like bombings, and climate change, and economic collapse with fiction. All of those real destroyers of life are, after all, what the walking dead represent. They are the things that happen to everyone else by virtue of being on the wrong side of the camera. By talking about zombies, we drag them into our world, diminishing the border between fantastical death and the chaos that could end everything right now.

As I type these words, in the spring of 2018, an Ebola outbreak is killing people in the Democratic Republic of Congo. The last time the deadly microbe claimed human lives, killing 11,359 people between 2013 and 2016, the international epidemic was reported through the comparative lens of AMC’s horror serial The Walking Dead and resulted in viral zombie hoaxes on the Internet. My Twitter feed is filled with the images of the Congo quarantine, interspersed with news of the latest US school shooting—the third this year, which resulted in the deaths of children. Unimaginable suffering populates my computer monitor, and while it’s sickening and terrifying, it only feels half real. I have a mental block filtering the news through the genre tropes of horror films that rely on the same imagery of blood, tears, and biohazard warning symbols. Real danger is tempered by fantastical excitement, and what I’m left with is a sensation of unearned safety.

By talking about zombies, we drag them into our world.

I have my browser open to YouTube, playing a video of Ronald Poppo, recorded a year after he had the flesh chewed from his skull. Poppo is famous for being the homeless survivor of the Miami cannibal attack in 2012. One year before the release of The Last of Us, a naked Floridian by the name of Rudy Eugene accused Poppo of stealing his Bible. Eugene then beat Poppo senseless, removed his pants, and ate the unconscious man’s face. A police officer shot Eugene dead, saving Poppo, but not before the cannibal consumed the poor man’s eye, along with almost all the skin between his mouth and the crown of his skull.

In the video I’m watching, Ronald Poppo is playing guitar, having received medical treatment and various therapies. He has no eyes, and the smooth skin above his mouth does little to hide his bone structure. He is half skeleton, transformed by a bite. It’s easier to imagine Poppo as a living reminder of a near-apocalyptic outbreak, to imagine that the police officer who shot Rudy Eugene saved the world. But as Poppo puts down his guitar and extols the virtues of the social programs that literally saved his life, he doesn’t use the Z word. He is not the lone survivor of a one-man undead apocalypse. He’s just a survivor. To liken his trauma to the plot of a horror film feels exploitative. It feels disrespectful. But it also feels comfortable, much more so than admitting that what he experienced was simply the chaos that permeates human existence. That at any moment, the cameras could turn to me as a naked stranger dives teeth-first into my face, or as I join the panicking masses in the aftermath of a terrorist attack perpetrated by an angry white gun owner, or as I get sick from an ancient microbe and bleed to death from the eyes, nose, and anus.

Even as I write down those potential realities, trying to imagine each one in terrible detail, they remain as hypothetical as a zombie outbreak. Technically, I am more likely to be consumed by the terrors of human conflict, with its tanks, and its bombs, and its guns. But in my head, it’s all just as real as getting bitten, killed, and resurrected by my friend Gwen as we settle in to watch a play in a crowd of strangers.


“Please Add Me to Your Zombie Survival Network” appears in the essay collection Be Scared of Everything, by media critic Peter Counter, published by Invisible Publishing

Boyhood In the Plague

“Pestilence” by Jonathan Escoffery

That first and only plot of American soil my parents purchased together was plagued, as was the house they built atop it. The millipedes blackened our front steps, made Mom tap dance from car to welcome mat. They crept up pipes, bursting from bath drains at our most vulnerable moments, their dark bodies startling against the porcelain white.

When the crabs scuttled inland by the thousands, choking traffic on Old Cutler Road, only the fool-hearted drove on. My father halted our station wagon, the sea of beige and blue crustaceans washing under us, resigning us to tardiness. From the backseat, Delano and I sat in silent reverence for the clack of claws on asphalt, witnessing pincers and shell-fragments puncture car tires ahead.

And when the locusts swarmed, we four crouched at the living room window, waiting.

Mom said it was the construction, that the onslaught of new development the 80s had ushered in disturbed the animals so, that the clearing of land sent them into frenzy. Dad said it had always been this way, but that people had not yet lived this deep into Cutler Ridge, our southeast section of Miami; that the crabs and locusts came in seasons, and that humans would need to acclimate to them. Delano said it was our job, the boys, to free our block of vermin.

We snuck lighters and matches, cans of Raid and Lysol, to blowtorch the millipedes and melt them to a slough. We prodded the crabs into Mom’s gardening pail and plastic mop bucket with sticks and dried sugarcane stalks. We hovered over the buckets and bet against the crabs as they dragged one another down into mutual destruction.

Our neighbors made meals of these, but as they were blue and not the neatly plated red shellfish we recognized from restaurants’ advertisements, we left our bucketsful at the side of the house for days or weeks instead, letting the sun bake the shells to dry, brittle husks.

These crabs were easy-pickings, except the one we chased through a quarter of a mile of field, till, as though changing its nature by necessity, or as though to prove our misunderstanding of that nature, it escaped up the trunk of an oak.

The locusts we left alone except the three or four that stayed on after the swarm dispersed. We plucked shell-encased legs and wings from thoraces and drowned them in bleach or iodine or whatever we could smuggle out the front door without our parents noticing. At times, we’d look up from our work to see strange boys—colorless or orange- speckled or similarly brown versions of ourselves—crouching in pairs, or in triplicate, thusly occupied, and I wondered, if all the world’s boys were so engaged, would it not be long before we succeeded in our duty?

The locusts and crabs, and millipedes especially, dwindled from one year to the next, until their returns brought so few we missed them entirely and we forgot they had ever covered our sidewalks and highways and skies.


We knew our house was cursed, not simply from the outside, but from within. The animals we brought home met grisly deaths, no matter the care we took. Our Siamese fighting fish launched itself from its aquarium. Mom ladled it off the carpet with the square-rimmed net and thrust it back into its tank, jamming the lid down after, but this seemed only to enrage the fish. We four gathered around the aquarium as the fish rammed the inner glass and beat its face to gristle.

The hamsters we discovered so: the one having choked eating its cage-mate.

“Jesus, Joseph, and Mary,” my father said when I carried the cage from our bedroom into the kitchen. “Maybe no pets for a while,” Mom said.

I felt relieved, but Delano insisted, “If we name the next ones, they might treat each other humanely.”

“They’ll be hard enough to forget.” Dad pointed to the cage. “Imagine if they had identities.” Our father, like many of the Jamaican men my parents brought around, didn’t believe in naming animals, not even the best of them. “Dog already ’ave name,” he liked to say, leaning into his accent. “Dog named dog.”

Our mother, though, had raised chickens and hogs growing up on the outskirts of Kingston, and she’d named every one of them, even after realizing what they were fated for. Mom said of our grandmother, “When Seema put her leather gloves on, you knew it was bye- bye, Betsy. Bye-bye, Henriette.” She took the middle of a dishtowel in her fists and twisted sharply, a neck breaking grick sound emanating from the depths of Mom’s throat.

“Me never did ’ave farm animal,” Dad countered. He reached into the freezer and dumped a handful of ice into a tumbler then placed the tumbler on the kitchen counter. “But me did hit me neighbor’ goat one time.” It was like that between my parents: one having always to best the other. Dad bit down on his lip, forcing the glee from his face. He tilted the neck of a rum bottle over his glass, continuing, “The goat run out in the road and me lick him down with Daddy’s car. And me did think, the car mussee dent up and mister goat mussee dead. But then mas goat stand up straight wit’ him hoofs ’pon the car’ bonnet and look ’pon me. Next thing me know, him turned to the whole of we neighbors and start bawl, ‘Baheeeeeelp!’” Dad squished up his face, squealing in a shrill goat voice. “‘Baheeeeeelp!’ And me did take off, thinking, mister goat going run tell Sheriff John Brown.” Such was his amusement that tears rounded his cheeks.

There’s an alternate ending to my father’s goat story, but on this occasion, he punctuated it with unbridled laughter, and my mother slapped him with the dishtowel, saying, “You’re too cruel, man,” but her eyes brimmed with love.


New plagues disturbed our neighborhood in subsequent years, and by these we kept seasons. We constructed slingshots and carried small stones to fight off the nighthawks. We poured salt on the slugs and frogs that seemed to fall from the sky with the rains. From Mount Trashmore’s sulfuric, skunk-squeezed stench we hid.

Mount Trashmore was the pride and shame of Cutler Ridge—at least that’s how we boys viewed it. If we dragged Dad’s ladder to the side of the house and ascended to the roof, through binoculars we could just make out the landfill’s peak and its buzzard halo. The summer sun bore into Trashmore, releasing funk waves we choked on, and on the hottest days there was nothing to be done but lift shirt collars or hems to our noses, and slog inside.

The nighthawks attacked us night or day, but were most dangerous at dusk. They nested in the ground, camouflaged in the low-lying thicket that spread across the rocky terrain behind our townhouse. If we ambled too close to one, it’d burst from the dirt, gain adequate height then dive-bomb us.

Once, Delano shot a nighthawk as it rose from its swooping attack. We gave chase, but it managed to lose us as it spiraled down into the expansive brush.

By then we had Double-O (short for 007) with us. His mom was a mutt, but his dad was pure Labrador. We ran him in the field, shouting, Get it, boy, and C’mon, Double, kill! something I suspected worked only on TV until Double-O tore off into the briar.

I awaited the bird’s blast back into sky as Double ruffled the surrounding bush, but he came skipping back, jaws clamped on a mass of meat and torn-up feathers. A line of the bird’s blood dribbled down to the V-shaped white patch that made Double’s black fur look especially tuxedo-like.

It took stern commands and tugging to make Double let go of his catch. When he did, the bird lay stiff and gnarled on the dusty gravel. “We killed it.”

“What’d you think we were trying to do?” Delano asked.

I asked him if we should cook it, but Delano told me people didn’t eat nighthawks, so we’d better just bury the bird. I didn’t stop to ask why we would bother; I had a vague sense that we were honoring the dead, that this life we’d taken was somehow different, more valuable than the insects and toads and crabs. To tear life down from the sky like that…or maybe I had begun growing into my conscience and my guilt stood independent of what we’d killed. Or possibly, I felt nothing, and I’m projecting onto my younger self the question: What makes one life worth more than the next? What makes one more worthy of compassion?

We dug a shallow grave, not far from where the nighthawk first appeared. My brother suggested we look for its nest and eggs, to toss them in the hole, to wipe out its line and prevent future attacks, but I remember this with clarity: I had no stomach for it.


“When Daddy dies, I get the house,” my brother told me while we were out walking Double. I can’t remember if it was the time we killed the nighthawk or not. It couldn’t have been long after. Let’s say our backs were bent in work, lowering the carcass into the earth, spreading dirt over the hole. Let’s say the sun inched toward the horizon, sweat rolling from our pits down to our wrists and palms, when Delano called dibs.

I wondered why he would lay claim to a house we’d already agreed was doomed, but said, “What about Mom?”

“Fine. When Daddy and Mummy die, I get it.”

“Yeah right!” I said, but I knew, even then, he was right. The way they fawned over my brother, the way he’d already inherited the best of what our parents had to offer, down to our father’s eyes—eyes which strangers couldn’t help interrupting their day and ours to gush over. How often I had stood outside the huddle, Delano enclosed by our parents and his random admirers. How often I’d wondered if I’d actually disappeared.

“They’ll leave the house to both of us,” I insisted.

“That’s not how it works,” he said. “I’m the first born. That makes me the heir.”

“You’re not royalty, you moron.” But who in this world of carefully constructed hierarchies wouldn’t choose the blue-eyed brown boy to anoint? Who wouldn’t assign him the higher value? You? Who wouldn’t figure him more deserving?

“Doesn’t matter. It’s how it works, Trelawnies.” I’d entered into a chubby stage, and as Delano had entered an evil one, he’d begun pluralizing my name to emphasize my size.

“Then what happens if you die?” I asked.

“Then it’ll go to my son.”

“You don’t have a son.”

“I will by the time I die.”

“Then what do I get?”

“You, Trelawnies, get the shaft. You should be used to it by then.” Seeing he had upset me, he added, “But you’re still my brother, so if you’re good, I might let you live here with me.”


In August of ’92 plague arrived in the form of 175 mph winds. We knew Andrew was coming for Florida, but the weather reports and the associated panic were not the first signs of impending devastation. For one, my parents had begun arguing that summer, tearing into each other with sharp tongues and piercing insults.

Dad claimed she’d become too Americanized in her expectations of marriage. Mom said it was the white rum, the nights he’d disappear then reappear doused in debauchery. Delano told me to escape into the streets to find relief from their bickering, but Mount Trashmore’s fumes chased us back indoors. That entire August the stench seeped into our pores and nostrils, making our stomachs ache. We agreed—Delano and I—that Trashmore was no mere mountain, but a volcano, gradually poisoning us, threatening to erupt.

The stink strangled our summer, but receded the morning before Andrew’s arrival, leaving our spirits considerably higher as we boarded up the house. The breeze felt miraculously soft and clean.

We laughed joyously as we drilled screws into plywood, safe-guarding the windows. “What does it matter that we live in the flood zone,” I wondered aloud, “when our house sits on such a high hill?”

“Is this the fifth hurricane we’ve prepared for needlessly or the sixth?” Delano countered. “Do hurricanes even exist?”

“Can we please, please, please get enough damage to delay the start of school by a week?”

We packed bags, choosing video game consoles over comic card collections for our overnight at our Aunty Daphne’s house—hers being further inland.

The only problem with evacuating was that Double-O had gotten loose the night prior and had not yet returned. He’d taken to visiting his K-9 neighbors, the females; short of locking him indoors, we couldn’t prevent his nightly excursions. But when we locked him in, Double’s howls reached into our dreams, snatching us from sleep. Halfway through his second night of incarceration, one of my parents—my father, I assume—relented, releasing him to the backyard, where he was silent, if absent.

One early summer evening, Delano and I had tailed Double and witnessed the full splendor of his escapade. It was something to see Double scale a fence: his front paws hooking chain links, his back tiptoeing to propel him upward, his V-cut white patch exposed. I couldn’t help exclaiming, “Double-O seven.”

“Double-O seven,” Delano agreed.

It was then that we resolved to have Double-O neutered.

We made the appointment for the procedure, but as my father pulled into the vet’s parking lot one Saturday afternoon in July, Double in the backseat trembling between Delano and me, we began contemplating what it meant for Double to lose his testicles. I didn’t know how to bear the weight of wiping out Double’s line, but my brother expressed his concern this way: “I’d rather be dead than have my balls chopped off.”

My father nodded. “It’s what make a man a man. But it’s you boys’ decision. He’s yours to look after.”

I didn’t know what was right in that moment, but I wanted to be like them, to partake in manhood as they did—no, that’s not exactly it. I wanted to be with them, to be caught up in the love that linked the men of my family. I had begun feeling the weight of our age gap, Delano entering my father’s world and leaving mine. So I threw my hands over my crotch, lowered and shook my head, as though too pained to discuss the situation. At that, our dad put the car in reverse and we headed home, agreeing to tell Mom the vet’s office had been inexplicably closed. It was perhaps the one time I felt such belonging.

What is that inimitable bond between certain fathers and certain sons?

Years later, in high school, Delano would try laying hands on our dad in an argument over his taking Dad’s car without permission. He’d driven the car to Homecoming. Not his high school’s, but FAMU’s, eight hours north of us. Instead of returning the car home, to my father’s, he drove over to Mom’s house, my house, and let our father know he could pick up his car there. I guess he figured he’d postpone his punishment, or maybe he just wanted witnesses. When our father arrived, and the words and excuses inevitably failed Delano, and Dad’s chastisement became too much, he tried pushing our father out of his way. Dad easily won the tussle, pinning Delano against the living room wall, embracing him there, as though to say, Not yet, not yet. You will grow to best me, and all that I am will be yours, but not now. Not yet.

I risked Double’s life for a fraction of that feeling. But in the pre-storm calm, as Delano and I scoured the neighborhood while Dad took the car out to search the streets beyond, I knew we’d made a terrible decision.

I made promises to God that afternoon, to the universe, to any power willing to accept my plea, that if we found Double, I’d do right by him. I’d save him from the others and from himself. But maybe that was the wrong promise to make. Perhaps I should have begun instead with atonement.

I felt certain Double would trot up at any moment, his pink tongue dangling over his black jaw. When the sky turned dark, though, we abandoned the house and Cutler Ridge, heading inland.

“Don’t fret,” our mother said on the ride out. “Puss and dog know to shelter themselves in storm.”

I braced myself, looking to the driver’s seat, certain my father would contradict her, but for once he agreed, saying, “Animals can sense these things.”

I understood anew that my father could change his nature, and that he would do so to protect me. I knew too that what he’d said was at least partially true. No Florida house could prevent trails of ants from marching in before a heavy rain. But where could Double-O hide? He was no insect.


The alternate ending to my father’s goat tale goes as such: “The goat start bawling ‘help.’ And me know it then it must be in some rhatid agony. So me reverse the car to make sure me can aim for its head. Then me lick it down one time for good.”


When the electricity went we knew Andrew would not join the slew of dud hurricanes we’d scoffed at. From the living room we watched a family of palms wrenched from the yard then thrust through the neighbor’s walls. Like pins into cushion. That’s how the five of us wound up huddled in Aunty Daphne’s walk-in closet.

I don’t have to strain myself describing what we’d discover in the light of the following day—the flattened neighborhoods, the mounting death toll—you can find all of that online. I recommend typing Hurricane Andrew aftermath into your favorite search engine then clicking Images to see what I saw the morning after. I’ll say that when we finally located Cutler Ridge, then our block within it—these things were difficult with no road signs, few remaining landmarks, and very many obstacles—little more than the skeletal frame and the squishy, rotting carpet remained of our home.

What the archived pictures can’t convey is that a decomposing palm tree, one that’s been ripped from the earth and left in the road to die, smells pitiful as a rotting human. Or that even the inanimate innards of houses stank of loss, of soaked-through death post-storm, and after a day or so this rot stifled not just Cutler Ridge, but most of Dade County.

You also mightn’t have heard of the animals that escaped Metro Zoo and the various research facilities and exotic dealers during Andrew, the teams of monkeys spotted jogging and swinging their way through wind-toppled suburbs to freedom. Conservative estimates put these escapees in the hundreds, though some wildlife experts estimate that at least 2,500 monkeys got free. You can see these monkeys and their offspring peeking into backyards in certain Miami neighborhoods even to this day. And few Dade County residents haven’t witnessed the parrots and parakeets and cockatiels now inhabiting Coral Reef and Tropical Park and beyond. Some cougars roamed free. Some might still.

So where we spent our youth ridding our block of species, choosing which, by their very nature, deserved to die, nature intervened and, in the course of hours, set loose new life to recapture our neighborhoods.

But that’s not what I want to talk about anymore. I want to talk about that night, crouched in the closet, when the wind howled like a god come down for vengeance. When I said, “I hope Double-O is okay.”

And my mother held me gently in the dark and said, “Someone will have found him and taken him in.” I imagined one of our neighbors shooing Double inside, pulling shut her door just in time to hunker down.

But my brother shifted anxiously beside me as though he already knew my father would respond, “Me didn’t tell you? Me found it? Me didn’t tell you?” His voice took the choppy lilt that it did when he’d been drinking his whites awhile. And though I couldn’t have seen one, tucked deep within folds of blackness as we were, I can’t help remembering a smirk on his face when he said, “Me didn’t tell you me found the dog? Found it, dead in the street?”

Trapped Inside While the World Burns

Early in Rumaan Alam’s third novel, Leave the World Behind, the author introduces the kind of alarming, unplanned events that are both becoming increasingly common and difficult to adapt to: vast blackouts, lost cellphone reception, social isolation, animals exhibiting mass unusual behavior. It could be nothing, a mere inconvenience, or it could be a catastrophe of unimaginable proportions.

For the white family on vacation who rents a house on Long Island from an older Black couple, the unknown possibilities of the environment disrupt everything.

The novel seamlessly bounces between perspectives and occasionally zooms out to provide clues to the world’s state of emergency. The result is a panoramic view of how we handle being stuck in place and navigate personal and collective fear. 

In mid-September, more than six months into the global pandemic, I spoke with Alam on the phone from my house in Tallahassee. 


Aram Mrjoian: How were you thinking about this novel as both looking toward a speculative future, but also toward our present moment?

Rumaan Alam: When writing a book about people who are effectively trapped inside of a home, now with a readership who are also effectively trapped inside of their homes, it’s sheer coincidence. The bigger question that you’re asking is whether or not it’s the role of the artist to predict stuff, maybe not in terms of lottery numbers or concrete facts, but to predict a feeling or sensibility that will be prevalent. I think that’s probably the case. I keep forcing myself into conversation with these two other much better books. I should probably email the writers and ask for their forgiveness, but I think of these books as being really engaged in some sort of a similar pursuit as my own. One is Lydia Millet’s A Children’s Bible and the other is Jenny Offill’s Weather. They’re both books that are thinking about climate change and its effects on society and the individual psyche, they both possess a feeling of being trapped. They’re talking about a lot of the issues that I was talking about in this book. It’s maybe helpful to think of my book as a part of a larger segment or part of a larger interest in literature. Sometimes you can only make sense of these things retroactively. You need the context of a couple of years to understand what that movement was or what that line of inquiry was. 

I don’t know if it’s my work as a critic that’s helped inform that, although it is a case that since I’ve been working more as a critic, I’ve been reading more up to the moment. I’ve been more conscious of what some of the better writers out there are working on. Actually, you will have to include Ali Smith’s novels, the seasonal quartet, in this grouping of works that are interested in the individual psyche in a moment of global existential turmoil. 

I didn’t read any of these works I’ve just mentioned before I wrote my own book. So, again, it’s either just coincidence or it’s not and it’s really hard to say. The only thing I’ve been saying a lot is that it’s sort of like when people who watch fashion very closely, when a bunch of fashion designers use the color lavender in their collection, it’s like, well, where does that come from? Where do these resonances among artistic peers come from? I don’t really know the answer.

AM: You mentioned the way even something like reality TV can make it feel like we’re moving quickly and consuming a lot quickly even if we’re stuck at home. I’m paraphrasing, but I heard you on a podcast discussing the idea in Leave the World Behind of giving the readers the same sense of immediacy that the characters in the book are feeling. As someone who writes books and also has consumed a lot of books, film, music, art, what do you think about the notion that we are consuming culture and information differently today? Is that part of the vision of the book, that we have to adapt to things so fast? 

RA: The book aims to talk about the pace of contemporary life, which is a very commonplace motif. We hear all the time about lamentations of people’s attention spans, things like the discrete chunks on Twitter has affected people’s ability to actually read something, read like a 40-paragraph newspaper story, let alone a 500-page novel. I don’t think you can deny any of that is the case, right? That’s just what’s happening to us. And in the book, the way that plays out, or the way some of it plays out, is that the characters don’t have access to the Internet. And they experience to varying degrees, almost what you might describe as withdrawal symptoms. I’m just having fun with that in the novel. 

I wanted you to feel like you’re inside of this book. I wanted you to feel like you were stuck.

In a bigger sense, how will the actual book be received in a culture that reads this way now? I can’t control how people read or don’t read the book. I can only do what I’m doing on the sentence level or the page level. I do think that this is a strategy of the way this book functions, which goes back to what you were asking about, the reader inhabiting the same space as the character. It’s just a strategy for getting people to engage with the story. And in a way, I think that’s a question about genre, because it’s a book that is trying to use the conventions of genre, as I understand them, to create a certain kind of reading experience that I really wanted. I wanted you to feel like you’re inside of this book. I wanted you to feel like you were stuck. I wanted you to feel like you couldn’t stop turning the pages because you felt so much like the other characters in the book, which is that you just want to know what is happening.

And, of course, in the book and in life, there’s no real answer. Even if the book tries to deploy the strategies of the thriller or the work of horror, the fact remains that it’s fundamentally a realist book, because that, to me, is what reality is in a nutshell, your desire to know how the story ends, which you have to reconcile with the fact that you will never know how your own story ends.

AM: Yeah, I definitely felt that when I was reading. I read this book very quickly. It was one that I just sat down with over a weekend. I think it speaks to your expertise in doing exactly that. You mention the withdrawal symptoms from technology. Two of my favorite chapters in the book are early on. Amanda and Clay stock up on all this expensive and decadent food, these groceries for vacation, and there’s just these really beautiful details. I just kept thinking, well, what do we do with the fancy wheel of cheese, when the world goes to hell? Can you talk a little bit about your attention to detail and what details you were really focusing on?

RA: I mean, it’s funny, because one of the other ways in which I couldn’t predict this would be newly resonant is that the first thing so many of us did, upon hearing that we needed to stay home back in March was go to the grocery store. And there were people who wanted to get their hands on heirloom beans, then there were people who just wanted to get a case of ramen, or you know, whatever it is that meant to you that you would have sustenance. I spend a lot of time on a shopping list in the beginning of this book. I think that it provides a lot of exposition if you look at it closely. I’m sure there’s a reader who will just think it’s terrifically boring, but I think it establishes who these people are, how they see themselves, what exactly a vacation means for them, what their perspective is on their place in American society. There’s a certain kind of person for whom the splurge on those ugly heirloom tomatoes coming out of really crinkly cellophane wrapping tells the story of who they are as consumers and the story of people and where they stand in the class hierarchy. And that’s important. I found it really fun to write. And I hope there are readers who find it really effective as a tool for explaining these people to you.

The details contain the interesting stuff, right? Rather than saying, these are people of the middle class, who aspire to see themselves as people in the upper class, but they really aren’t. You can just have some fun writing about somebody buying cilantro at the grocery store.

AM: Amanda goes from very untrusting and standoffish to defensive and then kind of bounces between these feelings until eventually at one point she looks to Ruth for wisdom and security. For a minute, I was worried about the novel going in the direction of a stereotype by having Ruth as the wiser, older Black woman that is there to comfort Amanda. But I think that with Ruth’s character, internally and externally, it feels like you’re fighting against that. I was interested in that choice and if and how you are pushing against the problematic ways that Black women are portrayed in literature. 

RA: That is a really good question. There’s a challenge in writing about stereotype or archetype or convention. Because if you deploy the convention, are you then reifying it or are you critiquing it? It’s really, it’s sort of in the hands of the reader. In my second book [That Kind of Mother], I was writing about a white woman and her relationship with her Black nanny. And that’s a thing, right? There’s a tradition of that in this culture and it’s a valid thing to write about, but how do you write about it in a way that looks at it critically, but is also deploying it and playing it for what it is on the page. It’s a tough thing and so I wanted exactly the confrontation that you’re describing, where you might begin to suspect that the Black people are in this narrative to provide comfort or wisdom, which is such a trope, especially in Hollywood, the sort of typical Black person who is there to solve problems for the white person. That’s exactly what Amanda tries to do in the end. Ruth resists that, but I also think it’s a human impulse on Amanda’s part that she’s looking for human comfort. It just happens to be that a Black woman is the only person there and so there’s a complex moment where you think, no, it’s rubbing right up against stereotype and kind of looking at it and kind of not looking and not really resolving. 

I think you could argue that the book is deploying somewhat discomforting racial conventions from the outset. The notion of a Black person turning up at the door, unannounced or unexpected, and then you have to deal with the problem of their race—that’s just a convention from Guess Who’s Coming to Dinner. It’s a way of doing storytelling that we are comfortable with in this culture and it’s fun to deploy those conventions because people recognize them, which gets your guard up and it makes you react. Your hackles are up and you’re like, oh God, what’s going to happen right now? Hopefully, you feel like what happened isn’t necessarily what you would have expected. 

AM: It’s out of your control, but thinking about this idea of critiquing or reifying stereotypes, I know this has already been picked up by Netflix with some big-name actors to hit screens. What’s it like having the work kind of out of your hands? How involved are you in the process of seeing this adapted? 

RA: But that’s precisely what it’s like to publish a book anyway. You do the work on the page. You hope that you’ve done it well, and then you hand it over to the reader and the reader makes of it what they will. You may feel that you’re picking apart a complicated thing about racial dynamics and another reader may feel that you’re just reifying a really base stereotype. There’s no way to know, it’s just utterly out of your control and that’s just one of the things you have to make your peace with as an artist. The book only lives when it’s in the hands of an audience, but you have no role in dictating what that audience’s response is. In a way it’s something I’m familiar with, because this is my third book and I know that’s how it goes. 

With respect to the adaptation, I don’t really have a creative role in making the film. But I do have a lot of faith in the person who I chose to make the film with. Sam Esmail has a signature artistic approach. When you look at that work you see not only visual and narrative sophistication, but also an understanding of hard to articulate dread, things that are not quite said. I just have a lot of faith in Sam. I think he’s a brilliant artist. And I also accept that it will be his work more than it will be mine and that’s that’s totally fine. That’s part of what it is to work as an artist is to trust to whatever degree you can in what you’ve done. If I could have the conversation I’m having with you with everyone who picks up the book, then I could guide how the book went out into the world, but I can’t. It’s not part of a deal. It’s not part of the bargain. And so here we are. 

AM: Sorry, this is kind of both a bleak and hopeful question. I know you’re a father. In this novel, you have two teenage characters, who are kind of just finding themselves and still figuring out who they are. Again, to use a convention, two teenage characters are going on a family vacation and may not be the most excited about it, but then everything goes up in the air. Writing something like this, what are you thinking for the future and about the world that your children are inheriting? What was on your mind when you were writing those characters?

There’s a kind of animal instinct in protection of children and protection of the species.

RA: Absolutely. For me, that was the animating interest of the book. That was the principal concern and principal interest. You often hear this ascribed to Stephen King. I don’t know if it’s something he actually said. Stephen King said of the horror that animates his work, especially the early work, that it was about him as a father imagining the worst for his children. And I know what he means when you look at some of that work. That sentiment holds water for me. I hope it’s a book that’s not only effective if you are yourself a parent, but I do think there’s a kind of animal instinct in protection of children and protection of the species. 

I’ll leave it to you to tell me if the book is optimistic or pessimistic about what it’s actually saying about the world we’re going to hand over to our kids. I think it’s pretty clear what my take is on the state of the world is and what we have done to it and what previous generations have done to it and what children today are going to inherit from their grandparents and great grandparents’ generation. 

7 Dystopian Novels About Motherhood

I struggled to get pregnant for three years. During that period, I experienced miscarriages and surgery, and I injected my abdomen with more hormones than I could count. Finally, I was one of the lucky ones, and (albeit after an extremely traumatic labor) I gave birth to a healthy baby boy. However, the three-year battle to conceive had changed me. I had become wary of motherhood, viewing it as both fragile and destructive. Fragile, because it seemed to get broken so easily. Destructive, because it kept breaking me.

Having been through my own personal hell, I sought out books about motherhood that told stories of injustice and misfortune. Initially, I viewed my reading list as distinctly dystopian—I read books set in near-future scenarios involving climate crises, medical emergencies, technological dilemmas, and political upheavals. There was catharsis in seeing mothers and their children fight against far more extreme forces than I had done.

I wrote a novel too, about a woman who is torn between starting a family on Earth and leaving everything behind to become one of the first colonists on Mars. My book Bright and Dangerous Objects is a metaphor, I told myself, for my ambivalence about motherhood. Earth represents upheaval, sacrifice, fear; Mars stands for independence, ambition, escape.

Furthermore, in the two years since my son was born, my world has shifted. I have come to understand that I am in the midst of a climate emergency. Then, in the month that I conceived my second child—a daughter—a virus outbreak in China led to a pandemic that has claimed millions of lives across the globe. 

The novel that I wrote no longer feels like a metaphor. Earth is a place of upheaval and sacrifice. Bringing up the next generation on this planet does fill me with fear. And the dystopian stories that I have been reading have started to feel like essential and plausible reads. So, as the apocalypse looms over us on a daily basis, what can we learn about contemporary motherhood from these now not-so-far-fetched narratives of disaster?

The End We Start From by Megan Hunter

London is underwater. And the floods are spreading. After giving birth, a woman is forced to flee north with her husband, R, and her baby, Z, in search of safety. Adrift in a place she barely recognizes, she becomes separated from her partner and bonds with Z, surviving in the face of disaster as well as she can. 

Written in slivers, reminiscent of Jenny Offill’s excellent Dept. of Speculation and Rivka Galchen’s smart Little Labours, we feel the narrator’s fragmented state of mind as she navigates new motherhood and her increasingly alien environment. As the narrator’s world is ripped apart and reconfigured, we are left marveling at her hope and strength in adversity. The author’s descriptions of breastfeeding, sleep difficulties, and the baby reaching new milestones all feel authentic and familiar, but recontextualized like this makes for a fascinating read.

Sealed by Naomi Booth

An epidemic is infecting Sydney. Known as cutis, it causes people’s skin to seal up until they choke to death. Heavily pregnant Alice and her boyfriend, Pete, escape to a remote house in the Blue Mountains to start their family. But are Alice’s concerns about the epidemic founded? And is the countryside more inhospitable than the city? 

Booth’s gripping novel explores the fears so many of us experience in pregnancy—of the strange being occupying our insides, the dangers the outside world poses to it, and the precarious barrier of skin separating the two. Exploring issues of trust and ecological disaster in a way that feels evocative of The Glad Shout by Alice Robinson, Booth takes her book to a thrilling and gory conclusion that is not the faint-hearted.

The Growing Season by Helen Sedgwick

Human ectogenesis—the ability to grow babies in an artificial uterus outside of the body—is now possible. The “pouch” is provided by a company called FullLife, who have mysteriously begun providing a natural birth option to their clients. Piotr, a journalist, and Eva, a campaigner, investigate the organization while facing up to their own troubled pasts. 

The technology in this novel is not as futuristic as it sounds. We have successfully grown animal fetuses in artificial wombs, and scientists predict we may be able to support humans in this way within a decade. There are medical, egalitarian, and practical benefits, but also legal, financial, evolutionary, and ethical risks. Without judging, Sedgwick presents the arguments surrounding this delicate topic by interweaving her characters’ storylines to form an engaging psychological drama in the vein of Caeli Wolfson Widger’s Mother of Invention.

Who Fears Death by Nnedi Okorafor

Who Fears Death by Nnedi Okorafor

In a post-nuclear-holocaust Africa, two ethnic groups in Sudan are engaged in conflict. The light-skinned Nuru are guided by a religious text instructing them to enslave the dark-skinned Okeke people. Rebellion is met with slaughter. Onyesonwu is Ewu—neither light nor dark—because she is the child of an Okeke woman who was raped by a Nuru man. Furious at what happened to her mother, Onye embarks on a magic-fuelled quest for justice. 

Dealing fearlessly with subjects including racism, weaponized rape, genocide, and female genital mutilation, Okorafor creates a frightening but beautiful read. Onyesonwu’s mother might have had little choice over her terrible fate, but her child’s fierce determination to make amends for this—and for all who suffer—is engrossing and extremely moving. 

Gold Fame Citrus by Claire Vaye Watkins

Gold Fame Citrus by Claire Vaye Watkins

Severe drought has rendered California practically inhabitable. Young couple Luz and Ray attempt to stay, squatting in an abandoned celebrity mansion. But when they come across a neglected toddler, who they nickname Ig, parenting her gives them new purpose. They finally leave California, but as a battle between religion and rationality ensues, Luz must decide on the future she wants for herself and the child. 

Written in a blend of styles that include choruses, hallucinations, and documentary reportage, this is both a cerebral and nail-biting book that keeps the reader guessing. Involving a journey that moves from the familiar to the unfamiliar, the civilized to the deserted, in a way that echoes Samantha Hunt’s enchanting Mr. Splitfoot, Vaye Watkins asks us how we cope when our environments are no longer made for us. Perhaps the tiny concerns—mothering a child, for example—can end up being the catalysts that propel us to take on the colossal ones. And there’s no saying that we will always make the right decision.

Severance by Ling Ma

New York suffers an outbreak of Shen Fever, a disease which causes sufferers to endlessly re-enact mundane daily routines without consciousness. Candace—a millennial working in an office block in Manhattan—is so settled into her life’s routine that even when things get truly awful, she chooses to stay. Then, when escape is her only option, she must work with a team of survivors to start a new society in an abandoned shopping mall. But Candace is harboring a secret.

The depiction of motherhood in this book is slow-burning and complex. Candace’s absent mother looms heavy in the text, and Candace’s relationship to parenthood gives the novel a drive and a darkness that makes it an uncomfortable read at times. Uncomfortable, but unforgettable.

Future Home of the Living God by Louise Erdrich 

Evolution is going backwards; women are giving birth to primitive species of humans. Four-months-pregnant Cedar is afraid. Trying to understand her baby’s origins and its chances of survival, she visits her birth mother, an Ojibwe woman, and speaks to her adoptive parents, a pair of Minneapolis liberals. But the world around her is becoming more and more unstable. As oppressive forces imprison pregnant women in mysterious medical facilities, can Cedar keep her baby safe? And if her baby turns out to belong to a primitive species—what then?

The novel is written addressed to Cedar’s unborn child—a child who may never have the capacity to understand language or appreciate modern culture. With echoes of PD James’s The Children of Men as well as Margaret Atwood’s seminal work The Handmaid’s Tale, and exploring similar territory to Diane Cook’s Booker Prize-longlisted novel The New Wilderness, Erdrich moves between subjects including religion, Native American history, mental health, and science. The story is tense, moving, and strangely relevant to our current reality. In a world so full of progress, how come it so often feels like society is moving backwards? What can we, as mothers, do to help our children look forward to—and create—a brighter, more evolved, future?